Sweet Smell of Success

In a world where the vicious cynics of Succession kept a chunk of the world enthralled for years, you might think that the vicious cynics of the musical Sweet Smell of Success could also get some love. Certainly the original movie has deeply loyal adherents. (Full disclosure: I deeply dislike the original movie.) And the creators of the musical have impeccable credentials. Marvin Hamlish, winner of dozens of awards for his music, including a Tony for  A Chorus Line and Oscars for The Way They Were, provided an attractive score. Craig Carnelia has had shows on and off Broadway and has been nominated for many awards; his lyrics are solid, meshing well with the characters' personalities and Hamlish's music. John Guare, author of the amazing plays Six Degrees of Separation and Lydie Breeze, as well as the book of Two Gentlemen of Verona and the script for the movie Atlantic City, deepens the characterizations and clarifies the plot. (Here's a link to the Wikipedia page if you'd like a synopsis of the story.)

Photo: Toby Tenenbaum

In other words, the musical of Sweet Smell of Success has everything going for it. Yet it flopped. Why doesn't it work? For me, the problem is twofold. First, the main characters are icky. I'm not someone who requires sympathetic characters; however, while evilness can be enticing, ickiness is, well, icky. Second, no one develops. If Sydney Falco started out even a little innocent or starry-eyed, that would have given the show some tension and some growth. Instead, his journey is from amateur icky to professional icky.

Ted Sperling
Photo: Toby Tenenbaum

Nevertheless, the recent MasterVoices presentation of Sweet Smell of Success was largely fabulous. With the strong orchestra, wonderful chorus, and overall enthusiasm, MasterVoices presentations are pretty much always fabulous. Musical director Ted Sperling is a gift to New York and to musical theatre.

Wendy Caster

Blind Injustice

That the American justice system is worse than broken--dangerous, dishonest, racist--is not news. Some innocent people have been coerced into confessing, others have accepted plea bargains rather than risking decades in prison, and still others have been convicted at trials based on corrupted evidence. Witnesses may lie to protect themselves; they may be forced by police to lie; or they may just be wrong. It has been estimated that 6% of the people in prison are innocent. With an estimated 1.8 million people incarcerated in the US, that comes to approximately 108,000 innocent people imprisoned.

Photo: Erin Baiano

As horrifying as those statistics are, they have the weakness of all statistics, which is that they do not contain emotions, or people, or families.

The brilliant opera Blind Injustice, which received its New York premiere last month in an electric MasterVoices production, is full of emotion and people and families. Based partially on the book of the same name and focusing on six innocent people who were exonerated after spending years or even decades in prison, the opera mixes fact and fiction, often using exonerated people's actual quotes in the vivid libretto by David Cote (dramaturgy by Robin Guarino). The exonerated people are Nancy Smith, Derrick Wheatt, Eugene Johnson, Laurese Glover, Clarence Elkins, and Rickey Jackson.

Photo: Erin Baiano

Scott Davenport Richards's extraordinary scores utilizes jazz, blues, and hip-hop to allow the full expression of emotion of the people depicted. There is something particularly satisfying in seeing these characters being able to express themselves full-voice, full-heart, and loud. I can't think of a better medium for telling this story.

Everyone involved with this production was at the top of their game. The volatile combination of feeling pain from the content and sheer pleasure at the artistry gives the audience the sort of emotional cognitive dissonance that may be felt at the very best art.

Photo: Erin Baiano

I found the audience response representative of this experience in a particular way: people gasped twice. The first time was when the 120 MasterVoices singers, seated in the section of the audience behind the stage, stood to sing. I knew that they were there, and I was thrilled. For the people who didn't realize that they were there, it must have felt magical. The second time they gasped was when one of the exonerees was asked how long he had been in prison, and he answered, "thirty-nine years."

I hope that Blind Injustice is picked up by opera companies everywhere. Audiences deserve to experience the artistry and need to hear the stories.

Wendy Caster

 

Strike Up the Band

Last week, the wonderful MasterVoices presented the Gershwins' Strike Up the Band. In 1927, its book, about a war over cheese tariffs, was written by George F. Kaufman with a pretty satiric point of view. When that failed to sell tickets, Morrie Ryskin did a rewrite where the war was now over chocolate tariffs (and a dream sequence), the book leaned more toward romance and silly comedy, some new songs replaced some old songs, and the show was a hit.  

David Pittu, Victoria Clark, John Ellison Conlee
Photo: Toby Tenenbaum

Last week's version featured a book rewritten by Laurence Maslon (NYU arts professor) and Ted Sperling (MasterVoices conductor and director) and songs from both earlier versions. Songs included "The Man I Love" and "I've Got a Crush on You."

Strike Up the Band was a great deal of fun in terms of the book, and flat-out glorious in terms of the music and singing. Both the MasterVoices chorale and the MasterVoices orchestra soared, and the individual singers in the cast were fabulous. Perhaps my favorite part of the whole evening was a clarinet solo in the overture (reminiscent of the one at the start of Rhapsody in Blue) aced by Andrew Sterman.

MasterVoices stalwart Victoria Clark stole the show in a supporting role of a wealthy woman who wants to fix the world. She got one of the biggest laughs of the evening with a line that wasn't actually funny. And, of course, her voice was spectacular. Other impressive performers included Bryce Pinkham, Lissa deGuzman, David Pittu, John Ellison Conlee, and Shereen Ahmed. 

For information on the MasterVoices next shows and access to their new podcast, click here.  

Wendy Caster

To My Arms/Restore (Doug Varone and Dancers and MasterVoices)

The recent collaboration between MasterVoices and Doug Varone and Dancers was nothing short of amazing. Brilliant dance, gorgeous singing, thrilling musicians--it was the proverbial feast for the eyes and ears. I felt rich watching the show; what could be more precious than incredible talent creating incredible art? (The credits are listed below.)

Doug Varone Dancers Photo: Erin Baiano

It's frustrating to write about MasterVoices's wonderful but brief productions since they're always over when I do. Here instead is some info on MasterVoices's next production, The Grapes of Wrath by Ricky Ian Gordon and Michael Korie. 

I unfortunately missed this show the last time around, and I am looking forward with great excitement to seeing it this time around. Based on John Steinbeck's classic novel, it features Kyle Oliver, Nathan Gunn, Margaret Lattimore, Mikaela Bennett, Bryonha Marie, Victor Starsky, Malcolm MacKenzie, Schyler Vargas, Christian Pursell, John Brancy, David Fleiss, and Jan Constantine, plus the 120 wonderful singers of  MasterVoices. The narrators are Joe Morton and J. Smith-Cameron. It's April 17th at Carnegie Hall, and (not-overpriced!) tickets are still available. (For more info, click here.)

I'm thrilled to see The Grapes of Wrath because of some predictable reasons: I am a huge fan of MasterVoices and musical director Ted Sperling, and I loved Gordon's musical My Life With Albertine. 

But here's what has really raised my excitement: I have two discerning theatre-going friends who have seen hundreds of shows. They have loved many of them, but when they speak of The Grapes of Wrath, they get this look of wonder on their faces, and they communicate such love and awe that I can practically hear a choir singing behind them. So, of course, I can't wait for The Grapes of Wrath. 

And I hope to see you there.

Wendy Caster

To My Arms

Choreography by Doug Varone

Music by George Frideric Handel, Suite of arias and duets from the operas Atalanta, Orlando, Giulio Cesare, Samson, Serse, Agrippina, Scipione, Alexander Balus, Semele and Teseo*

Lighting Design by Derek Van Heel

Costume Design by Caitlin Taylor

Dancers:

1. Courtney Barth and Ryan Yamauchi
2. Joniece “JoJo” Boykins, Daeyana Moss and Thryn Saxon
3. Brad Beakes and Jake Bone
4. Courtney Barth
5. Joniece “JoJo” Boykins and Daeyana Moss
6. Jake Bone
7. Thryn Saxon with Marc Anthony Gutierrez
8. Full Company
9. Brad Beakes
10. Courtney Barth and Ryan Yamauchi
11. Full Company

Liz Lang, Soprano
Emily Donato, Soprano
Jake Ingbar, Countertenor
John Easterlin, Tenor
Benjamin Howard, Baritone

Accompanied by New York Baroque Incorporated
Oboe: Andrew Blanke
Violin: Ravenna Lipchick, Shelby Yamin
Viola: Jimmy Drancsak, Annie Garlid
Cello: Serafim Smigelskiy
Bass: Wen Yang
Theorbo: Adam Cockerham
Harpsichord: Caitlyn Koester

Ted Sperling, Conductor

Restore
(Part 2)

Choreography by Doug Varone
Music by Nico Bentley, Handel Remixed
Lighting Design by Derek Van Heel
Costume Design by Caitlin Taylor

Courtney Barth, Brad Beakes, Jake Bone, Marc Anthony Gutierrez, Joniece “JoJo” Boykins, Daeyana Moss, Thryn Saxon, Ryan Yamauchi

With MasterVoices

Accompanied by New York Baroque Incorporated

Ted Sperling, Conductor

The Frogs

The time is the present. The place is Ancient Greece. The fabulous lyrics and music are by the one-and-only Sondheim. The hysterical book is based on Aristophanes' The Frogs, as loosely adapted by Burt Shevelove and then loosely-er adapted and readapted by Nathan Lane. The brilliant cast includes Lane as the Host, along with Douglas Sills, Kevin Chamberlin, Peter Bartlett, Dylan Baker, Chuck Cooper, Marc Kudisch, Jordan Donica, and Candice Corbin. The chorus is the magnificent MasterVoices. The fabulous choreography is by Lainie Sakakura. The wonderful evening is conducted and directed by the invaluable Ted Sperling. Once again, the MasterVoices hits a grand slam home run.

The basic story of The Frogs is simple: the demi-god Dionysus, despairing of the state of the world (same as it ever was), goes to Hades to bring back George Bernard Shaw, believing that Shaw's writing can open up people's eyes and inspire them to save the world. As it happens, Shaw has to debate Shakespeare, and Dionysus decides that Shaw's brilliant logic lacks the power of Shakespeare's poetry. Shakespeare agrees to go back to earth, and the final song exhorts the audience to "shake your ass" and do something to make the world better.

Photo: Erin Baiano

Can art inspire people to save the world? I don't know. But art itself makes the world a better place. What is more glorious than watching some 150 people work together to make something ephemeral and beautiful? Seeing shows reminds me that people can be generous, loving, and cooperative. Seeing shows almost makes up for reading the news.

One thing: when this show is done again, forget Shaw and Shakespeare. The artist the show should bring back is Sondheim.

Photo: Erin Baiano

Wendy Caster

Iolanthe

Once again, MasterVoices has provided an evening of charm, joy, and fabulous music. In this case, it was Gilbert and Sullivan's Iolanthe, not one of their best, but still great fun. (There are fairies, there are humans, there are misunderstandings, stuff happens.) 

Ashley Fabian
Photo: Toby Tenenbaum

The cast was amazing: Christine Ebersole (glorious), David Garrison, Santino Fontana (having a grand time in a supremely silly wig and demonstrating a gorgeous legit voice), Jason Daniely, Ashley Fabian (combining excellent comic chops with truly stunning singing), Phillip Boykin (adorable, with a bass that vibrated Carnegie Hall), Shereen Ahmed, Schyler Vargas, Nicole Eve Goldstein, Kaitlyn LeBaron, Emy Zener, and Tiler Peck.  

Christine Ebersole, Shereen Ahmed
Photo: Toby Tenenbaum

And then there are the MasterVoices singers and the MasterVoices Orchestra, doing their usual fine work, led by the incomparable Ted Sperling.

Ted Sperling
Photo: Toby Tenenbaum

And, although this performance was a staged reading, it was given an extra dimension by Tracy Christensen's beautiful and clever costumes. Also, the supertitles were clear, informative, and witty.

Santino Fontana, David Garrison
Photo: Toby Tenenbaum

As always, reviewing MasterVoices is frustrating, because their one-night performances are always gone by the time I write about them, and I can't urge you to go, go, go. However, I can give you a link to their website so that you can catch the next wonderful show: MasterVoices.

Phillip Boykin
Photo: Toby Tenenbaum

Wendy Caster

Carmen

Benjamin Franklin said that nothing is certain but death and taxes. However, he left out another important certainty: when MasterVoices puts on a show, it is always worth seeing.

Ginger Costa-Jackson
Photo: Erin Baiano

Carmen, which MasterVoices recently presented, is a case in point. Although a concert production, it was fully performed, with top-of-the-line soloists, the excellent Orchestra of St. Luke's, enough costumes to set the scene and the mood, dancers, and that fabulous 120+ person chorus. Ted Sperling, MasterVoices's artistic director and general all-round gift to New York, led a lucid, energetic performance of the original Paris Opera Comique, with lyrics by Sheldon Harnick. It was a truly delightful evening, except for one thing. And that thing is not the fault of MasterVoices--it's Carmen itself, going back to the novel by Prosper Mérimée. 

Carmen (beautifully sung and acted by Ginger Costa-Jackson) could not be more open about who she is and what she wants. She explains, clearly, that the most important thing to her is freedom. She adds, in paraphrase, "If you love me, I won't love you. If you don't love me, I might love you. If we love each other at the same time, boy, are you in trouble." This is not a woman who wants to settle down. So, as occurs in about a million books, operas, and shows, after Corporal Don José, madly in love with Carmen, cannot force her to "be true" to him, he calls her a whore and kills her. 

Yes, the piece is of its time. Yes, it's just a show. Yes, people are spending too much time focusing on trees rather than forests these days. I get it! But, the bottom line for me, and for the friend I saw the show with, is that, yet again, we see a woman killed for not being who a man wants her to be. And Carmen is a fabulous vibrant character. She kicks ass. I wish she had kicked Don José's. 

But it was a great production. 

It always frustrates me that MasterVoices performances come and go so quickly, and that I can't tell you in time to make sure to catch them. But, since it's pretty much certain that their upcoming shows will be at least worthwhile and possibly wonderful, click here to get more info and perhaps tickets for the rest of their season.

Wendy Caster

Anyone Can Whistle: MasterVoices

The MasterVoices' concert of Anyone Can Whistle was a lovely and poignant reminder that although we have lost Stephen Sondheim, we will always have his work. And, oh!, that work!

Elizabeth Stanley
Photo: Nina Westervelt

Anyone Can Whistle is, to say the least, a problematic musical, bloated here, thin there, sometimes smart but too often cutesy. But the score includes gems: in particular, "There Won't Be Trumpets," "Anyone Can Whistle," and "With So Little to Be Sure Of." And, like all of Sondheim's work, Anyone Can Whistle rewards multiple hearings and viewings. I have known the original cast recording by heart since the late 1970s, yet I was surprised and delighted over and over again by Sondheim's brilliance, humor, and heart.

The cast of the MasterVoices concert was uneven. Elizabeth Stanley was magnetic, brilliant, moving, thrilling, superb, and fabulous. On the other hand, Vanessa Williams was little better than mediocre; frequently, she seemed uncomfortable with the music, and she lacks the presence necessary to give dimension to the Mayoress. She just wasn't interesting. Santino Fontana is always likeable, and he has a lovely voice, but his performance was bland. While Stanley prepared for and gave a full performance, Williams and Fontana seemed less prepared, and they sang songs rather than playing characters.

One of the highlights of the evening was Joanna Gleason's entrance (she narrated the show). Over 2,800 people greeted her as an old friend, roaring and clapping as she beamed with pleasure. And of course she was wonderful as the narrator. 

Ted Sperling, Vanessa Williams
Photo: Nina Westervelt

Ted Sperling did a nice job as director and an excellent job as conductor. The orchestra sounded terrific. The MasterVoices chorus was entertaining but underused. Weirdly enough, the sound was erratic. Carnegie Hall is famous for its acoustics, and during intermission my friend told me of sitting in the last row of the highest balcony years ago and hearing every unmiked word. I guess the miking was a problem, because the sound was sometimes murky, and occasionally crackly, with much dialogue completely lost.

Before the concert started, Sperling spoke a few words of introduction. He showed us his vocal score, given to him by Victoria Clark in 1984. It was a mistake to put Victoria Clark in our minds, because it was so easy to imagine how amazing she would have been as the Mayoress. 

But the evening's two stars made it a concert well worth seeing: Stephen Sondheim and Elizabeth Stanley. They made astonishingly beautiful music together.

Wendy Caster

Myths and Hymns (Chapter 1): Flight

I'm going to cut to the chase here. I highly, highly, highly recommend the MasterVoices streaming production of Myths and Hymns, chapter one of which is available right now. The music, by Adam Guettel, is gorgeous. The lyrics are often lovely, sometimes silly and funny, occasionally grand. The designs are graceful and beautiful. The cast is amazing. And it's free, although you can certainly give a donation. I did.

Here are some excerpts from the press release to give you all the info you need:

Mastervoices Presents Flight, The First Chapter Of Adam Guettel’s Four-Part Theatrical Song Cycle Myths And Hymns, In A Digital Production Conceived And Supervised By Ted Sperling

Flight features the MasterVoices Chorus; singers Julia Bullock, Renée Fleming, Joshua Henry, Capathia Jenkins, Mykal Kilgore, Norm Lewis, Jose Llana, Kelli O'Hara, and Elizabeth Stanley; the a cappella gospel music group Take 6; actress Annie Golden; and pianists Anderson & Roe. It can be found at the ensemble's YouTube channel and on mastervoices.org.

Myths and Hymns - CHAPTER ONE: FLIGHT
Music and Lyrics by Adam Guettel
Additional lyrics by Ellen Fitzhugh
Orchestrations by Don Sebesky and Jamie Lawrence
MasterVoices, Ted Sperling, ​Artistic Director and Conductor​ 

Prometheus
Anderson & Roe, piano duo
Greg Anderson, arranger and director

Saturn Returns: the Flight
MasterVoices
Joshua Henry, soloist
Ted Sperling, director   

                                               

Icarus
MasterVoices
Mykal Kilgore, soloist (Icarus)
Norm Lewis, soloist (Daedalus)
Sammi Cannold, director
Lucy Mackinnon, designer

Migratory V
MasterVoices
Julia Bullock, soloist
Renée Fleming, soloist
Kelli O'Hara, soloist
Lear deBessonet, director
Danny Mefford, co-creator
Yazmany Arboleda, co-creator and illustrator
Cloud Chatanda, animation 

Pegasus
Annie Golden, narrator
Jose Llana, soloist (Bellerophon)
Capathia Jenkins, soloist (Pegasus)
Elizabeth Stanley, soloist (Gadfly)
Ted Sperling, director
Steven Kellogg, illustrations

Jesus, the Mighty Conqueror
MasterVoices
Take 6, soloists
Mark Kibble, arranger
Khristian Dentley, director

Mastervoices Presents Work, The Second Chapter Of Adam Guettel’s Four-Part Theatrical Song Cycle Myths And Hymns, On February 24, 2021

With the MasterVoices Chorus; Singers Shoshana Bean, Daniel Breaker, Anthony Roth Costanzo, Michael McElroy, Ailyn Pérez, and Nicholas Phan; and actor John Lithgow.

Wendy Caster