NEW YORK >> It’s in-between seasons now on Broadway, with the final curtain drawn for 2018 as the big reveal of the fall shows proceeds in full gear.
Clearly, Bette Midler in “Hello, Dolly!” was the pinnacle of the old past; I finally got to see her strut her stuff, since she returned for the show’s final six weeks ending Aug. 25. And wow, wow, wow, she was back breaking record numbers (grossing $2.3 million in the final week) at Shubert Theatre, second only to the invincible champ “Hamilton” ($3.2 million).
One of the early entries for the new season is the musical of the beloved film, “Pretty Woman,” dealing with the iconic love story between a prostitute (played by Julia Roberts in the film) and her suitor (Richard Gere). The newbie, at the Nederlander Theatre boasts keen voices but a so-so script, so has drawn mixed reviews. It looms as a box-office hit, however, due to positive buzz and solid advanced sales. If audiences respond, critical darts won’t matter.
Noteworthy: Broadway has ramped up color-blind casting, with African-American performers taking on traditional white roles, part of a developing trend of diversity. Also emerging: gender-blind casting. Talent matters, not skin color or sexual orientation. …
A recap:
“CAROUSEL”
Imperial Theatre
A Rodgers & Hammerstein musical, directed by Jack O’Brien, choreographed by Justin Peck, based on Ferenc Molnar’s play “Liliom”
>> Who: Joshua Henry, an African-American, leads a vocally exquisite cast as carnival barker Billy Bigelow (customarily portrayed by a white actor), alongside Tony winner Jessie Mueller (Carole King in “Beautiful”) as Julie Jordan, the young mill worker who gives up everything for him. The bi-racial casting brings new tension and passion, with another plus: opera star Renee Fleming as Nettie Fowler delivers the powerful “You’ll Never Walk Alone.” And whoa, a cadenced corps de ballet makes this carousel spin anew.
>> The takeaway: This is Rodgers & Hammerstein’s darkest musical, with domestic violence issues — Billy hits Julie — and prime #MeToo fodder. It’s complex, brooding, but ultimately beautiful. …
“HELLO, DOLLY”
Shubert Theatre (closed Aug. 25)
A musical by Jerry Herman and Michael Stewart, originally choreographed and directed by Gower Champion, newly choreographed by Warren Carlyle and directed by Jerry Zaks
>> Who: Midler as Dolly Gallagher Levi was a match made in Broadway heaven; she earned four standing ovations during the performance I saw, and a sweeping, grand one at the final curtain. The Hawaii-born Divine Miss M earned her name over the title, displayed discipline and demonstrated her diva skills, and savored every moment of the hurrahs, with repeated twinkle in her eyes and winks of joyous gratitude. The impeccable cast — reunited for the finale — featured the splendid comedics of David Hyde Pierce as Horace Vandergelder, the irrepressible Gavin Creel as Cornelius Hackl, and a flirty Kate Baldwin as Irene Molloy.
Betty Buckley leads the national touring company of “Dolly,” beginning Oct. 2, at Cleveland’s Playhouse Square.
>> The takeaway: Nobody does it Bette-r. Incredibly, her first starring role on the Great White Way earned her a Tony Award. …
“SPONGEBOB SQUAREPANTS”
Palace Theatre (closing Sunday)
A musical by Kyle Jarrow, with songs by various artists, directed by Tina Landau and choreographed by Christopher Gattelli, based on the Nickelodeon animated series by Stephen Hillenburg
>> Who: The critters from Bikini Bottom, where SpongeBob (Ethan Slater) lives in that underwater pineapple, assemble for an improbable but charming rendezvous where neon hues (bright orange and greens, in particular) and pop tunes prevail. The denizens fret the ruination of their underwater world, so everyone is in panic mode, including Patrick Star (Danny Skinner), Squidward Q. Tentacles (Gavin Lee), Sandy Cheeks (Christina Sajous), Eugene Krabs (Brian Ray Norris) and Sheldon Plankton (Wesley Taylor). Kitschy but an irresistible guilty pleasure.
>> The takeaway: Inventive costumes (like Squidward’s four-legged pants), amazing theatrics, and everything from skateboarding to bouncing basketballs assault all senses, in appealing waves. Score a ball at the final curtain, and you can take it home.
“PRETTY WOMAN: THE MUSICAL”
Nederlander Theatre
A musical by Garry Marshall and J.F. Lawton, with music by Bryan Adams and Jim Vallance, directed and choreographed by Jerry Mitchell, based on the movie by Lawton
>> Who: Samantha Barks as Vivian Ward and Andy Karl as Edward Lewis form an attractive pair; she has the vocal chops (as Eponine in the film version of “Les Miserables”) and he has mounting box office appeal since starring in “Rocky” and “Groundhog Day” on Broadway; his smooth baritone voice is an asset. While the rom-com chemistry has not yet fully jelled, throngs are loving this musicalization, likely to become a classic for the generation not familiar with the movie. Karl clearly is the prevailing Broadway leading man oozing charm; his off-stage wife, Orfeh (who plays Kit De Luca, Viv’s older gal pal), is feisty and fun; Eric Anderson’s dual roles (Happy Man, Mr. Thompson) provide chuckles.
>> The takeaway: Can a hit musical without a hit song still be considered a hit? …
And that’s “Show Biz.”
Wayne Harada is a veteran entertainment columnist. Reach him at 266-0926 or wayneharada@gmail.com.
