Encores: Anyone Can Whistle

So, the reviews were excellent.  Since I’m so late in getting to this review, I wasn’t sure there was much I could add, since the reviews generally covered Encores’s latest showpiece with an angle I enjoyed: Donna Murphy as musical comedy genius.  And, yes, Murphy was absolutely stellar, owning every moment on stage with dynamic, ebullient deliciousness.

I could write more about that, but frankly, I’m more interested in a tangent to the conversation the other writers I’ve linked to have started.  Murphy’s natural talent and charisma are enormous, so why isn’t she working more?  Mostly, its her health.  During the runs of Wonderful Town and Lovemuzik, she broke down physically.  Perhaps her in a play role might be a good fit for her.  I mean, she practically is Auntie Mame, so why not cast her in that, rather than the musical?  Of course, who wouldn’t want to see Murphy take on Jerry Herman’s masterpiece?

Despite her obvious gifts, I wonder if the Fela!-Billy Elliot lead model could work for Murphy.  Find another performer, say, LaChanze, who also is dynamic but is somewhat brittle from demanding roles, and pair the two to split the weekly eight performances.  Both are so stellar, and the producers could go halfsies on their salaries, that it might be a gamble worth taking.  Put Mame in the Nederlander, and make it an event venue.  Just my thoughts, but given how amazing Murphy is, why hasn’t any stodgy producer tried gambling with putting her into a role-share?  Make it work, baby.  Of course, these are the same producers who think of the internet as a thing that must be battled.  Behind the times in so, so many ways.

Also of note from the Encores production, but way overshadowed by Murphy were two very excellent performances from Sutton Foster and Raul Esparza.  Foster isn’t known for moving far beyond her comfort zone of squeaky, delightful musical comedy, but her role here, as Nurse Fay, had a few elements of melancholy that hinted that Foster has more to offer beyond the fun side.  Perhaps something more somber, more introspective.  Her version of the title song was heartbreakingly wonderful, and I’d love her exploration of that vibe.

Esparza’s never been one to shy away from a spotlight, and as the catalyst of the show’s befuddlingly weak plot, he gets a good one here.  Actually, of the three big names in the cast, I think he had the most stage time.  While he did it well, and I entirely enjoyed his performance, I wonder how he so rarely gets mainstage work.  Small bits here and there, aside from the 2006 Company revival, but where are the big roles?  I just don’t get it.

To critique the actual show isn’t entirely useful, since the book from Arthur Laurents is very wonky, but the score is excellent.  Most of the reviewers I linked to talked about how this was a transition show for Stephen Sondheim, who eventually took the musical concepts he started here and spun them into magic with the majority of his catalog.  There are some extraneous numbers, but the majority of them not only work, they soar.  And the show also brought Angela Lansbury her first leading Broadway role, which, despite the show’s nine show run, was still a notable accomplishment as a setup for her later career.  And while I’m not the Lansbury-phile Sarah B. is (check out her mini-Eglantine), I still do love her.

If you enjoy musical theatre and don’t see Encores productions, you should.  While rarely as delightful as Anyone Can Whistle, they often showcase elements of theatre that deserve some spotlight.  And that spotlight can show just how dynamic certain performers can be, even if they don’t get long enough runs on Broadway.

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