|Kelli O'Hara and Patrick Wilson, photo @ Sara Krulwich|
When New York City Center announced that the chief Encores! presentation of their season would be Lerner and Loewe's Brigadoon, tickets sold out so quickly that you would have thought the musical only came around once in a hundred years. Oh wait ...
Anyway tonight's performance was one of glorious highs and depressing lows. Let's start with the positive here: this was a lavish, fully-staged performance. They spent good money on this. It didn't have the feel of a semi-staged concert at all -- there were colorful costumes, enough props and some background projections to evoke the world of the Scottish highlands. This is a production that could transfer to Broadway with minimal adjustments. A few more sets (a ramp served as an all-purpose entrance and exit tool) and less amateurish projections and we'll have a great show. Of course if it moved to Broadway it probably wouldn't have had the full orchestra of 30 players led by Rob Berman. The orchestra really played Loewe's score with love and they got the loudest applause of the evening.
Other highs: it is so good to hear Frederick Loewe's score really sung -- the MGM musical with Gene Kelly and Cyd Charisse became an almost all-dance extravaganza, remade to fit Kelly's dancing skills and vocal limitations. But with the beautiful, soaring soprano of Kelli O'Hara as Fiona and other musical theater veterans in the lead roles, the music became the star, as it should be. "From This Day On" was absolutely glorious. O'Hara wasn't the only beautiful voice onstage. There was Stephanie J. Block who was very funny as Meg, the "earthy" girl to O'Hara's more romantic heroine. Block made the anti-love song "The Love of My Life" a show-stopper. Before tonight I had never heard of Ross Leiketes (Charlie). I certainly do now. Ny god, what a VOICE! "Come to Me, Bend to Me" became one of those melodies you just never wanted to end.
|Fairchild and Esty, photo @ Sara Krulwich|
The mediocre: the Tommy (Patrick Wilson) and Jeff (Aasif Mandvi). I wonder what it would have been like had the originally announced Steven Pasquale not dropped out of the production. Wilson and Mandvi weren't bad but they were very bland and basic and just sort of there. Granted their characters aren't all that inherently interesting but they faded into the background. Wilson's lighter, grainy baritone couldn't match O'Hara's soprano and Mandvi was overpowered by Block. Sara Esty (Jean) was a good dancer but acting-wise was also vacant. It was good to have veteran actors like Dakin Matthews (who played Joe in Waitress) in smaller roles.
|Asaf Mandvi, Patrick Wilson, Dakin Matthews and Kelli O'Hara photo @ Joan Marcus|
And now the bad: this whole project was directed and choreographed by Christopher Wheeldon. And there's just no getting around the fact that I dislike his choreography. In the program there is a line that says "Original dances created by Agnes de Mille" but what I saw was a bunch of Wheeldon clichés -- the men with the women lifted at shoulder length and twirled over and over again, the usual sliding of women between the men's legs to be semi-dragged on the floor, the women somehow ending upside down with legs in the air. The one piece that seemed truly inspired by de Mille was the Sword Dance and that was by far the most thrilling dance set piece of the night. But the other choreography often looked like the same filler he used in An American in Paris.
One really tasteless number: the funeral dance of Harry. Patricia Delgado (Maggie) is a wonderful dancer -- I saw her when she was with Miami City Ballet. But she was in a brown rag dress that was looked half Martha Graham, half Mark Morris, and instead of a heartfelt dance of grief for the troubled Harry Wheeldon made her wriggle all over his body and of course her legs had to spread eagle in the air. This faux-modern dance concoction really took the viewer out of the Scottish village romance mindset. It stopped the show in all the wrong ways.
This show has a lot of built-in dancing and Wheeldon of course beefed up the dancing even more. But when the choreography is so uninspired I often just zoned out waiting for the next beautiful song to come up. Thankfully those beautiful songs did appear over and over again all evening. Lerner and Loewe's score deserves to be heard way more than once in a hundred years. I could listen to it every day. The story is quaint but charming, and really loops us into an earlier time, when such an unabashedly romantic score graced the Great White Way.
And also: now I know where Andrew Lloyd Webber got the opening melody to "Music of the Night."
Listen to "Come to Me Bend to Me." There's more than a passing, "accidental" resemblance.
|Pérez, photo @ Chris Lee|
|Borras and Pérez, photo @ Chris Lee|
But seriously? GIVE THIS OPERA A CHANCE. There's way more to it than the famous Meditation. I don't know why this opera hasn't been revived since the initial production with Renée Fleming but my god, it's a beautiful opera and the production by John Cox is delightlful in a kitschy sort of way. The orchestration is stunning -- it runs the gamut from the flighty, fanciful flourishes of Thaïs's life to some vaguely Middle-Eastern music to almost Wagnerian grandeur. Emmanuel Villaume's conducting emphasized the Wagnerian grandeur more than the delicacy of the score. This opera deserves to be heard. And this Met cast isn't perfect but they do justice to Massenet.
I mean isn't this gorgeous?