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Jonathan Groff in Just in Time. Credit: Matthew Murphy and Evan Zimmerman |
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Christine Cornish, Jonathan Groff, and Julia Grondin in Just in Time. Credit: Matthew Murphy and Evan Zimmerman |
In order for this gimmick to work, you need a supremely gifted star and Groff is it. He grabs the audience from his first breathtaking entrance, emerging from beneath McLane’s gorgeous bandstand on an elevator. He is introduced not as Darin, but in his own person. Then he jokes about the setting (“I love playing the basement of Wicked”), explains the premise, and then seamlessly launches into the first exuberant number, establishing this will be a fun evening, not a dark dirge. Groff is amazing, soulfully and energetically putting across song after song, executing Lewis’ razzle-dazzle dance steps and delivering a fully-realized portrait of the charming, brash, arrogant, yet lovable Darin.
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Gracie Lawrence in Just in Time. Credit: Matthew Murphy and Evan Zimmerman |
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Jason Gotay and Jeremy Jordan in Floyd Collins. Credit: Joan Marcus |
It’s not clear what Landau is trying to say here. Is it that the burgeoning media circus surrounding Floyd’s plight foretells our modern exploitative pop culture? Is that dreamers are crushed by corporations as Floyd is crushed by rocks? (The federal government eventually takes over the land Floyd sought to develop as an attraction.) Is it that Floyd’s big ambitions are at odds with his farmer father who can’t understand why he wants to crawl under the ground instead of growing crops above it. Landau introduces several messages and as a result none emerges clearly.
Landau has also dug herself into a hole, figuratively as well as literally. Once Floyd is trapped after the expositional first number, apart from fantasy and flashback sequences, he is stationary throughout the rest of the show. Guettel gives him long, reflective arias to warble while immobile and flat on his back. Despite being sung by the magnificently expressive Jeremy Jordan, several minutes from these solos could be cut without losing any impact.
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Lizzy McAlpine and Jeremy Jordan in Floyd Collins. Credit: Joan Marcus |
As a director, Landau does her best to bring vibrant life to this confused, static story, but doesn’t quite make it. Lighting designer Scot Zielinski masterfully transforms the suggestive set by the design team dots into Floyd’s labyrinthine underground maze.
Off-Broadway, a smaller-scale musical attempts to put across a timely take on a relevant issue and largely has positive, if somewhat preachy results. All the World’s a Stage, presented by Keen Company at Theater Row Theater, employs a sparkling cast and tuneful orchestra of four each to tell the tale of a gay high school teacher in 1990s rural Pennsylvania reaching out to a misfit student through their mutual love
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Elizabeth Stanley, Eliza Pagelle, Matt Rodin, and Jon-Michael Reese in All the World's a Stage. Credit: Richard Termine |
of the theater. Adam Gwon’s score is enchanting and clever while his book is mostly heartfelt if occasionally reminiscent of an Afterschool Special in its overearnestness. Jonathan Silverstein’s staging steers clear of stereotypes and moves smoothly with flowing transitions. Matt Rodin movingly portray Rick, the closeted teacher. Jon-Michael Reese juggles flamboyance with fierceness as Michael, his boyfriend and the owner of queer-friendly bookshop. Elizabeth Stanley pours tons of emotion into the role of a supportive school secretary, but would she be bursting in copious tears over the plight of a work acquaintance? As Sam (short for Samantha) the alienated student, Eliza Pagelle is the find of this show. She runs the proverbial gamut from rebellious brat to shattered loner in song and speech. She’s the heart of this heartfelt intimate piece, a musical celebrating the love of the stage.
Just in Time: April 26—Nov. 30. Circle in the Square, 235 W. 50th St., NYC. Running time: two hours 30 mins. including intermission. telecharge.com.
Floyd Collins: April 21—June 22. Lincoln Center Theater at the Vivian Beaumont Theater, 150 W. 65th St., NYC. Running time: two hours and 30 mins. including intermission. lct.org.
All the World’s a Stage: April 15—May 10. Keen Company at Theater Row Theater, 410 W. 42nd St., NYC. Running time: 100 mins. with no intermission. bfanny.org.
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Matt Rodin and Eliza Pagelle in All the World's a Stage. Credit: Richard Termine |
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