TT: A smooth snow job

I gave thumbs-up reviews to a pair of New York shows in today’s Wall Street Journal, one a Broadway musical (Irving Berlin’s White Christmas) and one an off-Broadway play (Itamar Moses’ Back Back Back). Here’s an excerpt.
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Now that playgoers and producers are feeling the financial pinch, the market for super-safe no-brainer shows is soaring. Escapism looks especially good between Thanksgiving and Christmas, and so Broadway is saying hello to “Irving Berlin’s White Christmas,” a sure-fire seasonal musical that’s been road-tested in Boston, Los Angeles, San Francisco and Toronto. This stage version of the Bing Crosby-Danny Kaye movie is pure, unadulterated commodity theater, right down to the inclusion of Berlin’s name in the title of the show–but the ingredients are costly and the craftsmanship immaculate, and only the Scroogiest of Scrooges will turn up their noses at its sleek charm.
Michael Curtiz’ original 1954 film was itself a commodity, a Technicolor variation on “Holiday Inn” in which Kaye replaced Fred Astaire and the whole film took place at Christmastime. It’s long been a seasonal staple, but I never liked it as much as “Holiday Inn,” and the stage version of “White Christmas” is a definite improvement on its cinematic source. The reason for this is twofold: David Ives, that wittiest of playwrights, has joined forces with Paul Blake to spruce up the script, while Walter Bobbie, the justly celebrated director of the Broadway revival of “Chicago,” has put the show on stage with his customary comedic skill. The result is a streamlined valentine to the Eisenhower era that’s packed with period references, some obvious (the heroes appear on “The Ed Sullivan Show”) and others subtle (there’s an Eames chair in their dressing room). The songs have even been orchestrated by Larry Blank in the smoothly jazzy style of Nelson Riddle, the “Songs for Swingin’ Lovers” man….
Itamar Moses is having himself a time. Two of his plays, “Back Back Back” and “Yellowjackets,” had high-profile premieres in San Diego and Berkeley earlier this year, while “The Four of Us” transferred from San Diego to New York for a successful Off-Broadway run. Meanwhile, “Bach in Leipzig,” the play that put Mr. Moses on the map in 2005, was revived to brilliant effect by Shakespeare Santa Cruz. Not bad for a 31-year-old phenom.
Now “Back Back Back” has made its way to the Manhattan Theatre Club in a new production directed by Daniel Aukin, and I am delighted to report that it is a very superior piece of work, one of the best new American plays to come my way in 2008. This is all the more surprising given the unpromising fact that “Back Back Back” is issue-driven–and that the issue in question is the use of steroids by major-league baseball players…
I know nothing about baseball beyond what I learned from watching “Bull Durham” and “Eight Men Out,” but I had no difficulty grasping what was going on in “Back Back Back.” As a precaution, though, I brought along a baseball fan who assured me at evening’s end that Mr. Moses had gotten everything right–and that the play closely tracks the real-life events on which it is based. Yet “Back Back Back” never feels like a docudrama, much less a polemic. Instead Mr. Moses has given us a taut, touchingly elegiac study of friendship and betrayal…
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Read the whole thing here.
This is a fascinating article about Back Back Back by a writer with personal knowledge of the major-league-baseball steroid scandal. (Incidentally, he liked the play as much as I did.)