Jerry Bock and Sheldon Harnick had one of the toughest acts to follow in musical-theater history when deciding what show to create after their phenomenally successful Fiddler on the Roof. It was really a no-win proposition. They certainly couldn't have chosen a show more different from Fiddler than The Apple Tree. And, of course, for their next -- and, to date, last -- show they created The Rothschilds, a show that went too far back in the other direction: people thought it was Fiddler with sons.
The Apple Tree comprises three distinct musicals, albeit with thematic connections, mostly around the subject of forbidden knowledge. The first act tells the story of Adam and Eve, as filtered through the sensibility of Mark Twain. The second act poses the age-old question, "The Lady or the Tiger?" And the third relates the travails of Ella the chimney sweep in her goal to become a "beautiful, glamorous, radiant, ravishing movie star."
Musicals that attempt to tell more than one separate story rarely work, at least not commercially. Notable attempts include Weird Romance, 3hree, and Romance Romance. The Apple Tree doesn't really work either. The problem seems to be the difficulty of creating believable and sympathetic characters in a relatively brief span of time. In The Apple Tree, only the first act does this successfully.
Act 1 is slight, mildly amusing, and ultimately somewhat touching. And it's the only real humanity in evidence during the entire show. The production concept for the first act is spare with occasional flashes of color, relying mostly on found objects that turn into set pieces. (As Christine Ebersole sings in Grey Gardens, "We invent the objet trouve, make a poncho from a duvet...") It winds up feeling more like something suited to off-Broadway, or at least a significantly smaller house. Adam and Eve get lost in the cavernous brown expanse of the undressed stage.
Although the show itself is sketchy, the performers are marvelous. Kristen Chenoweth is a star for a reason. She can hold the stage all by her own, even with very little in the way of scenery or costumes. And she has an extremely engaging way of delivering a song. Brian D'arcy James took a while to warm up, but he ultimately acquits himself nicely in the number "It's a Fish." Marc Kudish only needed one number in act 1 to prove his undeniable star quality. His stocky frame would seem to belie his fluid physical expression, but he exhibits terrific movement and mannerisms, particularly as the Snake in Act 1.
In acts 2 and 3, the chorus comes on to sell sell sell. It's as though they realize this is a limited run and are auditioning for their next gig. The second act ends on a cliff hanger, presumably to let the audience make up its own mind. During the brief pause between acts two and three (there's only one intermission) the woman sitting next to me said, "That's it?" My feelings exactly.
Act 3 is all about big hair and big boobs. The characters are cartoonish, but that doesn't automatically make them funny. Without sufficient time to develop fully fleshed characters, the comedy comes from broad performances and shtick, and often falls flat.
So, overall a reasonably engaging production, but certainly not worth a special trip. Through my Roundabout subscription, I wound up paying about $50 for my ticket. I'm not sure if I had paid the full $111 if I would have felt that I got my money's worth.
As for the venue itself, this was my first time in the recently re-legitimized Studio 54. What an interesting space. It's hard to picture it as a nightclub, although the house is large, dark, and rather forbidding. The venue would seem very appropriate for Cabaret or Assassins, but a bit of a stretch for The Apple Tree. Even so, it's a useful and seemingly versatile house. Just a bit big for something like The Apple Tree.
Chris, I'm so glad I saved your review to read until after I saw "The Apple Tree." I'm in complete agreement with you on all points (except Marc Kudisch, who was a no-show for me).
Incidentally, Studio 54 was absolutely perfect for both "Assassins" and "Cabaret" in particular since seating was arranged for a revue-style performance.
And as a nightclub...well, I remember. Take out the first level seating and you have the dance floor. Midway through the evening, the curtain rises on additional space where the stage is now. Trust me, it worked.
Posted by: Steve On Broadway (SOB) | January 16, 2007 at 11:42 AM