Cats - The Musical (Ultimate Edition) (1998) Review

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(More customer reviews)The `Cats' DVD is a cinematic record of the Andrew Lloyd Webber stage musical as performed on the London stage in, I believe, 1998 starring Elaine Paige in the `lead' role of Grizabella, although the only aspect of her role which warrants calling it the starring role is the fact that this character sings the `show-stopper' song, `Memory' which, if you are to believe writer / director Kevin Smith's bit in `Jersey Girl', has become a real Broadway cliché. The show is the most truly `ensemble' performance I can think of. Few characters stand out for more than the length of a single piece, yet practically all characters are on stage for over 50% of the two-hour performance. Aside from Paige, the only character / actor who is remotely familiar to me is John Mills who is on for but two scenes and who is more of a prop than a character.
I make a strong point of the fact that this is a recording of a stage performance rather than a conversion of the play to a more realistic environment. This conversion is done for most Broadway plays turned into movies, especially for big musicals such as `Oklahoma', `The Sound of Music', `My Fair Lady', and `Chicago'. But this conversion is not always successful. That is, the very big realistic setting is not always an enhancement. My best evidence for this is the film done of `The Fantasticks' with a cast including such high powered talent as Joel Gray and others. As someone how has seen the play done on the live stage three times with three different interpretations, including a performance by the New York City cast, I can say that the movie failed to breath any life into the classic minimalist staging it gets in intimate little theaters. The movie was simply not as good as the live performance. This is clearly not the case with this DVD record. It gives us the stage fantasy that needs practically no embellishment with a real ally or cinematic whiz-bang.
Like `The Fantasticks', I have seen `Cats' on the New York stage sitting in a mezzanine seat about 4 rows from the back of the Winter Garden theatre. And, while there is something about a live performance that simply cannot be recorded, I will say that this DVD (and VCR) recording is quite as good a record as you can get.
My most important criteria for evaluating a movie on DVD or VCR is whether or not the work wears well after the second or third or fourth viewing. For example, `Chicago' was fun to watch once, but I have no burning desire to watch it again. On the other hand, `Singin' in the Rain' I can watch about once a year and still find the time well spent. I will say with great conviction that I can watch this recording of `Cats' once a year and enjoy every minute spend with the experience, because I have done so over the last few years. The performance and its record are so durable that my second most important criteria for a DVD, a good commentary track, becomes unnecessary. And, the commentary track is basically a waste of time for a musical anyway, especially a musical based on famous poems written 65 years ago by the most notable poet, T. S. Eliot in `Old Possum's Book of Practical Cats'.
The play has the thinnest of plots based on a once a year selection of one Jellicle cat to ascend into some state of grace, presumably at the conclusion of their legendary nine (9) lives. The only other plot twist involves the kidnapping of the head cat, Old Deuteronomy, thereby preventing this feline apotheosis from being carried out.
This accounts for four or five out of the nineteen numbers. All the rest are based directly on fourteen out of the fifteen poems in Eliot's little book.
One may think that this work has but a single hit song and, therefore, the remaining musical numbers are second rate. This is certainly not the case. I find myself tapping my toe to all numbers, with especial pleasure coming from `Jellicle Cats', `Mungojerrie and Rumpleteaser', and `The Pekes and the Pollicles'. These are much more like stories in song than a simple ballad with easily remembered refrain.
Very highly recommended for anyone with a taste for musicals and worth a try for anyone who likes fantasy.


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Rodgers and Hammerstein's Oklahoma (London Stage Revival) (1999) Review

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(More customer reviews)The 1999 London production of "Oklahoma!", directed by Trevor Nunn with choreography by Susan Stroman, was the first major departure ever from the original Joshua Logan-Agnes De Mille production of 1943. It was a gamble that paid off big, for the performance recorded for posterity on this DVD is absolutely brilliant--funny, riveting, and deeply poignant. The dancing is astonishing, and the beloved Rodgers & Hammerstein songs have never sounded so good. Nunn and Stroman know how to stage each number for maximum dramatic effect, so that the songs come across less as songs than as dramatic monologues in music--which is, of course, exactly what Rodgers & Hammerstein wanted.The cast of this version is so wonderful that it is impossible to talk about them in anything but superlatives. (I might make a slight, regretful exception for Vicki Simon as Ado Annie, who is merely very good whereas everyone else is spectacular.) As Will Parker, Jimmy Johnston--an endearing if improbable cross between Will Rogers, Russ Tamblyn and Jack Black--barrels through his big number, "Kansas City," with infectious glee and astounding athleticism, including a dandy exhibition of trick roping. Some reviewers have pointed out that Peter Polycarpou's accent as Ali Hakim is shaky, but there's no quibbling with his singing or his comic timing; in appearance and talent, he reminds me more than a little of Tony Shalhoub. Maureen Lipman is a perfect Aunt Eller, tough as an old birch tree, plain-spoken and drily witty as she dispenses tough love to the residents of Claremore, Okla. Josefina Gabrielle is an earthier Laurey than we're used to, but she's a good singer and an exquisite dancer, and she makes Laurey's confused longings as painful as a punch in the gut. The real acting honors, however, must be divided between the romantic rivals--Hugh Jackman as Curly and Shuler Hensley as Jud. This production launched Jackman's international career, and no wonder--from the first few bars of "Oh, What a Beautiful Morning," you can't take your eyes off him. He is visually perfect as Curly, he dances well and sings beautifully, and--above all--he exudes charisma from every pore. Hensley combines a rich, operatic baritone with a brooding, menacing stage presence; he makes Jud a classic monster, evoking both pity and terror. His solo number, detailing both his pitiful loneliness and his doomed love for Laurey, is one of the most riveting pieces of dramatic singing I've ever seen or heard.

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Company: A Musical Comedy (2007) Review

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(More customer reviews)Marry me a little,
Love me just enough.
Cry but not too often,
Play but not too rough.
Keep a tender distance
So we'll both be free.
That's the way it ought to be....
Only Stephen Sondheim could come up with such sophisticated couplets to a love song as disquieting as the beautiful "Marry Me a Little". I was very fortunate to have seen the enthralling 2006 production at the Ethel Barrymore Theater last season, and I'm thrilled it has been captured for posterity on DVD as part of PBS's "Great Performances" series. There is something supremely ironic about how a 37-year old show, already revived twice, can feel fresher than most Broadway musicals written today. However, when the music reflects Sondheim at his most accomplished with performers so adept, it becomes a moot point, even though several of the songs here have been inescapable at karaoke bars for years from the lips of overly zealous musical theater aficionados.
Staged like a minimalist cabaret act, John Doyle's joyous revival uses the same technique he used in his 2005 production of Sondheim's Sweeney Todd, specifically he has the actors play their own musical instruments, a daring move which actually helps underline the characters' feelings. The story is blessedly simple as it revolves around perennial bachelor Bobby, as he turns 35 and observes his circle of upscale Manhattanite friends, five married couples at different stages in various vignettes that make him reconsider what he wants out of life. Juggling three girlfriends, Bobby is a likeable but elliptical figure with commitment issues, and the story really follows his journey toward self-acceptance. There is an element of contrivance to the structure, but what I thought would be a severely dated libretto by George Furth continues to resonate with wit and insight.
For a canon as legendary and often erratic as his, Sondheim's sophisticated music and lyrics never seemed as accessible and hummable as they do here. So much of the show rides on the crucial casting of Bobby, and Raúl Esparza is terrifically bold and poignant in managing the precarious balance between yearning romantic and cynical hedonist. With a beautifully expressive singing voice coupled with a common-guy demeanor, he captures the character's arc with an escalating emotional intensity from the measured romanticism of "Someone Is Waiting" to the tender tentativeness of "Marry Me a Little" (with the beautiful, Sondheim-trademarked rolling piano) to the bursting climactic catharsis of "Being Alive".
The rest of the cast accomplish wonderful moments that already come with high expectations - Heather Laws' dexterously motors her way through "Getting Married Today" with her character's nerve-wracking intensity intact; Elizabeth Stanley brings a likable warmth to the dim-bulb flight attendant April as she duets sweetly with Esparza on the comically post-coital "Barcelona"; Angel Desai's saucy turn as hip Marta on "Another Hundred People"; the poignant "Sorry-Grateful" performed by the comparatively less spotlighted male ensemble; and of course, there are the lacerating observations in "The Ladies Who Lunch", handled with fierce worldliness by Barbara Walsh as Joanne. In the intimidating shadow of Elaine Stritch, Walsh lets out repeated primal screams at the end that pierce with wounding acuity.
TV director Lonny Price does a fluent job transferring the production to the small screen with minimum fuss. The 2008 DVD contains three terrific extras. First, there is a fifteen-minute interview with an articulate and thoughtful Esparza who discusses his connection with Bobby, the challenge of learning piano, and the alternating joy and pressure of working with Sondheim (for the third time). There is also a nine-minute interview with the erudite Doyle who explains how his unique use of actors as musicians went over with Sondheim. The centerpiece has to be a fascinating, 38-minute interview that Australian TV personality Jonathan Biggins conducted with Sondheim last year in Sydney's Theatre Royal. Sondheim is particularly forthcoming with humorous anecdotes about working with the likes of Leonard Bernstein, Ethel Merman, Barbra Streisand, and his mentor Oscar Hammerstein II during his long, illustrious career. This is a wonderful DVD for any Broadway aficionado and particularly for fans of Sondheim, Esparza and Doyle. I happen to be all three.

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