Rupert Holmes: Well, it's reassuring to know that Phase Three of my Ninety-Year Plan for "The Pina Colada Song" has happened precisely as I planned it. But of course, my life won't be complete until I achieve Phase Four.
You could also, dangerously but not inaccurately, describe The Landing as 'the new John Kander musical.' While 'a musical' leads us to expect things that aren't quite present, labeling it a new Kander musical is far more problematic.
People sometimes ask me what feature on a person's face is the most important in creating a caricature. When I'm drawing a famous face, that's pretty easy, as it would be the feature most people think of when they think of that particular celebrity.
Greenberg has taken the merest suggestion that Fred is gay in the novella and made it a fitful subplot. This would be fine if Greenberg made something of it; perhaps Holly would help Fred accept being gay with her free-spirited nature?
I advise you to give up trying to figure out how everyone fits into assorted productions of Chekhov and just sit back and allow Christopher Durang's Harvard-honed wit and fine sense of camp to creep over you like a parlor game, directed with economy and finesse by the brilliant Nicholas Martin.
I missed the original production of La Bete but dimly recall the reviews. I fear I'm repeating them when I say that this comedy in rhymed verse does an all-too effective job in creating a boor who outstays his welcome.
At one point, Hyde Pierce and Feinstein said they'd be doing a number originally done by Bing and Frank, "And if you don't know who Bing and Frank are, you're probably in the wrong show." This is true.