Oscar E Moore

STUDIO 54 has its 54 Below and now 59E59 has 59 Above where the very talented Penny Fuller is appearing in this one act, hard to remember title, sixty minute, almost one woman chamber-cum-cabaret musical “13 Things about Ed Carpolotti” written by Barry Kleinbort (Book, Lyrics and Music) based on a monologue that is part of THREE VIEWINGS, an evening of three monologues by Jeffrey Hatcher.

59E59 has magically and smartly transformed Theatre C – the smallest of its spaces into a mini-Metropolitan room where the once claustrophobic space now has small, intimate tables for four that will enable you to order drinks from the bar and enjoy this tuneful, romantic, O’Henry type tale as it unfolds in the very able hands of Ms. Fuller as Virginia Carpolotti who has recently become a not very merry widow. 

Musical Director Paul Greenwood is onstage to accompany Virginia, joining in a couple of times in a theatrical way to make his presence in her living room make sense.

It’s a clever story with a clever twist of an ending beginning with Ms. Fuller going back through the years to reminisce about her forty year marriage with Ed (It’s surprising that she isn’t wearing black) who has died and left her with a slew of debts – to the bank, her brother-in-law and an apparent mafia man.  I guess she didn’t know Ed as well as she thought she did.  Or was she just naïve?  And herein lies my main reservation.

Ms. Fuller is a charmer, an excellent actress with a fine singing voice.  But she is just too smart.  She comes across as much too sophisticated and well, smart.  I never bought the fact that she could have been so easily fooled.  Now Betty White has the naïve quality down pat that would make this a stellar performance for Ms. Fuller and I believe she could easily adjust.

But it is what it is as directed by Mr. Kleinbort and I am not the director.  It’s just an observation.

Ms. Fuller handles the various voices that she is called on to use very well, supplying humor particularly when singing a song about Jerry Lewis and Dean Martin and changing her moods spontaneously to tell this touching and heartwarming story.

It should have a great after life with the many actresses of a certain age ready to take on the challenge of performing this off-beat, sweet tale which might simply be called THE LIST.

Go with a loved one, celebrate your time together over a cocktail and enjoy the wonderful gifts of Penny Fuller. 

www.59e59.org  TICKETS $25.00 through DEC. 30th

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There has been a lot of pre-opening discussion about the latest revival of David Mamet’s GLENGARRY GLEN ROSS, his 1984 Pulitzer Prize winning drama starring Al Pacino in the Willy Loman type role – Shelly Levene – a has been, a once top rated real estate broker circa 1969 in Chicago who held the record for “closings” and now is pleading for a second chance to prove that he still has the goods.

It has finally opened, well into its limited run which while extended has posted its closing notice for January 20^th, 2013 at the Gerald Schoenfeld Theatre.

It appears that this is a case of much ado about not too much.  Mr. Pacino’s performance is in a minor key, looking bedraggled and befuddled at times.  It’s all very low key – strange – even dance-like as the downtrodden, once on top salesman of a shoddy shark infested Real Estate Company where his co-workers would do anything to get onto the “Board” listing the guy with the top sales (most closings) and then win a Cadillac – much like Mary Kay Cosmetics.

They are all unethical in this slice of life rife with fuck infested rapid fire dialogue and monologues where the buyer better beware.  Lies, bribes, bigotry and burglary are on the menu at the local Chinese Restaurant where they go to plan and plot and perhaps meet a future investor. 

The structure is odd.  In the quick first act we meet in three scenes the odd group of salesmen.  Mr. Pacino meets with the office manager John Williamson (a fine David Harbour) over fortune cookies to try to get some hot leads.  No go.  Then we meet Dave Moss (John C. McGinley) who is trying to persuade George Aaronow (Richard Schiff) to maybe break into the office and steal those hot leads – followed by the introduction of the most successful of the bunch Richard Roma, dressed for success, sharp and as slimy as his slicked back hair – the magnificent Bobby Cannavale – pinky ring and cigarette case intact playing the flashier role that Mr. Pacino made famous in the 1992 film version.  And playing it to the hilt.  Beautifully.

Act II finds us in the broken into office where even the phones have been stolen.  The crime scene is being investigated by Baylen (Murphy Guyer) where he interrogates the suspects off stage while Shelly arrives with the big news that he has closed on eight units – making him the highest shark on the totem pole which doesn’t go over very well with Roma whose latest deal is in jeopardy.  A patsy he met in the restaurant – James Lingk (Jeremy Shamos).

In the best and most riveting scene Mr. Pacino relives his eight unit deal – addressing the audience as if he is trying to sell us his spiel – the old fashioned way. 

Like being sold a rotten piece of real estate, it’s over before you know it.  Directed by Dan Sullivan.                

www.GlengarryBroadway.com   Photos:  Scott Landis

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On no account would I recommend DEAD ACCOUNTS, the new project, notice I did not write play, by Theresa Rebeck that is a sometimes amusing, sometimes boring and a totally unfulfilling evening of theatre that features some of Cincinnati Ohio’s specialties that include fresh air, trees, cheese coneys (hot dogs with chili and cheese) and lots of Graeter’s ice cream consumed by the prodigal son on the run.  Or is he?

It is here in Ohio that fast talking and spin doctor Jack (a nimble Norbert Leo Butz reprising his favorite comedy routines) has come home to roost after embezzling a mighty sum of money from his banking job in New York. 

It is here in the home of his mom (a restrained Jayne Houdyshell) where his plain Jane sister Lorna (an adequate Katie Holmes who has been recruited to sell tickets as a Hollywood Box Office Star) lives and their off stage father is ailing with painful kidney stones that the inaction takes place in this modern day kitchen sink dramedy.

The usually fine director Jack O’Brien seems to not know what to make of this project or how to make it work.

“Pain is good” says the holier than thou Barbara to her children.  But it’s torture if you are paying good money to see a half baked play of some good ideas that finds no resolution whatsoever – except for the abrupt mystical changing of the badly designed set  by David Rockwell at play’s end.

Those autumnal colored trees that are so vital to the plot are so ugly it’s hard to keep you eyes off of them.  It’s as though there is a forest fire raging outside the kitchen doors.  And then there is the wall clock – at least they keep changing the time with the annoying scene changes.  I notice things like this when the plot and dialogue, as in this case, force my mind to seek some diversion.

Theresa Rebeck comes up empty here in her attempt to compare the values of the people of Ohio with their New York counterparts and her attack on the banking system in Katie Holmes’ one big theatrical moment.  No, she has another.  When she offers a glass of wine to Jenny (Judy Greer) the soon to be divorced wife of Jack and takes a cardboard box wine out of the fridge that immediately got the audience’s juices flowing.

Jenny has come to get her fair share of the loot.  She is from a well to do family and her dad got Jack the job so why is she after the money?  Will he give in?  Will they get divorced?  Will dad die in the hospital?  Will Jack’s old high school buddy Phil (an excellent Josh Hamilton) finally ask Lorna out on a date after twenty five years of stalling?  Will all that ice cream melt on the table?  Who will eat all the pizza in Act II where all gets suddenly serious?  Who cares?

DEAD ACCOUNTS plays out like a bad Seinfeld episode that is badly in need of a laugh track.  At The Music Box Theatre through February 24^th, 2013.

www.DeadAccountsonBroadway.com  Photos:  Joan Marcus

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Whodunit?  Rupert Holmes, that’s who!  Responsible for Book, Music and Lyrics for this festive and frolicking, stylish and impeccably cast Roundabout revival of his award winning THE MYSTERY of EDWIN DROOD that is delighting audiences at Studio 54.

In this play within a play, superbly directed by Scott Ellis, set in a Victorian Music Hall, the troupe of actors attempts to perform a tuneful and witty musical version of an unfinished novel by Charles Dickens with all the trimmings.

It is ingenious, funny and handsome done with just the right amount of melodramatic acting from the ensemble cast to please just about everyone.  And with a twist that would please even Agatha, the audience gets to select “whodunit” – as cast members tally votes from the audience members who get to choose from the final five possible suspects of who murdered Edwin Drood.  It’s like an auction gone wild.  Resulting in a different ending each performance.

From the stunning and enchanting multiple sets by Anna Louizos that include an opium den, a cemetery and a railroad station that resemble the best of Hallmark Victorian Christmas cards to the beautiful period costumes of William Ivey Long and the incredible lighting design by Brian Nason you will be enthralled by the look as much as the sound of this period piece with music direction by Paul Gemignani with its orchestra housed in the upper boxes on either side of the proscenium.

This really is the highlight of the theatrical season thus far.  And should not be missed.  Especially for its cast – which includes the spry Jim Norton as the Chairman – with his perfect comic delivery holding the proceedings together and toying with the audience with his asides.

A solid Stephanie J. Block as Mr. Drood portrayed by the infamous male impersonator actress – Miss Alice Nutting who is given a supremely grand exit.

A somewhat mad and evil (check the mustache) Will Chase as Drood’s Uncle John Jasper, in love with his beautiful music student Rosa Bud (with a gifted voice and equally gifted bosomed Betsy Wolfe) who is engaged to Edwin Drood.

The plot thickens to pea soup fog thickness with the indomitable living legend Chita Rivera as The Princess Puffer – who runs the opium den and stops the show repeatedly with an entrance, a song or an exit.

A flummoxed Reverend Crisparkle (Gregg Edelman whose eyes sparkle sharp-like in the presence of Rosa Bud).  And the supporting players all – especially the incredible Andy Karl (Neville Landless) and Jessie Mueller (Helena Landless) who both always amaze in their transformations as actors along with a standout performance by Peter Benson as buzzard with his “Never The Luck” number that is outstanding.

There are clues and red herrings and Gilbert and Sullivan tongue twisting songs and lovely ballads to put a huge smile on everyone’s face and a finale that tops it all!

Warren Carlyle has provided some fine Music Hall dances and a very interesting fantasy sequence in the opium den.  All in all THE MYSTERY of EDWIN DROOD is the very model of a modern major musical.  See it!  Joyfully extended through March 10^th, 2013

www.RoundaboutTheatre.org Photos:  Joan Marcus

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Santa has delivered a mixed bag of goodies just in time for the holidays.   A CHRISTMAS STORY, the musical – based on the book “In God We Trust All Others Pay Cash” by Jean Shepherd and movie (1983) with Leigh Brown and Bob Clark is now on view at the Lunt-Fontanne Theatre through December 30^th.  It has been adapted by Joseph Robinette (book) with a more than serviceable score by Benj Pasek and Justin Paul.

I have never seen the movie.  And so, I arrived not knowing a thing about nine year old Ralphie’s obsessive desire to receive a Red Ryder Carbine Action BB Gun for Christmas.  And so I arrived with an open mind looking forward to this show that has a great buzz surrounding it.

The story takes place in Indiana circa 1940 where guns were toys and not used to shoot up schools.  Times and attitudes were different then.  Mother Parker (the excellent Erin Dilly – looking like Blondie from the Dagwood comic strip) is a stay at home mom, concerned with loving and feeding and preparing her two sons – bespectacled Ralphie (Johnny Rabe alternating with Joe West) and Randy (an adorable Zac Ballard who has a fondness for hiding under the sink and not eating his food) for school while dealing with her husband “The Old Man” (a larger than life John Bolton with a hang dog look channeling Dick Van Dyke) who curses a blue streak of gibberish, is a crossword puzzle fanatic and chronic complainer beset by bills, a bad furnace and a flat tire and is chased by the neighbor’s two bloodhounds (Pete & Lily).

This very slight storyline is held together by the narration of author and renowned storyteller Jean Shepherd (Dan Lauria) who pops in and out of the flashback scenes recalling this one very special Christmas when he was nine and wanted that very special gun and taking the show down a few pegs in the process.

Where is the wonder, the humor and the passion of this grown man?  It’s hard to imagine that the precocious young Ralphie grew up to become this rather dull person.

The rest of the show has been propped up nicely by two excellent “fantasy” production numbers – “Ralphie to the Rescue” and “You’ll Shoot Your Eye Out” featuring the tiniest, impressive tap dancer on Broadway, Luke Spring.  Choreography by Warren Carlyle with direction by John Rando perk up the proceedings immensely.

When Ralphie cannot convince his mom, he goes to his teacher Miss Shields (a fine Caroline O’Connor) and then to a cranky and alcoholic swilling Santa (Eddie Korbich).  We never doubt that he’ll get his gun – it just takes a while to get through all the obstacles put in place – which include a couple of bullies who treat the co-ed chorus of “wimps” badly until Ralphie steps up to the plate, pink bunny pajamas, a tongue sticking to a cold flagpole, the two bloodhounds and a large leg lamp that his dad wins in a contest “A Major Award”- another great production number.  All silly stuff but family fun nonetheless.

While A CHRISTMAS STORY, the musical spreads nostalgic, endearing and sometimes delightful moments across the footlights – in fits and starts, it doesn’t fully deliver the hoped for charming and inspired package of goodies.  But who can resist a chorus of tap dancing kids, a plastic leg lamp and a pair of capricious canines?

www.AChristmasStorythemusical.com Photos:  Carol Rosegg

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Aimee Semple McPherson – “Sister Aimee” – evangelist extraordinaire and media celebrity.  And now the subject of a surprisingly entertaining new musical by Kathie Lee Gifford – a media celebrity herself who has impressively provided book, lyrics and some additional music for her fascinating and impressive bio-musical SCANDALOUS – with a tuneful, raise the rafters and power ballad peppered score by David Pomeranz and David Friedman now playing at the Neil Simon Theatre.

Was she a faith healer?  Was she a fraud?  Did she hear the voice of God calling her to spread His word worldwide or was she a pill popping, mixed up woman caught between her career as founder of the Angelus Temple and her personal life where her choice of lovers was questionable to say the least? 

Whatever she was, as portrayed by the immensely gifted Carolee Carmello in a breathtaking performance, Sister Aimee is a dynamic work-a-holic – a force of nature with vocal chords made of titanium and a spirit and a fire a passion that makes the audience believe in her fully, instilling in them the desire to “Stand Up” as the first number instructs us to do as Sister Aimee is on trial for allegedly faking her own kidnapping.  What a fascinating story!  You can’t make things like this up.  Aimee Semple McPherson was truly one of the first reality stars, like it or not.

On a majestic unit set of the Angelus Temple by Walt Spangler, Aimee begins her story in flashback and narration.  Narration that we could use less of and thankfully is soon dispensed with, as we see first hand the story of her most interesting life.

Canadian.  Born of a father whom she adored (George Hearn) who also portrays her nemesis Brother Bob later on and her mother Minnie (Candy Buckley) who worked for the Salvation Army drilling her daughter with The Scriptures and who later becomes her manager. 

But Aimee wanted to be an actress.  And so we see the development of the woman who would bring thousands to her Tent Shows combining the Bible with MGM production like numbers (Adam and Eve, Samson and Moses) providing laughter and songs while slipping in the Gospel with eye popping, sparkling costumes by Gregory A. Poplyk with her founding of the Foursquare Gospel Church in 1920’s Los Angeles.

Dressed in denim and then white silk, Carolee Carmello meets the men in her life.  First an Irish Pentecostal minister Robert Semple (Edward Watts with a gorgeous voice that matches his looks) and are off to China where he dies of malaria.  Undeterred she meets an accountant Harold McPherson (Andrew Samonsky).  He is only seen briefly and has nothing to say.  Both men thankfully reappear as other intriguing characters.  Both men are terrific sharing an Act II duet “It’s Just You” which is delightful.

Mr. Watts becomes the physically fit David Hutton who is after Aimee for various reasons.  Mr. Samonsky – a skillful actor and wonderful singer becomes Kenneth Ormiston who creates a radio program for her and pursues her for various reasons.

On her way to fame and fortune she meets the owner of a brothel Emma Jo (a spunky Roz Ryan) who becomes her loyal and very honest assistant and confidante.

If in Act I we see the rise of Aimee, Act II shows her success (the wonderful “Hollywood Aimee” sung by a group of reporters) and the animosity towards her that will attempt to topple her from her tower – resulting in her “eleven o’clock  number” –  “What Does It Profit?” which is a standout, crowning glory success for Ms. Carmello.  In fact her entire performance is.

I went into SCANDALOUS a non-believer but surprisingly Kathie Lee Gifford changed all that with her very entertaining show that has a banquet table full of outstanding performances and excellent direction by David Armstrong.

Prayer, persistence and patience certainly pay off here.

www.ScandalousOnBroadway.com  Photos:  Jeremy Daniel

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My funny bone seems to have become rusty, not finding very funny nor satisfying the new Christopher Durang dysfunctional family comedy VANYA and SONIA and MASHA and SPIKE which is playing in over the top grandeur at The Mitzi E. Newhouse Lincoln Center Theater on a “let’s move in immediately” set – a comfy Bucks County home designed by David Korins where the gay, droll and dead pan Vanya (David Hyde Pierce) lives in imperfect harmony with his bi-polar sister Sonia (Kristine Nielsen) who, as it turns out, is adopted – which accounts for how dissimilar they are.  However, they are both extremely funny.  The rest of the cast and writing elicits chuckles and/or boredom in this mash up of Chekhov meets Durang at a costume party.

Vanya and Sonia have taken care of their sick and now deceased parents for what seems to be forever and live gratis due to the fame and fortune of their sister Masha (an over-the-top Sigourney Weaver) who has become rich and famous as a stage and film star – mostly appearing in sexy-killer movies.   Fame has gone to her head, and her voice and her arms.

But times are hard now and global warming is setting in and she has returned home after a too long absence to invite them to the aforementioned costume party (Ms. Weaver wearing a spot on Disney Snow White costume by Emily Rebholz and prancing around like a girl half her age which she believes she is) and to put the house and “cherry orchard” – all of nine trees up for sale. 

Tagging along like a dumb puppy in heat is her strikingly handsome and well built boy toy, lap dog and much younger fellow actor Spike (Billy Magnussen) who spends a lot of time in his briefs showing off his assets and flirting shamelessly with Uncle Vanya.

Also in attendance is Cassandra (Shalita Grant) their cleaning lady who seems to have been reared on Greek tragedy and has the ability to foresee the future – and spreading her ominous omens as soon as they hit her head.  She’s also a whiz with a voodoo doll.

While wading in the off stage pond, Spike meets a naïve, pretty, young woman who is visiting her family and invites her over much to the chagrin of Masha.  The girl’s name is Nina (a sweet Genevieve Angelson).  Are you catching on to the Chekhovian references???  She is in awe of meeting her idol which softens Masha for about three seconds.

Masha had intended that Vanya and Sonia (who Masha ignores in the extreme) to be Grumpy and Dopey.  The end of Act I image of Pierce going off with his sister to the party is worth another laugh.  She has outsmarted Masha and is done up in a gorgeous gown pretending to be Maggie Smith.

Act II is much more of the same but has two wonderful monologues – by Nielsen (a telephone conversation with a man she has met at the party – how did he get her number? she certainly didn’t give it to him as she doesn’t know who he is but takes the call anyway) and Pierce (about what he misses most about the past – specifically the 1950’s) which score a few more points on the laugh meter. 

However, they do not make up for the lack of believable situations, the odd over the top behavior and missteps by actors and director (Nicholas Martin) alike.  But remember it’s a Christopher Durang show and that’s what Durang delivers.  Absurdist humor.    He’s an acquired taste.

Produced in association with the McCarter Theatre Center in Princeton.

www.LCT.org  Photos:  T. Charles Erickson

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Paulette Haupt, Artistic Director of PREMIERES was on a mission to create a new musical experience where she introduced and commissioned writers and composers who had not worked together previously to create three new musical monologues – telling original, individual stories from a single point of view – revealing their most intimate inner thoughts in words and song.

And so BORROWED DUST, ARLINGTON and FARHAD or THE SECRET OF BEING came into being and you can and should go to see them at the 30^th Street Theater, 259 West 30^th Street.  It is a unique theatrical experience with varying degrees of clarity and musicality. 

Three musical monologues lasting 90 minutes without intermission.  Three fantastic actors who sing or if you prefer three singers who can act.  Without them I think the evening would not be as successful.

In BORROWED DUST Hunter Foster, seated mostly on the arm of an upholstered chair has just returned from Colorado where he has had to deal with the death of his younger brother, a coroner and their mother.  He has come home to New York with his brother’s journal and backpack trying to understand the tragic events.  It’s a heart wrenching tour de force performance by Mr. Foster strangely mystical and revealing of all four characters.

Book & Lyrics Martin Moran, Music Joseph Thalken.  Music director/piano Paul Masse, cello Leo Grinhauz.  Astutely directed by Jonathan Butterell.

Next is the complex and not as clear ARLINGTON featuring Alexandra Silber who has a gorgeous voice and stage presence which makes use of Stephen Foster’s “Beautiful Dreamer” to good effect.  A perfectionist, seated at an upright piano she ponders the fate of her husband in the military and the effects of war on innocent people, sipping bourbon in the process.  I got lost somewhere in the middle but Ms. Silber’s voice kept me enthralled.

Book & Lyrics Victor Lodato, Music Polly Pen.  Kenneth Gartman Musical director/piano.   Directed by Jack Cummings III.

The final musical monologue FARHAD or THE SECRET OF BEING and most successful musically makes use of a carpet that has been rolled up against the opposite wall during the preceding one acts.  Arielle Jacobs is a young Afghan girl who has been brought up as a boy (to make her life easier) and who now has to accept the fact that she is a girl and not liking it very much.  Will he be forgotten when she becomes who she is meant to be?  It’s a fascinating tale, expertly performed.  And extremely moving.

Music direction/guitar Matt Hinkley, Oud, Brandon Terzic, Percussion and perc. arrangements David Rozenblatt.  Beautifully directed by Saheem Ali.

The lighting design – which is fantastic for all three productions, is the work of Jen Schriever. 

For a completely different and unique musical experience with three incredible performances I urge you see INNER VOICES.  Through Dec 2^nd.

www.PremieresNYC.org 

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With today’s depressing headlines – High Unemployment, Homelessness, Hurricanes and War – it’s a gosh darn shame that tickets to the oh so optimistic, tuneful and mostly delightful revival of ANNIE cost so gosh darn much.  It’s truly a hard knock life when kids can’t afford to see this winning show.

Thirty five years ago ANNIE written by the creative team of Thomas Meehan (Book) Charles Strouse (Music) and Martin Charnin (Lyrics) was a huge hit and now it has been given a fresh facelift with a brand new eleven year old moppet with a crop of red ringlets and a clarion voice going by the name of Lilla Crawford who is spreading her sunshine throughout the Palace Theatre where an ageless ANNIE directed by James Lapine with his keen eye for detail is now performing eight times a week.

She is adorable.  She is spunky and confident and a natural born actress.  She is a role model for all her fellow orphans with her never giving up in her attempt to find her parents who left her at the orphanage to be cared by Miss Hannigan (Katie Finneran) a woman who is fond of men and liquor but who can’t stand kids.  It’s a Tony Award winning role if there ever was one. 

And herein lies the “well almost” part of this review.  Katie Finneran is unfortunately a disappointment.  She has shown in the past how great a comedienne she can be but something is off here with her wildly exaggerated and off key performance.  That being said the rest of the show with its jaunty and clever score does hit all the right notes.

Especially with Oliver “Daddy” Warbucks (a sensational handsome, virile Anthony Warlow) who has been imported from Australia with his incredible voice.  He and Annie share a very special relationship in the show.  A Billionaire who chooses her to spend two weeks with him over the Christmas holiday to “improve his public image” finds himself falling hard for the tyke and hoping deep down that her parents do not show up to collect the 50,000 dollar reward he has offered so that he can adopt her.  Their scenes together would make Scrooge have a change of heart.  They are perfect together and their true affection for each other floods over the footlights.

And then there is, of course, Annie’s dog Sandy played by Sunny a rescue dog with the most soulful eyes and a face that one immediately falls in love with who even gets to “howl along” during the final moments of the musical.

With the stylized choreography of Andy Blankenbuehler and the fantastic flowing sets by David Korins the show whizzes along briskly.  The mansion of Mr. Warbucks is particularly amazing with its pop up story book rooms unfolding before our eyes.  It’s magical.   As are the N.Y.C. number and the toe tapping finale which are both superbly entertaining.

Vintage black and white newsreels are used to set the period and the costumes by Susan Hilferty follow suit. 

Annie’s fellow orphans are delightful – although sound designer Brian Ronan might want to readjust his equipment so that they don’t sound so tinny. 

Clarke Thorell as Rooster (Hannigan’s brother and partner in crime – along with Lily St. Regis – J. Elaine Marcos) do justice to “Easy Street”  as they chart their way to easy money by pretending to be Annie’s long lost parents.

As Mr. Warbuck’s secretary Grace, Brynn O’Malley looks and sings like a dream making the most of a necessary but uneventful role.  And as F.D.R. Merwin Foard wheel chair bound with leg braces (nice touch) milks the role for all its worth and his rallying of his cabinet members to sing the most famous of all Annie’s songs “Tomorrow” makes it sound like it is part of his “New Deal”.

This just in from Sandy –  Arf!  Arf arf arf!  Arf ! Arf! : ANNIE really should be made affordable for the many that won’t be able to see this delightful and inspiring show because of its prohibitively high cost of admission.  Maybe its time for its authors to give back some of the fortune they’ve made for the less unfortunate to attend.  Just a thought.  Arf!  Arf!  Don’t mean to bite that hand that feeds me…

www.AnnieTheMusical.com  Photos:  Joan Marcus

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A marriage lasting twenty seven years – not without problems.  Set against the background of The Lone Star State – TEXAS.  He, Jordan “Bick” Benedict (Brian D’Arcy James) cattle baron – rich, set in his ways, stubborn and madly in love with his land.  She, Leslie Lynnton (Kate Baldwin) from Virginia – a ravishingly beautiful, well educated and compassionate woman who discovers that she has married not only Jordon but his ranch as well.  Jett Rink (PJ Griffith) a hot, handsome and predatory ranch hand who discovers oil becomes a major part of their story that spans three decades (1925-1952).

GIANT is as big as its name indicates.  A sprawling saga written by Edna Ferber in 1952, it has been set magnificently to the intelligent words and melodic and sometimes operatic music of Michael John LaChiusa which includes Mexican folk, jazz, country, boogie, mariachi and power ballads played by a seventeen piece orchestra high above the barren stage of The NY Public Theater’s Newman Theater along with the concise-as-it-can-be-book by Sybille Pearson that manages to include all of the varied characters and huge plot that engulfs us for three solid hours of theatrical mastery.

Skillfully and beautifully directed by Michael Greif I foresee the production moving to Broadway with some additional cuts to tighten Act I.  The cast is magnificent.  Foremost – Brian D’Arcy James with his rich voice and strong acting ability – the perfect pairing for his wife – Kate Baldwin – giving a confident and moving performance with her vocals unsurpassed.

There are some newcomers who offer star-in-the-making performances.  Namely PJ Griffith as Jett – who manages to almost steal most of the scenes he is in with his charismatic voice and good looks – his aw’shucks attitude turning into a tough and smart oil tycoon always on the prowl for a beautiful woman.

Katie Thompson as Vashti with her fiddle and bourbon – the woman from the neighboring ranch who thought she was preordained to marry Bick gets to sing two of the most memorable songs from the show – “He Wanted a Girl” and “Midnight Blues”.

Bobby Steggert as the young son of Bick – Jordy Benedict, Jr. starts off unsure of himself – not living up to his father’s expectations – stuttering to get his words out – a shy boy who would rather read and study, eventually growing into his own skin and marrying a Mexican girl Juana Guerra (Natalie Cortez – who has a natural beauty, a warm heart and a gorgeous voice).  They both leave us with great expectations and hope at the beautifully moving finale.

Michele Pawk as Bick’s tough and bigoted sister Luz adds her great talent to the themes of intolerance and race relations.  Angel Obregon (Miguel Cervantes) has a wonderful song “Jump” that is lively and funny and touching as he goes off to war.  Uncle “Bawley” Benedict (John Dossett) with his booming baritone and understanding wins our sympathy.  Everyone in the cast of twenty two is so very good. 

There are moments of pure joy and moments of sadness.  Of excitement and of stillness set against the panoramic skies of Texas and its oil wells rendered stylistically by Allen Moyer. 

The costumes by Jeff Manshie along with the hair and wig design by David Brian Brown convey the changing periods exactly.  And finally, the orchestrations by Bruce Coughlin capture the mood of each song that will leave you completely captured and a fan of this terrific tale from Texas which is a gigantic achievement for all involved.

In association with The Dallas Theater Center, GIANT runs through December 2^nd.

www.PublicTheater.org    Photos:  Joan Marcus

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