War Paint

C

Take the librettist (Doug Wright), composer (Scott Frankel), lyricist (Michael Korie), Tony-winning star (Christine Ebersole) and director (Michael Greif) of a much-loved musical (Grey Gardens); for good measure, add another Tony-winning diva (Patti Lupone), throw in Tony winners for choreography (Christopher Gatelli) and costume design (Catherine Zuber) plus the scenic designer of Hamilton (David Korins), and you should have all the ingredients of a wonderful show. And don't forget to include plot points that will appeal to Jews and gays, two staples of the Broadway audience. Unfortunately, this new musical about Helena Rubinstein and Elizabeth Arden, now in previews at the Nederlander Theatre, does not fully deliver on its promise. While there is much to admire — the two leads, a sumptuous production, some good songs with intelligent lyrics — there is little to love. The story of the parallel careers of these two cosmetic giants, while instructive about an interesting aspect of American social history, is a bit bloodless. There were very few moments when I was moved. John Dossett plays Arden’s husband and sales manager. Douglas Sills plays Rubenstein’s closeted business manager and companion. Their switcheroo seemed a bit too formulaic. Some judicious trimming is in order. At two hours 45 minutes including intermission, it risks wearing out its welcome. It’s far from terrible, but with all that talent involved, the results are disappointing.

Shows for Days ***

Douglas Carter Beane’s comedic memoir, now in previews at Lincoln Center Theater’s Mitizi E. Newhouse Theater, recounts the events of the year the playwright turned 15 in a suburb of Reading, Pennsylvania and joined a local community theater where he discovered his place in the world and first experienced sex and unrequited love. His story is not particularly original or well-told and he panders shamelessly to an audience largely composed of gays and Jews.  The second act is a mess with plot developments that are downright implausible. However, if you forget about the plot and sit back to enjoy an almost nonstop series of hilarious one-liners, you will have a very good time. It helps tremendously that the young Beane, known here as Car, is played by the always-appealing Michael Urie (Buyer & Cellar) and that the theater’s artistic director Irene is the iconic Patti LuPone. We also meet Sid, the theater’s lesbian co-founder and manager (a wonderful Dale Soules); Clive, the company’s flamboyantly gay lead actor (a delightful Lance Coadie Williams); Damien, a handsome actor/waiter who is bisexual (Jordan Dean); and Maria, the young actress (Zoë Winters) whose role is notably underwritten. John Lee Beatty’s set combines an open stage with a back wall over-cluttered with props. The costumes by William Ivey Long are a good part of the fun. Jerry Zaks’s direction does not aim for subtlety.  The opportunity to see Urie, LuPone and a fine supporting cast keeping the zingers flying went a long way, at least for me, to overcome the play’s weaknesses. Running time: 2 hours 10 minutes including intermission.