The Big Apple, Part the First.

In which I leave and spend my first day in NYC.

My flight, scheduled for 11:00 a.m. Chicago time, was delayed 2 hours due to cloud cover in NYC. LaGuardia only had one runway open for incoming and outgoing flights. Eventually, they opened a second runway, and we were off.

I arrived at LaGuardia, got my luggage, and took a taxi to the West Side YMCA, my modest home for the trip. I arrived at my room at 4:30. It was like a dorm room-- spare, bland, but clean. I had kind of a cool view of the Upper East side from my window, shown here. I took out my ticket for Young Frankenstein to double-check the theatre... lucky thing I did, as I noticed that the curtain was at 7:00 p.m., not 8:00! I quickly changed, then got on the subway at 59th St. and walked out onto 42nd St... just as I had remembered it. Full of light, life, energy, people... and a lot of stagehands walking around with picket signs. I grabbed some pasta for dinner and got myself to the Hilton Theatre with plenty of time to spare. My seat was the back row of the orchestra, center, right in front of the tech booth. Excellent seat.

The show was delightful and amusing. I agree with some points I've read in the reviews: Roger Bart in the Gene Wilder role of Frederick Frankenstein (pronounced Frohnk-en-shteen) was just kind of there. His singing and dancing were charming, but he doesn't seem to embody the descent into madness that Wilder so beautifully personified. His intentions and motivations are never clear. Megan Mullally was divine in the Madeline Kahn role, and her speaking voice sounded reminiscent of Charles Busch's lady cop in the campy film Psycho Beach Party. Sutton Foster was delightful and Andrea Martin (Frau Blucher) and Christopher Fitzgerald (Igor) stole the show, in my opinion. I disagree with reviewers who feel Susan Stroman went over the top with the "Puttin' on the Ritz" number, or that it was too long. It was fantastic, and this show needs a showstopper like that. Shuler Hensley's Monster was brilliant in this number.

My biggest critique is of the score. It's all re-hashes of songs we've heard before, both by Mel Brooks as well as many others. It's musical comedy 101. Mel Brooks' score for The Producers worked so well because the show was a send-up of Broadway itself, so the songs were essentially pastiche. Here, the songs seem forced and inserted uncomfortably. One or two of them are cute ("He Vas My Boyfriend" is hilarious, mostly because of Andrea Martin), but in general, the songs are a dumb yawn.

After the show I was exhausted from my travels, so I went to my room and went right to bed.

To be continued with Part the Second, In Which I Meet a Porn Star and a Little Mermaid.