Dr. Blackwell's BLOG

The Broadway touring production based on the acclaimed 2012 revival of Andrew Lloyd Webber and Tim Rice’s classic musical EVITA makes its way to Orlando and the Bob Carr Center for the Performing Arts today through Sunday. And this EVITA is absolutely AMAZING! Rarely does a touring production of a Broadway show have the quality of what is seen in its original incarnation in New York. And it’s an even more rare feat for a touring production to eclipse the quality of its Broadway parent. I’m not sure I have ever experienced that before–until now! THIS touring production of EVITA does just that! I saw this show in NYC a few months into its run. To be able to see Ricky Martin play Che was pretty cool. He did a great job and was fun to watch on stage, probably more because of his fame and the fact that he’s a popstar icon rather than his true talent as a musical actor. However, Elena Roger, who played the title role in that production, absolutely butchered the show. Her voice had a horrific screeching quality that absolutely devastated my admiration for the story and music that grew from my love of Alan Parker’s 1996 award winning motion picture starring Madonna (who gave a rare superb performance that earned her the Golden Globe for Best Actress) and Antonio Banderas.

In this production, Caroline Bowman takes the lead as Eva Peron. Her voice is absolutely gorgeous. She sings with a very clear enunciation of the lyrics and possesses a powerful range and dynamic that catapults the character into its both hated and loved dichotomy beautifully. She is also a great actor who nails this role all the way from her young 15 year-old impoverished ghetto roots to her rise to power and ultimately untimely demise. And while normally one standout performance punctuates a production, here, Bowman is joined by the equally talented Josh Young (Che), Sean MacLaughlin (Juan Peron), and Christopher Johnstone (Magaldi). Sorry Ricky, but Young absolutely hits a home run with his performance as the show’s quintessential narrator. He conveys the excitement of Eva’s rise to stardom and the disappointment of her Robin Hood approach to social justice perfectly; and his voice is chill-inducingly gorgeous. Not surprisingly, Young was nominated for a Tony Award in 2012 for his portrayal of Judas in the Broadway revival of Jesus Christ Superstar.

MacLaughlin, who I originally thought was a little young to play the infamous and controversial dictator, proved me wrong quickly. He is superb. He knows the precise vocal inflections to exhibit Peron’s commanding presence; and yet he is so talented and capable as a performer that he knows how to sing melodically when the score demands it. The entire ensemble here is also absolutely phenomenal. The staging, lighting, sets, choreography, and every other aspect essential to a premium production is absolutely perfected in this production of EVITA. It really is THAT good! To be honest, I disliked the Broadway version of this show so much that I wasn’t looking forward to it one bit when I saw it was part of the 2013-2014 Broadway series. I was sure that to make it more like its Broadway originator, the role of Eva would most likely be played by another overbearing singer with an accent so thick that it butchered the beautifully lush and gorgeous music of the show. However, this couldn’t have been further from the truth. This show is hands down my favorite show of this season by far. And although I absolutely loved the original production of GHOST The Musical on Broadway, with only a non-equity production of the show remaining in the series, EVITA will mostly likely remain that favorite. Unlike the tired and horrible show that Roger ruined on Broadway, this touring production is downright  perfect in every way imaginable. If you miss this show, you will really regret it! So, don’t miss it! Purchase a ticket by visiting the tour’s Web site at: http://www.evitaonbroadway.com/tour.html.

Broadway.com reported today that Andrew Lloyd Webber’s spectacularly beautiful and lushly scored Love Never Dies, the sequel to The Phantom of the Opera, is moving ever so closer to a Broadway bow. Check out the article, posted on March 14th by the broadway.com staff below:

Are you ready for Love Never Dies, Broadway? Composer Andrew Lloyd Webber and director Simon Phillips have confirmed to Broadway.com during an exclusive Google Hangout that the musical is aiming for a long-brewing American premiere, possibly with a brand-new ending.

The creative duo chatted with Broadway.com Editor-in-Chief Paul Wontorek as they were preparing for the show’s first performance in Japan on March 12. The musical sequel to The Phantom of the Operais now playing at the Nissay Theatre in Tokyo. Phillips’ reworking of the show, which first played for 18 months in London’s West End under the direction of Jack O’Brien, premiered to great acclaim in Melbourne, Australia in 2010 and can also be seen in Vienna, with plans for a Hamburg bow in the works.

“It’d be great to get it into America now,” Lloyd Webber said, adding the Tokyo production is a scaled-down version of the Australian staging, making the show easier to move. The musical theater icon praised Phillips’ staging (which was preserved on film and released on home video in 2012) for being a perfect fit of design and material: “It matches the music entirely. It’s seamless, absolutely of one piece.”

[SPOILERS AHEAD! If you haven’t seen Love Never Dies, read no further!]

To get the show ready for America, the creators are considering reworking the Love Never Dies ending, in which Christine dies and her son, Gustave, is left in the Phantom’s care. Might the Phantom die instead?

“We’re thinking about it,” confirmed Lloyd Webber. “Since the DVD came out, we’ve had a tremendous amount of feedback.”

“Artistically, we have no problem with the current ending,” added Phillips. “It makes completely coherent artistic sense and in many contexts, couldn’t be better.” However, the director added that the current ending is a “shock to the system” for many audience members. “People worry about what happens to the child,” Lloyd Webber added. “That’s the feedback we’ve had. If we do change the ending, we could make it more comfortable for people.”

Wontorek also asked if original London Love Never Dies star Sierra Boggess, who had a smashing run as Christine in Broadway’s Phantomlast year, might repeat her role for the show’s Broadway premiere. “We absolutely love Sierra,” Lloyd Webber gushed. “She’s the best, the best Christine certainly!”

Fingers crossed!

On Monday February 17th, a once in a lifetime experience occurred on the stage of Avery Fisher Hall at Lincoln Center. The original Broadway cast of the Tony Award-winning Best Musical TITANIC reunited for a concert performance of the show, complete with a 120-piece orchestra and 200-member choral ensemble. The experience was truly memorable and is something I will cherish and never forget. It was a great way to close a chapter on the show and open a new one as it plans to return in a newly conceived version on Broadway in the Fall. Below is Playbill’s Steven Suskin’s beautifully articulated review of the event and a video of the cast in rehearsal last week.

By Steven Suskin
18 Feb 2014

Titanic steamed into Avery Fisher Hall last night and received a more-than-rousing reception from a house packed with thousands of diehard fans of the 1997 musical by Maury Yeston and Peter Stone. Not only were the musical numbers ecstatically (and deservedly) received; many of the members of the original cast who were on hand to recreate their roles were greeted with strong entrance applause. To borrow a phrase from Walter Lord’s 1955 bestseller about the ill-fated maiden voyage, it was “a night to remember.”

Titanic was the massive musical that overcame a rocky in-town preview period to become the Best Musical of the 1996-97 season, winning Tony Awards for Yeston, Stone, designer Stewart Laing, and Jonathan Tunick(inaugurating the new category of Best Orchestrations). The show ran two years, which was not quite enough to bear the outsized costs — including a shipload of scenery and a cast of 42 — but sufficient to establish it as one of the most significant musicals of its time.Stripped of scenery and costumes, but supported by a full orchestra conducted by original music director Kevin Stites — and including seven members of the 26 piece opening night pit band — Yeston’s score sounded glorious. Augmenting the effect was an added chorus; while the original show was sung wholly by the principals, last night’s event added more than 200 singers from seven high school choirs coming from as far as Nebraska and Colorado. Craig Arnold of Manhattan Concert Productions, which offered last year’s concert version of Ragtime, produced. Don Stephenson, who in 1997 played the second class Englishman eloping with a member of the nobility (and who was subsequently a replacement star of The Producers), directed the concert. 

More than half of the original cast was assembled, with 22 actors recreating their roles. Some of the cast members have gone on to Broadway stardom, like Michael Cerveris and Brian d’Arcy James. (Among the most celebrated of the originals was the then-little known Victoria Clark, who all but stole the show as Alice Beane, the second class passenger who storms the First Class deck. Clark was announced for the concert but withdrew last week.) Others have been little seen in the interval, but last night the years seemed to melt away. The voices were true, if not always as strong as originally, with the various solos — Yeston’s score is filled with important solos for many of the characters — ringing authentic.

The most significant of these solos were those written for the three crew members. D’Arcy James’ “Barrett’s Song” and “The Proposal,” Martin Moran’s “The Night Was Alive,” and David Elder‘s “No Moon” were all as chillingly pristine as they were on opening night in 1997. Cerveris, John Cunningham and David Garrison reprised their roles as architect, captain and owner, climaxing in their vicious trio “The Blame” and the architect’s wild “Vision” as he pores over the blueprints while the ship goes down.Theresa McCarthy and Jennifer Piech were joined by Erin Hill as the three Kates, scoring with the charming-turned-majestic anthem “Lady’s Maid.” Michele Ragusa, who played a small role in the original, moved up to Clark’s role of Alice Beane and did especially well. David Costabile andJohn Bolton helped steer the proceedings from the bridge, while Ted Sperling was back onboard — with his violin — as ship bandleader Hartley. As the evening approached its inevitable climax, Alma Cuervo and Ron Raines as the Strauses of Macy’s offered the tender showstopper “Still.” Serving as a central cog — and a humanizing touch as the ship starts to sink — was Allan Corduner as Etches, the First Class Steward.

The bravura fifteen-minute opening sequence (“The Launching”) drew an almost astonished ovation from the crowd. The show was intact with one addition, an operetta-like duet called “I Give You My Hand.” This was cut during previews, leaving the characters played by Stephenson (the concert’s director) and Judith Blazer without a major singing moment. Performed here by Ryan Silverman and Jill Paice, one understands how it doesn’t enhance the show.

The performance ended with a firestorm of curtain calls, capped by Yeston graciously bowing to the audience and acknowledging the late librettist Stone, whose picture appeared on a screen above the stage. This was a one-shot Titanic, but fans of the musical can look forward to Thom Southerland’s intimate production from London’s Southwark Playhouse, which is scheduled for Toronto in July and Broadway in the fall. The concert suggests that Yeston’s Titanic remains as powerful and glorious as originally.

I had the opportunity to venture off to New York City last weekend and got to see some amazing new Broadway shows, including 2 musicals (both of which were in previews) and 2 plays (one of which was in previews). Check out my reviews below:

 Bridges of Madison County. To preface this, I must divulge that I never saw the movie incarnation of this story and have never read the book. However, I did see and LOVE Parade, which hails from the same composer as this fantastic show. Bridges tell the story of Francesca (Kelli O’Hara) a middle-aged Italian immigrant housewife who’s mundane existence is turned upside down when a rugged and handsome stranger named Robert (Steven Pasquale) comes to town to photograph historic bridges that punctuate the local landscape. While many stories of love affairs fall into the realm of cliche and silliness, Bridges is somewhat immune to that because of the unique aspects of its story. For example, the main character’s immigration experience is integrated into the plot and is used to provide an etiologic framework to explain the rationale for her behavior. The book is written by Marsha Norman of The Color Purple (which incidentally, I did not like). The pace is perfect and the character development superb. And O’Hara’s performance as Francesca is one of the finest I’ve ever seen on stage. Her voice is purely angelic; and she portrays the character with an amazing realism. Pasquale is also great as her opposite; and the side characters are also very well portrayed. Hunter Foster provides a solid performance as Francesca’s husband Bud; but the amazingly talented Cass Morgan (the original Mama from MEMPHIS) is relegated to the sidelines with only one solo number, which to me is sad because Morgan gushes with talent. The beautiful and soaring score from Jason Robert Brown is both moving and engaging, pulling the audience in and truly conveying the emotions of the complex characters. The only downside of the show is the sets, which are manually manipulated by cast members throughout the production. They are a little too simplistic; and the need for the actors to shift them from one end of the stage to the other comes off as a little cheap. Regardless, by the end of the show, I found myself incredibly moved and connected to each character of the story. And in a time when many musicals come off as trite and superficial, Bridges of Madison County is surprisingly fresh and excitingly phenomenal!

 ROCKY: The Musical. I have never been a major fan of the story of Rocky. There’s nothing wrong with it per se; but the underlying message of the underdog being triumphant and the shy and quirky girl falling for the big dumb jock is certainly a little overdone. What attracted me to the Broadway show was simple–the composers of the music! Ragtime is one of my all-time favorite Broadway shows. And with the same composers (Stephen Flaherty and Lynn Aherns) on board, there was no way I was missing Rocky. And guess what? I’m glad I didn’t! This show is A LOT of fun! No, you won’t leave the theater with a new knowledge of an amazing piece of history or even something of significance; but you WILL leave with a smile! And the performances of the leads (Andy Karl as the Italian Stallion and Margo Seibert as his love interest Adrian) are strong. Both have great voices and give convincing interpretations of their respective characters. The music of the show is pop-rock in style and is catchy and fun. The sets (when they’re working–there were two long technical holds during the performance I sat through) are breath-taking and incredibly technologically complex. And the final fight scene, complete with a regulation-sized boxing ring that extends several rows into the orchestra (the rows are cleared and audience members transferred to seating areas on the stage), had the audience cheering. Although the overhead projection of the event and large flat television screens which float down to the stage throughout the show to illustrate media coverage of the fight threaten the show’s time setting, which is supposed to be in the late 1970’s. And there are some issues with pacing in the show currently; it is a little too long. Rocky’s training scenes are a little repetitive and monotonous; and the setup of the matchup, cooked-up by Apollo Creed’s promoter, is way underdeveloped and seems plopped together and rushed in haste. These issues are easy fixes, however, and I expect these kinks will be smoothed before opening night. Rocky really is a TON of fun! Don’t go see this show expecting an intellectual exercise. Relax, eat a little popcorn, and sit-back and enjoy the guilty pleasure Rocky provides.

 Machinal. Roundabout’s production of Machinal, which is loosely based on the true story of the life of husband-killer and executed American criminal Ruth Snyder, is a haunting work of theater. Rebecca Hall’s portrayal of Young Woman (names are never revealed in the show) is flawless. And the show’s rotating set is literally mind-boggling and incredibly effective at augmenting the story itself and further demonstrates the mechanistic nature of the main character’s unraveling life. Young Woman obviously suffers from mental illness. When she begins to have loose associations (the actual clinical term for the condition in which a psychotic individual links words together that are often situationally unrelated), the set darkens and only Hall’s face is spotlighted during the event. As a nurse practitioner, I immediately diagnosed the character’s condition and appreciated this highly effective manner of allowing the audience to literally enter the character’s psychology. Machinal isn’t a fun show. It isn’t a show that lightens one’s mood. But it does demonstrate a powerful story of a disturbed person during a time in American history when women were treated much differently than they are today. It is a haunting and amazingly crafted work and should not be missed.

 All The Way. I decided last minute to see this show. And I am really glad I did. Bryan Cranston’s performance as Lyndon Johnson surely puts him as the frontrunner for the Tony Award for Best Actor in a Play. The story follows Johnson’s unofficial term as President immediately following the assassination of President Kennedy up to his election night victory. An amazing cast brings the story to life. There’s just too many good actors for me to even begin to mention here. And they all provide stand-out performances. The book tells the story of a tumultuous time in American history when the civil rights movement was in full-gear and Johnson was working feverishly to pass a civil rights bill that would pave the way for racial equality throughout the nation. The set (a round congressional appearing arena with the Oval Office at center) is simple yet appropriate. The show could be trimmed down a little; it seems to drag a little bit at the end. But, the amazing performances provided by this amazingly talented ensemble cast makes every minute an absolute joy.