GOOD MORNING STARSHINE

The opening night of Hair at the Pantages Theatre in Hollywood was like attending the most energetic, love-filed performance in which there was nothing but mutual love between the cast and audience.  The cast led by the charismatic and uber-talented Steel Burkhardt (Berger) and Paris Remillard (Claude) knocked every number out of the park sparking enthusiastic applause and cheers from the audience. 

The Hair “tribe” is energetic, unifying and strong.  The energy they emit whether they are onstage in “Oh Great God of Power” or dancing amongst the audience in “Hair” make the show not only entertaining but interactive as well.  Members of the tribe who make their appearance at the Pantages include original Broadway-revival cast members: Burkhardt, Remillard, Allison Guinn (Mother/Buddhadalirama), Kaitlin Kiyan (Chrissy), Josh Lamon (Margaret Mead/Dad), John Moauro (tribe), Darius Nichols (Hud) and Kacie Sheik (Jeanie).

Despite being a feel-good musical that elicits feelings of hope and love, Hair actually tackles some very serious issues like sexual identity, draft card burning and drug use – issues that were seen more than 40 years ago when it first debuted on Broadway.  The essence of the show continues to be relatable and prevalent in 2011 even though some of the details of the issues of today are slightly different.

Pictured: Hair National Tour Company/Joan Marcus

Visually, Hair was a stunning celebration of bright colors, light and staging seen in the dance, costume and choreography under the direction of Diane Paulus and choreographed by Karole Armitage.  This was only enhanced by the music of Galt MacDermot and book/lyrics by Rames Rado and Gerome Ragni (“Aquarius,” “Let the Sun Shine In” and “Good Morning Starshine”). 

There is nothing but high praise and deep appreciation for the Hair tribe in bringing their love-filled-emotional show to LA audiences.  The Pantages Theatre on opening night of Hair, was nothing short of a captivating two and a half hours of an intoxicating love-filled performance (a musical certainly not to be missed).  You will leave the theatre with a silly grin on your face feeling happy and naturally high, and if you don't...keep going back until you do!

Now Playing through January 23, 2011 at the Pantages Theatre (6233 Hollywood Blvd. in Los Angeles).  For tickets or more information: Broadway L.A., 1-800-982-ARTS (2787) or Ticketmaster Outlets. ($25-$90)

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Gavin Creel (original Broadway revival, Claude)

The touring cast of Hair also continues to support the cause of marriage equality that the Broadway cast supported in the spirit of love and peace.  In virtually every touring city, the tribe stages a fund-raising “be-in” of music and performance and they donate 100% of the proceeds to Broadway Impact to support their efforts in the fight for marriage equality.  The Los Angeles “be-in” will be held Monday, January 10 with shows at 7:30 and 10:30 p.m. at Show at Barre (1714 N. Vermont, Los Angeles). General Admission tickets are $25 ticket and a $50 VIP ticket gets first row seating and a signed poster.  For tickets or more information to this “be-in” check their Facebook event page.

APPLAUSE, APPLAUSE

Merriam-Webster defines applause as:

approval publicly expressed (as by clapping the hands)

While applause is a commonly understood and used expression of approval, I was taught at a very early age that a standing ovation is different; the standing ovation is a special distinction to honor a stand-out performance or speaker and indicates a particularly high level of approval and should be used sparingly.  Right?

The sound that says love,
Applause, applause, applause!
~Applause, Applause, Lee Adams (lyricist)

For as long as I can remember, I have taken that sparingly thought to heart and tried to only gave standing ovations if I was blown away by a particular performance.  Sometimes I admit that I give away the standing ovation a little too freely but sometimes I do the whole following-the-heard thing and feel guilty that the entire theatre is standing and I'm not.

So I started thinking about the performers/performances I have recently given standing ovations  (because I thought it was well deserved).  This isn't a list of everything I've seen, but what I thought was particularly well performed in the last year:

• The touring company of my favorite contemporary musical:  next to normal
• Lin-Manuel Miranda as Usnavi in In the Heights at the Pantages
• Raúl Esparza as Jonas Nightingale in Leap of Faith 
• The company of Parade at the Mark Taper Forum

Not so long ago, I made the snarky comment that theatre audiences in LA will give anyone a standing ovation as I left a mediocre performance.  I was unsure if audiences were unaware of the concept of what a standing ovation means or if they believe that standing during curtain calls are customary.  I am not talking about the people standing (and then LEAVING) during curtain calls or even during encores during a concert - that is worthy of an entire forthcoming post.  However, not all performances are standing ovation worthy and yet, I see that (particularly with LA crowds) EVERY show, EVERY performance gets one (even those that are really, not so good).  The only time I noticed a lack of a standing ovation was not because the show was bad, but because the average age of the audience (at this professional equity production) was upwards of about 80-years-old, and most had walkers or wheelchairs, so I assume that maybe they couldn't stand up?  Either that or they are old enough to know that not every single performance needs a standing ovation.  I don't want to be a negative nellie here, but I think giving every performance a standing ovation regardless of a performance is a little misleading and unfair.  Its like the audience who cried wolf!

Then...I googled the history of the standing ovation and found this somewhat equally snarky article written by Michael Billington of the UK's The Guardian.  The thing is, I kind of agree with him (not the insulting American theatre-goers as déclassé parts) but here:

The standing ovation is now a meaningless nightly ritual...If you do it for virtually everything, it soon becomes valueless...But a standing-ovation should be a rare and choice event. Currently, however, it is turning into a hollow gesture in which audiences seek to transform perfectly decent plays and musicals into earth-shattering occasions.

This has been my point and I think that Billington says it better above than I do, but for those of you who attend any performing arts or speaking engagements...pay attention and let me know what you think...theaterfan [at] aol [dot] com.

TONIGHT

National Tour of West Side Story/credit: Joan Marcus

Arguably, there is nothing that exudes the essence of musical theatre more than West Side Story. From Lenny's (Bernstein) gorgeous score, Sondheim's unparalleled lyrics (though he sometimes begs to differ...see Finishing the Hat) to Jerry's (Robbins) most amazing choreography and of course Arthur (Laurents) book (and in the case of the Broadway revival, also can claim the title of director).  Really, there is nothing more perfect West Side Story.

Just about everyone knows the storyline and mere mention of the title will elicit some kind of strong response (and really, who didn't grow up with at least knowing about the film?)  Two years ago when the show was revived on Broadway (for the first time since the 1980s production starring Debbie Allen), book-writer Arthur Laurents took the helm and directed the show starring Matt Cavenaugh  (Tony), Josefina Scaglione (Maria) and Karen Olivo (who won her first Tony Award for her role as Anita).  In this production, for the first time ever,  West Side Story  incorporated the use of Spanish language sung/spoken by the Sharks (Lin-Manuel Miranda, of In the Heights fame provided translations) because as Laurents said, thought it wasn't his idea (it was his late partner Tom Hatcher's), he thought the Jets and Sharks should be on equal footing in terms of their turf wars and "it'd be great to think of a way to equalize the two, why not have the Sharks speak Spanish?" This somewhat controversial move got a lot of attention though ultimately much of the Spanish was edited down from the original creation for this Broadway revival.

The national tour of West Side Story (based on the recent Broadway revival) opened at the historic Pantages Theatre in Hollywood for a five-week engagement (through January 2, 2011).  Based on Laurents' masterful direction (executed by David Saint) the production includes the use of the Spanish language sung by the members of the Sharks.  It should be noted that this semi-bilingual approach (I think) works incredibly well.  Though I didn't understand half of what was being said (when in Spanish of course), it didn't really matter because I completely understood its purpose in the show.  In moments of anger and frustration, are the characters (who might not speak perfect English) really going to start singing perfect English vs their native Spanish (or a combination of the two)?

National Tour of West Side Story/credit: Joan Marcus

What worked better than having a semi-bilingual production was the original choreography (by Robbins) beautifully recreated by Joey McKneely for the revival/tour.  Typically, my love for music and the written word far supersedes my interest in dance, but having an opportunity to see Robbins' original choreography reproduced was simply amazing and certainly a highlight of the performance.  It was during these ensemble dance numbers (i.e., "Dance at the Gym," "Rumble") that the cast really shone.  Not to be outdone, the "Gee, Officer Krupke" scene was another example of the strength of the ensemble performers (Action and the Jets); it got some of the biggest applause of the evening.

While the ensemble numbers were some of the most enjoyable, it was the scenes between Tony and Maria that I actually found myself having a harder time believing.  There was somewhat of a lack of chemistry between the two performers, Ali Ewoldt (Maria) and Kyle Harris (Tony) - individually, yet both were more convincing and stronger in their scenes apart than together. 

(l-r) Ali Ewoldt, Kyle Harris/credit:Joan Marcus

It isn't everyday that a full-scale production of a classic show like West Side Story rolls into town - overall, it is a  must-see for fans of the show young and young-at-heart.  West Side Story runs through January 2 Tuesdays-Fridays at the Pantages Theatre in Hollywood.  For tickets and holiday schedule information: Broadway L.A.

COME WITH ME

next to normal is easily one of the best contemporary musicals to date (and easily one of my personal favorites...ever).   It is everything a musical should be - moving, heartbreaking, haunting, thought provoking (with humorous moments), it has characters and a storyline which are mostly well thought out and  music that stays with you long after you have departed the theatre.  In an era of musical theatre in which the term "groundbreaking" is thrown around an awful lot to describe a show, next to normal just might be one of them.  next to normal challenges its audience to think beyond what you see, who you are and what you believe to be true.

next to normal is a story that mirrors what life can sometimes be like when life is spinning out of control - feeling alone and misunderstood but yet somehow being able to find a way back to the truth.  The show is the way it is now because of director Michael Grief and producer David Stone who took the existing book and music by Brian Yorkey and Tom Kitt (respectively) and tightened the story which was a little bit unclear and long and helped focus it into the Pulitzer Prize winning show that it has become.

It should be known that I have been a very big supporter of next to normal out of the gate, since I first discovered 2005 workshop/demo tracks on YouTube (when it was still called Feeling Electric - take a listen if you are so inclined to compare what it was to what its become).   Even though in its workshopped state, next to normal was a completely different show than it is now, the core of it was still compelling to me.  This contemporary musical about a dysfunctional family coping with loss and mental illness, was (and is even more-so now) deeply emotional, deeply moving and runs the gamut of emotions throughout the performance.  This is made true because in large part to the actors who inhabit the Goodman family (and supporting characters) in the touring cast.

Alice Ripley

Alice Ripley and next to normal have become synonymous with one another.  The show certainly wouldn't be what it is now without her and anyone who will have the pleasure of seeing her perform the role of Diana Goodman will see what a tour de force she is in the show.  Alice Ripley is no stranger to career defining roles.  Though she has had a long career on the Broadway stage and made her mark in the indie rock world, prior to next to normal, theatre audiences will likely first remember her as Violet - one-half of the Hilton conjoined-twins - in Side Show (which earned Ripley her first Tony nomination).   

As Diana Goodman in next to normal, Ripley is a revelation.  Reprising the role that earned her a Tony Award for best actress in a musical, Ripley brings a passionate and complex character to life with such heartbreaking pain and grief.  When she sings, she sings from her soul with such anguish that it is almost entrancing.  Ripley is by far the strongest component in next to normal, but she shares the stage equally with every member of the ensemble who helps to make up Diana in all her glory and her pain.

If Ripley is the strongest member of the cast then Los Angeles native, Emma Hunton (Natalie) is a close second and could not have been a more perfect daughter to Diana.  While the characters of Dan or even Gabe should have been the stronger supporting leads, it was Hunton whose performance really stood out in the cast.  She brought more depth and personality to the character than (I) have seen before with a pretty fantastic voice to boot.  As the child living the in the shadow of her more beloved brother (Superboy and the Invisible Girl), her Natalie was more sassy than angry and vulnerable than hurt.  Hunton as Natalie really fought to be seen in a family overrun by the past with such grace and force.

Curt Hansen, Emma Hunton, Preston Sadlier, Jeremy Kushiner, Alice Ripley, Asa Somers

As Gabe, Curt Hansen was ironically sometimes overshadowed by the vocal powerhouse of his sister Natalie (Hunton) while still very good.  Hansen managed to hit his character's high notes with relative ease and still managed to hold his own as he effortlessly soared through the three-story stage around poles and gliding up and down flights of stairs at a time.

Asa Somers (who played the role of Dr. Madden during the show's off-Broadway engagement at Second Stage Theatre) graduated to the role of Dan Goodman on-tour, Jeremy Kushnier as Dr. Madden/Dr. Fine and Preston K. Sadleir (who played was a very sweet Henry) rounded out the well-cast remaining members of the touring company of next to normal.

next to normal is a very important piece of contemporary musical theatre which in this case  legitimately earns the title of groundbreaking.  Other contemporary shows have brought something new (whether it be stylistic because of the music or staging) to the musical theatre landscape, but next to normal faces real issues like mental illness, suicide, drug addiction (which makes it sound like an episode of Oprah) head on and bares the soul of theses issues and its affect for all to see.

next to normal runs through January 2 at Los Angeles' Ahmanson Theatre.  Click for tickets and more information on the LA run or to find out when the show is coming to a city near you, click for tour info.

HARPS & LEGS

It was a musical theatre-filled week for me.  In addition to seeing Les Misérables: The 25th Anniversary Concert, I also had an opportunity to attend both Daddy Long Legs (music and lyrics by Paul Gordon and book by John Caird) at the La Mirada Theatre for the Performing Arts and Randy Newman's Harps and Angels at The Mark Taper Forum.

I don't know about all of you, but the idea of a new musical is as exciting as it is a little unsettling.  When I see a new show, I really want to like it.  I try to go in with an open mind and attitude with the hope of finding joy in new (or experienced) writers and composers and the mark they will make on the American musical theatre landscape.  I mean, if it were not for producers and audiences embracing new writers, there would be no Next to Normal, In the Heights or websites like New Musical Theatre (NMT) (which supports, celebrates and embraces the work of new writers by giving them a place to distribute and promote their music/sheet music).  These two shows have brought me new joy and appreciation for the modern musical and I have discovered countless composers and the most gorgeous of songs because of  NMT.  So it is safe to say that in regard to Daddy Long Legs and Harps and Angels...that I wanted to like them.

(l-r) Marla Schaffel and James Barbour

Back in 1999, Jane Eyre the Musical had its out-of-town tryout at San Diego's La Jolla Playhouse with music and lyrics by Paul Gordon and book by John Caird - the same team that gave Daddy Long Legs its er...feet.  By then, I had long been a fan of both Charlotte Brontë and Jane Eyre (the novel) and the idea of a musical about Jane and Mr. Rochester sounded perfect.  I wish it was.  In short, the show (in my opinion) was slow, dragging and could not hold my interest.  Though it eventually made its way to Broadway and garnered a Tony nomination for best musical, it wasn't my cup of tea because it was literally so dark, the music wasn't the most memorable...etc, etc.  Despite how I felt about Jane Eyre the Musical, I hoped that Daddy Long Legs would be more appealing.

It was.

(l-r) Rob Hancock and Megan McGinnis

...but it wasn't.  I thought the score was beautiful and to hear it sung by Megan McGinnis was a treat for anyone who has the pleasure of attending the show.  Truly, her voice is so beautiful and her energy is so perfectly suited for the role of Jerusha Abbot.  McGinnis as Jerusha is bright, charming, inquisitive, thoughtful and has a light and appeal that draws the audience member into Jerusha's life.  Every letter Jerusha sent to Jervis Pendleton (performed by Rob Hancock) unfolded a new layer into the story being told and as a result brought new insight to the two characters - it was well thought out, but slow and perhaps took up too much time setting the foundation for the story.  Thus, the show was long.  Over two hours long.  24 songs sung by two actors (mostly by McGinnis) spanning a four year period.  I must admit, that after the opening number, I found myself feeling restless and a little bit bored...but by intermission I felt more invested in the life of Jerusha and the intention behind Jervis' lies.

I can't say that I was head over heals in love with Daddy Long Legs, but I did think it was time well spent at the theatre.  The story was an interesting one to tell and makes total sense as a musical.  I hope that at some point, Paul Gordon and John Caird tighten and focus the story just a little bit because while good, it has the potential to be even better.

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Randy Newman

As a lifelong Angeleno, I have always known of the song, I Love L.A. and realize that it has become our town's anthem.  That song was my one of my first run-ins with Randy Newman's music. I Think Its Going to Rain Today was my second.  His music always stayed with me because it is so deep and meaningful in a way that I didn't quite understand upon first listen, but the moment I needed it the most, I know exactly where to retrieve it.  I never forgot a single one of Newman's songs that I've heard whose lyrics really touched me and I don't imagine I ever will.

The one comment I hear, read and believe myself is that nothing about Newman's music is simple.  Every lyric is complex and intwined with such emotion that gets to your core and your heart.  Newman's music has definitely been an anthem during various phases of my own life in which I have listened to it over and over and somehow it gave me peace or comfort.  One of my personal favorite songs of Newman's is Real Emotional Girl and through this performance, discovered the song Feels Like Home which I now absolutely love.

(l-r) Katey Segal, Matthew Saldivar

I hesitate to call Harps and Angels a revue, because to me, that suggests a kitschy collection of music, skit and performance and this show is hardly kitschy.  Harps and Angels is more of a Newman song cycle but of music both popular and from film from the 1970s to present day in which the personal and the socio-political entwine creating a compelling, honest and humorous commentary on what it is like to be born, grow up, fall in love, and live and die in America.  The six person cast - Ryder Bach, Storm Large, Adriane Lenox, Michael McKean, Katey Segal, Matthew Saldivar - were a mix of talent with musical theatre, singer/songwriter and popular music backgrounds, all of whom delivered interesting and yet meaningful interpretations of Newman's songs.  In particular though, it was a pleasure seeing Segal perform - not because most people think of her as some iconic 80s sitcom character (its the last thing I think of) - but because she has such a beautiful voice and I have long been a fan of hers from a music perspective.

Its amazing that the Randy Newman lexicon is so diverse yet when the right songs are put together and the right singer performs them, these songs tell a story and sends a message (sometimes subtle, sometimes glaringly obvious) about life and Harps and Angels did just that.

Harps and Angels runs through December 22 at the Mark Taper Forum.

**If you get a hold of the Performances program for (I believe) any of CTGLA's shows (Venice at the Kirk Douglas, Harps and Angels at the Taper and NEXT TO NORMAL at the Ahmanson) in the month of November, check out page 28.  Yes, I am in the program....so unexpected, so grateful!!!**

DO YOU HEAR THE PEOPLE SING?

On October 8, 1985 - 25 years ago - Les Misérables the musical (English version) debuted in London’s Barbicon Theatre before transferring to West End’s Palace Theatre in December of that same year.  The famed musical by Claude-Michel Schöenberg (composer) and Alain Bublil (libretto) has since become a worldwide favorite, translated into 21 different languages and played in 42 countries and 291 cities including Serbia, the Channel Islands and the Philippines.  In 1995, Les Misérables celebrated its 10-year anniversary with a “dream cast” concert at Royal Albert Hall starring Colm Wilkinson (originated the English language role) as Jean Valjean, Lea Salonga as Eponine, Alun Armstrong as Thénardier and Michael Ball as Marius (both of whom originated their English language role).  For the most part, I wouldn’t argue this “dream cast” and often looked at it as my quintessential Les Misérables cast.

The 25^th anniversary musical concert was comprised of some unknown talent (to me) like Alfie Boe (Jean Valjean), Ramin Karimloo (Enjorlas), Samantha Barks (Eponine) as well as "known" Broadway talents like Norm Lewis (Javert) and Lea Salonga (Fantine).  Then...there was Nick Jonas as Marius (more on that later). Like many of you, I feel confident in stating that I consider myself well-versed in Les Miz having first seen it (on tour) in the early ‘90s.  Since then, I have seen various productions of it locally, on Broadway, in concert, staged reading and as a result seen some great and not so great productions.  While I will always think of Wilkinson as the quintessential Jean Valejan, I have been highly impressed with the last few actors I’ve seen in the role including J. Mark McVey (Hollywood Bowl) and particularly Boe (25^th Anniversary concert).

Alfie Boe (who incidentally has a solo album coming out December 27^th) is to put it mildly, an incredible talent.  As a trained operatic singer from Royal Academy of Music in England, Boe's credits include the lead in Baz Luhrman’s La Boheme (Tony Award) as well as appearing with Michael Ball in Kismet in London’s West End.  Though I had never heard of him before, I am sure to follow his career now!  To say that his voice is just phenomenal is an immense understatement.  Really, there’s nothing more to say other than to watch and listen:

Unfortunately, the rest of the 25^th anniversary cast didn’t blow me away like Boe did.  This doesn’t mean that I don’t have anything to say about it.  I have long been a supporter of Norm Lewis and have not heard him sound anything but great in everything.  He was probably not the most convincing Javert I’ve ever seen, but he was still good nonetheless.  Samantha Barks as Eponine and Ramin Karimloo as Enjrolas I thought were great finds too as I’ve never heard of either of them before.

Who would've ever thought I'd have a photo of a Jonas on my blog!

Now comes my real issue with this (mostly) terrific 25^th anniversary concert of Les Miz.  Nick Jonas.  Let me first start by saying that though he is a member of the tween-loving boy band, The Jonas Brothers, I had no expectations of him as Marius.  I have no prior experience with him as a singer and a lot of pop singers can actually be really good singers.  My goal was to give him the benefit of the doubt.  Could he be that bad?  Before I answer, let me start off by saying that the role of Marius is a relatively big one (it is one of the major characters in the story after Valjean, Javert, Fantine, Cosette, Eponine and M. and Mme. Thénardier).  The character is important and the actor cast must be a good singer (naturally) and sound like the strong, revolutionary scholar that he is – without these important qualities, he would be just another ordinary extra cast in Les Miz.  Here are my observations of Jonas throughout Les Miz:

1. When he was onstage, Jonas looked as if he didn’t know where to look.  As a performer who probably often makes eye contact with his adoring and screaming teenage fans, he looked like he was making a concerted effort to try not to break the 4^th wall (it looked forced to me), but where was he looking?  He was looking up, looking down, when he was interacting with Cosette or Eponine and should have been looking at them...he was not.
2. In addition to not knowing where to look, Jonas' demeanor looked highly uncomfortable on stage – very stiff as if he knew he didn’t belong on that stage with the likes of Boe, Salonga,  Lewis and the 300 chorus members of various Les Miz casts. 
3. He was certainly the most timid, wimpy Marius I’ve ever seen.  I’ve never seen a more miscast actor in the role and this really disappointed me. As one who is considered a singer, I don’t think Jonas was strong enough of a singer for this role.  He could barely hit the notes, he sounded flat and just didn’t do the role justice (understatement).
4. Jonas receded into the background and every actor he sang with (particularly Barks as Eponine and Katie Hall as Cosette) completely overpowered him.  There was no power in Jonas' voice, he looked and sounded as if he were straining to just to complete his songs.  He was completely forgettable.
5. To be honest, Jonas' performance at best was cringe-worthy.  I literally could go on and on about my disappointment of Jonas as Marius, but these are my top 5 reasons why I was displeased with his performance.  I hate to be so mean, but Jonas’ performance just didn’t work.  

Moral of this list?  Neither Jonas nor his voice were suited for the role of Marius.  My question is really for the casting director (or whoever made the final decision on Jonas).  I know that he has previous experience on Broadway (as the final Gavroche in the original Broadway production of Les Miz) but he simply did not work this time.  Was he having an off-day when this concert was filmed?  What was the  real reason for casting him as Marius?  Was it stunt casting in the hopes of getting the tween contingency to attend Les Miz (we certainly had them screaming in the theatre for this screening).  I just don’t get it.  Someone, send me an email and explain it to me.

All in all though (with the exception of a certain casting faux pas), I thought that the 25th anniversary Les Miz concert was a hit.  It reminded me why I have loved the show for over 15 years and counting.  Ironically, the stand-out moment of the entire concert was Valjean quartet.  Amazing.  Breathtaking:

 

This was a close second:

SEDUCTION

A few weeks ago (as I blogged earlier) I finally got to see  (and enjoyed) Leap of Faith. What I loved most though  (and what really made the show magnificent) was Raúl Esparza's electric performance.  He was amazing...no, really, AMAZING (in an I-can't-get-it-out-of-my-head-amazing way).  Sure, I have had my musicals-du-jour throughout the years, but I can't remember the last time I saw one performer make a show work.  There's nothing terribly wrong with Leap of Faith as a whole (I like it), but its because of one performer (Esparza) that the show really worked as well as it did.  During intermission and post-show, I heard audience members everywhere around me excitedly buzzing about the strength of his performance.  The positive buzz about Leap of Faith was due in large part to Esparza.

The energy he brought to the stage almost became seductive because the way Esparza (as Jonas Nightingale) lured the audience into the story as much as he did the townspeople of Sweetwater made you really want to follow, trust and believe in his character - and when it was over, he left you wanting more .   When Esparza was on that stage, his presence was strong, but when he opened up his mouth to sing?  Forget about it, he owned it.  Esparza has an effortless vocal quality that is so clear, so strong and diverse - total rocker and yet 100% legit all within seconds of each other (while acting) - which is astounding!  And even now...after two weeks have come and gone since I saw Leap of Faith I am still thinking about the way he sounded.   He is phenomenal.

Lets be honest, since I left the theatre, I have been on a Raúl Esparza music kick - I am totally obsessed with the way he sings (lets just say that right now, my neighbors probably don't appreciate Being Alive, Petrified and select songs from tick, tick...BOOM! on continuous loop).  I am in complete awe over the way he uses his voice (the effect it has on phrasing and hitting some crazy notes) and how committed he is to his performance in whatever role he's in.  The man's voice was pretty fantastic when he first burst onto the scene in tick, tick...BOOM! (off-Broadway) in 2001 and his performance as Bobby in Company changed my perspective on a show that I thought I knew well.  

Cut to the 2007 Tony Awards:

Me:  Wait, that's Raúl Esparza...as Bobby...?  He's fantastic.  When did this happen?

How could I have missed  Raúl Esparza in Company prior to the Tony Awards?  When I saw the above clip during the awards telecast, I quickly got my musical theatre priorities straightened and then had to see more of the revival of this show.

In 2008, the Broadway Revival of Company on PBS Great Performances aired and though I was expecting him (after seeing the Tony Awards)  I was almost caught off guard by the brilliance of Esparza's portrayal of Bobby.  This was the first time I had seen the show in its entirety which also explains the added perspective to Company that I gained.  Over the years,  Company has easily become one of my favorite Stephen Sondheim shows.  When I saw it on PBS Great Performances though, everything changed - I gained a new perspective on the character of Bobby (post is forthcoming) and most importantly, I was reintroduced to Raúl Esparza.

It was 2001 when I was first introduced to Esparza when I  purchased tick, tick...BOOM! - the semi-autobiographical musical about the struggle the late Jonathan Larson endured to create and make an impression on the musical theatre landscape.  Esparza played Jon in tick, tick...BOOM! and I remember wondering what it was like to play someone who had only recently (and unexpectedly) passed away and to be the first person to bring this real person (not a character) to life...in which Larson's parents, family and friends would be present.  I remember thinking that only an exceptional actor could pull that off and I admired Raúl Esparza for being able to do so.

Clearly, Esparza's voice is extraordinary and it makes you stop and listen and really believe in what he is singing about.  I think this is the case with every song I've heard him sing.  I am just so grateful to have had the opportunity to see/hear him live - what he did with every song he sang in  Leap of Faith just blew my mind.

Clearly, I'm not the only one who sees the brilliance in Raúl Esparza.  He is not only an amazing singer (as I've been rambling on about) but actor - look at the number of Tony Award nominations he's received since he made his Broadway debut in 2001 (thanks for the info, IBDb!):

1.  Broadway Debut in The Rocky Horror Show - 2001
2.  Tony Award nomination #1: Taboo (best featured actor in a musical) - 2004
3.  Chitty Chitty Bang Bang - 2005
4.  Tony Award nomination #2: Company (best actor in a musical)  - 2007
5.  Tony Award nomination #3: The Homecoming (best featured actor in a play) - 2008
   
6.  Tony Award nomination #4: Speed-the-Plow (best actor in a play) - (how did I not remember he was in THAT media debacle?). - 2009

This means that in a 5-year period (between 2004-2009), Esparza was nominated for a Tony Award in every possible category for which he was eligible.   Only Boyd Gaines (who was coincidentally the first Bobby in Company that I ever heard)  is the other actor to also have this same distinction .  If you haven't been fortunate to have seen Esparza perform, watch these and you'll see/hear what a phenomenal talent he is:

Raúl Esparza singing Lonely House at Seth's Broadway Chatterbox, 2004

Listen to the the way he sustains those notes!  Seriously?  And.  He can do Defying Gravity...and its no surprise he kills this too.



Raúl Esparza singing Defying Gravity at Seth's Broadway Chatterbox, 2004

In May 2005, Esparza appeared in the American Theatre Wing's Working in the Theatre seminar in which he said (in reference to what makes a good actor), "I don't want to put Raúl Esparza onstage, I want to put whoever that person [character] on stage is and somehow disappear..."  Sounds like a pretty obvious statement but I've been to enough shows (plays and musicals), seen plenty of TV shows or films in which that was not the case.  I have to say that when I saw Leap of Faith, I didn't necessarily feel that every actor onstage was their character, but I certainly felt so about Esparza - I feel confident in stating that I think is brilliant in pretty much anything he does.  I'm not sure where Leap of Faith will go (rumor has it Broadway-bound in Fall 2011).  If it does indeed go to Broadway, I hope that -Tony voters will see and hear just how magnificent he is as a performer and will reward him accordingly.   NY has a ton of fantastic singers/actors, I have not heard anyone who can sing a range of styles the way he can all the while being a remarkable actor to boot.   It is about time Tony voters.  All I can say is, get ready!

To Raúl Esparza, I have two words for you:  SOLO ALBUM.  Oh wait, actually there are three more words too:  CONCERT IN LA!  Ok, thanks...oh and, BRAVO!!!

Am I the only one utterly obsessed and amazed (other than Seth Rudetsky) with  Raúl Esparza's voice?  Tell me what you think: [theaterfan (at) aol (dot) com]!

WHEN THE SUN GOES DOWN

Its no secret that when it comes to In the Heights, I have been a huge supporter.  I thought that Tony Award winning creator/writer and original Usnavi, Lin-Manuel Miranda created a beautiful musical that was the perfect blend between classic and modern musical theatre.  The heart of In the Heights is classic:  it is a  show with recognizable and hummable tunes with a storyline that is simple: family and the journey of finding your way home.  There is a definable hero and heroine who are both trying to find their way yet it is also has very modern elements like infusing the beat and flow of hip-hop and rap into the show.  It reminds us that at the end of the day, none of us are all that different - we all come from families, we are all trying to make our way in the world while looking for our place in it.

Today, it was announced that after 1,185 performances, In the Heights will close on January 9, 2011*.  For a special two-week engagement beginning on Christmas Day, Miranda will once again reprise the role of Usnavi one last time.  If you are in New York, I highly recommend going.  There is magic in seeing a writer/composer performing their own work but to see this incredible show that Miranda lovingly created and nurtured since his days at Wesleyan University, is really something else.  I challenge anyone to tell me that 96,000 is not an electric, brilliant number:

As if In the Heights doesn't prove that Miranda is filled with talent, remember that  he not only created a Tony Award winning musical but he has also been known to educate young people through music on The Electric Company and Sesame Street, created the hilarious web series Legally Brown: The Search for the Next Piragua Guy (a spoof on the MTV Legally Blonde reality show) and also made a ten-year-old boy's dream come true with this.  

It will be a sad day when the Richard Rogers Theatre says farewell to In the Heights but...stay tuned for the film starring who else but...Lin-Manuel Miranda!

--
*For all performances from January 2, 2011 – January 9, 2011 (exluding January 9, 2011 evening show) get tickets for as low as:
 
$78.00 for Orchestra/Front Mezzanine    
-or-
$48.75 for Rear Mezzanine A - F

Use code ITHLIN

Call Ticketmaster at 877-250-2929 and mention code ITHLIN 

STEP INTO THE LIGHT

After I waxed poetic about The Music Center/Center Theatre Group's productions, I figured a real review of Leap of Faith should follow.

Since I saw the show last week, I have been thinking about the music, plot, dance numbers and overall performances wondering why I am so drawn to the story.  There is so much I love about the show with one overwhelming factor leading the charge (that I finally recognized) - familiarity.  Its amazing that it took this long to figure out.  I realized that maybe the reason I feel this way about Leap of Faith is because it is very similar to one of my other beloved old-school musicals.  Leap of Faith, meet The Music Man.  Consider this:

A con-man comes to a smal town, falls for a local single woman, befriends a child who is has "special needs" and is changed because of this relationship (with the child).  The con-man isn't exactly forthright with the woman or the child about why he is really in the town or who he really is.  Then, someone outs this con-man and said con-man must own up to who he really is.  Somehow the con-man does something to make good with the people of the small town, helps the child he has befriended and eventually gets the girl.  

Not sure which show I'm describing? Of course you're right because it refers to both shows.

Robert Preston as Prof. Harold Hill

Raúl Esparza as Jonas Nightingale

So Leap of Faith (the musical) is based loosely on the film of the same name starring Steve Martin and though it has (almost identical) similarities, it isn't a rip off of The Music Man (film or musical).  Leap of Faith and The Music Man are very similar stories and you might think that the similarity ends there (at the plot) right?  Sort of.  If we take a look at the performances of the lead actors in these two musicals, you will find two, highly dynamic, remarkable actors who really carry the show they are in.  In The Music Man, the incomparable Robert Preston created the role of Harold Hill...he is incredibly charismatic and really, who wouldn't follow and want to believe in him?  Leap of Faith has an equally dynamic and multi-talented actor in Raúl Esparza who plays Jonas Nightingale.  Watching and listening to his character...who wouldn't want to follow and believe in him either?

Have I convinced you that the central storyline in Leap of Faith really is similar to The Music Man and that Harold Hill/Jonas Nightingale are the ones who really carry their respective shows?  When I think about The Music Man, I immediately think Robert Preston and then I think that though sweet and classic, the show really isn't anything without Preston. Actors come and go and while many have played Harold Hill, nobody could nail it like Preston did.  So when I think about the the entire production of Leap of Faith, the show too really succeeded because of Raúl Esparza. 

From the moment he walked onto the stage, dressed completely in black with sunglasses on, Esparza  convincingly carried himself as a smarmy, charismatic con-man.  This attitude mixed with the words he spoke only reinforced this character. When in the "tent" as the evangelist persona,  Esparza's inflections were spot-on.  Esparza's energy was undeniable and it was hard to tell if he put every ounce in his being to become Jonas or if Esparza was Jonas.

I have been aware of Esparza as an actor since I bought the off-Broadway cast recording of tick, tick...BOOM! in 2001 in which he played Jon (the semi-autobiographical show about Jonathan Larson).  Throughout the years, I have seen Esparza perform on TV and the internet from various roles.  Yet, when I saw him as Bobby in the revival of Company in 2006, I knew that I finally saw the quintessential Bobby.  He brought such passion and intensity to the role that I had not seen before or since.  His Bobby was darker and more multi-dimensional than I had seen before.  But I digress.  There are some performances that you know while sitting there in the audience that you are watching an actor playing a role.  There are others that completely transform while onstage into the role...whose performance you know is something special (i.e., Patti LuPone in Gypsy and Alice Ripley in Next to Normal; Raúl Esparza as Jonas Nightingale comes pretty close to making this list too).  Its quite a grand statement, I know, but the night I saw Leap of Faith, I thought he was just that good.  The interesting thing is that while both Gypsy and Next to Normal hold their place in theatre history because of their respective books, Leap of Faith doesn't exactly come close to being a Pulitzer Prize winning show.

There are aspects of Leap of Faith that weren't amazing - some of the characters were not developed enough which (to me) affected the outcome of the storyline.  When looking at the all of the characters in Leap of Faith, none is more developed than that of Jonas (which is good and yet...obviously bad).  Of the more major characters, every other is a distant second to Jonas - Marva, Sam, Boyd.  If it weren't for Ricky Sturdevant, there really wasn't any need to have Ida Mae in the show.  Would there be?  When Leslie Odom, Jr. was onstage, his stage presence was evident which is why the part was memorable.  The character though?  Ricky Sturdevant wasn't a weak character, only he wasn't strong either.  Brooke Shields played Marva McGowan well...as I stated in a previous post, she was a perfect mix of strong and sensitive and could be considered to be a stabilizing force in the show; she played safe well.  I don't think it was Shields who was the problem though; she couldn't have played the role better, it was the character that way dry.  One could say that was purposeful...the dry, somewhat-boring character of Marva was a representation of the drought-ridden town of Sweetwater...yes, I think its stretching things too.

If the story was lacking, the music and lyrics by Alan Menken and Glenn Slater (respectively) and choreography by Rob Ashford were just incredible.  During the Rise Up number, while watching the dancers, I was so taken by the choreography, feeling that it was reminiscent of musicals from days-gone-by; it was gloriously old-school.  The rhythmic gospel music was a high point of the show that I can't get out of my head.  Days after seeing the show, I still find myself going back to CTGLA's YouTube page so I can hear at least some of the music and see bits of the choreography again.

I find great pleasure when musicals make their world premieres in Los Angeles then go on to be successful Broadway shows.  Shows like 13, The Drowsy Chaperone, 9 to 5: The Musical and Curtains made their mark here in Los Angeles, at Center Theatre Group before becoming darlings of Broadway.  With a little bit of revision, I am certain (and hopeful) that Leap of Faith will follow the steps of the Center Theatre Group's shows that came before it.