Beautiful, Stephen Sondheim Theater, New York August 8th 2014

Beautiful is so ugly, Stephen Sondheim Theater, New York August 8th 2014

"Beautiful" is so ugly at the Stephen Sondheim Theater, due to the selfish woman in the Mezzanine in either FF9, 10 or 11 who did  not turn her cell phone off and interrupted the most sensitive "sorry" moment in the show.  Cell phones OFF not silent.  OFF.  Spell it you feral sophisticated blonde bimbo!  O.F.F!!  That is O with two F's.  

Other than that ugly moment "Beautiful" was sublime!.

I had audience members thank me at the end of the show for telling her to turn her cell phone OFF.  That is do not turn the cell phone to silent but to OFF, so as not to distract anyone.  That includes no flashing or checking the time with your phone's flash light.

It is about "Respecting This Moment".  "Remembering This Memory".  It is about respect for everyone who has worked. toiled or laboured to buy their tickers.  This includes tourists who have travelled and spent hundreds, or even thousands of dollars from Australian.

Darling "Don't get your knickers in a knot!" she said to me rudely.  Twice she demonstrated how rude she was.  What would Oscar Wilde write? "Once is an accident, twice is carelessness!"

I am sorry about the rant but cell phone "tinia" is so contagious.  Thankfully the ushers were on to it but sadly the ushers are not magicians for those who do not turn them OFF.  Spelt as O.F.F.

I write about the holistic experience of attending the theatre as John Truscott  who won Oscars for his  designs  of "Camelot"  the movie.  He was passionate about the event of attending theatre and I grew up with this tradition.  It is not your lounge room to chat during a show.

I write about the moment of arrival to the moment of departure from a theatre,

I picked up my "Will Call" tickets with ease and no queue and no fuss.

The Stephen Sondheim Theater is another palace with  foyers (lobbies) which allow room to move and better than most Broadway theatres.

When purchasing my "Beautiful" program, I check to see if they have a cd and photo-programme offer. They did and thankfully Lisa informed me that the cd had a damaged cover as they had run out.  I was impressed with that, but did not purchase the packaged deal.  Lisa was very understanding that I did not want to give a damaged cover cd as present and I bought a magnet instead which I think she be a standard $5 for all shows.

I bought the photo-programme and realised when I went to read it that the cast insert was missing.  I went back and asked Lisa about the missing insert and she informed me  they had run out.  I said that the price should have been reduced accordingly and embarrassed a couple near me.  I could not care less as I was sticking up for all theatre goers.  We should have been told it was missing as the product was not complete.  Producers take note!

I was impressed because Lisa knew I was serious and she offered to see if she could get me one from another stall and see her at interval.  I was impressed with Lisa's follow up and got the insert after the show.

At interval my partner told me of an altercation in the front Mezzanine Right AA Row where two women leant so far forward that they blocked the view of the two people in the BB Row.  The people in BB Row left and ironically the two selfish woman in AA Row sat back in their seats for the remainder of the show.

Please do consider and be aware of other patrons when attending the theatre.  It is a palace or a temple and not your lounge room for all to enjoy!

At interval the queue for the toilets was a circuitous route.  The Ruben-esque usher was a sensational Occupational Health and Safety Officer in requesting that people keep to the right and allow space for people to gain access and egress from the toilets.  She also re-assured patrons that the Stephen Sondheim Theater had the largest number of toilets and there would be a short wait.

The funny thing was that we had come from the Mezzanine on one flight of stairs and had to join the queue on the other flight of stairs.

Enough of my rant, the musical "Beautiful" was sublime.

Review:

"Beautiful" has a book by Douglas McGrath that links the magnificent catalogue of songs seamlessly.    There is not one dead spot in the show due to such a strong book with seamless transitions between scenes.  I saw "Dusty The Musical" in Australia and that had a heavy and detailed book with too many dead moments while "Beautiful" was succinct and had the audience humming along.  We had a few lines about some major events but nothing to slow the action.

"Beautiful" has music and lyrics by Gerry Goffin, Carole King, Barry Mann and Cynthia Weil.  "Beautiful" is one of the best "jukebox' musicals I have seen due mainly to the sensational music and the book.

Costume design by Alejo Vietta is naturalistic and supports the atmospheres with his modern period clothing.

Scenic design by Derek McLane is brilliantly realised with the precision sliding in of sets.  The lovely touch was the rotating of the upright piano to establish the location of scenes.  A simple 120 degree turn of the piano transported us to another scene.  The composite set pays tribute to the original designs for "Oliver".  It is the impressive sliding of the main set that really allows us to move    to many locations and give new perspectives to scenes.  The backdrop is really a mixture of props from recording studios etc, which gives such textured character to the sublimely remind us that this work is always about the music.

Lighting design by Peter Kaczorowski is the best lighting I have seen in show for a while as it was supportive and unobtrusive.  The range of colours created various moods and also assisted in created atmospheres.

Sound design by Brian Ronan gave us a mix of sound qualities to define location and atmosphere.

Choreography by Josh Prince provided opportunities for The Shirelles and The Drifters to show their moves and grooves.

The master is the director, Marc Bruni who brought all of the creative team and cast together as the perfect project manager.  Such a perfectly balanced night at the theatre for providing us an emotional journey of growth, success, disappointments and maturity.  Sheer perfection!

The finale to Act One is brilliantly staged where we have two triangles of The Shirelles upstage and the Janelle was the head of the downstage triangle with Carole and  Gerry.  These two triangles pulsated in subliminal sexual tension back and forth, then as the dynamics were changing the triangles became more accute.  A magnificent piece of choreography and staging to provide us with the obligatory tension at the end of Act One.

The cast of "Beautiful" are superb.  Thankfully we had seen "Baby Its You" that featured The Shirelles and it was great to see them featured, again, here in "Beautiful."  The rich bass baritone from The Righteous Brothers was devine when the duo sang "You've Got That Lovin' Feeling"

The cast had the audience in the palm of their hands as they audience sighed with personal connection to their memories of each song or were given jolts of surprised recognition when they
could not make certain connections.  The book provided us with so many wonderful ways to emotionally transported.

Jessie Mueller as Carole King, is the undeniable Tony Award winner for Best Performance by an Actress in a Leading Role in a Musical for "Beautiful."   Her skill as an actress, pianist and singer transports us to believing that we are watching Carole King growing up in front of us.  Her voice is majestic as she channels Carole King.  Pure bliss!  Sheer perfection.

Jake Epstein played Gerry Goffin with measured emotional sincerity.  He has a quality that sparked electrical currents of tension with Carole King.  His roller coaster connection with Jessie Mueller's Carole King had us empathising with her journey.

Anika Larsen played Cynthia Weil with finesse.  He voice was so melodic and rich.  Playing opposite Jarrod Spector s Barry Mann provided us with some comic relief and some competition for Gerry and Carole.  Together they sang with rich warmth and charm.

The supporting ensemble worked seamlessly to provide us an array of characters from Carole's life.  They sang with great harmonies and assured moves.

The farewell and the use of "You've Got a Friend" was sheer perfection.  I had tears rolling down my face as this was not a goodbye but a re-assurance of their enduring friendships.

Such a perfect night at the theater except the Gerry apology was interrupted by the two loud cell phone messages received noises.  Who's sorry now?

Thank you to the cast and creative team for such a sensational night at the theatre.

"Beautiful" is such a perfect night of musical theatre.  It is devine.

An interesting aside:

I spoke to a few of the cast after the show to tell them about how "You've Got a Friend" was used for about ten years in the late 1960s to the 1970s as the theme song for the Melbourne S.E.C. (State Electricity Commission) as it provided that re-assurance for your energy supplies.  Jarrod Spector laughed and said that is funny as the S.E.C. in the USA is the Securities Exchange Commission!

Their faces lit up as I told them about the Australian connection.

The other Australian connection is that "Locomotion" was the song that escalated Kylie Minogue's fame.

Violet, American Airlines Theater, New York Wednesday August 6th 2014

Violet, American Airlines Theater, New York Wednesday August 6th 2014

Forgive if there any errors or please contact me re errors.  Thank you.

For those new to my blog I write about the holistic experience of attending the theatre.

This is the first time seeing a show at the 700 seat American Airlines Theater.  What a treat to see Sutton Foster in such a pivotal role as "Violet" by the Roundabout Theatre Company in the perfectly size theatre for this musical to create intimacy and allow us to journey with Violet.

We have been blessed to see "Death Takes a Holiday"by the Roundabout Theatre Company and what a treat to see another of their productions.

"Violet"is based upon Doris Betts's "The Ugliest Pilgrim" which  has music by Jeanine Tesori and Book and Lyrics by Brian Crowley.  It is like the Hans Christian Anderson story  "The Ugly Duckling" does a religious revivalist meeting.  I received the "Violet"  CD a few weeks before departure and loved its message instantly.  I was grateful that we had taken the risk to book this show in advance.

"Violet"  is directed with simple precision by Leigh Silverman and intersperses the back story of the young Violet's accident in bite sized segments to give dramatic impact to the adult Violet's life story.  It is a musical with a deep message that touches some people so much that they have quivering or life-forgiving releases of tension.  It is like a song of forgiveness.  For example, the life-long  memories of enduring of school yard bullying or a violent family home.

"Violet" the musical sings of hope, respect, dignity, self belief, character building, confidence, assurance, dreams and broken dreams, promises and broken promises,  To me it is also about the way religion can rape our soul by their promises of deliverance.  It is your choice to make your own changes.

"Water in the Well" sets the scene with the  young and adult versions of Violet played by Emerson Steel and Sutton Foster.  This sets the tone for the show and you know that both characters are gong to tell the story.  Both work together like Siamese twins to create Violet's full character.

"Violet" is about a young girl who was accidentally axed by her father and disfigured twelve years earlier.

The whole show is like a confessional and we are witnessing the psychological back story in stages.  These are told through the young and adult Violet giving us insight into her feelings, motives and desires.

"Surprised" sung with passion by Violet has us in the palm of Sutton Foster's hand.

"On My Way" has Violet travelling to meet up with her preacher of hope who can cure her disfigurement and make her beautiful like Ava Gardner.  Sutton Foster sings this with naivety, hope and innocence.

There is simple staging that mainly uses chairs and tables for the bus and cafes.  The set design is by David Zinn  is effective and has a used worn blue paint that ages the set and adds to the atmospheres of the various locations. The bed slides in and out from under the band's stage.  A preacher stand also rolls out for this minimalist set.

The lighting by Mark Barton is very good. His green neon sign "Vacancy" gives so much context to the location.  The rich red lighting for the chapel scene and other spots to create atmospheres specific to their location.

The various neon signs gave us a sense of period and locations.  The slow build of light for the healing of Violet made Sutton Foster glow, shine and radiate and assist in her transformation. Perfectly simple devices.  She was in a halo of charismatic light.

Talking to other people who had seen "Violet", many of the older audience got confused about the young and old Violet.  Some missed the point and asked why they had the two Violets.

I suggest a different glow of light for the young Violet to reduce the age and memory/back story of young Violet confusion.  A simple lighting change could have highlighted the suggestion of the "ghostly memory of youth."  For example, when Violet makes peace and lets go of her younger self, the young Violet could  exit in a tunnel of light that fades or another similar change to distinguish this releasing moment.

The direction by Leigh Silverman provides a varying pace and moving story that lifts our soul in joy with the majesty of this work.  I particularly enjoyed the relationships developed between Violet and  Flick, Monty, her father and her young self.  There was the constant triangle of Violet with her father and younger self, or the triangle with Flick and Monty.  The two triangles create the square of balance for the show.  The old memories and the new memories fit nicely into her luggage - her box! The luggage is a symbol of our life and the baggage that we carry around with us.

"Luck of the Draw" we see a 20 minute bus stop and Violet plays cards and we see how she learnt to play cards to improve her mathematical skills as a child.  The timing of the hand movements between the young and adult Violet would at times correspond in unison and at other times suggest this unity.  There was a canon effect that would merge together like in a Dalcroze eurythmics exercise of "Unity of Time."

"Questions 'n Answer" between Violet and Monty played by Colin Donnell with his handsome features and his harmonically rich and melodic voice provide level of tension to her journey.

"You choose your own way" says Flick and it is as if we can only heal ourselves with one step at a time.  Flick is like the sage to Violet, even though she treats him with politically incorrect behaviour but tolerated behaviour at that time.   This makes us laugh with politically incorrect recognition. Flick shows his strength through this.  "You gotta do what you gotta do" he tells Violet.  Such an inspirational line and  more so by the sincerity of Joshua Henry,.

"All to Pieces" is a trio with Flick played sensationally by Joshua Henry,  with Monty and Violet.  Joshua Henry. has a charismatic presence and beautifully rich voice.

"Let it Sing" by Flick brought the house down with his full voice and compassionate performance
 by Joshua Henry.  The lights build to create a visual climax and support this fine performance.

"Anyone Would Do" by the Hotel Hooker shows the loneliness of life on the road and how people need people and it also shows how people treat others as disposable tissues. Annie Golden as the Hotel Hooker gave us the torch song of desperation.

"Last Time I Came to Memphis" by Monty starts with quite a discordant sound and adds to the edgy sleazy nature of his advances to Violet.

"Lonely Stranger"  by the Music Hall Singer played Anastacia McCleskey gives us another perspective of loneliness and hope that allows us time to ponder Violet's dreams.  She is fine actor who transforms into the various roles with Michael Chekhov "lightness and ease."

"Lay Down Your Head" is the post coital song that Violet sings to herself as Monty sleeps after his sexual "little death."  We also have the young Violet showing us her first sexual encounter and this counterpointing highlights the disposability of a sexual one night stand.  It reminds me of th e poignant "Where Is Love" from Lionel Bart's "Oliver" to gently tell us about hope.

The reprise of "Anyone Would Do" by the Hotel Hooker, Almeta, and the Music Hall Singer emphasises that everyone is after acceptance in a way that satisfies them, whether it is financial, career or love.  Or simply they want the acceptance or recognition that the individual exists! The triangular shape sublimely suggests the dilemma that will face Violet.

"Hard to Say Goodbye" between Flick and Violet develops Flick's care for Violet.  This is a song with such deep emotion it stirs you up with our own memories of saying goodbye.

"Promise Me, Violet"  a trio of Violet, Flick and Monty is a song of promises, potential broken promises, faith, building trust, and deception.  It is also counter-pointed as a song of hope and love.

"Raise Me Up" reminded me of the cliched moments from "Memphis" and "Sister Act" with the obligatory reveal of the stained glass windows and the chapel red robes.  This is the only time the back curtain is used and is appropriate as the curtain opens it signifies the gateway to Violet's  acceptance of self.   I thought this scene could have been shortened as it made its point quickly.  Gorgeous harmonies and a beautiful solo singer by Rema Webb as Lula Buffington.

A line "Nobody talks to the preacher without talking to me first" is a line by your classic gate keeper.  An emphatic "Anybody!"  provides a pause and silence from the audience.  The silence showed us our recognition of the hypocrisy of these conmen.  It highlights what we have control over.  This links into the work of Martin Seligman "What You Can Change and What You Can't."  One line or one word speaks volumes so succinctly.

"Down the Mountain" gave us the background information about the axing accident of Violet.  It is played with sincerity and interweaving of memory of simultaneous and overlapping dialogue which heightens the emotional journey towards reconciliation with herself.

As some audience members got confused between the young and old Violet,  I feel that the lighting could have distinguished between them both. The memory of self of the young Violet compared to the Violet of the present time.  Sharpening the dialogue with elaboration would make this clearer.  "Heathers The Musical" made the difference clearer by using the body posture of the dead Heather and her physical relationship to Veronica and with a subtle light glow.

There is a scene where Violet takes over the pulpit to assert herself and her dreams and desires.  She is learning to accept herself and is going through the emotional connection to begin the letting-go process.   The young Violet walks backwards offstage to signify the adult Violet is letting go of her pain and hurt.  A beautiful moment.  (Though the lighting could have created more impact at this important moment.)

"Look at Me" was a brilliant solo for Violet sung by Sutton Foster trying to get her father to look at her disfigured self.  If she could not get her father to look at her then how could she face life let alone look into the mirror each day.

My partner thought the band on stage was distracting as you only need to hear them.  I disagreed as it gave it the feel for the era and the various locations of the bus stops and bar scenes.

"That's What I Could Do" by Violet's father played skilfully with paternal detachment by Alexander Gemignani that had many tears rolling down many faces in the audience.   This is a brilliantly honest emotional solo.  Their cold familial relationship and the pain allowed many in the audience to feel some peace at Violet's journey.  Thank you Alexander Gemignani for assisting many to let go of some pain.

"Promise Me Violet" (reprise) by Flick and Violet is a song of hope and love.

"Bring Me to Light" provides us with the final images of each character carrying their luggage lightly - as if they are releasing their own emotional baggage from their lives.  It is a revelation that only we, alone, can change ourselves.  That is why this is such a masterful work of healing for many people.

"Violet" shows us the good and evil aspects of life: the spin of religious conmen, the fraility of
human relationships, our belief systems, father and daughter relationship, our childhood memories, independence, trust, faith, hope and the manipulation of  all of these.

"Violet" is a great companion piece to the musicals "Heathers The Musical" and "Beautiful."  Sutton Foster is sublime in a role that stretches her as an actress and us as an audience, it is like we are travelling on her transformational journey on Broadway too.

"Violet" is about so many aspects of human nature that it moved some people to tears with recognition of their own journey.  With the letting go and acceptance of Violet's self we appreciate more about the beauty of life. It is about gratitude.  As Martin Seligman suggests gratitude brings happiness.  It is about growth, and,  thank you Roundabout Theater for growing our perspective with this beautifully written and composed musical.

The American Airlines Theater staff of ushers and crew all need to be congratulated for their vigilance in respecting that attending the theatre is an occasion and can be expensive.  They show respect by trying to ensure that everyone's attendance is not disrupted by annoying phones beeping or flashing to check the time!

Off means off!  Not silent.  Off with cell phones please!

American Airlines Theatre are role models as they have a very strict rule of NO PHONES FULL STOP.  Cheers!  Tears of joy for this needs to be the standard AT ALL BROADWAY THEATRES.

Thank you American Airlines Theater and also St James Theater as you both win my "respect this moment" or "respect this memory" award!

A friend of mine from New York was sitting in the Orchestra at this same performance.  She told me about one young lady in the audience who was openly crying, not tears rolling down her face, but convulsively weeping and as a result was being assisted in being healed by Violet.

August 8th 2014 (Our 6th anniversary of our first trip to NYC!)

Thank you to Roundabout Theater and to the producers of "Violet" for bringing it to Broadway.

This production receives 8 /10.