Act One of the revival of the musical Nine, with book by Arthur Kopit and songs by Maury Yeston, is really two shows: one when Jane Krakowski takes the stage, and one when she is not. She enters and the stage lights up -- our eyes open wide, our anticipation tingles - something is happening! I want it to last. Jane is a Broadway show in herself, beautiful and sensual in her magical floaty costume by Vicki Mortimer. When she enters, drifting down from the flies, she's an angel; her ascending exit is a moment I'll never forget; she sings, and her lovely voice reaches deep inside us.
Then there's the rest of the show. It's okay. Cute moments. Antonio Banderas as the protagonist, the Fellini, the filmmaker, is cute, sings pleasantly (but Krakowski is a star). A standup turn by Chita Rivera, who also fills the theater with her presence, is lots of fun. But the show is a different kind of musical, with about sixteen women and one man, and it is diffuse. People wander all over the stage. Okay, we see that Banderas has many women, but mostly they have nothing to do except wear costumes. Thank goodness for the beautiful, superb singer Laura Benanti in Act Two, and the surprising Mary Stuart Masterson as the wife. Both are powerful, intense performers, and each brings a mastery to her characterization that helps hold the show together. So does Mary Beth Peil as Banderas' mother. Aside from a lack of cohesion, tension, and a feeling that something is really at stake here, director David Leveaux misses one major thing (for me)-- ITALY! It's not really there in most of this production. Should you see the show? The choral singing, directed by Kevin Stites is super, and I wouldn't miss Krakowski for anything.