Category: Show Biz

Thirteenth in a series of Broadway reports

 NEW YORK – “Back to the Future: The Musical” is off to a swift start. Based on the movie starring Michael J. Fox and Christopher Lloyd, the show is soaring to hitsville while still in previews at the Winter Garden Theatre on Broadway. (Formal opening night is Aug. 3).

Seriously, however, the production is all about the car. Yes, the DeLorean from the 1985 movie is back, and it’s roaring and soaring and seemingly flying, thanks to technology.

Casey Likes is Marty McFly, Roger Bart is Doc Brown, in “Back to the Future: The Musical.”

Roger Bart, who originated the role of Doc Brown in London, has been transported to America. But Marty McFly, the character played by Fox in the flick and Olly Dobson in London, had to be a bona fide American, so Casey Likes, most recently in “Almost Famous,” likely will be Fully Famous in the months ahead, with diehard fans of the franchise flocking to the Winter Garden.

The DeLorean is the the star of the show, a “character” of sorts.

The key attraction will be the winged vehicle, which varooms and seemingly defies gravity, returning to 1955. Fans are howling with frenzied delight, even if the time travel vehicle is stationary, seemingly moving because of blurry, wheezing special effects that give it life with the help of flashing lights and smoke. The vehicle is said to be a $300,000 piece of scenery – but it can spin, tilt, and revolve. For the record, the DeLorean remains on stage, within the proscenium stage. It doesn’t actually fly. It will become a costly investment to build  more DeLoreans, since “Future” has at least eight international productions planned with additional North American companies envisioned.

I do remember a “flying” vehicle in a show years ago, one that elevated  (via hydraulics) over the orchestra audience – a fake flight, but nonetheless overhead, and thrilling.

Written by Robert Zemekis and Bob Gale, who created the film version, the stage show sticks to the familiar tale. Gale wrote the book, too, and music is by Alan Silvestri and Glen Ballard.

McFly (Casey Likes) rocks on, in an early scene of “Future.”

When the play opens, Marty McFly is visiting his friend Doc Brown’s lab, rocking out a tune with a guitar on steroids. The set is a brilliant hodge-podge of stuff, and Likes is a suitable teenager doing youthful things like auditioning for a show.

He is the John Travolta to Mikaela Secada’s Jennifer Parker, who is the Olivia Newton John, a cute teen tale couple, whose “Wherever We’re Going” duet reflects their easy-going life. There is somewhat of an unstated undercurrent that is hard to overcome: every role and many moments of the show are haunted by the iconic original film and actors. A tough act to follow.

“Future” has a lot of musical numbers but lacks the vibe of becoming hits.

Natch, the McFly clan returns – George McFly, dad of Mary, Dave, and Linda McFly, and husband of Lorraine Baines McFly – and the clocktower is back too, complete with the requisite lightning show.

There’s a lot of songs that don’t necessarily stay with you after the show. Likes’ rockin’ “Johnny B. Goode”  and Marvin Berry’s (Jelani Remy) “Earth Angel,” are oldies but goodies in the soundtrack – a reminder that nostalgia requires songs from memory lane. None of the new numbers seem to have that vibe to become a breakout singular sensation.

A few techies are also “stars” in that their craftsmanship is fuel for the DeLorean.  Sound designer Gareth Owen, lighting designers Tim Lutkin and Hugh Vanstone, and video designer Finn Ross are the magicians who bring life and motion to the vehicle.

When all is said, “Future” will be all about the car. It doesn’t speak, but it is rightfully a character of its own. …

‘Back to the Future’

“Back to the Future: The Musical,” based on the Universal film written by Robert Zemeckis and Bob Gale, is a new musical with book by Bob Gale and music by Ala Silvestri and Glen Ballard.

Directed by John Rando, and choreographed by Chris Bailey, with music conducted by Ted Arthur

Previewing at the Winter Garden Theatre on Broadway, with a formal opening on Aug. 3

Broadway grosses, week ending July 9

The future looks good for “Back to the Future: The Musical,” now in previews en route to its formal Aug. 3 opening night at the Winter Garden Theatre.

In its two-week run, for the week ending July 9, the show, based on the movie that starred Michael J. Fox, the musical already made the million-dollar club, meaning its gross has topped $1.222 million, earning the No. 9 spot on the top ten.

We list the Top 7 every week, and these were the leaders:

1—“The Lion King, $2.132 million.

2 – “Wicked,” $1.967 million.

3 – “Hamilton,” $1.855 million.

4 – “Sweeney Todd, the Demon Barber of Fleet Street,” $1.740 million.

5 – “MJ, the Michael Jackson Musical,” $1.540 million.

6 – “Harry Potter and the Cursed Child,”  $1.464 million.

7 – “Moulin Rouge,” $1.175 million.

Here’s the complete list, courtesy The Broadway League.”

And that’s Show Biz. …

Twelfth in a series of Broadway reports

NEW YORK – “Here Lies Love” is a historic musical, based on the political woes of Ferdinand Marcos, former president of the Philippines, and his notorious First Lady Imelda Marcos, who was the queen of shoes.

Historic, because this show boasts the first all-Filipino cast on Broadway, and the venue – the Broadway Theatre on Broadway — has been stripped of its orchestra seating for the first time to create a large “shoe box” for central performing space.

Also historic is the fact that prominent Phil-Ams have signed on and invested in the show as producers, including Lea Salonga, the first Filipina earning a Tony for her role as Kim in “Miss Saigon.” She’s also making a limited cameo appearance (see below).

This immersive theatrical extravaganza expands the format of the off-Broadway version of the show, where audience members strolled as the action moved, with thumping disco music and lighting effects dominating when there was no balladry, and actors and audience members constantly swirled, like the ocean tide, to create currents of flows.

The original by the off-Broadway Public Theatre, which I saw  in 2013, was tiny, daring, different, and strangely entertaining. You could stroll or boogie, amid the smaller “shoe box” staging, but I chose elevated seats alongside the long sides of the box. In the latest, expanded incarnation, the theater’s existing mezzanine and balcony have become “orchestra” seats, and I bought front row of mezzanine seats to witness the shenanigans.

Arielle Jacobs as Imelda Marcos, left, and Jose Llana as Ferdinand Marcos, in “Here Lies Love.”

And imagine, Arielle Jacobs as Imelda, sang a verse of her signature ballad, “Why Don’t You Love Me,” right in front of me – close enough to see her zippered or velcro’d white gown – since there’s rotating and rambling action everywhere in the show, up in the balcony, in a walkway just in front of the mezzanine, way back in the bowels of the shoe box stage, or dancing on one of the elevated and moving stages on the main floor.

But I have a major gripe about a serious omission. The original production included vintage black-and-white newsreel images of Imelda and Ferdinand, who were exiled from the P.I. and sought refuge in Honolulu, where Marcos died and whose body was in a refrigerated fixture at Valley of the Temples cemetery in Kaneohe.

Locals remember, trust me.

Arielle Jacobs (Imelda), in the “shoe box” pit amid roving audience members.

The Marcoses had rented a home on Kalanianaole Hwy. between Aina Haina and Niu Valley, and Imelda often made outings to local hangouts, including the Noodle Shop at the Waikiki Sand Villa Hotel, where comedian Frank DeLima earlier performed in creative costume with toaster-cover sleeves and trademark wigs to mimic Imelda.  Imagine seeing her watch a comedic caricature of herself! (She had a sense of humor, and loved it!)

That said, “Here Lies Love” mentions the couple’s political problems. But makes no mention of their exiled life in Hawaii, much less her shoe collection – she was proud of her footwear –and these omissions fail to acknowledge how they loved the islands and, to some degree, vice versa with the residents.

Carlos Ricamoe, in white, as the politicking Ninoy Aquino.

The disregard of the Hawaii phase of their post-Philippines days is a misfortune and peculiar snub of this small wedge of the couple’s history.

That said, “Here Lies Love” is a lavish curiosity, with Arielle Jacobs (new to the Imelda role) and Jose Llana as Ferdinand (reprising his role). The ensemble of two-dozen proud Phil-Ams are led by a DJ (Moses Villaroma), who spins discs, announces, dances and instructs certain stage movements.

Jose Llano (Ferdinand) dances with Arielle Jacobs (Imelda), in “Here Is Love.”

The aforementioned Lea Salonga earlier made a few appearances in the cast, playing Aurora Aquino (normally played by Reanne Acasio, mother of Benigno “Ninoy” Aquino), and has returned to perform “Just Ask the Flowers,” late in the show, through Aug. 13. Following her run, producers will continue to book talent from the Philippines, taking a cue from “Chicago” (which continues to book talent for limited runs),
a measure that could pique interest of Philippines natives to attend.

Lea Salonga (as Aurora Aquino), in her limited run in “Here Is Love.”

On several occasions during the show, spectators are invited to sing and dance from their seats, or if they are standees on the main floor, they become part of the immersive disco moments.

Speaking of disco: the beat’s the thing, but so are the ever-changing light designs by Justin Townsend, who keeps up with the tempos and thus creates light shows, hither and yon.

Since most theaters allow covered drinks, folks can buy and sip drinks during the show. No cover, or two-drink minimum.

When the Marcoses visited New York, Imelda loved Studio 54 like Broadway regulars. The play does not ignore their lavish, privileged lifestyles, when the commoners faced hardship. …

‘Here Lies Love’

“Here Lies Love” is a musical originally staged and produced by the Public Theatre, based on a concept by David Byrne (music and lyrics), Fatboy Slim (music), Tom Gandey and Jose Luis Pardo (additional music), directed and developed by Alex Timbers and choreographed  by Annie-B Parson; inspired by the life and times of Imelda and Ferdinand Marcos, the notorious political figures of the Philippines

Playing at the Broadway Theatre on Broadway

And that’s Show Biz. …

Eleventh in a series of Broadway reports

NEW YORK — It’s not often I go to see a play because of a tiger. A puppet tiger. In the case of “Life of Pi,” a Bengal tiger puppet, plus a fistful of other denizens of the jungle, create a strange menagerie of animals centerstage at the Gerald Schoenfeld Theatre on Broadway through July 23.

The life-sized tiger puppet is the remarkable centerpiece and is a beast that comes to life, thanks to puppeteer Finn Caldwald, who generates the awesome and realistic movements with a team of three handlers.

 Hiran Abeysekra is Pi Pital, who faces a Bengal tiger in “Life of Pi.”

It’s a visual and memorable show you’re not likely forget, even if the trio maneuvering the fake tiger are visible. They make it alive and fearful.

But “Pi” failed to be among the Best Play nominees in the recent Tonys, impacting attendance amid a fragile element on Broadway; despite earning three technical trophies for scenic design for Tim Hatley and Andrze Goulding, lighting design for Ti mLutkin and sound design for Carolyn Downing, the victory has not equated to ticket sales. “Leopoldstad” picked up the coveted Best Play and four other prizes.

The tiger has name, Richard Drake, and is shown here lurking in “Pi.”

“Pi” is a drama based on a novel by Yann Martel, adapted for the stage by Lolita Chakbarati, recreating on stage the haps in the movie of the same name.

Until recently, Hiran Abeysekera has been portraying Pi Patel, a lad marooned on a small boat co-habitated by the jungle beast. He originated his Olivier-winning performance in London, but just departed the role on July 9.

His replacement, who jumped into the boat on July 11, will be played by Uma Paranipe, in a gender-bending switch, not that a female can’t enact the part. The change will give the show a new flavor and feeling. Paranipe has been an understudy who has, on occasion, played Pi, and she will be in the lead through the planned closure of the production. A tour in the fall of 2024 is planned, specifics not yet known.

The human cast of “Pi” shown here aboard a cargo ship.

Directed by Max Webster, “Pi” has got to seen to be believed. The adventure of Indian origins  is set in India and Mexico on land, and in the middle of the Pacific when the central tiger puppet is at sea with a human, each attempting to gain territorial rights in a round-the-clock vigil of survival. So noted and powerful is the animal, its zookeeper handlers named him Richard Parker.

The plot is thin, but the choreographic maneuvers aboard the little boat is a dance of skill and agility.

Fin Caldwell is the puppet designer and is one of the handlers of his creation.

Pi is a patient at a non-descript hospital in Mexico, as the tale begins. He was aboard a Japanese cargo ship sailing from Pondicherry, India and destined for Canada, but it sank at sea; all passengers, including Pi’s parents, perished in the seas.

Because Pi survived a 227-day ordeal at sea, along with Richard Parker, hospital officials question him about what happened, with disbelief.

Investigators Okamoto (Daisuke Tsuji) from the Japanese Ministry of Transport, and Lulu Chen (Kirstin Louie) representing the Canadian Embassy, grill him intensely and cannot believe what seems to be a bad dream.

So Pi offers them two versions, to give them a choice. A real, perhaps exaggerated tale, and one that is sanitized, without the animal.

There are shifting moments; the hospital switches to the boat, then back to the room. Since the hospital bed and the boat appear to be similar in size, the back-and-forth switches can blur the reality.

The puppetry is what’s extremely incredible, with vigorous moves with the Pi character, in back-and-forth, encircling jerks like wrestlers trying to outdo the other in the ring. The tiger also roars, for an extra dose of stamina, and the 24/7 match includes brief moments of rest – and site changes.

Even without the presence of a watery ocean, the imagination fills in the blanks and the see-sawing territorial quest seems awfully real. Themes of co-habitation are suggested, rather than a survival-of-the-fittest tone, so the beast can be a buddy, and vice versa. Equality issues come into mind and no one is the enemy.

If ever you have a chance to view “Pi,” do so; you’ll have tiger in your tank, and you’ll be roaring with delight. …

And that’s Show Biz. …

‘Life of Pi’

“Life of Pi’ is a drama based on a novel by Yann Martel and adapted by Lolita Chakbararti, inspired by the movie by the same name. Directed by Max Webster, with puppetry and movement by Finn Caldwell, puppetry design by Nick Barnes and Finn Caldwell, scenic and costume design by Carolyn Downing, lighting design by Tim Lutkin, sound design by Carolyn Downing, video design and animation by Andrezej Golding, music by Andrew T. Mackay and dramaturg by Jack Bradley

Playing at the Gerald Schoenberg Theatre on Broadway, through July 23

Puppets have become visibly plentiful

Richard Parker, the so-named life-sized Bengal tiger puppet in the Broadway drama, “Life of Pi,” is an astonishing cast member earning hurrahs from the audience.

It takes three handlers to make the tiger growl and prowl, on a tiny boat that ultimately is the jaw-dropping center of attraction.

But puppets have been popping up in Broadway shows quite often, though not enough yet to indicate a trend. Pictured here: Poobaa from “Lion King,” Milky Way from “Into the Woods,” and the “War Horse” horse.

In New York’s last revival of “Into the Woods,” one of the whimsical and charming cast characters was Milky White, a puppet with a single handler. It could moo, prance, and mourn; it was a bit  skeletal, not meaty,  in appearance.  In some stagings, of the Stephen Sondheim musical of fractured fairy tale characters, Milky White also has been portrayed by an actor inside a cow costume.

Perhaps the earlier drama, “War Horse,” a World War I tale about a lad and his horse separated because of the battle, legitimized the employment of puppets. This one was a  life-size horse puppet which the boy, Joey, could ride. Five handlers – visible to the audience — were responsible in helping the horse trot and gallop.

Of course, “The Lion King” has a lion’s share of puppets – typified by cartoonish characters like Timon and Pumbaa – but including hand-held birds and prancing animals on the plains, and humans with headgear depicting the lion kingdom.

“Avenue Q,” notably, featured a roster of kiddy-like critters, many hand-puppets manipulated by actors. And Audrey II, the carnivorous plant in “Little Shop of Horrors,” can be considered a puppet, too…

And that’s Show Biz. …

Tenth in a series of Broadway reports

NEW YORK – Sometimes you buy tickets to a show because of the music; in this case, the songbook focused on the life and times of Neil Diamond. And I love his songs.

So securing tickets to this one, knowing it’s specifically targeted for his fan base— was a risk. I knew this production has been negatively reviewed and snubbed in this year’s Tony Awards.

Still, the show was included in the awards fest, despite its shortcomings, and arguably, the TV exposure fueled more of his followers to continue filling the seats.

So there I was, in the audience of the production.

Will Swenson, as the “then” Neil Diamond, in “A Beautiful Noise.“

Songs aside, this one is no “Jersey Boys,” “Ain’t Too Proud” (the Temptations’ biological musical) or “Beautiful: The Carole King Musical” of seasons past.

Mark Jacob, left, in armchair, is the “now” Diamond, with doctor Linda Powell, right.

Throughout his career, Diamond has been somewhat of a reluctant star, so the book here is the problem – particularly since Diamond’s life is rather dull. And to  hook the story with Nei Now (Mark Jacoby), the elderly Diamond, to psychological analysis with a doctor (Linda Powell) — in matching armchairs, no less – was dubious. The talkfast was at the beginning, throughout the middle, and the end of the production and was, simply, tedious.

Call it  narration and reflection, boring  and  disruptive.

Will Swenson, the “then” Diamond, has a soaring voice and fan-worthy swagger to portray the  developing singer-composer, from early years in non-descript bluejeans to his glam and glorious primetime, with requisite glitter, sequin and rhinestone flared pantsuits, and Elvis-like posturing, minus the cape.

The “then” Diamond was mainly a solitary man, plagued by insecurity and doubt, as described in one of his hits, with two failed marriages and f a third that finally worked.

Like his peers in his time frame – the aforementioned Carole King included – he had dreams of connecting with the song factory crowd ticking within the fabled Brill Building in New York (I passed the landmark on a Broadway stroll). It’s where Ellie Greenwich’s (Bri Sudia) mentorship gave him confidence to evolve as a major singer-composer-hitmaker to come out of his shell.

Swenson, the “then” Diamond, reaching out as a maturing songsmith.

Remember, Diamond wrote music for others early in his career, including “I’m a Believer” for The Monkees, and he began to be noticed.  

His personal strife – like a second marriage that implodes – led to the composition of one of his biggies, “You Don’t Bring Me Flowers,” a personal hit he recorded with Barbra Streisand. It was a distinct demonstration of his maturation as a songsmith.

Jacoby’s matured Diamond has a sparkle, too, for instance on “I Am … I Said.” And he also has a hand (well, voice) in the obvious finale sing-and-cheer-along “Sweet Caroline,” the joyous audience sing-along triumph (“So good, so good, so good” they chime in) and yes, it’s a hearty party moment.
About 30 of Diamond’s signature hits are packed in the soundtrack, from “Song Sung Blue” to “Red, Red Wine,” from “Holly Holy” to “Kentucky. Woman,” from “America” to “Soolamon,” enough to fill a jukebox and fare for diehards to at least hum along to.

So yes, if you go just to reminisce and join in the “Sweet Caroline” chorus, the “Noise” will be immersive. If you don’t mind the tedious narrative moments, you’ll have a good time. …

And that’s Show Biz. …

‘A Beautiful Noise: The Neil Diamond Musical’

“A Beautiful Noise: The Neil Diamond Musical” is a biological production on the life and tunes of pop singer Neil Diamond, with book by Anthony McMcarten and music and lyrics by Neil Diamond. Directed by Michael Mayer, choreographed by Steve Hoggett and musical arrangements by Sonny Paladino.

Playing at the Broadhurst Theatre on Broadway