Interludes

2014’s Best in Theater (Musicals)

• By drediman
• January 26, 2015
• No Comments

Lastly, here is my best-of list for musicals that opened in 2014 (I have separate lists for new musicals and musical revivals). Unfortunately, 2014 was an uneven year for musicals, especially new musicals. The year demonstrated more acutely than other years how elusive the formula is for creating successful new musicals, regardless of the pedigree involved. Luckily, a number of first class musical revivals arrived to show us how it’s done. Let’s hope for better things in 2015 …

NEW MUSICALS

1. The Bridges of Madison County

A sappy story couldn’t stop the musical adaptation of “The Bridges of Madison County” from heading to the top of the list, mostly because of Jason Robert Brown’s soaring score and sensitive, deeply-felt (and exquisitely-sung) central performances from the oft-nominated Kelli O’Hara and the handsome Steven Pasquale. However, it’s Jason Robert Brown’s work on “Bridges” that clinches the deal. His score reaches the same intoxicatingly romantic highs as Adam Guettel’s score for “The Light in the Piazza” (which also starred Ms. O’Hara). That’s saying something. 

2. The Last Ship

Book and narrative problems aside, Sting’s first foray into musical theater was an artistic triumph. His soulful score for this recently-closed musical is extraordinary, especially when heard in the theater. The hard-working cast passionately immersed themselves into the show’s world, and the sense of community they conveyed left me very moved. Joe Mantello’s deceptively simple directorial work here is his best yet: “The Last Ship” is muscular, poetic, and refreshingly free of irony.

3. If/Then

Tom Kit and Brian Yorkey’s “If/Then” sharply divided critics when it opened on Broadway early last year. Although far from a perfect musical, I found it to be an exhilarating love letter to New York and the exciting possibilities of living in such a metropolis. Idina Menzel (for whom the show was custom made) once again proved her mettle, giving us a forceful, uncompromising performance that defined what it is to be a modern woman — in all her contradictory glories. Although her sound isn’t for everyone, Ms. Menzel has never sounded better than in “If/Then”.

4. Found

Last fall, the Atlantic Theater Company offered up an irresistible charmer of a musical entitled “Found”, with a sweet if somewhat lightweight score by Eli Bolin and a hilariously endearing book by Hunter Bell and Lee Overtree. Rarely have I smiled more broadly or consistently in a theater last year than I did at “Found”.  Huge credit goes to the hard-working, joyously present cast and ensemble of the show; they take an absurd idea for a musical and just run with it with all their hearts and souls.

5. Ghost Quartet

All the way out at Brooklyn’s adventurous Bushwick Starr, Dave Malloy’s (the creator of the singular “Natasha, Pierre and the Great Comet of 1812”) dark and utterly unforgettable “Ghost Quartet” opened just in time for Halloween. This gorgeous storytelling mash-up of a song cycle was served beautifully by a small, intensely-focused cast (including Mr. Malloy himself). Don’t miss the show’s encore run at the McKittrick Hotel this winter.

MUSICAL REVIVALS

1. The Most Happy Fella

The Encores! revival of Frank Loesser’s masterpiece “The Most Happy Fella”, directed with a generosity of spirit by Casey Nicholaw, proved to be the musical highlight of the year. The impeccable cast included Laura Benanti, Shuler Hensley, Cheyenne Jackson, and Heidi Blickenstaff; all sang and acted the classic to perfection and with deep sincerity. The lovely Ms. Benanti particularly showed me that she was ripe and ready to move on from the ingénue roles she’s been acing for years now. It was also a true treat to hear the original orchestrations reconstructed and played so gloriously. I would love to see this transfer to Broadway.

2. Violet

Jeanine Tesori in the past few years has emerged, alongside the likes of Jason Robert Brown and Michael John LaChiusa, as one of the most important and distinctive voices in contemporary musical theater. The excellent Roundabout revival of “Violet” gave theatergoers an opportunity to reassess one of Ms. Tesori’s early successes through the lens of her later works (e.g., “Caroline or Change”, “Fun Home”).  Even in this earlier work, we see her championing difficult stories with complex characters through masterful, pseudo-pastiche scores. In the titular role, Sutton Foster, playing against type, was at once beautiful and devastating.

3. Hedwig and the Angry Inch

Neil Patrick Harris knocked it out of the park (or shall we say, the theater?) with his electric interpretation “Hedwig”. More rock star swagger than John Cameron Mitchell’s more subtly sarcastic original performance, Mr. Harris understandably enhanced his performance to fill a Broadway theater. Similarly, Michael Mayer’s flashy and very loud production has (somewhat unfortunately) pumped up the original bare-bones staging to accommodate the Great White Way. I can’t wait to see Mr. Mitchell return to the role on Broadway; I hope he brings some of that original scrappiness back to a show that has become anything but.

4. Miss Saigon

On a recent trip to London, I was able to catch the hit West End revival of “Miss Saigon”. Once again, I found myself swept up by the cinematic thrust of the storytelling and the soaring earnestness of Boublil and Schonberg’s score. More so than the operatic original staging by Sir Nicholas Hytner, this “Saigon” (directed by Laurence Connor, whose recent “Les Miz” revival I am not a fan of) is unafraid to tackle the inherent rawness of the story. That being said, I found it an absolute treat to hear William D. Brohn’s breathtaking original orchestrations in their entirety. Eva Noblezada breaks your heart with her steadfast, steely, and genuine performance as Kim.

5. Side Show

Flawed yet fabulous, Russell and Krieger’s “Side Show” made a brave comeback to the Great White Way this season. Unfortunately, the revival went the way of the of the original 1997 production and closed after just over two months. This is by no means an indication of the quality of Bill Condon’s re-thought production. The musical’s second act, in particular, now moved with a dramatic momentum and simplicity that was almost overwhelming by the show’s end. Erin Davie and Padgett sang beautifully and acted with every ounce of their beings, all but erasing the very different powerhouse originals, Alice Ripley and Emily Skinner.