Little Shop of Horrors

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Did New York really need another revival of this oft-produced cult musical by the talented team of Howard Ashman and Alan Menken? Without having seen it, I would have said “no” and I would have been wrong. This is a revival with a difference, combining big talent with small scale. It is not often that we get to see Broadway stars like Christian Borle (Something Rotten!, Peter and the Starcatcher, Falsettos) and Jonathan Groff (Spring Awakening, Hair, Hamilton) in such an intimate space, in this case the Westside Theatre. Since the show only has eight actors (one of whom is unseen) plus two puppeteers, it really belongs in a small theater rather than on Broadway. (Alas, Broadway talent, even in an off-Broadway theater, comes with Broadway prices.) The ever-watchable Christian Borle is amazing here in several different roles, most notably that of Orin, the sadistic dentist (a role created by Jack Nicholson in the original Roger Corman film). He makes it clear why he has two Tonys. The versatile Jonathan Groff captures both the nebbish and the opportunist in Seymour. Tammy Blanchard (Gypsy, How To Succeed in Business Without Really Trying), in the unenviable position of following the memorable Ellen Greene as Audrey, wisely does not attempt to imitate her. Blanchard’s Audrey seems even more world-weary and insecure. Her voice, while pleasant, is no match for Greene’s. Tom Alan Robbins (Head Over Heels, Newsies) is fine as Mushnik, Seymour and Audrey’s gruff boss. The three urchins — Ronnette (Ari Groover; Head Over Heels), Crystal (Salome Smith) and Chiffon (Joy Woods)— who serve as Skid Row’s amusing Greek chorus, are terrific although it is occasionally difficult to hear their lyrics over the orchestra. The unseen Kingsley Leggs (Sister Act, Pretty Woman) nails the voice of Audrey II, the plant with a taste for human blood. The puppet, designed by Nicholas Mahon, is wonderful and is skillfully manipulated by Eric Wright (Madama Butterfly at the Met) and Teddy Yudain (The Little Match Girl at Spoleto USA). Julian Crouch’s (Head Over Heels, Big Fish) modest set is efficient. Tom Broecker’s (Everyday Rapture, “Saturday Night Live”) costumes are apt. Director Michael Mayer’s (Spring Awakening, Brooklynite) flawless direction pulls it all together splendidly. The book and lyrics by Ashman (Smile, Beauty and the Beast) and the music by Menken (Beauty and the Beast, Newsies, Aladdin) continue to delight. Each of the stars seemed to have an avid fan base from previous stage, film or television appearances; the audience was wildly enthusiastic. I was glad I splurged on a ticket because it was a very enjoyable evening. Running time: two hours including intermission. 

NOTES: 

After January 19, Jonathan Groff will be replaced by Gideon Glick, who filled in for him for two weeks when he had another commitment. 

It is unfortunate that the upstairs theater at Westside is inaccessible to wheelchairs.

Dada Woof Papa Hot ***

Yet another play about life among the white and wealthy gay residents of Manhattan? That was my first reaction upon learning about Peter Parnell’s unfortunately titled new play at Lincoln Center’s Mitzi E. Newhouse Theater. My lack of enthusiasm was misplaced. The play examines interesting questions of what has been gained and what has been lost with the arrival of gay marriage and gay parenthood. At the play’s center are two sets of gay fathers — Alan (John Benjamin Hickey) and Rob (Patrick Breen), the former a writer, the latter a psychotherapist, both in their forties — and a younger couple they meet at a gay parents’ group — staid financier Scott (Stephen Plunkett) and studly painter Jason (Alex Hurt). We also meet a straight couple —Alan’s best friend Michael (John Pankow), whose latest show on Broadway has just flopped, and his wife Serena (Kellie Overbey) — and Julia (Tammy Blanchard), an actress they both know. We follow them over the course of a year as they navigate pitfalls of parenthood and marriage, some common to all marriages and others unique to gay couples. The production is top-notch with an excellent cast, a wonderful set by John Lee Beatty that elegantly reconfigures to half a dozen locations, appropriate costumes by Jennifer von Mayrhauser and smooth direction by Scott Ellis. Parnell’s snappy dialogue is a treat. The play does sag slightly towards the end, but not enough to spoil it. Running time: one hour, 40 minutes; no intermission. NOTE: there is brief male frontal nudity, almost a requirement these days.

How To Succeed in Business Without Really Trying ***

(Please click the title to see the full review.)
After the string of disappointing plays I have recently endured, I decided I needed a musical break, so I picked up a TDF ticket for this long-running 50th anniversary revival. While it's not at the exalted level of Guys and Dolls or The Most Happy Fella, even lesser Loesser is a treat. The original cast is long gone, but the current leads (Nick Jonas and Beau Bridges) are fine. Jonas is a natural-born entertainer whose Finch, according to many, is an improvement over Daniel Radcliffe's. Michael Urie is hilarious as Finch's nemesis. The women did not fare quite as well. Stephanie Rothenberg was a bit colorless as Finch's love interest. In a shameless nod to Mad Men, Tammy Blanchard's Hedy LaRue is dolled up as a Christina Hendricks clone. The satirical book by Abe Burrows, Jack Weinstock and Willie Gilbert is corny, but that is part of the charm. Catherine Zuber's costumes are delightful. Derek McLane's attractive scenic design is a technical marvel, almost to the point of distraction. Rob Ashford's direction is smooth and his choreography is clever. Loesser's music and lyrics are fresh as ever. It was an enjoyable afternoon. Running time: 2 hours, 40 minutes including intermission.