"Hello, Dolly!" Is a Glorious, Showstopping Musical With a Bounce, Vigor and Charm That Is Completely Irresistible

By James V. Ruocco

It's everything you'd expect and so much more.
It's luminous and crafty.
It's bright and bouncy.
It's frivolous and snappy.
It's sinfully sweet and ice-cream shop flavorful.
It's a welcome return to the heyday of the big, old-fashioned Broadway musical.
It's a colorful journey back in time to the Victorian world of late 19th century America.
It sparkles and illuminates.
It sings and dances with the feel-good vitality and chutzpah it is famous for.
It has the winning charm of a long lost friend reunited.
It's a delightful uplift and spit-spot sugar rush.
And finally, it's just what the world needs right now.

That said, there's also something magically dreamlike and wistful about "Hello, Dolly!" the Tony Award-winning Broadway musical that kicks romance, legend, courting and first love into high gear with an embodied sentiment and engagement that's as grand and extraordinary as this musical take on Thornton Wilder's "The Matchmaker" was meant to be. On tour through May, 2020, this elegant, freshly minted touring edition of the hit Jerry Herman musical (the first tour ended its run at Boston's Opera House on August 25) is brand-spanking new (it officially kicked off September 24 at the Starlight Theatre in Kansas City, Missouri), carrying with it a shine, pulse and glimmer that passionately reflects its flush and bloom, the excitement of a new cast headed by Carolee Carmello and John Bolton and a storytelling bravado that twinkles and delights in high-stepping, energetic fashion.

Taking its cue from Wilder's original story, the musical, penned by Michael Stewart, travels the same route as the original 1954 play. As "Hello, Dolly!" opens, matchmaker Dolly Gallagher Levi takes the train to Yonkers to find a suitable partner for Horace Vandergelder, an esteemed, half-a-millionaire looking to remarry. She, of course, plans on marrying Vandergelder herself. But before she sets her plan (i.e., trap) in motion, she travels back to New York accompanied by Vandergelder's sniveling niece Ermengarde, her intended suitor Ambrose Kemper and two of Vandergelder's Hay and Feed Store employees Cornelius Hackl and Barnaby Tucker with promises of adventure, money, romance, fancy dinners and sightseeing. Upon arrival, she fixes up Vandergelder's hapless, lovesick clerks with Irene Malloy, the attractive hat shop owner he has been officially courting (Dolly, of course, arranged the match) and giggly Minnie Fay, her shop assistant, who, like Hackl and Tucker, is just as inexperienced when it comes to good, old-fashioned love and romance.

Not to worry, though.
Through song, dance, dialogue, comedy, drama and cotton candy goodness, things end up on a very high note.
Dolly gets Vandergelder. Cornelius and Barnaby become merrily entwined with Irene and Minnie. And Ermengarde and Ambrose live happily ever after.

This glorious revival is being staged by Jerry Zaks who directed the 2017 production and the subsequent 2018-2019 first national tour that starred the extraordinary Betty Buckley in the lead role of Dolly Levi, a part she played and inhabited in the most amazing of ways using a polished spin and luster that gave the musical its heart, its soul, its passion and its sweet-natured intimacy and sparkle. Back in the director's chair for the 2019-2020 second touring edition of  "Hello, Dolly," Zaks
leads his new cast to victory using the same bubbly charm, earnestness and comic shuffle he brought to the previous two productions, firmly rooted in the classic spectacle, the comforting embracement and the harmonic complexity the show is famous for.

As director, Zaks pulls out all the stops and punches with a flair and flourish of fresh paint and vigor that is pure tonic for both everyone on stage and in the audience. This is "Hello, Dolly!" for a 21st century audience. Not a postcard replica or imitation of the "Dolly" of yesteryear. Nor it is an homage to the leading ladies of the past who gave it life - Carol Channing, Ginger Rogers, Pearl Bailey, Betty Grable, Ethel Merman, among them. Instead, it is reinvented and reworked by Zaks with a savvy mentality and repositioned grin and consciousness that incorporates many elements of Thornton Wilder's "The Matchmaker" back into the framework of the story, thus, breaking new ground for the characters, the original Michael Stewart book and its scene-by-scene conversational and musical evolution. It's funnier. It's tighter. It pulsates with enthusiasm and relevance. It's feel-good factor is truly uplifting. It doesn't waste a single breath, emotion, dance step or lyric. With Zaks pulling the strings, it is also fresh, lush and every inch what you'd expect from an epic Broadway musical with a very colorful past and much-ballyhooed history.

With music and lyrics by Jerry Herman, the celebrated musical score for "Hello, Dolly!" features 17 original musical numbers reflective of the 1890's period of the show's setting and the blueprint set forth by Thornton Wilder in his 1954 play "The Matchmaker," which is the basis for the two-act musical. They are: "I Put My Hand In," "It Takes a Woman," "Put on Your Sunday Clothes," "Ribbons Down My Back," "Motherhood," "Dancing," "Before the Parade Passes By," "Penny in My Pocket," "Elegance," "The Waiter's Gallop," "Hello, Dolly!" "The Contest," "It Only Takes a Moment," "So Long Dearie," "Hello, Dolly! (Reprise)" and "Finale."

As penned by Herman, the songs for "Hello, Dolly!" - a richly textured patchwork of clean, pure melodies chock full of loud, proud, clear emotions and full-hearted optimism -  bristle with the familiar snap, crack, flavor and pop the composer/lyricist is famous for. They are creative, sunny and lyrical with an ever-pleasing sound that is moving, simplistic, romantic and invigorating. It's all very much inspired for the characters who sing them - leads, supporting characters and ensemble - and fits harmoniously into the framework of the story, its evolution, its very happy ending. Horace Vandergelder's big solo number "Penny in My Pocket," which was composed exclusively for David Burns in the original 1964 Broadway production but cut for time purposes, has been restored to its rightful place at the opening of Act II (the 2017 Broadway revival used it first), where it kicks the story into high gear with its musical freshness, comic gaiety and lyrical verve.

Throughout "Hello, Dolly!" Herman's lyrics - witty, pungent, driven, sweet, intricate -  mixed seamlessly with the composer's effervescent, unpretentious, tuneful music, give the production its sonic, rhythmic musicality. Musical director Ben Whiteley and his tremendously talented orchestral team tackle the popular musical score with the breezy, persuasive and expressive swagger and lilt it demands, offset by a mercurial freshness and melancholy mixed with a vibrant energy, zest and love in every bar. Even if you've heard the music of  "Hello, Dolly!" before, it doesn't really matter. Whiteley and company make it sound, brand-spanking new. It's a partnership that is bold and bright with an alertness and impulse that reflects the sounds, textures and tonality set forth by Herman. The playing itself is dispatched in spectacular fashion. It glides and soars. It is super confident and joyous. It is honeyed and stirring. There's so much to savor in Whiteley's articulation and dynamic, you eagerly go along for the ride, enjoying every single moment - "Put on Your Sunday Clothes," "Hello, Dolly!" "Before the Parade Passes By," "It Only Takes a Moment," to name a few - while humming along quietly as the entire "Hello, Dolly!"  cast - all enthusiastic and in very fine voice - delight and cajole as the two-act musical whirls and twirls toward it's cheery, cheeky, much-anticipated happy ending.

Much of the success of any big stage musical hinges on the choreography and "Hello, Dolly!" flies through the starting gate with lively, kinetic, harnessed dancing that is chock full of imagination, charm, lift and manner that mixes theatricality, color and late 19th century mindset with comfort, thrill and oozing confidence. As shaped by Warren Carlyle who helmed the choreographic wonderment of the 2017 Broadway edition, it dazzles and pops, bounces and soars and whiz-bangs and delights in the most resonant and magical ways an audience could wish for.

"Put on Your Sunday Clothes."

"The Waiter's Gallop."

"Hello, Dolly!"

"Dancing."

"I Put My Hand In."

"Before the Parade Passes by."

"Elegance."

From one big musical number to the next, Carlyle raises the roof, so to speak, using the simplicity and gusto reflective, in part, of the original dance work of Gower Champion, mixed with the "flash-bang-wallop, what a picture, what a photograph" nostalgia of  London's "Half a Sixpence" and a reawakened, Victorian pop-up-book stylization and class-conscious period shimmer that serves the material well as it glimmers and shines with tour de force validity and perspective. Not one to rest on his laurels, Carlyle also adds much more dancing and invigorating movement to many of the production numbers using reworked and extended orchestrations that are aesthetically pleasing, transformative and interpreted with playful dashes of bright sunshine, fully committed artistry and high-packed kicks, hops and flutter that snap into place effortlessly.

It's a role she was born to play and play it she does. As Dolly Gallagher Levi, Carolee Carmello offers her own personal spin on the much-loved character, offering a showstopping performance that is very different in style and tone from others who have played the part before her. She's a class act with one of the most beautiful voices ever who takes hold of the material and moves from scene to scene and song to song with the confidence, charm, polish and gait of a Broadway leading lady whose star burns bright from the moment she steps on stage right on through the final curtain call.  She bristles. She shines, She pops. She sparkles. She enthralls. She makes the part her own and never lets go.

John Bolton is the right and proper fit for the blustery, chauvinistic Horace Vandergelder who wants a wife "all powered and pink" and ends up with the forceful but loveable matchmaker Dolly Gallagher Levi instead. His vaudevillian charm, quick-mannered comic timing and confident embracement of  the "Hello, Dolly!" play text wins us over immediately as does his hilarious and joyous rendition of "Penny in My Pocket" at the start of Act II. As Horace Vandergelder's perplexed and tyrannized Hay and Feed Store clerks Barnaby Tucker and Cornelius Hackl, Sean Burns and Daniel Beeman cut loose with dance moves that dazzle, snap and pop, comedy shtick that is ripe and cleverly orchestrated and pitch-perfect singing that comes straight from the heart. They are so charismatic and engaging, one eagerly their every entrance.

Analisa Leaming, in the role of the beautiful New York City milliner Irene Malloy is completely captivating in a part well suited for her splendid acting and vocal talents. As "Hello Dolly!" evolves, she deftly projects the girlish glee and Victorian refinement associated with her character. As Minnie Fay, Chelsea Cree Groen is zany, sweet, bubbly, giggly and featherweight, which is exactly what the past calls for. In the roles of Ambrose Kemper and Ermengarde, the tremendously talented Laura Sky Herman and Colin LeMoine are ideally matched as a very cute 19th century couple who love to sing, love to dance and love to interact with just about everyone else on stage.

Energetic, irresistible and completely high-spirited, the national touring company of "Hello Dolly!" amazes at ever single turn. Everything about it is on fire from Carolee Carmello's showstopping turn as Dolly Gallagher Levi to Jerry Herman's infectious musical score, the dancing, the candy-coated sets and costumes designed by Santo Loquasto and every single person who steps forth on the grand, welcoming National Tour city-to-city stage to reenact the playful nostalgia and merriment of this high-stepping old fashioned musical. Watching it unfold in glorious vintage Technicolor, its charm and newness is so engaging, you wish it would never end. That said, it's not only nice to have Dolly back in town, but this is one of those musicals where you wish there was a "Replay" button that you could hit immediately after the final curtain call and watch the whole thing all over again. You won't be alone...not by a long shot.

Photos of "Hello, Dolly!" courtesy of Julieta Cervantes

"The SpongeBob Musical" Is a Bright, Colorful, Bubbly Production That's Sky-High Fun for Kids and Adults of All Ages. Its Jaw-Dropping Imagination is Staggering

By James V. Ruocco

A head-spinning musical jam-packed with enough jaw-dropping magic, color, brightness, imagination and flourish to cause an explosion of the highest order, "The SpongeBob Musical" is a thrilling theatrical experience that pays homage to the long-running animated cartoon, but with a style and mind of its own that is absolutely brilliant at every single turn.

Make no mistake about it, this is a bubbly musical delight that is giddy, charming and heartfelt. It has been reimagined for the theater with optimism, bounce and good cheer. It turns adults back into kids with a contagious, good-hearted spiritness. And for children, it excites with a freshness and a  hypnotic magnetism that is all too irresistible.

The show's book, by Kyle Jarrow, is chock full of upbeat reminders about life, friendship and togetherness as well as wisely-timed bits and bobs about family, survival and instinct as the citizens of Bikini Bottom find themselves in danger from a Mount Humongous volcano about to erupt and destroy everything in its path.

Not to worry, though. This is the world according to SpongeBob and not Quentin Tarantino or Roman Polanski. So by the time Act II reaches its big frenzied climax, you-know-who saves the day and things end happily for all and life continues - as they know it - in Bikini Bottom.

Staging "The SpongeBob Musical" is Tina Landau who directed the Tony nominated 2017 Broadway production of "SpongeBob SquarePants." A keen and crafty storyteller, Landau is completely akin to the well-imagined adventures of the title character, his aquatic friends and neighbors, the underwater city of Bikini Bottom and the musical story envisioned by Kyle Jarrow. She is the right choice to direct this grand and colorful musical that tips the light fantastic, raises the bar for avant-garde conceits, swims and basks in all its underwater glory and lovingly retains the light-hearted spirit of SpongeBob himself and his giggly, phantasmagorical thoughts, philosophies and ideals.

This is a big, expensive musical with mad attention paid to the look, feel and style of the watery playground and world conceived by the show's tremendously talented creative team including David Zinn (scene and costume design) and Kevin Adams (lighting design). No brain freeze, here. Or action that short circuits and gets swallowed up whole by the bigness of it all. Instead, Landau turns the SpongBob world into a giant 3-D coloring book of rainbow colors, bold colors and glow-in-the dark colors that keep the story alive and afloat with nary of hint of overexposure, overkill or calculation. Here, she knows what she wants and she goes for it. She also takes chances and giant leaps but never once sacrifices the story or its characters for the sake of larger-than-life visuals.

The musical, of course, is an eyeful but Landau's cleverly staged moments and revelations are genuine, crafty, rewarding and fulfilling. Things are fast, fluid and well-timed to move the action forward swimmingly (no pun intended). Everything happens for a reason. No two scenes are alike. No one gets upstaged. And nothing gets lost in the translation. What's fun here is watching how it all comes together with Landau pulling the strings and using some of the most ingenious staging imaginable. There are moments when you just sit there watching the action unfold, marveling at the directorial choices and bold strokes of Landau's creative vision and the humongous, take-charge attitude of it all. It's "Wow factor" every step of the way.

The musical score for "The SpongeBob Musical" is culled from a lengthy song register of pop and rock sounds from David Bowie, Sara Bareilles, Cyndi Lauper, Lady Antebellum, Plain White T's, Steven Tyler, John Legend and Joe Perry, among others. There are 20 songs in all: "Bikini Bottom Day," "Bikini Bottom Day (Reprise)," "No Control," "BFF," "When the Going Gets Tough," "(Just A) Simple Sponge," "Daddy Knows Best," "Hero Is My Middle Name," "Super Sea Star Savior," "Tomorrow Is," "Poor Pirates," "Bikini Bottom Day (Reprise #2), "Bikini Bottom Boogie," "Chop to the Top," "(I Guess I) Miss You," "I''m Not a Loser," "Simple Sponge (Reprise)," "Best Day Ever," "Finale: Bikini Bottom Day (Reprise)," and "The SpongeBob Theme Song."

The songs themselves are peppy, delightful, engaging and plot moving. They are strategically placed throughout the story and naturally reflect the musical's themes, undercurrents, animation, eruption and joy ride mania. Musical director Patrick Hoagland, doubling as both conductor and keyboardist, brings a flavorful style and rhythm to the musical numbers that feeds off the energy and mindset of the entire cast, all of whom display extraordinary finesse and total confidence under his inspirational leadership. His fresh perspective and full command of the orchestra also complements and heightens the unexpected textures, the thematic sunniness and the potent charm of the music itself.

The choreography for "The SpongeBob Musical" has been devised by Christopher Gattelli. Not your typical Broadway musical stuff, it is fun house glam and glitz, happy go lucky tap, jazz and hip-hop and contemporary playground carnival all rolled up into one. It is original. It is spiraling. It is animated. It is commanding and confident. It is reactive. It is sharp and soft. It is full of whimsy, color and chain reactions. It also has a wonderful robust harmony about it. From production number to production number, there's a choreographic versatility to Gattelli's work, mixed with cartoonish athleticism, lyrical expressiveness, frantic electricity and humorous prompting. The dancer's confront the challenges and the versatility of the movements, beats and patterns with fearless aplomb. And yes, they are amazing.

The two-act musical stars Lorenzo Pugliese as SpongeBob SquarePants, Beau Bradshaw as Patrick Star, Cody Cooley as Squidward Q. Tentacles, Daria Pilar Redus as Sandy Cheeks, Zack Kononov as Eugene Krabs, Tristan McIntyre as Sheldon Plankton, Morgan Blanchard as Patchy the Pirate, Ritchie Dupkin as Perch Perkins and Meami Maszewski as Pearl Krabs. Everyone is perfectly cast for their respective roles, each projecting the right attitude, mentality and personality associated with each of the parts they are asked to portray. As directed by Landau, they also offer more rounded, intuitive  portrayals of the popular SpongeBob characters with a smattering of Nickelodeon oomph and dash thrown in for extra measure. Vocally, everyone masters the melodic intricacies of the musical score and demonstrates an impressive flair for the show's different musical styles, mood swings, zaniness and important rhythmic influences.

As the show's self-titled SpongeBob, Lorenzo Pugliese is a dynamic, loveable and comical character with plenty of dash, presence and personality. Beau Bradshaw's Patrick Star is a sheer delight and Cody Colley delivers a show-stopping turn as the four-legged Squidward Q. Tentacles.

"The SpongeBob Musical" is sweet, frothy good fun in bright Crayola crayon colors that snap, crackle and pop with the adventuresome spirit the Nickelodeon TV show is famous for. Everything about it is Technicolor theatrical from the sets, the costumes, the props, the scenery and the lighting. The cast is engaging, cheerful and naturally high. The songs are perfectly in sync with the storytelling. And the happily ever after ending leaves you begging and wanting more of this contagious, exhilarating amusement designed for kids and adults of all ages anxious to be swept up in the SpongeBob story and its very magical, saltwater world.

Photos of "The SpongeBob Musical" courtesy of Jeremy Daniel

The Absurdities Of The Mormon Dogma Are Played For Laughs in the Wild and Wacky "Book of Mormon" Musical

By James V. Ruocco

For laughter's sake, Mormon religious traditions are diced and sliced and turned into mincemeat with raucous cleverness, fusion and vitality in "The Book of Mormon."

Not to worry though.

Its heart - no matter how cruel or gleeful - is in the right place.

"A Mormon just believes," we are told.

Shocking, hell, no.

Crazy, oh, yes.

Wild, wacky and wonderful, yes, yes, yes.

Must-see entertainment,  most definitely.

The national touring company of "The Book of Mormon" is a big, splashy, explicit musical parody that attacks Mormons, Mormonism and missionaries with a lively animating spark of intelligence and satiric elan, that is so much fun, its witty take on the beliefs and practices of The Church of Jesus Christ of Latter-Day Saints, is impossible to resist.

Priceless.
Bold.
Nutty.
Polished.
Ingenious
Flamboyant.
Outrageous.

This is a musical that overflows with giddy contempt and stinging acidity as fresh-faced Mormons (is there any other kind?) head to Uganda to preach the word of their Christ and build a new congregation of followers anxious to learn all about the Third Testament of the Bible. There are laughs galore and plenty of bounce, bite, sting and color to keep you happily entertained at the expense of Mormons everywhere, including those headquartered in Salt Lake City, Utah and Independence, Missouri.
Who knows?  You may even find yourself curiously googling information about the holy book of Mormon itself or inviting a friendly Mormon or two over for an early Friday night supper. A conversion? Highly unlikely.

Staging "The Book of Mormon" is Trey Parker and Casey Nicholaw who won the 2011 Tony Award for Best Direction of a Musical. Here, they create a madcap world that is chock full of cartoonish wit, energy, chutzpah, vulgarity, blasphemy and gayness. There's jokes about dysentery, baptism, medicine, vagina's, the male penis, sacrilege, homosexuals, lesbians, Africa, sex with frogs, maggots in the scrotum, religion, famine, Satan, Jesus Christ, the Bible, sexual intercourse, blow jobs, poverty, resurrection,  "Star Wars," "Star Trek," "The Lion King," "The King and I" and so more more. Nothing, of course, is off limits, a running gag that allows Parker and Nicholaw to run hog wild in very original and creative ways that heighten the musical's enjoyment from start to finish. The whole show is mapped out with such flourish, depth and drive, nothing ever gets lost in the translation.  It's a wild and wacky ride that is both uplifting and incredible and one that shows why "The Book of Mormon" took home nine Tony Awards including Best Musical.

Winner of the 2011 Tony Award for Best Musical Score, "The Book of Mormon" includes 21 musical numbers conceived by Trey Parker, Matt Stone and Robert Lopez. They are "Hello," "Two By Two," "You and Me (But Mostly Me)," "Hasa Diga Eebowai," "Turn It Off," "I Am Here For You," "All American Prophet," "Sal Tiay Ka Siti," "I Am Here For You (Reprise)," "Man Up," "Making Things Up Again," "Spooky Mormon Hell Dream," "I Believe," "Baptize Me," "I Am Africa," "Joseph Smith American Moses," "Hasa Diga Eebowai (Reprise)," "You and Me (But Mostly Me) (Reprise)," "Tomorrow Is a Latter Day," "Hello (Reprise)" and "Encore."

Gleeful, crazy and wonderfully harmonious, each of the musical numbers drives the production forward with heart, optimism, emotion and unabashed silliness. Satirizing organized Mormon religion with lampoons, pronouncements, declarations and playful escapist-like teasing and bashing, the tunes themselves are joyous, melodic, acidic and inspirational. They all fit perfectly into the framework of the story and are so very right for the characters who sing them and bring them to life night after night.

As "The Book of Mormon" evolves, musical director Andrew Graham and his orchestral team emphasize the extreme playfulness, madness and social jest of the music and lyrics, its twisty mindset and mood swings, its rainbow-tinged gay overtness, its saucy flavoring, its risqué implications and its over-the-top mechanics. Careful attention is also paid to the lyrical brashness of the piece, its tangy truths and upsurps, its magnificent wordplay, its deft phrasing, its jovial promiscuity, its distinct melodies and its giggly beats and rhythms. With Graham upfront and center, the orchestra is always in full swing and never once misses a beat or important song cue. They have fun. We have fun. They laugh. We laugh. They bite. We bite. And under Graham's expert tutelage, the entire cast (leads, supporting players, ensemble) deliver every one of the show's songs with the perfect pitch, confidence, pizazz and harmony intended by the show's creators.

Given that fact that "The Book of Mormon" has been designed solely as pure escapism with an homage to Broadway's golden past, dancing is everything in a musical of this caliber. Doubling as the show's choreographer, Nicholaw concocts a sweet, pungent bubbly dance euphoria that mixes elements of George Gershwin, Fred Astaire, Gower Champion, Gene Kelly and Busby Berkeley, among others, with intricate, daring and highly original dance moves, maneuvers and stylizations that snap, crackle and pop in every color of the rainbow.  He takes chances and runs with them. He surprises and delights. He leaves you awestruck with giddy delight. And he never once, repeats himself. He makes the right, appropriate choices in terms of style, mood, movement and dance tableaux and brings a fresh, slick, distinct feel to the proceedings, offset by plenty of froth, kitsch, electricity, attitude, eccentricity and craziness.

The two-act musical stars Liam Tobin as Elder Price, Jordan Matthew Brown as  Elder Cunningham, Alyah Chanelle Scott as Nabulungi, Andew Huntington Jones as Elder McKinley and Jacques C. Smith as Malfala. Everyone is suitably cast for their musical comedy roles, which they deliver most engagingly using the right mindset for lampooning, coupled with appropriate mischief, attitude, charm, angst, camp and hysteria. Vocally, they are in perfect unison, singing alone, in duets or with the ensemble, smartly mastering the melodic drive, pulse and heartbeat of the musical score. Vocal standouts include "I Believe," "Hello," "You and Me (But Mostly Me)," "Turn It Off," "Sal Tlay Ka Siti," "Joseph Smith American Moses" and "Hasa Diga Eebowai (Reprise)"

Big-hearted, well-intentioned and absolutely hysterical, "The Book of Mormon" is explicit, in-your-face fun that cheerfully reflects Broadway's golden age of musicals while satirically exposing the absurdities of the Mormon doctrines and its smiley-faced do-gooders. The hard-working cast is both accomplished and animated. The R-rated language is appropriately crazy. The songs are tremendous fun. And the dancing is done in such a clever good way, its bare-faced cheek and dazzle will send you out into the night thinking naughty thoughts about those door-to-door religious salesmen with gleaming teeth peddling Mormonism all across the USA anxious to recruit you and yours into their big money-making institution.

"Spamilton," The Musical Spoof of Lin-Manuel Miranda's "Hamilton" Is a Laugh-Out-Loud, Frenzied Comic Delight

By James V. Ruocco

The success of Lin-Manuel Miranda's hot-shot Broadway musical "Hamilton" is the primary target for Gerard Alessandrini's "Spamilton: An American Parody," a shrewd, observant satire that gleefully takes shots at Miranda and his big, expensive musical opus with gags, music and wordplay that escalates into an utterly transfixing work that's meticulously planned, amazingly acted and brilliantly executed.

What's not to like?

Chaotic.
Witty.
Unpredictible.
Eccentric.
Delightful.

"Spamilton" and its giddy, farcical mechanics function impeccably in this laugh-out-loud send up chock full of unpredictable invention, bullish motivations and tetchy eccentricity. Like the "Forbidden Broadway" series, which is also the brainchild of Alessandrini, it comes at you at breakneck speed, reveling in its unbridled mayhem, originality, camp and chutzpah.

Staging the 80-minute parody ("Spamilton" is performed without an intermission), Alessandrini, who also wrote the book, crafts a polished, acerbic musical comedy that never once looses sight of its wicked and wild origins. As director and storyteller, Alessandrini, maps things out perfectly always knowing when and how to set up a punchline, when to amp up the craziness, when to stop and let the material breathe, how to move his cast about with comedic zing and flourish and how to let a musical number work its magic, catch you off guard and plunge you into absolute hysteria whenever the right moment strikes.

In keeping with tradition, "Spamilton" lambasts "Hamilton" with playful acidity and lampoons several other Broadway musicals, movies and TV shows with sheer, unadulterated pleasure, the kind that produces loud belly laughs, screams and manic reactions from those audience members who live, breathe, eat and sleep theatre, 24-7. In no particular order, the 2019 production of "Spamilton" pokes fun at "Cats," "Sweeney Todd," "West Side Story," "The Fresh Prince of Bel-Air," "Mary Poppins," "Mary Poppins Returns," "Gypsy," "Into the Woods," "Rent," "Annie," "Camelot," "Spamalot," "Miss Saigon," "Charlie and the Chocolate Factory," "The King and I," "The Lion King," "Wicked," "The Music Man," "Man of LaMancha," "The Book of Mormon," "Guys and Dolls," "In the Heights," "Hello, Dolly!" "Avenue Q" "Kinky Boots," "Harry Potter and the Cursed Child," "The Cher Show" "1776," "Mamma Mia!" "Matilda," "Hedwig and the Angy Inch," "La Cage aux Folles," "Company," "Sunday in the Park With George," "Cinderella," "Assassins," "La La Land," "Yentl," "The Phantom of the Opera" and "Aladdin."

There's also lots of well-orchestrated commentary, gags and one-liners about Lin-Manuel Miranda, Stephen Sondheim, Bernadette Peters, Liza Minnelli, Barbra Streisand, Julie Andrews, Emily Blunt, Mickey Mouse, Disney, Cher, Elton John. Bob Mackie, Barack Obama, Michelle Obama, Daveed Diggs, Jonathan Groff, Leslie Odom, Jr., Audra McDonald and Renee Elise Goldsberry.

This, being a musical of sorts, Alessandrini, isn't one to mess around with the show's original conceit or its rallied, over-the-top musicality. Nonetheless, minor changes are often necessary to keep the production fresh and up-to-date.
Since its off-Broadway debut in July, 2016 at the Triad Theatre, the musical score for "Spamilton" has been revised and revised to reflect the changing times and the ever-changing Broadway line-up of plays and musicals.
The 2019 edition contains the following musical numbers: "Lin-Manuel as Hamilton," "Aaron Burr, Sir, Nervous-er," "His Shot," "Look Around (The Schuyler Puppets)," "Lin-Manuel's Quest," "Ticket Beggar Woman," "Straight Guy's Winter's Prom," "Straight is Back," "What Did You Miss?" "Ben Franklin, Sondheim & Lin-Manuel," "Daveed Diggs- The Fresh Prince of Big Hair," "Ticket Beggar Woman #2," "Liza's 'Down With Rap," "Ticket Beggar Woman #3," "In the Hype," "Book of No More Mormons," "Broadway Assassins," "Cool Duel," "Who Lives, Who Dies, Who Cries," "Lin Manuel's NYC," "The Film When It Happens" and "Encore: Our Shot."

At the piano, musical director Curtis Reynolds gives "Spamilton" a powerful pulse and rhythmic beat that lets the music snap, crackle and pop in typical parody fashion. Since the action is non stop, timing is everything here. One wrong move, one wrong beat, one halt in the proceedings and it's over. That said, Reynolds captures the music and comedy of the piece with refreshing exuberance, wit and style. The singing, the harmonies, the rapping, the quick changes in tempo, the humor and the drama are marvelously conveyed by the entire cast under Reynolds' tutelage. In spoofing "Hamilton," choreographer Gerry McIntrye delivers a comedic homage that humorously lampoons the big-act musical, its dances, its staging and its key performers with painstaking accuracy and dazzle. He also has great fun providing dance steps for the show's sure-fire roasting of such popular hits as "West Side Story" and "In the Heights," among others.

"Spamilton" stars Adrian Lopez as Lin-Manuel, Datus Puryear as Aaron Burr and Leslie Odom, Jr., Paloma D' Auria as the Leading Ladies, Chuckie Benson as Benjamin Franklin, George Washington and Others, Domenic Pecikonis as Daveed Diggs and Others and Brandon Kinley as King George III.
Everyone is suitably cast for their musical, dramatic and comedic roles, which they deliver most engagingly using the right mindset for lampooning, coupled with appropriate mischief, attitude, charm, angst, camp and hysteria. Vocally, they are in perfect unison, smartly mastering the melodic drive and heartbeat of the musical score. And comically, they are masters of their craft with comic timing that is impeccable.

A fast-moving spoof that ridicules the non-stop craziness of live theatre and theater life with jokey aplomb, "Spamilton: An American Parody" pulls you into its taut, dastardly tomfoolery with enough goofiness, cheek and earnestness to knock you on your ass, slap you in the face and leave you begging for more. Its cutting-edge lampooning draws heavily on the already-proven "Forbidden Broadway" formula with side-splitting results and costs a helluva lot cheaper than a fourth row center orchestra seat on a Saturday night to the real "Hamilton" on Broadway with a $1,4999 price tag.

"Come From Away" is an Unforgettable, Touching Musical Tale of People Connecting Amid the Tragedy of 9/11

By James V. Ruocco

Becky Gulsvig.

Andrew Samonsky.

Emily Walton.

Kevin Carolan.

Christine Toy Johnson.

Nick Duckart.

Danielle K. Thomas.

Harter Clingman.

Megan McGinnis.

Chamblee Ferguson.

Julie Johnson.

James Earl Jones II

These twelve actors are the heart, soul and pulse of  "Come From Away," an exhilarating, wholesome, award-winning musical about life, love and survival that gets the pulses racing, breaks your heart in two and brings a big smile to your face when all is said and done.

Rousing.
Miraculous.
Stunning.
Memorable.
Inventive.
Heartfelt.
Unforgettable.

This is a musical that shows how kindness and caring works ever so hard to lift one's spirits at a great time of need. Its principles about warmth, humanity and generosity are addressed freely and openly. Its resolute message about people of every shape, size, color and ethnicity - all united as one - unfolds carefully and diligently. It also gets you thinking long and hard about what you would do in a life-threatening situation such as this one if you were in their place.

And that, in a nutshell, is reason enough to rejoice and embrace this heroic, fell-good portrait of mankind that evolves under very extraordinary circumstances.

The story of "Come From Away" is set in the week following the September 11th attacks of the World Trade Center in New York. It retells the true story of the events that transpired over a series of days when 38 planes were forced to land in the town of Gander, located in the province of Newfoundland.
It is not, however, a 9/11 tale about the actual tragedy. Instead, the main focus of the musical is what actually happened in Newfoundland and how this small community of Canadians and their newly arrived visitors responded to the tragedy while waiting for the American airspace to be cleared.

Director Christoper Ashley, the creative genius behind the current London and Broadway productions of "Come From Away" comes to the National Touring edition of his award-winning musical with the same mindset, intuition and drive that made those incarnations completely groundbreaking and memorable. Then and now, everything is impeccably timed to the millisecond, a conceit that steers his 12-member ensemble cast through the musical and spoken narrative of the piece with breakneck speed and agility. Under his tutelage, each and every actor also changes costumes, parts and accents with drumbeat resilience, doubling as flight passengers, crew members and lastly, the kind-hearted, welcoming citizens of Gander and its surrounding villages.

As "Come From Away" evolves, Ashley brings a powerful resonance and fierce commitment to the proceedings, layered with affecting, real-life moments that keep things thrilling and genuinely original. This isn't "Oklahoma!" or "The Music Man." This is a modern day musical that gets its pulse from some pretty intricate, hands-on staging maneuvers and blocking techniques that Ashley engineers with crafty and brainy ingenuity. Sets spin. Lights change. Chairs and tables are set and reset. Cast members tilt to the left. Cast members tilt to the right. They stand. They sit. They dance. They move in complete unison or they stand completely still. No matter. This new staging terrain not only heightens the play's dramatic momentum, but gives it a real sense of self, worth and definition.

The musical score for "Come From Away" was written by Irene Sankoff and David Hein. Most recently, it received the 2019 Olivier Award for Outstanding Achievement of Music, a prize that is well deserved on every level. It contains 20 songs, all of which are important to the progression of the story and the many different characters who sing them. They are: "Welcome to the Rock," "38 Planes," "Blankets and Bedding," "28 Hours/Wherever We Are," "Darkness and Trees," "Darkness and Trees (Reprise)," "Lead Us Out of the Night," "Phoning Home," "Costume Party," "I Am Here," "Prayer," "On the Edge," "In the Bar/ Heave Away," "Screech In," "Me and the Sky," "Stop the World," "Somewhere in the Middle of Nowhere," "Something's Missing,  "Finale" and "Screech Out."

What's especially gratifying about the music of "Come From Away" is that it never once loses sight of its origins, the 9/11 tragedy, the people of Newfoundland and those airline passengers who simply can't go home because it's simply not safe for them to do so. An infectious mix of many styles - Celtic folk, bluegrass, rock, drinking songs, modern musical ballads, choral anthems - it is slick, melodic, driven, catchy and revelatory. Nothing is out of place. Nothing is odd or uncertain. Nothing is thrown in to give the ensemble an additional song or two. The placement, the varying mood swings, the undercurrents, the high points, the exchanges, the beats, the rhythms, the humorous banter, all fit together seamlessly.

Under the musical supervision of Ian Eisendrath, the stellar "Come From Away" cast fills the stage with confident, full-bodied singing, matched vocally by the right volume, contour, depth and emotional warmth. Backed by a first-class team of musicians, every song that the cast sings, including "Welcome to the Rock," "38 Planes" and "On the Edge," among others, is fresh, exciting and thrillingly melodic. The harmonies are lush and sweet-sounding. The ensemble numbers pull you in with ripe, driven immediacy. And whenever someone takes the spotlight for a solo turn, a duet or an ensemble piece where all twelve cast members are given individual lyrics and passages to sing, the overall spirit and spunk of the piece is both riveting and refreshing.

The "Come From Away" ensemble is both skillful and savvy, delivering important, confident performances so real and so raw, the essential message of the piece resonates believably and emotionally at every turn. It's hardly fair to single anyone out because all twelve work unbelievably hard to sing, dance and swap roles with quicksilver precision. Their teamwork is stellar, as is their ability to keep the story always moving forward with an open-heartedness and warmth that is absolutely contagious.

"Come From Away" is an exuberant, uplifting musical that floors you with emotion, takes your breath away and allows you to shed a tear or two before bringing a big, wide-eyed grin to your face. It simply can't be helped.
The premise - life after 9/11- is one that's impossible to resist. The music is rich and invigorating. The story itself unfolds with a heart as big as Newfoundland. The cast of 12 bring a real sense of purpose to their respective roles. And when the musical fades to black and the cast steps forward in the limelight to take their final bows, the cheers and tears from everyone in the audience is fully justified - and then some. And oh yes, you'll probably want to see this production again.

"Beautiful: The Carole King Musical" Stirs Joyous Memories of the Iconic Singer and Songwriter

By James V. Ruocco

It's true.
You can go home again.
In "Beautiful: The Carole King Musical," fans of the popular singer-songwriter anxious for a replay of her greatest hits get that and so much more in this glorious, snappy Broadway musical that celebrates her showbiz ladder climb to the top in much the same way as "Jersey Boys" did for Frankie Valli and the Four Seasons.

Smart.
Savvy.
Inspiring.
Nostalgic.
Dazzling.
Colorful.
Unforgettable.

This is one of those feel-good jukebox musicals that dreams big, celebrates pop royalty in grand, traditional style and finds the catchiest songs to replay and replay much to the delight of everyone on stage and in the audience.

"One Fine Day"
"Will You Still Love Me Tomorrow."
"Some Kind of Wonderful."
"Beautiful."
"You've Got a Friend."
 The list goes on and on.

What's especially gratifying about this national touring production is its buoyant, breezy and effervescent packaging. Even better, its got a sharp, defined, fast-paced book by Douglas McGrath that is fun, cheeky, personable, intimate and heartwarming.
A chronological biography of sorts, fascinatingly told, using bits and pieces of King's real life and those around her, including her stormy marriage to husband Gerry Goffin and her work relationship/friendship with award-winning songwriting rivals Barry Mann and Cynthia Weil, "Beautiful" possesses a gritty honesty, warmth and shine that serves the material well. It's not all lollipops and roses as it sings and dances through the years. And that's a good thing. Instead, it's pretty much straightforward without any hiccups, candy floss, overkill or melodrama.

Staging "Beautiful," director Mark Bruni adapts a fast, fluid, cinematic style that delivers its emotional wallop...and then some. Technically and directorially, this is a very well-thought out show that knows what it is, where it is going, when to pause and take a breath, when to freeze frame an important moment, how to mix dialogue with song and dance unobtrusively and how to signal the passage of time convincingly without any fancy tricks, dumbness or obvious cliches.

Structurally, Bruni keeps McGrath's narrative flowing smoothly as set pieces and scenery move quickly into place, light cues work their necessary magic, actors exit the stage drifting into the wings completely in character and a hit parade of song acts smartly materialize right before our eyes in glorious 1950's and 1960's fashion and eye-popping Technicolor. Bruni also makes the musical bio genre look especially sweet and easy as "Beautiful" deftly traces Carole King's story and her bumpy trek to official stardom. He allows you to feel everything the way it was meant to be.

Musically, "Beautiful" comes gift wrapped with a list of wonderful songs and "Billboard" hits that offer a melancholy meander into yesteryear. All of them are performed with exceptional flair, naturalness and pop-happy assurance. They include "One Fine Day," "So Far Away," "On Broadway," "The Locomotion," "Walking in the Rain," "(You Make Me Feel Like) A Natural Woman," "Beautiful," "Will You Still Love Me Tomorrow" and  "He's Sure the Boy I Love."

Musical direction is provided by Susan Draus who takes her cue from Gerry Goffin, Carole King, Barry Mann and Cynthia Weil (words and music), Steve Sidwell (orchestrations, vocal and music arrangements) and Jason Howland (music supervision and additional music arrangements). As shaped and dictated by Draus, the show's varying musical sounds are upbeat, melodic, jukebox driven and the perfect fit for "Beautiful's" nostalgic journey down memory lane. Like "Jersey Boys," everything is strategically placed for story purposes and used for dramatic effect to thrust the story forward, heighten character interaction and provide the necessary personal growth and spirit of the central characters as time marches forward. Nothing is thrown in just to give a lead or supporting character an extra song or two to sing. And never once does "Beautiful" drift into the unwanted territory of a tribute show. You'll find none of that here.

Draus and her 12-piece orchestral team, which includes Aaron Benham, Larry Steppler, Oscar Bautista and several local musicians, are at the top of their game. No one misses a beat. Things snap, crackle and pop in true Broadway fashion. Every one of the musical numbers reflects the tension, angst, heartache, sentiment, sweetness and rise to the top conceit set forth by the show's creators. All of the music is delivered with high fidelity pulse and rhythm indicative of the period itself, its musical evolution, its novelty numbers and its chart busters. It's also full of heart, soul and humanity and it's completely respectful of the sights and sounds of its originators.

Choreography for "Beautiful" is provided by Josh Prince. As with "Jersey Boys" and "Dreamgirls," all of the dance moves, pairings and ensemble numbers are firmly rooted in the period from whence they came. There is style. There is passion. There is sparkle. There is color. There is uniqueness. There is individuality. There is fluidity. There is dazzle. There is synchronization. Everything throughout "Beautiful" is fresh and crafty, maintaining a marvelous flourish, zest and Broadway theatricality that explodes and explodes and keeps right on coming. It's impossible not to be dazzled.

In a brilliant, driven, showstopping female lead performance worthy of three or four standing ovations, Sarah Bockel's refreshing, determined portrayal of Carole King unfolds with confidence, humility, passion, vulnerability and personality. Her connection to the character and her eventual emotional growth from scene to scene and act to act is natural, distinctive and tender-hearted. Her vocals are absolutely sensational as is her pitch-perfect song style, spirit and individuality, which lovingly reflects King's era-defining sound and complexity ever-so-beautifully.
Whatever she sings, the power of her voice reflects the true meaning of the piece, its varying emotions and contained musicality. Watching her come alive and revel in the spectacle that is "Beautiful" is well worth the price of admission. She also sheds real tears, not acted tears, but real ones that flow gently down her cheeks during certain musical moments. Amazing. Oh, yes. 

As King's unstable, insecure young husband and songwriting partner Gerry Goffin, Dylan S. Wallach is boyishly cute, sexy and charismatic in typical Broadway musical fashion. But it's a performance that comes from the heart and not a nostalgic storybook. That said, he offers a multi-dimensional, real-life character portrait that's executed with real purpose and snap devoid of anything one-note or cliche. From start to finish, it's a full-bodied portrayal that the actor tackles with just the right amount of drive, pathos, sentiment and dash..
Vocally, the actor is dynamic and perfectly in sync with the music, beat and song style of the 50's and 60's. He also clicks with Bockel as actor, scene partner, husband and character.You really do believe they are a married couple. And when things start to fall apart in their marriage and they eventually go their separate ways, it hits you hard, real hard.

Exceptional performances are also delivered by Alison Whitehurst as Cynthia Weil, Jacob Heimer as Barry Mann, James Clow as Don Kirshner, Suzanne Grodner as Genie Klein, Danielle J. Summons as Janelle Woods, Alexis Tidwell as Little Eva and a very thrilling, dynamic ensemble cast.
Whitehurst, for example, portrays the thirst and excitement of life in the music industry with real determination as does Heimer whose frequent hits of hypochondria heightens their oddball paring and brings some delightfully played comedy to the piece. Clow, in turn, projects the savvy, money-hungry image of a recording mogul anxious for one hit song after another while Tidwell shows us exactly why and how pop star Little Eva found new-found fame overnight.

Slick, smart, witty and invigorating, "Beautiful: The Carole King Musical" is not only a showcase for the catchy music of Carole King, and others, but a big. grand Broadway musical with a nostalgic shimmer that is both heartfelt and personal. The music is thrilling. The direction is deft and driven. The cast is expertly channeled and excited by the pulse-racing material The creative team never once makes a false move. Technically, the show is absolutely gorgeous to look as it travels from city to city. And when it all ends following a rousing, sweet-sounding finale, led by Bockel and her exceptionally talented cast mates, you'll not only embrace it, but like most people in the audience, you'll probably want to see it again. Or reach into your vast music library to enjoy and replay the distinct sound that is Carole King.  

Photos of "Beautiful: The Carol King Musical" by Joan Marcus

There's Still Plenty of Pulse, Energy, Angst and Vocal Magic in Jonathan Larson's Iconic 1996 Musical "Rent"

By James V. Ruocco

The lyrics for "Rent" are unmistakably familiar, catchy, inspiring, and still relevant, 23 years later.

"There's only us, there's only this.

Forget regret, or life is your's to miss.

No other path, no other way.

No day but today"

"How do you document real life

When real life's getting more like fiction each day?

Headlines, bread-lines blow my mind

And now this deadline, eviction or pay rent"

"Five hundred twenty-five thousand Six hundred minutes

Five hundred twenty-five thousand

Moments so dear

Five hundred twenty-five thousand

Six hundred minutes

How do you measure - measure a year?

In daylights - in sunsets

In midnights - in cups of coffee

In inches - in miles

In laughter - in strife"

And bloody hell, they should be.

"Rent" was...."Rent" is...."Rent" remains the celebrated, iconic work of  Jonathan Larson, the 35-year-old composer/lyricist and author who died of an aortic aneurysm on January, 25, 1996, just days before his exhilarating, ground-breaking rock opera made its official big debut off-Broadway to heightened fanfare and subsequently, was later transferred to Broadway in April of the same year, where, it became the "Hamilton" of its day.

Of course, this came as no surprise to anyone in the cast, in the audience, in the producer's chair or on the creative team.

Back then, the two-act musical, which won the 1996 Tony Award for Best Musical and Best Musical Score, among others, transformed the face of musical theater with its unexpectedly catchy, musical score of salsa, reggae, opera, electric rock, pop and Sondheim-tinged eclecticism. Its complicated, angst-filled story of gay and straight characters fighting for life and survival in N.Y's bohemian milieu of St. Mark's Place, was fueled with grit, hope, pulse, desire and unabashed vitality. And when the "Rent" cast stood on the edge of the proscenium stage facing the audience at the start of Act II and sang the soul-searching "Seasons of Love," a tearful reminder of living and measuring life on borrowed time, your heart just about broke and broke....and broke.

I remember it well
Sitting there, fifth row orchestra center (on the aisle, of course) at the Nederlander Theatre, just two days after its big Broadway bow, I remember thinking, "How bloody lucky am I to be sitting here watching this musical event unfold" and..."How bloody lucky are those people on stage ...Anthony Rapp, Adam Pascal, Idina Menzel, Wilson Jermaine Heredia, Daphne Rubin-Vega, Fredi Walker, Taye Diggs, Jesse L. Martin...to get to do something as wonderful and exciting as this eight times a week."

Twenty-three years later, "Rent" still works and reworks that same theatrical magic on today's adrenaline-fueled audience as it did for first-timer's on 79 East Fourth St in the East Village and at the Nederlander Theatre on Broadway. The cast is new. The production is new. The perspective is new. The sets, the sound and the lighting are new. The costumes are new.
But make no mistake, this is "Rent" the way it was meant to be seen....in all its colorful, gritty, heartfelt, cinematic-like glory. It snaps. It pops. It tingles. It seduces. It invigorates. It gets the pulses racing.

One major difference, however.

This time around, however, the audience.....well, at least 85 percent of them, anyway... come to "Rent" knowing every song and lyric, every line of dialogue, every characterization, every plot twist, every heartbreak, every revelation, every drum roll, every tick, every kick, every beat, every nuance, every dance move, every shock, every sexy moment and every surprise. They also know all the inhabitants of Larson's colorful East Village bohemia (artists, drag queens, drug addicts, homosexuals, lesbians, songwriters, dancers, filmmakers, homeless people and those living with HIV) and how they evolve during both Act I and II.
But it doesn't really matter. When the house lights dim, you can sense the buzz immediately as they are ready to take hold of "Rent" lock, stock and barrel...one more time. They applaud all the entrances and exits of the main characters. They sing out loud. They laugh. They cheer. They jump out of their seats. They lovingly shout the names of who's who on stage. They lose control when their favorite moment comes. They go absolutely crazy when a song starts or finishes. And they cry...they cry..oh, God, how they cry.

Some are actors, Broadway groupies, musicians, college students, buskers, homosexuals, grandmothers, high school students, drag queens, transgenders, pink-haired lesbians, business executives, fresh-scrubbed kids, Jamie Campbell wannabees or just die hard theater buffs who live, eat and breathe all things musical.

And let's not forget those mad but merry RENT-heads, who still follow the show from city to city and have seen "Rent" more than 500 or 600 times (the stage musical, the 2005 film adaptation and the recent-not-so-live "Rent Live!" on Fox Television). They set the tone for the entire LIVE performance. They encourage the on-stage actors to pump things up and get ready to go. And then, it happens. "Rent" begins. "Rent" entices.  "Rent" explodes. And, what an explosion it is.

Inspirational.
Frenzied.
Stirring.
Humorous.
Savvy.
Resilient.
Heartbreaking.
Solidified.

On the road, the 2019 National Touring edition of  "Rent" more than delivers its emotional wallop of snap, dazzle, crackle and pop. It works everyone on stage and off into a fervent, often playful lather of invigoration and delirium, which, when you think about it, is probably what Larson envisioned all along. It ironically stands the testament of time as it deals openly and creatively with stories about grief, rage, addiction, eviction, materialism, struggle, heroism, comfort, survival, legacy, sexual identity, transgender activism, death, poverty, individualism, urban redevelopment and AIDS. Its raw  adult language ( "fucking weird," "fucking bitch," "dildo," "clit club," "mucho masterbation," "to sodomy, it's between God and me," "who the fuck do you think you are?" for example)  hits hard and home without hesitation. The characters themselves are full-bodied and reflective of their East Village milieu. Nothing is taken for granted or thrown in to knock the audience off balance or on its ass. It looks at life. It is full of life. It celebrates life. It is life.

The experience itself, however, is different, from city to city, depending on the actual size of the theater, its proscenium stage and the actual seating capacity for the audience. In a theater that houses more than 3,000 people, "Rent" is big, grand, splendid and eye-popping. It also thrusts itself forward in a 3-D cinematic style not found in smaller, intimate theaters. It's still the same story, but much more larger-than-life. Regardless, large house or small, "Rent" is so thrilling to watch, there are times when you wish you could hit "rewind" and watch certain scenes or musical numbers again and again.

That said, this "Rent" is not a copycat, paint-by-numbers incarnation of the original 1996 Broadway musical conceived by Michael Greif or its 1998 London/West End counterpart. Here, "Rent" director Evan Ensign isn't interested in dusting off the blueprints of those two works to the point where his version of "Rent" is nothing more than a nostalgic, affectionate tribute to times long gone by. Instead, he puts his own thrilling, unique stamp on the new production without resorting to overkill or updating any of the dialogue, which every RENT-head in the audience could recite verbatim. He changes some of the original stage movement because  this is 2019 and not 1996, so that's to be expected. He thrusts the action forward at a much brisker pace. He brings some of the upstage action downstage, a directorial conceit that makes it much more effective, edgy and shadowy for both actor and audience. He also respects and understands each of the conflicted characterizations that Jonathan Larson created and only fleetingly, makes a minor tweak or two with some of the core characters.

Elsewhere, he lovingly preserves some of the original staging created by Greif, most noticeable in the pulsating opening "Rent" production number, the poignant "Light My Candle" exchanges, the wickedly feverish "La Vie Boheme," which closes Act I and "What You Own," a catchy, character-driven song of self-discovery between Mark and Roger in the middle of Act II.
Marlies Yearby's crazed and frenzied dance movement and choreography ("Tango Maureen," "Today 4 U," "Out Tonight," "La Vie Boheme") provides the necessary pulse, momentum and spirit to get the juices flowing. It is energetic. It is modern. It  fits perfectly into the dramatic spine work of the story. And when necessary, things are purposely amped up keep "Rent" fresh and exciting. Regardless, Yearby's choices, nonetheless, reflect the intentions and concept thrust forward by the show's originators.

Directorially, Ensign also brings an unabashed playfulness and zesty spin to "Rent's" many verbal and musical voice mails, phone calls and celebratory pronouncements, all of which are effectively staged and performed by members of the ensemble cast who tackle many, many different roles (waiters, parents, cops, bohemians, life support members, squatters, to name a few) and costume changes with the creative genius and passion of those who originally created the roles or played them in other productions of "Rent" all around the world. They have fun. We have fun. They get excited. We get excited. More importantly, no one in the audience flips through their playbills, checks their watches or looks confused by the onstage action. If they did, the RENT-heads would cause a bloody riot and go ballistic. Here, Ensign, as director, is at the top of his game, and it shows.

Then and now, the heart, drive and defining pulse of the show is Larson's inventive, intricate, character-driven musical score. His creative, definitive mix of anthems, duets, ballads, rock songs, plot-driven laments and lively showstoppers is unbeatable. "Rent," "One Song Glory," "Out Tonight," "I'll Cover You," "Take Me or Leave Me," "Another Day," "Without You," "Santa Fe," "Over the Moon," "What Your Own," "Tango Maureen," "Seasons of Love." The list goes on and on and on. And nothing gets lost in the translation. Larson's recurring themes: living on the edge, taking chances, fighting for survival, shielding loved ones from danger in the face of death and adversity are emotionally and melodically revisited by musical supervisor Tim Weil whose expert handling of the "Rent" material unfolds like great art that would make Larson ever-so-proud.

As "Rent" moves from scene to scene, Weil and his fine orchestral team are scrupulously attentive to Larson's music, the singers, the story and its rapid evolution. Here and there, they take risks with the tempos to give them a more contemporary feel. When necessary, they squeeze a little bit of extra pulp juice out of certain single phrases to make them more palpable. They also target certain songs with additional depth, beauty, confidence and flexibility. And, despite the show's familiarity, in everyone's more than capable "band/musician" hands, this incarnation of "Rent" sounds fresh, spunky, witty and surprisingly new.

Casting for the 2019 national tour is exceptional. For many "Rent" cast members, this is their first "on the road" experience. So yes, they want to thrill and electrify the audience, offer their own individual take on each of the now-iconic characters and when permissible, perhaps change a line of two to deliver uniquely different interpretations all together. As the two-act musical evolves, the principal, supporting and ensemble cast members connect seamlessly.  They are young, attractive, intuitive, charismatic and diverse. They also represent the "Rent" milieu set forth by Jonathan Larson in terms of size, shape, gender, color and sexuality. They get "Rent." They understand "Rent." They are "Rent."

No one could play the part of relentless Jewish documentary filmmaker Mark Cohen like Anthony Rapp who created the role in the original 1996 Broadway production. That was a once-in-a-lifetime performance that has withstood the test of time. The good news about this "Rent" is that the very charismatic and likeable Logan Marks opts not to copycat his predecessor. Like Danny Harris Kornfeld who played the part in the 2017 national touring company of "Rent," Marks steers clear of all things Rapp.  Instead, he offers his own take on Mark, his role in the evolution of the "Rent" story and his interaction with all of the other characters. It's a real, raw, hip and energetic performance fraught with appropriate passion and emotion. He nails all of the familiar character traits that Larson set forth for Mark. He takes chances and runs with them. Vocally, he's pitch-perfect and never once misses a beat. His portrayal of Mark is so invigorating (he doesn't just play the part, he owns it), you are never once reminded that this iconic character was once played by Anthony Rapp in the original Broadway production and the 2005 film adaptation.

Is Javon King's sassy, sparkly, flamboyant and colorful portrayal of Angel, the young gay drag queen who is dying of AIDS as sensational as Wilson Jermaine Heredia who originated the role on Broadway and David Merino who played the same role in the 2017 touring edition of 'Rent?" You bet it is. As shaped and molded by King, it's a dizzying, showstopping full-bodied performance of high kicks, sentiment, individuality and transgender allure that the actor invests with wild abandon, multi-colored dazzle, spirit and flamboyance. It's also a refreshingly unique conceit that King uses to full advantage throughout "Rent" and in his showstopping musical turns "Today 4 You" and "I'll Cover You." And yes, the audience is with him every step of the way. It's impossible not to love or want to hug Angel. Then again, that's the point, isn't it?

A Jonathan Jackson type with a rich, powerhouse singing voice that earns him thunderous applause
whenever he cuts loose vocally, Joshua Bess is the perfect fit for the part of the troubled singer/ songwriter Roger whose previous girlfriend committed suicide once she learned of her AIDS diagnosis. His anguished, emotional, emblematic ballad "One Song Glory" is rendered with appropriate pain and pathos as is "What You Own," his big, fiery, harmonious duet with Mark in the middle of Act II.  Vocally, his rock-style voice is controlled, expressive, dynamic and well-nuanced. He's as versatile and energetic as Adam Pascal was in the original 1996 Broadway production, using a crisp, polished musicality, depth, confidence and edgy clout to sell every one of his songs. And just in case he should take a tumble down a stairwell or trip over a pile of props, understudies Chase McCall and Sean Ryan are waiting in the wings to fill his shoes as this is a LIVE production. Nothing pre-recorded or re-blocked here.

As Mimi, the drug stoked dancer with a heroin habit, Deri' Andrea Tucker is sexy, lively, slippery, sensuous and alluring. Dancing wise, she cuts all the right moves liked a skilled acrobat. Her singing, however, lacks an emotional depth and verve that is particularly noticeable in her wildly erotic solo "Out Tonight," which is designed solely to turn the head of every straight male in the audience, But sadly, it doesn't quite deliver. It's good, but not great. Elsewhere, she redeems herself much later with "Without You," a savvy duet with Roger that catches fire and melts your heart, the way it was intended. Her performance, as a whole, however, lacks the spunk, frenzy and hotness that Daphne Rubin-Vega and Renee Elise Goldsberry brought to the Broadway production and Skyler Volpe kept ablaze in the 2017 national tour.

Lencia Kebede and Lyndie Moe create all the right sparks as the touchy-feely lesbian couple Joanne and Maureen. They have plenty of earthy, sexually charged energy, power and charisma. Their big raging break-up duet "Take Me or Leave Me" unfolds with enough sizzle and snap (kissing, ass-grabbing, breast-touching and simulated cunnilingus, to boot) to cause a power outage. "Over the Moon," Maureen's wonderfully wicked protest number is so unbelievably timed, both comically and vocally, it deserves a standing ovation in itself. And perhaps, an encore of sorts. That's how much fun it is.

Devinre Adams, as Tom Collins, is both heartfelt and endearing as Angel's newfound boyfriend and lover. He plays the part with a sweet sincerity that works especially well. And when it comes time for him to sing his character's big Act II showstopper "I'll Cover You (Reprise)," Adams stops the show with this tear-drenched rendition. His serious vocal heft makes this particular song soar and wound with chilling resonance.  

Theatergoers, new to "Rent" will easily embrace this peppy, sensuous, hyperactive touring edition of the celebrated musical, which, in 2019 (and long before that), has become its very own brand name. And why not? Its inspired enthusiasm extends far beyond the proscenium wall of every theater that it plays with a sparkling urgency, depth and command that's pretty hard to resist. The familiar story of East Village bohemia is inhabited by a new group of excited and energetic performers who live, eat, sleep and breathe "Rent." The musical score by the late Jonathan Larson is smooth, ragged, raw and emotional. It gets the juices flowing. It seduces and invigorates. It gets you thinking. It also makes you happy that you bought a ticket.
No broken foot or sound glitches here either (i.e., "Rent Live!"). First time, second time, 100th time, "Rent" still electrifies. What fun! What joy! What a resurrection! Bohemia, thank the Lord, is not dead. It's alive and well with no sign of slowing down anytime soon.

"There's only now, there's only here.

Give in to love or live in fear.

No other path, No other way

No day but today"

"In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and [we] should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium."
Jonathan Larson, author/composer of "Rent"