Robert Reviews a Whoopi-fied "Xanadu"

[Robert Taylor]

Posted: 8/22/08 at 1:38pm

*PREFACE: At the performance I saw (Wednesday at 2 p.m.), there were the following understudies performing: Kerry Butler was out, replaced by Patti Murin. Cheyenne Butler was out, replaced by Curtis Holbrook. Murin’s role(s) were replaced by Kate Loprest, and Holbrook’s role(s) were replaced by Jacob ben Widmar. And yes, I’ve previously seen the entire regular cast in their roles, and there will be comparisons between the two.

Now back to your regularly scheduled review.

Since joining “Xanadu,” Whoopi Goldberg has brought a huge amount of interest to the production, not to mention still-increasing box office. But fans of the show were still worried; would the production alter to increase Goldberg’s (who took over a supporting role that has temporarily been vacated by Jackie Hoffman) stage time? Would she fit in well with the flawless ensemble onstage? Luckily for both fans of the show and first time viewers, “Xanadu” still has all of that strange magic going for it.

So it’s 1980 and the Greek gods are still around, and a muse named Clio (Patti Murin) is sent to Los Angeles, complete with leg warmers, roller skates and a bad Australian accent, to inspire a lovable lug of an artist named Sonny Malone (Curtis Holbrook) to create the apex of all arts in a disco club called Xanadu. Seriously. And if that show description does not have you chuckling, then you might as well stop reading, because this show is not for you.

Based upon the 1980 bomb that not only ended the late ‘70s interest in the film musical, but also acted as an unfortunate period to Gene Kelly’s storied career, “Xanadu” takes the film's plot, in all of its crappiness, rolls with it (heh heh) and makes it the show’s own by poking fun at itself every step of the way. In a genius move, book writer Douglas Carter Beane (who was robbed of the Tony) adds two villainous sisters (Goldberg and the delightfully wicked Mary Testa) that attempt to thwart Clio’s work by making her (gasp!) fall in love with Sonny.

The set is sparse, with black torn curtains covering the back wall of the Helen Hayes Theater (who knows, they might have been there when the “Xanadu” team showed up) and enough room for a lot of roller skating action and seats for about 30 fans to sit onstage. A huge mirror is lowered onstage twice during the production, and there is also a plastic horse that lowers onstage to collect Clio at one point. Other than that (and some hilarious costume choices), the production relies almost entirely on the cast (and I-hate-to-admit-it-but-I-love-it score by the Electric Light Orchestra) to bring the production to full, vivacious life every night. “Xanadu” doesn’t need a swinging chandelier, 30 piece orchestra or heelies to bring enjoyment to the audience, and therein lies its magic.

Patti Murin normally plays, let’s face it, the least memorable roles in the ensemble. But in the role of Clio, Murin shines, bringing the same vulnerability, beauty and, most importantly, fun to the character that Kerry Butler does on a normal basis. Though the show is definitely an ensemble piece, Clio must serve as a focused center to the production that keeps it from becoming TOO out there, and Murin shines in that position, proving herself to be the equal of Kerry Butler (who was nominated for a Tony for the role), both in her comedic talents and singing ability. She is a revelation, and the first production that snaps her up in a regular lead role will be a lucky one.

Also excellent was Holbrook, who normally does some seriously great tap dancing on a desk in the show, who brings a quiet strength to Sonny that is sometimes missing in show regular Cheyenne Jackson’s interpretation. That isn’t to say that Holbrook is better than Jackson (who is, of course, extraordinary and was robbed of a Tony nomination) in the role, but he definitely is Jackson’s equal when firing on all cylinders (as he was at this performance). His Sonny is different, more laid back than Jackson’s, but just as captivating. Holbrook is finding comedy in lines and moments that did not garner laughs before and, like Murin, this man deserves a starring role all his own sooner rather than later.

And then there is Goldberg, who is achingly hilarious with her dialogue, ad-libbing (never moreso than when an ornery fly began bothering the cast just before “Fool”) and facial expressions. You can still tell she is uncomfortable with her singing and dancing in front of an audience(Mary Testa blows her away in the showstopper “Evil Woman”), and therefore gets off to a rocky start, but by the half-hour mark she hits her stride and makes the role her own. She fits into the ensemble element of the show perfectly, taking her moments to shine and knowing when to let the other actors take center stage, and the attention she has brought to the show is excellent, so she has made a great addition.

Of course the rest of the cast is excellent as well, not a loser in the bunch. Tony Roberts shines as the rough-but-lovable land owner who remembers Clio from long ago, and the rest of the ensemble, particularly Kenita Miller and Andre Ward, could create laughs at a funeral if necessary. Special mention also goes to Jacob Ben Widmar, who played the roles Holbrook normally plays, and brought a lot of life and laughs to the roles. I look forward to seeing him get something more permanent soon.

“Xanadu” is still, and will continue to be once Hoffman returns, one of the best current tickets on Broadway. In it’s own little way, it’s a perfect show that proves once and again that a show can be smart, witty fun without sacrificing endearing characters or dumbing down its humor. Here’s hoping the spotlight Goldberg brought to the production sticks around after her upcoming exit, because the show deserves it.

Rating (out of 5): ****1/2


Updated On: 8/22/08 at 01:38 PM

[legally_popular]

Posted: 8/22/08 at 2:32pm

Great review!

The ad-libbing with the fly sounds hilarious.. do you remember what they said? When I saw the show last weekend, there were a few people in center front orch. who came in late. Later, during the scene when they're explaining to Sonny that Kira is actually a muse, Whoopi said something along the lines of, "It's so obvious! I got it. Did the people who came in late get it?" And Mary Testa was pointing and making faces at them. The audience went crazy over that. It was hysterical.

[Theatreboy49]

Posted: 8/22/08 at 2:53pm

Thanks for the review. I love the music and have been anticipating seeing this as the first show of 6 next week. Im glad that the understudies are so great (as most of the time they are) though I personally want to meet the usual cast afterwards im glad there would still be great performances otherwise. Im glad whoopi is starting to get in a rythem (SP?) with the role. Looking forward to next thursday.

[Robert Taylor]

Posted: 8/22/08 at 2:54pm

Whoopi kept following the fly around and almost belted Mary Testa in the back of the head swatting it. Curtis Holbrook then got applause from the audience for successfully killing it when it buzzed near him.

All of this was punctuated perfectly because, to begin "Fool," Mary and Whoopi have the lines "Fi!" "Yeah, Fi!", which Whoopi changed to "Yeah, Fly!"

[JeaniusIsMe]

Posted: 8/22/08 at 3:45pm

Awesome review Robert! I was also at the show Wednesday- my first time seeing it- and was pleasantly surprised at the performances of the understudies, particularly Patti who I thought was absolutely amazing. And the fly bit was a great theatre moment...

[Brave Sir Robin2]

Posted: 8/22/08 at 8:52pm

When does Whoopi leave? Is she here through September?

[Brave Sir Robin2]

Posted: 8/22/08 at 8:53pm

When does Whoopi leave? Is she here through September?

[16andschizo]

Posted: 8/22/08 at 9:35pm

Nice review!

It sounds like Whoopie has improved since two weeks ago. When I saw it she pretty much just stood there like a bump on a log. It was kinda pitiful! Glad to hear she's getting more comfortable!

[JeaniusIsMe]

Posted: 8/22/08 at 10:06pm

Robin: Whoopi's in the show until Sept. 7th, and then Jackie Hoffman returns