Looking Back, A Review, Direct from London, Andrew Lloyd Webber's Sweet, Beguiling Musical "Aspects of Love" starring Michael Ball, Ann Crumb, Kathleen Rowe McAllen and Kevin Colson Opens On Broadway

By James V. Ruocco

Love is never easy.

Because people get more complex as the years go by, they have more sharply defined pyschological peaks and valleys. Therefore, the true romantic believer finds real-world air harder and harder to breathe. Yet in the back of his  mind, he is still obsessed with finding the perfect love - one that will fill his heart with joy and last forever.

With "Aspects of Love," composer Andrew Lloyd Webber  - taking a breather from stories about dancing cats, rollerskating trains and phantoms of the Paris Opera - has written a musical about real people who look at love and (naturally) sex with a practiced and understanding eye.

All four - Rose, Alex, George and Giulietta - hold up a wise mirror to life and love as we all know it can be lived, singing the merchandisable words and music of this passionate, uplifting and tender-hearted Andrew Lloyd Webber/Don Black-Charles Hart score.

In assembling "Aspects of Love," Andrew Lloyd Webber uses David Garnett's 1955 novella as his inspiration. The never-ending aspects - heterosexual couplings, lesbianism, voyeurism, promiscuity, May-December romance and obsessiveness - are entertaining, sexy, clever, amusing and never buffoonish or infantile. They are just passionate enough  to get under our skin and get us thinking.

When compared to Webber's previous works - "Evita," "The Phantom of the Opera," "Cats" and the West End production of "Starlight Express"- "Aspects of Love" is in a class by itself. It is catchy. It is fast-moving. It is charming. It is appropriate. It is direct. It is by no means awkward or silly as it dances about, working from a romantic, breezy musical blueprint where nearly every song and sequence is memorable.

 In the past, Webber has paced his songs - solos, sextets, romantic duets, ballads, upbeat chorus numbers - in accordance with the show's structure and central theme. Here, that signature effervescence and tempting melodrama is present throughout each act as Webber rotates the action from each scene seamlessly with songs that heighten the story's momentum and give each of the leading players some of the best-sounding material to sing and perform.

The production opens with the hauntingly beautiful ballad "Love Changes Everything," a song that Webber uses to address the ever-changing aspects of love. "Seeing is Believing," a romantic ballad where Alex and Rose express their love, is yet another gorgeous romantic tune that beguiles, charms and leaves you breathless as does "Anything But Lonely," which is sung by Rose in Act II. Other standouts that are given the full melodic treatment by the composer and his dual team of lyricists are "There Is More to Love," "Hand Me and Wine and the Dice," "A Memory of a Happy Moment" and "The First Man You Remember." All four are pleasantly assured, emotionally effective and lyrically pungent.


If there is a secret to the charm and freshness of "Aspects of Love," it's the way director Trevor Nunn sweetly blends the predictable with the unexpected surprise. Although "Aspects" presents lovers who everyone knows are meant for each other, the joy for the spectator comes from watching how Nunn orchestrates this wild, impromptu, arresting game of musical chairs and beds. How it all comes together romantically piques interest as does the musical's surprise ending where Alex makes his final choice in the name of love.

Michael Ball makes his Broadway debut after creating the role of Alex in the West End production of "Aspects." The boyish and personable Ball offers a splendid, polished performance that is sure to capture the attention of Tony Award voters in the months ahead. As evidenced in the London production of "Les Miserables" (he originated the role of Marius), Ball's singing comes straight from the heart. Every one of his vocals is rich, effective and expressive and showcased to the fullest throughout the two act musical.

Ann Crumb is a revelation as Rose Vibert. She sings with poise, command, vigor and sophistication, all befitting the character she is portraying. She has immediate chemistry with Ball, which works wonderfully well, given their very passionate, torrid onstage romance. As "Aspects" evolves, Crumb is also just as effective - both musically and dramatically - in subsequent scenes involving the show's other main characters, played by Kathleen Rowe McAllen and Kevin Colson.

 
McAllen, in the role of free-spirited, bisexual sculptress Giulietta Trapani, brings the right level of passion, humanity and boldness to her character. In Act II, she delivers her two big musical numbers numbers - "There Is More to Love" and Hand Me the Wine and the Dice" - with such natural strength and invention, they quickly become showstoppers that are not easily forgotten. Kevin Colson is well cast as Alex's uncle George Dillingham, who is also the former lover of Giulietta Trapani. It's a part that is instinctively emotional, cynical, poignant and righteous. In character, Colson hits all of these marks splendidly using his own propulsive energy and creativity to full advantage.


The Broadway production of "Aspects of Love" opened April 8, 1990 at the Broadhurst Theatre and ran through March 2, 1991 for a total of 377 performances. It starred Michael Ball as Alex Dillingham, Ann Crumb as Rose Vibert, Kathleen Rowe McAllen as Giulietta Trapani and Kevin Colson as George Dillingham. It was nominated for six Tony Awards including  Best Musical and Best Original Score, but didn't win any.

(This review was originally published on April 27, 1990.  Additional changes including minor edits, cuts, new commentary and verbiage were incorporated on June 18, 2020)

Looking Back, A Review, The Tony Award-Winning Broadway Production of Andrew Lloyd Webber's "Sunset Boulevard" Starring Glenn Close and Alan Campbell

By James V. Ruocco

Amidst the hype, advance ticket sales of $37.5 million, the ugly firings of Patti LuPone and Faye Dunaway, and reported backstage mishaps with scenery and costumes, "Sunset Boulevard" has finally arrived on Broadway.

And, it is a class act, so sophisticated and emotionally moving, it may surprise anyone prepared to hate it or hurl daggers at Andrew Lloyd Webber for tampering with Billy Wilder's celebrated 1950 film of the same name.

To Webber's credit, he not only retains the dark, sardonic tone of Wilder's hypnotic tale of broken dreams, but creates a musical drama with none of the soppy sentimentality of  "The Phantom of the Opera" and "Cats."

"Sunset Boulevard," through grand in scale, is a musical of ideas, nuances and intense intimacy. It asks much of its audience and it challenges them to think.

If anyone was born to play the faded, delusional, aging silent film screen star, immortalized on film by Gloria Swanson, it's Glenn Close.

Her Norma Desmond, a proud relic of Hollywood's glorious past who actually believes she hasn't been forgotten, is yet another one of those legendary stage performances theatergoers won't be able to stop talking about for years to come.

Close is an enthralling actress who takes hold of the part and makes it her own, but eerily conveys the sumptuous past of her character's glory days as "the greatest star of all."

At the center of the story (circa, 1949) is hapless screenwriter Joe Gillis (Alan Campbell), who, after fleeing car repossessors,  accidentally drives right into the estate of 50-ish film star Norma Desmond.

A strident women prone to "moments of melancholy," she is lovingly cared by Max von Mayerling (George Hearn), a former film director who acts as her trusted confidante and lackey.

However, once she learns that Gillis is a screenwriter, she engages him as her "script doctor" for "Salome," a silent movie with which she plans to make "her return" to the movies.

"Shouldn't there be some dialogue?" he asks.

"I can say anything I want with my eyes," cries Norma.

In exchange for free lodging, full salary and house privileges, Gillis eventually becomes her lover and kept man.

Closely modeled after Wilder's brilliant 1950 film, "Sunset Boulevard" is retold from Joe's point of view and retains most of its sterling catch phrases and scathing show biz observations.

Given the musical's shrewd, elaborate and seamless set-shifting of hydraulic mechanisms, director Trevor Nunn adapts a fluid, involving cinematic style that befits the impending dramatic action, plot ambiguities and musical numbers.

Here, as in Webber's beguiling "Aspects of Love," Nunn is a fiercely focused auteur highly sensitive to emotion, interplay, expression and piercing dramatic clarity.

Musically, Webber's "Sunset Boulevard" score (Don Black and Christopher Hampton did the lyrics) is his most thematically integrated work since "Aspects of Love."

From Norma's haunting ballads "As If We Never Said Goodbye" and "With One Look" to the jazzy irony behind Joe's "Sunset Boulevard," every song has been rigorously planned by Webber and his songwriting team.

Even the musical's romantic melodies ("Too Much in Love to Care," "Girl Meets Boy"), comic turns ("The Lady's Paying," "Eternal Youth Is Worth a Little Suffering") and vibrant ensemble numbers ("Let's Have Lunch," "This Time Next Year") are unobtrusively weaved into the storyline.

Kent resident Bob Avain, who staged "Sunset Boulevard's" musical numbers, is a sizeable talent whose choreography is extremely pictoral, ingenious and sensitive to the story, the period and its Hollywood surroundings.

As Joe Gillis, Alan Campbell is an exciting, charismatic performer with a strong stage presence who catches every nuance and mood swing of his character.

He's completely convincing as the youthful screenwriter-turned-gigolo. And when he sings, he brings bite, dimension and character to Webber's music, enunciating  every clever syllable of Black and Hampton's lyrics.

George Hearn, who portrays Max von Mayerling, looks a lot like Erich von Stroheim, who played the same part in the movie. He too brings a sense of mystery, dignity and creepiness to the role. His "Greatest Star of All" tribute to Norma will bring tears to your eyes.

The Broadway production of "Sunset Boulevard" opened November 17, 1994 at the Minskoff Theatre and ran through March 22, 1997 for a total of 977 performances. It starred Glenn Close as Norma Desmond, Alan Campbell as Joe Gillis, George Hearn as Max von Mayerling and Alice Ripley as Betty Schaefer. It won seven Tony Awards including Best Musical, Best Actress in a Musical, Best Featured Actor in a Musical, Best Direction of a Musical and Best Original Score.

(This review was originally published on December, 4, 1994)

"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.