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* Originally written during the run of the show.
CHENOWETH DESERVING OF 3 TONYS IN BOCK AND HARNICK’S “APPLE TREE”
BY DAN, 13
There is a line in the newly Roundabout-produced The Apple Tree by Sheldon Harnick and Jerry Bock that sums up Kristin Chenoweth’s performance perfectly. The 39-year old, 4 foot 11 star sings it herself: “Who ever saw such a complete wow?”
Although Chenoweth sings in it in the 3rd of her short-story based roles, Passionella, chimney sweep/movie star, she could be singing it about herself. For Kristin Chenoweth has the range of a piano, the versatility of a full company, and a genuine love for all theater the likes of which has not been seen for far too long.
The Apple Tree, originally produced in 1966, is divided into 3 parts: “The Diary of Adam Eve” (based on the fictional journal entries by Mark Twain about the first humans on Earth), “The Lady or the Tiger?” (Based on the mind-boggling legend by Frank R. Stockton) and “Passionella” (based on the picture book by Jules Feiffer).
The three leads of the show perform the main roles in each of these stories. Chenoweth (Wicked, You’re A Good Man Charlie Brown) conquers Eve, the bloodthirsty (or maybe not) Barbara and Passionella. Brian D’Arcy James (who starred in Sweet Smell of Success and replacement cast of Dirty Rotten Scoundrels), plays Adam, Sanjar and Flip. Broadway expert, Marc Kudisch (Thoroughly Modern Millie, Chitty Chitty Bang Bang, Assassins, Bells Are Ringing) portrays the devious Snake, the guitar-strumming Balladeer and the dubious Narrator.
The first story (“Adam and Eve”) contains beautiful numbers for Chenoweth, “Here in Eden,” “Friends,” “What Makes Me Love Him” and “Go To Sleep, Whatever You Are,” all of which she performs perfectly. It also has some pleasant comic numbers for the stunning James, including “Beautiful, Beautiful World,” “Eve” and “It’s A Fish” (when he first discovers Abel). Finally, Kudisch has the seductive “Forbidden Fruit”, in which he persuades Eve to eat the fruit, forcing the lovers to leave Eden forever.
The second (“Lady or the Tiger”) concerns a barbarian princess’ love affair with a recently returned warrior. When their romance is discovered, the warrior must face the system of justice in the kingdom: choose one of two doors, behind one is a tiger (choose the tiger and you will be instantly devoured, thus guilty) and the other contains a lady (choose the lady and you will be instantly married, thus innocent). The jealous princess discovers which door contains which creature (so belts out the raunchy “I’ve Got What You Want”), but then instantly regrets the knowledge, when she realizes that either way she cannot have her lover (“Tiger, Tiger”). In the final moments of the story, the warrior chooses a door and out comes – the narrating balladeer, leaving the outcome to the audience’s discretion. This section of the show contains the weakest shape, overall, but has some excellent numbers like the Vaudevillian “In Gaul” (one of two duets in the entire show for the leads).
The final section (“Passionella”) tells of an unemployed chimney sweep whose Fairy Godmother visits her through the television and grants her the wish of being a “beautiful, glamorous movie star.” However, Passionella falls in love with a rock star, Flip, who declares that she is false (“You Are Not Real”), causing her to make a movie of her life as a chimney sweep. Of course, since the spell breaks after the Late Late Show, Passionella discovers that both she and her now-fiancée are both transformed nobodies and they live happily ever after (whether as celebrities or as paupers is not revealed). This contains the most comic score, including Passionella’s “Oh, To Be A Movie Star”, “Gorgeous” and “Wealth.”
Sheldon Harnick’s lyrics and Jerry Bock’s music go beautifully together as anyone familiar with Fiddler on the Roof or She Loves Me or Fiorello! will know. Harnick’s clever concepts (when Eve believes her reflection to be a best friend, she sings, “You would never turn your back on me”) bring laughter to whole audiences. Charming orchestrations performed by musicians in mezzanine boxes bring an exciting mood to the show. Although the scenery is not extravagant (ladders for the first, two doors for the second and glittering streamers for the third), each story is brilliantly portrayed.
Leading the cast are three of Broadway’s best performers, one of whom (and you can guess which) will revolutionize musical theater forever and make every history book as the greatest Broadway diva of the early 21st century.
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| Brian D’Arcy James |
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| Marc Kudisch |
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