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Monthly Archives: March 2011

Interview with Guy Stroman, Original Creator of “Forever Plaid”

31 Mar

Q: How are you involved in Broadway by the Bay’s production of Forever Plaid?

Jim Gardia, Executive Director of Broadway by the Bay, approached me a few months ago with the idea of opening their new season at the Fox Theatre with a production of “Forever Plaid”. Jim is a great friend from Los Angeles, where we met during our long run of the show in Beverly Hills and Jim was our general manager.

We worked it out where I could supervise this production for Jim and Artistic Director Brooke Knight, so I came in for casting, finding four great actor/singers in the Bay area, spent a week teaching them the fundamentals and music of the show with my musical supervisor Steven Freeman, and turning the cast over to Chris Crouch, who has done the show for me (all four roles!) several times over the last six years. I continue to stay involved in all aspects of the production through the preview performances and opening.

Q: It’s been over twenty years since you started developing Forever Plaid. You’ve worked many different sides of the production since then (developing it, performing, directing, etc…). What has been your favorite moment of this 20-year process? Why?

I think two things among hundreds of wonderful experiences stand out. The first would be opening the show on the West End in London at the Apollo Theatre. There we were, with a “small” off Broadway show, and we were a big hit in England, appearing on all of the television and radio talk shows and even getting the opportunity to perform for and meet the Queen and her family.

The second would be the first time I directed the show, which was in the round in my home town of Ft. Worth, Texas, and I was lucky enough to be in it as well with my three castmates as a reunion a year and a half after we had closed in London. We sold out for three weeks, in a two thousand seat in-the-round theatre, performing as if we had just opened. It was an unmatched thrill.

Q: How many times have you performed in and directed Forever Plaid? How do you keep the material new and interesting?

I played the role of Frankie on and off for about four years, with breaks for other shows, and I have directed probably twenty-five productions. It stays “fresh”, or current for me, when I say yes to doing it again, by approaching the piece honestly and simply so that the four actors who are doing it can find their characters and relationships and own them for themselves and for the audiences they are sharing the story, music and humor with. The play is such an interactive and “real time” experience that the show is NEVER dull or repetitive. The audience from night to night always assures a new experience. As a director, the piece means a great deal to me and it is always exciting to discover it again and anew with a new cast.

Q: What’s your favorite song or moment in Forever Plaid?

For me, it is the final song, the coda, really, “Love is a Many Splendored Thing”, which is a great chart by our original musical director/arranger, James Raitt, and is the culmination of an evening-long series of great moments, music, and laughter.

Q: Out of all of the productions of Forever Plaid that you’ve seen/directed, what’s been the craziest or funniest thing you’ve seen happen on the stage?

Whenever you ask the audience into your live performance, anything can and does happen. If I started with one, I would be at it all night. Come to the Fox starting March 31, 2011 and I will bet there will be plenty to choose from. It is that kind of show.

Q: Forever Plaid is a theatre favorite (there are 23 active productions happening right now in the US). Can you give some words of advice to any potential performers that will be in upcoming productions of Forever Plaid?

Keep it simple and keep it honest. These guys are just guys who love to sing and love singing with each other. Learn the music, in that style, talk to each other, talk to the audience, listen and respond. Easier said than done, somtimes, but that’s the key to the heartfelt and funny musical journey of this work of love and commitment that the guys and I started out to take what seems like yesterday.

Q: Currently, there are two spin-offs from the original Forever Plaid — The Sound of Plaid – the new Glee Club Version and Plaid Tidings. Do you plan on working on any more “spin-offs”?

I have directed “Plaid Tidings”, and “The Sounds of Plaid” is a great way for large groups to present this music. Who knows what lies ahead for this material?

Q: What are you working on next?

I am working on an high profile performance of “The Guys”, the two character play about a freelance writer and an NYC fire department captain after 9/11. The performances will be this June with two stars playing the roles first done by Bill Murray and Sigorney Weaver in New York a month after the attacks. It will be presented at a theatre, the Mountain Playhouse, which is six miles from the site of the future memorial for Flight 93 in Western Pennsylvania, and presented by the official committee for that memorial, The Friends of Flight 93.

I am also preparing for an upcoming production of the farce, “Boeing-Boeing” and I am developing a new play about the singer Peggy Lee with music from Leiber and Stoller.

You can keep up-to-date with Guy Stroman by checking his website.

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Broadway by the Bay’s “Forever Plaid” @ Fox Theatre, Redwood City

The 2011 season begins with the fabulous foursome of Forever Plaid, the musical-sensation that has been winning over audiences for the last two decades. Fantastically funny, and timelessly tuneful, this clean-cut musical revue features 50s-style crooning that will leave you in awe and hilarious antics that will have you laughing yourself to tears.

Only 12 performances.

Book by Stuart Ross
Music and Lyrics by Various Artists
Music Continuity Supervision and Arrangements by James Raitt

Entire Production Supervised by Guy Stroman
Supervising Musical Director Steven Freeman

Musical Director Ken Brill
Director Chris Crouch

Website | Get Tickets

 
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Posted by on 03/31/2011 in Bay Area Theatre, Interview

 

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Listening to: “Betty Blue Eyes” – Cameron Mackintosh’s New Musical

29 Mar

Betty Blue Eyes, Cameron Mackintosh’s newest musical, just started previews in London last week. Now you’ll get a chance to hear the music from one of London’s newest musicals.

Here is a brief synopsis from their website:

Belts are being tightened and the country’s long-suffering citizens are being told by the government that there will be fair shares for all in return for surviving Austerity Britain. Meanwhile local officials feather their own nests by taking far more than their own fair share. It is of course 1947, and having won the war Britain seems to have lost the peace, and the country is staggering under the burden of acute rationing, unemployment and the coldest winter for decades. The only bright spark on the horizon is the impending marriage of Princess Elizabeth and Prince Philip.

Twenty six years ago Alan Bennett and Malcolm Mowbray wove this story into a hilariously funny but sharply observed comic film called A Private Function, which centered around Betty, an adorable pig, who is being illegally reared to ensure the local dignitaries can celebrate the Royal Wedding with a lavish banquet while the local population make do with Spam.

Ron Cowen and Daniel Lipman have brilliantly adapted and expanded this story for the stage and George Stiles and Anthony Drewe have written a deliciously infectious, toe-tapping, retro contemporary score. The result is an utterly British musical, full of eccentric characters, such as the strange odd couple, Gilbert – an evangelistic chiropodist, and Joyce – a nobody determined to be somebody; Inspector Wormold – an obsessive destroyer of illegal meat; Mother Dear -’She’s seventy four and ravenous’; along with a weird assortment of bullies, spivs and snobs and of course, our star, Betty the pig.

With a simply marvellous cast of great British actors headed by Sarah Lancashire and Reece Shearsmith, Betty Blue Eyes is like no musical you will have ever seen -but she is worth saving up for!

Betty Blue Eyes‘ Official Website

Here’s a few reviews: (2 different opinions)

Betty Blue Eyes – Thoughts On The First Preview – 19th March 2011 – “So yes, it’s decent, and in a very good shape for a first preview of a brand new musical – but nothing made me want to rush to buy tickets for another performance in the future. Agreeable, but average. And with the 3 person standing ovation that I saw from where I was sitting (row F of the stalls), I think the rest of the audience may have agreed with me.”

Betty Blue Eyes Review – “Betty Blue Eyes is a show that, in my opinion, is just going to get better and better as previews progress. I highly recommend checking out this brilliant new musical. I’m already thinking about revisiting it myself!”

Promo cast recording track listings:

1. “Betty Blue Eyes”

2. “Magic Fingers”

3. “Nobody”

4. “Painting By Heart”

5. “Dance At the Primrose Ballroom”

6. “The Kind of Man I Am”

7. “Another Little Victory”

8. “Goodbye Austerity Britain”

9. “Betty Swings Demo” – BONUS TRACK

www.bettyblueeyesthemusical.com

Facebook/Twitter/YouTube @bettythemusical

—

Here’s what people are saying on Twitter:

@dannylane94: “Seriously cannot rave about BETTY BLUE EYES(@bettythemusical) enough. Just absolute musical theatre perfection. Go see it….NOW!”

@AtTheMusicals: “Loved Betty Blue Eyes! Haven’t laughed like that at the theatre for a while!”

@SusanM2010: “Thoroughly enjoyed Betty Blue Eyes. Lovely to see such a thoroughly British new musical. And you have to love Alan Bennett anyway.”

@Girlfromhandbag: “‘Betty Blue Eyes‘ was brilliant and @RealReeceShears was very good- Go see!”

@GrahamLappin: “Betty Blue Eyes is just brilliant – so please go. Nuff said.”

@Clairetrillwood: “Styles and Drew are a great duo but having just heard the title track im still not convinced by Betty Blue Eyes”

@Amyip: “Saw Betty Blue Eyes on Friday night. Felt that the banquet scene was not as good as A Simple Fork Supper @JohnFinnemore“

 
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Posted by on 03/29/2011 in Broadway, London, Music, News

 

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Theatre Review: “Quidam” @ HP Pavilion, San Jose, 3/24/11

28 Mar

Cirque du Soliel is back in town, but this time with Quidam.

After last year’s successful production of Ovo, I was very excited to check out the touring production of Quidam.

I know there are some major Cirque-fans out there. They’ve seen all of their shows and even visit Las Vegas regularly to see the new Cirque shows that open. I’m a huge fan, but I wouldn’t say I was a super fan (by any means). I enjoy them for what they are, and usually walk way stunned by what the performers are doing on the stage. Stunned, every time. And Quidam was no exception.

But it’s funny — I generally write theatre reviews (and a lot of posts on GLEE), so you think Quidam would be a breath of fresh air for me, but I kept comparing it to a show that I recently saw on Broadway: Spider-man: Turn Off the Dark.

Quidam = Spider-man: Turn Off the Dark? Really?

Yes, really.

Quidam follows the story of Young Zoé. “She is bored; her parents, distant and apathetic, ignore her. Her life has lost all meaning. Seeking to fill the void of her existence, she slides into an imaginary world—the world of Quidam— where she meets characters who encourage her to free her soul.” To say there’s a story is a real stretch – it’s more of an experience. Sound familiar? Yes. Spider-man: Turn Off the Dark was mostly an experience with a really weak book (originally written by Julie Taymor).

Quidam‘s music, directed by the talented Jim Bevan (who I interviewed last week), was fantastic! I loved the French-influenced Cajun style music. But it was all in French, so I couldn’t understand a word anyone was singing, but did I care? No. Again, just like Spider-man. I never really understood what anyone was saying in Spider-man, but somehow I still liked the music. Bono and The Edge’s (of U2 fame) songs almost felt like music on a film soundtrack, as opposed to songs in a Broadway show. Quidam’s music was a perfect soundtrack to an already creepy production.

Picture credit: Al Seib

Quidam’s effects and circus-type flying, acrobats and juggling were incredible. Most of the time, I couldn’t believe what they were doing was actually happening. They broke the bounds of physics and wowed the audience with every trick. My favorite was the beautiful balancing act between the women/man pair as they basically balanced themselves on each other with incredible flexible prowess. (See picture on the right.) The danger was real and almost papable when the performers were throwing each other across the stage and landing with centimeters to spare on each other’s shoulders and hands. At points, I gasped audibly with the rest of the audience.

Spider-man did the same thing for me. I just couldn’t believe that these actors/performers were flying around the theatre, landing in the balcony and then jumping back down over the orchestra seats and landing back on the stage. It was incredible – a spectacle, much like any Cirque du Soliel show. It was thrilling!

Overall, I enjoyed Spider-man: Turn Off the Dark in a similar way to Quidam. I enjoyed being entertained and respected the incredible talent that’s in these type of productions. The material wasn’t as strong as I would have liked, but I still enjoyed myself. I did feel that Quidam was a little long and creepy for my liking. I could have left 20 minutes earlier and been just as satisfied (if not a little more). I will say, that the audience participation acts (which I loved) went a little longer than expected because of a few non-responsive audience members that they pulled on stage. But they ended being some of the funniest parts of the show. It really lightened up the mood. Maybe Spider-man should pull people up from the audience (or maybe not)!!!

Picture credit: Al Seib

So, what’s the moral of the story?

Spider-man should try to become more like a Cirque show, because it’s obvious that Cirque is successful at what they are doing. Cirque continues to create new, imaginary worlds that are mind-blowing, much like Julie Taymor has created in Spider-man. I hope the producers steer clear of “fixing” Spider-man to become more like a Broadway musical because they need to give the people what they want: a spectacle unlike they’ve never seen.

Make Spider-man a Cirque show.

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Just a note: Quidam is probably not suitable for children under 10, not for any real reason except they probably will be bored and uninterested because the material is pretty dark and creepy.

Responses on Twitter:

@PrimaryRing: “From Cirque du Soleil #Quidam (front row): Making eye contact with the clowns has nontrivial consequences.”

@mapache: “Just caught Cirque du Soleil’s Quidam. Good stuff, as always. It was in a permanent sports arena instead of a tent, which is unusual.”

@GiltCityBeth: “Congrats @Cirque beautiful Show tonight @quidam!”

@BaconStar: “#Quidam! Amazing show!”

@CookiesandClogs: “Just walked out of Quidam. Thoroughly disappointed…lewd, bad taste, disturbing imagery.”

 
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Posted by on 03/28/2011 in Bay Area Theatre, Theatre Review

 

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Ticket Giveaway: “Stomp” @ Broadway San Jose, 4/12 at 7:30pm

23 Mar

Stomp is explosive, provocative, sophisticated, sexy, utterly unique and appeals to audiences of all ages. The international percussion sensation has garnered an armful of awards and rave reviews, and has appeared on numerous national television shows.

The eight-member troupe uses everything but conventional percussion instruments – matchboxes, wooden poles, brooms, garbage cans, Zippo lighters, hubcaps – to fill the stage with magnificent rhythms. As USA Today says, “Stomp finds beautiful noises in the strangest places.”

See what all the noise is about.

Running Time: 90 minutes, no intermission. Rating: For all ages

How to enter to win two tickets to see Stomp at Broadway San Jose on opening night, Tuesday April 12th, 2011:

  • Comment, tweet or Facebook us and tell us how many times you have seen Stomp.

A winner will be chosen on Tuesday, April 5th 2011. They will be notified by way of entry (through email, Twitter or Facebook).

Broadway San Jose’s Website | Get Tickets

 
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Posted by on 03/23/2011 in Bay Area Theatre, Ticket Giveaway

 

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Listening to Glee: “Trouty Mouth” (Original Song)

21 Mar

Here’s another original song that Glee has featured called, “Trouty Mouth”.

Check it out below:

“Trouty Mouth”


 
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Posted by on 03/21/2011 in Glee, Music

 

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Listening to Glee: “Big Ass Heart” (Original Song)

21 Mar

Here’s another original song that Glee has featured called, “Big Ass Heart”.

Check it out below:

“Big Ass Heart”

 
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Posted by on 03/21/2011 in Glee, Music

 

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Interview with Jim Bevan – Band Director of Cirque’s “Quidam”

16 Mar

Young Zoé is bored; her parents, distant and apathetic, ignore her. Her life has lost all meaning. Seeking to fill the void of her existence, she slides into an imaginary world—the world of Quidam — where she meets characters who encourage her to free her soul.

Quidam: a nameless passer-by, a solitary figure lingering on a street corner, a person rushing past and swallowed by the crowd. It could be anyone, anybody.

I had the opportunity to talk with Quidam’s band director, Jim Bevan. Check out the interview below!

—-

1. First off, how did you get involved with this Cirque du Soleil and how long have you been working on “Quidam”?

In November of 2001, I was looking for a touring Conductor/Pianist gig, and I found an add on a website for a Cirque du Soleil Bandleader position, for the 2002 North American Tour of Quidam.

2. Have you been on the side of developing the music or have you mainly worked just with the actors/musicians on learning & polishing the music?

I’m not the composer and I wasn’t there at the beginning, but I’ve tweaked like crazy – changed music I didn’t like, wrote music for new acts or new parts of old acts where needed, and changed little things now and then just to keep it interesting for everybody. The music will always be developing.

3. What’s your favorite part about working on “Quidam”? Least favorite?

My favorite part is performing the show, the “real-time” coordination of the sound and the visual. There’s no one least favorite part – anything that keeps me from music can be annoying.

4. Does the show ever change from city to city while you are on tour, or is it officially set?

The show changes every time we perform it! Somebody always has something they’re going to do differently today – they tweak their acts as much as I tweak the music. The music and the acrobatics are so connected that a little change for them is almost always a little change for me.

Jim Bevan, Band Director of "Quidam"

5. Is the cast the same from city to city?

Pretty much – artists sign a one-year contract.

6. What instrument do you play in the band?

Keyboards, including “left-hand bass” (there’s no bassist in the band), and mandolin in one song.

7. How long have you been on the road so far? And, where do you call home?

I toured steadily for about ten years, came off the road for about twelve when my kids were teenagers, and I’ve been back out here since I joined Quidam in 2001. I’m from Toronto; I’m a Canadian, but “I’m going home” means to Huntingdon Valley PA, just outside Philadelphia.

8. How does working on a Cirque du Soleil show compare to working in musical theatre or in the concert settings?

I’ve never worked in musical theatre, but a big difference for me, between Quidam and a concert, is the size of the “front”. Doing a concert with, say, a singer as the frontman, there’s still an awareness of projecting some degree of the visual aspect of my performance, even if I’m not the main focal point. In Quidam, the “frontman” is this huge circus! Winking at someone in the audience is useless!

—

Show Schedule (March 24 – 27, 2011):
•  Thursday, March 24 at 7:30pm
•  Friday, March 25 at 3:30pm and 7:30pm
•  Saturday, March 26 at 3:30pm and 7:30pm
•  Sunday, March 27 at 1pm and 5pm

Ticket Prices
• Adults: From $40 to $115
• Children (12 & under): From $32 to $93
• Military, Seniors & Students: From $36 to $99

Website

 
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Posted by on 03/16/2011 in Bay Area Theatre, Interview, News

 

Theatre Review: “Rock of Ages” @ Curran Theatre (SF Tour), 03/09/11

15 Mar

Get ready to rock San Francisco! The Rock of Ages Broadway tour is in town.

I always forget how much fun you can have at a Broadway show, until a show like Rock of Ages rolls along. It gets you singing, clapping, screaming, and rocking out all under the guise of musical theatre. The presentational quality to the script by Chris D’Arienzo and familiar songs/lyrics continue to help hide the fact you are in a theatre and not a concert venue. You end up with an unexpectedly awesome night on the town.

And did we mention that this musical is perfect for guys who don’t usually end up at the theatre? Your machismo is completely safe-proof with this blatantly over-sexed rock musical. Think about Los Angeles in the 1980′s – it’s gritty, grimy and sex-crazed. Big hair, epically bad clothes and rock ‘n roll ruled the world. The chorus girls epitomize this fashion statement flawlessly with their hooker-style costumes, designed by Gregory Gale. Rock of Ages uses music from bands like: Journey, Styx, Pat Benatar, Poison, Foreigner and others to push the cute romantic love story between Drew (Constantine Maroulis) and Sherrie (Elicia MacKenzie) a long.

Trust me, it all works.

This production is top-notch quality. Constantine Maroulis, from American Idol fame, is almost too perfect for this role. His charming swagger, combined with his talented vocals, creates the perfect charisma. His stage presence and ability to rock out is undeniably impressive. Then, you have the beautiful Elicia MacKenzie playing opposite of Constantine. When they sing together they literally are a force to behold. They sounded so fierce together.

The stage band, directed by Brandon Ethridge, was also extremely fun to watch. They opened the show with a legendary rock guitar chord and continued to rock out for the rest of the show.

San Francisco had a special treat on opening night when Constantine, at the end of the show, introduced Journey, Night Ranger, and Mr. Big to join the cast of Rock of Ages on stage. Watch below:

Even Knight Ranger loved Rock of Ages. They said, “We love the way Rock of Ages KICKED ASS at the Curran Theatre. That’s the way to do it in our HOMETOWN!”

Watching the video, you can feel the excitement that was in the theatre! The energy was infectious and that’s how it was the entire night. It’s almost impossible that Rock of Ages won’t put you into a good mood.

 
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Posted by on 03/15/2011 in Bay Area Theatre, Theatre Review

 

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Listening to Glee: “Original Song” – Season 2, Episode #16

14 Mar

With Sue Sylvester coaching Aural Intensity, Blaine and the Warblers’ dynamic set list and tough judges Tammy Jean Albertson (guest star Kathy Griffin) and Sister Mary Constance (guest star Loretta Devine), the kids of New Directions decide the only way to win Regional’s is to write and perform their own original songs “Loser Like Me”, “Hell to the No” & “Get It Right”.

Meanwhile, Quinn is hell-bent on getting Finn back and ruling McKinley once again in the all-new “Original Song” episode of GLEE airing Tuesday, March 15 (8:00-9:01 PM ET/PT) on FOX.

ORIGINAL SONG Track-list:
“Raise Your Glass” (P!NK) – Dalton Academy Warblers

“Misery” (Maroon 5) – Dalton Academy Warblers

“Candles” (Hey Monday) – Dalton Academy Warblers

“Loser Like Me” (original song) – New Directions

“Get It Right” (original song) – New Directions

“Hell to the No” (original song) – Mercedes & Santana

“Blackbird” (The Beatles) – Kurt

Music Available on iTunes 3/15

For episodic photos and more information on this episode of GLEE, please visit
http://www.foxflash.com/div.php/main/page?aID=1z2z2z268

For more info on GLEE The Music visit: http://www.gleethemusic.com

 
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Posted by on 03/14/2011 in Glee, Music

 

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Theatre Review: “Catch Me If You Can” @ Neil Simon Theatre, 03/11/10

14 Mar

Disclaimer: I saw the Catch Me If You Can on the first preview, March 11, 2011. No press tickets were given; I purchased my own ticket.


It’s been less than 48 hours since I’ve seen Catch Me If You Can, and I can’t even remember what the point was. To be honest, I’m not even sure if there was one. It seems a bit strange that after their huge hit like Hairspray, the creative team would get back together and work on Catch Me If You Can. Hairspray’s characters and story line gave way to musical theatre very easily. (The music and dance is even an essential part of the plot line.) But Catch Me If You Can uses the concept of “putting on a Broadway show” to allow the characters to sing and dance. The infamous main character, Frank Abagnale, Jr. (Aaron Tveit), is constantly referring to the orchestra, back-up dancers and even the audience to tell his story. And yet, it only makes for awkward, disconnected story-telling.

Here’s the problem with Catch Me if You Can: the material doesn’t call for singing or dancing. It shouldn’t be a musical.

The characters, especially Agent Carl Hanratty (Norbert Leo Butz) shouldn’t be singing about his woes and troubles. It just doesn’t make sense. Norbert Leo Butz reduced his vocals to talk-singing throughout many of his songs. It was like he was pulling a “Rex Harrison” — with the difference being that we all know that Norbert Leo Butz can sing the hell out of anything and Rex couldn’t. It’s incredible to me that Leo Butz has gone from being “leading man” material –like Jamie in The Last Five Years or Fiyero in Wicked — to a disheveled, obsessive older man in his late 50′s with a beer gut. He does a great job with the character, but it wasn’t the same Norbert Leo Butz that we’re used to seeing on the Broadway stage and I was dissapointed.

Another one of my favorite Broadway actresses, Kerry Butler (who plays Brenda Strong), was never utilized until Act 2, when she suddenly falls in love with Frank Abagnale Jr.. Instantly, we are suppose to care about their relationship, even though it hasn’t been developed in any regards. She sings her big 11 o’clock number, “Fly, Fly Away” with major gusto and yet I somehow still didn’t care. It’s not Butler’s fault; it’s the material’s fault.

All of the supporting characters: Frank’s mother, Paula Abagnale (Rachel de Benedet), Frank’s father, Frank Abagnale, Sr. (Tom Wopat), Brenda’s mother, Carol Strong (Linda Hart) and Brenda’s father, Roger Strong (Nick Wyman) are all incredible actors. This is a great cast with some of Broadway’s finest talent. (It reminds me of Women on the Verge of a Nervous Breakdown.) But, with no great material, even these talents can’t force their way through the story, lyrics and music.

The set, designed by David Rockwell, placed the orchestra visibly on stage (which was a new concept developed after the original out-of-town tryout in Seattle). It was completely white, decked out in a 1960′s pattern and created a “jazz band” type feeling on the stage (even though the orchestra was never utilized as a “jazz band”). At first, I thought it was a cool design, but it quickly grew tiresome, after looking at the same thing throughout the entire 2 1/2 hour run of the show.

Not only was the set entirely white, but the chorus’ costumes, designed by William Ivey Long, were too. The first number, “Live in Living Color” was a great opening number that used the lighting design to splash color all over the stage. I kept waiting for the rest of the musical to be in “living color” but it ended up to be in black and white. I’m assuming it was a concept they were going for, but an entire chorus costumed in white on a Broadway stage for the bulk of the musical is less than appealing.

The music, by Marc Shaiman, was really good. I loved several of the songs: “Live in Living Color”, “Jet Set” and “Fly, Fly Away.” But others missed the mark. Tveit’s song, “Good-Bye” at the end of Act 2 was amazing, but it sounded like an 80′s pop song, instead of the 1960′s score they had employed throughout the rest of the musical. It felt really out of place, even though it was one of the best songs in the show.

I generally love Jerry Mitchell’s choreography, but somehow I think he missed the mark as well. It might have been because the chorus was used in almost every main number (and they were overused throughout), or because it was one of the “oldest” Broadway choruses I’ve ever seen. They just felt totally out of place in this show. Thinking about the movie and the story, it doesn’t really “call” for a big Broadway dancing chorus and yet Catch Me if You Can has it and a lot of it. Again, I just don’t get it.

It just wasn’t my cup of tea. But hey, look at Memphis. It won a Tony Award for Best Musical and I didn’t particularly care for that musical. While, I did see Catch Me If You Can’s first preview and things can (drastically) change before opening night, the concepts placed into the story was my least favorite part and they would need to re-write the entire script if they changed any of that. I have a feeling that it’s not going to happen.

If you “got it”, then by all means, explain to us why I should care about any of the characters, because I don’t. Otherwise, this show is going to be long-forgotten rather quickly and that’s okay by me.

 
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Posted by on 03/14/2011 in Broadway, Theatre Review

 

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