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'Randy Newman's Faust,' July 1, 2014 Festival of New Musicals Announces Its Roster By Eric Piepenburg The Tony Award-winning playwright David Henry Hwang, the composer Adam Gwon and the composing duo Michael Kooman and Christopher Dimond are among the names represented in this year’s Festival of New Musicals, produced by the National Alliance for Musical Theater, a national nonprofit organization. The 26th annual festival will be held Oct. 23-24 at New World Stages, and will feature readings of eight musicals, whittled down from over 230 submissions. The festival can offer significant exposure; among those who typically attend are producers and regional-theater programmers, and last year the performers included the Tony winner Sutton Foster and the “Rocky” star Andy Karl. Among the selections are “Great Wall,” a family drama with music and lyrics by Kevin So and a book by Kevin Merritt, with Mr. Hwang as a creative consultant; “The Noteworthy Life of Howard Barnes,” a satirical comedy with music by Mr. Kooman and book and lyrics by Mr. Dimond, winners in 2013 of the Fred Ebb Award for aspiring musical theater songwriters; “Stu for Silverton,” about Stu Rasmussen, the transgender mayor of Silverton, Ore., with music and lyrics by the singer-songwriter Breedlove and a book by Peter Duchan (“Dogfight”); and “String,” a romantic comedy with music and lyrics by Mr. Gwon (“Ordinary Days”) and book by Sarah Hammond. All of the shows arrive at the festival already having been seen, either in development or as workshops, in theaters in New York and across the country. “Stu for Silverton” had its premiere in 2013 at Intiman Theater of Seattle, where it had been developed. “String” has been developed at New Dramatists, where it received the Frederick Loewe Award for new musical theater work. A list of other shows and more information is at the National Alliance for Musical Theater’s website. Correction: July 1, 2014 An earlier version of this post, using information provided by a publicist, incorrectly described the role of the playwright David Henry Hwang in the musical "Great Wall." Mr. Hwang is a creative consultant on the show, not a book writer. July 2, 2014 Everyone Expects the Spanish Inquisition Beloved Great-Uncles of British Humor Reunite for ‘Monty Python Live (mostly)' By Ben Brantley LONDON — Something completely different was never going to be on the menu. The record-breaking ticket sales generated by the news that members of the fabled comedy team Monty Python would be reassembling here for a rare onstage reunion were surely not generated by hopes that the old boys had come up with new tricks. No, the many-thousand-strong fold that assembled at the O2 arena, where the show, which is running for 10 nights, opened on Tuesday, arrived in the spirit of pilgrims in search not of revelation but reassurance. And I’m presuming that is what they received, in a program that had both the pomp and familiarity of a high church ritual. For it can indeed be said that Monty Python lives! Or to cite the disarmingly accurate title of this expensive- looking collection of vintage sketches, what we have here is “Monty Python Live (mostly).” That parenthetical qualifier resonates. Of the six original Pythons — they who in the early 1970s redrew the map of what’s funny on this planet — only five still walk the earth: John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin. The sixth, Graham Chapman, died in 1989, though his sacred name and image are evoked throughout. It should also be noted that a good stretch of the show is no more live than Mr. Chapman is, which is not to say that it’s dead. Archival footage of Python routines and imagery — including the glorious animated collages created by Mr. Gilliam — are projected in ultrahigh definition on three immense screens. So are the present-tense antics of the performers, which are simulcast for the 90 percent of the audience that otherwise wouldn’t be able to make out the facial features of its idols. This imagistic quadrupling of Pythons makes for a strange head trip as the team recreates its greatest hits, including singalong favorites like the number about the cross-dressing lumberjack. We are here, after all, to see the real thing. Yet those giants on the screens feel more real than the bright human microdots on the stage. Perhaps it’s not surprising then that audience members regularly left their seats to use the loo or check their emails or pick up snacks, just as they might if they were at home with the telly. The point would seem to be that even if they weren’t always watching, they had been in the same room — or on the same acreage — as the Pythons. The show (or “the live show,” as the program specifies) has been directed by Mr. Idle, the man behind the cash- cow Monty Python tribute musical “Spamalot.” The O2 production has been designed by Mr. Gilliam with a flair that suggests Salvador Dalí let loose on the Ziegfeld Follies. The Pythons’ longtime favorite female accomplice, Carol Cleveland, pops up, occasionally and bravely in showgirl attire. A limber chorus line of young’uns helps fill the vast stage, in flashy, high-kicking numbers, choreographed by Arlene Phillips, that I would call Las Vegas parodies if Las Vegas hadn’t co-opted parodying itself long ago. (John Du Prez is the musical director.) The songs are oldies, though they’ve been tweaked — and amplified, in every sense of the word. The papal “Every Sperm Is Sacred” hymn features nuns and cardinals stripping to their undies while a phalluslike candy- striped cannon ejaculates soap bubbles. The sketch in which Mr. Idle portrays a prurient pub crawler who speaks entirely in innuendo (“Is your wife a ‘goer’?”) segues into that actor (or his recorded voice) performing a rap variation on the same material. Oft-quoted material is delivered by the septuagenarian Pythons with the obliging, slightly weary good humor of beloved great-uncles being asked once more to tell that same old story. It is a fact of life that if you live long enough, you’ll see iconoclasts become institutions. The show acknowledges but doesn’t dwell on that idea. Its first self-contained sketch is the Four Yorkshiremen bit, in which old duffers (of an age the Pythons have now reached) reminisce competitively about how hard they had it growing up. An opening video montage shows the disembodied head of Mr. Chapman, styled as a celestial planet, being kicked into the cosmos. But the Grim Reaper, the dominating character in the film “Monty Python’s The Meaning of Life” (1983), makes only a cameo appearance in the second act. The Pythons aren’t here to churn up shadows but to comfort us with the fact of their having survived in what appears to be good health, with the need that all of us have to keep paying the bills. With vintage recording artists like Metallica and Dolly Parton stealing the show at the recent Glastonbury musical festival and Mick Jagger teasing the Python reunion in a promotional video, the show might seem to be further evidence that the baby boomers are determined not to let go of the earth they have inherited. But I saw people of all ages at the O2, and those in Python drag were, thankfully, mostly on the young side. I spotted a lot of Gumbys (they’re the ones with the handkerchiefs on their heads) and many lumberjacks, although they may have been visitors from Brooklyn. Anyway, it was nice to see members of different generations gathered together to laugh at the same thing. True, the laughter often felt more a matter of reflex than of surprised spontaneity. But by the second act, everybody had loosened up a bit, including the Pythons. When Mr. Cleese, Mr. Palin and Mr. Idle started cracking each other up during some of the later routines, the audience roared its delight. Here was confirmation that we were all real humans in real time and, as far as anyone could tell, still alive. Correction: July 2, 2014 An earlier version of this review incorrectly described the era in which the band Metallica was first active. It was formed in 1981, not in the 1970s. “Monty Python Live (mostly)” plays through Saturday and July 15 through 20 at the O2 arena in London; montypythonlive.com. July 2, 2014 The Devil Went to Midtown to Serenade the Lord ‘Randy Newman’s Faust,’ With the Composer on Hand By Charles Isherwood If the Devil were as endearingly funny as Randy Newman at the piano, a season in hell might not be so painful. Mr. Newman, the singer-songwriter known for his wry, bluesy tunes with lyrics etched in acid, portrayed the Lord’s nemesis on Tuesday night, in a concert performance of his musical-theater adaptation of Goethe’s “Faust” at City Center. “Randy Newman’s Faust: The Concert,” a one-night-only event directed by Thomas Kail, was part of the City Center Encores! Off-Center series overseen by Jeanine Tesori, which in just its second season has become a summer theater highlight. A similar one-night-only performance of Ms. Tesori and Brian Crawley’s “Violet” last year, with Sutton Foster, ultimately moved to Broadway and garnered several Tony nominations. I do not foresee a similar fate for this shaggy but enjoyable take on “Faust,” although the evening provided a nice showcase for Mr. Newman, still in good form at 70, drawling out his mordant observations on human folly, as well as several other notable performers in the major roles: Laura Osnes, Tony Vincent, Isaiah Johnson, Vonda Shepard and an underused Michael Cerveris.
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