Rob McClure embodies the Little Tramp in new Broadway musical about Charlie Chaplin (photo by Joan Marcus)
Ethel Barrymore Theatre
243 West 47th St. between Broadway & Eighth Ave.
Through February 3, $49.50 – $135.50
www.chaplinbroadway.com
From his Dickensian upbringing to Hollywood stardom to his penchant for underage women and his long exile overseas, followed by a final redemption, Charles Spencer Chaplin lived quite a life, something book writers Christopher Curtis and Thomas Meehan are only partially successful in bringing to the big stage with Chaplin. The new musical, directed and choreographed by Warren Carlyle, glories, perhaps a bit too much, in Rob McClure’s dazzling performance as Chaplin, embodying the multitalented actor, writer, director, musician, composer, political rebel, and womanizer whose socially relevant silent comedies brightened up hard times in America during the 1920s and 1930s. The show starts in London, as young Charlie (a charming Zachary Unger) grows up in the seedy alleys and burlesque clubs with his mother, Hannah (an outstanding Christiane Noll), a bawdy performer whose husband has essentially abandoned the family. An older Charlie soon catches a break and is working for Mack Sennett (a strong Michael McCormick) in Hollywood; the scene in which Charlie is ordered to be funny and transforms into the Little Tramp is splendidly done, adding a deft touch of magic to the invention of this seminal character. Hiring his brother, Sydney (Wayne Alan Wilcox), as his business manager, Charlie finds massive success with such films as The Kid, The Gold Rush, and The Circus, but the musical oddly chooses which to focus on; while Carlyle does a good job equating The Kid with Chaplin’s real-life experiences as a child (clever casting has Unger also playing Jackie Coogan), shorter (or stranger) shrift is given to such critical works as City Lights and Modern Times, and later films such as Monsieur Verdoux and Limelight warrant nary a mention, despite their many inside references to his personal situations.
The musical does, however, devote a major sequence to The Great Dictator that reveals the development of his public political persona. But in the second act, Chaplin spends way too much time concentrating on Hedda Hopper’s (Jenn Colella) mission to destroy Chaplin by labeling him a communist in order to get even for his refusal to be interviewed by her. And the musical deals with Chaplin’s ultimately disastrous marriages to Mildred Harris (Hayley Podschun), Lita Grey, and Paulette Goddard in a baffling boxing scene that sideswipes the show, while his relationship with Oona O’Neill (Erin Mackey) swoops in from nowhere and then essentially disappears. Beowulf Boritt’s sets, Amy Clark and Martin Pakledinaz’s costumes, and Ken Billington’s lighting, along with Jon Driscoll’s inventive video projections, give Chaplin the look and feel of a black-and-white movie, but few of the songs stand out, aside from Noll’s “Look at All the People” and the ensemble piece “Just Another Day in Hollywood.” Much like Chaplin’s career, Chaplin kicks off with quite a bang but eventually dissipates into the disappointment of what could have been.
A surprise going-away party turns into a nightmare in Matt Reeves’s highly anticipated Cloverfield. Michael Stahl-David stars as Rob, a young man who has accepted a promotion that will send him to Japan. Although he is in love with his best friend, Beth (Odette Yustman), he is unable to tell her. But everything changes when the ground starts to shake, buildings begin to collapse, and people are on the run, attempting to escape from an enormous monster on the loose in post 9/11 Manhattan. And when Rob discovers that Beth, who had left the party early, might still be alive, he decides to risk his life and head uptown to save her. He is joined on the dangerous journey by his brother, Jason (Mike Vogel); Jason’s girlfriend, Lily (Jessica Lucas); Lily’s friend Marlena (Lizzy Caplan); and Hud (T. J. Miller), who serves as the comic relief. The entire film is seen through the lens of a video camera that Hud was entrusted with at the party, giving the film the feel of The Blair Witch Project, mixed with such Gotham horror stories as King Kong, The Day After Tomorrow, and the ridiculous 1998 Godzilla remake. Cloverfield, which has an ever-widening back story growing online (similar to that of Lost, which is also the creation of J. J. Abrams), doesn’t try to be anything more than it is — a monster movie set in New York City. The creature is kept hidden for most of the film, which doesn’t try to make any grand statements about science, humanity, or, really, anything except true love — and brutal death. And yes, there is a secret message hidden in the brief sound clip at the end of the credits. Cloverfield is screening on September 23 as part of the Museum of the Moving Image’s “Film After Film” series, a collection of works selected by J. Hoberman focusing on how digital technology is changing the way movies are both made and viewed.
Inspired by the true story of the Olympic dreams of a college teammate, actress and former rower Sarah Megan Thomas wrote, produced, and stars in Backwards, perhaps the biggest movie about crew since Rob Lowe picked up the oars to impress Amanda Pays in the 1984 cult-classic-wannabe Oxford Blues. Unfortunately, however, Backwards comes off as a well-meaning but overly earnest vanity project that is more like a basic-cable, family-friendly movie-of-the-week than a feature film for theaters. Thomas plays Abi Brooks, a champion rower who might have just one last shot to make the Olympic team as her thirtieth birthday approaches. But after being selected as an alternate, a wining Abi quits, eventually getting a job coaching the girls’ rowing team back at her old school, where her boss is her high school sweetheart, Geoff (James Van Der Beek). Searching for meaning in her life, Abi gets deeply involved in training Hannah (Alexandra Metz) and Susan (Meredith Apfelbaum) for an upcoming important tournament, until circumstances change and she is forced to make a crucial decision about her future, and that of her girls. Directed by Ben Hickernell (Lebanon, PA.), Backwards was admittedly made on a too-low budget, and it shows. The rowing scenes don’t ring true, the potential romance between Geoff and Abi is predictable, and Abi’s relationship with her mother (Margaret Colin) is riddled with clichés. That said, the film does have a good heart that makes you want to like it, but it never quite reaches that next level, with scene after scene mired in the obvious.
Contemporary activists stand to learn a lot from the gripping documentary How to Survive a Plague. For his directorial debut, longtime journalist David France, one of the first reporters to cover the AIDS crisis that began in the early 1980s, scoured through more than seven hundred hours of mostly never-before-seen archival footage and home movies of protests, meetings, public actions, and other elements of the concerted effort to get politicians and the pharmaceutical industry to recognize the growing health epidemic and do something as the death toll quickly rose into the millions. Focusing on radical groups ACT UP and TAG (Treatment Action Group), France follows such activist leaders as Peter Staley, Mark Harrington, Larry Kramer, Bob Rafsky, and Dr. Iris Long as they attack the policies of President George H. W. Bush, famously heckle presidential candidate Bill Clinton, and battle to get drug companies to create affordable, effective AIDS medicine, all while continuing to bury loved ones in both public and private ceremonies. France includes new interviews with many key activists who reveal surprising details about the movement, providing a sort of fight-the-power primer about how to get things done. The film also shines a light on lesser-known heroes, several filled with anger and rage, others much calmer, who fought through tremendous adversity to make a difference and ultimately save millions of lives. France will be at the IFC Center to talk about How to Survive a Plague at numerous screenings on Friday, Saturday, and Sunday of opening weekend.