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There
is nowhere more magical
at Christmastime than
New York City with the
twinkle of lights, the
adrenaline of crowds,
shoppers,
window-gazers, and
theatre-goers. On a
recent whirlwind
weekend, I returned
home to enjoy these
delights, but also to
take in some theatre,
both on Broadway and
three hours away in
Lancaster, Pennsylvania.
With
only twenty-four
hours in New York, we
chose to see the newly
opened Broadway
extravaganza that is
getting so much buzz in
theatrical circles as
well as with fans: Death Becomes Her,
based on the 1992
movie. The glitzy
production,
directed/choreographed
by Christopher
Gattelli, starring
Megan Hilty, Jennifer
Simard, Christopher
Sieber, and Michelle
Williams does not
disappoint. The musical
is a witty, dark comedy
animated by stellar
performances not only
by the quartet of
leads, but also from
the exceptional
ensemble.
While Death Becomes Her seems an unlikely movie to translate to
the stage, book writer Marco Pennette manages to do that
brilliantly, creating a smart, urbane, wickedly funny plot and
deliciously over-the-top characters. His book makes a few
changes to the movie, all of which sharpen the dark humor. The
music and lyrics by Julia Mattison and Noel Carey, while not
necessarily memorable tunes, are perfect as dramatic devices that
reveal plot and character. The confrontations between the women
, the psychological meltdowns of various characters serve as
riveting dramatic monologues, while there are also the requisite
big show dazzling production numbers for the entire ensemble.
The visual production is also stunning. Derek McLane's sets
combine electric video with constructed pieces, including a grand
staircase that plays such an crucial role in the Act One finale.
Justin Townsend's lighting creates a wide array of effects from
Hollywood Glitz to graveyard grotesque. Paul Tazewill's costumes
are as delightfully extreme as the characters themselves with sexy,
provocative looks for the big ensemble numbers and lavish attire
for the competing divas.
The principals enjoy great chemistry and are well-matched
vocally and dramatically their roles. Megan Hilty is assertive,
brassy, and commanding in her portrayal of Madeline Ashton.
Jennifer Simard makes a perfect foil, changing from mousy friend
to fierce rival. The duets between the pair, including the Act One
finale, "Confrontation" (which ends in Madeline's demise), as well
as "Hit Me," and "Alive Forever" are true vocal duels. Michelle
Williams makes Viola a seductive, mysterious siren, and when she
adds her powerful voice to make a trio (reprise of "Siempre
Viva"), the results are spine-chilling. Christopher Sieber does a
fine job of transforming Ernest from dull husband to desirable
conquest, and his scene unraveling his inner conflicts is
masterfully done. Josh Lamon is winning as Stefan, and Taurean
Everett gives a strong performance as Chagall. The entire
ensemble is notable for the electric energy and sensuality of their
dancing, all executed with admirable precision.
From the reactions of the audience on the evening I attended, Death Becomes Her has all the hallmarks of becoming a big
Broadway hit, as well as a cult classic.
After enjoying the dark comedy of Death Becomes Her, we
travelled to Lancaster's Fulton Theatre to see a production filled
with fantasy and light. Marc Robin has brought to the stage the
first regional staging of Disney's Frozen – a show that has been
gathering excellent notice since its opening on November 15.
The beloved classic (based on Hans Christian Andersen's The
Snow Queen) has a huge fan base from both the movie and the
Broadway musical, and the Fulton Theatre, marshalling all their
considerable artistic and technical resources, delivers a truly
grand and magical rendition of the story. Directed by Johanna
McKenzie Miller and choreographed by Joshua William Green,
this Frozen is warm, witty, heartfelt, and glorious to behold.
Music Director Ben McNaboe elicits from the twelve-piece
orchestra a rich, sweeping sound that adds a romantic
underpinning to the production. William James Mohney's lavish
scenery, coupled with Brad Peterson's vivid video design and Paul
Black's stunning lighting all contribute to creating the fantastical
world of Arendelle in both its blooming and frozen states. Victoria
Layser coordinates the vivid costumes that conjure up the
Scandinavian folk world and the mythical majesty of the frozen
realm, and wardrobe joins forces with the technical staff to
execute the dazzling costume transformation for Elsa that ends
Act One. The puppets designed by Chris Palmieri are truly
affecting, with the anthropomorphic Sven an irresistible presence
and the Snowman, Olaf, goofy and sweet.
As the two princesses, Kennedy Caughill and Taylor Quick
absolutely shine vocally and dramatically. Caughill is a regal and
luminous Elsa, while Quick is a vivacious, passionate, whimsical
Anna. Their duets are brilliantly sung, and each gets a solo
moment to bring down the house - Elsa with "Let It Go" and Anna
with "True Love."
Kevin Toniazzo-Naughton is a cleverly deceitful Hans; Nick
Moulton is a winsome Olaf, while Owen Scales is a gentle and
disarming Kristoff. Chris Palmieri animates Sven to perfection;
Will Porter is a sly Weselton. DeShawn Bowens and Marisa Rivera
make dignified sovereigns, while Giselle Amarisa Watts is
imposing as Bulda.
The Fulton's production demonstrates the vast artistic and
creative strengths of the company. Taking on an iconic musical
like Frozen, they have risen to the technical challenges of the task,
while infusing the production with a sense of genuine humanity. Frozen delights the eyes and ears, but it also warms the heart.
This, perhaps, is the Fulton's greatest magic.
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