Ben Brantley's 2008 Theater Wrap Up

Read New York Times Critic Ben Brantley's wrap up of the year in theater at:
http://www.nytimes.com/2008/12/21/theater/21bran.html?partner=permalink

Review: James Barbour's Holiday Concert at Sardi's

Sketch by Tom Hartman

A Holiday Concert That Feels Like Home
By Lauren Yarger
If you can pick just one night out this season, make it James Barbour's holiday concert at Sardi's.

The star of the short-lived Broadway production of A Tale of Two Cities offers a fun-filled evening of holiday classics, some not-so-classic Broadway tunes and some personal reflections that make the evening feel like a family gathering around the fireplace.

Barbour, who normally performs his holiday concert in California, opted for Broadway icon Sardi's this year in an effort to support New York theater during some tough financial times. He's joined each night by a special guest from the Broadway community. The night I attended, Natalie Toro and Michael Hayward-Jones, castmates of Barbour's in Two Cities, performed.

Barbour is joined by Musical Director Jeremy Roberts on the piano. One night, the concert was performed free for those serving in the Armed Forces. Two performances still are planned: tomorrow and Sunday, Jan. 4 at 3pm.

Sardi's is at 234 West 44th Street. Tickets are priced at $25, $45 and $60 with a $25minimum per person and are available at www.SmartTix.com or by calling 212-868-4444.

Review: Shrek, the Musical

This Musical Might Be Able to Stay in the Green
By Lauren Yarger
Despite the economic climate that will bring down the curtain for 12 Broadway shows next month, at least one production looks like it might have a chance to stay in the green – and we don’t mean just ogre makeup and swamp sets.

It’s Shrek, one of the most solidly cast and humorous musicals to hit the Great White Way in some time. Based on William Steig’s book “Shrek!” and the hit animated movie of the same name, Shrek follows the adventures of a green ogre (Brian d’Arcy James) who finds his swamp hideaway overrun by fairytale characters thrown out of their homeland by Lord Farquaad (Christopher Sieber) who wants to be king. There’s just one problem, he doesn’t have a princess to marry to make it possible for him to sit on the throne. Shrek sets off on a quest to bring back Princess Fiona (Sutton Foster) as Farquaad’s bride and to reclaim his swamp as a reward.

Along the way, he befriends a talking donkey (Daniel Breaker), battles a huge dragon (Tim Hatley designed the fabulous sets, costumes and puppets with illusion consultation from Marshall Magoon) and falls in love with Fiona who has a secret of her own. Hatley brings to life a swamp full of fairytale characters with the high-pitched, whining, lying Pinocchio (John Tartaglia, who also gives voice to Hatley’s huge magic mirror and doubles as the dragon puppeteer) stealing many scenes.

Hatley’s larger-than-life sets create the swamp as well as Farquaad’s castle and include moving pieces that help create a sense of time passing as the characters travel between them. The hit costume is Farquaad’s, which transforms the 6-foot-plus Sieber into the vertically challenged lord and brings sputters of laugher, especially when expertly used to advantage in Josh Prince’s choreography.


The cast, under the director of Jason Moore, shines. D’Arcy is transformed into a replica of the cartoon character (Naomi Donne, makeup design; David Brian Brown, wig/hair design), complete with a Scottish accent à la Mike Meyers (who provided the ogre’s voice in the film). Some added exposition from David Lindsay-Abaire (book and lyrics) about how Shrek’s parents abandoned him when he was 7 gives us some insight in to his irritation with people.

“You’re ugly, son, so that means life is harder.”

D’Arcy let’s us see through the gruff and frightening exterior to the heart of the character—which ultimately is the message of Shrek.


Sutton Foster, cast in the first role since Thoroughly Modern Millie that finally lets her strut her stuff, sings, dances and even belches and passes gas in “I Think I Got You Beat,” a bizarre love song with Shrek which makes the parents wince and the kids giggle. Foster makes the awkward Fiona charming. Fiona’s “I Know It’s Today,” a song sung with her younger selves (Rachel Resheff and Leah Greenhaus who alternate performances and Marissa O’Donnell) is beautiful and a highlight of Jeanine Tesori’s score.

Sieber skillfully plays Farquaad with just enough pomp to keep a running gag funny and the ensemble is one of the strongest I’ve ever seen. Every fairytale character who steps out for a line of dialogue or song is top notch.

The book sticks close to the movie script. In keeping the Donkey, however, Lindsay-Abaire might have stuck a little too close. Breaker certainly is capable and has a lovely singing voice, but the character is superfluous. The movie version features comedian Eddie Murphy’s voice bringing his own personality to the character. Here, we’re either thinking Breaker is imitating Murphy or falling short in the attempt. It would have been better to eliminate a part that is a vehicle for comedic genius on film, but which fails to find its place amidst a stage already full of entertaining characters..

The book also relies on the fact that the audience has seen the movie. Those who hadn’t were trying to figure out what was going on, particularly with regards to Fiona’s secret, by asking questions of their fellow audience members at intermission.

Despite the need for a few tweaks, the musical is entertaining for both young and old and may be one of the few shows that have a chance of bringing in some green through the economic downturn.

Christians might also like to know:
• Minor language
• One of the fairytale characters ends up being a cross dresser

Harold Pinter Dies

Nobel prize winning playwright Harold Pinter has died. For the obituary, go to http://www.nytimes.com/2008/12/26/theater/26pinter.html?ref=arts

Christmas Week on Broadway

Many Broadway shows have a different schedule this week. Playbill has a great listing for a quick check at http://www.playbill.com/celebritybuzz/article/123796.html

Review: Slava's Snowshow

Audience Participation Gone Amok

Clowns with floppy hats and feet, an ocean of fog, a giant spider web, huge bouncing balls and an indoor snowstorm are a few of the elements that combine to entertain in Slava's Snowshow at the Helen Hayes Theatre. When audience members suddenly get wet, have clowns walk over them and their seats, get stuck in web (actually very sticky)and get clobbered by kids trying to hit balls, however, fun turns to annoyance in interaction gone amok (at least one guy left in disgust during the show I attended).

Created by Russian clown Slava Polunin, who shares lead clown Yellow's role with Robert Saralp and Derek Scott, Slava's Snowshow is performed to recorded music in front of designer Victor Plotknov's worn-looking, blue-quilted, star dotted set with numerous special effects including fog, bubbles, umbrellas that rain on the audience, confetti and flashing lights.


There's kid giggle-inducing stuff in the routines: a shark fin chases the clowns through fog; a clown talks in squeeky nonsensical gibberish on very large plush phones. Unlike the far superior Wintuk from Cirque de Soleil, however, there's not much story for the kids to follow and what happens on stage really isn't all that exciting. Slava has some fun in it, to be sure, but it feels more like a kid's birthday party stretched on too long instead of a Broadway show.

A 30-minute intermission, during which children run up and down the aisles throwing snow (paper from a previous run of the snow machine) is about as long as either of the show's two acts. The concluding snowstorm involves a lot of pieces of paper blown out on to the audience while a blinding light keeps you from being able to see much of anything. Then, in a last effort to create pandamonium, large balls are sent out into the audience. Folks hit them to keep them afloat for an unbelievably long time, all while kids are running around trying to get them and striking audience members in the head when they miss. It's audience participation against your will and gone amok.

Review: Liza's at the Palace....

A Legendary Night of Good
She looks good, she sounds good and she reflects a lot about a woman who was very good to her making for, yes, a very good night at the theater.

She's Liza Minelli in a triumphant return to Broadway for her song and dance variety show Liza's at the Palace... at the Palace Theater through Dec. 28.
It's not exactly a Broadway show, but Liza's not your typical performer. Receiving a standing ovation at the start of the show (and burst of enthusiastic standing ovations after every number from ardent fans sitting in the first few rows), Minelli, directed by Ron Lewis (who also choreographs), entertains with long list of dramatically acted songs including some trademarks like "Cabaret" and "New York, New York." She's backed up by a quartet of Johnny Rogers, Cartes Alexander, Jim Caruso, Tiger Martina and a terrific orchestra led by conductor/drummer Michael Berkowitz and the excellent Billy Stritch (who leaves the piano to ham it up with the boys in one number).

The second half of the program is a dance-filled tribute to the late-1940s nightclub act of Minnelli's godmother, Kay Thompson, who was a ground-breaking vocal arranger and musical director/vocal coach at MGM Studios (and also the author of the "Eloise" children's books). Songs include “I Love a Violin,” “Clap Yo’ Hands,” “Jubilee Time,” and “Hello Hello."

Ray Klausen's sparkling backdrops, lighted by Matt Berman, give the production a Las Vegas feel. Minelli appears in a number of sparkling pantsuits and an unfortunate selection of a mini-skirt tunic top with over-the-knee boots for one segment (costume design is unattributed).

One audience member wondered at intermission whether anyone under the age of 50 would even know who Kay Thompson or Liza Minelli are. I hope so. Besides giving a solid night of entertainment, Minelli stood on the stage as proof that you can triumph over circumstances. It also is really nice to hear her speak so lovingly of her mother (the legendary Judy Garland)and of Thompson. Stories about how Garland and Thompson cried into a powder puff while watching Minelli on stage and how Thompson stood by Minelli and made her believe in herself are truly touching and evidence of the good in people.

Take your kids. You'll be entertained by a good performer and the kids will learn a lot about how to be good to each other.

Christians might also like to know:
• Minor language
• God's name taken in vain
• Support of a song with lyrics that reflect on being gay

Newest Reviews Up Soon!

A case of the flu and a power outage here in New England due to the ice storm have delayed posts of our most recent reviews for Liza's at the Palace! and Slava's Snow Show. They'll be up in the next day or two. Thanks for your patience.

Meanwhile, Andy Propst's look at the best Broadway related CDs has installments 2-5 posted at American Theatre Web:
http://www.americantheaterweb.com/index.php/originals/2008/12/03/cds-of-2008-a-retrospective-part-2-ps-cl-2

Best of 2008 Broadway-Related CDs

Editor Andy Propst offers some great thoughts about Broadway related CDs that might make welcome holiday gifts. Check it out part one at American Theater Web:
http://www.americantheaterweb.com/index.php/originals/2008/12/02/cds-of-2008-a-retrospective-part-1-drg-r