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Movin' Out
*MOVIN' OUT -Richard Rodgers Theatre
*REVIEWED May 25th Sunday Matinee performance Conceived by Twyla Tharp, Music and Lyrics by Billy Joel
Starring: John Seyla, Elizabeth Parkinson, David Gomez Ashley Tuttle, Scott Wise, Benjamin G. Bowman and Michael Cavanaugh.
Scenic Design by Santo Loquasto Costume Design by Suzy Benzinger Lighting Design by Donald Holder
MOVIN' OUT
Somehow when Jerome Robbins brought his personal "salute" to himself on broadway in 1989 with JEROME ROBBINS BROADWAY, I don't think he realized the headaches and heated arguments that would lie ahead for future productions where the primary focus was dance.
FOSSE, CONTACT, and SWING are all productions that have as its primary focus the art of dance. Two of them even took home the Tony for Best Musical (FOSSE & CONTACT) for their efforts. But in FOSSE & SWING, the cast actually sang live stage. FOSSE took us on a winding, sweeping story on the career of Bowler hat Bob.
SWING however was a nightmare of dull jazz and rubber band choreography.
CONTACT had no live singing whatsoever on stage. It instead was three different stories of people either connecting or not connecting with love or their lives. While I personally enjoyed the choreography, it felt like a cut and paste job on its book.
In this reviewer's personal opinion, a musical contains three elements within this art form-that of acting, singing, and dancing.
Then these three elements are all connected and intertwined to tell a unified story, thanks to its book.
But when one or two of these elements are missing from the equation, then it is no longer a musical-but rather a musical revue or dance concert.
All the aforementioned dance musicals had a mixture of these three elements, but alas were also missing one or more of the required elements.
Which brings us to Twyla Tharp's MOVIN' OUT.
As you may recall, when this show had its Chicago tryout, the dance driven show was met with harsh reviews. This was also the production that was reviewed by a New York critic, which apparently was a ghastly mistake according to the protocol when reviewing theater.
Gotham critics are not supposed to review a play or musical that is coming to broadway when it is still in its out of town tryout phase. That's why they are mounted outside the grasp of these New York critics. So that the production can work out its kinks and flaws, trying to polish it by the time it gets to the great white way.
Word had it that MOVIN'OUT might close out of town because of all this ink being spilled on its impending disaster to flop in New York.
But Tharp instead reworked the book, shifted songs and dances, and opened a new version at the Richard Rodgers.
Tharp has conceived a story of three couples in love, but then Vietnam enters their lives, which has horrific results. This causes these relationships between the six to change drastically. All of which is set to Mr. Piano man's music, Billy Joel.
Tharp had an incredible anthology of Joel's work in which to choose from to bring both her story and dance to life. While the dancing is breath taking (most of the time), the overall production does have its glaring shortcomings.
Tharp's choreography is glorious, amazing, powerful, and phenomenal to observe. There are dance sequences that truly do display heart breaking emotion. The execution of her choreography is also a marvel to watch unfold before you.
But there are times when the choreography and dance do become a strain on holding the audience's attention. You do begin to notice that they sure do spin around a lot in this show. Or you slowly begin to catch on that you saw that section of dance already in previous numbers. Its not a "reprise" per se, but it does come off as though Tharp had no fresh, new dance to create here, so let's do what we did earlier and repeat it for a couple of measures.
Here's an example of Tharp's repetition:
For dramatic effect, Tharp has a total blackout on stage, as the lights come up, we see either a lone dancer, or a couple standing far up stage, and from there we hear one of Joel's famous ballads. When you see it the first time, it is soothing and touching. But by the time Act Two comes around, and this "format" popped up yet again, you could actually see the Sunday matinee audience shift in their seats.
They automatically knew it was time for another slow number.
Another problem is actually the use of some of Joel's music. There are songs used in which the lyrics are not really assisting in telling the story. Your hearing one thing, but its not reflecting what we see on stage. The lyrics do not aid in pushing the paper thin "book" story line at all, it instead causes confusion. What you get in some numbers is water down story and hindrance of plot that begs to be expanded or explained.
But when the music and dance do connect, it is musical theater at its finest! The two most emotionally powerful and thought provoking numbers are actually two sections. The first part starts with the boys heading off to Vietnam, leading to catastrophe. The closing of act one leaves your heart in your throat.
The second brilliant example is sort of a combo of "Good night Saigon", "Keeping The Faith", and "River of Dreams.". It is a look of dark, cold evil almost taking a soul, only to end with glorious optimism.
We are met with another major problem with Tharp's MOVIN'OUT, which is the characterizations on stage.
Out of the six leads, only character ("Eddie" played by John Seyla) is truly fleshed out and defined. We see the dark pathos of the character's arch complete and actually get resolved at the end. Its the other five that leave you confused, or just not connecting with the non-existing book. Sure, we do see the outcome within their lives, but once they cross over their "main" hurdle of conflict, their storyline becomes mist like. You don't see the material connecting to the role. Your left with more questions than answers.
After the umpteenth spin done by a dancer, you wonder if characterization and plot fell to the wayside in place of the dancing.
While there is a plot synopsis in the program, there are still undefined flaws in characterization and plot. If these were cleared up or explained within the dance, then I either did not see them or they were not clear enough to comprehend.
But let me say again, Tharp's choreography is extraordinary, but when you sit through almost 30 numbers, it can become a tad monotonous.
Santo Loquasto's scenic design is sparse, but effective. The mobile wall and triangle units for the Vietnam scenes were visually superior.
Suzy Benzinger's costumes do their job, if somewhat lacking in pizzazz and excitement. While they are perfect in keeping within the period in which our tale takes place, they do lack some color. The use of crèmes and whites for the ending was a mistake to end the show with.
It's Donald Holder's lighting design that truly does earn its kudos. Holder is able to bring into colorful focus Tharp's story of dance. He uses an array of colors to show joy, sex, and lust. He uses blues, purples, reds, and blinding white to express pain, death, remorse, and agony. Just see what he does with his glowing designs of light in such numbers as "We Didn't Start The Fire", "She's Got A Way", "Angry Young Man", "Elegy", and my personal favorite-"Captain Jack".
I suggest that when you see this show that you don't have a big meal before attending. Why? Because when you see this cast with their perfect, Well-muscled & toned bodies, you don't want to be reminded of the huge meal you ate at the Red Dragon Chinese buffet house! Suck in those guts!
The ensemble of this company has enough energy to light up the entire state of New York! They dance with never ending energy and are so Committed to the choreography that it leaves you exhausted as you walk out the Richard Rodgers Theatre. The way in which this cast contorts, moves, flows, gels, and superbly express Tharp's vision of dance, you are left speechless. They are all astounding.
Elizabeth Parkinson (as "Brenda") is a Nicole Kidman look-a-like that dances with grace and beauty. It should be noted that this gorgeous gal also has a pair of never ending legs! She has gams that would rival Betty Grable and Mary Hart! I also had the privilege of seeing Parkinson on broadway in FOSSE, and this incredibly talented gal never disappoints. Watch her in all her glory in such numbers as "Big Shot", "She's Got A Way", "Big Man on Mulberry Street", and "Shameless".
Ashley Tuttle does have a character that is so strong in Act One, only to practically vanish in Act Two. She reappears in sprinkled bits in the second act, thus her character suffers from not being explored more fully. Regardless of this, Tuttle gives a fervent performance as "Judy", the girl who marries and sees her high school sweetheart head off to war. Tuttle will leave your heart crumbled next to your playbill at the end of Act One.
Keith Roberts was out when I saw this production, thus in his place was David Gomez. This tall, handsome actor/dancer was just terrific as "Tony", the one who returns from war with deep psychological problems. This was another role that leaves you perplexed due to the character not fully explained. This however did not stop Gomez from turning in a performance that is fueled by an endless supply of battery induced energy-the guy has that much wattage!
The unrivaled performances of the evening belong to John Seyla and Michael Cavanaugh.
Selya portrays "Eddie", the jock/prankster within this Long Island gang set in the 1960's. Seyla is blessed with the role that has the most visible, well defined arch and character written within the piece.
Selya's "Eddie" is a recalcitrant guy who also has a huge rebellious streak within him. What he brings back internally from the war forces him to enter a drug induced world that almost swallows him up. But he finds truth and resolution, thus releasing him from the chains of his past, able to walk free and truly alive into his future.
Selya puts so much force, passion, dignity, and strength into his dancing, that you wonder if the guy will keel over and pass out! He throws and thrusts his body high into the air. To the point that you are looking for the invisible wires that surely must be aiding this guy fly up almost into the rafters-but there are none! Its all Seyla!
Selya's majestic solos are worth the price alone. Watch his boundless work in such numbers as "Angry Young Man", "Captain Jack", "An Innocent Man", "Goodnight Saigon", "James", and the "River of Dreams/ Keeping the Faith" montage. His work within these numbers provide evidence why his performance is awe-inspiring.
Michael Cavanaugh may be perched on a platform that is raised high above the stage, but I cannot see how this musical would have earned its raves without his soaring vocals and ardent detail to Joel's lyrics.
Cavanaugh does possess a slight hint of Joel's vocal inflections and tenor voice, but he does supply his own personal voice and artistry- and it shows in abundance!
The singer/actor fills the Richard Rodgers with a floating, lung- filled voice that wraps around Joel's music like gorgeous silk. Every song is sung by him, and you can see he has taken the lyrics to deep into his heart. He gives unseen strength and power to make the dancer's work truly shine. It is his compassionate singing strength that helps these dancers reach high into the fly rail space, or to lift a dancer high above their heads.
Cavanaugh gives an invigorating and praiseworthy performance. While MOVIN'OUT does have its imperfections within its book and Characterization, the musical still is a banquet for the eyes and ears. The devotion and expert work provided by this company is first rate all the way.
You will leave the Richard Rodgers full of joy and optimism, and isn't thatwhat theater is all about? RATING: B+ |
