Based on Federico Fellini's "8 ½," NINE attempts to translate the artistic angst of a film director into musical theatre parlance. With music and lyrics by Maury Yeston and a book by Arthur Kopit (from an adaptation by Mario Fratti), the creators of NINE brave the Herculean task of reformatting one of the most complex films ever made.
To many, including myself, "8 ½" is one of the greatest films ever made. After reaping a harvest of awards for "La Dolce Vita," Fellini exposed the creative anguish in the most brilliantly self-analytical terms ever sent to celluloid. With "8 ½," the great Italian auteur did the impossible. Starring Marcello Mastroianni as Guido Anselmi, Fellini's not-so-alter ego, the story relates the plight of a writer/director coping with a mid-life crisis, a fractured marriage and the utter terror that accompanies director's block.
At the outset, many thought the very idea of transforming such an incredibly cerebral cinematic work into a Broadway musical was an absurdity. But, in 1982, director Tommy Tune, propelled by Yeston's stunningly beautiful and hauntingly evocative score, won over the most avid cynics. The original production of NINE--starring Raul Julia as the naughty Guido Contini, flanked by such beauties as Lilianne Montevecchi, Karen Akers, Shelly Burch, Taina Elg and the sumptuous Anita Morris--won the Tony for Best Musical
The producers of the current revival, now at the Eugene O'Neill Theatre, surely grappled with the same problem the original production team faced, only now it was twice-fold. How does one recapture the brilliance of the film, as well as the original production, without appearing contrived? In director David Leveaux's opinion, the answer depended on the casting. And, in this case, the casting was an absolute coup.
With the name Antonio Banderas looming over the title like a gift from heaven, there's little doubt that tickets will fly out of the box office faster than you can say, "Santa Maria!" Add to the bill a legend such as two-time Tony-winner Chita Rivera (THE RINK, KISS OF THE SPIDER WOMAN) and the flock of fans becomes a feverish swarm. Toss in the likes of Mary Stuart Masterson, Jane Krakowski and Laura Benanti and you can be sure that tickets will be scarcer than hens' teeth.
A Marquee name, however, does not necessarily guarantee success (ask the producers of DANCE OF THE VAMPIRES about that). But, the star of this production of NINE brings home the pancetta. Making his Broadway debut in the role of film director Guido Contini, the Spanish-born Antonio Banderas offers irresistible Mediterranean charm mixed with a boyish petulance, the very definition of his character and the show's plot.
Banderas first caught the public's eye in the vividly stunning films of Pedro Almodovar's including "Tie Me Up! Tie Me Down!" "Women on the Verge of a Nervous Breakdown," and the incomparable "Matador." Known to most for his American films, among them "Interview with the Vampire," "The Mask of Zorro" and "Spy Kids," it was his role as Che in the Madonna vehicle "Evita" that demonstrated he could carry a tune. With a bona fide Broadway delivery of such songs as "The Bells of St. Sebastian," "Only with You" and "I Can't make This Movie," Banderas proves that his vocal prowess was not simply a Hollywood anomaly.
Of course, no heliocentric narcissist would be complete without a shimmering array of constellations illuminating his universe. Descending from heaven down set designer Scott Pask's elegant spiral staircase, Guido's women surround him in a wreath of estrogenous ecstasy.
Blurring the images of the original cast is no simple chore, but director Leveaux does this quite effectively. Jane Krakowski as Guido's voluptuous mistress, Carla, matches Anita Morris's memorable "A Call to the Vatican" number with eye-popping suspense. Mary Stuart Masterson has the enviable task of delivering "My Husband Makes Movies," a most beautiful and unforgettable song. Mary Beth Peil gracefully plays Guido's mother. And, Laura Benanti as screen goddess Claudia enchants us in her duet with Banderas, "Unusual Way."
Chita Rivera as Liliane Le Fleur--the role that earned Lillian Montevecchi a Tony--charges the stage with dazzling wattage. The recent recipient of a Kennedy Center Honor, Rivera is nothing short of amazing when you consider she is a septuagenarian. Supple and spry, this cast member of the original WEST SIDE STORY kicks and purrs like a frisky feline through "Folies Bergere."
Myra Lucretia Taylor as Saraghina proves to be an unintended victim of alternative casting. Performing the show's quintessential number, "Be Italian," Taylor possesses the character's vital girth, but Italian she ain't. When someone opines on how to be Italian, at the very least, they should look and sound Italian. Better still, they should be Italian. Taylor is black and, unfortunately, her bolognese wants meat.
Pask's stunning designs create a stylish spa environment with frosted glass and flowing water over a Botticelli inspired mosaics. Lighting by Brian MacDevitt bump up the elegance. Costumes by Vicki Mortimer don't quite capture the Fellini-esque magic one might hope for, and choreography by Jonathan Butterell seemed cumbersome, at times, with actors gingerly bracing themselves on tilted surfaces and awkwardly stepping over chairs. Nevertheless, on a scale of one to ten, NINE lives up to its title.