Interludes

VIEWPOINTS – How are they holding up?: A review of Broadway’s long-running hit musicals (Part 2/3)

• By drediman
• October 19, 2017
• No Comments

Here’s Part 2 of my assessment of Broadway’s long-running musical hits …

HAMILTON

Lexi Lawson and Javier Muñoz in “Hamilton” at the Richard Rodgers Theatre.

Revisited September 5

I predict that Hamilton will eventually become this generation’s Phantom. That is, fast forward fifty years from now, and it’s revolve will still be spinning actors around at the Ricard Rodgers Theatre. However, unlike its “Prince-ly” precursor (whose success relies on sweeping, breathtaking stagecraft), Lin-Manuel’s massive, gorgeous masterpiece has it all – Hamilton is impressive in both construction and execution. Even if the current set of actors don’t quite capture the magic of its original company, Hamilton still moved me to tears during my most recent visit last month. The good news is that Javier Muñoz has grown in the herculean titular role, giving a grounded, soulful performance that seemed semi-formed before, and Daniel Breaker is a deliciously sardonic Burr. Additionally, the sparkling Mandy Gonzalez as Angelica Schuyler is a worthy successor to Tony-winner Renée Elise Goldsberry. However, replacements such as Lexi Lawson (a limp Eliza) and James Monroe Iglehart (an effortful Lafayette/Jefferson) unfortunately find themselves overwhelmed by the dense material.

KINKY BOOTS

J. Harrison Ghee in “Kinky Boots” at the Al Hirschfeld Theatre.

Revisited August 8

Cyndi Lauper and Harvey Fierstein’s Kinky Boots (based on the film of the same name) opened on Broadway in the spring of 2014. Since then, the musical has consistently remained one of the most ebullient experiences to be had on the Great White Way. Even a decidedly middle-of-the-pack replacement cast – which I caught in August – could not dissuade me from feeling otherwise. Although J. Harrison Ghee and Andy Kelso as Lola and Charlie, respectively, gave perfectly respectable, even sometimes inspired performances (especially during key moments), they were unable to fully convey their characters’ scrappy, hard-fought journeys. Nevertheless, I had a fabulous time; I attribute this mainly to Ms. Lauper’s effervescent, rock sold pop score. Note that Tony-winner Billy Porter and Stark Sands are currently back in the roles they originated. I may have revisit this one to relive these two actors’ unsurpassed performances.

THE LION KING

“The Lion King” at the Minskoff Theatre.

Revisited June 30

Hamilton is not the only musical following down Phantom‘s long-running path. Disney’s The Lion King is doing the same, and is much further down the money-making road. If the Elton John / Tim Rice collaboration was a huge success as an animated feature film, the stage adaptation – now celebrating two decades in New York at the modern, impersonal Minskoff Theatre – is an even bigger juggernaut. What’s fascinating about The Lion King is that nothing has changed about it. After having seeing it about a dozen times since its 1997 Broadway premiere (the most recent visit was this past June), it’s pretty much been the same exact experience each time. Even the actors seem cloned, indistinguishable from one viewing to the next. I wouldn’t be surprised if the actors up onstage at the Minskoff have been robots all along, kind of like the convincing creations on display at the Hall of Presidents in Disneyland. Joking aside, The Lion King, directed by Julie Taymor to award-winning acclaim, remains that curious, seemingly coincidental cross-section between Disney’s bland, benign sensibility and downtown New York’s contemporary dance and avant-garde theater scenes.

THE PHANTOM OF THE OPERA

James Barbour and Ali Ewoldt in “The Phantom of the Opera” at the Majestic Theatre.

Revisited August 24

Hal Prince’s production of Andrew Lloyd Webber’s The Phantom of the Opera – the longest-running show in Broadway history – is fast approaching its 30th anniversary at the Majestic Theatre, a staggering accomplishment. What’s even more astonishing is the fact that the production remains in tip-top shape. Phantom, at least in this original Prince staging, is the kind of show that relies on its extraordinary stagecraft. Indeed, the success of the production at the Majestic is dependent upon its lavish traditional designs (courtesy of the late Maria Björnson; no projections here!) and cinematic and evocative storybook direction to theatricalize Gaston Leroux’s tale of a masked ghoul who haunts the Paris Opera House. Even with merely serviceable actors at the production’s helm – James Barbour is an ultimately bland Phantom, and Ali Ewoldt is a lovely, if unmemorable, Christine – Prince’s Phantom works. It’s this kind of actor-proof staging that has made this musical insusceptible to both critics and, indeed, time itself.

To be continued …