First is my review from the Broadway musical In the Heights. Since Lin-Manuel Miranda's new musical Hamilton is all the rage at the moment (I am DYING to see it, but I just can't seem to win the ticket lottery!), I found it interesting to go back to see what I wrote seven years ago after I saw him on stage for the first time...
3/10/08: I had a great time at In the Heights Friday night! Well, except for my seat neighbors again. I must be turning into a seating curmudgeon. The gals who sat next to me are forgiven—they were apparently from Washington Heights and had never seen a show before. Even though they were texting throughout the show, they were texting ABOUT the show to their other friends (if I can believe their chatter at intermission) and were very enthusiastic about the show. I hope they see more theater! The foursome in front of me, however, almost got clubbed in the back of their heads by me. They were just obnoxious, with their continual reaching into crinkly bags for more snack bags of noisy food. And they kept leaning forward to lean on the railing and putting their big heads right in the middle of my sightlines. They HAVE been to the theater before (if their inane intermission chatter is to be trusted), so they were just rude and dumb. In my hopefully-humbly snobby opinion. Anyway, back to the show - it is totally charming and delightful! Lin-Manuel Miranda is a CHARMER! He is just a delight to watch onstage. Plus, he wrote the music and lyrics! He is really a special talent to keep our eyes on. It’s so great to see a show that’s this exuberant. The Latin music, along with the uses of rap within it, is really great. And Lin’s lyrics are terrific.
When you walk in, the set is a neighborhood in Washington Heights, complete with view of the George Washington Bridge and the 181st Street subway station. It’s a very realistic, yet romanticized version of a gritty area of town. The whole show is realistic yet romanticized, now that I think of it. That’s one of the things I particularly enjoyed.
The whole cast, from lead charmer Miranda on down, is wonderful. It’s a real ensemble effort. It’s really hard to single anyone out, because they’re all so good, but I think the actor who moved me most was Carlos Gomez as the owner of the car service and the father of the gal who’s gotten out of the neighborhood (or has she?) He was really heartbreaking as a father who wants so much more for his family. Even though these stories are ostensibly about the Latin community, it’s also a universal story of where do you fit in and how can you make your life and the life of your children better. (After typing that, I was reminded of a scene with Harvey Fierstein from The Celluloid Closet. He would probably say to me right now, “no, In the Heights IS about the Latin community. How nice for you that you found something to relate to in it.”)
The choreography was some of the best I’ve seen in years. Andy Blankenbuehler deserves a big round of applause. I could quibble with some directing choices (really, does everyone need to come downstage center in a bright spot to sing their power ballad? probably not), but it really would be quibbling. I give this show a great big thumbs-up and want to see it again soon. Preferably not from behind people who need to eat Doritos every two or three minutes… I just loved the heart and soul and abundant charm of this show, performed with marvelous exuberance and joie de vivre. You don't see that every day.
A few nights later, I saw the Broadway revival of South Pacific. It was in previews and it makes me laugh to read my quibbles, since the show was a HUGE success. Considering that the same team is starting previews of another R & H masterpiece, The King and I, this week (which I am also DYING to see), I thought it also timely to reprint my thoughts on South Pacific...
3/14/08: Now on to South Pacific. Gosh, it’s a romantic show. I love romantic shows. And this production is really lovely: the sets, costumes, lights, orchestra; everything is first-rate. There are a couple of real catch-your-breath moments of beauty. Having said that though, in my opinion, it’s not a GREAT production. It’s really good and I had a grand time, but I think it could be much more, given the talent they have to work with. It doesn't open for another week or so, so maybe they're still working...But, to start, the overture kicks butt! It’s so gorgeous and there’s a nice big orchestra and one of the catch-your-breath moments actually happens during the overture! I won’t say anything else so you can experience it yourself. I think my main issue with this production is that perhaps they’re being a little bit too reverential to the piece. It moves in a stately manner, with a lack of urgency or oomph. But we’re in a war here, people! Let’s have at least a little oomph! Sing with a little less beauty and a little more oomph (I’m looking at you, Matthew Morrison). Oh, and I’m still not quite sure about the surprise reprise of a certain song towards the end of the show as the soldiers are pulling out (don’t want to spoil it for you). I don’t think I liked it, but I’m still mulling about how it fit in with the rest of the show.
Kelli O’Hara is just wonderful as Nellie. She’s beautiful, funny, touching and a wonderful singer. Her “I’m in Love with a Wonderful Guy” was really kind of a revelation to me. Coming off “Wash that Man,” which was performed at a really, um, stately tempo, I was a little worried when “Wonderful Guy” started off a little slowly, as well. But the choices she makes here are terrific and none I’ve ever seen before, but they’re all supported by lyrics I’ve heard a million times before but never interpreted in that way (sorry, does that sentence even make sense?). Her Nellie really takes a journey. Anyway, I really loved her.
Matthew Morrison is in a bit of a muddle at the moment. I don’t think he knows who/what he’s playing yet. There’s no real character there, he’s just kinda crabby or something. He is handsome and charming (as an actor, not a character) and sings beautifully, but I didn’t get a sense of Joe Cable. I have heard that he and the director were trying something really different and it wasn’t working and now he’s having to re-think, so I’ll cut him a little slack. Though, omg, the backstage scenes where he listens to “Happy Talk” and “This Nearly Was Mine” were almost comical (in a bad way) because suddenly the scenes became about him and his malaria. Uh, no. These songs? Not about you. Sit down and stop it. You would think he was dying, the way he was clutching his stomach and stumbling around the stage. I mean, if he was that sick, how did he even get out of bed? It was way too much. It’s as if he was underplaying too much when he was talking and overplaying too much when he was listening (thanks for the image, handsome theater companion!), which didn’t really work at all. Having said that, he looks nice without his shirt and sang very prettily. I could do with a little less pretty during “Carefully Taught,” but ok.
I liked the gal playing Bloody Mary very much, though her singing wasn’t as special or unique as you might want Bloody Mary’s to be. It’s a nice voice, and she presents her songs well, but she didn’t really weave any magic during “Bali Ha’i.” I loved her acting, though, especially her scenes with Cable. Danny Burstein played Billis and I just wasn’t into his performance. I don’t know what it was. Maybe more lack of oomph? I really don’t know. It was most likely my problem. There was a definite lack of humor overall in the show, though, and I think that might stem from lackluster portrayals. It’s not that everyone wasn’t working hard and giving us something, but that they were maybe also underplaying too much and being too respectful of the material. Maybe? I honestly don’t know.
I think the soldiers, from seabees on up, could’ve had more military comportment. There was a very contemporary lack of posture and body awareness that did not seem 1940s military. I don’t mean they had to be ramrod straight and at attention at all times, but more body awareness would’ve gone a long way. The guy playing Captain Harbison was slouching his way around stage and it frankly drove me insane. Perhaps again that’s just me.
I have saved Mr. Dreamy for last. Yes, Paolo Szot, our Emile DeBecque, is DREAMY. Really dreamy. Did you get that? He’s dreamy. He’s a tad stilted in his first scene, but it kinda works for the character. As the show goes on though, he grows into the character and he really plays his scenes like gangbusters. I was very impressed by him. His singing? Divine. And did I mention he’s dreamy? Wow. “This Nearly Was Mine”? I was a puddle, even with the Camille death scene that Matthew Morrison was doing out of the spotlight. Paolo and Kelli have a delightful rapport—their last scene in the first act before she meets the kids and has to be a racist is terrific. They play off each other very well. Plus, he’s dreamy! OMG, when he comes out in the jodhpurs and riding boots? Woof!
So, all in all, this is a beautifully sung, well-acted (mainly) and beautifully designed production. I’m so glad I saw it. And I had a grand evening with my handsome friends! But I honestly think the show could’ve really dug deeper and given us something very vital and powerful. Maybe last night was just a tired night, and they're ramping up during previews. In my opinion, all they need is a little more oomph and they’re good to go.
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