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Hey, Look Me Over!
Conceived by Jack Viertel; directed by Marc Bruni
Performances February 7-11, 2018
Vanessa Williams (center) in Hey, Look Me Over! (photo: Joan Marcus)
City Center’s Encores has as its mission to resurrect obscure or unjustly forgotten musicals for a week’s worth of semi-staged performances. And for the first show of its 25th anniversary season, we got something called Hey, Look Me Over!, a look at shows that even Encores has passed over for whatever reason—it’s 2-1/2 hours of excerpts from nine musicals that opened on Broadway between 1957 and 1974, but have been (mostly) unheard of since their short runs.
The show’s conceit is that Bob Martin—of Drowsy Chaperone fame—comes onstage as our MC of sorts, introducing the performances and giving us some context, along with some hoary (and a couple of amusing) theater and political jokes. But despite the creakiness of the concept, there is the music and the performances, which is why we are all in the theater in the first place.
To be sure, a lot of what is excerpted for Hey, Look Me Over! is not top-drawer—it’s easy to hear why Cy Coleman’s Wildcat (which includes the evening’s title tune) or Charles Strouse’s All-American have remained obscure—but even when the material isn’t top-notch, the performers are. Take Vanessa Williams, who dazzles in two numbers from Jamaica, a show with music by Harold Arden that was a vehicle for Lena Horne. Or Bebe Neuwirth, who snarls spectacularly as the jaded cruise hostess Mimi in Noel Coward’s witty Sail Away, which was written for Elaine Stritch (whom I saw in a 1999 Carnegie Hall concert version).
Clifton Duncan kills it in “Never Will I Marry” from Frank Loesser’s Greenwillow, Judy Kuhn and Marc Kudisch sing an appealing “Shalom” from Jerry Herman’s Milk and Honey, and Alexandra Socha takes center stage for a thrilling “Look What Happened to Mabel” from Herman’s Mack and Mabel, a flawed but lively musical I saw at Canada’s Shaw Festival in 2007 and which definitely deserves a second life somewhere on a New York stage.
Although the finale—“Give My Regards to Broadway” from George M., with sensational tap-dancing and a surprise guest—is anti-climactic, Hey, Look Me Over! remains a delightful evening of sheer entertainment, skillfully directed by Marc Bruni, choreographed by Denis Jones and conducted by Rob Berman, whose Encores Orchestra is, as always, the evening’s true highlight.
New York City Center, 131 West 55th Street, New York, NY
Fire and Air
Written by Terrence McNally
Directed and designed by John Doyle
Performances through February 25, 2018
Marsha Mason, John Glover, Douglas Hodge and Marin Mazzie in Fire and Air (photo: Joan Marcus)
One of Terrence McNally’s most popular plays, Master Class, had opera’s great diva Maria Callas at its center. Now McNally turns to ballet for Fire and Air, about fabled Russian impresario Serge Diaghilev, who formed the groundbreaking troupe Ballets Russes in the early 20th century, and his volatile personal and professional relationships, including those with his favorite dancers: Vaslav Nijinsky, his first muse and erstwhile lover, and Léonide Massine, who took over after Nijinsky’s spot after he ran off and got married.
McNally’s play mainly chronicles Diaghilev’s time in Paris, when he took the dance world by storm with his stagings of Debussy’s The Afternoon of a Faun and Stravinsky’s historic The Rite of Spring—which caused a riot at its 1913 premiere. There are also glimpses of Diaghilev’s life away from stage rehearsals, as he alternately relies on and pushes away his oldest friend/cousin/first lover Dima, childhood nanny Dunya—who, improbably, is still taking care of him—and a Russian countess, Misia, whose husband finances Diaghilev’s art.
McNally, who has done his research, combines factual detail with imaginative flights of fancy. But Fire and Air (a nicely evocative title, from Diaghilev’s self-description) ends up an unsatisfying jumble of biography and fictional re-imaging; John Doyle’s typically stripped-down production (consisting of a few chairs and two large mirrors) cleverly visualizes these scenes of an artist’s life from, as it were, different angles.
As the dancers, James Cusati-Moyer (Nijinsky) and Jay Armstrong Johnson (Massine) are lithe and athletic, their toned bodies speaking more eloquently than their acting. The cast’s veterans are Marsha Mason (an amusingly doddering Dunya), Marin Mazzie (a crisply elegant Misia) and John Glover (a believably Russian Dima).
As Diaghilev, British actor Douglas Hodge gives a broad but good-humored portrayal that at times reminded me, unaccountably, of both Nathan Lane and Dom DeLuise. But Hodge does make Diaghilev relatable as more than a self-pitying genius, which gives Fire and Air its intermittent vigor.
Classic Stage Company, 136 East 13th Street, New York, NY
Blu-rays of the Week
The Gruesome Twosome
Schlockmeister Herschell Gordon Lewis’ murderous 1967 drama plays like a bloody mess of a black comedy, as its atrociously bad acting and inept storytelling let it approach Ed Wood levels of ineptitude.
Still, the amusingly fake “gore” sequences are worth a look; as a bonus, another Z-level guilty pleasure from Lewis in 1967, A Taste of Blood, is included, as are Lewis’ intros to and commentaries for both films, along with interviews. The movies, unsurprisingly, have not been restored, but look as good as can be expected.
Henri-Georges Clouzot’s Inferno
One of France’s greatest directors, Henri-Georges Clouzot never finished his pet project, 1964’s Inferno, which chronicled an extremely jealous husband who believes his young and beautiful wife is committing adultery.
In 2009, Serge Bromberg and Ruxandra Medrea took what was shot, screen tests of performers Romy Schneider and Serge Reggiani, interviews with crew members like then-assistant Costa-Gavras and current actors Bérénice Bejo and Jacques Gamblin (to speak the main characters’ dialogue in added scenes) for this illuminating glimpse at what went wrong and what could have been. There’s an excellent hi-def transfer; extras are Bromberg’s introduction and interview, and featurettes about the unmade film.
In 1961, Roberto Rossellini made this historical drama to commemorate the centenary of Giuseppe Garibaldi’s unification of Italy: like Rossellini’s historical masterpieces that followed—The Taking of Power of Louis XVI, Socrates, Blaise Pascal—it consists of talky polemics, but adds low-key re-creations of the battles Garibaldi fought in Sicily and on the Italian mainland.
The restoration and hi-def transfer are immaculate; extras comprise a severely cut English-dubbed version (for American release), an interview with Rossellini’s assistant Ruggero Deodato, and a video essay by Rossellini expert Tag Gallagher.
DVDs of the Week
This clumsily-executed dramatization of a clever idea (which might have made a decent Twilight Zone episode) pits a young woman trapped in a hospital during a hurricane, where she finds herself in recurring nightmare scenarios, like Groundhog Day gone fatally wrong.
Buoyed by the ingratiating dual presence of Danielle Harris in the lead and Katie Keene as another female stuck in this possible time warp, the movie gets a bit of mileage out of its premise before falling apart long before its 85 minutes are up. The lone extra is a cast and crew commentary.
It Takes from Within
In director Lee Eubanks’ laborious, increasingly oppressive drama—which borrows liberally from David Lynch, Stanley Kubrick and Terrence Malick (among others)—an unnamed couple planning to attend a burial find themselves confronting increasingly malevolent forces from within and without.
Although the black and white photography is starkly beautiful, the actors are ill at ease with the cryptic and pretentious dialogue, which triggers intermittent snickers throughout. The lone extra is Eubanks’ commentary.
Victoria—Complete 2nd Season
In the second season of this absorbing series about Queen Victoria’s first years of her imposing 63-year reign, the English monarch has her growing family to worry about as well as her dealing with constant domestic and international crises.
Led by the delightfully natural Jenna Coleman as the queen—she particularly shines in a wonderful sequence when Victoria and husband Prince Albert (a solid Tom Hughes) get lost in the Scottish countryside and spend a night in an elderly couple’s modest home—the series has grown into an interesting historical drama. The series’ 10 episodes look spectacular on Blu; extras include a Christmas episode and featurettes.
The Flight of Dragons
Although this 1982 animated feature from TV producers Rankin/Bass (best known for seasonal classics Rudolph the Red-Nosed Reindeer, The Little Drummer Boy and Santa Claus Is Coming to Town) is based on a book by Peter Dickinson, its dragons, warlocks, wizards and Dark Ages setting make it seem like a Lord of the Rings rip-off. (Rankin/Bass did an animated Hobbit.)
It’s an entertaining adventure with James Earl Jones, Victor Buono, Harry Morgan and James Gregory lending their dramatic voices—but hearing John Ritter as a benevolent dragon (!) is strange. The restored feature looks gorgeous; for comparison, check out the washed-out standard-def TV version, included as an extra.
The Hanging Tree
A proficient director of westerns, Delmer Daves helmed this 1959 drama with a typically laconic Gary Cooper as a doctor with a secret in his past who sets up a practice in a small mining town.
With an array of colorful supporting characters played by Maria Schell, Karl Malden, Ben Piazza and George C. Scott (in a fine film debut as a fiery preacher), and picturesque Washington State locations, this downbeat melodrama is worth a look. Shot in technicolor, the film looks splendid in hi-def.
This 1966 omnibus film stars Silvana Mangano, then-wife of producer Dino de Laurentiis, who brought together five Italian directors for an extremely hit-or-miss showcase for his talented and beautiful spouse. Mangano is terrific throughout, but is at her voluptuous best in both the first and final sections, directed by Luchino Visconti and Vittorio de Sica respectively.
The latter is also intriguing because Clint Eastwood plays her husband, dubbed into Italian of course. One of the extras—the other is a commentary by critic Tim Lucas—includes an English-dubbed version with Eastwood speaking in his own voice.
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