I was very excited that a friend was able to get tickets for us to see this new musical. It tells the story of the late Nigerian musician Fela Anikulapo-Kuti. In addition to being an innovative musician, Fela was politically active, and fought the corrupt Nigerian government. Fela was arrested and tortured many times, but he continued to use his notoriety and his music to expose governmental excess and abuse.
Fela! is more than a musical biography. It is a groundbreaking work of art. Most of the music and lyrics are Fela’s own, with some additional music written for the show. Kuti was a pioneer of the Afrobeat style of music. Accompanied by spectacular dancing and instrumentals, this exciting show is non-stop action.
The role of Fela is so demanding that two actors alternate performing the lead. We saw Kevin Mambo in the role of Fela. I have no doubt that Sahr Ngaujah is equally talented, and I’d return to see him play this part.
Fela! is fun, exciting, and heartbreaking. It moves theater a giant leap forward from the current crop of remakes and Disney musicals that dominate Broadway.
This musical has been playing at Broadway’s Hilton Theatre since last November. On a recent Saturday matinee, this rather large (1800 seats) theatre seemed to be at capacity. The crowd, which I suspect was comprised mostly of tourists, was quite appreciative and enthusiastic.
The story of Young Frankenstein is familiar to anyone who has seen the Mel Brooks movie. In Transylvania in 1934, old Dr. Frankenstein has died. His grandson, Dr. Frederick Frankenstein is a medical school professor in New York. He leaves his fiancee, Elizabeth (Megan Mullally) to travel to Transylvania. He then, of course, decides to continue the family business.
As with any show playing on Broadway, the cast is extremely talented. However, I felt that Young Frankenstein lacked excitement. Maybe it’s because there were no surprises. I’ve heard all these jokes before and the songs, though cute and clever, were just not that fabulous. Megan Mullally is obviously the draw, but her part is fairly small. And while she is on stage, her talent and presence blow everyone else away. S0-this is not a great show, and I think Broadway ticket prices are just too high for a production that is just OK. So-rent the movie and have a good laugh.
Back in the early 1960s, the music world in America rocked with the arrival of four talented, young musicians who burst on the pop scene with a string of top-40 Number One hit records. No, it wasn’t, The Beatles, but New Jersey’s own version of the Fab Four, The Four Seasons. Though their world-wide popularity never would equal their British counterparts, The Four Seasons “popped” onto the American music scene beginning 1962 with three number one hits: Sherry, Big Girls Don’t Cry and Walk Like a Man all coming better than a year before John, Paul, George and Ringo brought their mop-tops and screaming fans to New York’s Ed Sullivan Show in February 1964 for that famous American debut. Like so many others, I thought The Beatles’ music was terrific. But for me, the Four Seasons’ Rag Doll is as classic a tune from the 1960s as Hey Jude even though my better half thinks my childhood musical tastes, like my teeth, were corrupted by too much bubblegum. The Four Seasons were equal to any group, scoring 16 top 40 hits in the U.S. in just 28 months between 1962 and 1964 and they were inducted into the Rock and Roll Hall of Fame in 1990. How ironic that I recently found myself walking the streets of London on a business trip, touring the very territory where the The Beatles first gained early notoriety. Suddenly, I found myself standing in front of the Prince Edward Theatre. The marquee beckoned: Jersey Boys: The Story of Frankie Valli & The Four Seasons. The London production recently had its opening there in the heart of Theatre District, enjoying rave reviews from those tough British critics. Back home in New York, decent tickets for Jersey Boys, the 2006 Tony Award Winner for Best Musical, are nearly impossible to come by, even though the show is entering its third year. You still will pay two and three times the face value from ticket agents. Here was my chance in London to enjoy a trip back in time and see the musical story of The Four Seasons. My American Express card easily handled the purchase of two sixth row center orchestra seats for that evening’s performance at 60 pounds each (about $125.00 U.S.) My boss and traveling companion in London, also a big Four Seasons fan, was engaged in meetings and allowed me free time to sightsee so long as I got him a show ticket as well. Jersey Boys was a delight! The London production stars Ryan Molloy, who does a fantastic job portraying Frankie Valli, the Four Seasons’ falsetto singing lead. Not only does Molloy bring a great voice to the role, the British actor (and all the cast, as well) nail the dialect and mannerisms that are pure “Newark.” The show spins The Four Seasons hits better than a 1960s disc jockey, all the while taking us through the group’s formation, its success and even the later-in-life tragedies of four “Jersey Boys.” New York and London’s productions of Jersey Boys are joined by companies in Chicago, Las Vegas and Melbourne, Australia as well as a National Touring Company playing most large U.S. and Canadian cities. If you find yourself standing in front of a theater featuring Jersey Boys, ‘Walk Like a Man’ (or woman) right in a get tickets for one terrific show.
This production starring Patti LuPone is the fifth Broadway run of the classic musical. It first opened in 1959, starring Ethel Merman. Other revivals have starred Angela Lansbury, Tyne Daly, and Bernadette Peters. I have not seen any of the other productions, so it’s difficult to imagine anyone but LuPone in the role of Mama Rose, the classic stage mother.
For anyone who doesn’t know, Gypsy is the story of the stripper Gypsy Rose Lee, born Rose Louise Hovick. It is adapted from her memoir, written in 1957. Louise and her sister June supported their family by performing in vaudeville. It was apparent early on that June(later known as the actress June Havoc) was the talented sister. When she left the act, Louise turned to burlesque to support herself and her mother.
The show has some great songs. The song I can’t get out of my head is You Gotta Get a Gimmick. It is sung to Louise by three more experienced strippers, and it really is a funny number. And anyone who thinks that Everything’s Coming Up Roses is a happy song, well think again.
The show is great, but only because of Patti LuPone as Mama Rose, the star of the show. Mama Rose has most of the good lines, and many of the great songs. She is an incredible character. So-go see Gypsy, but only if a talented actress with an outstanding voice plays Mama Rose.
There it was, Sunday morning, and our plans for the entire day were scuttled due to a friend’s sudden illness. My fellow traveler suggested that we take in a movie. I said OK, then thought to myself-I can do better than that! So I went online to see if any show had available seats for the afternoon. Sure enough, the only show I was interested in was A Chorus Line. And there were seats available.
After a brief consultation I made the purchase, printed out my receipt, and off we went. While I had not seen this production of A Chorus Line, I will admit that I had seen it twice during its original Broadway run. I dug out my my copies of Playbill from those performances. I actually saw Bebe Neuwirth in the role of Lois (not one of the major roles); at the time her only professional credit was A Chorus Line. I need to admit that A Chorus Line is my favorite Broadway show ever, and I have listened to the music countless times.
I am pleased to report that this production is nearly identical to the original. Even the costumes seem to have been taken out of storage and sent to the cleaners. The producers did not feel the need to update the show-it is still set in 1975. A Chorus Line is one of those rarities that has stood the test of time. It is real, and moving, and I hope this is not the last time I’ll see it.
