By Karen Isaacs
Follies, Evita, Sweeney Todd, Phantom of the Opera, West Side Story, Cabaret – the list is endless of shows that Hal Prince either directed or produced or both.
So a Broadway show that includes scenes from all these should be terrific. Right? Unfortunately, while Prince of Broadway has many delightful moments, the sum of its parts doesn’t add up to a hit show.
Why is hard to determine. Certainly the cast of the Manhattan Theater Club production (now at the Samuel J. Friedman Theatre through Oct 22) includes top notch musical theater talent – Tony Yazbeck, Brandon Uranowitz, Emily Skinner, Karen Ziemba and more.
Yet this evening that uses Prince’s biography to string together scenes from both hit and flop shows, only sometimes catches fire.
The show gets off to a slow start. The overture, arranged by composer Jason Robert Brown lists 17 songs as being included, yet somehow it was hard to identify many of them. It seemed as only phrase or two was included.
Throughout the show, various cast members, each speaking as if he or she were Hal Prince, detail parts of his biography. It opens with some bio and then just a snitch of the first show he was involved in – The Pajama Game. We hear a few bars of “Hey, There” but we see no-one. From there were are on to a well sung, but somehow lifeless rendition of “Heart” from Damn Yankees.
The show begins to gather some momentum with West Side Story, the first show Prince produced; at that point chronology goes out the window. Why the remainder of the show is organized the way it is, is a mystery. It seems relatively random.
So what are the highlights? Each member of the nine person cast has moments that are terrific. Kaley Ann Voorhees is a luminous Maria in “Tonight” from West Side Story and Janet Dacal is hilarious doing “You’ve Got Possibilities “ from It’s a Bird…It’s a Plane…It’s Superman. She’s also a very good Eva Peron and Aurora (Kiss of the Spider Woman). Byronha Marie Parkham does her best work as Amalia in She Loves Me with “Will He Like Me?”
Tony Yazbeck once again demonstrates not only his exceptional dance talent, but also his strong voice. He’s Tony in West Side Story, Che in Evita, and with a nod to Jason Robert Brown, Leo in Parade. Since I had never seen nor heard the entire show, his rendition of “It’s Not Over Yet” was a highlight for me. It is an exceptionally moving song. But the extended dance number in Follies, while well executed doesn’t seem to have a purpose beyond showing off his skills.
Once again, I was delighted with the performance of Brandon Uranowitz,as the Emcee in Cabaret, George in She Loves Me and Molina in Kiss of the Spider Woman. Chuck Cooper scored with songs from Showboat and as Sweeny Todd, though his Tevye was not as good.
Michael Xavier has followed up his performance as Joe in the recent Sunset Boulevard with some excellent work as the Phantom, Bobby in Company and Fredrik in A Little Night Music.
The first act closing number, a series of songs from Cabaret was terrific. Not only was Brandon Uranowitz is excellent as the Emcee but Karen Ziemba gave us two characters – the gorilla in “If You Could See Her” and a touching Fraulien Schneider is “So What?” Her performance as Mrs. Lovett in “The Worst Pies in London” was a highlight of the second act. These are two roles I hope some director casts Ziemba in very soon.
Emily Skinner’s best number is“The Ladies Who Lunch” from Company; her rendition of “Send in the Clowns” is very good but not outstanding.
Certainly the production values are excellent. Beowulf Boritt (scenic and production
design) and William Ivey Long (costume design) have handled the huge task for recreating moods for these diverse shows in different periods and location with finesse. As has Howell Binnkley with the lighting design.
Susan Stroman is credited as both choreographer and co-director with Prince himself.
Although I just wish that Prince of Broadway had somehow caught fire more than did, it is still a very enjoyable evening in the theater – revisiting favorite musicals or discovering some new ones.
It is at the Manhattan Theater Club, Samuel J. Friedman Theatre, 261 W. 47th Street. Tickets are available through Telecharge.
By Karen Isaacs
Two outstanding actresses are alternating roles in the current revival of The Little Foxes now at the Samuel J. Friedman Theatre. Laura Linney and Cynthia Nixon are each playing Regina and Birdie in this excellent production directed by Daniel Sullivan.
I only saw one performance, so this review will focus on Linney as Regina and Nixon as Birdie. Regina is the larger and showy part; but Birdie has an exceptional scene in the third act that any actress would want to perform.
Lillian Hellman’s play The Little Foxes gives us a tale of greed and duplicity as two brothers and a sister try to build their fortune in the post-Civil War south. The Hubbards are striving upward mainly by stepping all over people. Ben and his brother, Oscar, have built wealth by overcharging, cheating and general unethical business behavior.
Their sister, Regina, has married a banker but she wants more. She wants to move to Chicago and be part of society there. These are people who have “made it” and have no compassion. Whatever they want they will take, by any means necessary.
The play opens at Regina’s home. Her husband has been at Johns Hopkins Hospital in Baltimore for five months with a heart condition, but it seems that only their teenage daughter, Alexandra, and the two loyal black servants, care. Regina certainly doesn’t except that she needs her husband to provide $75,000 so that she can be an equal partner with her two brothers in a deal with a northern business man. They plan is to build a cotton mill in the town; it will make then rich.
But Horace, Regina’s husband, has not responded to her letters and has said nothing about agreeing to invest. She and the brothers are nervous; the deal must be completed soon. So among the family squabbling and negotiations she decided to send her daughter to Baltimore to bring Horace home. This is after she has forced her brothers to give her more than one-third of the ownership; she knows they don’t want outsiders involved.
While the brothers are antsy for the deal, they are also suspicious that Horace doesn’t want to participate. Plus Oscar is unhappy that Regina’s larger share is coming from his portion. But he has another plan in mind; in fact, he has two. His ne’er-do-well son, Leo works at the bank and through snooping knows that Horace has more than enough bonds in a safe deposit box that could be used to consummate the deal. Neither of the two older men are averse to “borrowing” those bonds. Yet Oscar has another plan up sleeve: he wants Regina to agree to Alexandra marring Leo.
Once the ill Horace arrives home, exhausted, Regina badgers him to get him to agree. He’s angry when he learns that Ben and Oscar have promised the factory owner low wages and no strikes.
Two weeks later, Horace is still not doing well (he has a serious heart condition) and he still has not agreed to provide the money. But he has discovered the bonds are missing from his safe box and he knows that Leo took them. He tells Regina that while he won’t force the brothers to give her a share, he will leave her the bonds in his will: she can then collect the $80,000 from her brothers. This is nowhere near the riches she has her heart set on. After an act of unmitigated cruelty the play ends with Regina being subtly threatened by both her brothers and Alexandra.
Regina is the central role in this play; she can be charming when she wants to be, but she also has an iron will and a cold heart. She will not be thwarted. As Linney plays her, there is not a spark of human kindness in her veins. Her very erect posture shows us she will not bend to anyone – her husband, her brothers, or her daughter. She will get what she wants. If there is a criticism of Linney’s performance, it would be that it is almost too cold; the charm seems so obviously fake, that you don’t see why Horace fell for it long ago or why the Chicago industrialist falls for it in the first scene.
Birdie is a sympathetic character and can be symbolic of the Southern gentry that have seen their wealth and status diminished to those who have no ethics. She is bullied and abused by her husband, ignored by the rest of the family and often shrinks into the background simply observing the machinations of the Hubbard siblings.
But Cynthia Nixon gives us such a multi-layered performance, that even when she off to the side, you can barely keep your eyes off of her. She may be defeated, but there is a spark of life and determination in her. Nixon mines this for the scene in act three where she tells of how she has survived and counsels Alexandra to avoid her fate. Rather than just pity her, you want to cheer her.
Richard Thomas is outstanding as Regina’s husband, Horace. He doesn’t appear until act two (this is a three act play), but he absolutely convinces you both of nearing death and of his realizations about Regina. He is a man who knows he will die soon and want to make right what he can; this includes thwarting Regina. Thomas doesn’t overplay the illness, and thankfully director Sullivan has staged his final moments out of sight of the audience; diminishing what can be a melodramatic moment.
In fact this entire cast is very good. Michael McKean gives us a steely Ben who will bide his time to get back at Regina; Darren Goldstein is Oscar, the brother that both Ben and Regina out-maneuver; you see that he has less of the polish than the others and thus his bully nature is clearer.
In addition Michael Benz gives us the pampered Leo as the youthful cad-in-the-making that he is. His opposite is Francesca Carpanni as Alexandra. She seems to have missed her mother’s manipulativeness, except with her ominous curtain line. The two servants, who often seem the most aware are given fine performances by Caroline Stefanie Clay and Charles Turner.
The production values are excellent from the impressive mansion by Scott Pask complete with a curving staircase that allows for wonderful entrances, to the costumes by Jane Greenwood, the lighting by Justin Townsend, and the sound by Fitz Patton.
What is most impressive is the way director Daniel Sullivan has kept the play from becoming an over-wrought melodrama. Everything is held in check and balanced.
I can only imagine how the production with Nixon as Regina and Linney as Birdie might be. I suspect it would be equally good.
The Little Foxes is at the Manhattan Theatre Club’s Samuel J. Friedman Theatre, 261 W. 47th St. It will run through July 2. Tickets are available through Telecharge.