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A big back-stage musical, more in the mold of
Kiss Me Kate than Kiss of the Spider Woman, confirms the genius
of the song writing team of John Kander and Fred Ebb. Not that any
confirmation would be needed after
Cabaret, Chicago, and a host of others, not to mention the previously
mentioned Kiss of the Spider Woman. There are songs such as "Show People," a paean
to show business itself in the tradition of "There's No Business Like Show
Business." There is an openly sarcastic view of the flip side of the coin,
"Its A Business," an elegant dance sequence called "A Tough Act to Follow"
and a touching tribute to the collaborative art of musical theater making,
"I Miss The Music." The entire score is a delight in service of an
intriguing whodunit with twists and turns aplenty. The show has a collection
of well drawn character parts for a sterling collection of well known
Broadway performers, and a starring role for David Hyde Pierce that he uses
to deliver a performance that is likely to, at a minimum, give him a Tony
Award nomination. |
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Storyline: The cast and creative team of a musical having its pre-Broadway
tryout in Boston in 1959 are rocked by the murder of the star of the show
during the curtain call on opening night. The police detective assigned to
investigate is a died-in-the-wool theater fan who is honored to meet
everyone involved, but who must also suspect everyone who was on stage at the
time. In the course of his investigation, other members of the company are
murdered as well. The detective not only solves the crime, he makes
suggestions to solve the problems of the musical and wins the love of his
favorite member of the cast.
It has been a long time since a project that seemed to be so jinxed early on
has come to such a delightful conclusion. This bright, tuneful, laugh filled
and thoroughly enjoyable evening started as a concept in the mind of Peter
Stone - but he died. Rupert Holmes picked it up and now a solidly satisfying
structure serves the show well. The score, including a few certified crowd
pleasers, came from Kander and Ebb - but Fred Ebb died. Kander carried on.
He and Holmes added lyrics where necessary, without, they say, doing much to
change those that Ebb himself penned before his death in 2004. Enough talk
of death! Lets talk about the show. What a series of delights!
Pierce accomplishes the feat of making all three aspects of his character's
personality believable. His detective work is no bumbling Inspector Jacques
Clouseau in search of a Pink Panther, although he's not exactly Sherlock
Holmes either. There's enough competence in his detecting to keep that side
of the character from ridicule, just as there is in his portrayal of the
stage-struck fan. That's important, for no fawning dolt could win the hand
and heart of the girl of his dreams. Pierce finds the basic intelligence and
decency in the character, and that keeps the show from turning sour.
Everyone in the company is a version of one or another stock character from
theater lore, but each is given an affectionate portrayal by a familiar
Broadway face. The money-grubbing producer is a show-stopping Debra Monk.
The egomaniacal director is a crowd-pleasing Edward Hibbert, who gets many
of the funniest lines in the show. The self-important theatre critic is
played straight by John Bolton. (As the marvelous first act song asks: "What
kind of man would take a job like that?") The innocent ingénue is the lovely
and graceful Jill Paice. The star turned songwriter who is forced back into
performing is the ever impressive Karen Ziemba, and she's paired with Jason
Danieley, who, as her song writing collaborator, is at his best delivering
the song "I Miss The Music" which is given even more poignancy for its
resonance in this first Kander and Ebb show after the death of Fred Ebb.
Director Scott Ellis keeps his cast
from making the mistake of turning this fast-paced musical comedy into some
sort of solemn tribute to Ebb and Stone. Instead, the production breathes life into
the creation of Stone, Kander and Ebb, and delivers the kind of entertaining evening they and their
collaborators had in mind. Powerful, big-band musical arrangements by
William David Brohn support the songs, and there are really nifty dance
arrangements by David Chase for Rob Ashford's clever choreography which nod
in the direction of Michael Kidd one moment and Hermes Pan the next. Musical
director and conductor David Loud gets into the act and even has a cameo of
his own.
Music by John Kander. Lyrics by Fred Ebb. Book by Rupert
Holmes. Original book and concept by Peter Stone. Additional lyrics by John
Kander and Rupert Holmes. Directed by Scott Ellis. Choreographed by Rob
Ashford. Musical direction and vocal arrangements by David Loud.
Orchestrations by William David Brohn. Dance arrangements by David Chase.
Design: Anna Louizos (set) William Ivey Long (costumes) Paul Huntley (hair
and wigs) Angelina Avallone (make up) Rick Sordelet (fight direction) Paul
Rubin (aerial effects) Peter Kaczorowski (lights) Brian Ronan (sound.) Cast:
Nili Bassman, Kevin Bernard, Ward Billeisen, John Bolton, Paula Leggett
Chase, Jason Danieley, Jennifer Dunne, Matt Farnsworth, Patty Goble, Edward
Hibbert, Mary Ann Lamb, David Loud, Brittany Marcin, Michael X. Martin, Michael
McCormick, Debra Monk, Jim Newman, Jill Paice, David Hyde Pierce, Noah Racey,
Joe Aaron Reid, Darcie Roberts, Ernie Sabella, Megan Sikora,
Christopher Spaulding, Karen Ziemba.
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