Anyone seeking a profound critique of what ails the musical theatre on Broadway will find "Forbidden Broadway: Special Victims Unit", the 2004 incarnation of this long-running revue which mercilessly parodies the foibles of the Great White Way and its stars, rather banal. But the shock of instant recognition is part of the fun; the parodies of recent showtunes are spot on, and the current cast more than capable. It did after all win another Best Musical Revue Award from the Drama Desk in 2005. BosCon grad and Needham native Gerard Alessandrini has been producing his wicked lyrics and skewed sketches since 1982. Versions of the show and its variations have run across the country, and some will remember its 6 1/2 year run at the Terrace room here in Boston.
This four person show seems right at home in the new Wimberley Theatre at the BCA, even though it was created for a more intimate space. With music director Catherine Stornetta at the piano, this talented ensemble, Janet Dickinson, Valerie Fagan, Kevin McGlynn, and Nick Verina,are all full voiced music theatre performers, equal to those seen at NSMT or Reagle, and much more seasoned than many who show up in touring shows zipping through town. And like the author, they clearly love the form they're skewering, from "Annie" to "Wicked" from Merman (Dickinson) to Christina Applegate(Fagan)--well, maybe not the latter. Alessandrini even gets in a nod to fellow suburbanite, Charlotte D'Ambois.
Yes, it probably does help to have a nodding acquaintance to what was hot during the last seasons, but the jokes are broad enough that as many will be missed for the laughter and cheering as from "insider" references. A few of the notable gags include a current favorite which lampoons the backstage tension between the stars of "Wicked" who were both up for the same Tony, a hilarious sendup of Sarah Brightman featuring Dickinson, and some well-placed digs at "The Light in the Piazza." with Fagan as its challenged heroine and Dickinson as her perfect '50s mother, while Verina cavorts as the stock Italian lover. Alessandrini isn't shy about placing blame for what he not so facetiously considers "crimes" against the American musical. The sharpest of these parodies takes on Yoko Ono's dismal failure "Lennon." shrieked by Dickinson. "Mamma Mia" actually gets off easy, perhaps because the show is almost a parody to begin with. Among his range of comic turns, McGlynn gets to do non-Jewish Alfred Molina in "Fiddler" followed by his replacement Harvey Fierstein, without skipping a beat.
"Forbidden Broadway: Special Victims Unit" isn't up to Culture Clash's insightful visit about this time last year. Some of the show's targets, like "Les Mis..." or "Avenue Q" need to keep up with the news; there's no mention of the former's incipient return to Broadway or the latter's closing in Las Vegas, not to mention that these aging muppets are about to open on the West End. And maybe this return engagement by Alessandrini will inspire some of our local musical theatre talent to do something similar--or even better.
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