Encores! Great American Musicals in Concert (Series)

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    Sutton Foster and Michael Urie Reunite in the Zany ‘Once Upon a Mattress’

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    The hit Encores! production has transferred to Broadway, with a cast fiercely dedicated to entertaining its audience.Princess Winnifred and Prince Dauntless are goofy and playful characters. In most musicals, they would provide comic relief from the main story line. But in “Once Upon a Mattress,” it’s the funny people who rule, both literally and figuratively.All the more so since Winnifred and Dauntless are played by Sutton Foster and Michael Urie in symbiotic performances that are highly controlled and precise while maintaining the appearance of off-the-cuff abandon.And with the rest of the cast mostly following suit, it is refreshing to see actors so actively dedicating themselves to entertaining their audience. This kind of unabashed reveling in the joys of strutting your stuff appears to be in demand, too, judging by the recent success of “Oh, Mary!” and “Cats: The Jellicle Ball.”The family-friendly “Once Upon a Mattress,” which premiered in 1959, is a good fit for the Encores! series — which stages shows that are rarely revived and presented this one in January. Now the production has transferred, with some changes in the supporting cast, to the Hudson Theater on Broadway.Like many Encores! entries, Mary Rodgers and Marshall Barer’s variation on the Hans Christian Andersen tale “The Princess and the Pea” would probably struggle to crack anybody but a tween’s Top 10 list of the best musicals ever.Also like many of those entries, “Once Upon a Mattress” turns out to be surprisingly sturdy in the right hands. Rodgers’s music is zingy and Barer’s lyrics often deploy sneakily enjoyable wordplay (“I lack a lass; alas! Alack!”). Just as important, the book by Barer, Jay Thompson and Dean Fuller is engineered to let gifted comic actors run loose — it is no coincidence that Carol Burnett originated the role of Winnifred.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Review: A Glorious ‘Titanic,’ Returned From the Depths

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      Maury Yeston’s score, stupendously played and sung, is the star of the final production of an excellent Encores! season at New York City Center.Among the 1,500 people who died aboard R.M.S. Titanic on April 15, 1912, eight were musicians, playing through the ship’s last hours to solace themselves and their doomed companions. It seems only fitting, then, that among the many ways to love the splendid Encores! revival of “Titanic,” which opened on Tuesday at New York City Center, the best is as a tribute to the power of music to address the largest and gravest human emotions.And what music! Though fully a modern theatrical work, the score by Maury Yeston harks back to the grandeur and pathos of period English symphonists. In “Godspeed Titanic,” his glorious hymn to the ship upon its departure, it’s Elgar and Vaughan Williams you hear. When Peter Stone’s book requires a more expository style to depict the class contrasts onboard, it often arrives in the operetta voice of Arthur Sullivan. For comic bits and social dances, Yeston ventriloquizes ragtime and early salon-style jazz. All of this is wound together in a seamless composition that could almost stand on its own.Or at least it could in the Encores! revival, which features one of the series’ largest orchestras — larger even than the one in the pit at the show’s 1997 Broadway premiere. Here the 30 instrumentalists are fully visible, on a platform above the stage, responding to the music direction of Rob Berman with full drama and no schmaltz. Seeing them play almost continuously as the action below hurtles toward disaster — there are nearly two hours of music in a production that’s barely longer — further echoes and honors the efforts of their Edwardian colleagues.The cast of 32, especially when singing en masse, does the same for the lost passengers. (The vocal arrangements are thrilling.) At times, the beauty and force made me cry, then blew the tears out of my eyes.A focus on musical excellence is more than just a welcome return to the Encores! mission (as this entire season has been). That mission — to revive shows that would be difficult to produce otherwise, in simple stagings that prioritize the spirit of their original musical intention — is a bull’s-eye for “Titanic,” which thematically and otherwise depends on its size. Even so, it is a test for the series, which, over the years, has enhanced its sets, costumes and choreography to a nearly commercial level, sometimes at the expense of other values.But in approaching “Titanic,” the director Anne Kauffman, represented on Broadway this season by the exquisite “Mary Jane,” has moved decisively back toward bare bones. Not that there was much choice: An Encores! revival could not begin to encompass the show’s drama by visual means, as the original Broadway production did with massive decks lifting, tilting and sliding. In that version, the ship’s architect, Thomas Andrews, was killed by a rogue piano.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Jelly’s Last Jam’ Review: A Musical Paradise, Even in Purgatory

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      Did Jelly Roll Morton “invent” jazz, as he claimed? A sensational Encores! revival offers a postmortem prosecution of one of the form’s founding fathers.That painful history can be alchemized into thrilling entertainment is both the central idea and the takeaway experience of “Jelly’s Last Jam,” the jaw-dropping Encores! revival that opened on Wednesday at City Center. Especially in its first act, as it tells the intertwined stories of Jelly Roll Morton and the early years of jazz, it offers up wonder after wonder, in songs and dances so neatly conceived and ferociously performed that in the process of blowing the roof off the building they also make your hair stand on end.It might not be immediately apparent from its strange framework that the musical could produce such an effect. The book, by George C. Wolfe, who also directed the 1992 Broadway original, introduces us to Morton (Nicholas Christopher) at the moment of his death. That’s when he is greeted, in a kind of nightclub limbo, by Chimney Man — so called because this forbidding psychopomp, played by the fascinatingly strict Billy Porter, sweeps souls to their destination. Accompanied by a trio of louche, bespangled “Hunnies,” he first puts Morton through a recap of his life, with an emphasis on his lies, betrayals and musicological self-aggrandizement.Tiffany Mann as Miss Mamie, a local blues singer. One of her powerhouse numbers points Morton on the road north.Sara Krulwich/The New York TimesHow many of those lies and betrayals really happened is unclear; most of the musical’s specific situations and supporting characters seem to be inventions or conflations. But the self-aggrandizement is all too real. Morton, not content to be merely a great pianist and composer in the early years of jazz, repeatedly claimed to have “invented” the genre. It is for this sin — a sin against history but also against Blackness — that the show seeks to prosecute him.If only real trials were as entertaining. Morton’s privileged but stifling youth in a wealthy, light-skinned New Orleans family is sketched in a series of numbers that efficiently establish the expectations of the Creole class and his rebellions against it. Like most rebellions, his involve exposure to different kinds of people; when the boy (beautifully played by Alaman Diadhiou) sneaks into the dives and brothels on the Blacker side of town, the sounds of tinkers, ragpickers, beignet men and voodoo vendors, layered and compressed and powerfully polyrhythmic, open his ears to a new kind of music.As presented here, that music is sensationally catchy. (Though mostly Morton’s, it also includes material written by Luther Henderson for the 1992 production.) Somewhat miraculously considering its knottiness, it has been set with lyrics, by Susan Birkenhead, that spark and sparkle. In numbers like “The Whole World’s Waitin’ to Sing Your Song,” she weaves scat and slang and classic Broadway wordsmithery (“Slide that sound/Roll that rhythm/Syncopate the street-beat with ’em”) into a multipurpose dramatic net.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘Jelly’s Last Jam’ Returns, Bringing a Jazz Tale to a New Generation

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      Jason Michael Webb, the show’s guest music director, said he wants audiences at the musical about Jelly Roll Morton to experience “a time period that does not exist anymore.”The team behind the Encores! revival of “Jelly’s Last Jam” is not looking to reinvent George C. Wolfe’s ambitious 1992 Broadway show. But they do hope that this rendition, opening on Wednesday at New York City Center, will introduce the musical to a new generation.Taking that idea a step further, Jason Michael Webb, the show’s guest music director, said he also wanted audiences “to immerse themselves in a joy in a time period that does not exist anymore.”That joy comes via the story of jazz and the works of Jelly Roll Morton, a ragtime pianist who said he invented the genre in 1902. In “Jelly’s Last Jam,” Morton is portrayed as a conflicted soul, a mixed-race man of Creole descent whose light hue gives him privilege in his hometown, New Orleans. He rebels against his heritage and soaks in the music of economically disadvantaged Black people, stirring up dissension in his family. He goes out on the road and becomes a well-known musician. Yet as jazz music’s popularity swells, Morton’s impact on it is forgotten. He’s a pioneer but isn’t given proper credit for it.John Clay III and Nicholas Christopher rehearsing last week at New York City Center before the show’s two-week run, which begins Wednesday.Nate Palmer for The New York TimesWhile Morton’s music is the centerpiece here, the show also features lyrics by Susan Birkenhead and additional compositions by Luther Henderson. In his review of the production, which starred Gregory Hines and Savion Glover as the older and younger versions of Morton, the Times critic Frank Rich called the first act “sizzling,” adding, “at once rollicking and excessive, roof-raising and overstuffed, you fly into intermission, high on the sensation that something new and exciting is happening.”The Encores! production features slightly tweaked arrangements by Webb, a Broadway veteran and Tony Award nominee for his orchestrations for “MJ the Musical.” Nicholas Christopher (“Sweeney Todd”) and Alaman Diadhiou take on the older and younger Morton roles, respectively, and other cast members include Billy Porter, Joaquina Kalukango, Leslie Uggams and Okierete Onaodowan.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ‘The Light in the Piazza’ Through an Asian American Lens at Encores!

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      A new Encores! staging of the 2005 musical, starring Ruthie Ann Miles, considers what it is like to feel like an outsider, at home and abroad.Inside a New York City Center studio, at a rehearsal for the Encores! revival of “The Light in the Piazza,” two young lovers in 1950s Italy were meeting for the first time.“This is my mother, Margaret Johnson,” Clara, a suddenly smitten American tourist, said to Fabrizio, a local Italian.“Johnson,” Fabrizio repeated, connecting the name to a then-popular Hollywood star. “Van Johnson?!”“Yes!” Clara enthused.“You are — relative?” Fabrizio asked.“No, no,” the mother, Margaret, cut in.And then, so too, did the director, Chay Yew. He turned to Ruthie Ann Miles, the Tony-winning actress playing Margaret, with a note.“Van Johnson is white,” Yew said, gesturing at his own Asian face.The group nodded. They started the scene again, and when Miles got to her line, she drew out the “noooo” while encircling her own Asian face with her finger to make the contrast exceedingly clear to the lovestruck Fabrizio.The move sent onlookers into a fit of laughter.“In the great works of art, there are ways to find more life between sentences and scenes,” said Chay Yew, who is directing the Encores! production.Jeenah Moon for The New York TimesNothing in the book, music or lyrics of this Tony Award-winning 2005 Broadway musical has been changed in the revival, which opens on Wednesday for a short run. But the casting of Asian American actresses in two of the main roles has reframed the musical to emphasize its exploration of the otherness — an otherness that some Asian Americans often feel in the United States and elsewhere. Without revisions, that point of view will have to come through in Yew’s direction and the actors’ interpretations.When Miles (“The King and I”) agreed to play Margaret, Yew began thinking about homing in on her background as a Korean American to further explore the experience of feeling like an outsider. The spike in anti-Asian violence during the pandemic, Yew said, was still very much front of mind.“No matter how Asian American you are, you’re always going to be the perpetual foreigner. The face that we wear,” Yew said, “always makes you feel that you do not belong in this country.“So I was interested in, well, what does it really mean to explore the outsider status in this particular musical?” Yew, a playwright and director of shows like “Cambodian Rock Band,” added. “It actually helps open up the music a little bit more. I think in the great works of art, there are ways to find more life between sentences and scenes.”“The Light in the Piazza,” which originally starred Victoria Clark as Margaret and Kelli O’Hara as Clara, tracks a woman and her daughter on vacation in Italy. Love is at its heart: Clara (Anna Zavelson) falls for Fabrizio (James D. Gish); Margaret wants to disrupt the romance to protect her daughter, who suffered a brain injury as a child that renders her childlike even as an adult; and Margaret herself is stuck in a seemingly loveless marriage to a husband who stayed at home in North Carolina.It is the Johnsons’ status as tourists — outsiders in a foreign land — that allows preoccupations with Clara’s disability to fade, her love to blossom and Margaret’s perspective to shift such that she can begin to let her daughter go. In leaving home, both women, in a sense, find themselves.Nothing in the book, music or lyrics of “The Light in the Piazza” has been changed in the revival, which opens on Wednesday at City Center.Jeenah Moon for The New York TimesFor Asian Americans, determining exactly what and where feels like home can be tricky. Clint Ramos, who designed the set with Miguel Urbino and is part of the Encores! leadership team, recalled having seen the show 10 times during its original run. He had moved to New York from the Philippines, and the idea of becoming totally immersed in a new place — and loving it — resonated. “Every time was ugly crying,” he said of seeing the musical.Miles was at the top of the Encores! list for the role of Margaret. (In his 2005 review of the show, Ben Brantley wrote that the character “qualifies as a blessing for those in search of signs of intelligent life in the American musical.”) They felt Miles “was virtuosic enough to actually handle the score, but also such an excellent actor,” Ramos said.With the role cast, Yew and Miles studied the history of Korean immigration and determined, for subtext, that Miles’s Margaret could have come to the United States in the early 1900s to study art and learn English, then met her white husband, settled in the South and eventually had a child.Miles, who has been juggling this show with her Tony-nominated role as the beggar woman in the Broadway revival of “Sweeney Todd,” was born in the United States, then spent a few years as a young child in South Korea before returning to the U.S. with her mother. She recalled learning English while growing up in Hawaii as her Korean language skills diminished and becoming frustrated with her mother’s stubborn accent and lack of concern, unlike her friends’ parents, about things like having nice clothes. Over time, she said she even developed a sort of bitterness toward her mother.“And so I carry all of these stories and these ideas with me when we’re building Margaret,” she said.Zavelson, who graduated from high school last year and is making her professional New York debut in the musical, has always wanted to sing the score, but said she had never seen someone who looked like her play the role of Clara. Zavelson said she is Japanese American and Jewish.Anna Zavelson, as Clara, above with Gish, who plays Fabrizio, said she never “pictured myself being able to sing that role” because it’s usually filled by a white actress. Jeenah Moon for The New York Times“I don’t think that I had pictured myself being able to sing that role,” Zavelson said, because Clara has usually been played by a white actress. “Growing up, I think every kid is like, ‘Wouldn’t that be fun if I did this?’ But once you get to middle school, high school, and start to realize that you’re perceived differently by certain people, I think a lot of me was kind of like, ‘Oh, well, I’ll let that role die.’”“But seeing that Ruthie was attached to it just kind of lit something inside of me,” she continued. “I’m from Texas and Margaret and Clara are from North Carolina. So it’s not the same geographically, but having a Southern Asian American with a last name like Johnson isn’t actually that far from me.”And despite the effects of Clara’s injury, she is a generally upbeat, optimistic young woman who is warmly embraced by Fabrizio’s family, Zavelson said.So although the actors were still exploring their characters during rehearsals last week, Zavelson said she suspected many of the race-conscious nuances layered into the performance would manifest through Margaret, and the mother-daughter interactions between Clara and Margaret. To what extent does Margaret have an internalized fear of racism that makes her more hesitant to embrace Fabrizio and his family? How have her experiences as an immigrant toughened her? And how does that toughness play out in Margaret’s interactions with Clara?Exactly how to integrate the feeling of racial otherness into the show was also an ongoing challenge for the cast.“Maybe it’s slight racism from other people in Italy, whether it’s a gesture or a look,” Miles said.Miles also saw “The Light in the Piazza” on Broadway, and said she immediately noticed the “sweeping orchestration and beautiful vocals and this really human story of love and grief and regret.”But as she has played back the music in the years since, it speaks to her differently.It is no secret, she said, that she and her husband, Jonathan Blumenstein, have endured tragedy. In 2018, their daughter, Abigail, 5, was killed, and Miles herself critically injured when they were struck by a car while walking in Park Slope, Brooklyn. Miles was pregnant at the time, and two months later, near her due date, lost the baby.“I really feel the ways that Margaret tries to be strong and wants to let everybody know that she is in control and everything is OK,” Miles said. “But then what happens when the doors are closed?”When Margaret finally allows herself to be vulnerable for the audience, she continued, it could become a way for her personally “to finally take a breath and show perhaps a little bit more of the true me.”“Hopefully it’s not until the end of the show,” she added. “Because I won’t recover.” More

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      Coming to City Center: ‘Pal Joey,’ ‘Titanic’ and the 20th Fall for Dance

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      Also among next season’s highlights: Encores! revivals of “Once Upon a Mattress” and “Jelly’s Last Jam,” and dance works from Pam Tanowitz and Lyon Opera Ballet.Concert re-stagings of “Titanic,” “Once Upon a Mattress” and “Jelly’s Last Jam”; the unveiling of a previously announced rewrite of the Rodgers and Hart musical “Pal Joey”; and dance works by Lyon Opera Ballet and Pam Tanowitz: New York City Center has announced plans for an ambitious 2023-24 season, one in which it will celebrate its 30th Encores! series and the 20th Fall for Dance festival.“It’s a season that’s equal parts hilarity, innovation and operatic scale,” Lear deBessonet, the artistic director of Encores!, a concert series that revives classic and rare musicals, said on Wednesday in a news release.A highlight will be City Center’s gala presentation: an adaptation of the 1940 musical “Pal Joey” (Nov. 1-5), now set in a Black community — the South Side of Chicago in the 1940s — starring Ephraim Sykes as Joey Evans, a jazz singer who refuses to compromise his craft in the face of racism, and Jennifer Holliday (a Tony winner for “Dreamgirls”) as a nightclub owner. The production, directed by Tony Goldwyn and Savion Glover with a new book by Richard LaGravenese and Daniel Beaty, will also feature Aisha Jackson (“Once Upon a One More Time”) and Elizabeth Stanley (“Jagged Little Pill”).Frank Sinatra with Rita Hayworth, left, and Kim Novak in the 1957 film adaptation of “Pal Joey.”Columbia Pictures, via AlamyThis is a new direction for “Pal Joey,” which originally featured white characters; in 2021, the producer Jeffrey Richards said he would bring this re-conceived version to Broadway during the 2022-23 season, which just ended without the show. Now the delayed production will have a City Center run instead — and after that, who knows? Two of this season’s Tony-nominated musical revivals, “Into the Woods” and “Parade,” started at City Center.City Center’s season will kick off with its 20th Fall for Dance festival (Sept. 27-Oct. 8), which will include a collaboration between Sara Mearns of City Ballet, the choreographer Bobbi Jene Smith and the bass-baritone Davóne Tines, co‐presented with Vail Dance Festival; as well as the premiere of an original work by the street dance artist Ephrat Asherie and the tap dancer Michelle Dorrance. The two-week festival will also include performances by Birmingham Royal Ballet, led by the director Carlos Acosta, and by Bijayini Satpathy, an interpreter of the classical Indian dance form Odissi.In January, the main Encores! series begins with “Once Upon a Mattress,” the 1959 musical comedy adaptation of the Hans Christian Andersen fairy tale “The Princess and the Pea” with music by Mary Rodgers, lyrics by Marshall Barer, and a book by Jay Thompson, Dean Fuller and Barer. Sutton Foster (“Anything Goes,” “The Music Man”) stars as the brassy, lovable Princess Winnifred the Woebegone, the part that made Carol Burnett a star in 1959. DeBessonet will direct a new concert adaptation (Jan. 24-28) by Amy Sherman-Palladino, the creator of the television series “The Marvelous Mrs. Maisel.”It will be followed by “Jelly’s Last Jam,” the 1992 Broadway musical about the life of the jazz pioneer Jelly Roll Morton, with a book by George C. Wolfe, lyrics by Susan Birkenhead and music by Morton and Luther Henderson (Feb. 21-25). The original production won three Tony Awards, including best lead actor for Gregory Hines and best featured actress for Tonya Pinkins. It will be directed by Robert O’Hara, with casting to be announced.The series will conclude with a revival of Peter Stone and Maury Yeston’s 1997 musical “Titanic,” which recounts the 20th century’s most famous maritime disaster (June 12-16). The original production (no connection to James Cameron’s epic film) won five Tony Awards, including best musical, but has never received a Broadway revival. It will be directed by Anne Kauffman, with casting to be announced.City Center’s 2023-24 lineup also includes over a dozen dance offerings, among them Lyon Opera Ballet in “Dance,” the choreographer Lucinda Childs’s 1979 collaboration with the composer Philip Glass and the conceptual artist Sol LeWitt (Oct. 19-21); as well as the choreographer Pam Tanowitz’s “Song of Songs,” which fuses David Lang’s choral settings of the biblical poem with movement inspired by Jewish folk dance (Nov. 9-11).To close out the year, Alvin Ailey American Dance Theater, the center’s resident dance company, will celebrate its 65th anniversary with a season (Nov. 29-Dec. 31) that includes Ronald K. Brown’s “Dancing Spirit,” a 2009 work that mixes African diaspora and American modern dance styles. More

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      ‘Oliver!’ Review: Tunes, Glorious Tunes, in a Grimly Cheerful Revival

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      The Encores! production, directed by Lear deBessonet, looks to deepen and darken a musical that resists the change. But it’s still delightful.Though the orphan boys at the workhouse are beaten regularly and fed only gruel, the sign looming above them reads “God Is Love.”That grim irony, underlining the practice of child labor in the supposedly advanced society of 19th-century London, is echoed in the spooky sounds you hear as the Encores! production of “Oliver!” begins: brass murk, woodwind rasps and stringy insectlike buzzing. Has Lionel Bart’s musical, based on the Dickens novel “Oliver Twist” and first seen on Broadway in 1963, been turned into “Sweeney Todd”?The version that opened a two-week run at City Center on Wednesday, directed by Lear deBessonet, is certainly grimmer than any “Oliver!” I’ve seen, which isn’t many; it’s seldom done professionally, for both casting and structural reasons. But the underlying high spirits of Bart’s adaptation, stuffed with tunes that are merry even when they’re sad, cannot long lie dormant. Soon the boys — a wonderfully uncloying ensemble — are bursting with mirth as they sing and dance to “Food, Glorious Food,” a number so irrepressible (with choreography by Lorin Latarro) that even a heavy concept can’t weigh it down.Which is not to say a serious approach is unwarranted. Recall that Dickens, who was himself sent to work in a boot polish factory when he was 12, refers to Oliver in the first sentence of the novel as an “item of mortality” — more a death-in-progress than a life. And Bart, at least in his lyrics, does not stint on bleakness; even the bouncy title song is violent, proposing various ugly fates for the boy who dares to ask for more food.“What will he do when he’s turned black and blue?” Mr. Bumble, the workhouse beadle, asks gleefully, in six-eight rhythm.Foreground from left: Lilli Cooper, Raúl Esparza and Pajak deliver terrific turns in Lear deBessonet’s production, our critic writes.Sara Krulwich/The New York TimesBut deBessonet’s entertaining and beautifully sung production, featuring terrific turns by Lilli Cooper as the proud doxy Nancy and Raúl Esparza as the criminal den leader Fagin — as well as a touching one by Benjamin Pajak in the title role — is at this point still too muddy to be convincing as sociology, let alone drama.Partly that’s the result of the extremely short Encores! rehearsal period, which compresses what probably needs months into 12 days. The staging is sloppy in places, and the violent bits involving Bill Sikes (Tam Mutu), which in a rethinking like this should be shocking, aren’t. Spoiler alert: It appears that Nancy’s dress, not Nancy herself, is bludgeoned to death at the end.The other difficulty in reframing “Oliver!” for 2023 is built into the material. Like many musicals made from doorstop novels, it cherry-picks the plot so vigorously that what’s left can hardly support the songs. (The Encores! production uses a further abbreviated script.) Oliver’s transit from the workhouse to an undertaker’s establishment to Fagin’s hide-out, spread across eight chapters in the Dickens, takes what seems like a blink of an eye here. It becomes thin gruel indeed.And the songs themselves are problematic. Though there is barely a dud in the score, and many (like “I’d Do Anything” and “Oom-Pah-Pah”) are so hummable that the audience joins in almost subliminally, they are not so much dramatizations of the action as ditties vaguely suggested by it. “Consider Yourself,” the number in which Fagin’s pickpockets, led by the Artful Dodger (Julian Lerner), welcome Oliver to the gang, opens out illogically into a full-company number featuring buskers, laborers, flower girls and 20 extras — children from New York City schools — in a way that screams unreconstructed musical comedy.Julian Lerner, center left, as the Artful Dodger in a number with Pajak, other cast members and students.Sara Krulwich/The New York TimesYou wouldn’t want to prevent that; there’s too much pleasure to be reaped. Bart was an untrained tune savant, a latter-day Irving Berlin; if the songs are so hummable it’s probably because his composition method was built on humming them to an amanuensis.For “Oliver!” that meant delightful numbers even where a modern musical would say none was needed. “I Shall Scream!,” served up with raucous good humor by Brad Oscar and Mary Testa as Mr. Bumble and Widow Corney, is utterly beside the point, as is “That’s Your Funeral,” a similarly bouncy number for Mr. Sowerberry and his wife (Thom Sesma and Rashidra Scott) even though they are funeral directors.However inapt as drama, and however much real estate they steal from the development of a richer plot, such songs serve an important function, like the witty prose of the novel. They make the darkness of the tale bearable, almost literally — bearing you through the story.Nor is it just the music that has that effect, though it’s always jaunty. (Except when, in songs like “Boy for Sale,” “Where Is Love?,” “Who Will Buy?” and “As Long as He Needs Me,” it’s show-stoppingly lovely.) The lyrics do similar uplifting work. Though deBessonet has referred to them as “harrowing,” that quality is often undermined by the intricate rhymes, many built on cockney pronunciations (uppity/cup o’ tea) that can’t help but produce a smile.That makes the project of darkening the show difficult. Though the busily atmospheric orchestrations by William David Brohn, created for a 1994 production at the London Palladium, expand the number of musicians to 21 from 12, I’m not sure that the originals, with more of a music-hall than a symphonic quality, didn’t match the material better. Likewise, the overlay of deBessonet’s vision sometimes obscures more than it reveals.But perhaps we do not need “Oliver!” to be a Gesamtkunstwerk. Dickens intended the tale, after all, as popular entertainment, serialized over the course of two years and highly indulgent of gaudy melodrama.Also, of course, in its presentation of Fagin, indulgent of antisemitism. Compulsively referred to as “the Jew” in the novel and often played with a prosthetic nose and a Yiddish accent in earlier productions, Fagin is an awful caricature even though Bart, born Lionel Begleiter, was Jewish.Esparza — sallow-eyed, greasy-haired and perpetually sniffly, but without prosthetics — dials that down almost to zero, though the music still bears traces of Fagin’s religion in the klezmerlike violin-and-clarinet accompaniment to the song “Reviewing the Situation” with which deBessonet thoughtfully ends this production.The song asks: “Can somebody change?” Fagin’s doubtful answer is “S’possible.”I too am doubtful about the possibility of change, at least for musicals like “Oliver!” (And keep in mind that in the Dickens, Fagin is eventually executed.) They can’t all be “Sweeney”; they don’t have the bones for it. But that doesn’t mean it’s not worth reinvesting in what made them meaningful in the first place, if dividends of delight keep coming. For that, I’d do anything.Oliver!Through May 14 at New York City Center, Manhattan; nycitycenter.org. Running time: 2 hours 20 minutes. More

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      ‘Oliver!’ Returns, With Darker Twists Intact

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      The emphasis Encores! puts on words and music rather than spectacle allows the cruel realities of Dickensian London to stand out amid the bouncy tunes.It was 10 a.m. on a recent morning in a rehearsal room at New York City Center, and nine boys scurried around the space, clutching parasols of red and white lace, tin cups and jaunty pocket squares.“OK, everyone!” said Lorin Latarro, the choreographer of the show, a new staging of “Oliver!,” the Lionel Bart musical opening at City Center on Wednesday for a two-week run as part of the Encores! series. “Today we’re going to work on ‘I’d Do Anything.’”The boys gathered around Raúl Esparza, who is playing Fagin, the lovable London crime lord, in a battered brown hat with a buckle, tan overcoat and black fingerless gloves.“Would you risk the ‘drop’?” he sang, his eyes bugging as he grabbed his scarf and mimed a noose tightening around his neck. (Translation: Are you willing to go out and commit robbery and possibly face the gallows if you’re caught?) All nine pickpockets in training nodded enthusiastically.“Oliver!,” based on the Charles Dickens novel “Oliver Twist,” is the story of an orphan’s search for belonging in that band of young pickpockets in 1830s London. It mixes fun, candy-coated musical theater crowd-pleasers like “Food, Glorious Food” and “Consider Yourself” with darker Dickensian themes including poverty and domestic violence.“The show has these really harrowing lyrics even in songs that are upbeat,” said the production’s director, Lear deBessonet. “And I think that in some productions, you may just be bobbing along with the rhythm of the song, and you might not really hear those words.”But that’s generally not the case in the concert-like stagings that Encores! is known for. Although there is an orchestra onstage, props and sets are minimal.“Because you strip away some of those other production elements, it really puts a new focus on the lyric,” deBessonet said. “It’s meaty work for me as a director to figure out how to tell the story with so few elements.”When deBessonet, now in her third year as the artistic director of Encores!, was setting the season lineup in late 2021, just before the Omicron surge of Covid-19, she was struck by the parallels between the uncertain present and the perilous world of Dickens’s day.“It’s interesting that ‘Oliver!’ is generally thought of as a family musical,” she said in a recent conversation in her office at City Center. “It certainly has these very winsome tunes, and the cast of children is delightful beyond measure, but there are dark edges of the story that we’re very much leaning into and exploring in this production.”Lilli Cooper, left, as Nancy, and Angelica Beliard, right, dancing with Benjamin Pajak, who plays Oliver in the musical.Jeenah Moon for The New York TimesMANY OF THE SONGS FROM ‘OLIVER!’ have become well known, thanks to the popular 1968 film adaptation, which starred Ron Moody as Fagin. This crowd-pleasing musical is a staple of school stages across Britain, where it debuted in London’s West End in 1960, and the United States, where it opened on Broadway in 1963 and won three Tony Awards, including one for the score. But “Oliver!,” like many of the shows staged by Encores!, whose mission is to offer revivals of seldom-seen work, is rarely produced in full.It hasn’t been professionally staged in its entirety on a New York City stage in nearly 40 years, since the short-lived 1984 Broadway revival that starred Patti LuPone as Nancy. In fact, neither deBessonet, nor any of the five main cast members except for Benjamin Pajak (“The Music Man”), who plays Oliver, had ever seen a live performance of the show.David Jones as the Artful Dodger (in top hat) and Georgia Brown, beside him, in a number from the musical “Oliver!” on “The Ed Sullivan Show” in 1964.CBS Photo Archive/Getty ImagesIn addition to Esparza (“Company”), the show also stars Lilli Cooper as Nancy, the romantic partner of the brutal Bill Sikes (Tam Mutu, recently of “Moulin Rouge! The Musical”), and Julian Lerner, who plays the Artful Dodger, the leader of the gang that takes Oliver in.Underscoring the musical’s darker bits, deBessonet said, like the fear and loneliness the orphaned Oliver experiences, was a matter of subtraction rather than addition. Without elaborate sets or showstopping production numbers there are fewer elements competing to divert the audience’s attention from the words of the actors.But neither did the production need to amp up the grim with foreboding lighting or a fog machine, she said — the darkness is already inherent in Dickens’s text, and in Bart’s book, score and lyrics.“We’re trying to have those words be heard with the belief that the complexity is in the lyric itself,” she said.One example, she said, is the titular tune “Oliver!,” a song familiar to many, even those who haven’t seen the show, for its high-spirited chorus.“It’s this really bouncy song,” deBessonet said, “but the actual lyrics are:There’s a dark, thin, winding stairwayWithout any banisterWhich we’ll throw him down and feed him on cockroachesServed in a canister.The show does preserve many of the musical’s more lighthearted elements. Every song from the original Broadway production remains, including bouncy numbers like “I’d Do Anything” and “You’ve Got to Pick a Pocket or Two.” The dreamlike sequence “Food, Glorious Food,” with its visions of sausages and mustards, jelly and custard. And 20 additional performers, all New York City public school students, will join the company onstage for “Consider Yourself,” the boys’ full-voiced embrace of Oliver into their ranks — the first true family he has known.“The show is incredibly challenging — the domestic violence, the treatment of children at that time in general is truly harrowing,” deBessonet said. “And yet there’s this buoyant joy about these numbers.”And the emotional core is still the camaraderie that springs up between the striving, working-class characters.“The whole narrative question of the show is ‘Where is the love?’ and Fagin is one answer,” deBessonet said. “But it’s complicated.”Even though the Fagin of the Bart musical is more of a lovable curmudgeon than the child-exploiting criminal in the Dickens novel, deBessonet and Esparza said that they wanted the audience to remain cognizant of the less-savory context of his mentorship.“I fully believe Fagin loves those children, and he is exploiting them,” deBessonet said. “He’s sending them out to rob for him, to keep him alive, and he knows that every time he sends them out, there’s a possibility that they could get caught or killed.”Less complex is Bill Sikes, who is objectively the show’s most loathsome character.“Bill Sikes is a sociopath, and there is no end to his cruelty,” deBessonet said of Nancy’s abusive boyfriend. “The show ends with him murdering her brutally in front of us and in front of a kid.”A model of the stage set of “Oliver!”Jeenah Moon for The New York TimesBut Mutu knew he didn’t want to play a one-note villain. Instead he searched for the humanity within the character, to add nuances to his portrayal without offering redemption.“People aren’t black and white,” he said. “There are levels to each of us. Yes, I am playing a sociopath who has violent tendencies —”“— but he has redeeming qualities,” Esparza interjected. “Which are?”They both laughed.“The love between Nancy and Bill is genuine,” Mutu said, referring to their codependency as fascinating. “I’m trying to find the sense of the complexity of our relationship, which I think gets brushed under the carpet.”Normally, deBessonet said, she would have no interest in doing a production that includes violence toward a woman — “I’ve already seen enough of that for a lifetime” — but she was impressed by Nancy’s bravery, how she risked everything to save the life of Oliver.And Cooper and deBessonet said they wanted to make sure Nancy’s murder was not the final word on her story. “Her life is about her heroism and choosing to lay down her life to save this child who not too long ago was a stranger to her,” deBessonet said.Though Nancy allows others to see her as a passive player in her own life, Cooper wanted her performance to underscore the power Nancy wields in moments like the “Oom-Pah-Pah” number, in which her lively and somewhat risqué dance is actually a means of distracting Bill Sikes and Fagin so she can help Oliver escape.“She has this innate maternal nature to her,” Cooper said, “especially with all the boys in Fagin’s den and wanting to protect them. Even with Bill, the man that she loves, she feels needed by those who are wounded and fragile and need help.”“She herself was a child thief, and she’s managed to grab hold of life with this force,” deBessonet said. “In the face of all that difficulty, she’s been able to say, ‘I’m still going to love life.”BACK IN THE REHEARSAL ROOM, the boys continued their run-through of “I’d Do Anything.” Two stood on either side at the front, wielding red parasols, while two with white ones flanked them from behind. As the boys spun the parasols to imitate wheels, Nancy and the Artful Dodger walked to center.“Would you climb a hill?” she sang, as the human “carriage” began to roll.“Anything!” he responded.“Wear a daffodil?”He nodded. “Anything!”“Leave me all your will?”He nodded more vigorously. “Anything!”“Even fight my Bill?” she asked pointedly.He recoiled slightly.“Stop!” Latarro called. She walked over to Lerner. “Bill Sikes is really tall and really scary — he’s like a boxer,” she said. “So you all jump back like ‘No way!’”They tried again.This time when Nancy asked, all nine pickpockets sprung back as though they had just realized they were standing on the third rail. Their eyes hardened.“Anything!” More

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      Review: In ‘Dear World,’ Donna Murphy Leads a Righteous March

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      Jerry Herman’s rarely seen 1969 musical is revived in an Encores! production at New York City Center.If the composer-lyricist Jerry Herman loved one thing, it was a brassy dame who bulldozes past all obstacles in her quest for the best possible life for herself. The women at the center of his best-known shows, “Hello, Dolly!” and “Mame,” are pathologically positive, speaking directly to our vanities and vulnerabilities — and are celebrated for it.Who better to teach a larger-than-life lesson than a strident diva in a bold headpiece? Such is the case with Countess Aurelia, the protagonist of his 1969 flop, “Dear World,” which New York City Center’s Encores! has revived in a blissed-out concert production that opened on Wednesday.Led by Donna Murphy, and directed and choreographed by Josh Rhodes with laissez-faire humor, it presents a smaller, looser, but still effective Herman elixir.Based on a fable-like Jean Giraudoux play, “The Madwoman of Chaillot,” Jerome Lawrence and Robert E. Lee’s book follows the Countess Aurelia (Murphy), a Parisian eccentric who spends her days al fresco at the Cafe Francis, learning to love all before her “through the bottom of the glass.” When clouds (whimsically rendered by Paul Tate dePoo III as sparse hangings above his bohemian set of chaises, trunks and old clocks) threaten her outdoor seating, she simply wills them away with folksy charisma.But her peace is disturbed when a young official, Julian (Phillip Johnson Richardson), is sent by the President (a swaggering, delectably petulant Brooks Ashmanskas) to blow up the cafe so they can drill into oil recently discovered beneath. With the water supply already affected, Aurelia leads the charge against the bureaucrats, aided by the friendly Sewerman (Christopher Fitzgerald) and her bosom buddies, Gabrielle (Ann Harada) and Constance (Andréa Burns), the Madwomen of Montmartre and of the Flea Market.From left: Andrea Burns, Murphy and Ann Harada in the revival of Jerry Herman’s 1969 musical.Sara Krulwich/The New York TimesIt’s easy to see how this fantastical musical could float away from a less confident, cleareyed director. Here, Rhodes (who helmed Herman’s “Mack & Mabel” for Encores! in 2020) emphasizes the kookiness of his well-sketched characters in a spacey way that makes everything feel, if not logical, then natural. His choreography is similarly simple, and works well for the ensemble, save for a vaguely anti-war, ballet-inspired solo performed during the entr’acte by Kody Jauron, who shines in a miming role.The score is by far Herman’s most relaxed; if “Dolly” is a bottle of Champagne and “Mame” a speedball, “World” is a Shirley Temple (Aurelia herself only ever takes one sip of wine a day). It’s perhaps a side effect from having written new material for the film adaptation of “Hello, Dolly!” that same year, with songs tailored for the close-up rather than the chorus line.The new Encores! music director Mary-Mitchell Campbell’s conducting is mostly swooning and enlivens the work, though she often opts for arrangements that warmly dissolve each number into a Parisian haze rather than charge up a triumphant belt. (Campbell, who did extensive research on the score’s many variations, has directed Philip J. Lang’s orchestrations toward a calmer phrasing than the original.) Only the crystal-clear voiced Samantha Williams, as the yearning waitress Nina, is allowed to soar vocally past the end of her stunning “I’ve Never Said I Love You.”But the intoxicating strength of the show’s leading lady still pulsates throughout — even when, as is often the case with these concert stagings, Murphy had her book in hand for the dramatic scenes. (She had to miss the first five days of rehearsal after testing positive for Covid.) Before curtain, the Encores! artistic director Lear deBessonet made the announcement, almost anxiously, but it certainly didn’t alter Murphy’s ability to deliver what she always does: an endlessly reinvigorating voice at once worldly, incredulous, curious and confident.Murphy’s Countess is a dotty, conscientious woman awoken from her comfort and determined to claim it back. If anything, Murphy’s consulting of the script amounted to a more organically astonished character, searching for the best words of affirmation in the face of encroaching danger. She first breaks through that slumber in the frenzied “I Don’t Want to Know,” which Murphy sings with captivating vulnerability.Christopher Fitzgerald, center, leads the ensemble in a tale that pits locals against the “hoards of pretentious, power-hungry, self-serving men consumed by greed.”Sara Krulwich/The New York TimesAnd Burns nearly steals the second act in her brief solo, “Memory,” a coquettish dream of past flames. She looks dazzling, as does everyone else, in Toni Leslie James’s lovingly fussy, belle epoque-tinged costumes, and Matthew Armentrout’s wigs, the best of which being Murphy’s powder-white hair to match her blanched makeup.Everyone’s a little loopy in “Dear World” (Aurelia feels the touch of her former beau, Constance hears voices, Gabrielle walks around an imaginary dog), but not as mad as the incoming corporate forces. In Sandy Rustin’s concert adaptation, and under Rhodes’ direction, these aren’t the dust-ridden old biddies for which the original script seems to call for — the three of them look radiantly alive, for starters — but headstrong women who rather mean it when they offer to kill the “hoards of pretentious, power-hungry, self-serving men consumed by greed.”Considering our current climate of reactive, out-loud politics, the melodramatic straightforwardness of Lawrence and Lee’s story doesn’t seem as far-out as it once did. Now, as then, Herman’s tuneful, yes-we-can score holds a steady beat for all to march to.Dear WorldThrough Sunday at New York City Center, Manhattan; nycitycenter.org. Running time: 2 hours 30 minutes. More