LIZARD

Musical oddities don’t get much odder, musical, or worth seeing than LIZARD, the misfit musical treasure at the NoHo Arts Center.
A chorus line of singing retards, a soft-shoeing shoe salesman and a bad musical version of ‘The Tempest,’ a musical of, by and for misfits. Based on a novel about a boy who is so ugly his Mother won’t admit he’s hers, he gets mistaken as “the ugliest dog I’ve ever seen.” The story connects with the unconnectable with so much genuine heart and soul thar one forgives it’s obvious flaws.
Fluidly directed by James J. Mellon, his expert focus on storytelling covers up many holes (which after an post-show Q & A, he is very aware of and is part of the show’s changing growth process.)
Set in the Deep South in the 70’s the beautiful scene design of Craig Siebels, sturdied by a large tree center sgae with deep-reachging roots foreshadowing the emitonal core of the show.
The score by Scott DeTurk and James J. Mellon is refreshingly melodic yet character driven. Unfortunately the melodies are used as underscoring repated far too many times, like a music box wound tight, repeatedly too much of a good thing.
The biggest hindrence is the clunkily uneven cast. From Broadway veteran to stock character actors who shouldn’t be singing, the level of talent varies greatly. James Barbour, Broadway ‘Beauty’s” Beast, obviously stands out and luckily is the emotional core of the show. His beautifully rich singing povides the neded emotion. David Eldon as Lizard isn’t quite ugly or odd enough to stand out and unfortunately his singing isn’t good enough. J. R. Mangels stands out as one of the three very funny school retards. Janet Fontaine gives a deeply touching performance and Cortney Wright is sugar sweet. The rest of the cast don’t do the material justice.
In this terrific first incarnation, LIZARD has a promising future. The tap number by the singing retards (no offense meant or intended) is reason enough to see the show, but bring plenty of kleenex, there’s lots witin this hidden treasure.

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EVITA/WHISTLE

8/5/06
I heard recordings of the new London productions of EVITA and WHISTLE DOWN THE WIND, they are polar opposites.
WHISTLE DOWN THE WIND is one of Andrew Lloyd Webber’s most problematic shows. A luscious score with a bizarre story and a book that unfortunately never got fixed by Hal Prince in D.C. because it got put on hold until the unwatchable original London production (Lesson: you will not get a better director than Hal Prince so do not let him go!)
Fortunately this touring production is far better than the first London incarnation.
The cast all have fine voices especially The Man and Swallow (perfectly sweet).
The orchestrations are full and rich with a rather large orchestra that savors the scores lyricism.
Not having seen the staging, I enjoyed hearing this reinvention of a show that deserves a second look (or listen.)
On the other hand, the EVITA revival seems pointless, why restage this show unless you have something new to add or can be better than the original?
The cast are all forgettable, but Peron and The Mistress have fine voices.
The orchestrations are uninspired and bombastic. Ultra-loud crescendos don’t cover up empty emotions, it exacerbates the problem.
Unfortunately this production makes a fine show like EVITA seem banal, whereas WHISTLE makes a precarious show more enjoyable.

DREAMGIRLS

8/1/06
I had so many expectations going in and there's so much to take in in Bill Conden's film that I'm hesitant to give any kind of review till I've seen it again, BUT there's so much to admire, starting with the stellar performances by everyone. This would be a good year to start the new Oscar category Best Casting.
Jennifer Hudson has the unenviable task of following in Jennifer Holliday's enormous shoes and I'm glad to say she fills every inch, the "And I Am Telling you" scene doesn't disappoint!
Eddie Murphy can get his acceptance speech ready is all I'm saying.
Beyonce glows and literally becomes Diana Ross. You yearn for her future performances with sheer star power.
ALL the supporting cast have wonderful moments to shine but you don't get enough of them (not a criticism or it would be 5 hours long-I wouldn't mind but everyone else would.) Anika Noni Rose also shows mega-star talent and Keith Robinson delivers a beautiful understated performance. Loretta Divine, from the Original Broadway Cast, has a wonderful song at the end.
All of the new songs work very well, pretty, catchy and they tell the story (imagine that in a musical.) The choreography is HOT (though we don't get to savor it as much as we would like to for reasons I'll mention next. The costumes are gorgeous and funny (because of the period.)
The one and only drawback is the editing, which is unimaginative and repetitive. It slows the pace at times and other times is inappropriately MTV so that we cant enjoy it as much as we want to. The editing seems very controlled and never really lets loose.
Still it is a movie I wanted to see again RIGHT THEN after it finished which says alot...kudos to Bill and all his talent and love for the musical theatre, it shows and we are the lucky recipients!

CURTAINS

7/28/06
I saw CURTAINS, the new Kander & Ebb musical at the Ahmanson (supposedly pre-Bdwy) well, let's first say it's no Cabaret or Chicago, but thats not to say it's not entertaining, it's very entertaining, very clever, very funny, a bit odd - imagine Kiss Me Kate crossed with Clue, a back-stage murder mystery during the out-of-town tryout of a bad musical version of Robin Hood set in the Old West (Madame Marion runs the local bordello).
The staging, sets, costumes and cast are all first rate. Being that this was only the 3rd performance, the timing and pace aren't quite there yet, so when it tightens up will be a hoot.
The score is very Kander & Ebbish, you will definitely leave humming the tunes (for both Acts) but no one number stands outs as a classic.
David Hyde Pierce is very charming & amusing, Debroah Monk is her usual fun self as the stage-mom from hell, watching Karen Ziemba dance is always a treat & Edward Hibbert as a bitch-queen director is enjoyable.
The orchestrations & orchestra are fantastic, very old school Broadway. The choreography is fun and very lively with a stand-out Marge & Gower champion number!
The script is clever, witty & wise. With all it has going for it, it is a bit odd and not quite yet reached fruition, but an audience pleaser none-the-less. With a little work will be a hit in NY