Up On The Broadway Marquee: WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN A New Musical

Tickets are now on sale for the new musical WOMEN ONE THE VERGE OF A NERVOUS BREAKDOWN which will begin preview performances on October 2 at the Belasco Theatre. Based on Pedro Almodóvar's internationally acclaimed 1988 film, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN is set in late 20th-century Madrid and tells the story of the intertwining lives of a group of women (Sherie Rene Scott, de'Adre Aziza, Laura Benanti, Nikka Graff Lanzarone, Patti LuPone) whose relationships with men lead to a tumultuous 48 hours of love, confusion and passion. Also in the cast are Justin Guarini, Danny Burstein, Nikka Graff Lanzarone, Brian Stokes Mitchell and Mary Beth Peil. The musical is directed by Bartlett Sher, with a book by Jeffrey Lane, music and lyrics by David Yazbek. This world premiere production will open on Thursday, November 4 at 6:45pm on Broadway at the Belasco Theatre, located at 111 W. 44 Street.

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN will also feature Julio Agustin, Alma Cuervo, John Carroll, Murphy Guyer, Rachel Bay Jones, Nina Lafarga, Yanira Marin, Sean McCort, Vivian Nixon, Luis Salgado, Jennifer Maria Sanchez, John Schiappa, Samantha Shafer, Phillip Spaeth and Charlie Sutton.

WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN will have choreography by Christopher Gattelli, musical direction by Jim Abbott, sets by Michael Yeargan, costumes by Catherine Zuber, lighting by Brian MacDevitt and sound by Scott Lehrer. (information from playbill.com and broadwayworld.com)

LA CAGE AUX FOLLES Has Arrived!

The photos above were taken outside the Longacre Theatre (220 West 48th Street) where the revival of the musical LA CAGE AUX FOLLES opened last night. Starring five-time Emmy Award winner KELSEY GRAMMER in his Broadway musical debut, and Olivier Award winner, DOUGLAS HODGE, this high-kicking musical comedy is a touching tale of one's family's struggle to stay together and stay true to themselves. La Cage features Jerry Herman's Tony Award-winning score, with such fabulous songs as "I Am What I Am," "The Best of Times" and "Song on the Sand," and a Tony Award-winning book by Harvey Fierstein.

Here is a review roundup:

From the New York Times (Ben Brantley)
Their plumage is wilting, their wigs are askew, and their bustiers keep slipping south to reveal unmistakably masculine chests. Yet the ladies of the chorus from “La Cage aux Folles” have never looked more appealing than they do in the warm, winning production that opened Sunday night at the Longacre Theater. Terry Johnson’s inspired revival ofJerry Herman and Harvey Fierstein’s musical, starring a happily mismatched Kelsey Grammer and Douglas Hodge (in a bravura Broadway debut), delivers the unexpected lesson that in theater, shabby can be not just chic but redemptive. This deliberately disheveled show, incubated at the tiny hit-spawning Menier Chocolate Factory in London, is a far cry from the high-gloss original production of 1983 or the glamorous, soulless revival that opened less than six years ago.
The Riviera nightclub of the title — run by Georges (Mr. Grammer) and the setting for a popular racy transvestite revue starring his partner, Albin (Mr. Hodge) — looks as if it could do with a coat of paint and perhaps a delousing. Georges, whose dapper evening jacket is definitely not bespoke, has a worn-down, worn-out appearance. And no matter how much rouge and mascara Albin applies, the dumpy, jowly chanteuse he becomes onstage will never resemble the screen siren of his mind’s eye.
As for the Cagelles, the revue’s scrappy six-member corps de ballet (pared down by half from their last Broadway incarnation), let’s just say that even the most myopic club patron isn’t going to mistake them for real live girls. “We are what we are, and what we are is an illusion,” they sing in gravelly chorus in their opening number. But the deception being peddled so adroitly here isn’t one of mistaken sexual identity.
What makes this version work — transforming a less-than-great musical into greatly affecting entertainment — is its insistence on the saving graces of the characters’ illusions about themselves and, by extension, the illusions of the production in which they appear. As presented here “La Cage” is (you should pardon the expression) a fairy tale, a sweet, corny story that asks us to take people (the good-hearted ones, anyway) at their own valuation.
Michael Kuchwara, Associated Press: "Is there a more appealing, entertaining argument for motherhood than "La Cage aux Folles"? Especially when mother is a quixotic, neurotic but undeniably goodhearted drag queen played by Douglas Hodge, who, by the way, is giving the most exuberant musical-comedy performance of the season."

Steve Suskin, Variety: "Why bring back "La Cage aux Folles" -- a major hit musical of the 1983-84 Broadway season, but certainly not a classic like "Gypsy" or "Fiddler on the Roof" -- only five years after its first Broadway revival? Especially when that 2004-05 stint proved a tired and unnecessary affair, suggesting that the original production (with its six Tony Awards) was stronger than the material. The producers of this new edition, which premiered at London's Menier Chocolate Factory in 2007, have a convincing answer: It's funny, heartwarming and terrific."

Thom Geier, Entertainment Weekly: "Hodge and Grammer provide a solid grounding for the show, but the rest of the cast offers all the flourishes you'd expect from a show rooted in drag performance. The six Cagelles are an impressively lithe and acrobatic ensemble (the choreography is by Lynne Page), and Robin de Jesus (In the Heights) is uproarious as Albin's devoted butler/maid who aspires to be Cagelle himself. By the end of this well-paced production, it's hard not to concur with the refrain of Albin's second-act number: The best of times is now. A-"

David Sheward, Backstage: "Why mount another Broadway production of "La Cage aux Folles" when we just had one in 2004? The answer is that Terry Johnson's London staging and its Olivier Award-winning star, Douglas Hodge, inject this 1983Jerry Herman-Harvey Fierstein musical version of the 1978 French film with ingenious razzmatazz and a heartbreaking humanity that its immediate predecessor lacked."

Michael Sommers, NJ Newsroom: "Brightly performed by a nine-member musical ensemble, Jason Carr's colorful orchestrations do well by Herman's happy, heartfelt score. It's easy to fall in love with this diminutive charmer of a production."

Scott Brown, New York Magazine: " Hodge adds something new: a touch of sputtering rage that's neither heroic nor pathetic. Too agitated to hold stage center, he jerks himself around, looking for release, but finding only an audience. And for once, the performer delivering this fight-song doesn't seem to assume his listeners share his feelings or his fight. For all the spittle and vibrato on display, Hodge's number feels strangely like a private moment. This Albin is not articulating a credo. He's simply furious."

Linda Winer, Newsday: "BOTTOM LINE seedier, funnier 'Cage'"

Jeremy Gerard, Bloomberg News: "Hodge, who is built like a long-haul trucker but still looks reasonably good in a gown, makes Albin vulnerable and a little pathetic, in addition to being endearingly funny."

THE COLOR PURPLE

Last Saturday night, two former classmates in college and I saw the Broadway musical THE COLOR PURPLE. I have neither read Alice Walker’s novel nor seen the movie version so I didn’t know what to expect that evening. The gospel-inspired musical revolves around Celie, a black woman who suffers indignities ranging from incest to physical and emotional spousal abuse. She is also kept in the dark as to whether her own children and her beloved sister are alive or not. In the end, she prevailed, found strength to overcome adversity and discovered love, independence, creativity and spiritual renewal. The story is very moving and the performances were flawless. Celie was wonderfully played by KENITA MILLER who understudied the role since the beginning of the Broadway run in December 2005. Although sometimes I got tired of looking at her stiff “in despair” facial expression, MILLER effectively used her rich and powerful voice to interpret the songs beautifully, especially the song “I’m here.” In between over the top dramatic scenes were dance numbers blended with with blues, gospel, jazz, swing, rural roots and African music. Plus, the crowd-pleasing scene stealers. The most prominent scene stealer was NATASHA YVETTE WILIAMS’ Sofia. She accompanied her advice to Celie to stand up to her abusive spouse with the entertaining song called "Hell No!" to the delight and wild applause of the audience. Also remarkable were the three gossipy church ladies who acted throughout as an entertaining chorus to give an amusing commentary on what was happening. The audience didn’t seem to mind too many characters and plots in the show. I am always amazed by the artistry of set and lighting designers in stage plays and musicals. And this show is no exception. John Lee Beatty's set and Brian MacDevitt's gorgeous lighting were just poetic and evocative. Overall, the story was moving and the performances were unforgettable.

The show was nominated for 11 Tony Awards last year, winning only one for LaChanze (Best Actress in a Musical), who originated the lead role of Celie. In a few weeks, Celie will be played by FANTASIA, adding to the list of AMERICAN IDOL singers to appear on Broadway. One of the show’s producers is OPRAH WINFREY who was nominated for an Oscar for her role in the movie version. THE COLOR PURPLE plays the Broadway Theatre at Broadway and 53^rd Street.

SHE'S BACK...LEA SALONGA IN LES MISÉRABLES

Although the ad in today's Arts & Leisure section of the New York Times says LEA SALONGA joins the cast of LES MISÉRABLES on March 6th, the Tony Award winning actress actually began performance last Friday, March 2nd. She plays the role of Fantine in this Broadway revival of the popular musical at the Broadhurst Theatre. The revival runs through at least the summer of 2007, and Salonga is expected to stay with the production through the entire period. Salonga played Eponine in 1993 in the original Broadway run.

Philippine native Lea Salonga became an international stage star when she was chosen to play the lead role in the 1989 London world premiere of Boublil and Schonberg's Miss Saigon. At 17, she received critical acclaim and went on to win the Olivier Award as Best Actress in a Musical in London. In 1991 she reprised her performance on Broadway for which she won the Tony Award as Best Actress in a Musical, along with Best Actress honors from the Drama Desk and the Outer Critics' Circle. In 2002, Salonga returned to Broadway via Rodgers & Hammerstein's Flower Drum Song. She also recently made her triumphant solo debut at a sold-out concert at Carnegie Hall.

Salonga's voice has been described as "hopeful as daybreak," and her interpretation of music "pure." I personally admire Les Miz' new Fantine not only for her clarion voice and enormous talent, but also for her love of country and pride of her ethnicity. In a recent interview, the new mother considers it a great achievement "that through whatever I've done, the image of the Filipino was made a little more positive, and that somehow, the Filipino was given the chance to smile and be proud. Hopefully, the world's awareness of the Filipino artist remains." A few weeks ago, Philippine President Gloria Arroyo conferred on Salonga the prestigious Order Of Lakandula, the highest honor given to a civilian, for her outstanding contribution to musical theater and world entertainment.

I'm looking forward to seeing next Sunday's matinee performance.