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‘NOISE:’ A DIAMOND IN THE ROUGH

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

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‘PARADE:’ CALL IT A MUSICAL TRAVESTY

Ninth in a series of Broadway report

NEW YORK – “Parade” is a conflicted musical by Alfred Uhry (book) and Jason Robert Brown (music), mixing history, political and religious sentiments, racial tension and a justice system that fails.

Yep, these are unlikely themes for a stage musical, but “Parade” – playing at the Bernard B. Jacobs Theatre – is an important work provoking more questions than answers. The story seems biased, but truth be told, this is a case from a century ago and is based on actual events,  which happened in Southern Georgia . And whoa, the case has not yet been resolved in the courts. That’s what was said in a finale projection.

Thus, should this be called a musical comedy? It’s more of a musical travesty…a mistrial of justice.

Micaela Diamond, left, is Lucille Frank; Ben Platt is Leo Frank, in “Parade.”

Leo Frank (Ben Platt, a Tony winner for “Dear Evan Hansen)”, sings and acts with flair and fortitude here. He is boyish, charming and calm, a supervisor of the National Pencil Co. in Marietta, Georgia, where he settles with wife Lucille (an impressive Micaela Diamond). They are Jewish and feel uncomfortable and targeted.

Frank has moved from Chicago and the prejudicious climate immediately slaps him in the face; he is arrested  and accused of killing a teenage fellow employee, Mary Phagen (Erin Rose Doyle), whose dead body is found in the basement in the morning.

The victim was a nighttime employee, who possibly was last seen by Leo, since she comes to his office to secure a minimal paycheck issued by him. There are other logical suspects, but the residents are determined to convict Leo.

Thus, his discomfort is emphasized when he sings “How Can I Call This Home,” even if there are Southern Jews. His musical lament: “I thought that Jews were Jews, but I was wrong.”
A trial is a major element in the production, but a too-high-raised central set serving primarily as the courtroom where a judge prevails, forces playgoers to crane their necks. Both sides of this elevated “island” is flanked on either side with benches reflecting a courtroom.

An elevated box, intended to be the court, means front patrons must neck-stretch.

The height of the court means neck-stretching for those in orchestra rows 1 to 4, or possibly 5. I was in a side orchestra seat in the fourth row, and it took some heightening of the head to get a good view of the staged action.

Thus, Dane Laffrey’s scenic design is flawed. However, the elevated court has an intermission mission: Platt and his Leo character, clad in spiffy jailbird gear, silently sits through the intermission, alone and peaceful – reminiscent of the between-act sit-down of Old Deutoronomy in the musical “Cats.”

All the authorities appear to jaded and crooked as the news reporter Britt Craig (Jay Armstrong Johnson) who only seeks testimony from racist sources. Ditto, Hugh Dorsey (Paul Alexander Nolan), a lawyer as crooked as a pretzel.

Director  Michael Arden’s direction, from a previously a small-scale endeavor at City Center, brings life and heart in the moments focusing on the besieged and innocent Frank couple. So devoted that she is, Lucille brings lunches and dinners while Leo is in custody, and the inequitable mishandling of the case brings them closer while their woes get out of hand. Their magnetism of love and affection is reflected in composer Brown’s sturdy and compelling tunes like “This Is Not Over Yet.”

Projections of newspaper front pages reflect the bias of South Georgia.

The production  constantly relies on projections by Sven Ortel; not that it matters, but the slides and vintage photographs are of actual people, with projections of newspaper front pages reporting the biases of the case.  

This is not a spoiler, since the fact of the matter is a jury brought on a guilty vote and Leo Frank was hung in 1915 in a questionable lynching.

And again, the vocal dynamics of Platt and Diamond carry the show, making them a new Broadway dream duet for explosive emotional volley, with powerful delivery of  “This Is Not Over Yet” and the romantic “All the Wasted Time,” which brings down the curtain of this devastating story.

There are parade scenes in the opening of the play, midway through the story, and at the conclusion, but has nothing to do with the Leo Frank case. The celebrations reflect the memories of the Southerners’ defeat in the Civil War. …

And that’s Show Biz. ….

‘Parade’

“Parade” is a musical feature a book by Alfred Uhry and music and lyrics by Jason Robert Brown, originally directed by Harold Price, directed now by Michael Arden, with music conducted by Tom Murray and choreography by Lauren Yalango-Grant and Christopher Cree Grant

Playing at the Bernard J. Jacobs Theatre on Broadway

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‘SWEENEY’ IS BLOODY GOOD, POWERFUL

Eighth in a series of Broadway reports

NEW YORK — Beginning with director Harold Prince’s 1979 original, every “Sweeney Todd: The Demon Barber of Fleet Street” I’ve seen has been boldly different, bloody yet beguiling, and essentially stellar and memorable entertainment.

The latest, one of the best, stars Josh Groban as Todd and Annaleigh Ashford as Mrs. Lovett, is currently playing at the Lunt-Fontanne Theatre on Broadway. Directed by Thomas Kail (of “Hamiton”), it pairs two powerful, operatic-range voices, whose solos and duets elevate the Stephen Sondheim score, and heightens the ecstasy of the warped tale of a 19th century  manic barber in London who’s a literal cut-throat who partners with a piemaker whose mincemeat pastry is the ultimate dessert.

The original, starring Len Cariou and Angela Lansbury, is the grandest of all, with a catwalk as part of the mammoth staging and an impressive barbershop with the requisite chair. The latest is midway in proportion and size, and the minimalist version of all featured the cast (of nine) doubling as musicians. Yep, I even remember Patti LuPone as Lovett, and she had to toot a tuba!

Annleigh Ashford is Mrs. Lovett and Josh Groban is Sweeney Todd.

The current “Todd” is appropriately shadowy and dark, mysterious and maddening, with soaring voices that brighten the experience. More than 80 per cent is sung, thus “Todd” is rightfully operatic in staging and delivery. And no denying, Tony nominee Groban is box office gold, in his second Broadway endeavor; the first was 2016’s immersive “Natasha, Pierre and the Great Comet of 1812,” where he also was wow and received a Tony nom.
Todd is vindictive and seeks revenge on Judge Turpin (Jamie Jackson) who got him imprisoned for 15 years and has issues with the judge’s rape of Todd’s wife and seizure of his daughter Johanna (Maria Bilbao).

Hawaii’s Ruthie Ann Miles is the Beggar Woman, nominated for a Tony.

This “Sweeney” also has an island tie: Ruthie Ann Miles, a Tony winner for her featured role in the musical, “The King and I,” is playing a secondary role, the Beggar Woman, and was nominated for a Tony in June. In her shaggy black costume and her curious notions, Miles’ Beggar Woman oozes mystery and fascination with outbursts as “Mischief! Mischief Mischief!” and questioning laments during tunes like “Johanna.” She might be shrill, but never still in her vox populi opinions.

Gaten Matarazzo, left, as the urchin Tobias, earns cheers.

And TV fans will relish the presence of “Stranger Things” star Gaten Matarazzo (as the street urchin, Tobias). He earned a few hearthrob cheers from fans.

Sondheim’s melodies and lyrics are generally challenging for actors; his tunes are not the easiest to master or perform, with lyrics that have their own rhymes. Thus breakout hits are few from a Sondheim soundtrack. However, “Johanna,” sung by the Anthony Hope character (played by Daniel Yearwood) is haunting and beautiful, with relevance outside of the play. Hope is smitten with Johanna, the ward of Judge Turpin, and the tune’s mood-shaping grace finds a place in both Acts 1 and 2.

For the squeamish, a cautionary note: There are repeating scenes of the barber’s razor, slashing throats of victims. These acts are relevant to the story, and that’s why “Sweeney Todd” is bloody good. …

And that’s Show Biz. …

‘Sweeney Todd: The Demon Barber of Fleet Street

‘“Sweeney Todd: The Demon Barber of Fleet Street,” is a musical by Stephen Sondheim (music and lyrics), with book by Hugh Wheeler, adapted by Christopher Bond, directed by Thomas Kail, choreographed by Steven Hoggett

Playing at the Lunt-Fontanne Theatre on Broadway

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DR. FRANK PARODIES BABY DR. KOSASA

Portraying a fictional Doctah Frank, comedian Frank DeLima made a rare appearance at MW Restaurant to deliver a musical parody honoring Dr. Thomas Kosasa Saturday night (July 8).

About 110 guests – many of Kosasa’s clients whose bebes he delivered over a span of 50 years, as well as the doc’s medical peers — attended the event, belatedly marking”10,000+2” infants delivered by Kosasa.

Doctah Frank DeLima, in doctor mode.

Kosasa, with Kapiolani Medical Center for Women and Children, is a longtime OBGYN specializing  in obstetrics and gynecology.  

DeLima, a comedian whose specialty includes creating musical parodies, was commissioned by Cha Thompson, a family friend of Dr. Kosasa and his wife Mi, to appear as a faux doc to deliver a brief musical parody about the real doctor’s milestone baby deliveries. It was a one-in-a-lifetime gift – immortalized on a formal video but delivered live with DeLima  in doctor gear, singing the parody to Kosasa to the tune of “Mr. Sandman,” the tune by The Chordettes.

In Doctah Frank’s version, there’s localized and pidginized lyrics to salute Dr. Thomas on his stunning ongoing mission in delivering keiki.

There was name-dropping – bebes with eyes like Genoa Keawe, a warm heart like Jimmy Borges, and wavy hair like Jason Momoa – to reflect the island spirit.

“Tom was definitely surprised and happy!,” said Mi Kosasa. “I never saw him smile so much.”

Three years  ago, Dr. Kosasa (pictured) delivered his 10,000th infant. At that time, Jerry Wu hosted a party honoring him at MW’s original restaurant on Kapiolani Boulevard.

So why a shebang now?

“This past February, Tom delivered Jerry’s only son, L. Tristan,” said Mi. (Mom is Renee Tan). “And last September, Tom delivered Michelle and Wade Ueoka’s (chef-owners of the MW of the eatery) only child, a son named Ryeland. And since MW is Jerry’s and our favorite restaurant, Jerry wanted (the party) at MW’s new location at Kapiolani and Ward Avenue.”

Among those at the party – again hosted by Wu —  was a Kosasa friend who flew to Hawaii from Budapest, since she had three infants delivered by Dr. Kosasa. Other out-of-towners came from Tokyo, Korea and Las Vegas.

A “Top Gun” motif was the evening’s theme, with many donning gear relating to Tom Cruise’s film, and all attendees received aviator glasses donated by Brad Nicolai, who unfortunately couldn’t attend.
MW shut down the restaurant for the evening, using the main dining room as a cocktail lounge and utilized the adjacent Bentley Room – with vehicles relocated to create dining space – for a lavish, sumptuous dinner.

Brian Chang and Mike Ching entertained  for five hours, with dancing closing the evening.

DeLima put his heart and soul into the parody, a rare one-time-only performance of the song. He spent two weeks honing the number. “I did 10 takes to finally get it right,” he said of the final video he recorded, a copy of which has been presented to Kosasa.  “I think Dr. Thomas loved it,” he said of his performance. “He was smiling through it.”

Because July 8 was DeLima’s birthday, the party guests sang “Happy Birthday” to him.

A video of DeLima in his  doctor guise is shared on my Facebook page; if you choose to view it, it would be a great gesture  to make a donation to DeLima’s ongoing Student Enrichment Program, where he annually stages inspirational sessions with public and private school students …

And that’s Show Biz. …

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‘CAMELOT’S’ SHINING MOMENT IS LOST

Seventh in a series of Broadway reports

NEW YORK — “Camelot,” the beloved stage musical encompassing a romantic triangle amid the fabled King Arthur and the Knights of the Roundtable legacy, is a problematic specimen at the Lincoln Center Theater at the Vivian Beaumont.

Directed by Bartlett Sher, the show was nominated for five Tony Awards and won nothing, and consequently, attendance has been disappointing, triggering an early Sept. 3 closing.  A possible national tour and an eventual West End residency down the line, dates uncertain.

The production has the usual Lincoln Center flair, with arched columns, monochromatic and stylishly minimalist sets by Michael Yeargan and splashy medieval costumes to provide colors that enchant, notably in the dance moments choreographed by Byron Easly. Projections of shadowy trees and church deco enhance the lack of set pieces, and the themes of chivalry and romance, complete with sleek English dances and rigorous fight choreography, help fill the eyes, the ears and the soul.

But “Camelot” turns out to be a blur; the delicate love story with songs by Alan Jay Lerner (lyrics) and Frederick Loewe (music) remain touch points. Based on the “The Once and Future King,” the novel by T.H. White, the show has undergone surgery by Aaron Sorkin, noted writer from TV’s “The Office,” who wrote the book , but has changed the tone and flavor of the original, modernized for a contemporary audience with major adjustments in the storytelling – like erasing some classic characters. Like a renovated old home, there designs and details you’ll like, and some who won’t.

Andrew Burnap, left, is King Arthur, and Phillipa Soo is Guenevere in “Camelot.”

Don’t let it be forgot; the shining moments are elusive.

The cast is superb and occasionally likeable and luminous, with a boyish and dubious King Arthur (youthful and handsome Andrew Burnap, a Tony winner in “The Inheritance”), a Korean Guenevere (expressive and eloquent but reluctant bride Philippa Soo, the original Eliza Schuyler in “Hamilton”), and a black Lancelot du Lac (Jordan Donica, who was Freddy Eynsford Hill in “My Fair Lady,” and powerful and dominating here). They are the principals in the love triangle, and emit some sparks.

But clearly, diversity is at play, and thus some rules bent.

Alterations abound in characters, too: Merlyn (Dakin Matthews) used to be a wizard, but now he’s a sage, and Morgan Le Fay (Marilee Talkington) is a chemist, and single mom to Mordred (Taylor Trensch) who’s lost his magic.

Happily, some of the memorable tunes in the score are retained and staged with sumptuous support of a 30-member orchestra, directed by Kimberly Grigsby, always a joyous  tradition. The title song “Camelot” and “What Do the Simple Folk Do,” performed by Arthur and Guenevere, and “C’est Moi” and “If Ever I Would Leave You” delivered by Lancelot, are worth the admission.

Sher’s trademarks at Lincoln Center include such previous hits as “South Pacific,” “My Fair Lady,” “The King and I” and “The Light at the Piazza.” This time, the show is a misfortune,  receiving mixed reviews and unimpressive box office response.

Jordan Donica, as Lancelot in “Camelot,” is the dominating angle in the love triangle.

Donica’s towering stance and booming voice make him the production’s brightest star, yet a lone angle in a triangle does not equate to a hit show.

You might recall, if you’re of a certain vintage, that the hope and magic of “Camelot” once was linked to the JFK presidency. After John F. Kennedy was assassinated, widow Jackie admitted that “Camelot” was her beloved husband’s choice musical, a net that created a sidebar for the Kennedys. Lyrics in the title song, which capitalized the Arthurian period, impacted American democracy as the King’s mission for prevailing peace in the fable was evasive.

The alluring sentiments included this verse, sung at the conclusion of the musical:

“Don’t let it be forgot
“that once there was a spot
“for one brief shining moment 
“that was known as … Camelot.” …

That moment is sorely missed…

And that’s Show Biz. …

‘Camelot’

“Camelot” is a musical by Alan Jay Lerner (lyrics) and Frederick Loewe (music), based on the original book by Alan Jay Lerner inspired by T.H. White’s novel, “The Once and Future King,” and adapted and updated by Aaron Sorkin; directed by Bartlett Sher

Playing at the Lincoln Center Theater at the Vivian Beaumont, through. Sept. 3