Cyrano de Bergerac, a play by Edmond Rostand (translated by Anthony Burgess) at the Richard Rodgers Theatre. Starring Kevin Kline, Jennifer Garner and Deniel Sunjata. Directed by David Leveaux. It was obvious when this revival was announced that Kevin Kline would be an ideal Cyrano. Indeed it is hard to imagine that Jose Ferrer, Walter Hampden or even Coquelin himself was any better. Kline brings the swashbuckling rollicking gifts he first displayed as the Pirate King in "The Pirates of Penzance" so many years ago, combined with the pathos and humor he warmly bathed the Lincoln Center audience in as a sublime Falstaff. This is as good as classical acting gets. But what of his fair Roxanne? Eyebrows were raised when Jennifer Garner was cast, and rightly so when so many movie stars have crashed and burned so recently on the New York stage. Would Garner fail as did Julia Roberts, Helen Hunt, Anne Hathaway and Julienne Moore? Or would she succeed the way Nicole Kidman and Cate Blanchett have? Well for us, she was the finest of all - a superb Roxanne. Flashing her trademark bone structure and blazing eyes, she gives a complete performance. She is fluid, commands the stage (and always our hearts and sympathy) and speaks her lovely lines expertly, not once faltering or (usually the telltale sign of a film star on stage) shouting. If she can be faulted at all, it is that her voice is not mellifluous or her elocution as fine as a more experienced and grounded stage actress might be. But she's so good, so lovely, and so in sync with her Cyrano that this must be reckoned a complete triumph for her.
As Christian, Daniel Sunjata is a hunk, and a hunk who can act. The staging is near perfect. The way the second act began was an inspiration. David Leveaux has done a splendid job. Cyrano is still in previews. If it gets any better it will be legendary. As it is, this is a marvelous and joyous accomplishment. classical theater on a very high level. Broadway Bridge and Tunnel Test grade A.

Maritius, a play by Theresa Rebeck at the Manhattan Theatre Club, Biltmore Theatre. Starring Alison Pill, F. Murray Abraham, Dylan Baker, Katie Finneran, Bobby Cannavale, directed by Doug Hughes. We figured this was going to be one of the strongest plays of the Broadway season, so we had high expectations. Well while "Maritius" wasn't quite as lofty as that, it is a powerful play, and only its improbably romantic ending (it rang false for me, but my wife liked it) kept it from being as solid as Rebeck's last play "The Scene." The sets are superb and the acting sensational. Alison Pill tightly wound as ever is excellent in the lead role, F. Murray Abraham rings true as a crazed collector (these I know so well!) as does Dylan Baker as a cynical, dishonest stamp dealer. But the most nuanced acting comes from Katie Finneran who is not what she seems and most especially from Bobby Cannavale who will probably get a Tony nod for his sizzling performance. If "Maritius" doesn't hit the heights, it is well worth attending. Broadway Bridge and Tunnel Test. B.

Young Frankenstein, a musical by Mel Brooks. Hilton Theatre. Starring Roger Bart, Megan Mullally, Sutton Foster, Shuler Hensley, Andrea Martin, Fred Applegate, Christopher Martin.
We opted to go to the second preview of "Young Frankenstein." Tickets were hard to come by, so instead of our usual preferred Saturday Matinee, we went on a Friday night, probably the worst night of the week to drive into New York. Sure enough, we had a terrible commute, taking over three hours to get in the city (two hours longer than usual!). This set the bar very high for our Bridge and Tunnel Test, not to mention the fact that the tickets were costly (although not of the excessive premium level). Was "Young Frankenstein" worth the time and the cost? Absolutely! This brilliant follow up by Mel Brooks to his smash 2001 Broadway hit "The Producers" should enjoy a huge run as the big commercial hit not only this season, but for many seasons to come. This was the third show we've seen in the huge Hilton Theatre ("Ragtime" and "42nd Street" were the others) and it was the first that actually looked like it belonged in a venue of such scale. Right at the start, we were confronted by the most magnificent drop curtain we've seen. The show sat beautifully on the stage, the sets and special effects were simply amazing. The marvelous cast, one of the most accomplished I've ever seen is brilliant: Roger Bart, not slavishly imitating Gene Wilder, is funny, and dances and sings to perfection; Sutton Foster, one of my favorites, is in top form. Her number "Roll in the Hay" is probably the best new material in the show and received an eruption of an ovation. And does she ever yodel! Christopher Fitzgerald has a triumph as Igor (funny at every moment) and Andrea Martin is phenomenal in her ersatz Weill number "He Vas My Boyfriend." Megan Mullally is excellent although she doesn't quite match her movie predecessor Madeline Kahn. Shuler Hensley who was so fine as Jud Fry is amazing as the monster, and steals the show in the second act with "Puttin' On the Ritz," the number in which Stroman's choreographic genius flashed brightest (though as a director she doesn't miss a step). It's no insult to Brooks that this Berlin standard is the best number in the show! But more than any single number or actor, it's the sheer fun and joy of the piece, and the aesthetic zing of the production. It's fresh throughout. Probably a number or two could be cut (I'd cut one of Mullally's and perhaps some or all of "Welcome to Transylvania.") but even as long as it ran, the children in the audience giggled and laughed all night. It was one big party. And again, those special effects - the "Join the Family Business" number alone will put this production in the effects pantheon. We had a wonderful time. Broadway Bridge and Tunnel Test mark A+

Romeo et Juliette by Charles Gound. The Metropolitan Opera House. Starring Anna Netrebko and Joseph Kaiser, conducted by Placido Domingo. Anna Netrebko IS Juliette. Her voice, ever richer and more expressive, fills the Metropolitan Opera House with lustrous sound. She acts the part as few ever have and this despite being in an atrocious production and with little supporting help. Kaiser, in a debut, has a tenor voice of great promise and will probably improve when he settles into the part, but his is not a true Romeo voice. (It wouldn't hurt if he had a more flattering costume.) The conducting is workman-like, but does little to bring out the best in this lush score. No matter, when Anna Netrebko is on stage, the Met is the center of the opera universe. She is in peak form and is therefore a must see. Our Broadway Bridge and Tunnel Test Grade. B+

Emma, A New Musical by Joel Adlen. New York Musical Theatre Festival at the Acorn Theatre. Starring Leah Horowitz. Being big Jane Austen fans, we could hardly resist the chance to see a musical based on her masterwork Emma. Clearly enjoying one of the best "books" ever for a musical, this work by Joel Adlen is a sheer delight. The story of multiple pairings amusingly at cross purposes is inventively and wittily staged; the diverse personalities are effectively characterized with clever theatrical shorthand, enriched by their musical numbers. Adlen utilizes a chamber orchestra scored in a way that recalls the music of the story's setting, Hummel, Beethoven, Cherubini, Haydn, but in a modern idiom that is worthy of this post-Sondheim era. Standouts include "I Do Not Want," "Jane Fairfax Wrote a Letter," "If I Loved You Less" and "A Country Dance." The performances are winning. Leah Horowitz is a beautiful Emma, singing with a sweet sympathetic tone and acting the part as well as Gwyneth Paltrow did in the film. Great performances also from Jess Lawder as Frank Churchill, Terry Palasz as Miss Bates, John Patrick Moore as Mr. Knightley and particularly Ben Roseberry as a note perfect Mr. Elton. This musical (which could also be called a chamber opera) could play very well in small venues like 2nd Stage, Manhattan Theatre Club, or at Lincoln Center. It deserves such a home and a long, long run. Meanwhile, only three more performances so run to this! Broadway Bridge and Tunnel Test Grade A+