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Kiss Me, Kate |
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Author: by Cole Porter (Music, Lyrics)
and Sam & Bella Spewack (Book)
Reviewer: Carolyn Albert for Theatre Reviews Limited |
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Broadway has a new-old hit in the revival of "Kiss Me, Kate"! What a joy it was to be reminded of the witty charm of Cole Porter's lyrics. For the rest of the season, if any new musical piles ballad upon soulful ballad, we should point the author toward the Martin Beck and order, "Buy a ticket! Learn how to entertain your audience!"
  
The only flaw (and let's get by this so we can continue the praise) is the minimal book updated with a few current jokes that elicit groans. On its own, the story ludicrous, but it does support that score, so it works: a formerly-married acting couple is reunited onstage in a musical version of "Taming of the Shrew." Their offstage spats escalate into onstage battles as Petruchio tries to dominate Kate. With glorious songs as a centerpiece, "Kate's" producers have gathered a bouquet of talents from the past few seasons and arranged them to delight our eyes and ears.
Here's Brian Stokes Mitchell whom we fell in love with in "Ragtime." His warm baritone voice enriches every number he's given. He can hold center stage solo as in "Were Thine That Special Face" or interact comedically as in "I've Come to Wive it Wealthily in Padua." His reprise of the ballad "So in Love" is chillingly good. He creates sparks with his co-star in "Wunderbar" Mitchell is the leading man Broadway has waited for: handsome and athletic, magnificent as both actor and singer.
Co-star Marin Mazzie revealed her gorgeous self and soprano voice to New York audiences in "Passion," then played the genteel mother in "Ragtime." In "Kate," Mazzie gets to show her bitch side at last, and she sparks. Her "I Hate Men" is a show-stopper indeed, and her Act I "So in Love" is quite lovely. Regrettably, Mazzie gets little chance to warble in Act II and her costumes seem less flattering than those in the first act.
An unresolved subplot pairs the second leads. Amy Spanger proves herself a fabulous dancer and strong singer as Lois/Bianca. Her "Tom, Dick or Harry" was exciting. Although she performed "Always True to You (In My Fashion)" satisfactorily, the staging of that already repetitive number soon grew tiresome.
Michael Berresse, who impressed audiences in last season's "Fascinating Rhythm," displays a good voice and extraordinary acrobatic dancing, drawing roars of approval when he climbed the set at the climax of "Bianca." Plotwise, his (unpunished) signing of another's name to a gambling IOU brings to the stage a most welcome pair, two hoodlums with literary tendencies. Lee Wilkof and Michael Mulheren provide steady laughs culminating in the classic "Brush Up Your Shakespeare," a song that stretches for rhyme with uninhibited glee.
Stanley Wayne Mathis and the ensemble provide a boffo Act II opener with "It's Too Darn Hot." Cabaret favorite Eric Michael Gillett impresses with his comic ability even in a small part. Ron Holgate carries off his caricature role and the ultimate audition song, "From This Moment On." The audience sensed a hit from the get-go when "Another Op'nin' Another Show" glided the company from Adriane Lenox' entrance to first opening night of tryouts in Baltimore. Michael Blakemore's witty direction and Kathleen Marshall's acrobatic dance routines are just the ticket - and you'll want to get yours to see a full-scale musical (Sets and costumes are yummy too!) that has everything - especially that Porter score.
Reviewed in preview, November 17, 1999
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Produced by Roger Berlind and Roger Horchow. Written by Cole Porter (Music, Lyrics) and Sam & Bella Spewack (Book). Directed by Michael Blakemore. Scenic Design by Robin Wagner. Costume Design by Martin Pakledinaz. Lighting Design by Peter Kaczorowski. Sound Design by Tony Meola. Orchestrations by Don Sebesky; Dance Arrangements by David Chase; Musical Direction by Paul Gemignani.
CAST: Brian Stokes Mitchell, Marin Mazzie, Amy Spanger, Michael Berresse, Merwin Foard, John Horton, Adriane Lenox, Stanley Wayne Mathis, Michael Mulheren, Lee Wilkof, and Ron Holgate.
Ensemble: Paula Leggett Chase, Eric Michael Gillett, Patty Goble, Blake Hammond, Tripp Hanson, Joann M. Hunter, Darren Lee, Nancy Lemenager, Michael X. Martin, Kevin Neil McCready, Carol Lee Meadows, Elizabeth Mills, Linda Mugelston, Robert Ousley, Vince Pesce, T. Oliver Reid, Cynthia Sophiea, Jerome Vivona.
Theater: Martin Beck Theatre, 302 West 45th Street (West of 8th Ave.)
Schedule: Tuesday to Saturday at 8; Wednesday and Saturday at 2, Sunday at 3.
Tickets: Box Office: At box office and Telecharge (212/239-6200); outside New York: 800/432-7250. $25-80.
Audience: Literate adults and teens; no nudity or profanity but some double entendres and suggestive movements.
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