Wrong. For one, the limits of the tiny Rose Theater made it necessary to scale down Hal Prince's production to what looked like the Dollar Store version. Same familiar circus-performers concept, but tiny, cheap drops that wrinkled and flapped, an awkward miking system that made the voices sound thin and inaudible but the set changes and stage movement ear-splitting, and a cast that was obviously under-rehearsed. Prince (and choreographer Patricia Birch) seem not to have gotten the memo however -- the tiny stage was filled with a full set of dancers and extras and all the stage business of his old production. I've seen a NYCO telecast of the original. In a full sized theater those effects are wonderful. Here it just looked like nonstop onstage traffic jams.
Meghan Picerno (Cunegonde) has a cute stage presence and comic timing, but not nearly enough voice for "Glitter and Be Gay." Note values were approximate, high notes came out either pipsqueak, flat, or not at all. At least the audience seems to have liked her. In the title role Jay Armstrong Johnson (who's done some great work in On The Town) sounded nervous and the miking was odd -- he faded in and out. It also sounds like he was trying to beef up his light, pleasant voice with an overly intrusive vibrato. Linda Lavin (Old Lady) finally brought a dose of old-school vaudevillian "We Need to Put On a SHOW!" mentality -- her line readings weren't subtle but at least you could tell this was a pro who knew how to put on a performance no matter the circumstance.
Other performers who acquitted themselves well in their roles: Jessica Tyler Wright was consistently cute and funny as Paquette, Chip Zien as the Jew who shares Cunegonde with the Grand Inquisitor (Brooks Ashmankis).
|Gregg Edelmann, photo @ Tina Fineberg|