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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.

Brooks Ashmanskas

Candide – Gleefully Over the Top

01/10/2017

New York City Opera has risen like a phoenix from threats to its demise. Lavish staging of Candide by the estimable Harold Prince is, but for a few casting glitches, glorious. (The director previously helmed productions both with this company and elsewhere.) It’s been a great many years since many of us attended a performance of Candide, yet the overture sounds like an old friend, filling one with happy anticipation. Sound Design (Abe Jacob) and orchestration are superb.

The story of star-crossed lovers Candide (Jay Armstrong Johnson) and Cunegonde (Meghan Picerno) is narrated by the play’s author Dr. Voltaire (Gregg Edelman). Cunegonde’s parents, the Baron (Brooks Ashmanskas) and Baroness (Sishel Claverie), and her brother, Maximilian (Keith Phares), disdain Candide as a bastard, forbidding marriage.

school-room

Jay Armstrong Johnson, Jessica Tyler Wright, Gregg Edelman, Keith Phares, Meghan Picerno

With the addition of flirty, sexually accommodating maid, Paquette (Jessica Tyler Wright), the three young people are home schooled by “wisest of all philosophers and scholars” Dr. Pangloss (Gregg Edelman) who teaches “Everything is for the best in this best of all possible worlds.” Contentedness might be scooped with a spoon, but doesn’t last.

Candide is exiled and conscripted (in a potato sack) by two Bulgarian soldiers warring with Westphalia. Cunegonde’s family is slaughtered. She herself is kidnapped and raped. Before he can climb out of his sack and she can raise herself from a state of exhausted discard,  not 20 feet from where he’s been abandoned, immediate experience forgotten, they’re singing a duet. Get used to it.

Candide

Chip Zien, Gregg Edelman, Brooks Ashmanskas and the company

Both characters, eventually joined by nine-lived Maximilian, Paquette and “the old lady” have a series of preposterous adventures separating and reuniting them as they’re borne by circumstance from Lisbon to Spain to The New World, Turkey and back. Used and abused (especially our ingénue) they’re nonetheless resourceful, steadfast, forgiving, and optimistic. Despite Cunegonde’s early aspirations to live the high life, the group ends up fulfilling Candide’s ambitions to have a little farm. Voltaire was, after all French and one must consider The Age of Enlightenment as having some way to go.

Candide

Meghan Picerno, Linda Lavin, Jay Armstrong Johnson

It’s good to see Harold Prince back in harness. The veteran director never once loses awareness of aesthetics on another large, somewhat complicated set. Whether the company is placed as chorus, playing a street scene (during which every participant has action and attitude), or united in movement, the stage looks swell. At one perfectly appropriate point, Candide works his way across an audience row; the Sage appears on a balcony, dropping parchment homilies like leaves. (This parentheses is the one point that drags.) Excepting those of Edleman and Lavin, Prince handles flamboyant character turns with eyebrow raised finesse.

Candide

Meghan Picerno, Jay Armstrong Johnson, Linda Lavin, Gregg Edelman

Jay Armstrong Johnson (Candide) has a simply beautiful tenor and displays fine acting. As Cunegonde, Meghan Picerno offers remarkable range and control, but she’s often a tad strident and less obtusely innocent than one imagines the character. The narcissistic Maximilian is well served by Keith Phares’s droll manifestation and excellent vocals. Wry warhorses Brooks Ashmanskas and Chip Zien have a winking comic touch in multiple roles.

To my mind, there are two major casting mistakes. Gregg Edelman (Dr. Voltaire,       Dr. Pangloss, the Sage and others) can sing, but is neither a character actor, nor ever funny. His endless turn as the Sage is palpably painful. Linda Lavin (Old Lady), otherwise funny in her signature Upper West Side, deadpan, New York persona, is out of her realm both vocally and theatrically. Occasional Yiddish accent of a word makes one wince.

A marvelous, illustrated Set by Clarke Dunham provides just the right context for this zany tale of excessive pastiche. Were this a children’s book, he’d be awarded the Caldecott Medal. Hidden among appealing artwork, stairwells and balconies give the show’s director ample territory on which to play. Dunham inventively utilizes cut-outs (deliciously on cart wheels) and banners giving the show a naïve (not unpolished) feel, the extravagant masquerade of a music hall. His ship (which rocks back and forth) is wonderful.

Judith Dolan’s Costumes collaborate with visual environment as effectively as they do story and character. Color is tapestry rich. Seemingly arbitrary layering is flattering, often silly, always decorative, and splendidly thought-out-especially headwear. The designer’s horse, sheep, and lion costumes are inspired.

Wig and Makeup Design by Georgiana Eberhard is also symbiotic. Nothing looks out of place despite eccentricity. Every role is given distinction. Faces emerge painted, but never vulgar.

New York City Opera hopes to take this production on tour. It would be a genuine pity not to make it available to further audiences.

The Opera’s 2016/2017 season includes seven new productions, three New York premiers, and one U.S. premiere. Next, in March, a new production of Respighi’s       La campana sommersa and, in June, Peter Eotvos’ new production of Angels in America.

Photos by Sarah Shatz
Opening: Keith Phares, Jessica Tyler Wright, Linda Lavin, Jay Armstrong Johnson, Meghan Picerno

New York City Opera presents
Candide
Music by Leonard Bernstein
Book by Hugh Wheeler, Stephen Sondheim
Lyrics by Richard Wilber, Stephen Sondheim, John LaTouche, Leonard Bernstein
Directed by Harold Prince
Lincoln Center’s Frederick P. Rose Hall
January 8, 2017

Shuffle Along – Or The Making of The Musical Sensation of 1921 And All That Followed

05/23/2016

An Appreciation

Pound for pound this musical showcases more talent than half the new productions on Broadway combined. Almost every superb black performer you might recall from recent years of theater and music is on this stage.The artistic team is crackerjack.

Shuffle Along

Brandon Victor Dixon and Joshua Henry

Critical voices have been raised in regard to the piece’s two hour forty minute running time to which I respond, yes, it could’ve been shorter without losing a whit of pith or entertainment value, but so what? Journalists and historians have also weighed in on George C. Wolfe’s decision to downplay such things as the application of blackface, on-the-road segregation, and theatrical naysayers. When important, of-the-time-author Carl Van Vechten denies the musical’s place in future collective memory, we realize a cultural response which is not otherwise emphasized.

As we see glimpses of blackface, exposition there seems missing. Otherwise, it’s a case of not being all things to all people.  (An attempt at rounding up history occurs with biographical epilogues.)

Shuffle Along

Brandon Victor Dixon and Audra McDonald

Noble Sissle and Eubie Blake met in 1915. As The Dixie Duo, they were the first negro performers to eschew blackface. The collaborators provided songs for the musical in question and respectively had long, successful, musical and theatrical careers. Producer/Performers F. E. Miller and Aubrey Lyles became friends as students and then a vaudeville comedy team. They both produced and performed in this 1921 show (here, in traditional blackface to which, one would have thought, their partners might’ve objected), afterwards mounting and writing others.

Sissle, Blake, Miller and Lyles encountered one another at an NAACP benefit where the vaudeville team performed a sketch called ‘The Mayor of Jimtown.’ Finding themselves likeminded, the four decided to turn it into a show about a small town election, creating the first all black musical to viably compete with Broadway productions.

Shuffle Along

Adrienne Warren, Brian Stokes Mitchell, Billy Porter, Audra McDonald and The Ensemble

After a grueling, squabbling hand-to-mouth tour, Shuffle Along landed at an off the grid West 63rd Street Theater without an orchestra pit, where, to everyonelse’s surprise, it ran 500 performances. It wasn’t that its flimsy book or staging were innovative, but rather that this black cast and creative team showcased energy, ebullience, and talent as skilled as anything on 42nd Street. The landmark production nurtured young performers like Josephine Baker, Florence Mills, and Paul Robeson, revising expectations and opening the door to black revues outside of Harlem.

Brian Stokes Mitchell (F.E. Miller) not only returns to The Great White Way with bankable, resonant vocals and signature style, he tap dances! Billy Porter (Aubrey Lyles), last seen cavorting in Kinky Boots, sings, dances, displays terrific comic flair without regressing into parody and, turning serious at the last, brings it home.

Shuffle Along

            Joshua Henry, Brandon Victor Dixon, Billy Porter, Brian Stokes Mitchell,                   Richard Riaz Yoder

Brandon Victor Dixon of the musical Motown, is utterly charming as the pixilated, two-timing Eubie Blake. Dixon taps, sings, and acts with naturalness that allows us to excuse the character’s weaknesses much as Lottie does during their on again/off again affair. His reaction to a mouse is priceless. Joshua Henry (Noble Sissle), who was unequivocally great in The Scottsboro Boys, here lightens up without losing an iota of authenticity or grace. And oh, that voice!

Adrienne Warren (Gertrude Saunders/Florence Mills) delivers a sassy performance with bright-eyed finesse and nimble footwork while veteran Brooks Ashmanskas plays a slew of roles, each with pitch perfect comic timing and precision dancing he makes look ridiculously easy.

Shuffle Along

Audra McDonald

As to the visibly pregnant Audra McDonald (go quickly lest you miss her!), she’s simply magnificent. Fully inhabiting Lottie Gee who was herself, a regal cut above the environment in which she achieved fame, the artist’s vocals, acting, and yes, tap dancing, are a veritable joy to behold.

Daryl Waters’s Music Supervision, Arrangements & Orchestrations are immensely clear and rich. (Sound Design-Scott Lehrer) Choreography by Savion Glover is exuberant, loose-limbed, gorgeously synchronized, and feels fresh, though its underpinnings reflect the era. Company numbers are a master class. The visual creative team excels with Ann Roth’s Costumes and Mia M. Neal’s Hair Design original, yet accurate stand-outs.

Shuffle Along

Adrienne Warren and The Ensemble

If you’re anything of a theater-goer, you know there’s been a fracas about whether the musical is a revival or an original, the latter putting it in competition for the juggernaut called Hamilton. In the opinion of this journalist, book writer George C. Wolfe’s framing device as indicated in the show’s subtitle, should have set it firmly in the latter category.  Though there are lots of recreated numbers, the story of its artistic collaboration provides vertebrae. Alas, my view is among a minority.

Photos by Julieta Cervantes
Opening: The Ensemble

Shuffle Along
Or The Making of The Musical Sensation of 1921 And All That Followed
Music and Lyrics by Noble Sissle and Eubie Blake
Original Book by F.E. Miller and Aubry Lyles
Book by George C. Wolfe
Directed by George C. Wolfe
The Music Box Theater
239 West 45th Street