As Cherie, Rodenburg has legendary shoes to fill — Kim Stanley's (Broadway) and Marilyn Monroe's (the 1956 movie version). A surviving clip of Stanley's performance indicates a heart-wrenching vulnerability; Rodenburg eludes comparisons by making her Cherie neither a waif like Stanley nor an unconscious sex bomb like Monroe, just a small-time show-biz type with no talent but a reasonable desire to be treated decently. The only time I found myself longing for Monroe was during the "That Old Black Magic" number, the highlight of the movie (which is scrappy and bland aside from her). Rodenburg doesn't do much with it. But she's touching and genuine. The whole show is.

< prev  1  |  2  | 
  Topics: Theater , Theater, Nicholas Martin, Karen MacDonald,  More more >
| More


Most Popular
ARTICLES BY STEVE VINEBERG
Share this entry with Delicious
  •   BAFFLED IN BOISE  |  October 09, 2012
    Samuel D. Hunter's A Bright New Boise, receiving its Boston premiere in a production by the Zeitgeist Stage Company, has no dramatic structure.
  •   SAD BOY  |  October 02, 2012
    The Irish playwright Brendan Behan, known for his plays The Hostage and The Quare Fellow and for his memoir Borstal Boy, was a raucous, charismatic, hard-drinking Irish Republican who began to write after he got out of prison for shooting at English detectives during a public event.
  •   GOOD PEOPLE COULD BE BETTER  |  September 24, 2012
    Good People , which opens the SEASON at the Huntington Theatre Company, is a schizoid experience.
  •   CAR TALK IS NO MUSICAL  |  June 26, 2012
    The notion of a musical inspired by Car Talk is bizarre.
  •   COWARD'S 'PRIVATE LIVES' ROARS AGAIN  |  June 05, 2012
    It wouldn't be a stretch to call Noël Coward's 1930 Private Lives the funniest play of the 20th century.

 See all articles by: STEVE VINEBERG