Posted by Kathey on 8/20/2008, 2:02 pm
69.107.10.3
Posted by Robert Taylor on the broadwayworld.com message board.
Everything about Charles Dickens' classic "A Tale of Two Cities" is epic, beginning with its name. It's not about a single person's saga like "Nicholas Nickleby" or a household and its secrets like "Bleak House," it's about two of the biggest cities in the world at a time of political upset over two generations involving multiple families who have motives within motives. It's huge.
Broadway's interpretation of the novel, which began previews last night at the Al Hirschfield Theater, is also epic in all the right ways. It's a gigantic, sprawling, lush and, yes, literate production of the masterpiece.
To go into the story in any major detail would be confusing for readers, but the broad strokes are as follows: The two cities in the title are London and Paris, and the time is the end of the 18th century. You might remember from history class that there was a little uprising going on in Paris at that time, and the show threads that into a love triangle between Sydney (James Barbour), a heavy-drinking lawyer who (seems to) hate life, Charles (Aaron Lazar), an upright Frenchman, and Lucie, the woman they both love. There is more, of course. A lot more.
The show's pace never lags during its just-under-three hours running time thanks to a book by Jill Santoriello (who also wrote the music and lyrics) that knows when to paint in broad strokes and when to go subtle. For example, the show takes its time setting up the multiple family trees that inhabit "Cities'" huge forest, making sure the viewer is never adrift, but Santoriello also knows that love between characters can also come at first sight, and burgeon into marriage over the course of one showstopping tune. If you are unfamiliar with the subject matter or have not read the book or its cliffnotes (it is unread by me), you'll be able to follow the production fine. It's a fine balance that so many other shows fall short on, but Santoriello succeeds.
Of course with over twenty main and supporting characters, some of the roles are thinnly written and aren't given the exposition or characterization they need in the book. Look at Charles, whose character never quite becomes anything more than a one-dimensional Ken doll in the script. Or Madame Therese, who has two layers: rage and homicidal.
Luckily for Santoriello and director/choreographer Warren Carlyle, the stage is filled with hugely talented individuals who bring power and depth to the paper characters. Lazer is hugely charismatic and charming as Charles, and makes an excellent romantic hero despite his barely-there characterization in the script. Likewise, Natalie Toro brings unexpected depth to Madame Therese, and when her fate is delivered in a dangerous gun battle, there is much more suspense than the book has earned.
The entire cast is uniformly excellent. Barbour is phenomenal as the boozing slob, crafting a cocktail of James Spader's character from "Boston Legal" and Johnny Depp. Brandi Burkhardt brings a surprising amount of power to her mostly powerless (this was, after all the 18th century) female character, and convinces the viewers that she deserves the attention of both of her suitors. As written previously, Lazar shines as Charles and holds up against Barbour's brilliance, which is not an easy feat. Supporting cast members Craig Bennett, Katherine McGrath and Michael Hayward-Jones also deliver knockout performances.
"Cities" will, no doubt, be compared greatly to Broadway's now-defunct classic "Les Miserables." Both tackle an epic novel that does not scream Broadway, both have a first act that ends with a war cry, and both have very similar costume designs. Are the comparisons fair? Yes and no. The similarities in the costumes (and some set designs) are almost shocking at times, but where "Miserables" embraced the epic war nature of its story, "Cities" has a different agenda in embracing the intimate aspect of families put in an impossible situation.
The score, which Santoriello began composing during Reagan's administration, is lush, lively and achingly romantic. This is Santoriello's Broadway debut, and also marks the arrival of a new major name in composing. There are multiple showstoppers integrated seamlessly into the production, beginning with the powerhouse "The Way It Ought To Be" which is performed by most of the cast. Barbour gets two beautiful ballads to belt out: "Reflection" and "I Can't Recall, and Lazar and Burkhardt get the beautiful love song "Now at Last."
There are, of course, some clunkers within the production as well. Despite Toro selling "Out of Sight, Out of Mind" with all she's got, her beautiful voice cannot hide the innane lyrics and unsuitable melody. A comedic song between grave diggers also fails to ignite despite the best efforts of those involved.
The set (and the set pieces that take place therein) is huge, consisting mainly of four wooden two-floored rolling contraptions that serve as drawing rooms, prisons, bars, brothels and everything in between. While annoying at first glance and not in keeping with the otherwise expensive production values, the set decorators pull off making these rolling see-through rooms work by filling them with interesting things and using the empty space to its advantage when necessary.
There are still things that need to be fixed before opening night, of course. In addition to some of the music, a very late moment that involves a guillotine that bathes the stage in darkness destroys emotional resonance in an otherwise moving scene, and an epilogue for the character of Charles and Lucie is unfortunately missing.
Fixable quibbles. "A Tale of Two Cities" is an enormously entertaining night at the theater that reminds you of the magic that can take place on stage when gifted actors perform strong material. It could have easily been a trainwreck or a blatant ripoff of "Les Miserables," but transcends and entertains in its own breathtaking way. It really is the best of times.
Star Rating: **** (out of 5)
*note: I happened upon the first preview completely by accident as I was looking for the [Title of Show] theater. I was going to that theater to get tickets to last night's performance and turned the wrong way down 45th, and saw the "Previews Begin August 19th" sign being removed from the theater and replaced with "The Revolution Begins!" I decided to see if the show was sold out and procured a fifth row center ticket (right by "Ugly Betty's" Judith Light, who is as charming in reality as on the show). How could I turn that down?
He also wrote:
I walked into the theater with absolutely no expectations as well, and was blown away.
I wasn't planning on seeing the show and did not read any advance buzz before the curtain went up. That made it all the more exciting for me.
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