Beautiful: The Carole King Musical

Beautiful is one of those shows I meant to see when it first opened, and then right before Tony time, and then right after Tony time, and then over the summer. . .  and then I just sort of moved on once I realized that (a) getting cheap tickets to the show wouldn't be easy as long as the Tony Award-winning Jessie Mueller was heading up the cast as Carole King, and that (b) I did not want to cough up a lot of cash to see a musical that was roundly received as sweet and diverting, if hardly brilliant.

But then, fellow-blogger and longtime friend Sandra got a special offer, and we leapt upon discount tickets to Beautiful like--well, honestly, like two middle-aged women who grew up listening to Tapestry and who are exactly the target audience for this particular musical would. The upshot? Beautiful is indeed sweet and diverting, if hardly brilliant. That doesn't mean I didn't tear up a couple of times, and chuckle genuinely at other times. An added bonus: Jessie Mueller remains in the show, as does a vast majority of the original cast. They remain fresh and committed and sharp, and I was glad to see them. Mueller is as strong in the title role as everyone in the universe has already said she is; I'd like to add that Anika Larsen, as Cynthia Weil, and Jarrod Spector (no relation) as Barry Mann, are particularly appealing and well-suited, too.

Asymmetric

Is all really fair in love and war? Not according to the thriller-comedy-love-story-political-commentary Asymmetric, written by the wonderful Mac Rogers, directed by the also wonderful Jordana Williams, and produced by Group UP and Gideon Productions at 59E59. 

Sean Williams, Kate Middleton, Seth Shelden
Photo: Deborah Alexander

As political commentary, Asymmetric offers a fascinating and important debate about the idea of "us" versus "them," with one character viewing "us" as the United States, our people, our guys, and the other viewing "us" as the human race, with no "them." I am struck by the fact that Rogers uses a woman character to embrace humanity and turn against drones and killing, despite (because of?) her previous close relationship with human destruction. Rogers is the second playwright this year to have a tough woman fight the idea of raining death down from the sky, and I have the same questions I discussed in that review (Grounded by George Brant):

... I wonder, does Brant believe that women, ... feel sympathy/compassion differently/more than men do? Is [the main character] supposed to be unique or representative? Or both? Would Grounded be the same if it were about a father rather than a mother? Men and women can be so different and yet so similar....

Sticks and Bones

The 1950s and early 1960s masqueraded as an innocent time in the United States, and nowhere was the masquerade more vivid than on television, with its faux perfect white families with their faux problems and their faux reality. In his deeply disturbing play, Sticks and Bones, David Rabe uses one of those families--Ozzie, Harriet, David, and Ricky Nelson--as his canvas to show how America's war in Vietnam stripped the United States of its masks and revealed the confusion, hatred, and violence underneath. What raises this angry comedy to brilliance is Rabe's compassion for the faux perfect family as their willful blindness is destroyed when David, the older son, returns from Vietnam suffering from actual blindness.

Raviv Ullman, Bill Pullman, Holly Hunter,
Ben Schnetzer, and Morocco Omari
Photo: Monique Carboni

In a way, the main conflict in Sticks and Bones is between reality and denial: David can only survive with reality, and the others can only survive in denial. [spoiler] This is why the family is so eager to aid David by helping him to kill himself. It is not his pain that are seeking to end, it is their own, and they are all willing to have him die for their sins. [end of spoiler]

On the Town

As Carol Oja points out in her new, excellent book Bernstein Meets Broadway: Collaborative Art in a Time of War, the 1944 musical On the Town is not nearly as well-known or celebrated as Jerome Robbin's and Leonard Bernstein's 1957 collaboration, West Side Story. It's also not as cohesive or as deep, which is not to imply, at all, that it's bad. It isn't--especially in joyful revival at the historically cursed Ford/Hilton/Foxwood/Lyric Theater. 

A landmark work that is perhaps celebrated less for its aesthetic achievements than for its introduction to Broadway of a young, superlatively talented, and enormously influential creative team (Bernstein! Robbins! Betty Comden! Adolph Green!), On the Town was the result of disparate elements that were blended together in a hurry. Based in part on the short ballet Fancy Free, which premiered to enormous acclaim at the Metropolitan Opera House in April 1944 (and which you can see in its entirety here), On the Town was expanded into a full-length musical that opened on Broadway in December of the same year. Still deeply rooted in dance and, like Fancy Free, primarily about three sailors on shore leave, On the Town's book and lyrics were added by Comden and Green, who drew largely from material they'd been using in their nightclub comedy troupe, the Revuers (which also featured Judy Holliday, and for which Bernstein sometimes served as pianist).

The resultant musical is as dense a mix of highbrow, middlebrow and lowbrow elements as the disparate influences imply: moody classical dance sequences are accompanied by Bernstein's symphonic scoring, while hips grind suggestively to his jazzier, bluesier numbers. Other numbers are all about wide-open, smiling faces and optimistic Broadway brass. Through the show, erudite, elitist characters mix easily with crasser, coarser ones. There are ridiculous plot-lines and moving ones (sometimes, these are one and the same). There are subtle jokes, corny jokes, recurring jokes, cheap jokes, dirty jokes.

Lost Lake

Lost Lake is a brief, largely unsatisfying two-hander that only catches fire in its final moments. As the title suggests, both Hogan (John Hawkes) and Veronica (Tracie Thoms) are lost: she's a widowed mother whose professional life quickly unravels in light of a stupid mistake, and he's the wayward caretaker of a dilapidated, largely unrentable lake house in Upstate New York. Longing for idyll and escape for herself and two children, and suffering from a shortage of cash, Veronica agrees to take Hogan's place for a week; she's his only renter for the season. The first seventy-five minutes of this ninety-minute one act unfold banally, with Hogan and Veronica alternatingly arguing over repairs he promised but failed to deliver and disclosing their personal troubles. We learn why Veronica lost her job; why Hogan is estranged from his daughter and essentially homeless; we learn the ways in which they're more alike than might seem at first. Unfortunately, Auburn's writing hardly strikes sparks, and while Thoms and especially Hawkes (under Daniel Sullivan's direction) do fine work, a majority of the play remains uninvolving.

The play's final scene, however, is another story. In fifteen minutes, Auburn is able to capture the depths to which these two people have fallen, and how painfully alone they feel. It's striking in its profound darkness; the playwright rejects the redemptive sluice so fully, and that in itself feels gratifying. I cannot say that it's enough to recommend the play overall, though. Would that Auburn had written an entire work worthy of those fifteen minutes.
[Running time: 90 minutes, no intermission. Last row, extreme side. TDF.]

The Elephant Man

photo: Joan Marcus

Unique questions arise when presenting differently-bodied characters in theatrical productions. Should one be painstakingly literal--either out of respect, or to offer the audience a chance to fully wrestle with its collective prejudices and preconceived notions--or should the artists let the mind's eye do at least some of the work? Recently, Samuel D. Hunter's The Whale (presented by Playwrights Horizons in 2012) and Donald Margulies' The Model Apartment (first produced in 1995, and revived to acclaim last fall; both by Primary Stages) used extraordinarily convincing body suits to present morbidly obese characters, played by Shuler Hensley and Diane Davis, respectively. The effect was primal and immediate: there was no hiding from plain fact of two people succumbing to their size. Oppositely, the recent Broadway premiere production of Violet, in which the title character has a disfiguring facial scar, used no make-up at all. The physical deformity was evoked solely through the actions of the actor (Sutton Foster) playing the role, and the reactions of those around her. Cases can be made for both the strongly literal and the evocatively figurative characterizations.

Bernard Pomerance's ever-popular The Elephant Man has always stringently shied away from using anything other than vocal or physical mannerisms in portraying John (real name: Joseph) Merrick, a real-life Victorian man whose horrible deformities gained him notoriety and a certain amount of celebrity in his own time. In fact, most productions have taken pains to cast conventionally attractive men in the role. The original production starred Philip Anglim, who had worked as a model prior to becoming an actor; Mark Hamill (at the height of his Star Wars fame) and David Bowie acted as replacements. A 2002 Broadway revival featured the dashing Billy Crudup. The current revival, in previews at the Booth Theatre after a successful Williamstown Theatre Festival engagement two summers ago, outdoes them all, with box office megastar and former People Sexiest Man Alive Bradley Cooper assuming the title role. And while this handsome but lifeless production does not make a case for the play as an enduring stage classic, Cooper's anchoring central performance is imbued with both skill and passion.