Nearly a full month late, but here it is - my very belated but lovingly crafted review of CUA's Fall musical, Sweeney Todd by Stephen Sondheim.
October 18, 2008 - Catholic University of America, Ward Hall, Washington, D.C.
The selection of Sweeney Todd for the performance season, even for a university such as CUA with a strong musical theater program, is bold, ambitious, and even risky as an artistic endeavor. The demands placed on the voices, instrumental ensemble, staging, and overall directing vision are immense. Understanding this, it was with a spirit of cautious optimism that I crammed into the already-packed Ward Recital Hall to experience Sweeney Todd as performed at CUA. Happily, I was surprised, moved, and greatly impressed with the end result.
Many congratulations and kudos first of all must go to Gabe Mangiante, music director and keyboardist extraordinaire, for managing to coax such a full, tight, professional sound out of a relatively young cast. The rhythmic, harmonic, and orchestrational complexities of the score present a formidable challenge, which Mr. Mangiante negotiated with great skill. The entire pit responded with appropriate severity, power, and tenderness under the baton of assistant conductor Randall Stewart. Director Jane Pesci-Townsend's first-hand experience with the show (she filled in as Mrs. Lovett at a 2002 Kennedy Center performance of Sweeney), combined with her years of performance and directing experience, certainly prepared her to shape a dramatic work of fittingly stark visuals and powerful staging.
It may seem obvious to say that the two stand-outs of the show were the male and female leads, Sweeney Todd and Mrs. Lovett, but, in this case even more so than usual, these main characters truly delivered fantastic performances that commanded the audience's attention at every moment. Phil Cooke's Sweeney was, as particular moments required, vicious, tender, psychotic, furious, and clever, all the while maintaining a remarkably coherent character and dramatic through line. He negotiated the thick, deep, agitated vocal line with unexpected maturity, never forcing any of the multitude of lower passages into an uncomfortable vocal production. An overabundance of praise is hardly possible in describing his work on this role. Danielle Kerlin displayed an even more polished yet eminently fitting character voice as Mrs. Lovett. Although she seemed at times to trace too closely the original Angela Lansbury interpretation in her vocal stylings, Kerlin really drew the audience into the zany yet desperate and tender emotional world of her character.
The Beggar Woman is a small but crucial role in the musical, requiring a voice that is strong and high yet flexible. Danielle Larmett exhibited all this and more, providing the emotional culmination by which the already dark and oppressive emotional arc of this drama finally tears apart at the seams. She should be most proud of this performance, as both her singing and her acting were truly of professional caliber. As her voice and acting skills continue to mature, she is sure to continue to impress audiences wherever she takes the stage.
Christine Menna's Johanna was certainly a suitably lovely singing voice – the main purpose of her character, after all. Her “Green Finch” song was graceful and satisfying, if not as vocally impressive as a richer and more ornate version could have been. Her character came across as somewhat two-dimensional at times, although this is more a result of the script itself than her shortcomings. Gannon O'Brien delivered a healthy and youthful Anthony. The warmth of his tone was a welcome contrast to the harsh timbre of much of the rest of the music, although he could have done more to shape the sustained lines of “Johanna”, particularly through bolder dynamic contrast, stronger diction, and a richer vibrato at the ends of his held notes. More years and more practice will no doubt help assist in these aspects.
Signor Pirelli is meant to steal the show, at least for the one scene in which he is the show, literally. CUA could not have asked for a more suitable performer for this role than Patrick Guetti. Equally effective in comic opera and traditional musical theater roles, Guetti is no stranger to taking the quirky, flamboyant odd-ball role. The silliness of his music, however, should not cause one to overlook the real skill required to capture the vocal and physical essence of such a character. Along with others already mentioned in this impressive cast, Patrick Guetti is certainly a performer to watch out for in the next few years.
Showing posts with label evita review musical theater. Show all posts
Showing posts with label evita review musical theater. Show all posts
Friday, November 14, 2008
Monday, October 29, 2007
Review: Evita at CUA (performance review)
Work: Evita, a musical by Andrew Lloyd Webber and Tim Rice
Ensemble: The Catholic University of America
When: Saturday, October 27, 2007, 8PM
Where: Hartke Theater Mainstage, CUA, Washington, DC
The story of The Catholic University of America's production of Evita last Saturday was one of turning a classic Webber hit - with its few outstanding faults - into an enjoyable evening with some moments of magic.
Junior Amanda Roberts delivered a most convincing Evita, depicting this (in)famous character in Argentine history as sly and headstrong. Roberts's voice was equally well-suited to the belting nature of "Rainbow High" as to the warm, sweet quality demanded by the show's most recognizable piece, "Don't Cry for Me, Argentina." She was consistent in her stage presence and vocal production the entire evening, playing very well off both co-stars Andrew Halpin and Donald Codden. While never quite achieving the superstar quality of the historical Evita herself, Roberts displayed an emotional versatility and strength that is certain to serve her well in future roles.
The story's narrator, Ché (sophomore Andrew Halpin), carried much of the show with energy and a clear sense of the dramatic shape of his recitative-like phrases. Halpin performed with a confidence that seemed to encourage the rest of the cast, particularly in his spirited "High Flying, Adored." The quick transitions between musical theater and rock styles of vocal production gave him no trouble at all, although a few of his rock style lines sounded uncomfortably forced. Halpin's final few lines fell flat as the ending of the show, but the task of trying to make up for this authors' error must fall with the director, not the actors. Largely due to the writers devising a plot line with no clear signal of finality, this was, in all honesty, perhaps the least emotionally and artistically satisfying ending I have ever experienced in a theater.
Donald Codden seemed the most vocally comfortable and physically grounded cast member on stage, and both his acting and singing as Perón came across as entirely natural. Though it is not exactly a typical Andrew Lloyd Webber show-stopper like "Don't Cry for Me, Argentina," Codden's lyric performance of "She Is a Diamond" was easily one of the vocal highlights of the night.
Channeling a bit of Tom Jones for the night, Senior Christopher Mueller carried the role of Magaldi with plenty of glitz, swagger, and bravado to capture his receptive audience. The liberties he took with the tempi were generally appropriate, though these rubato phrases did become predictably regular as "On This Night of a Thousand Stars" progressed. The high note (a B, I'm guessing?) in his reprise at the charity concert, however, soared impressively.
At first, the ballad "Another Suitcase in Another Hall," sung by Perón's Mistress (junior Kristiana Jarquin-Moreland) felt entirely out of place in the show; indeed, it appears to have been inserted in the process of revising the work, and likely should have been moved or left out entirely. Thankfully, Jarquin-Moreland overcame this shortcoming of plot with her lyrical and expressive singing. By the time one stanza of Rice's lyrics had passed, most of the audience was moved and had overlooked her song's lack of dramatic necessity.
The chorus was used effectively, within an appropriately loud and raucous presence in the Act I closer, "A New Argentina," and a more subdued role in the requiem and "Santa Evita." The entire ensemble generally moved very well in the production - a credit to director Jane Pesci-Townsend, who never let the chorus remain static for too long yet also didn't allow their movements to distract from the action. The "musical chairs" ensemble segment was staged with a cute simplicity that contrasted the rigid military climate delightfully. CUA alumnus Miguel Jarquin-Moreland provided suitable choreography, with an especially insightful moment when Evita sings in her back while elevated by the chorus, echoing the physical layout of her funeral procession at the top of Act I. (Of course, this particular blocking may have been designed by Ms. Pesci-Townsend.)
Music director and conductor Denise Puricelli is to be commended for taming the jumpy, occasionally irregular music - along with her able pit band - into a solid performance that hit every cue. The only notable fault in her performance was her somewhat timid bows at the end, as she certainly earned every second of applause and then some.
Ensemble: The Catholic University of America
When: Saturday, October 27, 2007, 8PM
Where: Hartke Theater Mainstage, CUA, Washington, DC
The story of The Catholic University of America's production of Evita last Saturday was one of turning a classic Webber hit - with its few outstanding faults - into an enjoyable evening with some moments of magic.
Junior Amanda Roberts delivered a most convincing Evita, depicting this (in)famous character in Argentine history as sly and headstrong. Roberts's voice was equally well-suited to the belting nature of "Rainbow High" as to the warm, sweet quality demanded by the show's most recognizable piece, "Don't Cry for Me, Argentina." She was consistent in her stage presence and vocal production the entire evening, playing very well off both co-stars Andrew Halpin and Donald Codden. While never quite achieving the superstar quality of the historical Evita herself, Roberts displayed an emotional versatility and strength that is certain to serve her well in future roles.
The story's narrator, Ché (sophomore Andrew Halpin), carried much of the show with energy and a clear sense of the dramatic shape of his recitative-like phrases. Halpin performed with a confidence that seemed to encourage the rest of the cast, particularly in his spirited "High Flying, Adored." The quick transitions between musical theater and rock styles of vocal production gave him no trouble at all, although a few of his rock style lines sounded uncomfortably forced. Halpin's final few lines fell flat as the ending of the show, but the task of trying to make up for this authors' error must fall with the director, not the actors. Largely due to the writers devising a plot line with no clear signal of finality, this was, in all honesty, perhaps the least emotionally and artistically satisfying ending I have ever experienced in a theater.
Donald Codden seemed the most vocally comfortable and physically grounded cast member on stage, and both his acting and singing as Perón came across as entirely natural. Though it is not exactly a typical Andrew Lloyd Webber show-stopper like "Don't Cry for Me, Argentina," Codden's lyric performance of "She Is a Diamond" was easily one of the vocal highlights of the night.
Channeling a bit of Tom Jones for the night, Senior Christopher Mueller carried the role of Magaldi with plenty of glitz, swagger, and bravado to capture his receptive audience. The liberties he took with the tempi were generally appropriate, though these rubato phrases did become predictably regular as "On This Night of a Thousand Stars" progressed. The high note (a B, I'm guessing?) in his reprise at the charity concert, however, soared impressively.
At first, the ballad "Another Suitcase in Another Hall," sung by Perón's Mistress (junior Kristiana Jarquin-Moreland) felt entirely out of place in the show; indeed, it appears to have been inserted in the process of revising the work, and likely should have been moved or left out entirely. Thankfully, Jarquin-Moreland overcame this shortcoming of plot with her lyrical and expressive singing. By the time one stanza of Rice's lyrics had passed, most of the audience was moved and had overlooked her song's lack of dramatic necessity.
The chorus was used effectively, within an appropriately loud and raucous presence in the Act I closer, "A New Argentina," and a more subdued role in the requiem and "Santa Evita." The entire ensemble generally moved very well in the production - a credit to director Jane Pesci-Townsend, who never let the chorus remain static for too long yet also didn't allow their movements to distract from the action. The "musical chairs" ensemble segment was staged with a cute simplicity that contrasted the rigid military climate delightfully. CUA alumnus Miguel Jarquin-Moreland provided suitable choreography, with an especially insightful moment when Evita sings in her back while elevated by the chorus, echoing the physical layout of her funeral procession at the top of Act I. (Of course, this particular blocking may have been designed by Ms. Pesci-Townsend.)
Music director and conductor Denise Puricelli is to be commended for taming the jumpy, occasionally irregular music - along with her able pit band - into a solid performance that hit every cue. The only notable fault in her performance was her somewhat timid bows at the end, as she certainly earned every second of applause and then some.
Sunday, October 28, 2007
Review: Evita the Musical
Tonight (Saturday, 10/27) I saw Andrew Lloyd Webber's Evita for the first time at CUA. While my future reviews will hopefully be longer, more in-depth, and more coherent, here is my first (late-night) attempt.
Note: I am reviewing the writing of the show itself, and not the performers for this particular show, unless otherwise noted.
The best aspect of this piece is that Evita herself comes across as one of those rare characters that successfully pull off an ambiguous character. She is honorable, admirable, and "of the people," but at the same time she is manipulative, materialistic, and at times selfish. This sort of ambiguous character is difficult to create, and difficult to become emotionally attached to; however, I am even more attracted to this type of character than the typical "good guy" lead (Curly) or the strangely fascinating "bad guy" (Sweeney Todd). Both Judas from J.C. Superstar and The Phantom are other great examples of Webber's sensitivity to an audience's desire for such richly developed characters. At times, though, I find myself wishing that his musical ideas would embrace that same bold, category-defying spirit.
I was most intrigued by the use of a "recitative-like" method for dialouge in this piece. Largely because of the tight transitions between sections, Evita represents one of the more successful approaches to a through-composed musical. Unfortunately, while Webber has an undeniable talent for spinning out memorable, tuneful "set piece" songs, his drawn-out melodies and very regular phrases break the first rule of successful recitative: set it clearly, and get it over with! I certainly sympathize, as my own efforts of recitative have also tended to run much longer than necessary. I believe this musical would be greatly improved, particularly in terms of pacing and structure, if the dialogue sections took an average of 50-70% of its current length. The same lyrics could still be set, but simply more quickly.
For a final note, the ending - there is none! Evita dies, Che says a few hurried phrases about her burial, and then... nothing. I realize that not every show needs to end with a large-scale ensemble number, but I do believe that they need a very specific, intentional ending, be it positive, negative, or ambiguous. Evita, on the other hand, ends with a small fragment of lines, which typically function as plot-driving, "throw-away" musical material in the rest of the piece. As this dialogue/recitative is not Webber's forte in the first place, it results in a sloppy, unsatisfying ending.
Overall, seeing Evita was a positive experience if only to say that I have now experienced it. It certainly has its shortcomings in my view, though, which can be just as instructive for developing composers as extremely effective works.
Note: I am reviewing the writing of the show itself, and not the performers for this particular show, unless otherwise noted.
The best aspect of this piece is that Evita herself comes across as one of those rare characters that successfully pull off an ambiguous character. She is honorable, admirable, and "of the people," but at the same time she is manipulative, materialistic, and at times selfish. This sort of ambiguous character is difficult to create, and difficult to become emotionally attached to; however, I am even more attracted to this type of character than the typical "good guy" lead (Curly) or the strangely fascinating "bad guy" (Sweeney Todd). Both Judas from J.C. Superstar and The Phantom are other great examples of Webber's sensitivity to an audience's desire for such richly developed characters. At times, though, I find myself wishing that his musical ideas would embrace that same bold, category-defying spirit.
I was most intrigued by the use of a "recitative-like" method for dialouge in this piece. Largely because of the tight transitions between sections, Evita represents one of the more successful approaches to a through-composed musical. Unfortunately, while Webber has an undeniable talent for spinning out memorable, tuneful "set piece" songs, his drawn-out melodies and very regular phrases break the first rule of successful recitative: set it clearly, and get it over with! I certainly sympathize, as my own efforts of recitative have also tended to run much longer than necessary. I believe this musical would be greatly improved, particularly in terms of pacing and structure, if the dialogue sections took an average of 50-70% of its current length. The same lyrics could still be set, but simply more quickly.
For a final note, the ending - there is none! Evita dies, Che says a few hurried phrases about her burial, and then... nothing. I realize that not every show needs to end with a large-scale ensemble number, but I do believe that they need a very specific, intentional ending, be it positive, negative, or ambiguous. Evita, on the other hand, ends with a small fragment of lines, which typically function as plot-driving, "throw-away" musical material in the rest of the piece. As this dialogue/recitative is not Webber's forte in the first place, it results in a sloppy, unsatisfying ending.
Overall, seeing Evita was a positive experience if only to say that I have now experienced it. It certainly has its shortcomings in my view, though, which can be just as instructive for developing composers as extremely effective works.
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