Beetlejuice

Beetlejuice

Winter Garden Theatre

August 20, 2019

Photo courtesy of Beetlejuice

The Broadway production of Beetlejuice is wild, crazy, and over the top.  Director Alex Timbers pulls out all the stops.  The minute you walk into the Winter Garden Theatre you are drawn into a fun house atmosphere.  Music and lyrics by Eddie Perfect establish an environment and pace that keeps the audience captivated and engaged.  The choreography by Connor Gallagher is energetic and creative.  The scenic design by David Korins, costume design by William Ivey Long, and lighting design by Kenneth Posner brilliantly come together, making the show a visual feast that exceeds the highest expectation.

Rob McClure, Alex Brightman, & Kerry Butler
Photo courtesy of Beetlejuice

The show opens in a cemetery.  Lydia (played by Sophia Anne Caruso) is burying her mother.  Enter Beetlejuice (played by Alex Brightman), who lightens the mood by making it clear that the story we are about to see is “all about death.”  He needs to get a living person to say his name three times in order to achieve his quest, which is to be seen by the living.  He visits the home of Barbara (played by Kerry Butler) and Adam (played by Rob McClure).  They are about to die.  They will be able to see him as they pass over.  His plan is to trick them into helping him by getting them to haunt their house.  When the new owner, Charles (played by Adam Dannheisser) moves in with his daughter Lydia and their Life Coach, Delia (played by Leslie Kritzer), they all face one life and death encounter after another.

Leslie Kritzer & Adam Dannheisser
Photo courtesy of Beetlejuice

The only way to make this raucous story work is with a cast that can bring it to life and make it believable.  Every member of the cast rises to that challenge.  Alex Brightman is absolutely amazing in this role.  He is a vocal powerhouse, instantly switching tone and intention.  His comic timing is impeccable.  His energy is sharp and awe-inspiring.  Leslie Kritzer  also delivers a phenomenal performance.  Her timing and physicality are perfect.  Her range is amazing.

Beetlejuice is playing at the Winter Garden Theater.  If you’re looking for a fun time, this is the show to see. 

Domenick Danza

A Parallelogram

A Parallelogram

Second Stage Theater

Tony Kiser Theater

August 18, 2017

 

Photo courtesy of Second Stage Theater

In his play A Parallelogram, Bruce Norris asks the questions: If you are able to go back and live your life over again, knowing how it will turn out, would you do it?  There are a lot of complex issues to contemplate in a decision like this.  His play, while delivering a lot of laughs, considers them all, and also looks at the probability of affecting a different outcome if you have the courage to change your actions.

Bee (played by Celia Keenan-Bolger) is in the middle of a heated discussion with her boyfriend Jay (played by Stephen Kunken), when the woman she met at the grocery store earlier that day (played by Anita Gillette) pushes a button on her remote and rewinds the scene so Bee can relive it.  She does this a few times until Bee is satisfied with her participation in the discussion.  The woman explains to Bee the science behind the phenomenon.  She then reveals to the audience that she is from the future, when most of the population of the world dies off from a mysterious illness.  She does not.  She is Bee in the future.  She is able to tell Bee the outcome of her experiences.  The remote (a parallelogram) offers Bee the opportunity to move backwards and forwards in time to assess her choices and possible change her behavior.  Will any of this effect the final outcome?

Photo courtesy of Second Stage Theater

Celia Keenan-Bolger portrays Bee rationally and logically, allowing for the transitions in time to be realistic and believable.  Her character is driven by and inquisitive desire to understand how her actions can improve the future.  She challenges the rules of the parallelogram as set up by her older self, and keeps the action flowing forward with her determination.  Anita Gillette is beguiling, direct, and funny as Bee's older self.  Her monologues are full of information needed to understand the context of the story.  She delivers them with charm, energy and delight, keeping the audience engaged as the complex layers of the story unfold.  Since Bee’s boyfriend is not in the know of the phenomenon, Stephen Kunken plays Jay as the straight man for most of the jokes, setting up and following through with the situational humor keenly established by Ms. Bolger and Ms. Gillette.  He does not miss a beat.  His comic timing and physicality is spot on.

Celia Keenan-Bolger & Anita Gillette
Photo courtesy of Second Stage Theater

The set, designed by Rachel Hauck, is a realistic rendition of two interior locations.  What makes it spectacular is the way they move into place.  At the push of a button, the stage right and left walls smoothly spin and the upstage wall moves forward, then back again.  This, along with lighting design by Kenneth Posner and sound design by Matt Tierney, creates the swift flow the story line requires in order to be credible and engaging. 

Mr. Norris’ play is very well constructed and keeps you thinking throughout.  The direction by Michael Greif keeps the action tightly focused on the details that make the show work.  The Second Stage Theater production of A Parallelogram is closing on August 20.  Their upcoming season looks great.  Check out their website for details. 

Domenick Danza

Finding Neverland

Finding Neverland

Lunt-Fontaine Theatre

October 31, 2015

Photo courtesy of Finding Neverland

I remember being inspired by the movie Finding Neverland starring Johnny Depp, Kate Winslet, and Freddie Highmore, who lit up the screen and captured the hearts of audiences everywhere.  When I saw the posters and advertisements for the musical version opening on Broadway last season, I knew that it had the potential for greatness, even though I could not remember the details of the story line.  The Broadway production is energetic, bright, and heartwarming.  It is not the story of Peter Pan, but the personal challenges of the writer J. M. Barrie and how and why he came to write his timeless tale of the boy who would never grow up.  Director Diana Paulus magically unravels the journey into the imagination of J. M. Barrie, and creates a production that heals the lost child within all of us.

Photo courtesy of Finding Neverland

The entire cast, led by Matthew Morrison and four amazing young actors, is bold, skillful, and exuberantly united.  Laura Michele Kelly is touching and tender as Sylvia Llewelyn Davies.  Carolee Carmello transforms in the character of Mrs. DuMaurier under the strain of heartbreaking grief and loss.  The understudy (yes, I saw the Saturday matinee) for Captain Hook, Paul Slade (in for Terrance Mann), gave depth to the role and convinced me to “live by the hook.”

Photo courtesy of Finding Neverland

The staging and choreography by Mia Michaels is what makes the show spectacular.  From the opening number and throughout the show, she surprises and amazes with high energy moves, unexpected patterns, and character driven gestures that move the story forward.  Her use of lifts to make characters fly affirms my belief that, in an era of high-tech theatrics, it is the simplest concepts that are always most effective.

Scenic design, by Scott Pask, is realistic, colorful, imaginative, and bright.  Lighting, by Kenneth Posner, beautifully enhances the mood, time period, and transitions.  The highlight in the score, by Gary Barlow and Eliot Kennedy, is the song “When Your Feet Don’t Touch the Ground.”  I am still singing it.

Photo courtesy of Finding Neverland

This show focuses on the healing power of the creative mind and the value of the imagination.  “A man who does not want to fight (for what he believes), deserves what he gets,” shouts Captain Hook at the end of Act I.  If your playfulness of youth needs to be ignited, see the show and set your heart on fire.

Domenick Danza