Nine, Eisenhower Theatre, Kennedy Center, Washington, DC

 

Stephen Pasquale as Guido Contini in the Kennedy Center's production of Nine. Photo credit: Matthew Murphy and Evan Zimmerman.

From the time that Nine was announced for this season’s Broadway Center Stage series at the Kennedy Center, I have been looking forward to it. Then when Steven Pasquale was announced as the star, I became even more eager, since he made such a strong impression in the KC production of Guys and Dolls in October 2022. After seeing Signature Theatre’s production of The Bridges of Madison County a year ago, I sought out the cast recording, which starred Pasquale and beautifully demonstrated his vocal expertise.

Nine is a musical based on what many consider to be Italian filmmaker Federico Fellini’s masterpiece, “8-1/2” (1963). Playwright Arthur Kopit created the libretto to accompany Maury Yeston’s Tony-winning score (both music and lyrics), which incorporates a variety of musical styles. I haven’t seen the film, but I was fortunate enough to see the original Broadway production of Nine in 1982, directed and choreographed by Tommy Tune and starring Raul Julia.

Pasquale is cast as Guido Contini, a famous film writer/director, who has been incredibly successful but is currently at a creative standstill, concurrent with reaching the age of 40. His wife informs him that she is thinking of leaving, so he proposes a trip to get away from it all at a spa in Venice. He examines his relationships with the women in his life, most notably his wife, his mistress, his muse, his producer, his mother, and a woman he met on the beach who introduced him to physical passions. He also envisions his 9-year-old self. Some of these encounters occur in real time, others in his memory. It is difficult to feel much sympathy for Guido, since he has brought all of this on himself, as he juggles three of the women in his life as his wife, mistress, and muse each arrive in Venice. He struggles to keep them apart, while desperately trying to come up with an idea for his next film, which his producer is pressing him to begin immediately.

Except for the adult and child versions of Guido, all of the characters are women, and in this production the Guidos and the women all are superb. The polish and detail of the production belie the short rehearsal period (a little more than two weeks).

Andy Blankenbuehler, who directs and choreographs, received Kennedy Center Honors for his work on Hamilton, and is a three-time Tony-winning choreographer. His vision incorporates keeping much of the cast onstage throughout, as well as almost constant, meaningful movement, making maximum use of the stage space (designed by Tony-winner Derek McLane) and ingenious use of yards and yards of diaphanous white cloth.

Visually, this production is somewhat reminiscent of Tune’s 1982 production. Scenery and costumes are almost entirely black and white, with extremely limited (and especially effective) touches of color, in part, at least, a nod to the black-and-white cinematography of Fellini’s film. As with other Broadway Center Stage productions, the orchestra of 22, directed by Lily Ling, is placed on stage where they become a part of the vision. Their presence fits seamlessly into the production.

As I anticipated, Pasquale is outstanding. Despite the character’s obvious flaws, Pasquale’s sly charm and savoir faire earn our respect. He portrays Guido’s internal turmoil well both physically and vocally. He should be much better known than he is. He deserves a Broadway leading role in the same league as his Guido and his Sky Masterson in Guys and Dolls.

Elizabeth Stanley (center) as Luisa and some of the women of Nine. Photo credit: Matthew Murphy and Evan Zimmerman.

Guido’s love interests, Elizabeth Stanley as wife Luisa, Michelle Veintimilla as mistress Carla, and Shereen Ahmed as muse (and one-time lover) Claudia, project strong women with definite points of view. Stanley’s first song, “My Husband Makes Movies,” is expository and somewhat protective of Guido, but she lets loose on her final number, “Be on Your Own,” demonstrating her resolve and independence. Veintimilla has playfully sexy fun with her “A Call from the Vatican,” but then provides a plaintive “Simple” before she leaves. As Claudia, Ahmed delivers a haunting rendition of one of the most beautiful songs in the play, “Unusual Way,” and delivers a moving monologue about her current life, away from Guido and the film business.

Notably, Mary Elizabeth Mastrantonio, who played Luisa in the 1993 Broadway revival of Nine, has “grown” into her role as Guido’s Mother. We see her interaction with the adult and child versions of Guido. She is playful and protective of young Guido, but then severely admonishes him after learning of his experience with Sarraghina on the beach. She is just as authoritative with the adult Guido, to whom she appears to visit as an apparition. He may be her son, but she knows just what kind of man he is and gives him no mercy for his misdeeds.

Lesli Margherita is a lusty, exuberant Sarraghina, who makes “Be Italian,” sung with the adult and child Guidos, one of the comedic highlights of the show. Jen Sese’s appearance as critic Stephanie Necrophorus is all too brief, but she expertly and crisply delivers lyrics that are as complex as some of Stephen Sondheim’s and Lin-Manuel Miranda’s quasi-rap numbers.

Carolee Carmello commands our attention whenever she is on the stage. As Liliane La Fleur, the producer of Guido’s film, she is a former dancer in the Folies Bergère. (Why a French ex-dancer is producing Italian films is something I have always wondered about.) Liliane wants Guido to film a musical that has the passion and romance of the Folies. Her costume reveal for her big number is breathtaking, thanks to costume designer Alejo Vietti. Carmello even takes her character into the audience, flirting mercilessly and coquettishly with some very lucky patrons. Spellbinding!

The program lists ten members of the ensemble, all of whom sing and dance with grace, precision, and power. Their contribution is a major element of the success of this production.

Finally, there is Charlie Firlik as “Little Guido.” Firlik establishes the character with an impish curiosity and eagerness to learn. He convinces us that he could, indeed, grow into Pasquale’s adult version, especially in the instances in which their actions or postures mirror each other. His magical musical number comes at the end of the play as he reflects about growing up in “Getting Tall,” which is both contemplative and sweetly innocent.

Charlie Firlik as Little Guido and Mary Elizabeth Mastrantonio as Guido's Mother in Nine. Photo credit: Matthew Murphy and Evan Zimmerman

Notably, the program did not include the names of any understudies, which, since the return of theatrical performances after the COVID-19 pandemic, have been de rigueur.  Casting and rehearsing a set of understudies would certainly have been an additional burden on the creators, but not having them represented a leap of faith.

I have previously mentioned the contributions of scene designer McLane and costume designer Vietti. I must also give plaudits to Cory Pattak, Haley Parcher, Paul Tate DePoo III, and Tom Watson for, respectively, lighting, sound, projection, and hair and wig design.

How fortunate we are, in the DC area, to have this Broadway Center Stage series! A sincere “thank you” to KC artistic director and executive producer Jeffrey Finn and the entire company for an unforgettable evening that audiences will talk about for weeks to come. Nine continues through August 11. See it, if you can get a ticket.