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About Just out. (Portland, OR) 1983-2013 | View Entire Issue (Aug. 3, 2001)
augusta 2001 ell, it wasn’t the worst of seasons, and it certainly wasn’t the best of seasons. Instead, the 2001 Broadway theater season was, with one exception, one of the most forgettable in recent memory. O f course, any discussion of the year must begin with that exception. It is a mega-huge, super-spectacular, record-breaking phenomenon of a show— a little musical comedy you might have heard of called The Producers. Few overhyped shows manage to live up to audience expectations, but The Producers man ages to do just that— it is a gloriously idiotic way to spend three hours. Based on Mel Brooks’ outrageous 1968 film about two schleps who concoct a plot to make a fortune by producing the worst show ever done (a leg endary masterpiece of bad taste called Spring time for Hitler), the musical takes the film and transforms it effort lessly into a sublime stage adaptation. Everyone connected with the show is a consummate pro, and they all are working at the height of their talents. Brooks (with the savvy theatrical aid of Thomas Meehan) has turned his sometimes- sloppy screenplay into a perfect model of an old- fashioned book musical, and his songs are punchy, affectionate and deliciously brassy. The remarkable Susan Stroman once again proves herself the Queen of Broadway with her razor- sharp, witty and beautifully balanced direction and choreography. Robin Wagner’s sets and William Ivey Long’s costumes are both stylish and funny— and then there is the cast. Few shows ever have had such a perfect ensemble of clowns as this one. Peerless vaude- villians all, they race through their antics with precision and panache, and their delight is infectious. All of them shine: Gary Beach’s outlandish Roger De Bris (you haven’t lived until you’ve seen him channel Judy Garland into the gayest Adolf Hitler in history; his “Bom in a Tank” moment as he sits on the edge of the stage and tosses his forelock is price less); the delightful Cady Huffman of the end less legs, bravado bosom and brassy belt; Roger Bart creating the apotheosis of the Sissy with his Carmen Ghia; and Brad Oscar as the crazed Nazi playwright who adores his Furher and can put across a big number like a Broadway storm trooper. The starring team of Nathan Lane and Matthew Broderick is on an elevated plane of its own. Watching these two together is like takes over for McCormack this month. Leonard is a fine young actor, and his wrenching performance as the young A.E. Housman in The Invention of Love is the emo tional glue that holds this intricate show togeth er. Tom Stoppard’s play is a complex and deli cate study of the renowned poet and his literary circle. Its examination of Victorian mores and Housman’s crippling, repressed homosexuality is often moving and engaging but also can get lost in Stoppard’s self-indulgence. It demands a ster ling production, and it does get one on Broad way. Rich performances from Leonard, Richard Easton’s elder Housman, Daniel Davis’ haunted Oscar Wilde and the inspired Michael Stuhlbarg create a memorable evening of pure theater out of an often unwieldy and difficult script. The La Scala Ballet Company reinvents Amacord A similar act of theatrical alchemy can be found off-Broadway in Edward Albee’s latest, The Play About the Baby. This fantasia on many of his favorite obsessions (truth and illusion, age, sexual ambiguity, gay panic) is really noth ing more than a fascinating parlor trick. There might not be a baby and there certainly isn’t by J on K retzu much of a play on view, but the results are haunting nonetheless because of Albee’s ever- watching the great comedy teams of Abbott and Rockwell’s ingenious designs, a kick-ass band engrossing, lethally entertaining brand of witty Costello, Laurel and Hardy or the Marx Broth and a superb cast (led by the wry, dry Narrator, wordplay and the work of a superb quartet of ers. They are sheer musical comedy perfection, Dick Cavett, and featuring the peerless Lea actors. The young couple of David Burtka and and their antics will be talked about for many DeLaria, Alice Ripley and Jarrod Emick) make Kathleen Early are affecting and passionate, years to come. Even though it requires time and for a fun evening, even if it lacks the anar while Brian Murray is a model of persistence to get a ticket (the show is sold out chic danger and trashiness of the original. dangerous affability as their until next March, although each performance A great antidote to these overstuffed genial tormentor. And then has cancellations and standing room tickets revivals can be found in a surprisingly won there is theatrical legend available on the day of the show), it is definitely derful off-Broadway musical, Bat Boy. The Marian Seldes. This role is worth the trouble. work of some fresh and exciting new Albee’s valentine to her, and voices— Laurence O ’Keefe, Keythe Farley she responds with a perform he rest of the Broadway musical season pales and Brian Flemming— this cult hit fash ance that is a master class in in comparison. The highly acclaimed revival ions a delightfully fang-in-cheek, exquisite affectation. of 42nd Street struck me,as an inflated bore. fiendishly clever musical out of the If you happen to be in New Having somehow missed the original Gower demented purple prose of Weekly World York or London soon, do not by Champion/David Merrick production I have News. With a catchy score that man any means miss the rare appear nothing to compare it with, but this elephantine ages to parody every musical style of the ance (outside of Milan, that is) revival seems like a soulless past three decades and an ideal cast of the famed La Scala Ballet exercise in energetic tedi (led by the remarkable Kaitlin Hop Company. I managed to catch um. The large cast has the kins and Deven May), Bat Boy is a show that the company in the plush, beauti demented jollity of one of soars into pure musical comedy nirvana. ful surroundings of the Orange County Per those horrific theme park One musical holdover from last season is forming Arts Center and was astonished by its extravaganzas, and the Susan Stroman s dazzling reimagining of The technique and artistry. The double bill of whole show seems oddly Music Man. The cast is mostly intact and as mar Amarcord (based on Fellini’s film masterpiece) velous as ever. Leading the band as the new robotic. This 42nd Street and Roland Petit’s Carmen was highly enjoy is big, loud and stupid Harold Hill is Eric McCormack (Will of televi able, but artistic director Sylvie Guillam’s new and the epitome of what sion’s popular Will & Grace). He reveals a fine interpretation of the classic Giselle was a reve gives Broadway musicals singing voice and a polished stage presence, but lation. With its detailed attention to character a bad name. he seems so in love with his own performance ization and dramatic detail, its elegant designs it’s difficult for anyone else to enjoy it! Plus he A much better and its spectacular dancing, this was a Giselle has the disconcerting habit of playing all his revival bet is the to stir the senses and haunt the heart for years scenes to the audience as opposed to all those inventive if somewhat ' to come. overblown Circle in the Square production of other people on stage with him. Still, this is a Music Man to cherish, and it will be interesting that cult classic The Rocky Horror Show. JON KRETZU is associate artistic director of Artists Christopher Ashley’s clever direction, David to see what happens when Robert Sean Leonard Repertory Theatre in Portland. The sometimes-Great White Way Veteran Portland director reviews the new shows T in Portland \ Salem \ Vancouver M - S at 8am • 6pm W est L inn Sun 11am-4pm W E S T L in n 19343 Willamette Drive • (5 0 3 ) 6 3 5 -3 1 1 5 C L A C K A M A S 16317 SE 82nd Drive • (5 0 3 ) 6 5 7 -9 2 2 5 T i g a r d 13500 SW Pacific Hwy • (5 0 3 ) 6 7 0 -9 7 0 7
