Monday, August 4, 2008

Theater Review: Nine

By John Garcia of John Garcia's The Column

The catalogue of musical theater is long, vast, and brimming with riches. However, it also contains soggy, forgettable, and embarrassing titles within its canon. Let me preface this review with the following background information:

• As a critic & audience member, there are some musicals that I absolutely refuse to sit through again. Such as Annie, Oklahoma! and The Sound of Music. Yes, I know they are classics and the world of musical theater would have never existed without them...blah...blah...blah. But sweet heavens above they have been overdone to death so, so many times that I can't even count. I'd rather stick my eye with my Sharon Stone souvenir ice pick than to sit through those sugar coated, apple pie cutesy musicals again. I know I'm not the only one who feels that way.
• There are those few & select musicals that I dread with all my heart the day they become available for regional theaters to touch. Such as Jonathan Larsen's Rent, Spring Awakening, and Wicked. Once you've experienced the original Broadway cast in those productions, nothing will match it. Nothing. Some musicals just should not be touched.
• As an actor, there are some musicals that I will never tire of performing in. Such as Forum, Damn Yankees, Anything Goes, Man of La Mancha, and Pageant. Each time I've done those special musicals I have learned and grown as an actor.
• Finally there are those musicals that speak to my inner soul. These are the ones that move me to tears and/or laughter. They are a select few that go deep into my subconscious, heart, and soul. They are the ones I call true art in musical theater. Each time I've seen them, they move me like no other musical does. The score and book move me in ways which I cannot explain. Examples of these very select & few include Rent, Follies, Spring Awakening, and Nine.

Under the direction & choreography of Texas native Tommy Tune, Nine opened at the 46th Street Theatre in May 1982 starring Raul Julia, Karen Akers, Anita Morris, and Liliane Montevecchi. Based on Fellini's film 8 ½, Nine would glide down Broadway on its Gondolier for 729 glorious performances.

At the 1982 Tony Awards there was already major backstage drama before any of those sought after medallions were handed out. Nominated along with Nine for Best Musical was the biblical Lloyd Webber musical Joseph...Dreamcoat and the off-Broadway smash transfer Pump Boys and Dinettes. The final nominee was a musical about a girls singing group rise to fame, Michael Bennett's Dreamgirls. It was the student verses the teacher at the '82 Tony Awards.

Tune was a protégé to the great Michael Bennett. The creator of A Chorus Line directed and choreographed the 6"6 tapper to Tony glory with the musical Seesaw. Tune (according to his autobiography and several Bennett biographies) soaked in everything Bennett taught him. He would observe the master at work. Now fast forward to 1982. Tune's Nine walked into the Tony Awards with a whopping 12 nominations, while Bennett's Dreamgirls waltzed into the battle with 13 nominations. It was a rollercoaster night for both directors as their shows slaughtered the other two nominated musicals, for those two poor shows went home empty handed.

For choreography, Bennett won over Tune, but then when it came to Best Director, Tune won over his teacher. Then came the big one -- Best Musical -- which went to Nine. It has been said & written that Bennett never, ever forgave the Tony voters and Tune for this. Dreamgirls turned out to be Bennett's last Broadway hit and sadly he would pass away a mere six years later in July 1987.

I saw the original Broadway production (with the entire original cast) of Nine in 1982. I was so overwhelmed by this musical that I sold my ticket to Nicholas Nickelby at the TKS Line, and went back the very next night to see it again.

In 2003 I saw the magnificent & powerful Broadway revival starring film stars Antonio Banderas, Mary Stuart Masterson, Jane Krakowski, and the legend herself: Chita Rivera. I went back almost a year later and saw it again with John Stamos, Rebecca Luker, Sara Gettelfinger, and Eartha Kitt in the Rivera role. For me personally, the revival was even better than the original. In fact, I consider this the finest revival ever to grace Broadway. Director David Leveaux took the book problems of the second act and completely retooled, redefined and actually solved so many of the issues within the problematic second act. Leveaux's revival was one of the most emotional, gut-wrenching, and overwhelming musicals I had ever sat and watched.

Nine is not easy by any means. It is complex, layered in subtext, and requires the audience to stay focused through the whole piece picking up on all the emotional layers. Each time I've seen it, it has left me devastated and wanting to return immediately back into the theater so that I can see it again. It's score is rich in detail with glorious lyrics and so many exquisite numbers. It takes a director who understands this piece -- especially on what is NOT on paper. Plus it takes a cast of amazing talent and skill to pull this masterpiece off. This might explain why no one has attempted to do Nine here in the Dallas-Fort Worth metroplex.

The last local production of Nine was by Metro Players in 1989/1990. And with the exception of a few sparkling performances, this production was just hideous and completely devoid of the subtext.

No equity house in the entire DFW metroplex would dare touch it. I always wondered why. It would challenge the director, designers, and cast in ways they've never been. Personally for me, it is challenges that makes or breaks true artists of theater. So when ICT Mainstage (a local community theater) announced they were going to produce Nine, I was speechless. A community theater is going to tackle this musical? Most community theaters around town were mounting typical fare (i.e. family themed shows) and have steered clearly away from dramatic themed musicals. Especially a musical that relies on realism and organic subtext.

So now that you have all that personal background and knowledge on how obsessed I am with Nine, you will understand why my review dissected ICT Mainstage's production of Nine from top to bottom.

Photo by Mike Morgan

Visually the production is awe-inspiring. Paul Fiorella's scenic design does have the overtones of the original Broadway production, which is of glimmering white tile (the musical takes place in a spa). There are tile boxes for all the ladies to sit on, nicely lined up in rows. Upstage is framed in Grecian columns. It takes up the entire stage and looks just so elegant on stage.

Sam Nance's lighting design is one of the most beautiful concepts I've seen on a local stage this season so far. The framing of light for individual, personal moments is sublime. The slathering of color upstage and around the glistening tile is perfection. I particularly enjoyed the stark white lighting that came from the sides for dramatic effect. I also admired how the light would reflect and splash on the white tile. Finally it was a divine touch of having the moving gobo to show water reflecting in the spa.

Suzanne Cranford & Michael A. Robinson's costumes also followed the original, by having the entire cast dressed in black. Although, they did not dress in white for the second act (as in the original). However, they went with the revival in dressing Guido with the simple black pants, white shirt, and tie. The ladies all looked refined in their various black outfits, but my personal favorite was the lush gown worn by the Lady of the Spa.

The one element that was missing technically was the water. The original, the Broadway revival, and several productions that I have seen of Nine had water elements right there on stage. The revival had the upstage center tile mosaic painting become a waterfall. I did miss the element of water, for it gave the musical such engrossing subtext (i.e. in the womb, rebirth and so forth). But outside of that, the design elements for this production were flawless.

ICT's Nine is directed and choreographed by Michael Serrecchia, who has performed in several Broadway shows and is part of the original cast of A Chorus Line. I sincerely think only someone with that kind of background would truly understand Nine, because what he has done with this production is jaw-dropping amazing. With a few minor exceptions, the majority of this piece soars beautifully.

The staging and choreography is spectacular, gorgeous, and visually exquisite. Serrecchia keeps the chorus of ladies constantly moving and dancing all around the stage. Most directors would have just staged the soloists and brought in the ladies on occasion. Only Serrecchia's keen eye to detail is why the staging and choreography is marvelous. I cannot remember the last time I've seen a local musical do this much intricate, detailed staging. The pace is perfection. Serrecchia has incorporated both the original and the revival into his vision, and for the most part, it works superbly.

The only problems I had with the staging were the final scene and a couple of the musical numbers. Leveaux's revival had Luisa (Guido's wife) appear at the very end, staring at her husband. This left the audience wondering if she was taking him back or not. It was a powerful, realistic moment that left you in suspense. For his version, Serrecchia has the couple upstage center kissing at the end, which I felt was too "tie up the loose ends" for my taste. I prefer letting the audience decide if she took him back or not. It gives the piece that layer of realism.

I also missed the "paparazzi" approach to the number, "My Husband Makes Movies". The revival created this terrific scene of flashbulbs, cameras, video cameras, and microphones thrust into Luisa's face as she explains to the press her husband. For this version, Serrecchia had the women at their tile boxes acting as reporters. Thus I felt it lost some of its dramatic impact when the reporter softly says at the end, "Thank you Mrs. Contini".

Finally, I really much preferred the revival's version of only one child (the original had several, as does the ICT Mainstage version). With one male boy, it helps so much in zeroing in on Guido's childhood & especially when it comes to the conflicts with the prostitute and his mother.

As a company, the entire cast does a fantastic job with Nine, however there were some major problems with subtext (or lack of) and accents. Throughout the evening some accents vanished into thin air. Or some performers spoke in Italian/German/French dialects, only to sing their songs in their Native American voice. That was a bit distracting and odd to get used to as the evening progressed.

As "Guido", Donald Fowler sings the score better than anyone I have heard in my life. Yes, that tenor voice pouring out of Mr. Fowler was much better than Raul Julia, Antonio Banderas, John Stamos, and Jonathan Pryce (he did the London production). Fowler belts those huge notes with full voice, glides up and down his register with ease, and the diction was crystal clear. Having said that, it was his subtext and chemistry within the cast where the problems arose. I just felt that Fowler lacked the Italian machismo and brooding intensity the role requires. This is a man who is surrounded by women whose lives were ruined thanks to this egotistical, masculine, & dominating male figure. Fowler's soft, pretty boy features and small frame just did not fit that mold. Also the chemistry between him and the women was vaguely there or not at all in some instances. We need to see, feel, and get aroused by this man devouring physically and mentally these women. That's why they left their husbands, lovers, children, and ruined their own careers -- for this one man. Sadly, I just did not see or feel that within the majority of Fowler's performance. Nonetheless, his singing voice outshined any other "Guido" I have ever seen.

The stars of the evening though are the women! These first rate group of ladies represents some of the finest talent this city has to offer. Each sang and danced beautifully. Those harmonies! Oh I was in sheer musical theater heaven as these ladies sang with lush, clear, soothing, grand harmonies. This tour de force company of females deserves to be named here: Mimmie Combs-Coleman, Andi Allen, Alexis Nabors, Megan Kelly Bates, Amanda Hart Walker, Kimberly Ann Smith, Sara Shelby Martin, Lauren Herzog, Cori Lynne, Louisa Cambridge, Kristen Cramer, Sarah Geist, Melanie Sanders, Stephanie Felton, Patty Breckenridge, Ashley LeGrow, and Connie Kegg.

Patty Breckenridge portrays the only woman Guido married, "Luisa", who goes with him to the spa to help salvage their marriage. Ms. Breckenridge sings her songs beautifully, but that's what you have come to expect from this radiant talent. Although, I did feel she was a tad too frigid right from the get go. It is in the aforementioned press conference scene that she realizes what her marriage truly is. We need to see that realization grow. But here Breckenridge doesn't fully grasp the subtext to help her carry into the second act solo, "Be On Your Own", which is a powerful declaration. It has to be so organically tragic & truthful, painful, and gut-wrenching. It is raw, naked, brutal subtext of a woman who finally has the will to leave this man and marriage. Ms. Breckenridge, while moving in that scene, seemed to only skim that subtext. I know she can peel much deeper into those layers. I know I'm too picky here, because in the end she was wonderful in the production.

The other two major women in Guido's life are Claudia and Carla, portrayed here by Connie Kegg and Ashley LeGrow. Ms. Kegg performs the role with a nice, touching quality that I very much enjoyed. She brought softness to the role that I have not seen before. Her duet with Fowler in "Unusual Way" is a major highlight of the evening. I do question though the black fur coat & clunky black character shoes she wears at the beach. She's a famous Italian actress and should be wearing some dazzling designer pumps. And who wears fur to the beach?

It is very obvious that Serrecchia used the great Anita Morris as his foundation to help Ashley Legrow become the sexy, sensual "Carla", right down to the costume. In her number "A Call From the Vatican", LeGrow performs all these erotic & sensual moves, gestures, and body contortions all over her tile box that worked like magic within her characterization. She was so sexy & erotic that I expected to see Jenna Jameson run on stage and push Ms. LeGrow off that tile box in protest!

Andi Allen portrays "Liliane LaFleur", Guido's agent. In the Broadway revival the role was performed by my idol, the magnificent Chita Rivera. So I know I'm biased in saying no one can top her performance. Having said that, Ms. Allen does do a fantastic job as the French agent who has a major set of cajones. I particularly enjoyed the homage to Ms. Rivera with the black jacket lined in white that Ms. Allen wore (Rivera's was lined in fuchsia satin). Ms. Allen leads one of the best musical numbers of the evening with "Folies Bergeres". Using the original as a guide, Ms. Allen had the never ending feather boa for that added touch of glamour. Ms. Allen was grand!

Sara Shelby Martin however wears the crown of having the number that becomes the showstopper of the night. Martin is "Sarraghina", the prostitute who seduces the young Guido, thereby screwing him up emotionally in handling women. Ms. Martin is literally sewn into a black, tight, satin corset that pushes her bosom to voluptuous results. A massive wig of black curls cascades and frames her face beautifully. Using that robust, thunderous set of lungs, Martin brings the house down with her big number, "Be Italian". As in the original, Serrecchia uses tambourines here for added sensuality, pop, and pizazz. I've never seen Martin look so damn sexy & hot on stage! She delivers an outstanding performance here.

Other stand outs in the large company of delectable, delicious, and desirable divas include Mimmie Combs-Coleman as "Guido's Mother" -- who sings with touching motherly affection "Nine"; Amanda Hart Walker is sublime and looks so gorgeous as "Our Lady of the Spa"; Alexis Nabors as the vivacious "Lina Darling", she's encased in a tight costume, topped off with a slick hairdo; and Kimberly Ann Smith as "Mama Maddelena", who is down right hilarious during "The Grand Canal" number when she portrays "Carla" in the film.

See, I told you I was going to be picky. Even with the minor imperfections, ICT Mainstage's production of Nine is bold, radiant, magical, & spectacular. You have a director who did such a remarkable job that truly has outshined anything he has done before. You have a luminous cast and a top notch team of designers that have created one of the best musicals of this season.

No equity or non-equity theater company has taken the challenge to produce Nine, but ICT decided to take it on. And the outcome is just so electrifying. I sincerely hope ICT extends Nine, because it has been a long, long time to have such exquisite musical theater like this produced on a local stage. Nine is the must see of the season!

GRADE: A

Nine runs through August 9 and tickets can be purchased online or by calling 972-252-2787.

Pegasus News content partner - John Garcia's The Column

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