Camelot

B

It has been over 62 years since I saw Lerner and Loewe’s (My Fair Lady, Gigi) Arthurian musical during its pre-Broadway Boston run. My memories are dim, but I do recall enjoying the wonderful music and clever lyrics sung by its three stars (Richard Burton, Julie Andrews and Robert Goulet). I don’t remember much about the book, which is probably significant. The fact that it has not had a Broadway revival since 1993 has usually been blamed on its less-than-satisfying book. Now Lincoln Center Theater has engaged Aaron Sorkin (To Kill a Mockingbird) for a do-over and the result is in previews on the Vivian Beaumont stage. I don’t remember the details of the original clearly enough to say whether the revised book is a step forward or backward, but I will say that the material remains largely intractable. While the more intimate scenes work well, the attempt to squeeze in so much exposition, particularly in the second act, weighs heavily on the show. And it all leads to an ending that I found musically and dramatically unsatisfying. Nevertheless, I was grateful for the opportunity to hear the gorgeous songs again, sung by three fine singing actors (Andrew Burnap (Inheritance), Phillipa Soo (Hamilton) and Matias de la Flor (u/s for Jordan Donica), accompanied by a large orchestra. Burnap not only sings well, but is a fine actor. While I liked Soo, I thought she presented as more womanly than girlish. I was sorry to miss Donica, but de la Flor sang and acted convincingly. The set by Michael Yeargan (My Fair Lady) resembles the interior of a cathedral with props dragged in as needed. Since they did introduce a largish table, I was surprised it was not round. Jennifer Moeller’s costumes for the knights were initially rather drab in charcoal and black until colored capes were added later. The costumes for Guenevere were quite lavish. The choreography by Byron Easley (Slave Play) did not make a strong impression. Director Bartlett Sher’s musical winning streak at LCT (South Pacific, My Fair Lady, The King and I) led me to arrive with expectations that were too high. A word about seating – don’t get center seats in the first few rows because the jutting stage is quite high. I have heard complaints that from these seats the orchestra, which is underneath the stage, sounds too loud and the voices sound too weak. I was glad to have seen the show even though it disappointed in some respects. Running time: two hours 50 minutes including intermission.

The Parisian Woman

B-

Uma Thurman makes her Broadway debut in the lead role of Chloe in Beau Willimon’s (Farragut North, “House of Cards”) political drama set in contemporary Washington. The play was inspired by La Parisienne, an 1885 French play by Henry Becque. Chloe is married to Tom (Josh Lucas; Corpus Christi, “Sweet Home Alabama”), a prominent tax lawyer who is hoping for an appointment to the federal bench. Peter (Marton Csokas; The Little Foxes at NYTW) is an influential businessman who is besotted with Chloe. Jeanette (Blair Brown; Copenhagen, James Joyce's The Dead) is about to become chair of the Federal Reserve Board. Her daughter Rebecca (Phillipa Soo; Hamilton, Amelie), fresh out of Harvard Law, has ambitions for a career in politics. Chloe may not have a career, but pulling the strings of the other four characters is a full-time job. Deep character portrayal is not the play’s strength. Playing out a somewhat intricate plot while springing an occasional surprise is where the pleasure lies. There are scattered references to life under the Trump administration that go for an easy laugh. The actors are well-cast. Ms. Thurman seems perfectly comfortable onstage; that her character does not come across as more charismatic is probably a problem in the writing. Mr. Csokas’s Peter is a hoot. Blair Brown never disappoints. Mr. Lucas and Ms Soo are fine, but don’t get that much opportunity to show their mettle. The scenic design by Derek McLane (Beautiful, The Price) features three different attractive sets. A high-tech electronic curtain descends between scenes. Jane Greenwood’s (The Little Foxes) costumes suit their characters well. Pam MacKinnon (Amelie, The Qualms) directs with assurance. Running time: one hour 40 minutes; no intermission.

Hamilton ****

Lin-Manuel Miranda’s highly anticipated hip-hop musical about the life of one of our most intriguing founding fathers is now in previews at the Public Theater. Stop reading long enough to buy a ticket, if you can snag one. [As of February 4, the Public website indicates that there are tickets available starting in early April.] The multi-talented Miranda not only wrote the music, lyrics and book; he is the co-arranger and, last but not least, the star. This ambitious, inventive show is strong across the board: the entertaining, informative and emotionally involving book is filled with moments of humor and pathos, the characters are vividly drawn, the lyrics are extremely clever, the deceptively simple scenic design (by David Korins) is effective, the costumes (by Paul Tazewell) are attractive, the choreography (by Andy Blankenbuehler) supports the action well, the cast is uniformly excellent and the direction (by Thomas Kail) is fluid and assured. As for the music, hip-hop will never be a genre that I gravitate to, but Miranda makes a strong case for its expressive possibilities. Miranda captures the complexities of Hamilton’s personality. Brian D’Arcy James almost steals the show as King George. Daveed Diggs excels at his two juicy roles — Lafayette and Jefferson. Leslie Odom Jr. is a fine Aaron Burr. Philllipa Soo is touching as Elizabeth, Hamilton’s loyal wife, and Renée Elise Goldsberry is excellent as her sister Angelica. Christopher Jackson has just the right gravitas for George Washington. Miranda was inspired by Ron Chernow’s 818-page revisionist biography of Hamilton. If there is a fault, it is that he was overambitious and included too much material. I was a bit exhausted by play’s end, but it was a pleasant kind of exhaustion. A transfer to Broadway seems inevitable. Running time: 2 hours, 50 minutes including intermission. 

Natasha, Pierre and the Great Comet of 1812 ****

For a unique evening of musical entertainment and Russian cuisine, head to Kazino, the ersatz Russian nightclub in a tent under the High Line in the Meatpacking District. When you enter, you are greeted with a vodka drink and carnival entertainment while you wait to be seated. The nightclub is stunning -- the red velvet walls are covered with period paintings, the ceiling is studded with chandeliers reminiscent of those at the Met, and the long rectangular space is filled with small tables and cafe chairs, set on three different levels. Musicians playing both traditional and electronic instruments are scattered around the room. By the time you have finished your meal (crudites, black bread, borscht, chicken, salmon, couscous and pierogi) and any optional drinks you have ordered, you may have forgotten that you were there to see a musical! And then comes the main event, Dave Malloy's clever pop opera adapted from the section of War and Peace that describes Natasha's arrival in Moscow, her introduction to society at the opera, her disastrous meeting with the father and sister of her fiance Andrey who is away at war, her seduction and attempted abduction by the unscrupulous Anatole, her ensuing misery, and the spark of sympathy for her that ignites Pierre. With one dramatic exception near the end, the piece is entirely sung. The eclectic score has touches of folk, pop, rock and club music. The staging is, to put it mildly, fluid: the performers run up and down the central aisle and along platforms that encircle the room and even sit down amid the audience occasionally. Both the acting and vocal skills of the cast are strong. Phillipa Soo as Natasha, Lucas Steele as Anatole, Brittain Ashford as Natasha's cousin Sonya and playwright/composer Malloy as Pierre stand out. Rachel Chavkin's direction, Mimi Lien's scenic design, Paloma Young's costumes, Bradley King's lighting and Sam Pinkleton's choreography are all first-rate. It all added up to a very enjoyable evening. Running time: two hours, 35 minutes including intermission. However, dinner is served an hour before it begins and the play started late, so it added up to almost four hours. Note that you may be seated at a table with strangers and that the wooden seats are not cushioned.