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The Boy from OZ *THE BOY FROM OZ Music & Lyrics by Peter Allen &
Others. *REVIEWED 1-8-03 matinee. Directed by Philip Wm. McKinley Choreographed by Joey McKneely Starring: Hugh Jackman, Stephanie J. Block, Beth Fowler, Isabel Keating & Jarrod Emick.
THE BOY FROM OZ
If Peter Allen does not ring a bell to you, then let's do a mini "E! True Hollywood Story" real quick. This Aussie was a hit in the chic piano bars of 70's Greenwich who did not possess that strong of a singing voice, but boy did the guy have energy and pizzazz on stage. Allen did compose some lush ballads in his career, as well as earning an Oscar (for ARTHUR'S theme). But he hid his personal life behind all that spangle and glitter. The man may have married Dorothy's daughter, but in actuality he was gay.
His life and career had one of those "come from nowhere and make it big" themes that seem to be the pattern for bigger than life showbiz folks. He had an alcoholic father who committed suicide, a lover who died of AIDS, and a career that had major highs, and major lows.
Allen did try to make it on broadway with the musical LEGS DIAMOND, for which he wrote the entire score, and even starred in it. Alas it became a major flop, which wounded his soul for the remainder of his life.
Which brings us to a musical that is based on his life, THE BOY FROM OZ, now playing at the Imperial. The production stars the Wolverine, AKA Hugh Jackman.
Let's get the bad news out of the way- there are two major flaws in the production (the original production was a hit in Allen's native Australia). The musical has gone into Allen's entire music catalog to find songs that fit the scenes or emotions that drive OZ. At times the creators succeed beautifully, and at other times totally miss the mark. Martin Sherman's book is like a square peg trying to fit into a round hole with Allen's music.
The first act focuses a lot on Allen's relationship with the great Judy Garland and his wife to be-Liza Minnelli. The second act deals with his latter life, including his male lover. Here's where the book just collapses. In a span of maybe 20 minutes we are introduced to Greg Connell, they fall in love, have a brief moment of happiness (which deals with Allen's Radio City Music Hall success), and then bam-Connell has aids and dies.
It's a dramatic arch that-although superbly acting by Jarrod Emick & Jackson-happens too fast. You want to spend more time on this love story and see it fully explored.
The book tends to stay away from Allen's darker moments of his life. Such as when Connell did die, Allen two days later was on THE TONIGHT SHOW with Johnny Carson and performing as though nothing had happened.
Or that Allen swam in the waters of decadence of those disco 70's. The drugs, the countless sexual partners, the booze, and so on. It is only shown in a brief moment with the song, "Continental American". Finally there is not a more in depth look into his emotion and behavior during the whole LEGS DIAMOND fiasco.
You walk away with only a glimpse of Allen's life, and you just know that there was a lot more there.
The second major flaw is the scenic design by Robin Wagner. I've seen local productions here in Dallas where the scenery was much more developed and classic in its design and scope. Wagner's skeletal set is a bland set of moving backdrops and a billowing crème curtain. There is the occasional sofa or lamp brought in from the wings to let us know we're in an apartment. The only real design element is the grand staircase at the end, which signifies heaven. The steps are actually piano keys (that light up!) that go up towards the fly rail space like a slithering snake.
William Ivey Long's costumes are gorgeous though. Excellent examples include the blue green costumes with splatters of techno 60's color worn by the company for the "Love Crazy" number. For Liza and Judy, Long designs gowns and outfits that are both beaded and dazzling. Long does a sweet homage to Liza's favorite (and close friend) designer- Halston in creating costumes that Halston might have actually designed for his muse.
Perfect example is in Liza's big company number, "She Loves to Hear the Music". Long designed a short, red sequined costume that does remind you of Minnelli's red Halston number that she wore in THE ACT. Maybe the budget for scenery went to Long's finale costumes! Those who have mild addictions to glitter, glitz, and other "sparkly" things might want to take a double dose of their meds before watching this finale!
The finale is Allen's classic disco hit, "I Go To Rio". The costumes are weighed down by tons of rhinestones, sequins, beads, and fabrics that are just so spectacular beyond words That's not even counting the head-dresses that the women wear as they descend from the stair- case! Talk about neck health insurance! These are massive head- dresses that would make Zigfield jealous.
Hugh Jackman will (and SHOULD) win the Tony Award for this powerful, astonishing, brilliant performance. Jackman never leaves the stage. He is on throughout, he even does a few costume changes in front of the audience, which caused women (and some men) to hoop and holler at him!
His performance is why the term "triple threat" was created, for he is all three! His acting is both compassionate, moving, and at times hilarious. His dancing is slick, clean, and energetic. Finally his voice is a booming tenor that has at least 4 songs that end in a massive belt, which at this matinee performance he did clean, clear, and beautifully. But when he has to perform all three elements, it is pure showmanship with blinding stage presence and out of this world energy!
Jackman has to carry the show, and he succeeds, hands down. But here's what I think is one of the key elements in his performance that is so hypnotic to watch:
One of the "images" in today's society is that offensive, hurtful, and cruel is the stereotype of a gay man. That of some some swishing, nellie queen that flits and hisses as he prances around in a pink scarf. That image is both disgusting and offensive. Period. Jackman is a tall, handsome, masculine man who in real life is married and has children. But what he does with Allen is both respectful and dignified. He creates Allen's movements, gestures, and body language with just enough tone of Allen's flamboyance. I mean let's face it, Allen was not exactly a very butch man. But Jackman does not go over the top or becomes full on queen, but just enough that works perfectly.
The best scene work for Jackman is between him and Jarrod Emick, who portrays "Greg Connell" in Act Two. Their duets of "If You Were Wondering" and "Love Don't Need A Reason" are both sung with natural honesty and compassion, that you do shed tears in the darkness of the Imperial. And yes, Wolverine does kiss a boy on stage.
When Connell's ghost (Emick dressed in white) comes back to sing "I Honestly Love You". It is heartbreaking to watch. Jackman is sitting on his piano bench, looking out into the audience, with tears over- flowing from his eyes. By the end of the song, you could hear a lot of sniffles and movements of audience members wiping their eyes.
Jackman's Allen has concerts done on stage, and here is where he breaks the fourth wall and talks to the audience. Jackman's ad-libs and rapport with the audience is both dynamic and effervescent. He holds the audience by the palm of his hand. He would ask the audience questions, which we replied back-causing him to deliver some hysterical one-liners. Jackman was having a ball! In fact, several times throughout the evening during these "concert" scenes, he would look out into the audience and say, "You are a hot audience! I love it!".
Jackman has the majority of the music to sing, which must be taxing and exhausting. None of this was visible at the matinee performance. Some personal highlights include, "The Lives of Me", "Love Crazy", "Quiet Please, There's A Lady On Stage", "Not the Boy Next Door", "Bi-Coastal", "Everything Old Is New Again", and "I Still Call Australia Home".
The best song of the entire production (besides that wild finale) is when Jackman sings, "Once Before I Go". This is a haunting ballad that soars and ends with a thunderous crescendo. Within the song it modulates, thus Jackman follows those chord transgressions with a crystal clear tenor voice that fills the entire theater. Jackman sang with a sympatric heart filled with dark pain & loneliness. It should be said this actor has such stage presence that it could fill Yankee Stadium! Jackman sang this final ballad from the heart and soul of Allen, and in all honesty you could feel it.
I have attended many broadway shows, and this was the only second time in my life where I saw an audience leap from their seats and give a number a standing ovation. The first was when I saw Jennifer Holiday tear into "And I Am Telling You" in DREAMGIRLS.
The second time was after Jackman belted and brought forth his heart in "Once Before I Go". After following Peter Allen's life in this autobiographical musical, the lyrics are more poignant and painful. This audience stood for what had to a 3-4 minute standing ovation for this singular song. Jackman simply stood there. A single light on his face, a black piano behind him. You could see his emotions taking in this never ending wave of screams, hoots, hollers, and applause to what he just did on stage. These are those magical, emotional moments in musical theater history that you never forget.
Ironically the aforementioned DREAMGIRLS that I saw Holiday do this was at the Imperial. And here we are again with Jackman and OZ. Hmmmm.
Right behind Jackman in the tour de force performances is Isabel Keating as "Judy Garland". Keating has Garland perfectly down, from the mannerisms, to the grandiose hand gestures, to the walk, and especially the voice. That Garland voice! Keating creates that same shaky vibrato that Garland had as she got older. But Keating has Garland so well down that you honestly do get goose bumps on your arms. You truly believe that is Garland on stage, alive and singing. Its both magnificent and beautiful to watch all at once.
No better example of this is when Keating AKA Garland belts through "All I Wanted Was the Dream". As "Liza Minnelli", Stephanie J. Block was attacked by the gotham critics as not being 100% "Liza". Truth be told, Block does not sound at all like Liza, both in voice or song. But she does create an aura of Minnelli nonetheless. Block has her big moment in the dance filled up-tempo of a number called, "She Loves to Hear the Music". Which she sings in front of large Plexiglas letters drenched in red that spell out her name. This is all to reflect Liza actually doing a number from Kander & Ebb's THE ACT.
Block is quite good and at times does capture Minnelli, but its more of a touch and go here. Jarrod Emick is sadly wasted in this production. This is in no way fault to the actor. He's simply sacked with a book that does not flesh out his storyline to the fullest potential, and there is a lot of dramatic weight that could have been played here.
Regardless Emick still delivers a solid performance as "Greg". His scene work with Jackman is the most soul stirring of the evening. Emick also sings with a melancholy touch, "I Honestly Love You". Which Allen actually wrote for Olivia Newton John.
But there is a little tyke that actually will have your jaw drop to the floor. Mitchel David Federan is superb as the young Peter. He gets one big number at the top of the first act, "When I Get My Name in Lights". This kid is just extraordinary! He dances like a young Tommy Tune. The little moppet taps, does wings, flips over a piano, and simply brings the house down! He is marvelous!
While you do get a sense that the creators tried their best to steer far away from the darker periods of Allen's life, the musical still does have an affecting heart.
I honestly don't know, nor doubt that anyone will be able to fill Jackman's sequined shoes once he leaves the show. He is the show, period. It is one of those performances that you see only once in a great while on the great white way. And its worth every cent.
I strongly suggest you do the following: Walk into the Imperial with an open mind, leaving whatever bitter comments or negative press you may have read or heard outside in the cold, New York air. If you go into the theater wanting to be just entertained, and not expecting Tolstoy or Tennessee Williams, you are in for a very entertaining, and at times deeply emotional evening. I honestly do not understand patrons who shell out money to go see a show just to tear to pieces. No, this musical is not perfect, but it actually is much better than what you may have heard or read. And it starts with Jackman.
RATING: A- |
