As You Like It

Shakespeare’s “As You Like It,” now presented by the Davis Shakespeare Ensemble at the charming UC Davis Arboretum Gazebo on Garrod Drive, is a strange play. Many times you want to hit the rewind button to try to figure out why things are happening, but you never do.

For example, why is Rosalind (Hayley Palmer) suddenly expelled from the palace of Duke Frederick (John Haine)? For that matter, why does Frederick suddenly decide to abdicate and return the throne to Duke Senior, his older brother? (Must be some powerful unseen holy man who convinces him to give it all up.)

However, unanswered questions aside, this is another enjoyable production by the Davis Shakespeare Ensemble, which always seems to prove that you can put on first-rate productions on a shoestring budget. This, the company’s fourth annual summer production, takes inspiration from Appalachian culture and music, with a band (Gia Battista, Richard Chowenhill, Adam Smith and Tony Dumas, who also jump into bit parts in the play) sounding for all the world like tracks off of “O Brother, Where Art Thou?”

(Those who would like to understand the lyrics would do well to check out the DSE’s YouTube site, because they are tuneful, but all but unintelligible in the Gazebo.)

Performances range from very good to outstanding. Casey Worthington cuts a dashing figure as Orlando, youngest son of the deceased Sir Roland de Bois, especially in his many classic poses designed to represent wrestling competitions in which he is competing. There is just something about this actor that strikes you as he walks on stage. He has an assurance and self-confidence that is compelling.

Orlando’s older brother Oliver is the menacing Jason Oler, whom I last saw as the playful Puck in Sacramento Theatre Company’s “Midsummer Night’s Dream.” Whether playful or menacing, Oler always delivers, and does so in this production, as he plots the murder of his brother in a wrestling match.

New to DSE, Palmer tackles the meaty role of Rosalind, daughter of Duke Senior, living in the palace of Duke Frederick until her unexplained exile. She handles the role beautifully, flitting back and forth between the female Rosalind and the male persona Ganymede, which she adopts as she travels through the Forest of Arden.

Melanie Marshall, also last seen in “Midsummer Night’s Dream,” is outstanding as Rosalind’s cousin Celia, who ultimately finds herself in love with a reformed Oliver.

Playing both Duke Frederick and Duke Senior, Haine cuts a dashing, princely figure, though he had difficulty projecting enough to make himself consistently heard in the small Gazebo.

Sarah Cohen has made Shakespeare comic figures her forte and she does not disappoint as Touchstone in this production. She is always a commanding figure and is sure to draw the most humor from her roles.

Davis native son Matthew Edwards returns from a lengthy professional career to make his DSE debut as Jacques, Orlando’s older and Oliver’s younger brother in this production. If the program did not already identify him as the only member of Actors Equity in the cast, it would be impossible not to suspect. He is a figure that you cannot ignore and his performance is impeccable, though rather than overshadowing his fellow actors, he blends in beautifully.

In the role of Phoebe, Samia La Virgne makes an impression and is very funny in the love Gordian knot that develops among all the characters.

In his notes to a 2005 production of this play by Acme Theatre Company, director David Burmester wrote that “‘As You Like It’ is a play about love: physical and intellectual love, sentimental and cynical love, love at first sight, love between friends, love between relatives, imagined love, and deep, lasting love. It is the roles we are often forced to play, either by circumstance or by societal pressure.”

The Davis Shakespeare Ensemble, frolicking in often convoluted love relationships in the Arboretum, play those roles very well.

Les Miserables

There is an old saying, “if it ain’t broke, don’t fix it.”

It was with that in mind that I approached  Cameron Mackintosh’s “new and improved” 25th anniversary production of Boublil & Schonberg’s “Les Misérables,” the final show of California Musical Theatre’s Broadway series at the Sacramento Community Theater.

“Les Mis” has long been one of my favorite musicals and I was skeptical of any rewrites or changes. I need not have worried. The look is new (designed by Matt Kinley); the musical orchestrations (originally by John Cameron) have been updated by Christopher Jahnke; and certain plot elements have been tweaked by James Fenton. But the story is all there and the emotional punch may be even bigger for the changes.

The new look starts at the very beginning. Traditionally, during the prologue, prisoners march around a bleak yard in a circle while singing. In the new version, they are oarsmen on a ship and the activity makes more sense than the circling.

Kinley’s vision for the set uses pieces which, while large, never overpower the action. He mixes these with projections that effectively help indicate movement throughout the streets and sewers of Paris, and the death in Act 2 is a breathtaking effect.

Peter Lockeyer heads the exemplary cast as Jean Valjean, arrested for the crime of stealing a loaf of bread to feed his sister’s dying child, and released after 19 years. A bitter man, Valjean takes his anger out on a bishop who befriends him (James Zannelli), only to have the bishop change his life. Valjean resolves to devote the rest of his life to doing good for humanity. Lockeyer has some thrilling moments, from the defiant “Who Am I?” to the poignant “Bring Him Home.” He is simply stunning.

Those who suffered through the terribly ill-cast Russell Crowe in the 2012 movie version of this musical will receive their reward in the powerful performance of Andrew Varela as Inspector Javert, relentlessly obsessed with tracking down Valjean and bringing him back to prison. Varela dominates every scene in which he appears.

Genevieve LeClerc inspires in the brief, but memorable role of Fantine, the factory worker forced into prostitution to save the life of her child. With recent memorable versions of Fantine’s “I Dreamed a Dream” by the likes of Susan Boyle and the movie’s Anne Hathaway, LeClerc still makes the song her own.

Valjean searches for Fantine’s daughter Cosette, being “cared for” by the Thernardiers, Timothy Gulan and wife Shawna M. Hamic. These two provide the comic relief for the show and play off each other nicely, deliciously grimy in Act 1 and clownish caricatures in Act 2.

Cosette and the Thernardiers’ little daughter Eponine are played by Ava Della Pietra and Erin Cearlock, who alternate in the roles. Della Pietra played Cosette on opening night, beautifully portraying the scared little girl, who has been exploited by the Thernardiers while their own daughter is pampered.

Briana Carlson-Goodman plays the grown-up Eponine, in love with Marius Pontmercy (Devin Ilaw), who considers her a friend, as he has fallen in love with Cosette (Julie Benko). Carlson-Goodman is heartbreaking as she walks the streets of Paris alone at night (“On My Own”). Ilaw impresses whenever he opens his mouth to sing. The “Heart Full of Love” trio by Marius, Cosette and Eponine is beautiful.

Enjolras, head of the rebelling students, is given a spirited performance by Jason Forbach, while Julian Silva as the spirited young Gavroche (a role he shares with Gaten Matarazzo) is a delight.

Marius’ “Empty Chairs at Empty Tables,” sung at the now deserted barricade, bemoaning the death of his friends, is a show highlight.

Backing all of these special performances is a large cast of factory workers, prostitutes, soldiers, rebels and townsfolk giving spine-tingling, rousing renditions of such songs as “One Day More” and the rousing finale, when all the spirits of the fallen unite on stage with the survivors to thunderous applause.

I suspect no fan of the show ever thought that “Les Misérables” needed a shot in the arm to improve it, but this new production brings a fresh approach that does not detract from, and rather improves on the original. It should be mentioned that this version is definitely R-rated with all the simulated sex being carried on by the prostitutes and their customers, but it is otherwise a not-to-be-missed production.

The Little Princess

The air was filled with excitement at the Sacramento Theatre Company on Saturday night — opening night of the world premiere of a new musical, “A Little Princess,” based on the beloved book by Frances Hodgson Burnett (author of “The Secret Garden”).

The authors of the new musical — William J. Brooke (book), Eric Rockwell (music) and Margaret Rose (lyrics) — apparently have been writing this show for almost 20 years. The first draft was presented as a staged reading at the Stages Festival of New Music in Chicago. After rewrites, the show was selected by the Dramatists Guild for its New Musicals Workshop. There, it was praised by industry dignitaries and now, at last, it was having its world premiere, under the direction of Michael Laum, STC’s executive producing director.

This show has everything one could want to make it a hit. The cast is strong, the songs are alternately pleasant and stirring, the set by Kelly Tighe works well and Jessica Minnihan’s costumes are beautiful. And yet, somehow with all these strong elements, the show just never quite gelled.

We were a good third of the way into the show before there even seemed to be a plot, though thin, and, expecting all of the disparate plot elements to come together in Act 2, it was a surprise that of the seven songs in that act, the first four did not advance the plot at all, and seemed to be stand-alone pieces. One of them may even have been an homage to “Be Our Guest” from “Beauty and the Beast.”

Yet in spite of the shortcomings of the show as a whole, there were enough really good things about it to make it an enjoyable evening. Many of the roles are double-cast and Alyssa Middleton as Sara Crewe (she alternates with Lauren Metzinger) was simply outstanding. This Davis High School sophomore and member of STC’s Young Professionals’ Conservatory carries the show and does it beautifully.

Her duet with her father (Jerry Lee) is poignant, as Captain Crewe must say goodbye to his daughter at the door of the boarding school where she will live while he is off seeking a greater fortune in India.

Lee is a memorable Crewe, with a rich voice and a love for his daughter that comes through in all of his scenes with her.

This being England, the headmistress of the boarding school is a harridan of the first order, who kowtows to Sara because of her father’s wealth, but when Sara suffers a reversal of fortune, Miss Minchin (Deborah Tranelli) shows her true colors and makes “Annie’s” Miss Hannigan look almost pleasant. She takes everything away from Sara, including her name (she is called “Girl”), and sets her to scrubbing floors.

The girls in the school never really liked Sara in the first place, especially Lavinia (Abbey Williams-Campbell on opening night, sharing the role with Meghan Greene). Lavinia is tall and blond and haughty and has nothing but bad things to say (and do) to Sara, even before her fall from grace. Williams-Campbell played her with all the icy hauteur the role requires.

On the other hand, Ermengarde (Devon Hayakawa of Davis, sharing the role with Christine Miyashiro), described by some as the “school dunce,” falls in love with the stories that Sara makes up to entertain the girls, and becomes her friend and would-be protector. Hayakawa is cute as a button and very endearing as she remains Sara’s friend even when she has been reduced to the level of a maid.

Josh Powell is Tom Carrisford, Captain Crewe’s friend, who talks Crewe into investing all of his money in diamond mine speculation, both of them falling ill before the mine begins producing. Crewe dies of his illness, and Carrisford returns to England, weak and still ill, but now rich and feeling the guilt of his partner’s death. Powell is a delight, with a comedic flair, but ultimately turning serious as he takes on the responsibility for his partner’s daughter.

Others worthy of note in the cast include Tyler Wipfli as Mariette, Sara’s French maid, who inexplicably turns up after a couple of years just in time for the finale.

Martha Omiyo Kight is marvelous as Amelia, Miss Minchin’s henpecked sister.

Tori Johnson alternates with Emma Vance as Becky, a scullery maid who becomes Sara’s friend and roommate.

And unforgettable is Michael De Souza as Ram Dass, Carrisford’s servant, who serves as a narrator for the story. His strong voice and deadpan demeanor make him impossible to ignore.

Overall, I enjoyed the show, but I wish I could put my finger on what was missing to make it the great show it should have been.

Bat Boy

 

One would hardly think of the Weekly World News as a source for material to inspire a musical, but that’s exactly where Laurence O’Keefe, Keythe Farley and Brian Flemming came up with the idea for “Bat Boy: The Musical,"  now being performed on the university’s Wyatt Stage by the student-run Studio 301, directed and choreographed by Chris McCoy.

The “real” Bat Boy was, according to the Weekly World News, a creature who was half-human and half-bat captured in 1992 in a West Virginia cave by Dr. Bob Dillon of the S.O.S. (Seeker of Obscure Supernaturals). The newspaper reported on his capture, escape and recapture a few times throughout its brief history. Editor Dick Kulpa eventually admitted the story was fiction.
Studio 301 has presented a very polished production of the horror story, with a strong cast, some fun tunes (some forgettable) played by the competent six-piece off-stage orchestra under the direction of Alex Stalarow and sung by some very strong voices.

The story opens with a very realistic depiction of sibling spelunkers Ron (Johnny Wylie), Rick (Jimmy Beall) and Ruthie (Marissa Saravis) descending into a cave near the town of Hope Falls, W.Va. They are excited to possibly be the only people to have ever descended this far into the earth, and then shocked to find a creature living there. The headlamps on each of the characters, piercing the pitch black of the theater and only occasionally flashing on the creature add to the suspense.

The creature is captured, but not before biting Ruthie, who is rushed to the hospital and lays in critical condition throughout the play. The creature, whom they name Bat Boy (Marcos Sastre III) is taken to the town doctor, Dr. Parker (John Unrath), where he is placed in a cage and becomes an object of interest for Parker’s wife Meredith (Elizabeth Tremaine) and daughter Shelley (Rachel Wagner).

Meredith takes an unusual liking to the creature and insists he be called “Edgar,” while Shelley, first repulsed by him, grows to love him. The doctor comes home to find the creature in his home and intends to euthanize him but does not when his wife promises him sex if he will not do it. Parker feels this is a way to mend his broken marriage.

Unrath and Tremaine have beautiful voices. Unrath’s startles as he begins singing “Dance with me, My Darling,” and Tremaine’s emotional “A Home for You” is stunning.

Under tutelage from the family, Edgar quickly learns how to be human. He seems to be exceptionally intelligent and, thanks to BCC language tapes, speaks with an upper crust British accent.

The townsfolks, however, who sing about “Christian Charity,” are anything but Christian. It’s another case of outsider fear and they still want to “Kill the Bat Boy,” but if that can’t happen at least they can request that he not attend an upcoming revival meeting led by the Rev. Hightower (Malia Abayon).

Act 2 is the revival meeting, which Edgar insists on attending to ask the townsfolk to “Let Me Walk Among You.” (Sastre also has an excellent voice.) The meeting quickly disintegrates when Dr. Parker announces that Ruthie has died. This sets off a series of deaths and revelations about Bat Boy’s parentage and birth, better experienced than written about.

And we also find out why all the cows are dying, a parallel curse which, with the discovery of Bat Boy, everyone assumes is his doing … but really is for quite a different reason.

This is a pretty silly show, but performed beautifully by all of the actors involved.

The opening night audience was disappointingly small and I would hope that others decide to check this show out because,  for one thing where else are you going to see it? And for another silly or not, it really is a good show.

Peter Pan

If you have children — or grandchildren — looking for something to do the next couple of weekends, I highly recommend taking them to Woodland Opera House’s sparkling new production of “Peter Pan.”

This is not the Peter Pan of Disney and you probably won’t recognize any of the songs, but this version, with book, music and lyrics by Piers Chater Robinson and directed by Angela Baltezore, is loads of fun. The theater full of young children — who sat spellbound throughout the evening and cheered at the end — attested to that (there was even one toddler, so caught up in it all that when the children’s choir marched up on stage to take their bows, he slipped out of his seat and followed them and had to be rescued by his mother).

Robinson created this adaptation of J.M. Barrie’s “Peter Pan” in 1985, following approval by the trustees of Great Ormond Street Children’s Hospital in Britain, to whom Barrie had left the Peter Pan rights. Robinson’s adaptation was further developed into “Peter Pan The Official British Musical.” It has since been performed all over the world and has been a favorite in the West End in London for the past 25 years.

Leading the cast in the title role is Emily Jo Seminoff. I first met this talented actress in 2006, when she was playing this role for the second time with Davis Musical Theater’s Young People’s Theater. It has been a delight to watch her grow up on stage and her Peter in this production is spot-on, the perfect little boy who won’t grow up and becomes confused when Wendy wants to. She also flies through the air with the greatest ease, courtesy of ZFX Flying Effects.

Seventh-grader Emily O’Flaherty tackles the role of Wendy and does it beautifully. She has a lovely voice and is wonderfully at home on stage.

Her brothers, John (Bailey Robinson-Burmester) and Michael (Makenna Harding-Davis) also deserve kudos. Robinson-Burmester continues in his theater family’s tradition and carries the torch very well, while Harding-Davis is just cute as a button in all of her scenes.

Rodger McDonald is the father of the Darling children and also Captain Hook. Was there ever a better actor for the role? As Hook he is appropriately nasty, without scaring the children in the audience, and as Mr. Darling he is all bluff and bluster, but obviously loving his children very much.

Returning to the stage after a long hiatus is Betsy Taloff, as Mrs. Darling, the mother everyone would like to have, loving and understanding, particularly when Wendy expresses a desire to return to Neverland once a year to help Peter with spring cleaning.

Stealing the show are Marcus Lucia as Nana, the nursemaid dog, and Mary Dahlberg as the crocodile who follows Hook everywhere, hoping to get another taste of him. Aided by the costume design of Denise Miles these two make very credible (and popular) animals.

Kudos also to Chris Taloff for “playing” Tinker Bell. The green light which flitted around the stage, augmented with twinkle music by musical director James Glica-Hernandez, was just perfect, especially when Tink nestled in Peter’s hands, dying. There was also lots of fun with Hook at the curtain call.

The crew of Lost Boys — Emily Miller, Ryan Everitt, Hayley Harrison, Casey Wathen, Jimin Moon and Jordan Hayakawa — were all great, and the Indian dancers — Camila Morales, Keri Ruanto, Andrew Duncan and Hunter Lamar — along with chief Horacio Gonzalez had the show stopping dance of the evening, choreographed by Angela Baltezore and Eva Sarry.

Hook’s second in command, Smee (Jeff Nauer) succeeded in making the bumbling pirate more lovable than frightening.

The production is great fun for the whole family and will only be around weekends until May 12, so get your tickets before they are sold out.

Oklahoma!

A big “Yeeow! Aye-yip-aye-yo-d-ee-ay!” to Davis Musical Theater Company for its energetic opening weekend of Rodgers and Hammerstein’s “Oklahoma!”

This show hits high marks across the board from strong direction and choreography by Jan Isaacson, a strong cast, Jean Henderson’s great costume designs (though I have to admit those cowboys had the shiniest boots I’ve ever seen!), and music direction by Chris Congdon.

“Oklahoma!,” the first musical collaboration of Rodgers and Hammerstein — who later brought the world the likes of “Carousel,” “South Pacific,” “The King and I” and “Sound of Music” — changed the face of musical theater history when it debuted in 1943, for telling an emotional story through music, lyrics and dance as had never been done before. Based on the play “Green Grow the Lilacs” by Lynn Riggs, “Oklahoma!” brought something akin to folk art to professional theater and won a Pulitzer special award and citation for music in 1944.

One dare not look too closely at the plot of this musical, for there is little there. At a time when musicals are just as likely to have a dark side as a cheery side, the story of a boy and a girl, their friends and a lunch box social is not exactly likely to provoke much psychological introspection.

The story is set in the Oklahoma territory in 1907 — the days just before statehood — and touches ever so lightly on the ongoing feud between farmers and cattlemen, though that definitely takes a back seat to the story of Curly, a cattleman, in love with Laurey, who lives on a farm with her Aunt Eller and the hired man, Jud Fry, the dark character who has his eye on Laurey, while Laurey has her eye on Curly.

Travis Nagler isn’t quite your typical pretty boy Curly, but looks every bit the catttleman and delivers solid vocals whenever he opens his mouth. His relationship with Laurey (Laura Woodruff) showed some sparks, especially in their verbal battles with one another, and they were believable in their romantic scenes.

Nagler also does his own dancing in the dream sequence with “Dream Laurey” (Kaylin Scott) and “Dream Jud” (Gabe Avila).

Woodruff was a lovely Laurey, with a beautiful soprano. I particular enjoyed her scenes of introspection, when she talks about her dreams and seems to escape into that wished-for world. It was very moving.

Mary Young reprises her 2006 performance as Aunt Eller, one of her better roles. She’s a crusty old dame, reluctant to let her softer side show, and commanding enough respect that everyone listens to her.

Outstanding was Scott Scholes, as Will Parker, in love with Ado Annie (Ashley Holm) and just returned from Kansas City, where he entered a rodeo trying to win $50 so he can marry the girl of his dreams. His “Everything’s Up to Date in Kansas City” was a real show stopper, especially with the choreography for the cowboys.

Holm is perfect as Annie, the hormonally charged young woman who just can’t say no to any man who “talks purdy” to her. In Will’s absence she decided she’s in love with the Persian peddler Ali Hakim (Avila), who eagerly returns her interest, but his own interests don’t really lead toward the altar.

Avila was fun as Hakim who is a typical traveling salesman until he finds himself in a romantic mess. He finds a clever way to extricate himself from a bad situation.

Left out of the program, but still an important character is Andrew Carnes (Michael Davis), Annie’s father who refused to permit Annie to marry Will unless Will could show some responsibility by coming up with $50 cash. For Davis, this was one to check off his bucket list, as, after a productive lifetime, he has finally appeared on stage in a musical … and has done a credible job of it too!

I always have trouble with the plot line and the character of Jud Fry (Steve Isaacson). Jud is the “bad guy,” the “outsider” whom nobody likes and who turns violent in the end. Isaacson owns this role. He brings humanity to Fry and gives the audience a glimpse of why he is the way he is. It is a beautiful and moving performance and makes me wish that Isaacson appeared on stage more often, since he is such a talented actor.

In this week, when we have once again seen the length to which “outsiders” will go when they become angry, I couldn’t help thinking of the bombers of Boston and all the other “outsiders” we have witnessed in the news in recent years.

Jud’s “outsiderness” is even more apparent when there is a more or less a sham trial following his death, in the front yard of Aunt Eller’s house, where the judge laughs and pronounces Curly not guilty of murder so the young folks can get on with their honeymoon and not bother about a more formal trial at the courthouse.

One suspects that had it been Fry who killed Curly, the response of folks would have been quite different.

However, “Oklahoma!” is not a message show, unless the message is to kick up your heels and have a good time, which the DMTC audiences certainly will have if they are fortunate enough to catch this production.

Billy Elliot

When “Billy Elliot,” the musical based on the 2000 movie, with music by Elton John, opened on Broadway, it won just about every award possible, including 10 Tonys, 10 Drama Desk awards, and 8 Outer Circle Critics Circle awards.  America took the story of a young northern England boy who just wants dance to its heart.

The show is now running at the Sacramento Community Theater and judging by the sustained cheers throughout the musical, and the standing ovation at its conclusion, Sacramento has taken the show to its heart as well.

The story is set during the 1984-85 miners’ strike and the story of the dancers intermingles with the story of the striking miners an often ingenious ways.

Billy’s father wants him to be a boxer, but after an unpleasant beginning, Billy stumbles on a dance class being held in the same building.  Intrigued, he begins to mimic the girls in the ballet class and soon is one of the students himself.  His teacher realizes that he has talent and takes him under her wing with private lessons when his father forbids him to attend the class again.

The dancing in this show is amazing.  Billy was played on opening night by Mitchell Tobin, a 12 year old from Florida who has been dancing since he was 3 years old. He shares the role at other productions with Ben Cook, Drew Minard, and Noah Parets. 

Tobin had a few minor fluffs in his dancing on opening night, but is simply amazing.  The Act 1 “Angry Dance” will leave you breathless. And as good as his dancing is, the kid is also a convincing actor who will bring you to tears.

Janet Dickinson is Mrs. Wilkinson, Billy’s dance teacher who discovers the talent in the boy and becomes a sort of surrogate mother to him when she learns that his own mother (Molly Garner) is dead.  Though she obviously cares for the boy, she keeps him at arms length, keeping the teacher/student relationship very strong.

Billy’s father is played by Rich Herbert, a bear of a man who is torn between his desire to make a man of his son and his son’s passion for dancing.

The character of “Dad” has been written, in this show, somewhat confusing.  In the movie, the struggle to accept Billy’s love of dancing evolves over time, when in the musical it seems instantaneous and somewhat unbelievable.

There are some sweet moments between Billy and the ghost of his mother, especially when it comes time for her to finally leave him.

Billy’s cross-dressing friend Michael was played on opening night by Sam Poon, who alternates in the role with Jake Kitchin.  Billy keeps Michael’s secret and their relationship is very sweet.

It was a little unsettling to see this show immediately following the death of Margaret Thatcher. The show goes out of its way to vilify the former Prime Minister for her attempts (ultimately successful) at breaking the miners’ union.  The opening of Act 2 is particularly mean-spirited, being held at a Christmas pageant where people wear Thatcher masks and wigs, a chorus of puppets are dressed as Thatcher, and an enormous inflated Thatcher rises out of the building.  At one point the lyrics include

Merry Christmas Maggie Thatcher
We all celebrate today
‘Cause it’s one day closer to your death.

while dancers carry around a grave marker with “Thatcher R.I.P.” on it.

In London, a vote was taken of the audience about whether this number should be left in the show for the night of her death and the vote was nearly unanimous that it should remain, with only one dissenting vote.

The show’s biggest problem is difficulty understanding lyrics and dialog, a combination of the difficult Northern England accent and terminology combined with the perennial acoustical problems of the Community Center theater.

However, that should not deter anyone from seeing this show.  I have been wanting to see “Billy Elliot” since it opened to rave reviews on Broadway...and it was well worth the wait!