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Thanks to a strong, textured voice, the burly Anderson makes the most of his vocal numbers despite the score's mostly muted melodies, as well as the threat of being upstaged when sharing the spotlight with his lovely and talented co-star. Amber Iman makes her Broadway debut as Nina Simone, oozing with effervescence and consistently thrilling the audience with her sterling voice and glamorous costumes. She deepens her timbre and tweaks her articulation just enough to recall Simone's distinctive style of speech, without stooping to parody. Iman has terrific chemistry with her leading man and leaves the audience wanting to see more of her, in part because she makes only sporadic appearances in Wise's book, which is devoted to covering the entire span of Carlebach's life. And what a span it is, beginning with his childhood in Vienna under the shadow of Nazi domination and progressing through the rocking '50s in New York and the trippy '60 and '70s in San Francisco, before a triumphant return to Europe and a late-life pilgrimage to Jerusalem. The brief adventures of young Shlomo (played on a recent night by Teddy Walsh and in alternating performances by Ethan Khusidman) provide a welcome dose of vitality to a script that tends to drag in sections and is loaded with plenty of stodgy Jewish humor.
Early in his career, when asked by record producer if he knew of Peter, Paul and Mary, Shlomo responds sheepishly, "I don't know so much the New Testament." Absent in this production is Circle in the Square's familiar theater-in-the-round configuration and the usual "thrust" stage surrounded on all sides by stadium seating. Instead, the stage is pushed to one side of the theater, with a section of floor seats in its place. The problem is many of the seats along the rounded periphery don't directly face the stage, forcing the people sitting in them to crane their necks just a bit. "Soul Doctor" should please Carlebach devotees and, for the uninitiated, the details of his exceptional life will stir enough curiosity to send them to Google for more. But despite the spectacular life journey of this socio-religious phenomenon, the use of his solemn hymns as the basis for musical theater is at best an ambitious, if godly, pursuit. ___ Online:
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