#1
Posted: 5/2/05 at 2:16pm
Finally got to see the revival and am so glad to have seen it. Let me say first and foremost that Le Cagelles deserve every bit of acclaim they have received and more. Each one manages to stand out yet as a group they truly carry the show on their well-toned shoulders. To single any of them out seems criminal, but Andy Pellick's cage dance (at least I'm assuming it was he - forgive me if I have identified him incorrectly) was jaw-droppingly incredible, Will Taylor out-prettys Nicole Kidman and Brad Musgrove weilds a mean whip. If they each get to shine individually, collectively they are astounding, and the show is at it's best whenever they take the stage.
That said, I have to say I missed the original conceit of having two real women hidden in their midst - I felt it brought a fun guessing game to the proceedings in addition to making the straight boys in the audience a bit more titillated - and therefore more "open" to being attracted to someone who just might be a man under all that stuff. Also, while I will say again that each of the Cagelles are indeed excellent, I felt they hit things a bit hard in the personality department while the originals were directed to be a bit more coy. I was ecstatic to see that the idea of giving the Cagelles one of the final bows was retained - an idea I often wished the stagers of other "chorus-is-the-star musicals would borrow.
As far as the principals go, the naturally charming Gavin Creel wins the vocal honors of the evening, but if his character is so concerned about what an ultra-conservative politico thinks, shouldn't he cut his hair? Or at least wash it?
Angela Gaylor doesn't offer much to make Anne the prize that the plot demands she be, and I think it is a mistake to have eliminated her from the "With Anne On My Arm" song, since it romanticized her through rapturous, etherial dancing. And she didn't have to talk.
Michael Mulheren is fine as her priggish father, and while Linda Balgord has tons of talent, I've seen other actresses nail moments in the normally thankless role of the mother that director Jerry Zaks has missed. Ruth Williamson reminded me once again of why she is a Broadway regular, and I wished she had more to do.
Michael Benjamin Washington really stands out in the showy role of the maid, and has much more to offer than just "hey, look at me, I'm the sassy black maid". He instantly brightens the stage every time he comes on, and I only wish that Jerry Herman had written a song for his character. If the character had a chunk of material, rather than just a one-liner here and there, I think he would be the one to beat for the featured actor Tony.
Gary Beach can do no wrong in my book - I have enjoyed him every time I've ever seen him and this was no exception. However, without any real connection to his Georges, the show has no soul. Beach tries his damnedest, but he is stuck with the energy-sucking Robert Goulet, assumedly there to boost ticket sales, but a fatal casting error.
Robert Goulet. Truman Capote once said, upon receiving a pointsettia plant, "Pointsettias are the Robert Goulet of botany." I give him credit for trying, I guess, and good for him for kissing a man on stage. But he did not seem at all prepared to perform the role, missing steps, blowing lines and lyrics, and just generally looking lost, limping and awkward. For my money, I would MUCH Rather have seen his understudy, the capable John Hillner. Or Daniel Davis for that matter.
I blame director Jerry Zaks for most of what I thought was missing. I've seen community theatre productions get more laughs than were available here. And the laughs that were there, aside from the great Mr. Beach and the funny Mr. Washington, seemed forced and shouted. And while I defy anyone to find more exciting choreography on Broadway right now than Jerry Mitchell's superb Can Can, I felt Mitchell missed the mark with the opening, and IMO has yet to prove that he can choreograph a group tap number.
But I come not to trash. The show is still fun: the book is excellent, the score a charmer, the supporting players well-cast if not well directed (although Zaks' daughter, Emma, shines in a small ensemble role). All in all, I had a wonderful time, thanks to those fabulous Cagelles.
That said, I have to say I missed the original conceit of having two real women hidden in their midst - I felt it brought a fun guessing game to the proceedings in addition to making the straight boys in the audience a bit more titillated - and therefore more "open" to being attracted to someone who just might be a man under all that stuff. Also, while I will say again that each of the Cagelles are indeed excellent, I felt they hit things a bit hard in the personality department while the originals were directed to be a bit more coy. I was ecstatic to see that the idea of giving the Cagelles one of the final bows was retained - an idea I often wished the stagers of other "chorus-is-the-star musicals would borrow.
As far as the principals go, the naturally charming Gavin Creel wins the vocal honors of the evening, but if his character is so concerned about what an ultra-conservative politico thinks, shouldn't he cut his hair? Or at least wash it?
Angela Gaylor doesn't offer much to make Anne the prize that the plot demands she be, and I think it is a mistake to have eliminated her from the "With Anne On My Arm" song, since it romanticized her through rapturous, etherial dancing. And she didn't have to talk.
Michael Mulheren is fine as her priggish father, and while Linda Balgord has tons of talent, I've seen other actresses nail moments in the normally thankless role of the mother that director Jerry Zaks has missed. Ruth Williamson reminded me once again of why she is a Broadway regular, and I wished she had more to do.
Michael Benjamin Washington really stands out in the showy role of the maid, and has much more to offer than just "hey, look at me, I'm the sassy black maid". He instantly brightens the stage every time he comes on, and I only wish that Jerry Herman had written a song for his character. If the character had a chunk of material, rather than just a one-liner here and there, I think he would be the one to beat for the featured actor Tony.
Gary Beach can do no wrong in my book - I have enjoyed him every time I've ever seen him and this was no exception. However, without any real connection to his Georges, the show has no soul. Beach tries his damnedest, but he is stuck with the energy-sucking Robert Goulet, assumedly there to boost ticket sales, but a fatal casting error.
Robert Goulet. Truman Capote once said, upon receiving a pointsettia plant, "Pointsettias are the Robert Goulet of botany." I give him credit for trying, I guess, and good for him for kissing a man on stage. But he did not seem at all prepared to perform the role, missing steps, blowing lines and lyrics, and just generally looking lost, limping and awkward. For my money, I would MUCH Rather have seen his understudy, the capable John Hillner. Or Daniel Davis for that matter.
I blame director Jerry Zaks for most of what I thought was missing. I've seen community theatre productions get more laughs than were available here. And the laughs that were there, aside from the great Mr. Beach and the funny Mr. Washington, seemed forced and shouted. And while I defy anyone to find more exciting choreography on Broadway right now than Jerry Mitchell's superb Can Can, I felt Mitchell missed the mark with the opening, and IMO has yet to prove that he can choreograph a group tap number.
But I come not to trash. The show is still fun: the book is excellent, the score a charmer, the supporting players well-cast if not well directed (although Zaks' daughter, Emma, shines in a small ensemble role). All in all, I had a wonderful time, thanks to those fabulous Cagelles.
