Nine
At the 1982 Tony Awards there was major backstage drama, even before any of those sought after medallions were handed out. Nominated along with Nine for Best Musical were the biblical Lloyd Webber musical Joseph and the Amazing Techniocolor Dreamcoat and the Off-Broadway smash transfer Pump Boys and Dinettes. The final nominee was a musical about a girls singing group rise to fame, Michael Bennett's Dreamgirls. It was the student verses the teacher that year. Tune was a protégé of the great Michael Bennett. The creator of A Chorus Line directed and choreographed the 6'6" tapper to Tony glory in the musical Seesaw. Tune (according to his autobiography and several Bennett biographies) soaked in everything Bennett taught him. Now, fast-forward to 1982. Tune's Nine walked into the Tony Awards with twelve nominations, while Bennett's Dreamgirls waltzed into the battle with thirteen. It was a roller coaster night for both directors as their shows slaughtered the other two nominated musicals, sending them home empty handed. For Choreography, Bennett won over Tune, but Tune won Best Director over his teacher. The big one, Best Musical, went to Nine. It has been said that Bennett never forgave the Tony voters and Tune for this. As it turned out, Dreamgirls was Bennett's last Broadway hit and, sadly, he passed away a mere six years later in July 1987. I saw the original Broadway production of Nine (with the entire original cast) in 1982. I was so overwhelmed by this musical that I sold my ticket to Nicholas Nickelby and went back the very next night to see it again. In 2003 I saw the magnificent and powerful Broadway revival starring Antonio Banderas, Mary Stuart Masterson, Jane Krakowski and the legend herself, Chita Rivera. I went back almost a year later and saw it again with John Stamos, Rebecca Luker, Sara Gettelfinger and Eartha Kitt. For me, the revival was even better than the original. In fact, I consider it to be the finest revival I have ever seen on Broadway. Director David Leveaux solved the book problems by retooling and redefining many of the issues in the second act. Nine is is complex, layered in subtext, and requires the audience to stay focused throughout, picking up on all the emotional layers. Each time I've seen it, it has left me devastated and wanting to return immediately to see it again. The score by Maury Yeston is rich in detail, with glorious lyrics, and there are many exquisite numbers. For it to succeed, it takes a director who understands the piece—especially what is not on paper. And it takes a cast of great talent and skill to pull this masterpiece off. This might explain why Nine has rarely been prodcued in the Dallas-Fort Worth area. The last local production was by Metro Players in 1989/1990. And, with the exception of a few sparkling performances, that production was just hideous and completely devoid of subtext. So, when local community theatre company ICT Mainstage announced they were going to produce Nine, I was speechless. Most community theaters around town mount typical family themed fare and steer clear of dramatic themed musicals, especially those that rely on realism and organic subtext. Visually, the production is awe inspiring. Paul Fiorella's scenic design has overtones of the original Broadway production, with the glimmering white tile (the musical takes place in a spa). There are tile boxes for all the ladies to sit on, nicely lined up in rows. The upstage area framed in Grecian columns. The set takes up the entire stage and looks elegant. Sam Nance's lighting design is one of the most beautiful concepts I've seen on a local stage this season. The framing of light for individual, personal moments is sublime. The slathering of color upstage and around the glistening tile is perfection. I particularly enjoyed the stark white lighting that comes from the sides for dramatic effect. I also admire how the light reflects and splashes on the white tile. It is a divine touch to have the moving gobo show water reflecting in the spa. Suzanne Cranford and Michael A. Robinson's costumes also follow the original, by having the entire cast dressed in black, although they do not dress in white for the second act, as in the original. However, they went with the revival concept of dressing Guido in simple black pants, white shirt and tie. The ladies all look refined in their various black outfits, but my personal favorite is the lush gown worn by Our Lady of the Spa. The one element that is missing is water. The original, the Broadway revival, and several productions I have seen over the years, have had water elements right there on stage. I did miss the element of water, for it gives the musical such engrossing subtext (i.e. the womb, rebirth and so forth). But outside of that, the design elements for this production are flawless. ICT's Nine is directed and choreographed by Michael Serrecchia, who has performed in several Broadway shows and was part of the original cast of A Chorus Line. I sincerely think only someone with that kind of background can truly understand Nine, because what he has done with this production is jaw-dropping amazing. With a few minor exceptions, this piece soars beautifully. The staging and choreography is visually exquisite. Serrecchia keeps the chorus of ladies constantly moving and dancing all around the stage. Most directors would have just staged the soloists and brought in the ladies on occasion, but Serrecchia's keen eye to detail makes the staging and choreography marvelous. I cannot remember the last time I've seen a local musical do this much intricate, detailed staging. The pace is perfect. Serrecchia has incorporated both the original and the revival into his vision, and for the most part, it works superbly. The only problems I have with the staging are the final scene and a couple of the musical numbers. Leveaux's revival had Luisa (Guido's wife) appear at the very end, staring at her husband. This left the audience wondering if she is taking him back or not. It was a powerful, realistic moment that left the audience in suspense. Serrecchia has the couple upstage center, kissing at the end, which is too "tie up the loose ends" for my taste. I also miss the "paparazzi" approach to the number, "My Husband Makes Movies." The revival created a terrific scene of flashbulbs, cameras and microphones thrust into Luisa's face as she explains her husband to the world press. Serrecchia has the women at their tile boxes acting as reporters. It loses some of the dramatic impact when the reporter softly says at the end, "Thank you Mrs. Contini." Finally, I really much preferred the revival's version of only one child (the original had several, as does the ICT Mainstage version). With one boy, it helps so much in zeroing in on Guido's childhood, especially when it comes to the conflicts with the prostitute and his mother. As a company, the cast does a fantastic job with Nine. However there are some major problems with subtext (or lack thereof) and accents. Throughout the evening some accents vanish into thin air, and some performers speak in Italian/German/French dialects, only to sing their songs in their native American voice. That is a bit distracting and hard to get used to as the evening progresses. As Guido, Donald Fowler sings the score better than anyone I have ever heard. Yes, much better than Raul Julia, Antonio Banderas, John Stamos and Jonathan Pryce (he did the London production). Fowler belts those huge notes with full voice, gliding up and down his register with ease—and his diction is crystal clear. Having said that, it is with his subtext and chemistry with the cast where problems arise. Fowler lacks the Italian machismo and brooding intensity the role requires. This is a man who is surrounded by women whose lives were ruined thanks to him, an egotistical, masculine and dominating male figure. Fowler's soft, pretty boy features and small frame just do not fit that mold. Also, the chemistry between him and the women is vaguely there or not at all in some instances. We need to see, feel and be aroused by this man physically and mentally devouring these women. They left their husbands, lovers and children and ruined their own careers—for this one man. The stars of the evening, though, are the women! This first rate group of ladies represents some of the finest talent the city has to offer. Each sings and dances beautifully. Those harmonies! It is sheer musical theater heaven to hear these ladies sing with lush, clear, soothing, grand harmonies. The tour de force company of women deserves to be named here: Mimmie Combs-Coleman, Andi Allen, Alexis Nabors, Megan Kelly Bates, Amanda Hart Walker, Kimberly Ann Smith, Sara Shelby Martin, Lauren Herzog, Cori Lynne, Louisa Cambridge, Kristen Cramer, Sarah Geist, Melanie Sanders, Stephanie Felton, Patty Breckenridge, Ashley LeGrow and Connie Kegg. Patty Breckenridge portrays Luisa, the only woman Guido married, who goes with him to the spa to try to salvage their marriage. Ms. Breckenridge sings her songs beautifully, but that's what I've have come to expect from this radiant talent. However, I do feel her Luisa is a tad too frigid right from the get go. It is in the aforementioned press conference where she realizes what her marriage truly is. We need to see that realization grow. But here Breckenridge doesn't fully grasp the subtext to help her carry into the second act solo, "Be On Your Own," which is a powerful declaration. It is the raw, naked, brutal subtext of a woman who finally has the will to leave this man and marriage. Ms. Breckenridge, while moving in that scene, seems to only skim that subtext. I know she can peel much deeper into those layers. I know I'm being picky here, because in the end she is wonderful in the production. The other two major women in Guido's life are Claudia and Carla, portrayed by Connie Kegg and Ashley LeGrow. Ms. Kegg performs the role with a touching quality that I very much enjoyed. She brings a softness to the role that I have not seen before. Her duet with Fowler in "Unusual Way" is a major highlight of the evening. I do question, though, the black fur coat and clunky black character shoes she wears at the beach. Claudia is a famous Italian actress and should be wearing some dazzling designer pumps. And who wears fur to the beach? It is very obvious that Serrecchia used the great Anita Morris as his foundation to help Ashley Legrow become the sexy, sensual Carla, right down to the costume. In her number, "A Call From the Vatican," LeGrow performs the erotic and sensual moves, gestures and body contortions all over her tile box, which works like magic in her characterization. Andi Allen portrays Liliane LaFleur, Guido's agent. In the Broadway revival the role was performed by my idol, the magnificent Chita Rivera. So I know I'm biased in saying no one can top her performance. Having said that, Ms. Allen does do a fantastic job as the French agent who has a major set of cojones. I particularly enjoyed the homage to Ms. Rivera with the black jacket lined in white (Rivera's was lined in fuchsia satin). Ms. Allen leads one of the best musical numbers of the evening, "Folies Bergères". Using the original as a guide, she has the never ending feather boa for that added touch of glamour. Ms. Allen is grand. Sara Shelby Martin, however, has the number that becomes the showstopper of the night. She plays Saraghina, the prostitute who seduces the young Guido, thereby screwing him up emotionally in handling women. Ms. Martin is literally sewn into a tight, black satin corset that pushes her bosom to voluptuous results. A massive wig of black curls cascades and frames her face beautifully. Using that robust, thunderous set of lungs, Martin brings the house down with her big number, "Be Italian." As in the original, Serrecchia uses tambourines for added sensuality, pop and pizzazz. I've never seen Martin look so sexy on stage—she delivers an outstanding performance here. Other stand outs in the large company of delectable, delicious and desirable divas are Mimmie Combs-Coleman as Guido's Mother who sings "Nine" with touching motherly affection; Amanda Hart Walker, who is sublime and looks gorgeous as Our Lady of the Spa; Alexis Nabors as the vivacious Lina Darling, encased in a tight costume topped off with a slick hairdo; and Kimberly Ann Smith as Mama Maddelena, who is down right hilarious during the "Grand Canal" portraying Carla in the film. Even with the minor imperfections, ICT Mainstage's production of Nine is bold, radiant, magical and spectacular. You have a director who has done such a remarkable job that it truly outshines anything he has done before, a luminous cast and a top notch team of designers who have created one of the best musicals of this season. No Equity or non-Equity Theater Company has taken on the challenge of producing Nine, but ICT has, and the outcome is electrifying. I sincerely hope ICT extends Nine, because it has been a long, long time since we had such exquisite musical theater like this produced on a local stage. Nine is the must see of the season! Nine with book by Arthur Kopit, music and lyrics by Maury Yeston at ICT MainStage Through August 9, 2008. Performed at the Dupree Theater in the Irving Arts Center, 3333 N. MacArthur Blvd. Thur/Fri/Sat at 8pm. Tickets: Fri–Sun, Adults $18, Seniors/Students $16 Thur, Adults $15, Seniors/Students $13. Student Rush-$5 cash 5minutes before curtain if seats available Box Office: 972/252-2787. www.irvingtheatre.org. Nine
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