Tag: Jason Danieley

‘Can-Can’ at Paper Mill Playhouse

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It’s only taken 31 years, but I finally saw a show at the Paper Mill Playhouse. When Kate Baldwin announced at 54 Below that she was starring in their production of Can-Can, I knew I had to go see it. Fortunately, I was able to attend the opening night performance with my pals Patty and Emily, and it was a magnificent experience. The gorgeous venue in Millburn, NJ was warm and inviting, and I hope to make many more visits there from now on. This was also the first time I have ever seen any sort of an out-of-town tryout in a regional setting.

Can-Can, a hit in its original Broadway production, features a score by Cole Porter and a revision of Abe Burrows’ book by Joel Fields and David Lee. The plot is wafer-thin, cheeky nonsense about a Fin de Siècle-era romance between an empowered music hall proprietress and the staid, law-obsessed judge trying to shut down her establishment. The original production ran 2 1/2 years thanks to a star-making performance by Gwen Verdon (who stopped the show twice on opening night) and acclaimed choreography by Michael Kidd, both of whom were awarded Tonys. The 1960 film version and various revivals haven’t done as well. (The only Broadway revival to date closed after a weekend run of 5 performances).

This new revival, which has been in the works for many years, is being labeled as “Broadway bound” and I’m all for it. There is a lot of fun to be had with Can-Can, which abounds in wit and style, and there is much I loved about it. However, there is work that needs to be done before it transfers to Broadway. Director David Lee sets an appropriate tone, while Patti Columbo gives us some spectacular, eye-popping choreography. However there is still book trouble, even in this revision (which makes a gallant attempt to be as faithful to the original as possible). I speculated afterward that perhaps Can-Can can never recover from second act trouble, but after some thought, I believe there are a couple things that might be able to fix that. Steve Orich’s arrangements and orchestrations are excellent, though I hope the producers consider shelling out for about 5 or 6 more pieces.

I have no qualms with the casting. Jason Danieley, with his matinee idol looks and golden voice, makes the uptight judge surprisingly irresistible. Kate Baldwin, luminescent, sings like a dream and is a fetching wonder in Ann Hould-Ward’s period costumes. The delectable Megan Sikora is playing the Gwen Verdon role, yet somehow feels underutilized. As for her character, I wish she made the choice to remain single as neither love interest is worthy of her. It’s been years since I’ve seen Michael Berresse onstage and it’s a joy to see him dancing in a musical again (this time as a lothario/critic). The featured players are all wonderful, especially Michael Kostroff, Mark Price and Justin Robertson. Greg Hildreth is a comic wonder as Boris, but the book writers need to rethink their approach to his character.

The apex of Paper Mill’s Can-Can is its title song. The seven minute production number, led by Baldwin and Sikora, features the men and women of the ensemble kicking up a ferocious storm, and builds to a jaw-droppingly sensational climax. (The number stopped the show cold on opening night and I can’t stop thinking about it). However, the song’s placement inadvertently damages the show. While the original version uses the number as a grand finale, this revision puts the song in the middle of the first act. As a result, the show climaxes far too early. Given that the dance itself is a major plot point and the bane of the conflict between the leads, the entire musical needs to build to this song. Other dance numbers, which are quite delightful, are less exciting merely because they are forced to follow it. Putting “Can-Can” back at the end of the show, or better still, as the eleven o’clock number, would elevate the entire production.

That said, the powers that be should keep the abortive “Can-Can Supreme” reprise where it is to give the audience a first act tease before the Judge sends everyone to jail. A new number or a restoration of one of the Verdon specialties could be created for this spot; something thrilling to spotlight Sikora’s rise from seamstress to dancer. As for the “Can-Can” mad libs, those are cute but totally unnecessarily. The second act runs about 20 minutes too long and an established group encore of the title song would be a much more exciting way to send the audience out of the theater. (Speaking of the second act, the swashbuckling sword fight also goes on far too long).

If the rest of the production can be brought up to the level of its title song, then I can see Can-Can being a potential Broadway hit. Nevertheless, there is still much to be enjoyed at the Paper Mill Playhouse through October 26.

“The Mikado” – Collegiate Chorale

The Collegiate Chorale offered a starry and exceptionally well-sung concert staging of The Mikado at Carnegie Hall on April 10 under the direction and baton of Ted Sperling. This marked my first time seeing the classic Gilbert and Sullivan operetta, though I am familiar with some of the more famous songs (and am a fan of Mike Leigh’s essential Topsy-Turvy, which details the fascinating gestation of the original production).

The Mikado is set in Japan, but in reality the characters and situations are a direct send up of mid 19th century England. The silliness of the show, its delightfully flippant point of view on death and execution and farce make for a pleasant evening. The concert staging doesn’t lend itself well to the comic nature of the libretto, so the opening was a bit slow. But after a bit, everything clicked and the audience was treated to an engaging comic romp.

Kelli O’Hara and Jason Danieley were in top form as Yum-Yum and Nanki-Poo. O’Hara held the audience rapt with her gorgeous rendition of “The Sun Whose Rays” Chuck Cooper was a well-sung Mikado, while Steve Rosen added some laughs as “Pish-Tush.” Jonathan Freeman was delightfully droll as Poo-Bah. Amy Justman and Lauren Worsham added stellar support, especially when they joined O’Hara for a spirited rendition of the famous “Three Little Girls.”

However, the evening belonged to Christoper Fitzgerald and Victoria Clark. As Koko and Katisha, they all but leveled the house with the climactic “There is Beauty in the Bellow of the Blast,” capping off an evening of mass hysteria from the two actors. Fitzgerald sang an updated version of the famed “A Little List, with references to tweeting, Kardashians and Newt Gingrich. This ruffled the feathers of a few purists who grumbled about it during intermission (and incidentally were also added to the list), but in spite of their misery, it was highly entertaining. He later scored major laughs with “Tit-Willow.” Clark entered like a harridan, with garish makeup, tussled hair held back from her eyes with chopsticks, and walked away with the show in her pocket. Her entrance was such a surprising contrast to the stately concert attire, she stopped the show before she even opened her mouth. Then she opened her mouth and proceeded to steal every single scene she was in.

The only unfortunate aspect of the night: that the Collegiate Chorale didn’t record this wonderful concert, with its illustrious chorus. It deserves to be heard again.