Theater Reviews of "Women on the Verge of A Nervous Breakdown" and "Driving Miss Daisy"

January is known to be “the cruelest month” for Broadway. After the holiday season, shows begin posting closings. But one need only look at the shows still running to see the pattern, something that shrewd producers have realized early. Star power sells even mediocre productions. Although a popular movie doesn't necessarily translate into a good, successful Broadway show, stars can breathe life into an otherwise middling show and, more importantly, draw paying audiences.

Lincoln Center’s adaptation of the successful 1988 Spanish movie, “Women on the Verge of A Nervous Breakdown,” written and directed by Pedro Almodovar, has a stellar Broadway cast. Despite this, the play has only a few outstanding, even memorable moments. Sherie Rene Scott stars as Pepa, the woman whose lover has inexplicably left her, and Brian Stokes Mitchell plays the sexy womanizer. Patty LuPone is the ex-wife who goes to court to get her husband back, and Laura Benanti is delightful as the charmingly dippy model whose temporary boyfriend is a terrorist. Danny Burstein plays the garrulous taxi driver.

Still set in Spain, the Spanish accents go in and out. Scott has no accent while Benanti does. Benanti is sexy and absolutely adorable. Scott has a pleasant voice and personality, but her character is nondescript and spiritless. Although their voices are marvelous, as a pair, Lupone and Mitchell don’t jive. Lupone, who for most theater aficionados can do no wrong, looks particularly frumpy and much older than Mitchell.

The play, directed by award-winning Bartlett Sher, doesn’t hold our attention. The story is a bit unfocused. One major plot line involves a vial of Valium mixed with gazpacho. So naturally, someone has to drink the soup and be comatose for a long portion of the play. The plot line is too predictable and the songs by David Yazbek are uninspiring, except for one sung by Benanti. Yet despite its unevenness, the show goes on...thanks to its stars.

Driving Miss Daisy is a highly- anticipated revival. Starring award-winning actors Vanessa Redgrave and James Earl Jones, the show was destined to do well. The actors’ names alone drove ticket sales. Despite a tepid production, directed by David Esbjornson, the show has been extended for a third time-now till April.

Alfred Uhry’s show has charm and sweetness. The aging Southern Jewish woman needs a chauffeur since she’s a menace driving. Against her wishes, her son (well-played by Boyd Gaines) hires a Black chauffeur. A petulant, curt woman, Daisy resists as long as she can but begrudgingly comes to depend on and care for her chauffeur, even teaching him to read.

Both Redgrave and Jones are professionals and a pleasure to watch. Initially, Jones’ subservience is annoying. However, as the chauffeur grows more secure in his position, he becomes a stronger character. So, too, as Redgrave grows into her part, and she becomes a more winning character as she ages.

There are several quick scenes to show the growing relationship and the passing of the years. (The two spend more than 20 years together.) However, the scenes feel too short and I would have preferred fewer scenes and more development. The two become very close. Although the ending is moving, the most touching moment is when he braves an ice storm to come to her house, even bringing her coffee.

In the hands of less skilled performers, Driving Miss Daisy would feel choppy and a bit saccharine. However, Jones and Redgrave, individually or together, in anything, are always a treat to watch.

Despite some weaknesses in both productions, these shows go on. Proving star power sells.