Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.
Musicals Tonight’s 95th revival, Du Barry Was a Lady, is its 14th Cole Porter Show. The 1940 meringue-weight musical ran 408 performances starring Ethel Merman, Bert Lahr and Betty Grable in her Broadway Debut. There are three or four familiar songs including “Friendship,” later used in Call Me Madam and “Well, Did You Evah!?” that would highlight High Society. The book is sheer ba-dump-dump pastiche.
Peyton Crim and Jennifer Evans; Jennifer Evans and Payton Crim
Sweet, rather dull Louis Blore (Peyton Crim), formerly a men’s room attendant, has won a sweepstakes of $75,000. Sizable rock in hand, he proposes to club vocalist, May (Jennifer Evans). She, in turn, is fixed on handsome columnist Alex (Patrick Oliver Jones- curiously unromantic) whose sister Alice (Katherine McLaughlin) works with her. Other nightspot denizens include Alice’s beau Harry (Tim McGarrigal), club owner Bill Kelly (able, rubber-faced Richard Rowan), and mercenary Cigarette/ Hatcheck girl Vi (Lily Tobin, overtly channeling Ruth Gordon through Betty Boop.)
Tim McGarrigle and Katherine McLaughlin
Direct from the clink, new employee Charlie (Ernie Pruneda), mistakenly slips Louis a Micky Finn (drop-out drug) intended to keep Alex from a date with May. Having just seen the Red Skelton/Lucille Ball film Du Barry Was a Lady, Louis dreams he’s King Louis XV. Everyone shows up in period garb.
May becomes Du Barry holding off her Sire with faux Mae West tone: “I know you want me. I can read you like a book, but you don’t have to use the Braille System.” Meanwhile she’s hot for and hiding a period version of Alex. Farce ensues. Louis develops a clearer take on the life to which he awakens after Versailles, loses or gives away almost all his windfall, yet remains upbeat. Of course.
Patrick Oliver Jones and Jennifer Evans
A contemporary production of Du Barry depends on its director and performers to make froth sit well. In order to bring this off, actors must “play it straight” i.e. appear to an audience as if characters know no better and speak in natural syntax. While a little wink/wink mugging may fly, this particular version, particularly its foray into ersatz history, is self consciously broad to the extreme. (Director Evan Pappas)
Richard Rowan and Payton Crim
Still, the piece has its rewards. Peyton Crim makes a swell Louis, with royal embodiment mostly skirting over-the-top rather than toppling. He’s credibly big-hearted, obtusely hopeful, deftly clumsy, and fluently delivers Porter’s iconoclastic phrasing. Tim McGarrigle (Harry) shows agreeable aspects of Donald O’Connor and Peter Sellers. His nifty, exaggerated French accent echoes Lumiere, the animated candlestick of Beauty and The Beast.
Both Jennifer Evans and Katherine McLaughlin have good voices and dance well. Both, however, overplay. Evans looks to the audience rather than interacting with fellow characters, doing best in duets with Crim who seems to focus his partner with naturalness. McLaughlin, alas, is additionally saddled with the ugly handicap of chewing gum?!
Evan Pappas’s Choreography is lively and cute with subtle awareness of limited space. Use of that space, especially employing back-up girls/ boys, is visually appealing.
Vocal Arrangements are very fine.
A painted backdrop and rose trellis that flips to become a bed, work to add color and fantasy.
Long legged Chorus Girls: Elizabeth Flanagan, Ashley Griffin, Tina Scariano
Chorus Boys: Mark Bacon, Jamil Chokachi, Colin Israel, Evan Maltby
The venerable Musicals Tonight has completed another season, sharing productions of shows otherwise rarely (if at all) available to audiences. It continues to provide a worthy and appreciated platform.
Photos: Opening – The Company
Musicals Tonight! presents Du Barry Was a Lady
Music & Lyrics by Cole Porter
Libretto by Herbert Fields & BG DeSylva
Directed & Choreographed by Evan Pappas
Music Director/Vocal Arranger- James Stenborg
Through April 9, 2017 The Lion Theatre
410 West 42nd Street
Before March 17 when Disney’s live action Beauty and the Beast arrives in theaters, Christian rights groups are calling for a boycott. The reason? The film features a gay character, LeFou, played by Josh Gad, who is the comedic sidekick to the village bully, Gaston, played by Luke Evans. According to news reports, Franklin Graham, son of evangelist preacher Billy Graham, called for the boycott in a Facebook post on March 2 saying, “They’re trying to push the LGBT agenda into the hearts and minds of your children – watch out!” By Friday, March 3, when online reviews began to appear, Graham’s post had been shared 88,000 times and a drive in theater in Alabama said it will not screen the film. On Life Petitions, Christian groups are calling for people not only to boycott the film but to boycott anything Disney.
I saw the film on March 2 and posted my review the following day. (Click to read.) Like so many other reviews, mine was a rave, praising Director Bill Condon’s vision which resulted in a film that actually is better than the animated version. (Note that even in that film, LeFou’s sexual orientation was always a question.) LeFou and Gaston are now played by real actors and some of the dialogue does convey the thought that LeFou is attracted to Gaston. Yet those factors alone might not have created momentum for a boycott.
Our political environment has shifted dramatically since 1991 when the animated film premiered. We are currently living in a time when diversity is no longer acceptable. What is acceptable is singling out and vilifying those who are different. So gay people are now fair game and if some groups choose to use a Disney film to make their point, they will. Whether the boycott will be successful remains to be seen.
Most parents take their responsibilities seriously and quite rightly monitor what their children watch in movies, on TV, and on the Internet. But shielding a child from a film that makes a passing reference to being gay is not the right strategy. There’s so much going on in the film – music, special effects, dancing, etc. – that small children will be engaged and focus on the primary relationship between Belle and the Beast. But what if a child does ask about LeFou and Gaston? A teaching moment! That’s the time to have that conversation, dishing out as much information as is age appropriate. Unless a parent expects a child to never encounter a gay person in school, college, or in the workplace, avoiding these discussions not only is just plain wrong but will result in a young person being totally ill-equipped to manage in the world.
Of course, parents can put whatever spin they want on such a conversation. One would hope they would take a page from Pope Francis who famously said, “Who am I to judge?” when asked about gays. (In case anyone asks, the Pope is Christian.)
Top photo: Josh Gad and Luke Evans in Beauty and the Beast. Courtesy of Disney Pictures.
Charlene Giannetti is the co-author with Margaret Sagarese of six books for parents of young adolescents including The Roller-Coaster Years, Parenting 911, Cliques, and Boy Crazy! and Good Parents, Tough Times.
The studio’s live action remake, with a superbly talented cast, breath-taking sets, lavish costumes, and special effects that enhance rather than detract, surpasses the original 1991 animated classic. With the previous film, as well as the stage version, in the rear view mirror, and with La La Land whetting the public’s appetite for more musical films, Beauty and the Beast’s timing couldn’t be better.
Dan Stevens as the Beast
Director Bill Condon leads a production team that manages to do everything right. Condon, whose film adaptation of the Broadway hit Dreamgirls, won two Academy Awards and three Golden Globes, also knows his way around a script. He won an Academy Award for Best Adapted Screenplay for Gods and Monsters which he also directed. The screenplay by Stephen Chbosky and Evan Spiliotopoulos builds on the original, filling in some of the backstory about Belle and the Prince/Beast. The score with music by Alan Menken and lyrics by Tim Rice, retains the songs in the animated version, while eliminating some from the stage version, and adding several that serve to advance the story in key moments.
Emma Watson as Belle and Luke Evans as Gaston
The cast, many of whom had worked with Condon before, trusted his vision and were eager to sign on for this mission. Emma Watson, known to younger audiences as Hermione Granger in the Harry Potter films, is radiant as Belle, projecting the heroine’s intelligence and kindness, but also her bravery when faced with danger. Her face lights up the screen and her singing voice projects a sweet innocence which befits her character.
Dan Stevens, the doomed Downton Abbey heir, might seem an odd choice to play the Prince who, because of his selfishness, is turned into the Beast by an enchantress. Yet he attacks (in some scenes quite literally), the role with relish. While the Beast is a fully digital character (according to the press notes the actor wore stilts and a prosthetics muscle suit with a grey bodysuit during filming), Stevens was determined to display the fine line between man and beast, striving to make his live action character “more dimensional than the Beast from the animated film.” He succeeds, revealing the human trapped inside a horrible-looking animal, particularly when singing the lament “Evermore,” a new addition to the score.
Kevin Kline as Maurice and Emma Watson as Belle
Belle’s father has evolved from the zany inventor in the animated version to an artist who creates beautiful, ornate music boxes. Kevin Kline’s mere presence adds depth to any scene he’s in. His Maurice projects a father’s love, but beneath the surface there’s a sadness about the past. (Through the magic of a mirror, the Beast takes Belle back to her life in Paris and she understands the secrets Maurice holds in his heart.) Kline’s Maurice is not without humor, especially when he encounters some of the talking objects in the Beast’s castle, and he delivers a stirring “How Does a Moment Last Forever,” another new song.
Josh Gad as LeFou and Luke Evans as Gaston
Gaston’s resume has been beefed up, transforming him into a war hero who saved Villenueve, the fictional French village, from invaders. What hasn’t been altered is Gaston’s quick-trigger temper, his oversized ego, and his inability to accept Belle’s refusal to marry him. Welsh actor Luke Evans brings his stage presence and booming baritone to the “role he was born to play,” according to Condon. Paired with Josh Gad as Gaston’s sidekick LeFou, Evans takes advantage of Gad’s impeccable comic timing to make the interaction between the two fun to watch. (There’s been much pre-publicity – both positive and negative – about LeFou’s obvious attraction to the manly Gaston.)
The Castle Objects
Those who signed on as the humans doomed to live as various objects in the Beast’s castle until the spell is broken, include a mind-boggling group of A-list actors. For most of the film, they are voicing the characters, but they are seen briefly in the beginning and finally emerge in the flesh at the end. They include: Ewan McGregor as Lumière, the candlestick holder; Stanley Tucci as Cadenza, a harpsichord; Audra McDonald, as Madame de Garderobe the wardrobe; Gugu Mbatha-Raw, as Plumette, the feather duster; Ian McKellen, as the clock, Cogsworth; Emma Thompson as the teakettle, Mrs. Potts; and Nathan Mack as the teacup, Chip. Hattie Morahan who lurks around the village as the homeless woman, Agatha, is actually the Enchantress who casts the spell on the Prince.
Production Designer Sarah Greenwood, responsible for the visual aspect of the film, led a team of more than 1,000 crew members who worked to create the sets that would mimic those in the animated film. These sets built on the backlot at Shepperton Studios outside London, include: the fictional town of Villeneuve; the castle’s ballroom, with a floor made from 12,000 square feet of faux marble; Belle’s bedroom; and the castle’s library holding thousands of books created specifically for the production. The largest set – 9,600 square feet – is the forest surrounding the castle which included real trees, hedges, a frozen lake, a set of 29-foot high ice gates, and about 20,000 icicles.
Costumes are period perfect and eye-catching. Designer Jacqueline Durran’s team, made up of embroiders, milliners, jewelers, painters, and textile artists, worked for three months before filming began. That lead time was necessary since Durran wanted to create sustainable costumes from fair-trade fabrics. The greatest challenge was designing that iconic yellow dress that Belle wears when dancing with the Beast in the castle’s ballroom. Made from 180 feet of feather-light satin organza, the dress used up 3,000 feet of thread. All that attention to detail pays off. Belle’s gown glows in that dance number, a high point in a film with many high points.
In a cynical world, the “tale as old as time,” never gets old. Disney’s new version continues that legacy.
Photos courtesy of Walt Disney Studios
Beauty and the Beast opens nationwide on March 17, 2017.