Inessentials: The Blog

Nicole had off work for the past week. (In Connecticut, schools have a one-week February break and a one-week April break, which seems nice until you realize that the school year runs into late June.) After a week of low-key sitting around, we went to New York for a couple nights this weekend. (Only after we took Panther to the vet to get the last couple shots she needed to go visit the other dogs at the very nice kennel for a couple nights.) I got a good deal for a nice hotel on Priceline. (The upside to a crappy economy is great deals on hotels in touristy areas.)

The trip was built around my idea to take Nicole to see the Broadway revival of Guys and Dolls, a musical I had once seen performed by a friend’s high school. (This was a small, private school where about 8 people had to play all 20 roles, and ever since I’ve felt a special attachment to this show.) I had bought Nicole the Brando-Sinatra film version for Christmas, but we hadn’t watched it yet. As a fan of Gilmore Girls, I thought Nicole would enjoy seeing Lauren Graham in her broadway debut. Tickets for the show run from about $125-$250, but after a little investigation I found we could get student rush tickets the day of the performance. So for $26.50 each, we had fifth row seats on the far right of the Nederlander Theater, a theater so small it’s hard to believe it counts as Broadway.

The set design on the cramped stage was astounding, using the whole height of the auditorium, from above the curtain to down in the orchestra pit, and a giant video screen provided depth for the musical numbers and the elaborately staged dance routines. The performances were really excellent (with a big knock on Craig Bierko, who only found every fifth note on his solos). Oliver Platt makes a good hood, Lauren Graham’s Miss Adelaide was winning (and who knew she could sing? in her character’s voice?), and Kate Jennings Grant was perfect as Sgt. Sarah Brown. The revival stays true to the original, with no cloying attempts at updating that fall flat on their face. (I’m looking at you, Yale Opera version of The Magic Flute.) The only part that struck me as different was that “Sit Down, You’re Rocking the Boat” was extended with a humorously over-the-top breakdown.

Nicole and I are already trying to come up with excuses to see it again.