“Happy Days - A New Musical”

Goodspeed, East Haddam, CT
through June 29, 2008
By Shera Cohen

Expect the expected at Goodspeed Opera House for their run of “Happy Days – A New Musical.” For the millions of baby boomers and their parents who loved the TV series, this is a step back in time to fun of the fifties, rock ‘n roll, perfect families, and poodle skirts.

The musical’s title is a bit of a misnomer. Yes, the production is “new.” But there is nothing “new” about “Happy Days.” That’s quite alright. There’s Richie and his buddies, Mr. & Mrs. C, Joanie and Chachi, Arnold’s hangout, and dialogue that’s “really cool.” While not a series regular, Pinky – the hot chick in pink – plays a major role in the musical. Of course, there’s Fonzie. Ronny Howard was credited as the show’s star, but it was Henry Winkler who stole the show. Well, there’s no pretense this time. This play belongs to The Fonz.

Joey Sorge and Sandra DeNise (Fonz and Pinky) create characters, both rough on the outside and fragile on the inside, who are perfect together as they sing to or about each other. Sorge’s “Heartbreak” and DeNise’s “Message in the Music” offer examples of the singing and acting skills of the duo.

There is next to no story. Audience members could have easily turned on a “Happy Days” rerun on “Nick at Nite.” Important is the energetic, athletic, youthful cast of what seem like a dozen “American Idol” top winners, on a colorful and brightly lit set. Put together, these elements make for wholesome entertainment.

Many actors take double and triple roles. While not on the “star” list, Matt Merchant is particularly noticeable as Elvis and later as a tough guy wrestler. Merchant creates caricatures that don’t need to sing very well, but his voice is one of the best onstage.

It is obvious that the actors were cast to look like those on TV. At times, the musical even makes fun and inside jokes about the series. It’s doubtful that the balcony of school kids “got” all of the humor. What they got was a look at times when the worst problem of the day was which plunger to purchase or picking a favorite song on the jukebox.

"The Producers"

The Bushnell, Hartford
January 15; runs through Jan. 20
By Bob Smith

Those of you who worry that “THE PRODUCERS” needs star-powered leads to succeed, needn’t fret; the touring production now showing at The Bushnell proves that the material works just fine without a Nathan Lane or Matthew Broderick. The book, music and lyrics, all by Mel Brooks, proudly hearken back to the days when musicals had big songs, big dance numbers and big heart. Of course, it also has Brook’s bawdy humor to keep you rolling in the aisles when you’re not humming the tunes.

Since the show won more Tony awards than any other show in history, there is a good chance you already know the plot. Max Bialystock, a down and out Broadway producer teams up with meek accountant Leo Bloom to stage the worst show in history so that they can pocket the investors’ money and head to Rio.

Brad Nacht, as Max, actually has a number of qualities in greater abundance than Lane, including a stronger singing voice, more imposing physique and better looks. When he sums up the story near the end of the show in “Betrayed” he commands the stage with such physical presence that it feels like he’s singing in your lap. His Max owed more to Zero Mostel, with the heavy shtick toned down and a bit of pathos crossing his face.

Austin Owen, as Leo and Elizabeth Pawlowski as Ulla, each had a chance to bring down the house with his “I Want to be a Producer” and her ‘When You Got It, Flaunt It” and they certainly succeeded. Both were charming and energetic performers. Much credit for the show’s vigor goes to all the ensemble players (female AND male) who played the little old ladies that Max woos for “checkies”.

For this show to be done well, no expense should be spared in the costuming and this production delivers on that requirement. From the dancing girls festooned with sausage, pretzels and beer steins to Ulla’s flowing blue dress, each outfit contributes to the narrative by enhancing a character (See: bawdy humor) or serving as an actual punch line (the shiny $10,000 Chrysler building costume worn by effete director Roger De Bris).

This is fifth version of “THE PRODUCERS” that I have seen; the Broadway version with Lane and Broderick, the Bushnell’s last touring production with Alan Ruck from TV’s “Spin City”, the original movie and the film of the musical. If you haven’t seen any incarnation, then this is a great place to start. This is simply a great show!

“Guys on Ice”

Majestic Theater, West Springfield
Through February 10
By Shera Cohen

No, the musical currently running at the Majestic is not about Brian Boitano, Scott Hamilton, or even Will Farrell. “Guys on Ice” is, however, a lot slicker than any movie starring Farrell.

When this play was listed on the Majestic’s 2007/08 roster it brought quizzical looks and “I never heard of it” comments. Written by Fred Alley and James Kaplan added little insight. This was not to be a “Miss Saigon” – the Majestic’s huge hit in recent years. Yet, this musical, with its cast of three, may go down in WestSide as the funniest ever produced.

With the backdrop and floor of pastel blue and white, lighting created the set for this contemporary Wisconsin winter fishing hole. A rustic shanty turns 180 degrees for the audience to see the exterior and interior. Throughout the play, two buddies prepare to ice fish as they await a local television crew to film them. The men are equally dim, nice people, who seek very little in life but their 15-seconds (not minutes) of fame.

Equity actor Sam Rush and novice Alec Nelson are Marvin and Lloyd, respectively. Each is perfect for his role, and they are perfect together as they portray guys just being guys, telling jokes, drinking beer, wishing their love lives were better, drinking more beer. Neither actor is a great singer, and that’s how it’s supposed to be. The songs are funny; i.e. Rush doing “King of the Icemen” a la Elvis, and the showstopper “Snowmobile Suit” with its ingenious choreography. Without “giving it away,” never before have Velcro and zippers been utilized to achieve such humor. Special note must be made on their wonderful ability to maintain their accents. It wouldn’t be a surprise if after six weeks in this play, the actors find it hard to kick the Wisconsin “yaaah.”

Frank Aronson, in a smaller role, creates an intermission segment with audience participation that has everyone laughing. Talented Amy Crawford “is” the orchestra, on her piano.

“Guys on Ice” is a musical play to warm your heart with a smile and a belly laugh. Both are welcome. The Majestic has the perfect show for this season.

"Wicked"

The Bushnell, Hartford
Running through December 9
By Bob & Sharon Smith

You can tell that the musical WICKED strikes a cord with the audience just based on the excited energy buzzing through the capacity crowd at the Bushnell. The audience responds to this tale of “what happened before Dorothy dropped in” to Oz, partly because it is a stirring production and partly because of the dual personalities of Elphaba and Glinda, the Witches Wicked and Good. Who, at one time or another, has not felt like an outcast or yearned to be popular, as are these two very different schoolmates? The last notes of the final number had not even been sung and the audience was on their feet.

Like the Harry Potter books, WICKED uses a fantasy setting to explore modern themes. “Where I come from,” the Wizard explains, “the best way to unite the people is to give them a common enemy.” When Elphaba discovers that some of the very issues she was hoping “the Wizard” would fix are of his own creation, she vows to use her
powers to set things right. Using misinformation and spin control, she is soon branded a ‘wicked” witch and declared a pubic enemy.

Unlike another fantasy franchise where the “backstory” of the villain is revealed, ("Star Wars" Episodes 1-3) the audience can readily accept and believe this origin story because it is presented with far more emotional and personal investment than that of Darth Vader. All of the characters grow and develop in WICKED and it is
often as much the story of Glinda as it is of Elphaba.

The leads certainly rise to the challenge; Carmen Cusak (Elphaba) and Katie Rose Clark (Glinda) were well matched as friends and foils. The music and lyrics by Steven Schwartz are evocative and stirring, giving Cusak a number of show stopping, emotion-packed numbers. “I’m Not That Girl,” “Defying Gravity,” and “No Good
Deed” brilliantly reinforce Elphaba’s inner life. “Popular” is Clark’s showcase and never has an ode to shallowness been crafted with such heartfelt conviction. In the end, when the two join together in “For Good,” the audience truly believes in the depth of their mismatched friendship.

The costumes of the inhabitants of Oz, despite their bright colors, are a bit grotesque and when they all donned round green glasses it looked like “The Rocky Horror Picture Show,” not Oz. But this is just a minor point in a brilliant production, which is getting its second run through Hartford in recent years.

One technical note: there was a crew member located in the light rigs that had the loudest headset voice ever heard in a professional setting. His voice rang out clearly during two very poignant musical numbers.

"1776"

Goodspeed Opera House, East Haddam, CT
Running through December 9
By Shera Cohen

While historians may guess at facts about the creation of these United States of America, no person in this century can go backwards 230 years. The most anyone can really know is hearsay. Given this obvious information, the musical "1776" is probably the best depiction of what happened on those hot summer days in Philadelphia.

"1776" is a thrilling, you-are-there (well, almost) account of the months, days, and literally the minutes leading up to July 4th. In spite of our knowing the outcome – to separate from England or not – there is definite tension in the play as the audience awaits the final count of the 13 voting colonies. The story is dramatic at its core, yet so full of humor that one can't help but laugh out loud, and often. The dialogue and song lyrics are purposeful and important.

How Goodspeed fits 26 actors on its small stage is still a wonder. In the play's first minutes, a huge British flag/curtain rises on the poised and motionless image of our founding fathers. It is stunning and receives instant applause. Every stage element is there and is perfect; i.e. set design, costumes, hairdos, lighting. In spite of having the burden of directing such a large cast, Rob Ruggiero makes each character an individual.

Peter Carey (John Adams) leads a troupe of excellent, professional actors/singers. His is a demanding role as he portrays this physically slight man with gigantic dreams, power, ego, and even self-doubt. Carey has the most lines and songs; he is the linchpin that holds the plot and the other 25 characters together. In significant supporting roles are Ronn Carroll (Ben Franklin) who looks exactly like he should look and spouts Franklin-isms constantly; Jay Goede (John Dickinson) as the uptight, conservative naysayer of the Declaration; and Glenn S. Allen (Edward Rutledge) whose "Molasses to Rum" song is almost frightening dramatic. There are only two women in the cast, and they hold their own well with the men. In particular, Jayne Paterson creates a very real Abigail Adams.

As it began, the final curtain is quite memorable with a trick which this reviewer will not give away. Every citizen in this country should see this play at least once.

“Shout! The Mod Musical”

CityStage
through October 21
By Barbara Stroup

“SHOUT ! The Mod Musical” opened at CityStage to long and well-deserved ovations. President Cynthia Anzalotti chose this colorful celebration of the ‘60s show to mark the beginning of the theatre’s 10th anniversary year.

Five amazing ‘girl’ singers populate the stage throughout the no-intermission and high-energy production - they are named only by the colors they wear. These talented performers bring just the right sensibility to the production’s 30 songs of London’s mod ‘60s as they sing in solos and in varying ensemble combinations. Director Jay Falzone’s choreography never overtakes the music and none of the songs go on too long. Four decades later we hear a sameness to these rhythms and orchestrations, but the production’s volatility overcomes it. These athletic performers are having fun with the music and although it took a while, the audience soon caught on to the humor.

Weaving these songs together into a coherent whole are a few recurring plot substitutes – a large “SHOUT” magazine reveals the year on its back cover and gives the girls insights into mod culture. Off-stage, advice-giving voices preach put-down answers to universal relationship questions.

While referencing the best of mod London’s music, the production refuses to take the ‘60s too seriously. In fact, the lyrics are often mocked by literal stage movements – ecstatically so in one case. One-liners delivered in the style of television’s “Laugh-In” give us even more opportunity to laugh. One awkwardly serious moment comes up toward the end; it reminds us what happens to some women in every decade behind doors that hide the abuse of power and violence. But the mood quickly turns light again with a nostalgic “Those Were the Days,” and the audience sings along until the show’s terrific finale and curtain calls.

This reviewer would love to have seen this production with live musicians. These talented women deserve the opportunity to interpret the songs beyond what’s available with a pre-mixed, back-up recording. First night glitches in the sound and miking will surely disappear. For an ensemble that probably saw the theatre for the first time that afternoon, Wednesday night’s opener looked polished and practiced. Anzalotti greeted the audience like old friends who all seemed happy to be kicking off a new season at CityStage -- “Downtown!”.

“High School Musical”

The Bushnell
Through Oct. 14
By Bernadette Johnson

There was no mistaking fans of the 2006 Emmy Award-winning “High School Musical” who turned out en masse for the stage version. They tended to be well under five feet tall, wide-eyed and expectant, parents in tow.

In this smash Disney Channel hit, popular basketball jock Troy (John Jeffrey Martin) and class brainiac Gabriella (Arielle Jacobs) defy their friends’ expectations by auditioning for the school musical, much to the dismay of to-date undisputed star Sharpay (Chandra Lee Schwartz) and twin brother Ryan (Bobby List). Landing a callback, the budding thespians are thwarted by Sharpay and by well-meaning classmates and teammates, who are intent on upholding the “status quo.”

The touring company wowed with their unflagging high energy, crisp precision and timing of intricately choreographed numbers. The fact that the band often overpowered the cast (and the cast our eardrums) didn’t seem to matter to the denizens of Disney Channel, who knew all the lyrics and sang along and clapped spontaneously.

While Martin and Jacobs quickly won hearts with their youthful innocence and tender duets, Ellen Harvey as Ms. Darbus, the school’s drama coach, upped the ante with a quirky no-holds-barred delivery, while Schwartz and List dazzled and delighted as the scheming arch rivals, particularly with their rendition of “Bop to the Top.”

Script writers have met challenges head-on as have set designers. The film’s laid-back detention scene evolves into farcical improvised drama onstage, and scenic designer Kenneth Foy arranges for too-numerous-to-count scene changes (hallway to gym to chem lab to theater to cafeteria etc. and back again) to flow seamlessly.

If there was any doubt about the popularity of this production, it was obliterated by screaming tweens, who took to their feet with Troy and Gabriella’s first kiss and whose deafening cheers rocked the house through the very last bow and final curtain.