Interludes

VIEWPOINTS – How are they holding up?: A review of Broadway’s long-running hit musicals (Part 1/3)

• By drediman
• October 18, 2017
• No Comments

During the summer and early fall – less busy times for New York theater – I had the opportunity to assess the current state of Broadway’s established, long-running institutions, ahem, I mean musicals. Long after their iconic original casts have departed, these war horses have been able to sustain demand, mainly by shrewdly tapping into the city’s tourism market. But does the fact that these hits continue to run and fill their houses mean that they are any good? Or have these shows devolved into merely shadows of what they once were? If you’re curious, read on.

ALADDIN

Telly Leung in “Aladdin” at the New Amsterdam Theatre.

Revisited September 3

Of the Disney movie musicals that dominated the animated feature film market in the 1990s, Alan Menken and Howar Ashman’s Aladdin is the one that I especially hold near and dear to my heart (but to be honest, I pretty much love them all). It’s the creation that, in my mind, has most in common with the classic Broadway musical comedy idiom – smartly crafted, splashy, and, above all, energizing. I found the original cast of the 2014 stage adaptation at the drop-dead gorgeous New Amsterdam Theatre to strive a bit too eagerly to attain that impossibly perfect, almost artificial, Disney veneer. A few years into its run, the production has loosened up a bit, for the better. Indeed, the current cast  seems to be having genuine fun up on the stage, and it’s infectious. Telly Leung’s arc as the title character moved me more than the Aladdin of Adam Jacobs, who was charming, albeit plastic-y, in the role. Mr. Leung’s take is scrappier and more vulnerable and therefore far more compelling in its humanity. Also, if you’re sad to have missed James Monroe Iglehart’s ingenious Tony-winning turn as the Genie, fear not: Major Attaway’s performance is a close replica.

BEAUTIFUL

Abby Mueller in “Beautiful” at the Stephen Sondheim Theatre.

Revisited September 7

Jessie Mueller ascended to Broadway diva status with her Tony-winning performance as Carole King in the long-running musical Beautiful at the Stephen Sondheim Theatre. This summer, I caught her sister, Abby Mueller, take on Ms. King on Broadway (Abby had previously launched the first national tour of this popular jukebox musical). While Abby killed the vocals – her voice sounding wonderful wrapped around those immortal hit parade songs – her acting unfortunately failed to convey the depth and lacked the bruised presence that her sister Jessie brought to her performance, thereby elevating this cookie-cutter musical to a special, moving theatrical experience. As a result, the show’s inarguably mediocre book stuck out like a sore thumb, more so than ever before.

NOTE: The role of Ms. King is now being played by Stratford Festival favorite Chilina Kennedy.

THE BOOK OF MORMON

Brian Sears and Nic Rouleau in “The Book of Mormon” at the Eugene O’Neill Theatre.

Revisited September 12

Six years ago, The Book of Mormon opened to some of the most ecstatic reviews in Broadway history, garnering a fistful of awards and legions of fans. Since then, this irreverent musical comedy has been selling out the Eugene O’Neill Theatre without fail. Nic Rouleau and Brian Sears now play Elder Price and Elder Cunningham, respectively, in this long-running hit. Both had spent a substantial amount of time with the West End production, and it shows. They are giving thoroughly professional performances (particularly the endearing Mr. Sears) worthy of such a prized franchise. That being said, repeated viewings have not been kind to The Book of Mormon. What once had me in stitches now merely induced smiles.

CHICAGO

Charlotte d’Amboise in “Chicago” at the Ambassador Theatre.

Revisited August 1

The 1996 revival of Chicago, now playing at the Ambassador Theatre (after having played the Rodgers and the Shubert), has long been my go-to guilty pleasure on Broadway. With one of the great scores in the history of musical theater, courtesy of the great team of Kander and Ebb, and a quickly revolving door of stars, Chicago invites repeated visits (ideal after a long day at the office, along with a strong cocktail). The show remains in solid shape and currently features perhaps my favorite Roxie Hart of all time, Charlotte d’Amboise. Ms. d’Amboise, whom I’d first seen in the role twenty years ago in the original company of Chicago’s first national tour (in the Windy City!) is that perfect combination of playful innocence and dangerous sex appeal. She’s also one of the great hoofers in the business. The production also currently features excellent long-time Chicago alums Amra-Faye Wright as Velma Kelly and Tom Hewitt as Billy Flynn. With this cast, now is a good time as any to revisit show.

To be continued …