#1
Posted: 4/30/12 at 10:28pm
Now that the season is over, I compiled my list of favorites and least favorites (save CLYBOURNE PARK and THE COLUMNIST, which I have yet to see)
What are yours?! :)
Best of the season:
1) ONE MAN, TWO GUVNORS
Confession: I'm not a huge fan of door-slamming physical-comedy farces. In fact, I may have been the only person who wasn't impressed by Matthew Warchus' BOEING BOEING revival a few years ago. So I was a bit skeptical walking into the Music Box to see this British import. But I can't recall the last time I laughed so hard in a theater. BOOK OF MORMON included. ONE MAN, TWO GUVNORS is a start-to-finish runaway train of hilarity. It moves at rapid fire, leaving no comedic stone unturned, and it features one of the best ensemble performances of the last few years. Led by the indescribably funny James Corden (who deserves a Tony), there is not a single weak link in this brilliant cast. They've caught lightning in a bottle at the Music Box and it is an experience that must not be missed.
2) ONCE
By far the best musical of the year raised the bar for film to stage adaptations to soaring heights. ONCE, based on the Oscar-winning indie film, was such a treat Off-Broadway and, oddly enough, is even more of a treat in it's new, larger home on 45th Street. With vivid characters, a charming book, gorgeous songs, and two perfectly-cast leads in Steve Kazee and Cristin Milioti, this show pulled at my heart in such a rare way. It is a transportive exerpeience that shouldn't be missed, by theatergoers and theater cynics alike. And if the finale sequence doesn't at least make you teary-eyed, you better get your pulse checked.
3) PETER AND THE STARCATCHER
As a piece of writing, PETER is as joyful and creative as any great bedtime story. But when brought to life by such a brilliant production team and cast, it's a stunningly beautiful, haunting, and ingenious theatrical experience that transcends the confines of "play" or "musical." PETER simply exists in a category all its own. Creative and innovative in ways that only live theater can be, PETER reminds us of the child in all of us. And for two and a half hours, allows us to let that wide-eyed innocence out in an almost cathartic experience.
4) CARRIE: THE MUSICAL
Critics still bemoaned this infamous flop's flaws and said that Stafford Arima's production was safe and lacked dramatic tension and scares. I couldn't disagree more. I was absolutely shocked at how much I thoroughly enjoyed this expertly designed production. The revised score sounded wonderful and Molly Ranson gave what I thought was the best performance by an actress in a musical this season. I guess it's a simple as a case of "to each his own," but I thought this production had a fantastically strong emotional impact by time it ended. Some of the images still stick with me, particularly the gasp-inducing moment when Ranson stumbles on stage at the end of the second act, soaked in blood.
5) OTHER DESERT CITIES
It might not be the second-coming that some critics seem to think it is, but OTHER DESERT CITIES is certainly one of the most purely enjoyable plays of the 2011-2012 season. For my money, though, the play itself, while good, is taken to soaring heights by one of the most perfectly constructed ensemble casts Broadway has seen as of late. Each performer gives a truly award-worthy performance with gravitas and emotional resonance. Most notably is Judith Light, stealing scenes and nibbling at the scenery as Silda. But to pick the best performer out of this lot is not at all an easy task.
6) SONS OF THE PROPHET
When Roundabout takes chances, instead of dusting off some old chestnut from the '50s, casting Frank Langella in it for the 75th time in five years, and calling it a day, they (more often than not) get it right. And with Stephen Karam's SONS OF THE PROPHET, they certainly did just that. Led by Santino Fontana (always wonderful), this dramady provided its exceptional cast with a cleverly constructed storyline and involving characters, which they each sink their teeth into with relish. And the audience and critics seemed to do the same.
7) HUGH JACKMAN: BACK ON BROADWAY
When Jackman takes the stage, there's truly nowhere else on earth you'd rather be. His latest theatrical venture proved to be his most satisfying yet. Part song and dance show, part audience interaction, part variety show, and part autobiography, Jackman manages to pull every portion of the show off (even if some of it feels uneven) with ease. In a less qualified performer's hands, this show could easily turn to mush. But as a showcase for Jackman's ample talents and stunning stage presence, HUGH JACKMAN: BACK ON BROADWAY was a delight. And the segment about the indigenous people of Australia was simply breathtaking.
8 ) THE LYONS
Linda Lavin, Linda Lavin, Linda Lavin. There's three good reasons to see Nicky Silver's black comedy about the most f*cked up family Broadway has seen in a while (which is saying something). The play is hilarious in and of itself, but with Lavin steering the ship, it's elevated to new heights. She manages to mine raucous laughter from the simplest of expressions, playing a fed-up mother to a wonderful Michael Esper and a somewhat out-of-her-element Kate Jennings Grant. Dick Latessa provides fine support and the show flies by. Some have taken issue with the second act, but I thought the show sustained a great story the entire time and I laughed equally during both acts. It may have benefited from one final revision and a few added scenes to flesh out the characters a bit more, but as it is, it's a riot.
9 -TIE-) NICE WORK IF YOU CAN GET IT
As bubbly and fizzy as a glass of champagne, this new musical featuring some of the Gershwins' best tunes is my guilty pleasure of the year. It has it's flaws, for sure (mainly in that wobbly first act), but it's an undeniable throwback thrill to hear such a beautiful score orchestrated so lushly and sung so strongly. Kelli O'Hara proves her versatility playing against the ingenue-type many seem to box her into (not sure why) and for once, Matthew Broderick's stoic awkwardness sort of works. What a surprisingly sweet late-season surprise.
FAT CAMP
Another bubbly, bright, energetic show, FAT CAMP trumped a majority of the Broadway musicals that opened this season with a lively score, funny book, and a cast that seems game for just about anything. There hasn't been this endearing a group of young kids onstage since SPELLING BEE. FAT CAMP may not land all of its jokes (and it may feel a bit long) but when you have a cast giving their all and working overtime to breathe life into an already lively piece of theater, attention must be paid.
10) EVITA
Many cynics seem to take issue with the lack of dramatic "oomph" in Michael Grandage's production (and I completely understand this complaint, especially in Ricky Martin's horribly misdirected Che). But for what it's worth, I thought it was the best musical revival of the year. What it lacks in dramatic tension, it makes up for in gorgeous entertainment and production values. Elena Roger may not have the lung power required for most of the heavy lifting the titular character does in the first act, but she more than makes up for it with a subdued, beautifully acted second act performance that ultimately won me over.
Honorable Mentions: END OF THE RAINBOW, SILENCE! THE MUSICAL
Worst of the year:
1) GODSPELL
I almost put GODSPELL at number two on my list and had GHOST at number one. Until I asked myself, which show would I rather gouge my eyes out than sit through again. The answer is GODSPELL. Inarguably the most irritating production of the year (even when compared to LYSSIE JONES), this is some jaw-droppingly bad theater. It plays like a community theater show directed by an acid-addict. Ugly costumes, horrible orchestrations, annoying performances, "AREN'T WE CLEVER" script changes to reference current events, and cringe-worthy audience interactions, GODSPELL has it all. You could argue that it at least takes risks, unlike GHOST, but when literally every single one of those risks fails miserably, you realize you'd rather sit through GHOST a thousand times over than see GODSPELL one more time.
2) GHOST: THE MUSICAL
Committing the ultimate sin of musical theater, in my mind, the slavishly translated GHOST: THE MUSICAL is about as boring as boring can be (a similar trend in my "worst of" list). If you're gonna produce a show like this, at least make it entertainingly bad. GHOST doesn't even achieve this feat. It has no dramatic arc whatsoever, every single one of the songs sounds the same, and the ugly LED set is seizure-inducing. The cast is vanilla as vanilla can be. Befitting for a show that is so painstakingly rote in almost every way. You can tell GHOST thinks its being innovative and awe-inspiring, but its nifty special effects can't distract you from the fact that it's just not a good show at all.
3) MAGIC/BIRD
Lacking ANY kind of dramatic tension whatsoever, this play about the unlikely friendship between Larry Bird and Magic Johnson plays like a performance of a Wikipedia page. And its cheesy projections and sets don't help the matter. I rather enjoyed LOMBARDI (even if it was a paint-by-the-numbers stage biography), but at least it had substance. There is a really good stage show somewhere in these two men's friendship, but MAGIC/BIRD isn't it.
4) MAN AND BOY/THE ROAD TO MECCA
Two typical Roundabout slogs starring reputable actors doing what they can. Blah blah blah. Another season, another Roundabout bore. What else can I say?
5) LYSISTRATA JONES
Devoid of laughs and with a score that sounded like a HIGH SCHOOL MUSICAL 5 rip-off, I found LYSSIE JONES to be an utter chore to sit through, and looking back on it, I have found less and less to compliment it on. It played like an "insert laugh HERE" production, where the audience felt inclined to force a laugh where they felt a (poorly delivered) punchline was. It may have played better off-Broadway, in a smaller venue, but the Walter Kerr swallowed it alive and it proved to be almost unbearably irritating. Everything about this show rang false to me, starting with its false energy and WAY over-the-top exuberance from its cast, featuring some really bad performances (especially from the guys).
Dis-honorable mention: PRIVATE LIVES
Yet to see:
CLYBOURNE PARK
THE COLUMNIST
Some of my favorite performances: (in no particular order)
Tracie Bennett, END OF THE RAINBOW
James Corden, ONE MAN, TWO GUVNORS
Molly Ranson, CARRIE: THE MUSICAL
Linda Lavin, THE LYONS
Steve Kazee, ONCE
Cristin Milioti, ONCE
Kelli O'Hara, NICE WORK IF YOU CAN GET IT
Audra McDonald, PORGY AND BESS
Hugh Jackman, HUGH JACKMAN: BACK ON BROADWAY
Spencer Kayden, DON'T DRESS FOR DINNER
Jeremy Jordan, NEWSIES
Jessie Mueller, ON A CLEAR DAY YOU CAN SEE FOREVER
Condola Rashad, STICK FLY
Christian Borle, PETER AND THE STARCATCHER
Judith Light, OTHER DESERT CITIES
Stockard Channing, OTHER DESERT CITIES
Tom Edden, ONE MAN, TWO GUVNORS
Tyne Daly, MASTER CLASS
Philip Boykin, PORGY AND BESS
Nina Arianda, VENUS IN FUR
What are yours?! :)
Best of the season:
1) ONE MAN, TWO GUVNORS
Confession: I'm not a huge fan of door-slamming physical-comedy farces. In fact, I may have been the only person who wasn't impressed by Matthew Warchus' BOEING BOEING revival a few years ago. So I was a bit skeptical walking into the Music Box to see this British import. But I can't recall the last time I laughed so hard in a theater. BOOK OF MORMON included. ONE MAN, TWO GUVNORS is a start-to-finish runaway train of hilarity. It moves at rapid fire, leaving no comedic stone unturned, and it features one of the best ensemble performances of the last few years. Led by the indescribably funny James Corden (who deserves a Tony), there is not a single weak link in this brilliant cast. They've caught lightning in a bottle at the Music Box and it is an experience that must not be missed.
2) ONCE
By far the best musical of the year raised the bar for film to stage adaptations to soaring heights. ONCE, based on the Oscar-winning indie film, was such a treat Off-Broadway and, oddly enough, is even more of a treat in it's new, larger home on 45th Street. With vivid characters, a charming book, gorgeous songs, and two perfectly-cast leads in Steve Kazee and Cristin Milioti, this show pulled at my heart in such a rare way. It is a transportive exerpeience that shouldn't be missed, by theatergoers and theater cynics alike. And if the finale sequence doesn't at least make you teary-eyed, you better get your pulse checked.
3) PETER AND THE STARCATCHER
As a piece of writing, PETER is as joyful and creative as any great bedtime story. But when brought to life by such a brilliant production team and cast, it's a stunningly beautiful, haunting, and ingenious theatrical experience that transcends the confines of "play" or "musical." PETER simply exists in a category all its own. Creative and innovative in ways that only live theater can be, PETER reminds us of the child in all of us. And for two and a half hours, allows us to let that wide-eyed innocence out in an almost cathartic experience.
4) CARRIE: THE MUSICAL
Critics still bemoaned this infamous flop's flaws and said that Stafford Arima's production was safe and lacked dramatic tension and scares. I couldn't disagree more. I was absolutely shocked at how much I thoroughly enjoyed this expertly designed production. The revised score sounded wonderful and Molly Ranson gave what I thought was the best performance by an actress in a musical this season. I guess it's a simple as a case of "to each his own," but I thought this production had a fantastically strong emotional impact by time it ended. Some of the images still stick with me, particularly the gasp-inducing moment when Ranson stumbles on stage at the end of the second act, soaked in blood.
5) OTHER DESERT CITIES
It might not be the second-coming that some critics seem to think it is, but OTHER DESERT CITIES is certainly one of the most purely enjoyable plays of the 2011-2012 season. For my money, though, the play itself, while good, is taken to soaring heights by one of the most perfectly constructed ensemble casts Broadway has seen as of late. Each performer gives a truly award-worthy performance with gravitas and emotional resonance. Most notably is Judith Light, stealing scenes and nibbling at the scenery as Silda. But to pick the best performer out of this lot is not at all an easy task.
6) SONS OF THE PROPHET
When Roundabout takes chances, instead of dusting off some old chestnut from the '50s, casting Frank Langella in it for the 75th time in five years, and calling it a day, they (more often than not) get it right. And with Stephen Karam's SONS OF THE PROPHET, they certainly did just that. Led by Santino Fontana (always wonderful), this dramady provided its exceptional cast with a cleverly constructed storyline and involving characters, which they each sink their teeth into with relish. And the audience and critics seemed to do the same.
7) HUGH JACKMAN: BACK ON BROADWAY
When Jackman takes the stage, there's truly nowhere else on earth you'd rather be. His latest theatrical venture proved to be his most satisfying yet. Part song and dance show, part audience interaction, part variety show, and part autobiography, Jackman manages to pull every portion of the show off (even if some of it feels uneven) with ease. In a less qualified performer's hands, this show could easily turn to mush. But as a showcase for Jackman's ample talents and stunning stage presence, HUGH JACKMAN: BACK ON BROADWAY was a delight. And the segment about the indigenous people of Australia was simply breathtaking.
8 ) THE LYONS
Linda Lavin, Linda Lavin, Linda Lavin. There's three good reasons to see Nicky Silver's black comedy about the most f*cked up family Broadway has seen in a while (which is saying something). The play is hilarious in and of itself, but with Lavin steering the ship, it's elevated to new heights. She manages to mine raucous laughter from the simplest of expressions, playing a fed-up mother to a wonderful Michael Esper and a somewhat out-of-her-element Kate Jennings Grant. Dick Latessa provides fine support and the show flies by. Some have taken issue with the second act, but I thought the show sustained a great story the entire time and I laughed equally during both acts. It may have benefited from one final revision and a few added scenes to flesh out the characters a bit more, but as it is, it's a riot.
9 -TIE-) NICE WORK IF YOU CAN GET IT
As bubbly and fizzy as a glass of champagne, this new musical featuring some of the Gershwins' best tunes is my guilty pleasure of the year. It has it's flaws, for sure (mainly in that wobbly first act), but it's an undeniable throwback thrill to hear such a beautiful score orchestrated so lushly and sung so strongly. Kelli O'Hara proves her versatility playing against the ingenue-type many seem to box her into (not sure why) and for once, Matthew Broderick's stoic awkwardness sort of works. What a surprisingly sweet late-season surprise.
FAT CAMP
Another bubbly, bright, energetic show, FAT CAMP trumped a majority of the Broadway musicals that opened this season with a lively score, funny book, and a cast that seems game for just about anything. There hasn't been this endearing a group of young kids onstage since SPELLING BEE. FAT CAMP may not land all of its jokes (and it may feel a bit long) but when you have a cast giving their all and working overtime to breathe life into an already lively piece of theater, attention must be paid.
10) EVITA
Many cynics seem to take issue with the lack of dramatic "oomph" in Michael Grandage's production (and I completely understand this complaint, especially in Ricky Martin's horribly misdirected Che). But for what it's worth, I thought it was the best musical revival of the year. What it lacks in dramatic tension, it makes up for in gorgeous entertainment and production values. Elena Roger may not have the lung power required for most of the heavy lifting the titular character does in the first act, but she more than makes up for it with a subdued, beautifully acted second act performance that ultimately won me over.
Honorable Mentions: END OF THE RAINBOW, SILENCE! THE MUSICAL
Worst of the year:
1) GODSPELL
I almost put GODSPELL at number two on my list and had GHOST at number one. Until I asked myself, which show would I rather gouge my eyes out than sit through again. The answer is GODSPELL. Inarguably the most irritating production of the year (even when compared to LYSSIE JONES), this is some jaw-droppingly bad theater. It plays like a community theater show directed by an acid-addict. Ugly costumes, horrible orchestrations, annoying performances, "AREN'T WE CLEVER" script changes to reference current events, and cringe-worthy audience interactions, GODSPELL has it all. You could argue that it at least takes risks, unlike GHOST, but when literally every single one of those risks fails miserably, you realize you'd rather sit through GHOST a thousand times over than see GODSPELL one more time.
2) GHOST: THE MUSICAL
Committing the ultimate sin of musical theater, in my mind, the slavishly translated GHOST: THE MUSICAL is about as boring as boring can be (a similar trend in my "worst of" list). If you're gonna produce a show like this, at least make it entertainingly bad. GHOST doesn't even achieve this feat. It has no dramatic arc whatsoever, every single one of the songs sounds the same, and the ugly LED set is seizure-inducing. The cast is vanilla as vanilla can be. Befitting for a show that is so painstakingly rote in almost every way. You can tell GHOST thinks its being innovative and awe-inspiring, but its nifty special effects can't distract you from the fact that it's just not a good show at all.
3) MAGIC/BIRD
Lacking ANY kind of dramatic tension whatsoever, this play about the unlikely friendship between Larry Bird and Magic Johnson plays like a performance of a Wikipedia page. And its cheesy projections and sets don't help the matter. I rather enjoyed LOMBARDI (even if it was a paint-by-the-numbers stage biography), but at least it had substance. There is a really good stage show somewhere in these two men's friendship, but MAGIC/BIRD isn't it.
4) MAN AND BOY/THE ROAD TO MECCA
Two typical Roundabout slogs starring reputable actors doing what they can. Blah blah blah. Another season, another Roundabout bore. What else can I say?
5) LYSISTRATA JONES
Devoid of laughs and with a score that sounded like a HIGH SCHOOL MUSICAL 5 rip-off, I found LYSSIE JONES to be an utter chore to sit through, and looking back on it, I have found less and less to compliment it on. It played like an "insert laugh HERE" production, where the audience felt inclined to force a laugh where they felt a (poorly delivered) punchline was. It may have played better off-Broadway, in a smaller venue, but the Walter Kerr swallowed it alive and it proved to be almost unbearably irritating. Everything about this show rang false to me, starting with its false energy and WAY over-the-top exuberance from its cast, featuring some really bad performances (especially from the guys).
Dis-honorable mention: PRIVATE LIVES
Yet to see:
CLYBOURNE PARK
THE COLUMNIST
Some of my favorite performances: (in no particular order)
Tracie Bennett, END OF THE RAINBOW
James Corden, ONE MAN, TWO GUVNORS
Molly Ranson, CARRIE: THE MUSICAL
Linda Lavin, THE LYONS
Steve Kazee, ONCE
Cristin Milioti, ONCE
Kelli O'Hara, NICE WORK IF YOU CAN GET IT
Audra McDonald, PORGY AND BESS
Hugh Jackman, HUGH JACKMAN: BACK ON BROADWAY
Spencer Kayden, DON'T DRESS FOR DINNER
Jeremy Jordan, NEWSIES
Jessie Mueller, ON A CLEAR DAY YOU CAN SEE FOREVER
Condola Rashad, STICK FLY
Christian Borle, PETER AND THE STARCATCHER
Judith Light, OTHER DESERT CITIES
Stockard Channing, OTHER DESERT CITIES
Tom Edden, ONE MAN, TWO GUVNORS
Tyne Daly, MASTER CLASS
Philip Boykin, PORGY AND BESS
Nina Arianda, VENUS IN FUR
Updated On: 4/30/12 at 10:28 PM
