Category: Broadway Musical

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The Phantom of the Opera

I saw my wonderful ballet teacher Deanna Doyle perform on Broadway. Deanna: You looked great! I wish I could have seen you as Meg Giry though. 😉

About time I caught the longest-running Broadway musical. I had expected the many familiar songs: Think of Me, Angel of Music, The Phantom of the Opera, The Music of the Night, All I Ask of You, and so on. I was curious how the chandelier would fall in live theatre. However, I wasn’t quite prepared for the other special effects like the columns of fire on stage. I suppose there’s a reason why Phantom is referred to as the ultimate mega-musical.

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Cats

At the Jellicle Ball with the Jellicle Cats: Memory, happiness, and lots of fabulous dancing.

I’m quite certain I’ll be hearing “memory” in my head for the rest of week. Grizabella (Mamie Parris) sends shivers down my spine with her gorgeous voice.

Asparagus (Christopher Gurr) gives an amazing performance from his initially stuttering as an aged theatre cat, to reliving his former glory as East Lynne, Firefrorefiddle, and Growltiger. Wow!

Loooooove Jellylorum (Sarah Jane Shanks) for her heartfelt introduction of Asparagus. Her every gesture, every facial expression, every glance is filled with care and admiration for Gus. Sitting in the audience, we learn to respect Gus because of Jellylorum, before Gus even utters his first word. I can’t think of a better way to open the scene. Bravo!!!

Kudos to Sillabub (Jessica Cohen) for her moments of happiness, for her beautiful movements, and for her lovely voice in memory. You are my favorite cat of the night! ❤️❤️❤️

I also love the chemistry between Mungojerrie (Zachary Daniel Jones) and Rumpelteazer (Haley Fish). If I ever get robbed by a cat, I hope I am robbed by you. At least I’ll be well entertained.

Best dancers go to Mister Mistoffelees (Corey John Snide) and Victoria (Claire Rathbun), though every cat is dazzling tonight. This is such a musical for dancers. Great job, everyone! 😍

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Anastasia

An entertaining evening with gorgeous costumes, a lovely White Ball, wonderful singing, and stunning visuals. Also, Christy Altomare could make anyone fall in love with her and bow to her highness.

Costuming in Anastasia is gorgeous beyond imagination, especially for me as a vintage dancer whose favorite dance period is 1800s through 1910s.

Love all the waltzes, polkas, and gallops at the White Ball in Saint Petersburg. Coincidentally, I had originally registered to attend a historical dance week in Russia next week (but cancelled due to a work conflict). The signature event of the week is a White Ball in Saint Petersburg. Awwwwww…..

Christy Altomare is perfect as both Anastasia and Anya. Love the amazing chemistry between Christy, Derek Klena (Dmitry), and John Bolton (Vlad Popov) that make the story so heart-felt.

Wonderful singing from everyone in the cast.

Finally, bravos to Sissy Bell as Odette and the other dancers for staging Swan Lake in the middle of a musical. The ballet appears to be danced on the marble floor on stage though!?!?!?

This one is for you, Anita Mannings: Anya is feisty, strong, and determined to find her identity. As she recalls more of her past, Anya starts to think she really is the Grand Duchess Anastasia Nikolaevna of Russia. More than having just memories and royal demeanors, however, she must be recognized by her grandmother, Dowager Empress Maria Feodorovna, to become a true princess. In order to pass the test, her grandmother reminds her: “You must convince yourself, before you can convince others.” All the best in London! Believe in yourself. You’ve got it!!

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On Stage with The Great Comet

The Great Comet: Re-watched the show and finally experienced its true magic!!! More more more! I want to go back again already.

I got my onstage seating this afternoon. Center table. Frontmost chair. First audience member behind Pierre’s Study. I was literally in the spotlight as it shined on Pierre and Natasha who stood inches away from me.

Love love love the immersive and interactive experience.

Playboy Anatole toys with Natasha, turns around, leans into our table, and makes a face to let us know what he really wants from the young girl. Natasha looks us in the eyes, as she sings and pours her heart out. Violinist plays to our table. We scream at the top of our lungs and cheer on the dancers in Balaga.

Absolutely love the story and the cast’s performance.

Denée Benton is incredible as she draws us into young Natasha’s mind: her insatiable desire for love and attention, her conflicting sense of responsibility and pleasure, and her eventual sadness and regret.

Josh Groban perfectly delivers “Dust and Ashes” and “Pierre and Natasha” to capture the sentiment of two acts. The hopeless loveless marriage that has entrapped Pierre, and the same reckless careless attitude that brought down Natasha too. Yet, despite their sorry states, Pierre comforts Natasha and she returns one last grateful glance. In that moment, Pierre understands that perhaps, just perhaps, love will come again.

Lucas Steele is even more exuberant and flamboyant as Anatole today.

Ashley Pérez Flanagan, understudy for Sonya, beautifully delivers another one of my favorite songs, “Sonya Alone”. Ashley perfectly captures Sonya’s difficult distressing choice to remain a true friend to Natasha by turning against her, in the hopes that someday Natasha will forgive her. The song is a major turning point in the story. Bravos for the wonderful performance and nailing the transition.

Finally, lighting and scene designs are even more amazing seen from onstage.

All the table lamps placed throughout the orchestra and balcony respond to the story, lighting up the audience’s faces as part of the scene design. Wow!

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Come From Away

I have a new favorite musical!!!

Finally saw the last of the Tony Awards Best Musical nominees tonight. What an incredible show! What an engaged audience! A large Newfoundland flag flew high over the mezzanine at the end of the show. Must be a lot of Canadians in attendance today.

Definitely my pick for best musical this year. Quite possibly, the show might even have edged out “Hamilton” to become my all-time favorite.

“Come From Away” is set in Newfoundland, an island on the eastern tip of Canada, in the days following the 9/11 attack. It’s about the 38 flights and 7000 passengers who were diverted to Gander, Newfoundland when the US airspace was shut down. It’s about the 9000 townspeople who took in the “plane people” even though it’s a huge resource and logistic challenge, and welcomed everyone regardless of their nationality, religion, and sexual orientation.

Among the stories: American Airlines’ first ever female captain (“Me and the Sky”). Passengers who met there and then, and later married each other (“Stop the World”). A gay couple who were initially afraid, only to learn how open the Canadians are. A mother who lost her firefighter son. And so on.

Over the past 15 years, the “plane people” eventually put together $2 million in scholarship for the town’s high school students, for the kindness and generosity shown to them at a time of need.

It’s a musical that will melt your heart. A musical that celebrates human kindness in the midst of a disaster. A musical about a heavy topic but delivered with so much humanity, so much humility, so much genuine care that you can’t help but laugh along with the characters, as they try to address the surreal events unfolding in front of their eyes.

Most importantly, Come From Away will make you believe in people, in humanity again. ❤️

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Bandstand

Went in tonight expecting jazz music and swing dance. Came out with tears in my eyes from a powerful story. Love the show!

I think Bandstand got snubbed in not receiving any Tony nominations. Laura Osnes is amazing in her singing, acting, and dancing. Corey Cott tells a powerful story with his fellow WWII veterans. I can’t help but start crying in “Welcome Home” at the end.

The lighting and staging, especially ones portraying flashbacks to the battlefields, are not only theatrically stunning but also emotionally startling. A glance into how seemingly-everyday interactions can feel to those who braved the war.

As for the music and dancing. They’re fabulous too. There is no one single big dance piece, but there is always dancing somewhere on stage throughout the whole show. I thought it’s a unique touch.

I would totally go back and watch Bandstand again, for its story.

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Natasha, Pierre & The Great Comet of 1812

An extravaganza this afternoon with Natasha, Pierre, and The Great Comet of 1812.

So what does a show with 12 Tony nominations look like? Well, for one, the entire theater is the stage. No matter where you sit, you will come within a few feet away from the performers. (I’m in rear mezz today and have on-stage seating next week.)

Lighting, costumes, scene design, and the interactive atmosphere are all super unique and unlike anything else. Love the choreographies especially ones where the cast sprawl across the entire theater. Kudos to the ensemble member who barrel rolls his way around the entire center stage. I hope the show wins in these categories! (Well, you also can’t top the tap dancing in Holiday Inn, another nominee for choreography.)

The cast and band members are scattered, often singing and playing their instruments as they climb up and down between the stage, orchestra, and the balcony. We got to interact with the band! While original, the acoustics inevitably suffer. I find it difficult to understand parts of the play, especially with characters who don’t speak loud enough.

The most surprising of all, however, is how small a part the two lead characters have in the show. Both are nominated for the Tonys, but we were genuinely confused whether Pierre or Anatole was the lead actor. (Josh Groban didn’t appear today. Hope to catch him next week, but I’m talking about the characters’ roles here.)

On the other hand, love Lucas Steele as Anatole and Brittain Ashford as Sonya!

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War Paint

Beautiful music, a great story, and lots of heavy thoughts.

The Musical

Strong performance by the two leading actresses, to pair with the story of two strong women who shattered glass ceilings in the 20th century. We understood who’s in charge tonight even before the curtain opened, when the announcer greeted us with “Welcome ladies! … and the men accompanying the ladies.”

The World Then

I’m ambivalent about the cosmetic industry, but the courageous stories of Elizabeth Arden and Helena Rubinstein shine through. Arden was deemed inferior to other women because “she worked.” Rubinstein was denied the purchase of her dream apartment for her gender. Despite heart-breaking moments in “Pink” and “Forever Beautiful”, here’s the advice from Elizabeth Arden to Miss Beam…

“You have the power to reinvent yourself and become anything you’d like to be. Young lady, better yourself to be the best you that you can. Once you better yourself, you won’t be taken for trash.”

The World Now

I consider myself a feminist, and have been for 20+ years. I pushed for curriculum changes in high school, to ensure the next generation understands gender equity. I physically battled anti-abortion protesters in college, to safeguard women’s rights to their own body. Yet, just when I thought we had finally made progress, America elected a sexual predator to its highest office.

Today, unrelated to the musical, I feared for my life for the first time. I was physically assaulted on the streets of Manhattan. A white man knocked me to the ground, kicked me, before he sped away in his Illinois-plated Mercedes-Benz. (I am bruised, swollen, monitoring for concussion but otherwise okay. Will press assault charges if/when police finds the man.)

I’m at a complete loss about the sexist, racist, free-for-all-I’ll-scorch-the-Earth-before-I-give-up-one-percent-of-my-entitlement mentality of the American Right. (And scorch the Earth they did yesterday, when their pedophile president pulled out of the Paris Agreement.)

No matter how much you try to better yourself, I guess, someone will always take you for trash.

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Hello, Dolly!

“Money, pardon the expression, is like manure. It’s not worth a thing unless it’s spread around, encouraging young things to grow.” – Dolly Levi

Love, laughter, and happy endings with Bette Midler in Hello, Dolly!

Bette Midler is absolutely stunning. At 71, she is singing, dancing, and owning the show. Drawing the audience in from the very first moment, making us laugh, keeping us in suspense, and filling us with excitement. Even with a wardrobe malfunction (what could possibly go wrong with those ginormous fabulous hats, right?) and a couple missed cues, she just laughed at herself in the most humble yet delightful manner. We couldn’t help but laugh with her. The story goes on, and everything happens naturally. It’s live theatre at its best.

The big stage at the Shubert Theater is also perfect for the massive dance pieces: the Fourteenth Street Association Parade, at the Harmonia Gardens, and the Finale. Love the dancers and their energy. Shoutout to the Harmonia Gardens waiters especially those who leaped across the orchestra pit (OMG!!!), the wonderful polka contestants, and Dolly with the tap dancing girls.

As Bette tap danced, in her fun charming way, she lifted her skirt to show her feet, pointed to the other tap dancers, and remarked: “Why aren’t I making as much sound???” That she’s dancing at 71 is amazing. That she’s bringing more to the dance is just impressive. The show was filled with such unexpected but hilarious moments. I felt I didn’t just watch Dolly Levi in Hello, Dolly! but I experienced the pinnacle of live theatre, right there on stage with Bette Midler.

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Dear Evan Hansen

Gorgeous voice tonight at “Dear Evan Hansen”

With the band positioned above the stage and a cast of fantastic singers, the show felt more like a rock concert. We were treated to a night full of wonderful music. Ben Platt’s voice was stunning, but every member of the cast delivered a strong performance as well.

As someone who is often too sentimental and cries at waaaaaay too many musicals/plays/dances, however, I felt disconnected from the story.

I appreciate the show bringing attention to important issues such as suicide and income inequality, but the plot felt superficial and not realistic. I could not relate to the characters. In fact, the stubbornness of the characters felt frustrating, despite the great singing and occasional humors.