Les Miserables

March 8, 2014 (matinee)

So first I have to say that this was Les Miserables, so no matter what issues I had with the production, it's still always going to be one of my all time favorite shows.

Right from the bat anyone who is familiar with the musical realizes things are going to be a little different this time around. The second the lights came up and I saw the first projections on the scrim, I knew this was going to be more like the movie than the original production I had seen so many times before. The order of the songs wasn't changed like in the movie, but many elements just felt more movie-like than the original staging. Honestly, many of these are little things that only a Les Miserables enthusiast would realize -- Valjean's hair, for example, is usually long and scraggly in the beginning and then gets shorter and tamed as time moves on. Here Valjean started with a shaved head (like Hugh Jackman in the movie) and wore various wigs later on. That's not necessarily a good thing or bad thing, just different. I actually like it that way better.

Also, I just have to mention that this was the first week of previews so there were a few line issues and forgetting to come in here or there. It will be interesting to see if anything changes in previews before they freeze the show.

SPOILERS AHEAD. I tried to be good, but there are a few things I couldn't avoid giving away.

The pros:

• Ramin Karimloo as Jean Valjean. He was stunning in every way. Yeah, there was one moment where he forgot his lyrics and sang someone else's part, then stopped and just waited until he figured out his words and then kept going, but it's previews so I'll forgive him. Holy shit balls though, that man can sing. His "Bring Him Home" was the best I've ever heard. The clarity and smoothness of his voice is unmatched by any Valjean I've ever seen. And I mean, he acted the part perfectly. He even came out to sign at the end of the show, which was a pleasant surprise since it was a matinee and I assumed he'd stay inside and steam his voice until that night. He was clearly on vocal rest, not speaking but smiling and nodding as he signed autographs. I was incredibly impressed by his performance, and him as a person.
• Caissie Levy as Fantine. This was the casting choice I was questioning most when I heard about it for the first time. Levy never screamed Fantine to me. Boy did she prove me wrong. Her voice was made to sing "I Dreamed a Dream" and it was utterly flawless. She didn't bring anything particularly new or exciting to the role, but her voice was unbelievable and it was different enough from other Fantine's I've heard to make it interesting.
• Javert's suicide. Will Swenson didn't impress me until this moment. It was the first time I'd ever seen Javert go mad in such a believable way. We truly followed his journey from sane to insane and this was the climax of that journey. I'm not going to give away the specifics of how they chose to do the jumping off the bridge bit, but it was certainly shocking. The whole scene/song was just a great moment and I thought Swenson redeemed himself and I understood why he was cast for that role.
• "Empty Chairs at Empty Tables" and the candles. Andy Mientus was nothing to write home about. Yeah, he's adorable and yeah, he has a sweet voice. This song though, this was his moment. Incredible. The way it was staged was remarkable -- there were candles around him, one for each dead friend, and when they appeared as ghosts they stood by the candles, blowing them out at a particular moment. I would go so far as to call the scene breathtaking. So Mientus really stepped up for that. 

The cons:

• Kyle Scatliffe as Enjolras. Okay, Enjolras is and has always been my favorite character in this show. I've always been fascinated by him and I always have high hopes for Enjolras when I see the show. This was the absolute worst casting decision I have ever seen on a Broadway stage before. Scatliffe acted like Marius' father, scolding him when he was late to the meeting, treating him like a baby. There was no friendship there AT ALL. The relationship between Enjolras and Marius is one of love, not romantic but brotherly and admiration and absolute love. Marius makes an incredible choice to "join [his] brothers there" rather than run after Cosette. In this production there was no chemistry. In fact, I don't know when I've ever seen such a freaking lack of chemistry between two characters before in my life. Like I can't even express how saddened and angry this made me. Enjolras is supposed to be a strong man, who is really still a child, fighting for a cause that he believes in so strongly that he's willing to sacrifice his life. From Scatliffe, all I got was an egotistical douchebag who didn't care about anyone else but himself. He was dragging everyone else down with him because of how badly he wanted to win, not giving a second thought about the "friends" that might die. Scatliffe and Mientus just didn't connect at all, and it was disappointing because I truly think that relationship is one of the most important in the entire show. Enjolras' death is the most iconic death in the show, the way it is traditionally staged with the barricade turning and we see him hanging by his foot with the flag draped over him. I felt nothing but "thank goodness" when Enjolras died here, and boy if that didn't make me furious.
• The set, set changes, lack of turntable. I really understand why they cut out the turntable, to update the production and make it feel new and refreshing. But, the lack of a turntable made me realize just how important it is to telling the story of the show. Overall, Les Miserables is traditionally a minimalist show in terms of the set. No way can that be said for this production. There were giant walls that were moving in and out and turning and just overall making the production slower than it had to be. My sister pointed out that the turntable helped show the passage of time, and she's right. Without it I felt a little lost, even though there were projections used here and there -- like in the sewers -- to show movement. The barricade is supposed to be the biggest piece of scenery, but it was overshadowed by the other giant moving pieces. ALSO, the turning of the barricade is so important, both with Gavroche's death and Enjolras, and we didn't get that. Enjolras was wheeled out in a cart after the barricade went away. No epic death for Enjolras then, okay.

So there are my thoughts. Like I said before, it was Les Miserables and I would see it in any way, shape, or form. I think this production was put out there to attract people who know the movie and haven't been introduced to the stage version in its original form. Still there were real Les Miserables fans in the audience, and the standing ovation at the end was the longest I've ever witnessed. The cast bowed so many times and it was great to see them break character to show their appreciation.

They say that as an audience member at the theater you are experiencing everything with those around you, your fellow audience members. I really felt this here, and it was obvious that Les Miserables is just one of those shows that can bring people together.

Moral of the story, someone take me to see it again after it opens.

The Heart Of Robinhood

January 11th -- 2pm matinee.

Almost a year to the day since the last time I was at A.R.T. (American Repertory Theater in Cambridge, MA), I returned to see The Heart of Robinhood.

This was one of those shows that isn't really considered a musical, but it's not quite a play either (think Peter and the Starcatcher).

The first thing I noticed when I walked in the theater was set, because honestly it was amazing. When I was at A.R.T. last year, the space was set up as a typical proscenium-style theater. This time the stage extended onto the floor and there was seating on the right and left side of the thrust and then the normal stadium style was across from that. We sat in row I, seats 33-35. I honestly don't think there was a bad seat in the house for this show -- the way the space was set up allowed for great sight lines. I was in the last seat on house left and I didn't miss anything.

After I assessed the differences in seating, I looked up and saw tree branches extending onto the ceiling from the tree on the stage. It was like walking into a forest. The band (Poor Old Shine), a Mumford and Sons-esque group of men with odd facial hair, greeted the audience when the doors opened and played for the fifteen minutes until the show. They fit right in with the set, set the overall tone of the show -- hip, new, cool, but also aged, and they sounded great. Having them come up into the audience was a nice touch. Poor Old Shine played during scene changes, and provided the soundtrack to the show. The cast did sing a few times as well.

The show itself wasn't the most brilliant thing I have ever seen, but it was a lot of fun. The word that comes to mind every time someone asks me what I thought is "charming" because that's exactly what it was. You couldn't help but fall in love with Robinhood. You couldn't help but adore the flamboyant and up-on-pop-culture servant, Pierre. And you couldn't help but be wowed by the special effects and the gorgeous twinkle lights and the beautiful costumes.

So yeah, it was a little contrived and some of the jokes were too obvious, but it was almost a farce. And I appreciated that it was smart, the humor was enjoyable and the audience was filled with kids laughing and adults.

I don't know where this show is going (if anywhere), but it was a fun afternoon at the theater.

And Robinhood's body was worth the $65 ticket price. Classic.

The Glass Menagerie

Saturday, October 12 (matinee - 2pm).

If you've spoken to me personally since I saw this show, you know how I feel about it. This production was the best play I have ever seen in my life outside of a few things I saw in London. It was absolutely mind blowingly (not a word, yes I am aware) amazing. I've read the play a few times before, but never really had a good grasp on it until seeing the action play out onstage.

First of all, I predict this season will be pretty epic for male leads in revivals of plays, and the Tony category will be stacked in June -- think Mark Rylance, Ian McClellan, Patrick Stewart, Daniel Craig. But if Zachary Quinto doesn't at least get nominated for his portrayal of Tom, my faith in theater will be lost. Actually though, this is a career defining for him. He was unbelievable. Stunning. Brilliant. Fabulous. A joy to watch. And it wasn't just how he spoke or how he moved, it was everything. The entire package. Every minute he wasn't onstage I found myself wishing he was. I was enthralled by how he moved, not just the choreographed movement, but just how he walked around. It was fluid and remarkable.

Celia Keenan-Bolger's first entrance and last exit was stunning and surprising. There was a collective gasp from the audience when she appeared. As always, she was perfect. I often marvel at how she plays young characters so well. Laura is an extremely sympathetic character and Celia's Laura was so easy to relate to it felt like I had known her my entire life. Cherry Jones was wonderful as well and it was clear the audience enjoyed her immensely. We laughed when she appeared in an extravagant dress, and the true beauty of her relationship with her children brought the audience to sniffles.

The Gentleman Caller was portrayed to perfection by Brian J. Smith. I had actually completely forgotten what ends up happening with his character so by the end of his big moment with Laura I was dying a little inside. He was a joy to watch, and he played the part with a hint of melancholy that could be felt from the last row of the mezzanine (where I was sitting).

The lighting and sound design were characters in their own right. I was mesmerized by the lights. And the set was... stunning. It was so simply yet so complicated. Everything worked together perfectly to create an absolutely magical performance.

This production is one of those shows that I will remember experiencing for the rest of my life. Go see it ASAP. They just extended until February 23. No excuses.

Oh Hey

You're probably wondering where I went. Well, I'm still here... I just haven't been to see a Broadway show since May 15th. An absolute tragedy, I know.

The good news is that coming October 12th, I'll have something to write about!

I also want to mention that I haven't been totally theater deprived. This summer I was working at a theater company in the Berkshires, and had the privilege of seeing all the wonderful work both old and brand spanking new that was put on there.

So check back in a few weeks for a post!

Pippin

Wednesday, May 15th (evening).

Need I reiterate how much I adore this show? So if you remember back to January, I saw this production at ART before it's Broadway transfer. There are some new and exciting things that have been added since moving (real fire, anyone?), but overall it's the same magical experience.

I cannot say enough good things. Really. I can't. It's perfect. I have quite a soft spot for this show. I love the plot and the characters and the music. But trust me, I would tell you if there was something that bothered me. And there's nothing. I'm just a huge fan of the way Diane Paulus re-imagined this musical that could so easily be stuck in the 70's and never come out. Yeah, it's still a musical that was written in the 70's and there's evidence of that, but it's been reinvented.

Rushing is pretty intense for Pippin these days. I was there at 6:30am. But my seat was great -- Row D on the side (house left).

GO SEE THIS SHOW. Especially if you've ever been in it (*cough cough CHS musical 2010*). 

I might have stage-doored this one...

Me & Rachel Bay Jones (Catherine).

Me & Patina Miller (Leading Player).

Me & Terrence Mann (Charles).

Me & Matthew James Thomas (Pippin).

Annie

Wednesday, May 15th (matinee).

Not a fan of this show. And it's not just how I felt about this production... I just don't like the show. The best song is the ballad Warbucks sings in Act II. There was just nothing special about this production. It was Annie done the same as Annie has been done for years. Nothing new. I found myself watching what was happening backstage in the wings more than what was happening onstage. And I was struggling to stay awake during Act I.

I saw Jane Lynch's second performance and was not impressed. She seemed uncomfortable with everything that was happening. Her eyes were darting all over the place, she didn't seem focused on what she was doing onstage, and it was just awkward. Yeah, I get that this was only her second performance but I wanted more professionalism. I can guarantee you that I was the only one in the audience that was thinking about that... but different strokes for different folks. My favorite number in the show is "Easy Street" but it was not good.

Lila Crawford as Annie was impressive. Her voice, mostly. There were some acting moments that were painfully presentational and just poorly done. But when she sang it was pretty darn magical. Daddy Warbucks stole the show in my opinion. He was just great. Very sympathetic. The best moment in the show was the meeting between Roosevelt, Warbucks, Annie, and the other staff when Annie gets them to sing "Tomorrow" -- the fact that I think this is the best moment proves that I like moments with adults rather than children in musicals.

I was sitting in row AA for the first act and that was pretty restricted because the stage was so high. I missed everything the dog did. I moved back a row for Act II and could see upstage a lot better.

Have I mentioned I'm not a fan of the classics?

Matilda

Tuesday, May 14th.

For the second time. This time I sat in the mezzanine so there was no restricted view, which was nice, but also proved that I really didn't miss anything when I sat in the box.

I saw a different girl play Matilda (Sophia), but she was so similar to the one I saw before (Bailey) that it didn't feel like a different person.

The only problem I have with Matilda is that I don't feel as though the sound system is loud enough. I wanted to feel the music more. I remember having that complaint in London, that the speakers never seemed to be as loud as I wanted them to be. Over there I came to the conclusion that it was a London Theater thing, but maybe it's just the kind of show. I don't know. I just know that I wanted the sound to be louder.

Overall this show is spectacular and I highly recommend it. Not much else to say.