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JANUARY 9, 2011
FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Michael Giltz
Freelance writer and raconteur
Posted: November 5, 2010 05:00 PM
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1Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyTheater Review: "Women On The
Verge" Of Bad
What's Your Reaction:
Read More: American Idol , Bartlett Sher , Broadway Musical , Justin Guarini , Laura Benanti , Patti LuPone ,
Pedro Almodovar , Women-On-The-Verge-Of-a-Nervous-Breakdown , Entertainment News
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN ** out of ****
At the Belasco Theatre
Neither the complete train wreck some people predicted nor the fizzy blast of fun promised by the
marriage of Pedro Almodovar's classic comedy with songs, Women On The Verge Of A Nervous
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Recommend 39K
Recommend 8K
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Like 7K
Like 734
Recommend 36K
Breakdown is simply a new musical that doesn't work and has almost no good songs. Undoubtedly Laura
Benanti will be singled out for her winning performance (it helps that she has the only good song) -- they
might say she's the only one to remain unscathed by a show overstuffed with talent. But in fact, no one ishurt here. It was a great idea and simply didn't work. It happens.
If you haven't seen the film, by all means rent it. It's one of the best films of the Eighties and wildly
entertaining. Transposed to the stage, the story is about voice-over actress (and TV commercial star)
Pepa (Sherie Rene Scott) who has been dumped by her lothario boyfriend Ivan (Brian Stokes Mitchell).
Ivan has a crazed ex-wife Lucia (Patti LuPone) and a son he rarely talks to (a solid Justin Guarini in his
Broadway debut). Pepa has her ditzy coworker Candela (Benanti) and a taxi driver who is always therewhen she needs it (Danny Burstein). Throw in a terrorist, gaspacho laced with valium, the police, aburning bed and a two-timing lawyer named Paulina (de'Adre Aziza) who is supposed to represent Lucia
but has fallen for Ivan instead and you've got yourself a wacky comedy.
Where to begin? The sets are frantic and always in motion. The design is meant to evoke the charming
collages that Almodovar created for the film. But done digitally, the collages just look messy. Plus, withlines moving in and out as frames of sort, the design echoes Mondrian instead of Pop Art. Then when a
taxi goes for a spin, the backdrop is animated and looks like nothing that came before. It's a mess. Worse,
it's cluttered, with images displayed on the back of the set partially blocked by all the moving parts
(stairways, furniture, a balcony and much much more). It's such a problem they desperately plaster the
video of one of Pepa's commercials on the back wall and the side of her fridge, just to be sure people can
actually see it.
And I do mean the set is frantic. Everything is constantly in motion to create a cinematic effect that is
simply exhausting. Sometimes, characters exit towards one side than spin around and walk across the
stage so they can be near a prop that will pop up on the other side (like a phone booth) in the next scene.If someone places a piece of luggage on the ground, it's certain to be mechanically whisked across the
stage sooner or later.
Most of the lead actors are not Latino and certainly not Spanish. Unfortunately, they're encouraged to
speak with a Spanish accent of sorts, which is just distracting. With this cast, why didn't they just decidethat Madrid was a state of mind and not worry about the accent? Lead Sherie Rene Scott actually sings
with an accent and the need to maintain her accent keeps her from singing the way we know she can.
LuPone doesn't really bother when she's singing. Only Benanti belts it out with any sort of convincingstyle.
it doesn't help that the songs are almost uniformly weak. The opener "Madrid" is a so-so scene-setter
sung without panache by the taxi cab driver/narrator (Danny Burstein). A whip-smart, frantically paced
comedy doesn't need a narrator -- forward motion is everything and narration just slows us down. One or
two early tunes have a genuine Latino lilt. But only Benanti's show-stopper "Model Behavior" hints atwhat might of been, with its amusing lyrics, twisting pace and comic punch.
The behind the scenes talent is exceptional, including director Bartlett Sher ( South Pacific ), book writer
Jeffrey Lane and songs by David Yazbek ( The Full Monty, Dirty Rotten Scoundrels ). But a show can be
overstuffed, especially in its cast. Both LuPone and Mitchell are such big stars, the creative team clearly
1 of 5
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felt obliged to showcase them rather than do what's best for the show. That's why the minor character of
Ivan has not one but two solo numbers, with the second one -- "Yesterday, Tomorrow and Today" --
especially weak. That appears in the second act and is soon followed by Lucia's second big number.
LuPone is given an entirely made-up court room scene so she can belt out "Invisible," a song aboutgrowing older and less attractive to men. It's serious and stern and completely out of character with therest of the show. (As is her earlier number, which oddly echoes Sixties pop songs from America. Why?)
Anyone can see that both these numbers needed to be cut, but who's going to tell them that? Amidst all
the additions, we lose sight of the evil lawyer Paulina who in the movie at least gave us someone to rootagainst and set the plot in motion.
The two people to benefit the most from this unfortunate misfire are former American Idol finalist
Guarini and Benanti. Guarini probably wisely avoided making his Broadway debut with the Beach Boys
musical Good Vibrations, which he was involved with during its early stages. This is a much better
showcase for his genuine talent. Guarini sings nicely, especially in his tune with Mitchell, "TheMicrophone." And he gets to be sexily paired to stammering delight with Benanti. Benanti doesn't ham it
up -- that's not quite the right word for her charm here. But she relishes the ditzy, over the top nuttiness
of her character (dating a terrorist, falling off the balcony, flirting with Guarini) and is clearly the one
person having a blast throughout. Certainly no one else could be.
What others are saying:
Ben Brantley of The New York Times said, "Packed with talent and creativity, and a cast and crew
bristling with Tony Awards, "Women on the Verge of a Nervous Breakdown" is nonetheless a sad
casualty of its own wandering mind."
Joe Dziemianowicz of the New York Daily News gave it a 2 out of 5 and said, "The show-stealing
performance comes from a laugh-out-loud Laura Benanti, as Candela, a model who's accidentally hooked
up with Madrid's most-wanted terrorist. She turns "Model Behavor," a song made up of ever moredesperate phone calls to Pepa, into a delirious jolt of joy. At that moment, the show's antic energy makes
sense, but otherwise the production just seems frantic.... But despite the constant motion, "Women on
the Verge" doesn't go anywhere."
Elisabeth Vincentelli of the New York Post gave it 3 out of 4 and said, "The show is flashy, breathless,
busy. It's a mess, but it's a big, fun Technicolor mess. Flinging itself forward with desperate energy, this
new musical never coagulates into a coherent whole. Luckily, many of its parts are vastly entertaining."
John Simon of Bloomberg said, "Heroic efforts from the remarkable singing actresses Laura Benanti,
Patti LuPone and Sherie Rene Scott and the equally accomplished Brian Stokes Mitchell can't disguise
the fact that "Women on the Verge of a Nervous Breakdown" is an unholy mess. Along the way to
Broadway from Pedro Almodovar's off-beat Madrid, inspiration suffered its own breakdown."
David Finkle of Theatermania.com said, "If waste were the eighth deadly sin, Women on the Verge of a
Nervous Breakdown, now at the Belasco Theatre under the auspices of Lincoln Center Theater, would be
accused of committing it big-time. Rarely has a show squandered so much major musical comedy talent."
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinion
makers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also
available for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
reviews .
NOTE : Michael Giltz was provided with free tickets to the show in previews with the understanding
that he would be writing a review.
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz
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Comments 1 Pending Comments 0View FAQ
6 Fans
I liked it.
It is campy, tongue-in- cheek and doesn't take itself too seriously.
Though not the most memorable score, I think it is so beautifull y sung by everyone that it almost
doesn't matter.FOLLOW HUFFINGTON POST
FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Advertise | Log In | Make HuffPost your Home Page | RSS | Careers | FAQ | Contact Us
User Agreement | Privacy | Comment Policy | About Us | Powered by Movable Type
Copyright © 2011 TheHuffingtonPost.com, Inc. | "The Huffington Post" is a registered trademark of TheHuffingtonPost.com, Inc. All rights reserved.
Recency | Popularity
Jerry Diaz 08:30 PM on 11/10/2010
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FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Michael Giltz
Freelance writer and raconteur
Posted: November 5, 2010 05:00 PM
BIO
Become a Fan
Get Email Alerts
Bloggers' Index
3
3
views
0
1Inspiring Funny Hot Scary Outrageous Amazing Weird CrazyTheater Review: "Women On The
Verge" Of Bad
What's Your Reaction:
Read More: American Idol , Bartlett Sher , Broadway Musical , Justin Guarini , Laura Benanti , Patti LuPone ,
Pedro Almodovar , Women-On-The-Verge-Of-a-Nervous-Breakdown , Entertainment News
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN ** out of ****
At the Belasco Theatre
Neither the complete train wreck some people predicted nor the fizzy blast of fun promised by the
marriage of Pedro Almodovar's classic comedy with songs, Women On The Verge Of A Nervous
MOST POPULAR ON HUFFPOST
1 of 2
BIG NEWS: Rihanna | Mila Kunis | Movies | Gwyneth Paltrow | Smarter Ideas | More...
Democratic Rep. Shot,
Federal Judge Killed At
Public Event
Suspected Arizona Shooter
Identified: Disturbing
YouTube Videos, MySpace
Camille Grammer's Porn
Past Comes Back To Haunt
Her
Should The Leader Of The
Free World Dress Like
THIS?
What Not To Say When
Your Loved One Is Upset
How To Tell If It's Really
Food: A Flowchart
GOP Congresswoman
Caught In Sexually
Suggestive Photos
Thousands Of Birds Found
Dead In Italy LOG IN | SIGN UP
LIVE UPDATES: Democratic Congresswoman Gabrielle Giffords Shot, Federal Judge KilledGet Breaking News by Email
SHARE THIS STORY
Get Entertainment Alerts
Email Comments 1
Recommend 39K
Recommend 8K
Like 919
Like 691
Like 771
Like 7K
Like 734
Recommend 36K
Breakdown is simply a new musical that doesn't work and has almost no good songs. Undoubtedly Laura
Benanti will be singled out for her winning performance (it helps that she has the only good song) -- they
might say she's the only one to remain unscathed by a show overstuffed with talent. But in fact, no one ishurt here. It was a great idea and simply didn't work. It happens.
If you haven't seen the film, by all means rent it. It's one of the best films of the Eighties and wildly
entertaining. Transposed to the stage, the story is about voice-over actress (and TV commercial star)
Pepa (Sherie Rene Scott) who has been dumped by her lothario boyfriend Ivan (Brian Stokes Mitchell).
Ivan has a crazed ex-wife Lucia (Patti LuPone) and a son he rarely talks to (a solid Justin Guarini in his
Broadway debut). Pepa has her ditzy coworker Candela (Benanti) and a taxi driver who is always therewhen she needs it (Danny Burstein). Throw in a terrorist, gaspacho laced with valium, the police, aburning bed and a two-timing lawyer named Paulina (de'Adre Aziza) who is supposed to represent Lucia
but has fallen for Ivan instead and you've got yourself a wacky comedy.
Where to begin? The sets are frantic and always in motion. The design is meant to evoke the charming
collages that Almodovar created for the film. But done digitally, the collages just look messy. Plus, withlines moving in and out as frames of sort, the design echoes Mondrian instead of Pop Art. Then when a
taxi goes for a spin, the backdrop is animated and looks like nothing that came before. It's a mess. Worse,
it's cluttered, with images displayed on the back of the set partially blocked by all the moving parts
(stairways, furniture, a balcony and much much more). It's such a problem they desperately plaster the
video of one of Pepa's commercials on the back wall and the side of her fridge, just to be sure people can
actually see it.
And I do mean the set is frantic. Everything is constantly in motion to create a cinematic effect that is
simply exhausting. Sometimes, characters exit towards one side than spin around and walk across the
stage so they can be near a prop that will pop up on the other side (like a phone booth) in the next scene.If someone places a piece of luggage on the ground, it's certain to be mechanically whisked across the
stage sooner or later.
Most of the lead actors are not Latino and certainly not Spanish. Unfortunately, they're encouraged to
speak with a Spanish accent of sorts, which is just distracting. With this cast, why didn't they just decidethat Madrid was a state of mind and not worry about the accent? Lead Sherie Rene Scott actually sings
with an accent and the need to maintain her accent keeps her from singing the way we know she can.
LuPone doesn't really bother when she's singing. Only Benanti belts it out with any sort of convincingstyle.
it doesn't help that the songs are almost uniformly weak. The opener "Madrid" is a so-so scene-setter
sung without panache by the taxi cab driver/narrator (Danny Burstein). A whip-smart, frantically paced
comedy doesn't need a narrator -- forward motion is everything and narration just slows us down. One or
two early tunes have a genuine Latino lilt. But only Benanti's show-stopper "Model Behavior" hints atwhat might of been, with its amusing lyrics, twisting pace and comic punch.
The behind the scenes talent is exceptional, including director Bartlett Sher ( South Pacific ), book writer
Jeffrey Lane and songs by David Yazbek ( The Full Monty, Dirty Rotten Scoundrels ). But a show can be
overstuffed, especially in its cast. Both LuPone and Mitchell are such big stars, the creative team clearly
1 of 5
Alan Grayson
Gabby Giffords: A Few Words
Dylan Ratigan
A Destructive CrossroadsDON'T MISS HUFFPOST BLOGGERS
HOT TRENDS
TOP VIDEO PICKS
Queen's Royal Wedding
Rift
1 of 9
jwoww naked miley cyrus lap
dance video natalie
portman natalie
portman pregnant
rihanna PHOTOS: Guess Whose
Sister
More Celebrity News at People.com
More Celebrity News at Popeater.com
Like
Report: No Second Season
for Sarah Palin's Alaska
READ MORE
Congresswoman GabrielleGiffords In 'Very Critical
Condition' After Shooting
READ MORE
Kate Middleton Joins
Future In-Laws at Weekend
Wedding
READ MORE
'Glee' to Feature Gaga's
'Born This Way'
Zac Efron and Vanessa
Hudgens: Back On?
Jim Carrey Spoofs 'Black
Swan' on 'SNL'
felt obliged to showcase them rather than do what's best for the show. That's why the minor character of
Ivan has not one but two solo numbers, with the second one -- "Yesterday, Tomorrow and Today" --
especially weak. That appears in the second act and is soon followed by Lucia's second big number.
LuPone is given an entirely made-up court room scene so she can belt out "Invisible," a song aboutgrowing older and less attractive to men. It's serious and stern and completely out of character with therest of the show. (As is her earlier number, which oddly echoes Sixties pop songs from America. Why?)
Anyone can see that both these numbers needed to be cut, but who's going to tell them that? Amidst all
the additions, we lose sight of the evil lawyer Paulina who in the movie at least gave us someone to rootagainst and set the plot in motion.
The two people to benefit the most from this unfortunate misfire are former American Idol finalist
Guarini and Benanti. Guarini probably wisely avoided making his Broadway debut with the Beach Boys
musical Good Vibrations, which he was involved with during its early stages. This is a much better
showcase for his genuine talent. Guarini sings nicely, especially in his tune with Mitchell, "TheMicrophone." And he gets to be sexily paired to stammering delight with Benanti. Benanti doesn't ham it
up -- that's not quite the right word for her charm here. But she relishes the ditzy, over the top nuttiness
of her character (dating a terrorist, falling off the balcony, flirting with Guarini) and is clearly the one
person having a blast throughout. Certainly no one else could be.
What others are saying:
Ben Brantley of The New York Times said, "Packed with talent and creativity, and a cast and crew
bristling with Tony Awards, "Women on the Verge of a Nervous Breakdown" is nonetheless a sad
casualty of its own wandering mind."
Joe Dziemianowicz of the New York Daily News gave it a 2 out of 5 and said, "The show-stealing
performance comes from a laugh-out-loud Laura Benanti, as Candela, a model who's accidentally hooked
up with Madrid's most-wanted terrorist. She turns "Model Behavor," a song made up of ever moredesperate phone calls to Pepa, into a delirious jolt of joy. At that moment, the show's antic energy makes
sense, but otherwise the production just seems frantic.... But despite the constant motion, "Women on
the Verge" doesn't go anywhere."
Elisabeth Vincentelli of the New York Post gave it 3 out of 4 and said, "The show is flashy, breathless,
busy. It's a mess, but it's a big, fun Technicolor mess. Flinging itself forward with desperate energy, this
new musical never coagulates into a coherent whole. Luckily, many of its parts are vastly entertaining."
John Simon of Bloomberg said, "Heroic efforts from the remarkable singing actresses Laura Benanti,
Patti LuPone and Sherie Rene Scott and the equally accomplished Brian Stokes Mitchell can't disguise
the fact that "Women on the Verge of a Nervous Breakdown" is an unholy mess. Along the way to
Broadway from Pedro Almodovar's off-beat Madrid, inspiration suffered its own breakdown."
David Finkle of Theatermania.com said, "If waste were the eighth deadly sin, Women on the Verge of a
Nervous Breakdown, now at the Belasco Theatre under the auspices of Lincoln Center Theater, would be
accused of committing it big-time. Rarely has a show squandered so much major musical comedy talent."
*****
Thanks for reading. Michael Giltz is the cohost of Showbiz Sandbox, a weekly pop culture podcast that
reveals the industry take on entertainment news of the day and features top journalists and opinion
makers as guests. It's available free on iTunes. Visit Michael Giltz at his website and his daily blog.
Download his podcast of celebrity interviews and his radio show, also called Popsurfing and also
available for free on iTunes. Link to him on Netflix and gain access to thousands of ratings and
reviews .
NOTE : Michael Giltz was provided with free tickets to the show in previews with the understanding
that he would be writing a review.
Follow Michael Giltz on Twitter: www.twitter.com/michaelgiltz
More in Entertainment...
Kourtney K.'s Stunning
Bikini Bod
Jane Krakowski RevealsBaby Bump
MOST DISCUSSED RIGHT NOW
HOT ON FACEBOOK
HOT ON TWITTER
House Of
Representatives
Extreme
Weather
Sarah Palin
Mila Kunis
CES 2011
Health Care
New York
Times
Personal
Health
VideoHUFFPOST'S BIG NEWS PAGES
MORE BIG NEWS PAGES »Esteemed Film Critic
Group Picks The Year's
Best Movie
113 Comments
PHOTO: Rihanna, Nicki
Minaj Tweet About
Hooking Up
12 Comments
Camille Grammer's Porn
Past Comes Back To
Haunt Her
1,059 Comments
One And Done: 'Sarah
Palin's Alaska' NOT
Renewed: Report
1,326 Comments
Mila Kunis On Best
Kisser: Justin Timberlake
Or Natalie Portman?
10 Comments
Ashton Kutcher: Training,
Paranoid About Real Life
'End Of Days'
904 Comments
Olivia Wilde Dons
See-Through Bikini
(PHOTOS)Natalie Portman: I
Was 'Barely Eating'
During...Natalie Portman
Reveals
Engagement Ring
(PHOTOS)'Sarah Palin's
Alaska' NOT
Renewed For
Second...
Comments 1 Pending Comments 0View FAQ
6 Fans
I liked it.
It is campy, tongue-in- cheek and doesn't take itself too seriously.
Though not the most memorable score, I think it is so beautifull y sung by everyone that it almost
doesn't matter.FOLLOW HUFFINGTON POST
FRONT PAGE POLITICS BUSINESS MEDIA ENTERTAINMENT COMEDY SPORTS STYLE WORLD GREEN FOOD TRAVEL TECH
LIVING HEALTH DIVORCE ARTS BOOKS RELIGION IMPACT EDUCATION COLLEGE NY LA CHICAGO DENVER BLOGS
Advertise | Log In | Make HuffPost your Home Page | RSS | Careers | FAQ | Contact Us
User Agreement | Privacy | Comment Policy | About Us | Powered by Movable Type
Copyright © 2011 TheHuffingtonPost.com, Inc. | "The Huffington Post" is a registered trademark of TheHuffingtonPost.com, Inc. All rights reserved.
Recency | Popularity
Jerry Diaz 08:30 PM on 11/10/2010
Permalink | Share it
Login or connect with:
More Login Options
Post to Facebook.
Post to Blogger.
Post to Twitter.
Post to WordPress.
Post to TypePad.
Post to Tumblr.To reply to a Comment: Click "Reply" at the bottom of the
comment; after being approved your comment will appear directly
underneath the comment you replied to.
Share your Comment:
Post Comment
Preview Comment
View All