Plays that rock, shock and triumph

Webster’s Dictionary defines jubilation as a “happy celebration: as of victory.” At the Winter Garden Theater this past weekend a packed audience rose to its feet to pay tribute to the thrilling celebration that describes “School of Rock,” surely a “best of all possible musicals.”

But our audience didn’t wait for the finish of the Julian Fellowes (book), Glenn Slater (lyrics), Andrew Lloyd Weber (music) jubilee. Based on Mile White’s winning 2003 movie the altogether jubilant cast had just begun the reprise of the final number —the reprise of the musical’s mantra “Stick It to the Man” — when our audience rose to their feet in a “rave wave” of wild applause. Within a minute the Winter Garden Theater was engulfed in appreciation for a start-to-finish “feel great” experience. It may have been frigid outside but thrilling to School of Rock’s triumphant finale our audience was awash in the rich warmth of jubilation!
To begin, we meet Dewey Finn (altogether loveable, awesome Alex Brightman) in this tale of a struggling rock singer and guitarist whose been thrown out of his band, and desperate for work insinuated himself into the job of a substitute teacher at a most prestigious prep school.

The school’s parents are rich, demanding stiffs; the staff prisoners to the latter’s expectations for their cowed young offspring. If you never saw the movie (I did not) what ensues when Dewey discovers his new fourth-grade charges have hitherto untapped musical talents is the formation of a classroom band. Recognizing the gems at his disposal, the broke musician decides to enter his troupe in the upcoming “Battle of the Bands” — hoping to win the money to pay off his rent.

In two raucous, musically magical acts, as Webber describes it: “Where the film was more about a man discovering who he is, the musical is really about “sticking it to the man,” (as that jubilant song goes) where the students face the rules (school and parents) that are unfairly getting them down … and discard them to embrace their own ambitions and talents.

All the above is accomplished with the guidance of brilliant direction by Laurence Connor, totally rocking choreography by Jo Ann M Hunter, Ethan Popp’s grand music supervision and the antics of a plu-perfectly cast of uppity parents, uptight teachers, ripe for rebellion young student musicians — with Sierra Boggess pure delight as a rules-stuck principal who breaks her bonds on an unanticipated “date” with irresistible force-of-nature Dewey!

Spencer Moses and Mamie Parris are perfect as Dewey’s nerdy landlord and his “better than thou” girl-friend — both unleashed by the musical’s grand finale. And much of the unmitigated delight of “School of Rock” is provided by the spectacular performances of the young fourth-graders whose talents are thrilling, but equally matched by their acting acumen. I can’t remember a musical that brought an audience more pleasure, and joy than this fun-fest helmed by Webber and his score with its heart in the powers of “ambition and freedom” (as the composer put it!)

If Brightman is not on every awards list for Outstanding Performance by an Actor in a Musical come spring this critic will lead the protest! Joy is a commodity in too be jubilant! (212-239-6200)

Kudos for La Bute theater festival
This critic has never been disappointed by any excursion that includes the input of playwright Neil La Bute. And the current La Bute Theater Festival, an evening of six one-act plays that all originated at past annual festivals curated by the St. Louis Actors Studio is no exception. At 59E59 Theaters, in one of the smaller venues in that complex, our rapt audience was treated to prime examples of the genius exemplified in “a La Bute’s raw world view, including one by the latter Olivier and Tony nominated playwright.

La Bute and his fellow playwrights take us to places and situations that open our eyes, minds and hearts to experiences that jangle the mind and expand our vision of a “possible” often far removed from our own lives or theater going. But sometimes not. Both experiences are part of the current annual festival exploring our human condition, which means part from recognizable situations and worlds you wouldn’t ever want to visit — except on stage!

The current lineup includes Lexi Wolfe’s “Stand up For Oneself,” where two cocktail partygoers meet at a London house party and their conversation and interaction comically prove them a match not made in heaven. But “J.J. Strong’s “The Comeback Special” illustrates the sweet comic meeting with the ghost of Elvis Presley. La Bute’s own devastating “Kamdahar” black humor is a genre that needs an open mind, but the reward can be eye-and mind expanding.

“Kandahar” is prime to his sensibilities about the injustices perpetrated in our tough world when a war veteran returns home to be met by — find out for yourself through Feb.7. Tickets at 212-279-4200 or www.59e59.org

Finally, kudos to Kecia Lewis who took over the lead in CSC’s “Mother Courage…” on incredibly short notice and delivered a magnificent, moving performance as a determined mother trapped in the nightmare of the never-ending strife of war and the sometimes devastating price of peace.