Putting It Together - Mark Taper Forum, Los Angeles 10/21/98

I saw a preview of Putting It Together at Mark Taper Forum. This was my first trip to Mark Taper which is such a beautiful medium size theatre: it�s like a huge circular pillar building from outside, but inside, 750 seats let you see the stage perfectly from anywhere. My seat was on 7th row slightly right center just behind an aisle, so I had a really great view.

I was so excited to see John Barrowman, a true Hunk in person at last! But before the show started, I spotted HIM! (No, not that HIM, and if it was HIM, I would have bribed one of the audience sitting near him to switch the seat and watched his profile during the show!) It was the last preview night, so Sir Cameron was there with the director, Eric D. Schaefer, the artistic director at Mark Taper (I think) and the music director for the numerous ALW musicals (David?) for a final check up. They sat the last row of the theatre and very few people apparently noticed them. I rushed up to Sir Cameron and said "Sir, I just want to tell you that I REALLY enjoyed THE FIX, and I LOVE Philip Quast. Please, bring him to Broadway really soon!" --- NOT! I knew that he was there on business and didn�t want to be bothered, so although he was standing a foot away from my seat and I really wanted to tell him that I cannot wait to see the next production of THE FIX soon, I left him alone. Still during the intermission, I spotted Eric at the bar, so I talked him that I went to the Signature, saw and enjoyed the FIX. He was pleasantly surprised to hear that. I saw this creative team fiercely discussing right after Act I, so the opening show may have been a little different from what I saw.

Bob Crowley created a very simple, raised stage where occasionally several square boxes rise from the floor doubling as chairs and a table. Projected images (by Wendall K. Harrington) on the back wall were often used, and before the show started, a projection of buildings in Manhattan was on the wall (as well as painted on the side walls), so I did not realize that they created miniature apartment (various sizes) rooms on the wall. Actors actually come in and sing in these rooms simultaneously, which added the depth on the stage. The band was located the side of the stage behind the wall. There were three doors at the back of the stage, and the setting reminded me of THE FIX at the Signature Theatre. I guess Eric likes the three doors for entrance and exist. I think the projection was used very effectively for setting up each scene. As a revue show, there is very little dialogue nor storyline (only a loose plot), so switching one song to another needed additional help like projection.

I have never seen Putting It Together, but from what I read, the major change in the show Eric did was that Julie, played by Susan Egan is no longer a hired maid. She comes to the party with Barry, a young associate played by John Barrowman as his date. And this young woman won�t disappear to a bedroom with Charles, the husband. And there were many songs that were dropped from the original production and added songs for this production. For instance, Amy, Carol Burnett sings "The Ladies Who Lunch," and "Do I Hear a Waltz� was added.

In short, I think two women, Carol and Susan, triumphed in this show. Although Carol certainly isn�t Julie Andrews, and she seemed to be saving her voice for the next day (opening day) when I saw, her character definitely was very colorful, fun and cynical. The audience was rolling at her "Getting Married Today," the song written CAROL BURNETT all over! She was sensational and hilarious. I guarantee her performance in this song alone is worth half the price of the admission. Susan was robust and very charming on the stage. Her rendition of "Lovely" and "More" reminded me of her a big sunflower, yet "Soon or Later" was very sensual. I loved their duet �There�s Always a Woman� towards the end.

Having raved about the women, I have to confess, that the guys looked somewhat dull. Oh, no! Did I actually say that? Well, as a fan of John Barrrowman, this is hard to admit: although John has a good voice, he isn�t the greatest singer in the world like Michael Ball, Anthony Warlow, or Stokes. I believe his charm shines through in a musical show where he sings, dances, and act rather than in a revue. I think a revue which has only a loose plot where he cannot work on the character development doesn�t seem to work well for him. I did not see much chemistry between Julie and Barry because in this short revue, we just cannot see who Barry is and what he is thinking. (okay, this must be the part that the audience has to use their imagination of their own as Gordon Davidson , the Artistic Director said in the flyer of the show) I have to add that John only had one real solo: Marry Me A Little, but this song didn�t give me enough to bite.

John McCook played Charles, the husband, and he simply didn�t do anything for me. Again, he isn�t the best singer either and I did not feel an ounce of sensuality or seduction in his "Hello Little Girl." I�m not asking a drop-dead gorgeous husband, I think this is a successful middle aged husband who really does not know how to communicate or love his wife any longer, but McCook wasn�t him.

Bronson Pinchot had a funny, cute opening number, which he delivered with a perfect timing, but he looked somewhat stiff time to time on the stage. I could see that he was trying very hard but haven�t been able to enjoy performing on the stage. I kept thinking what if Robin Williams was doing this role. Bronson had a solo near the end Buddy�s Blues, which was supposed to be funny, but it got boring pretty fast at this time.

Maybe because I am not too familiar with a revue style show, and I just love the storytelling aspect of a show, I got a few gripes about this production. Still, it was fun Steven Sondheim galore night and I was pleased to see John in person.

Putting It Together - Mark Taper Forum, Los Angeles 10/27/98

I saw PIT again on Tuesday. I wanted to bring something for John this time, but I couldn't think of any. So the last minutes I picked up See's candies box at the airport. When I got to the theatre, it was like 7:20 pm, and I had a note that I needed to leave at the stagedoor (a note to an understudy for John and Bronson, David Engel, another handsome guy!), so I went inside the stagedoor and asked a person to give it to David. When I was existing the door, I noticed a post about "stage call" or whatever the time the actors and staff have to be in the theatre on the door, it said "Tuesday, 7:30pm." So I decided to wait for John. Before John arrived, Carol came with two security guards, wearing a cap. She passed by me about 10 inches away. Then 5 min. later, John arrived in a bright red sweater!! Holy cow I never met a guy who looks so marvelous in a red sweater. Before he entered the stagedoor, I walked up and gave the bag to him saying I'm going to see the show tonight. He said thank you and enjoy the show. Funny thing was, before the door closed, he was already peeking inside of the bag! He had such a beautiful smile. It's really amazing how charismatic he is off stage.

My seat was on the front row, really in front of where John sits on the edge of the stage during Act II. I call it "John Barrowman drooling seat." The theatre was about 80% full and the curtain time was delayed about 10 to 15 minutes because the theatre did not fill until then. (note: the show did very well as the time passed by and when I returned in November, each show was sold out even on weekday and there was a cancelation line.) I understand that it was Tuesday night but with this show, with this cast, especially it just opened, I was a little worried that the theatre isn't full. I only recommend the front seats for die hard John, Carol, Susan fans. The effect of the projection images diminishes unless you sit a little back. Any seats after the first aisle would be great.

A person who was the preview described that John looked "effeminate," but I think it was party due to his eye make up. When I first saw him during the preview, I noticed that John didn't look "right." And at the second viewing, I realized it was his eye make up. I think he uses the eye liner, which is unnecessary. Who is the make up artist?! He doesn't need any make up on. I really like John and Susan's "I'm unworthy of your love," but it's sang in the upper part of the stage (apartment rooms on the wall), and I wish they sang on the sage. His Marry Me a Little was pretty good, but I was still having a problem with his character, so it sounded a bit superficial. (but after the show, a young man said his life was forever changed after listening to the song, holly I thought that's was overdramatic thing to say but who am I to say?) John has a really wonderfully beautiful voice. I need to see him in a musical show though.

Oh, I have to mention that during the song, Marry Me a Little, he actually looked at me briefly and sang at me. That was worth $47.00! John McCook winked at me twice during the show, but having mentioned about his performance in my report previously, it made me uneasy. Carol's Ladies Who Lunch is really good, but Not Getting Married Today was sang very slowlllllllly, still she couldn't keep up with the tempo. I thought her performance of this song in the last preview was much better (because Cameron was there?).

Tuesday night (I don't know if it's every Tuesday or just certain dates) was Q & A session with the cast after the show (I didn't know that, how lucky I was), so I stayed. The session was about 15 to 20 minutes, and it was very informative. Bronson said he was told he could choose either "Buddy's Blues" or "Losing My Mind" if he could make it funny and he chose Buddy's Blues. Everybody said Eric is such a wonderful director to work with. Oh, when John came out, he had a couple of chocolate in hand saying he loves the chocolate, it made me so happy to hear that. And I noticed that he was wearing a pair of mules. MULES!! That made him look really effeminate. But he was more thrilling and funny during this session than in the show. Isn't this odd? He was joking around so much. Did I mention he was so GORGEOUS and AGELESS? I mean this man never ages. I bet he sold his soul to the devil.

So after the show, I went to the stagedoor hoping to catch John. He was with this friends/guests on the way to a dinner, so he didn't have much time but I managed to ask him for an autograph. He thanked me for the chocolate saying "See's candies is my favorite!" When in doubt, send some chocolate!

Now I want to see David Engel as Barry or Observer, he is really handsome yet down to earth guy. I wish I live close to L.A. so that the last minute understudy notice comes around, I would go to see it again.

So when I heard that Natalie Toro (The FIX, CATS, Les Miserables, Zombie Prome) would be Eva, and the touring company is coming to San Francisco, I was overjoyed. I've seen her in CATS in SF also, but what I remember the most is her role, Tina, in The FIX and she was amazingly sexy and had a great voice. The scenes between she and Stephen Bienskie were steaming hot, and the chemistry between them was unbelievable.

Therefore, I was so excited to see her again, and this time in a title role. Still I was a bit worried that the reviews of this tour have not been, shall I say, too kind or satisfactory in the previous cities. Many people were blaming on the sound system or Natalie's voice sounds "too screechy," and some blamed on the weak casting. But I decided not to be swayed by others' review. Some people disliked The FIX but look what happened? (Four Olivier Award nominations (one win) and 11 Helen Hayes Award nominations) Still, I was a bit worried because of the theatre the Evita tour is playing. Last two times I went to Opheum Theatre, the sound system was absolutely awful and many others complained too. I was hoping they have fixed the problem.

I shouldn't have worried that much. The sound system at the theatre was fine and Natalie sounded great. She sounded a bit nasal when she was 15 years old Eva, but she gave a beautiful rendition of "Don't Cry For Me Argentina." Also her comic timing was impeccable. She portrayed Eva as power-hungry and full of ambition, which was fine but I'd rather see more complex character.

The added bonus was Raul Esparza as Che. Boy he could sing! He is not only gorgeous but has an impressive pipe. I just loved keep listening to his voice. My favorite song, "High Flying Adored," was sung beautifully, and he was hilarious at the aristocrats' scenes. "and the Money Kept Rolling In (and out)" was another great song for Che, but livelier and animated choreography could have helped the scene much more. I hope to see him in many other productions in the future.

Although I enjoyed the show, I still have comments to make. This is non-Hal Prince production that is Broadway Bound. Yet many scenes reminded me of Hal Prince's production. If the producers want to launch this production on Broadway, they have to work on the choreography A LOT. Most of the choreography seemed so amateurish, it was almost embarrassing. Especially the big number in Act 1, "Buenos Aires" should sparkle on the stage to grab the audience's attention in after gloomy opening. I understand that it is a tour production so the number of the ensembles is limited. Yet with creative choreography, you can create an illusion of energetic festivity and liveliness.

The stage totally lacked those emotions. The same goes to "Money" scene. You would expect this is to be a big number but you just can't get it from the stage.

Also, the excess use of the slides and film bothered me a bit. I liked the way they showed the actual clipping of Eva's European tour during "Rainbow High," but the usage during other scenes were simply too much. I didn't pay $70 to see a semi-filmed musical.

All in all, I enjoyed the show but there was nothing new or surprising (except the talent of Raul) in the production, which was unfortunate. Because the very reason why I go to see a revival (and I'm not a big fan of revivals) is to discover something-new interpretation of the show. This company simply couldn't offer me "it."

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