Kristin Salaky - Page 13

Eloquence without the elegance is how I'd describe Michael Stuhlbarg's scruffy, hyperactive and somewhat nerdy take on the title role in director Oskar Eustis' amusing hodgepodge of a production of Hamlet. Though perfectly placid for the first several minutes of his performance, silently contemplating his father's death and his uncle's marriage to his newly widowed mother at a downstage eternal flame that perpetually flickers its symbolism throughout the evening, he's soon wildly wringing his hands with nervous excitement, flailing his arms about in range and stomping his feet to the floor like the kind of actor he'll later be warning his players not to be. In fact, it's not until the prince starts feigning madness that he begins resembling a grown-up. It's not an interpretation that will tug at your soul, but it'll damn well get your attention without taxing your brain.

Musical theatre, at least in the popular denominations practiced here in Gotham, has long been known to preach a message of gay rights to an eagerly accepting congregation, and those who would deny the natural occurrence or the legal acceptance of homosexuality have been generally depicted as hateful, ignorant or, at the very gentlest, misguided. Now we have Saved, a buoyant new musical that tackles issues of friendship, trust and adolescent homosexuality among students at a Christian high school. And while I wouldn't say its message of 'love the judgmental, hate the judgment' would be completely appreciated by those who would fight for what they believe to be the sanctity of marriage, Saved removes the satirical fangs of its source 2004 movie and comes out a musical that can celebrate gay acceptance without making those who put their faith in a church that preaches otherwise look completely heartless or foolish. For all its snap and cleverness, Saved is refreshingly square in that, aside from a few spurts of adolescent nastiness, it depicts a community where everyone is truly concerned with what they believe to be the well-being of their neighbor.

I'm told there was a unique announcement heard before tonight's performance of Gypsy:

Our new poll is about former Tony Award Categories. Would you like to see any of them make a comeback?

Arriving on Broadway six years after La, La, Lucille, followed-up by Yes, Yes, Yvette and inspiring Betty Comden and Adolph Green to imagine a musical named If, If, Iphigenia, No, No, Nanette is the kind of delectably frothy musical comedy confection you might not naturally associate with being the stuff of legends.  And yet, quite a bit about this high-spirited romp, now getting a lovingly stylish concert reading from Encores!, has achieved legendary status.