General, observations. The show is an ensemble caste which is vintage Sondheim. In some aspects, this ensemble reminded me a little "Company." The music is full of his signature "patter-songs," witty phrases, and interwoven melodies. I couldn't help by hear foreshadowing of music from "Pacific Overtures." Keegan Theatre is an intimate house: 12 seats across (6 on either side) with a shotgun aisle straight up the middle from row A at the stage to row H which has an extra seat on the stage right side--97 members for a packed house. My seat: E1, stage right on the aisle was the farthest up seat I've ever purchased. It was perfect.
The set was amazing. Designed with multiple levels all covered in newsprint with historic images and a series of suspended placards upon which images could be projected. It was versatile and gave actors multiple vantage points from which to perform. The choreography was likewise suited to the space and the performers and what I liked best was that it was not simply interesting, but appeared to be effortless on the part of the actors who represented a range of ages and body-types. It's a kiss of death to see a show that leaves actors looking foolish and out-of shape, even as it is a gold badge to see a group that to not initially appear to be dancers, move so well together. Kudos to choreographer Jennifer J. Hopkins.
As to this performance: I brought with me the inevitable shadow of a comparison of these actors with Radcliff, Groff and the other women. It took me about 15 minutes to forget them. And they never clouded my thoughts again. This cast will be my "Merrily We Roll Along" cast. Every other will be judge against them, and I am completely comfortable with that. The supporting members who's role grew as they digressed in time were delightful. In particular, Sumie Yotsukura as the ambitious, take no prisoners actor, Gussie Carnegie, who's lifetime of using others finally (or initially) discovers karma was deliciously portrayed. Brigid Wallace Harper's performance of Beth Shepherd, the ex-wife, wife, and protege of principle friendship member, Frank Shepherd was energetic and captivating. Her rendition of "Not A Day Goes By"--everything I could have hoped for and more.
All three members of the central triad were wonderful, but I am going to focus my attention on only on of them. Harrison Smith was a member of the cast of "Urinetown"--the first show I attended in my modern iteration of Theatrical living back in September 2016. Since then, I seen over two hundred shows and nearly 500 actors. Around 30 are repeat offenders such that I recognize their names and can associate them with their body of work in the past 7+ years. Of those, I can divide them into three categories: 1) Journeymen (solid performers, no worries, I still see the person in the performance), 2) Utterly Evolved, a revelation with every role, and 3) On the Road to Revelation. The first group earns a burger and enjoys a burger--job well done! The second dines on steak, because steak is what they've earned. The third group isn't satisfied with a burger, longs for steak and perhaps even wonders what comes next. Harrison Smith's performance as the nerd-ly, bookish, socially awkward, Charley Gringas was in all things and every way not short of Filet Minon! The evolution of his voice (both as a singer and actor), his courage, his commitment, his physicality...I was mesmerized by the entire performance. He was the best part of an amazing production without flaws.
If I had one disappointment, it was with Keegan. They never told the audience that roll of Mary Flynn was performed (amazingly!) by her understudy, Allison Fitzgerald. Or that Allison's rolls were being covered by "swing" Emily Levey. And, I not sorry, there's no excuse. They have a PA system.
No comments:
Post a Comment