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.

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!!!**

SIMPLE JOYS

 Some of the most important memories of my childhood were the (many) times I saw Annie (the first time I saw the show at the Shubert Theatre in Los Angeles, Annie was played by the talented Marisa Morell). I was completely entranced (obsessed really) by the score, the music and the little girls singing and dancing (I always thought I should have been one of them) - I wore out several copies of the cassette version of the original cast recording and attempted (in vain) to learn how to play the piano score. Andrea McArdle (who in 1977 was the youngest actress nominated for best actress in a musical for playing the title role) was my first musical theatre hero because it was her voice I first heard as Annie on the Original Cast Recording (OCR). I tried so hard to sing like her when friends and I would perform numbers from Annie in my backyard while wearing our Annie dresses. Needless to say, Annie easily became an extremely important piece of my childhood (and undoubtedly countless other little girls)!

(l-r) Melody Hollis, Andrea McArdle & Mikey

Throughout the years, there have been too many times to count that I have seen various stage productions of Annie. For some reason, each production I have seen never seems to be as good as the one before it. One production in particular I saw not too long ago was such a disappointment that I began to think that maybe my memory of the show was far better than the reality. Then, I saw Musical Theatre West’s production of Annie and that all changed. My inaugural visit to Musical Theatre West (now in its 58th season at the beautiful Richard and Karen Carpenter Performing Arts Center) did not disappoint. To start, my childhood hero, Andrea McArdle returned to the show that made her famous, but this time starring as the villainess, Miss Hannigan. Some 30-plus years after making her Broadway debut as the famous red-headed orphan, it is not difficult or strange to see McArdle return to the show as Annie’s nemesis. Quite the opposite actually – it was easy and refreshing to see McArdle as a more subtle Hannigan (funnier without being too campy). While excellent, McArdle’s performance never outshined that of Melody Hollis (Annie) who was easily one of the best Annies I’ve seen to date. In addition to having a strong, beautifully belt-y voice, there was an effortless spunkiness and nurturing quality to Hollis and an easy chemistry between her and each of her co-stars.

I thought that the chorus numbers were fantastic but never realized how significant the Hooverville number was until the strong performance by this ensemble. The girls who played the orphans – Jena Rosen, Paige Befeler, Alexa Freeman, Maddison Milledge, Danielle Soibelman and Grace Kaufman – were strong and made the ensemble orphan numbers highly enjoyable. As Oliver Warbucks, it was easy to see Jeff Austin as both a gruff corporate billionaire who seemed to naturally soften when in the presence of the talented Melody Hollis.

It is because of McArdle’s performance of Annie on the (OCR) that drew me to the show so many years ago and it is because of her current association with the show that I rediscovered my love for it again. If I were a little girl now, I think Hollis would be the reason I would be drawn to Annie the same way I was drawn to McArdle – her performance was energetic and delightfully sung and is one of the main reasons why this production worked so well.

(l-r) Jeff Austin, Melody Hollis

Annie runs for only 14 performances through November 14 at the Carpenter Performing Arts Center, 6200 Atherton St., Long Beach, CA. 8 p.m. Thursdays and Fridays, 2 and 8 p.m. Saturdays, 2 p.m. Sundays. Call for tickets ($30-$80): (562) 856-1999 or www.musical.org.

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]!

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. 

DO WHATCHA GOTTA DO

Since the 90s, I have been a very consistent patron at the Center Theatre Group's productions back when I referred to its collective theatres as The Music Center (before the Kirk Douglas Theatre) back when The Phantom of the Opera was in residence at the Ahmanson (and held the record for the longest running musical in Los Angeles' history.)  After Phantom closed and the theatre was refurbished, naturally I returned to see the musicals that had finally made their way to Los Angeles from the Great White Way from Showboat to The Light In the Piazza and Spring Awakening (in which I was lucky enough to get stage seating); I saw groundbreaking productions like Caroline, or Change and joint productions with Deaf West Theatre Company: Big River and Pippin; there have also been Broadway-bound shows like 13, The Drowsy Chaperone and Flower Drum Song as well. Shows like these have been feeding my theatre-hungry soul for years. Of course there are some unmentioned productions that I didn't love, yet I am still grateful that the theatre can be so accessible and that I have had the opportunity to see what I've seen, good, bad and ugly.

Its amazing that the quality shows that have most recently played at  Center Theatre Group's theatres because all have truly been such satisfying productions.  I have had the pleasure of seeing shows like  Parade, (see my gushing blog entry here), Bengal Tiger at the Baghdad Zoo, The Glass Menagerie and most recently,  Leap of Faith.  I'm typically not as big a play-goer as I am a musical go-er, but the last two plays I have seen have definitely struck a chord with me and made me want to see more plays.

Bengal Tiger at the Baghdad Zoo was not the kind of play I typically run out to see for many reasons including that it is somewhat fantasy based and that it is about war...the Iraqi War.  I have never been so impressed and so amazed at a story about the aftermath of war that is as hauntingly beautiful as it is tragic and funny.  Bengal Tiger at the Baghdad Zoo opened my eyes and gave me a new perspective that I would have never had if I had missed this show.  Prior to seeing this, I had a hard time believing I would enjoy it, but did I ever!  For days, I was left thinking about the story and wishing I could see it again though not sure if I had the energy knowing I would be emotionally exhausted when it was over.  It kept me thinking about it long after I walked out of the theatre's doors.

I saw The Glass Menagerie next - a play that I had read in high school (I think) and college and though I studied it in depth, I don't know if I was ever that taken by its storyline.   This production  however, was different and I left the theatre practically in tears because I had finally seen a production of this show that I understood emotionally and I was open to and able to really understand its characters and the purpose of the storyline.  Judith Ivey as Amanda Wingfield was superb and when I finally saw who the characters of Laura and Tom were; I understood who they were - that they were bits and pieces of a lot of people I knew (including myself); I saw that some of the people I knew could  (and would) have fates similar to Laura's and it just broke my heart.  Every actor in stage was phenomenal and I left the theatre feeling changed by the production.  Somehow, in those three or so hours, something changed in me and I had a new perspective on my own life and career.

Perhaps it was the idea of hope and faith that drew me to the Ahmanson's most recent production (that I hope goes to Broadway), Leap of Faith; maybe it was the beautiful score by Alan Menken, but either way, I really, really enjoyed it.  I loved the energy of the cast when they sang gospel-y numbers like Step into the Light and Rise Up:







I thought the dancing evoked dance numbers from the Golden Age of Broadway and I found myself bopping to the beat of the music in my seat with a silly grin plastered on my face throughout most of the show.  Typically, I am not the biggest fan of movie turned musicals (however I did enjoy Dirty Rotten Scoundrels) but Leap of Faith really delivered.  At one point as I was discussing the show, I even forgot that this was a movie to musical adaptation.  Since I was trying to be open-minded and keep a positive attitude, I walked into the show not really having any expectations.  Prior to seeing it, I didn't read any reviews, I didn't listen to or watch any clips online because I knew if I did see it, I wanted to go in with a completely unbiased attitude.  Even though I wasn't 100% sure I really wanted to see the show, there were finally two factors that finally made me purchase tickets:

1. I figured it was likely going to Broadway sometime soon and I didn't want to miss it.
2. The recent revival of Company with Raúl Esparza as Bobby gave me a new perspective on him as an actor (ok, I thought he was one of the best Bobby's I've seen/heard) and since then, I have been wanting to see him perform live.

Ok, there were three factors, the third was that I have been desperately wanting to go to the theatre to see a good musical...and I was hoping that this would fulfill my musical theatre fix.

Before I go on, I will say that Esparza is nothing short of amazing in this production as Jonas Nightingale and if it goes to Broadway, I am certain that at the very least, he will be nominated for a Tony Award.  He was that good. During the number (the one to the right) Last Chance Salvation, Esparza was so dynamic, I thought he might be getting a standing ovation before intermission.  The character of Jonas Nightingale walks a very thin line between brilliant and completely overdone and  Esparza was perfectly brilliant - a greasy and smarmy showman in the beginning and transformed into a more sensitive morally aware guy.  As an evangelical con-artist with a heart, Jonas Nightingale has to border the overly exaggerated, high energy, showy performer with some humanity (which Esparza does superbly).  As Marva McGowan, Brooke Shields was a perfect mix of strong and sensitive and could be considered to be a stabilizing force in the show.  Sometimes I thought Esparza overpowered her, but I think that he was supposed to.  When I think of the brilliance of this show, it is Esparza who clearly steals the show with a great supporting cast including Leslie Odom, Jr. as Ricky Sturdevant who also made a pretty substantial impression on me. 

Leap of Faith isn't the kind of show that will keep you thinking about the story long after you leave the theatre in an attempt to try to better understand it but it is the kind of show that will make you smile and remind you about life and hope and humanity.  It is a feel-good musical in the truest sense of the word and I really hope this show goes to Broadway.  With a just a smidge of tightening up, I think it will do quite well.  It was well received by audiences when I went even with the technical difficulties in which everyone kept spilling liquids  onstage, the cast had the audience eating it up (not literally).  At one point, Esparza stopped the show to get the spilled lemonade cleaned up since it would be dangerous to dance on a slick stage. Though the fourth wall was broken, the audience didn't care and loved that the actors were breaking on-stage, trying to hold it together. All in all, this show is fantastic with a first rate cast of actors and dancers who all really shine as a company.  BRAVO!

Leap of Faith closes Sunday, October 24. Such a fun show and this cast isn't to be missed!

CARNAVAL DEL BARRIO

Being so far away from New York, I find it incredibly gratifying when fantastic shows announce that they are touring and finally come into town. What is even better is when original cast members reprise their roles on tour and particularly when they make their way into LA. Ahh, a perk of living in the 2nd biggest city in the country! There are (naturally) business reasons why these actors choose to reprise their roles and I'm sure glad I get to reap these benefits! Recently, I had the good fortune of witnessing the reunited original cast of The 25th Annual Putnam County Spelling Bee when all nine actors sat for the LA run of the show at the Wilshire Ebell Theatre in 2007. It was an awesome, awesome theatre-going experience and I was thrilled that they came together for our little town. However, when it was announced that Lin-Manuel Miranda was joining the In the Heights tour during its LA run, I was elated! Ever since I discovered this show, I have been a fan of both it and its creator and star Lin-Manuel Miranda.

It was a great sight to see the diversity in age and ethnicity of audience members at LA's Pantages Theatre. Lately, the shows I've been attending consist of an older crowd and seems to lack diversity. Initially I thought that maybe In the Heights was a more modern show which attributed to the mix of audience members. However, I don't even think there was as much diversity in the audience at another modern musical - Spring Awakening at the Ahmanson a few years ago (as well as when I saw it on Broadway). Seeing such a diverse mix of ages and ethnicities at In the Heights reminded me that this was a show that was speaking to a wide range of people because of its story and its message. It was lovely to see the excitement from families and groups of friends or couples as they gawked and took pictures in front of the theatre. I saw a small group of high school students giggling, pointing (and swooning?) at photos of Miranda in the souvenir program and just loved the sight of it!

Sometimes, the anticipation of seeing a show outweighs what the reality of it is for me. Regarding In the Heights, I certainly was not disappointed. What a fantastic show! In the age of revivals and jukebox musicals (the latter of which I am not a fan), it is rare to find a quality original new musical and when I do, I hold tight. When these shows are really good, I have discovered that I really do embrace the differences that these new works have over the classics. While times change, styles change and music changes, stories do not. If told correctly, these stories can be retold in new, unique ways that have the opportunity to open a new generation or new groups of people to musical theatre. The story of In the Heights is not new; it is about family, love, self-discovery, life and finding your way home. Yet the stories are told using rap and hip hop hand-in-hand with ballads and soliloquies. In the Heights blends the old with the new infusing it with incredible energy that excitement. I have been known to be critical in my reviews of shows - maybe unnecessarily critical at times - but my criticism for In the Heights is (as far as I can tell) nonexistent.

When it comes to touring casts of shows, I have seen one too many shows fail because the casts as a whole is lacking. The creative team of In the Heights really cast some first-rate performers in this show. Maybe these actors were more encouraged or fueled by the energy from its creator and original Usnavi (Miranda), but I think its because they were really just that good. As I stated earlier, I was ecstatic when I learned that Miranda would be reprising his role of Usnavi for the L.A. run. He did not disappoint one bit and I just loved seeing him live, hearing him perform the character that he created and it was an amazing night. Miranda was energetic, completely in the moment, on point in his rhymes, his dancing and his overall performance. I found myself bopping in my seat to the music, sniffling and holding back tears during the more emotional scenes and appreciating what kind of work went into the show.

I think it is safe to say that I will try to catch one more performance of the show before it leaves at the end of July. I am looking forward to seeing what Miranda and Kenny Ortega do to In the Heights when it makes the leap onto the big screen. With Miranda starring in it and having creative control over the show, I can only imagine what he will bring to the newest version of In the Heights. What started out as a small three-day production at Wesleyan University has become taken off into something so fantastic! I am proud to support the show, its creator and really hope that others will feel the same. In the Heights is not your grandparents' musical, it is young, fresh, hip and hopefully will change the way you feel about musical theatre while preserving the traditions of the genre in its golden age.

For the record, if you want to love Lin-Manuel Miranda even more, revisit this post from Christmas 2008. Dreams come true and LMM & cast certainly made sure of that.