Rick NYC-2

It's not a minor problem that ten minutes into the opening, I had trouble buying the premise, that Vanessa Williams had waited eight years for Jason Alexander to become an English professor and marry her. In the original, Dick Van Dyke and Chita seemed like a match made in heaven, so I was on board from the word go. Otherwise, I thought the casting was great, although Chinna Phyllips didn't have the voice of either Susan Watson (stage) or Ann Margrett (screen), and she couldn't do her songs justice. I thought Reinking's choreography was a bit claustrophobic, although the kids were energetic and adorable and really evoked a sixties innocence. Strouse was about 30 when he wrote the music, which I think epitomizes the melodiousness of the best of Broadway musicals. Every number is catchy and so many remain in the canon of unforgettable theater hits. As for the book, the farcical treatment of small town America is hilarious, but I think you need to have been alive in the early sixties to appreciate it fully. Finally, if you need the best excuse to check out this version, it's Tyne Daley as Alexander's bullying mother. Having played in Birdie and Gypsy (as Mama Rose), she has established herself as the comic mother from hell, her franchise for all time. It's like she's possessed, and her performance is mesmerizing.

Occupy Wall Street might use this film for fund raisers. It presents the livIng hell of being rich and shallow, and it gives me the creeps much more today than it did when I first saw it. There are some interesting references that date it. For example, the Rainbow Room ejects Will Smith for dancing the tango with a male friend, an act which no such NYC establishment would likely do today. Along those lines, Michael Anthony Hall hands in a very courageous performance as the gay kid who falls for Will and sets his antics in motion. I remember how sensational that kiss between them seemed at the time. Will's character has universal appeal. He is the ultimate con man and hustler, but he is so successful because he is charming. Maybe if rich people today would allow themselves to fall for what is charming, they would delight in helping the struggling people of the world today rather than worrying so much about selling their Kandinskys. Stockard Channing turns in one of the great film performances of the century, showing how a One-Percenter can experience a spiritual epiphany. In this sense, Guare is a modern Dickens, deserving of all the accolades he received for this script and screen play, which reminds us that we are six degrees of separation not only from Kevin Bacon but of every kid in Zuccotti Park or Tahrir Square. "How much of your life can you account for?" With tears in her eyes, Stockard Channing asks Donald Sutherland this question with the same direness in her voice that Jesus must have had when he addressed the rich guys in the Holy Land.