Broadway Blogs - Bye Bye Birdie and More...

As I took my seat for what I believe was the final press performance of The Roundabout's revival of Bye Bye Birdie, I was, as always, prepared to take in the production with an open mind.  But of course I was aware, as I'm sure were most of the assembled playgoers, of the drubbing director/choreographer Robert Longbottom's mounting had received from the vast majority of the first round of critics.  (Except for that pushover, John Simon, who we all know loves everything.)

And while I have to agree with the critical majority on this one, there's really no sense in subjecting you dear readers to another reviewer's attempt to describe the jaw-dropping mess that now occupies Henry Miller's Theatre.  You don't need to read again how the two leading players lacked the necessary skills to play their roles.  You can get on with your happy lives without perusing another attempt to find the proper metaphors to describe that oddball performance by an otherwise respected stage actor.  The strange costume designs, the inappropriate set, the lack of decent choreography and the cutting of the musical's two ballets; one of which can be at least be called a semi-classic; no I'm not going to write about that here.

Let's just say I arrived at the funeral after the body was buried.  No sense in throwing more dirt on the casket.  I'll just send my condolences to the late Michael Stewart, that master craftsman of musical theatre bookwriting, Charles Strouse, who wrote such peppy, attractive melodies and Lee Adams who contributed cute and clever lyrics.  They wrote a charming, funny musical comedy that serves as an excellent star vehicle for polished song and dance performers.  The strength of their words and music still shine at Henry Miller's Theatre, but Bye Bye Birdie deserved so much better.

So let's just remember the good times, shall we?

Like the performances of Allison Strong, Julia Knitel, Emma Rowley, Jess LeProtto, Daniel Quadrino, Paul Pilcz, Deanna Cipolla, Kevin Shotwell, Riley Costello, Catherine Blades and Jillian Mueller.  They were the singing and dancing ensemble of teenagers who threw themselves into their numbers and livened up the proceedings with real show-biz energy every time they were on.

And the lovely 14-year-old singing voice of Allie Trimm, who gave a good acting performance as Kim and who I suspect would have given a better one if someone had told her why the role was funny.  I'll say the same for Nolan Gerard Funk, who, despite looking far too young to be Conrad Birdie, played the role with sufficient pop-star swagger.  I'm sure it's not his fault that the role's satirical edge never entered into the picture.

That In My Life survivor, Brynn Williams (the youngest recipient ever of The Gypsy Robe), who was mighty impressive in her small role in 13 and here appears as the hyper-enthused Birdie fan, Ursula, continues to grow as a strong Broadway singer and dancer.  I wouldn't be surprised to see her stopping shows in starring roles in ten years or so.

It's always great to see three-time Tony nominee Dee Hoty on stage.  A real musical theatre pro who exudes elegance and charisma.  Too bad she's stuck with the minor role of Mrs. MacAfee.  And what a shame to see the enjoyable talents of seasoned musical comedy men like John Treacy Egan (a former Max Bialystock in The Producers) and Jim Walton (Merrily We Roll Along's original Franklin Shepard, inc.) underutilized in their tiny roles.

Of course, no matter what's written by "those mean New York theatre critics" (excluding that nice John Simon, naturally) this Bye Bye Birdie could wind up being a popular hit after all if audiences are satisfied with simply seeing a beloved oldie with a pair recognizable name stars.  After all, some may say, it's just a musical.  And while I like to see theatre folk employed, such public acceptance doesn't make me put on a happy face.

Photos by Joan Marcus:  Top:  Brynn Williams, Jillian Mueller, Daniel Quadrino, Emma Rowley, Allison Strong, Jess LeProtto, Catherine Blades, Paul Pilcz, Kevin Shotwell, Deanna Cipolla, Julia Knitel and Riley Costello; Bottom:  Nolan Gerard Funk and Company

Set in the mythical southern state of Missitucky, Finian's Rainbow pits a charming Irish dreamer and his headstrong daughter against the host of complications that await them in their newly adopted land: a bigoted southern Senator, a credit crisis, a pesky leprechaun, and, of course, a complicated love affair that gives birth to some of the most witty, charming and heartfelt songs ever written for the stage.

The musical's score boasts such classic songs as "Old Devil Moon," "How Are Things in Glocca Morra?," "When I'm Not Near the Girl I Love (I Love the Girl I'm Near)," "Look to the Rainbow," and "If This Isn't Love."

Charles Isherwood, The New York Times: "Under the nimble direction of Warren Carlyle, who also supplies the buoyant choreography, this bounteous score is being sung with lively conviction by a cast of Broadway regulars and veterans, and one confident newcomer. The morning after seeing "Finian's Rainbow," you may well find yourself shaking your head at the absurdities of the book by Mr. Harburg and Fred Saidy, a tipsy jumble of romance, fantasy and satire. (Topics of surprising renewed relevance: the seductions of living on easy credit, the perils of foreclosure, the "misbegotten G.O.P.") But you will remember, above all, the soaring lift of the music."

David Rooney, Variety: "What better time for a show that makes gentle mockery of that incurable habit of building the illusion of wealth on nothing more than a dream and a credit line, while also offering the rose-tinted consolation that such folly will turn out fine in the end? But it's not so much the uncanny appropriateness of its pixified fairy tale as the enveloping warmth of Burton Lane's melodies and the spry wit of Yip Harburg's lyrics that make "Finian's Rainbow" such an infectious charmer. Rather than try to get around the 1947 musical's daffy story by hammering the social satire, director-choreographer Warren Carlyle and his winning cast simply embrace its quaint idiosyncrasies."

Michael Kuchwara, Associated Press: "That delectable bit of musical-theater blarney called "Finian's Rainbow" has found its way back to Broadway for the first time in nearly half a century, its charms undiminished, particularly its buoyant score. This latest revival, which opened Thursday at the ST. James Theatre, has a refreshing, retro feel to it. There's no flashy staging or gargantuan scenic designs to distract from the handiwork of director-choreographer Warren Carlyle, who has elected to tell the story as simply and sweetly as possible."

Erik Haagensen, Backstage: "Lightning has struck twice at the ST. James Theatre. First Arthur Laurents took his perfectly fine production of "Gypsy" in the Encores! Summer Series and elevated it into a stunning work of art. Now the folks behind Encores! concert version of "Finian's Rainbow" have taken that pleasant if problematic presentation and transformed it into a magical production that should enchant both lovers of the Golden Age musical and those who favor more-contemporary fare. Personally, I would have called such a thing impossible. But this "Finian's Rainbow" is for everybody, and I hope it runs forever."

Frank Scheck, The Hollywood Reporter: "A theatrical pot of gold awaits anyone who enters the ST. James Theatre, where the magical revival of "Finian's Rainbow" has opened. The classic musical, receiving its first Broadway revival in nearly half a century, has the kind of score, written by Burton Lane (music) and Yip Harburg (lyrics), that can still make any theatergoer swoon."

Terry Teachout, Wall Street Journal: "I don't think I've ever seen a more musically satisfying Broadway show than "Finian's Rainbow." Not only is the Yip Harburg-Burton Lane score a string of flawlessly cut gems, but everyone involved with the production takes the songs seriously, performing them with love and sensitivity. Best of all is Kate Baldwin, whose memorable appearances in such regional-Theater Productions as Huntington Theatre Company's 2008 revival of "She Loves Me" have made me wonder why she doesn't work regularly on Broadway. Ms. Baldwin is the real deal, a rich-voiced soprano who can also act. The way that she and Cheyenne Jackson sing "Old Devil Moon" is the stuff best-selling cast albums are made of."

More Reviews to Come As They're Posted...