Shoobie Doobie Down to Dubai Where the Food is Greatby Randi / June 26, 2019It’s Theatre Thursday! Today’s show is My Fair Lady on Broadway, closing on July 7 because of reasons, I guess.
Remember when I reviewed this new Broadway production of My Fair Lady last season (sure you do!) and I said I couldn’t stop thinking about how superb it was? Well, my brain recovered a tiny bit after about a year so I went back for another dose of INCREDIBLE THEATRE PERFECTION. I’ve been (hashtag) blessed to see some exquisite theatre, and the current Lincoln Center Theatre production of My Fair Lady is at the top of that list. I saw the Tony-nominated original cast when it opened last year, which included Lauren Ambrose and my main man Norbert “Norbie” Leo Butz, as Eliza Doolittle and her (checks notes) 10-years-older-than-her father, as well as Jordan Donica as a winning Freddy Eynsford-Hill (Brits love hyphenating to show status). I had to go back to see Broadway’s beloved Laura Benanti as Eliza, her dream role, and I ended up being even more devastated by this show’s brilliance this go-round.
If you don’t know the story of My Fair Lady – which, by the way, after an ENTIRE LIFE of knowing this musical, Z informed me for the first time ever that the title could be a joke on ‘Mayfair Lady’, like the area of London that the show generally takes place in, and it works even better because of Eliza’s original cockney accent because that’s how she’d say Mayfair and just like WHAT did everyone know this??? – it’s about a poor girl who sells flowers in Covent Garden (but not herself! She’s VERY ADAMANT about that, she’s a good girl she is!) and crosses paths with the arrogant and self-involved Professor Henry Higgins who makes a bet with his equally rich and equally linguistics-minded friend Colonel Pickering that he can transform this lowly flower girl into a lady just with elocution lessons (and a bath) and the men are like “yes do let’s” and Eliza’s like “eeeeayyyyy” but she wants to rise above her lot in life so she agrees and spends months and months living in Higgins’ GORGEOUS staffed-up house on Wimpole Street and their relationship gets complicated because feelings but also stubbornness and aforementioned arrogance and it’s all wonderful and heartbreaking and glorious. Meanwhile Eliza’s dad is a good-for-nothing who sings a 20-minute song about getting married.
I’m sure you love the movie and everything (and the original ending), but this production, I have shivers just thinking about it. Actual chill bumps. I wish it wasn’t closing; I would see it every year. Bartlett Sher’s impeccable direction and his grasp of Golden Age musicals have never been on more impressive display. Every inch of this show is perfectly orchestrated, including the lush orchestra playing these classic melodies. Every song is a highlight. I especially love the written-to-be-a-highlight “On the Street Where You Live”, now performed by Christian Dante White, the new Freddy, who has quickly proved himself to be Broadway’s new Kyle Dean Massey (i.e. a wonderful replacement). As Alfred Doolittle, Alexander Gemignani was out, but his understudy Joe Hart was wonderful (and actually looked older – Benanti and Gemignani are LITERALLY THE SAME AGE, smdh). And I love that if you choose one ensemble member to watch, you’ll get a whole other story from this person; they’re all doing nonstop character work that builds an entire world to house the story of Eliza and Higgins.
And Eliza and Higgins are so much more than I ever thought before seeing this production. Originally, with Lauren Ambrose, who brought so much acting precision to Eliza and made so much of the character, Eliza and Henry seemed to be on equal footing, in terms of whose story it was. I loved their interplay, and even though Eliza has some of the best and biggest songs in musical theatre, it was a treat to see deeply into this character with the help of an actress who is primarily an actress, not a singer. On the other hand, Benanti is an actress who is primarily an incredible singer (and was clearly sick and still went on and still sounded fabulous, though a little weaker than I know she can be, so deserves all the kudos). A Broadway staple for a remarkably long time considering how young she is, she was obviously great (though her English accent was…not), and looked amazing in the new costumes. But the subtle differences in portrayal showed a different relationship. With her Eliza, she was sassy and brave from the start, and you never doubted that she would always be able to take care of herself and put herself first when necessary. She was always going to be okay. With Ambrose, Eliza was much more delicate, much more in need of confidence and growth, making her decision at the end all the more emotional.
Although the ending is still beyond emotional (I cried like a BABY and might again right now thinking about it okay yep there we go), I felt it this time entirely from Henry’s perspective. Now, it’s clear that this is primarily a show about Henry Higgins, something I never realized before. Above all, this is a show about Henry’s personal failings, the ones that keep him from knowing true happiness. I never knew it, but My Fair Lady is honestly a tragedy, and it’s mainly a tragedy of toxic masculinity. I KNOW! WHO KNEW! All of this profound emotional impact is entirely due to the flawless and heartbreaking performance of Harry Hadden-Paton, a fully formed, fully feeling Higgins I cannot imagine ever being surpassed. Ever. I love me some Tony Shalhoub but it’s a crime that this performance didn’t win a Tony, I see this now. HP sauce shows Henry’s entire life and upbringing and habits and his discomfort in changing any of it, in each facial expression, each line delivery. It’s all incredible, and by the end it’s all heartbreaking. I honestly can’t believe how much he accomplished with this performance in creating what seemed like a real flawed person up on that stage. This production is one of the greatest of all time and I think it’s in large part because of his performance. I’m so glad I saw it again and so upset that HE COULDN’T JUST STOP BEING AN ASSHOLE AND BE HONEST AND BE HAPPY GODDAMMIT HERE WE GO AGAIN THE END.
INFORMATION
Since Lincoln Center is a nonprofit and they like stupid turnaround and crap like that I guess, the show is closing July 7, so if you are in NYC or like can feasibly get there in the next week, you REALLY G-D SHOULD.
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Sweet Charity at the Donmar: Can This Retroactively Win the Olivier?
The minute you walk in the joint, you can tell this was a show of distinctionnnn A REAL BIG SPENDER. Okay I’ll try to stop doing that (no promises), but man I’m not lying about the game being ON as soon as you enter the Donmar, all redone in the style of Andy Warhol’s 1950s factory. Sure the style redo doesn’t technically add anything for the story, but this specific anachronism doesn’t harm the story at all so I have no issue with their going for a cool look. And every other inch of this stunning, shocking, poignant revival is pitch perfect, not only serving the story but improving its meaning and deepening its emotional reach, in a way I never ever would have guessed was possible from knowing this show in previous incarnations.
As soon as the beat dropped (in my heart #jasonmendoza) and Anne-Marie Duff’s Charity started speaking to the pace of her quick-beating heart, jumping too quickly at any semblance of affection (as well as into a BUBBLE PIT LAKE, want) and latching onto it though it was always too slippery to grasp, I was in awe. No longer simply a good-hearted, down-on-her-luck heroine, we’re finally reminded after too many bland, uninspired revivals that Charity is a tragic character, in a fully heartbreaking tragic tale like the old school Greeks did. Charity is no simple sweet gal; she is a poor aging woman who life continues to beat like a piñata yet she always retains hope that the piñata is full of candy so she’s like ‘I guess the beating from life is okay because maybe candy?’ but it never is candy, poor sweet Charity, it never is. It’s always more and more unfair bullshit and she deserves better and NEVER GETS IT and finally, thanks to Anne-Marie Duff in a true masterclass of performance and character understanding, that’s the Charity portrayed in all her pitiful, tragic glory.
Josie Rourke’s meticulous, brilliant direction uses every inch of Cy Coleman and Dorothy Fields’ score and Neil Simon’s book to prove that this show is one of the great tragedies of musical theatre, exemplified by the super-slowed down version of “Big Spender” that, in its almost painstakingly slower meter, let the grit and devastation and more than anything desperation of the taxi dancers fill in all the slower gaps in the beat. You could tell the audience, recognizing the song, wanted to tap their feet and bop along in their seats, but Josie was like NO, SIT STILL, IT’S DEPRESSING. It was great. The other most well-known song in the show, though, was pure adorable joy, when Duff perfected, really, I mean, perfected, “If My Friends Could See Me Now”, when she finds herself in the apartment of a famous movie star (a fantastic Martin Marquez). With her scratchy voice that reminded me at times of Alice Ripley in Next to Normal (though with more optimism than Diana) in how it can use its jagged edges to cut directly to your core, Duff made this moment a delight, with nothing threatening to take it from her, like with all her future moments of happiness.
Another standout song, a song that I had forgotten about, was the determined number between Charity, ensemble standout Lizzy Connelly, and a great Debbie Kurup, “There’s Gotta be Something Better Than This”, a resolution among three pretty defeated women to ‘get up, get out’ and live a better life. Sharpening the emotional impact of what was already flawless was the painful reprise at the end, a knife through all our hearts that were already BROKEN ENOUGH from the preceding actions, jfc were Coleman and Simon and freaking Dorothy trying to kill us??
On top of all this, they also managed to include the most provocative version of Oscar (Arthur Darvill). Instead of just a one-note ‘nice’ guy who, like all ‘nice’ guys, ends up not being so nice, he was the epitome of toxic masculinity, representing in his averageness all the regular men who believe #notallmen yet still cannot condone women who live life on their own terms, women who don’t fit inside their controlling, oppressive box. Instead of feeling bad for Charity that Oscar isn’t what she’d hoped, you feel angry at Oscar for being such a weak man (and, though you hate to see her sad, glad that Charity found out before she devoted her life to him).
Honestly, if every revival brought half as much heart and inspiration to its reworking of classics, we would have endless amazing, transformative theatre. Rourke’s Sweet Charity sets a new benchmark that I hope future revivals can meet, but they’re gonna have a hard time trying.
Audra McDonald at Madrid’s Teatro Real: She Ran Spain
A most unnecessary thing in this world is to ‘review’ anything Audra McDonald does. She’s the greatest singer in the world and one of the most effective actors. Any time she opens that goddamn fabulous trap of hers, it’s going to be the greatest sound you’ve ever heard. So, we’re not really going to review last weekend’s concert at Madrid’s Teatro Real; we are just going to gush about it. Because that’s all you can do when Audra performs.
I’ve had the ridiculous good fortune of being able to see Audra perform live every year since 2001, when I attended a master class for high school students that she held during the opening season of Philadelphia’s Kimmel Center. I remember she mentioned “my friend Julie Andrews” and I was like this is the coolest person ever. That night, we all got to attend her concert, and minds were blown like balloons. I remember hearing for the first time the incredibly fun songs “Bambalele” and “I Double Dare You” (both on her album “Happy Songs”). I’m pretty sure she sings the latter at every concert, and with dern good reason. It is SO FUN, and she clearly enjoys singing it. Also, it includes the lyric “You seem to think that half aloof is better than none”, which I adore.
I’ve had the ridiculous good fortune of being able to see Audra perform live every year since 2001, when I attended a master class for high school students that she held during the opening season of Philadelphia’s Kimmel Center. I remember she mentioned “my friend Julie Andrews” and I was like this is the coolest person ever. That night, we all got to attend her concert, and minds were blown like balloons. I remember hearing for the first time the incredibly fun songs “Bambalele” and “I Double Dare You” (both on her album “Happy Songs”). I’m pretty sure she sings the latter at every concert, and with dern good reason. It is SO FUN, and she clearly enjoys singing it. Also, it includes the lyric “You seem to think that half aloof is better than none”, which I adore.
When her 2015 tour was announced, only one European date was on the list – in Madrid. It’s a mystery to me how Madrid got sandwiched between Florida and North Carolina. Did the Teatro Real seek her out? Did she have private business already bringing her to Spain? Were there just good flight deals? It makes no sense! Since I’m in London, going to Madrid was easy enough and so worth it. In her Spanish debut, Audra may have given her best concert performance yet.
I assumed the concert would be sold out, because it’s Audra, until husband was like, “Um, we’re in Spain; do they know her??” and I got nervous. But that was dumb, because who doesn’t know Audra?? The 7 or so enormous levels in the Teatro were all very full, and I couldn’t see a single open seat in the orchestra. Duh.
She began, as she does, by walking out and immediately singing her first number, without addressing the audience. I love that she is so baller that way. She began with Kander & Ebb’s “Sing Happy”, from a show that is actually called “Flora, the Red Menace”, which sounds like a period piece. The other kind. It’s an okay song, extremely repetitive, but she made it great. Afterwards, she addressed the audience in hilariously bad Spanish, thanking everyone and saying how excited she was to be there. I got nervous that the whole show would be in broken Spanish. It was easily understandable basic Spanish; that’s not the point. But the best part of Audra concerts is her storytelling, so personal and touching and lovely. Luckily, her little speech ended with “well from now on I’ll be speaking in English the rest of the night, because Spanish for me is a disaster.” However you say that in Spanish. It was adorable. Her stories were noticeably abridged because she tried to speak in more basic English so more people could potentially understand. Nice of her!
The lineup that followed included a mix of Rodgers & Hammerstein, Sondheim, more Kander & Ebb, and lots of other legendary composers of Broadway classics. She of course sang “I Double Dare You”, continuing her streak, and another super old song called “My Buddy” that she does often. In her intro to “My Buddy”, she mentions how she came upon a war veteran singing this song outside her favorite restaurant in NYC. (She didn’t mention this time that that favorite restaurant is Chipotle; I guess she knew they don’t have them in Spain. I really wanted to shout to the whole theatre “She’s talking about Chipotle hahahah!”.) The sad story of another homeless war veteran, reinforcing how shittily the USA treats them, is lightened somewhat by her promise to sing the song in the same key the vet sang it in, leading you to expect her to sing it quite low, only to laugh when it’s super high. She does say doing it in the same key is “impressive, for one of us.” I love that.
I assumed the concert would be sold out, because it’s Audra, until husband was like, “Um, we’re in Spain; do they know her??” and I got nervous. But that was dumb, because who doesn’t know Audra?? The 7 or so enormous levels in the Teatro were all very full, and I couldn’t see a single open seat in the orchestra. Duh.
She began, as she does, by walking out and immediately singing her first number, without addressing the audience. I love that she is so baller that way. She began with Kander & Ebb’s “Sing Happy”, from a show that is actually called “Flora, the Red Menace”, which sounds like a period piece. The other kind. It’s an okay song, extremely repetitive, but she made it great. Afterwards, she addressed the audience in hilariously bad Spanish, thanking everyone and saying how excited she was to be there. I got nervous that the whole show would be in broken Spanish. It was easily understandable basic Spanish; that’s not the point. But the best part of Audra concerts is her storytelling, so personal and touching and lovely. Luckily, her little speech ended with “well from now on I’ll be speaking in English the rest of the night, because Spanish for me is a disaster.” However you say that in Spanish. It was adorable. Her stories were noticeably abridged because she tried to speak in more basic English so more people could potentially understand. Nice of her!
The lineup that followed included a mix of Rodgers & Hammerstein, Sondheim, more Kander & Ebb, and lots of other legendary composers of Broadway classics. She of course sang “I Double Dare You”, continuing her streak, and another super old song called “My Buddy” that she does often. In her intro to “My Buddy”, she mentions how she came upon a war veteran singing this song outside her favorite restaurant in NYC. (She didn’t mention this time that that favorite restaurant is Chipotle; I guess she knew they don’t have them in Spain. I really wanted to shout to the whole theatre “She’s talking about Chipotle hahahah!”.) The sad story of another homeless war veteran, reinforcing how shittily the USA treats them, is lightened somewhat by her promise to sing the song in the same key the vet sang it in, leading you to expect her to sing it quite low, only to laugh when it’s super high. She does say doing it in the same key is “impressive, for one of us.” I love that.
One of my favorite moments was when she sang “Stars and the Moon”, Jason Robert Brown’s song from “Songs for a New World”. Although I am the world’s biggest proponent of everyone shutting the f up during shows, I couldn’t help cheering when she talked a bit about Brown, one of my favorite composers. She mentioned that he won Tonys for last year’s “The Bridges of Madison County” and I kind of shrieked with glee. She also said he has a new show on Broadway now called “Honeymoon in Vegas” and it took all my strength ALL OF IT not to yell I KNOW AUDRA I SAW IT A FEW WEEKS AGO I’M SO COOL. I have to remember that her concerts are not opportunities for conversations. Anyway, “Stars and the Moon” was the first song I ever heard Audra sing, and so it has a very special place in my heart. I almost cried, I was so happy to hear it live. It’s a sad song about a woman who shuns love on multiple occasions in pursuit of more material gains, only to realize once she has all the material nonsense she wished for that she will never find real love again. What an idiot.
Thinking back on the playlist, I want to call every single number a highlight. Except for an almost boring lullaby here and there, there were no weak points. The absolute standout by far was that she shared her Tony-winning performance of “Summertime” from Gershwin’s “Porgy & Bess”. She sang without the microphone, as it was in a high enough operatic register for the audience to hear it well without the mic, and with only light piano accompaniment. It was pretty much the most astounding vocal performance you could ever hope to hear.
Here is a video of Pohgy’s Tony performance so you can hear a bit of Audra and then listen to Normy sing “I Got Plenty O’ Nothin’” because I love it. Also his voice breaks because you can’t warm up well before Tony performances and it’s adorable if unbelievably embarrassing for him.
Another highlight was Audra’s take on “Moments in the Woods” from Sondheim’s “Into the Woods”, and she mentioned several times that the movie starring Meryl Streep was now playing. The Baker’s Wife is notorious for being the most difficult and important role in “Into the Woods”, and this song of hers exemplifies that. It’s a delicate balance between humor and poignancy and regret, and Audra, even though this was just a concert, acted all of this perfectly. Just so impressive. Why is she never in Sondheim shows?
One song that she thankfully didn’t sing in character was “Maybe This Time” from “Cabaret”. Although Sally Bowles is pretty much the #1 role actresses want to play in their careers, her songs cannot be sung well in the play, because Sally is supposed to be a pretty crappy singer in the Kit Kat Klub. (You can currently see this being well played (terribly sung) by Emma Stone on Broadway.) It’s a shame, because Sally’s songs are so phenomenal, none more so than “Maybe This Time”. It’s her one moment of hope and resolve in the whole show, and the song is so powerful even though it’s not beautifully sung. Well, Audra gives all of musical theatre a huge gift by doing this song in concert, where she’s free to sing it out of character and thus beautifully. Just Jesus H it’s the best. I love how, in this video of her singing it a few years ago, the audience applauds when it recognizes the opening bars; everyone is that excited to hear this song sung as powerfully as it can be outside the confines of the character.
One song that she thankfully didn’t sing in character was “Maybe This Time” from “Cabaret”. Although Sally Bowles is pretty much the #1 role actresses want to play in their careers, her songs cannot be sung well in the play, because Sally is supposed to be a pretty crappy singer in the Kit Kat Klub. (You can currently see this being well played (terribly sung) by Emma Stone on Broadway.) It’s a shame, because Sally’s songs are so phenomenal, none more so than “Maybe This Time”. It’s her one moment of hope and resolve in the whole show, and the song is so powerful even though it’s not beautifully sung. Well, Audra gives all of musical theatre a huge gift by doing this song in concert, where she’s free to sing it out of character and thus beautifully. Just Jesus H it’s the best. I love how, in this video of her singing it a few years ago, the audience applauds when it recognizes the opening bars; everyone is that excited to hear this song sung as powerfully as it can be outside the confines of the character.
It’s no secret how much I love sing-along moments in fun songs – Berthe’s “No Time At All” in the recent “Pippin” revival, “Wig In A Box” in “Hedwig” – as long as they are kept brief, so I loved when Audra asked the audience to sing along with her in “I Could Have Danced All Night” and then after a few choruses said “Okay hush it’s my solo.” She is hilarious! She did mention Julie Andrews, of course, whose version is the most well known, but she didn’t call her “my friend Julie Andrews”, so that was a let-down. Maybe they aren’t friends anymore because of “The Princess Diaries” or something.
Proving how wonderful an actress she is, the most impressive parts of the concert were her most moving, emotional songs. Along with “Summertime”, a notable song in this category was “Go Back Home” from Kander & Ebb’s “The Scottsboro Boys”. We all know how I feel about that show and how depressing and necessary it is. “Go Back Home” is the most beautiful and notable song from the musical, and Audra made it lovelier than ever. More importantly, she talked about how she is so involved in the gay rights movement because her life was made possible by the civil rights movement, and how we all owe it to each other to try to make things better and fight for equality across the board. That’s when she mentioned that without the struggle of people in the civil rights movement, she wouldn’t have been able to marry her white husband, Will Swenson, who was SITTING IN THE FRONT ROW. I didn’t know that until that point. I was in the first balcony closest to the stage so I could have thrown something at him but you can’t throw a hug.
Proving how wonderful an actress she is, the most impressive parts of the concert were her most moving, emotional songs. Along with “Summertime”, a notable song in this category was “Go Back Home” from Kander & Ebb’s “The Scottsboro Boys”. We all know how I feel about that show and how depressing and necessary it is. “Go Back Home” is the most beautiful and notable song from the musical, and Audra made it lovelier than ever. More importantly, she talked about how she is so involved in the gay rights movement because her life was made possible by the civil rights movement, and how we all owe it to each other to try to make things better and fight for equality across the board. That’s when she mentioned that without the struggle of people in the civil rights movement, she wouldn’t have been able to marry her white husband, Will Swenson, who was SITTING IN THE FRONT ROW. I didn’t know that until that point. I was in the first balcony closest to the stage so I could have thrown something at him but you can’t throw a hug.
Her most upsetting song I knew was coming and yet I couldn’t do anything to stop the cryfest. I’ve heard her sing “I’ll Be Here” by Adam Gwon three times in concert now, and every time she intros the song by explaining how Gwon won the Fred Ebb award and how he’s one to watch. So I knew she was going to sing this unbelievably sad and moving and just absolutely perfect song about living during 9/11 and losing love and it still hit me and everyone else in the audience like a ton of bricks. Every time she sings this song, I think every single audience member sobs uncontrollably. Maybe less so here because of the language barrier, but there were still a good deal of sniffles.
Her last official song was the crowd-pleasing “Climb Ev’ry Mountain”, so she got to talk about everyone’s favorite thing, the Carrie Underwood-led “The Sound of Music Live!” She didn’t mention the exclamation point in the title but man alive can she sing this song. It was wonderful. So wonderful, that the audience simply could not stop applauding in its standing ovation. She came out a few minutes later for an encore of “When Did I Fall In Love”, which she often opens with. It’s a rousing, joyous song from the musical “Fiorello!” with another exclamation point. And yes, to husband’s disbelief, it is indeed a musical about NYC mayor Fiorello LaGuardia.
The audience couldn’t stop applauding again after this encore. It was so nuts that Audra was forced to come out again for a rare second encore. She and her long-time musical director and pianist Andy Einhorn looked through his music trying to find something to sing, and they settled on “Over The Rainbow”, complete with that incredible introduction that I love so much. I love how many people’s faces were like “Wait what song is this…?” during the intro and then when it resolves into the familiar “Somewhere over the rainbow” their faces showed their recognition. It was a perfect final song to an absolutely perfect concert. We tried waiting at stage door to meet Audra (and Will), but after 45 minutes in absolutely feet-numbing cold we had to call it. Even I have stage door limits. Also we had other shows to see (late night flamenco!). But that experience couldn’t at all tarnish this stunning evening by the world’s greatest singer. If you ever are near one of her concert stops, you have to go.
The audience couldn’t stop applauding again after this encore. It was so nuts that Audra was forced to come out again for a rare second encore. She and her long-time musical director and pianist Andy Einhorn looked through his music trying to find something to sing, and they settled on “Over The Rainbow”, complete with that incredible introduction that I love so much. I love how many people’s faces were like “Wait what song is this…?” during the intro and then when it resolves into the familiar “Somewhere over the rainbow” their faces showed their recognition. It was a perfect final song to an absolutely perfect concert. We tried waiting at stage door to meet Audra (and Will), but after 45 minutes in absolutely feet-numbing cold we had to call it. Even I have stage door limits. Also we had other shows to see (late night flamenco!). But that experience couldn’t at all tarnish this stunning evening by the world’s greatest singer. If you ever are near one of her concert stops, you have to go.
