The Fix

NYU loves to tackle the odd shows and that is wonderful. The overly produced classics are not for NYU. THE FIX (music by Dana P. Rowe; book and lyrics by John Dempsey) is an oddity from London’s West End satirizing American Politics from the perspective of 1997. NYU updated a few references and the story played beautifully as contemporary commentary, suggesting the rise of George W. Bush. With a rock score, the show is a kind of hard core OF THE I SING. The problem with satire is that it’s cynical and without heart. For a musical to really work, pointing out the smoke and mirrors of American politics is not enough, there must be someone to fall in love with, support and root for. All of the characters in THE FIX are despicable, sad or stupid and so it is hard to like a show when you don’t like the people of the story. On the other hand, this college cast was superb. They are a talented bunch, headed by the wonderful Bryan Welnicki as Cal Chandler, the boy who will be made into a President come Hell or high water––that is, if he doesn’t get assassinated for having his own ideas and speaking his mind. John Simpkins directed the production, which entertained quite well in spite of itself. MK Lawson choreographed spirited numbers that kept a static script moving. The score, when sung as well as it was at NYU, was engaging and kept the whole thing energized. THE FIX is interesting––it has something real to say about the hypocrisy of the American political system, it has a score worth hearing and the potential to show off great talents, but it is not a good show. It certainly isn’t satisfying for it only shows the ugliness of humanity and none of the beauty.

Kiss of the Spider Woman at NYU

The main thing that one comes away with from the NYU Steinhardt production of KISS OF THE SPIDER WOMAN is that there is a large group of talented young men who all have a career if they want it.  The female population of the “Program in Vocal Performance” must be a little miffed this semester, for the show only has three roles for women.  The rest of the cast, lead by two powerful singers, Jordan Stanley as Molina the window dresser jailed for “corrupting a minor” and Roy Richardson as Valentin the revolutionary, is all male and collectively amazing.  The choral singing alone gives goose-bumps, especially the spine-tingling rendition of “The Day After That,” a triumphant rally for hope.  Stanley plays the fey stereotype with plenty of dignity and beautiful singing.  His voice is immensely expressive and he rules the production.  Richardson is equally confident of voice, and although the role is less showy, he should match his costar with his own brand of bravado, but does not.  As the title character, Lauren Calhoun, is appropriately South American and exotic. Her voice can capably handle the low keys designed for the original Spider Woman, Chita Rivera, and also lighten up certain areas that bring a new loveliness to the score.  This Spider Woman is less of a dancer than Ms. Rivera’s, but Jennifer Werner’s very original choreography finds effective ways to move her around gracefully and the ensemble men manage some complicated moves with both power and grace on a stage cluttered with scaffolding and moving gates.  The clutter, dominated by a rotating raised platform at center, was designed by Michael Schweikardt and director John Simpkins has some difficulty working around it.  The center platform, however, makes a nice mini-stage to present what is really a very small play about two people from different worlds locked in a cell together.  How they get to know and appreciate each other is the heart of the story, but the Spider Woman and her dancing back up boys give the show it’s musical flash.  The show itself emerges as a kind of lost treasure.  The score by Kander and Ebb is lush and full of melody.  It does not sound anything like CABARET or CHICAGO and maintains its own special flavor, specific and appropriate to the subject matter.  There are stunning images, strong commentary on the cruelty of human beings towards one another, but counterbalanced with a search and discovery of the good will in men.  KISS OF THE SPIDER WOMAN is one of the great shows of the 1990s, it should be reexamined more often.  NYU took on the challenge with fantastic results.