John Mulaney, left, as George St. Geegland and Nick Kroll as Gil Faizon in “Oh, Hello.” (Luke Fontana)
Even before I went to see OH, HELLO on Broadway (or “bridd-whey” as George says), I knew these guys. I knew the mid-thirties comedians Nick Kroll and John Mulaney who portray two wacky codgers in their mid-seventies Gil Faizon (Kroll) and George St. Geegland (Mulaney). I knew these Upper West Side aging creative types with giant egos and tiny resumes. What I didn’t expect was the rapid fire hilarity flowing virtually non-stop throughout the show. The jokes are sweet and loopy (“That sandwich has too much tuna!” see above).
Gil and George are roommates, co-authors and stars of their show-within-the-show about two aging roommates named Gil and George who get evicted from their Upper Westside apartment. Many of the jokes are about New York City history, Theatrical stage conventions and Steely Dan, all areas in my perview, so I was in stitches the entire evening. However, I can imagine inviting a relative from out-of-town to see the show and having them come away not understanding any of the references. For those of us who find these characters familiar, you will love this show. It is the perfect whimsical tonic for these turbulent times.
A Clip From The Show
Christian Borle and Andrew Rannells in FALSETTOS. Photo by Joan Marcus.
“Well, the situation’s this, it’s not tough to comprehend. I divorced my wife, I left my child and I ran off with a ‘friend.’ But I want a tight-knit family,” sings Marvin, the demanding lead character of FALSETTOS. By the final chords of the show, Marvin has his tight-knit, extended family, but it took a plague to get there.
I won’t bore you with my lengthy history with the show, let’s just say that I can recite every lyric, musical note and stage action that was changed over the years in various incarnations. So how does this version hold up? Exceedingly well.
Stephanie J. Block is funny, poignant and dazzling as Trina, her rendition of “I’m Breaking Down” is a high point. Brandon Uranowitz, Tracie Thoms, and Betsy Wolfe are all equally wonderful in their roles. I found the casting of Andrew Rannells as pretty boy-toy Whizzer a little too spot on for my taste, but his performance is excellent. Child Actor Anthony Rosenthal only earns one of those two descriptors; he is a child, and then there is Christian Borle‘s Marvin.
I expected so much more from this two-time Tony award-winning actor. Mr. Borle is known for his broad and funny characterizations so in toning down the comedy, he seems to have abandoned Marvin’s edge. It’s a shame because James Lapine‘s updated direction is thrilling. William Finn‘s songs are as witty and heart-breaking as ever. The revised lyrics fit seamlessly. How wonderful to see this beloved musical wearing new clothes and feeling fresh. It is an almost perfect revival, but you will need to bring tissues.
Here is a clip from the current production.
Here is a clip of the original 1992 Broadway cast on the Tonys.
Josh Groban as Pierre with the cast of NATASHA, PIERRE & THE GREAT COMET OF 1812, photo by Chad Batka.
NATASHA, PIERRE & THE GREAT COMET OF 1812 has a lot in common with HAMILTON. Based on large books, both are sung-through (meaning there is no spoken dialogue), both use a mixture of musical styles including anachronistic modern genres, both have duels, both are created by a single person writing book, music & lyrics and both represent a new wave in American Musical Theater. Having rich base material to draw on helps both shows create intricately detailed plots, deeply drawn characters and insightful storytelling.
For those of you who didn’t make it through Leo Tolstoy’s WAR AND PEACE in school, have no fear. This is a raucous, fascinating musical based on a few chapters of WAR AND PEACE and there is no chance of you falling asleep. Composer/Lyricist/Bookwriter Dave Malloy has gone out of his way to make everything clear with an Opening Number that introduces the characters. I was not a Josh Groban fan going in, but he is perfectly cast as the introspective, corpulent Pierre and his singing and acting shine through on his journey of awakening.
The Set looks like a multi-layered wedding cake in the style of The Russian Tea Room, with audience on all tiers. There is a runway stretching through the theater, where the chorus comes out to feebly draw us into the performance. The lighting is innovative, if sometimes blinding. The tuneful music has moments of divinity and there is some of the best choral work this side of THE COLOR PURPLE. However, I would not recommend this show to anyone who only favors old-fashioned Musicals. This is Art. Sublime, delicious Art.
Josh Groban sings “Dust and Ashes” from NATASHA, PIERRE AND THE GREAT COMET OF 1812.