EDGE ShortCuts: Dylan and Cher Musicals; 'Alan Cumming Won't Act his Age'; and Max Raabe and the Palast Orchester

A scene from the national tour of "The Girl Grom the North Country" Source: Michael Murphy

Editor's note: "EDGE ShortCuts" will be a column that covers Boston cultural events.

'The Girl From the North Country'

"What a story! Everything but the bloodhounds snappin' at her rear end." That quote (from "All About Eve") came to mind when thinking of "The Girl From the North Country," Conor McPherson's gorgeous and woeful musical, currently on tour after its abbreviated Broadway runs. The Irish playwright, best-known for "The Weir" and "Shining City," has crafted a Depression era libretto with many characters and plot memes, in which he curates 20-Bob Dylan songs to create a haunting portrait that at its best suggests Walker Evans period photo come-to-life. The time is 1934, the place is a rooming house in Duluth, MN, owned by Nick Laine, in which the musical's many characters live or pass through; or, given the economic realities, endure.

While McPherson's interconnect narratives never amount to much more than cliches drawn from Depression-era plays and films, they receive a surprising lift from Dylan's often mournful songs, which don't so much move the story forward as illuminate the characters' wants and desires, making them richer and more sympathetic. In lesser hands, this musical could be dreary, but under McPherson's razor-sharp direction, the show takes hold. And with its first-rate cast committed to making the melodrama vivid and real, it is difficult not to succumb to its emotional pull. Just to watch Jennifer Blood's wrenching "Like a Rolling Stone" makes the touring production worth seeing. The true star turns out to be musical director and orchestrator Simon Hale, who won a Tony for his exemplary work. Using a handful of instruments identified with folk music of the period (piano, fiddle, harmonica) and evocative choral arrangements, Bob Dylan's music finds its theatrical voice. One cavaet, though, is his dense lyrics often are difficult to follow.

"The Girl From the North Country." Presented by Broadway in Boston. At the Emerson Colonial Theatre, through March 24. For more information, click here.
For more information on the national tour, click here.

'Alan Cumming Is Not Acting His Age'

Alan Cumming is having a career high thanks to "The Traitors," the Peacock reality show that he hosts with cheeky humor and outrageous Tartan outfits. (The setting is a Scottish castle.) But when he appeared at Sanders Theatre in a concert sponsored by The Celebrity Series of Boston last week, he made no mention of the hit series (or wear any of his tartan ensembles). Instead, his focus, as the show's title suggests, is how he deals with aging. After a spirited reading of "But Alive," the campy, life-affirming anthem from "Applause" which he sang in a croak that recalled Lauren Bacall (who sang it originally), he explained how he recently turned 59 and the subject of "acting his age" began to obsess him.

As anyone who has seen the very cheeky Cumming before knows that acting is age is not really a consideration; but throughout this show, he returned to his fears of succumbing to the tyranny of his peers wanting him to do so. Acknowledging he was a name-dropper, he proceeded to tell sweetly funny and touching stories of late celebrities who touched his life, including Florence Henderson, with whom he did vodka shots at Carol Channing's 95th birthday party, and Sean Connery, his Scottish comrade who called Cumming "his Bonnie prince." He also touched upon his sexual life (extensive) and relationships (many), adding that he has finally settled into being happily married. And, of course, he told stories about his East Village haunt, Club Cumming, and how he tried to get Paul McCartney to do a number one night at his club – and the sharp retort he received in return. (Instead, the ex-Beatle accompanied Cumming and Emma Stone in song.) Given the show's subject, his song set leaned into titles that touched upon the meaning of life, notably his funny, personalized take on Peggy Lee's "Is That All There Is?". Vocally throughout he struggled some, though was able to deliver sterling performances of two iconic Liza Minnelli songs: "Maybe This Time" and "It Was a Good Time."

"Alan Cumming is Not Acting His Age," presented by the Celebrity Series of Boston, Friday, March 15, 2024. Sanders Theatre. For more information on Alan Cumming, click here. For more information on the Celebrity Series of Boston, click here.

'The Cher Show'

Cher in triplicate? That's the concept behind this jukebox musical, whose highly enjoyable Non Equity touring production came to Boston's Boch Center/Wang Theatre for just a three-day run. As with the recent Donna Summer jukebox bio, its subject is played by three actors who play her during the different phases of her sixty-year career. Despite each being given an awkward name ("Babe," "Lady," and "Star"), the device works surprisingly well, especially when the three converse in Cher's famously sardonic manner. Rick Elice's book turns its star's struggles into an effective tome on a woman overcoming sexism and exploitation in a male-dominated industry. (When told by her mother to find a rich man, Cher retorts, "I am a rich man!") But she didn't get there without struggle. The copious score not only covers Cher's many hits, but also pop songs by other artists that are slickly performed by the eager-to-please cast. What makes the show worth seeing is the synergy between its three-leads, each offering resonant versions of Cher's throaty belt. [They are Ella Perez (Babe), Catherine Ariale ("Lady"), Morgan Scott ("Star").] While the choreography (credited on the tour to Antoinette DiPietropolo) never rises above something out of a Vegas revue, the show does boast Tony-winning costumes by Cher's favorite designer Bob Mackie that offer ample proof of their imaginative, dazzling synergy since the 1970s.

"The Cher Show," presented by the Boch Center. At the Wang Theatre, March 15 – 18, 2024. For more information about the Wang Center, click here. For more information on the national tour of "The Cher Show," click here.

Max Raabe and the Palast Orchester. "Dream a Little Dream"

Kudos to the Celebrity Series of Boston for bringing back the remarkable Max Raabe and the Palast Orchester, who remain about as an authentic a throwback ensemble as can be imagined. What Raabe and his talented musicians do is recreate a German dance band from the 1930s who draw their repertoire from music of the period. (The most recent song they performed in "Dream a Little Dream," the name of their current tour, came from 1945.) With their authentic look and sound (the orchestrations are based on the originals), Raabe and the Pallast Orchestra are an Art Deco apparition. In his white tie and tail, Raabe evokes the image of Fred Astaire from one of his RKO musicals, and he maintains a richly ironic tone throughout. His thin, high tenor is perfectly suited to the reedy, smooth sound of the band; and the songs themselves – a mix of German and English-speaking titles – are wittily chosen. They range from romantic classics ("Cheek to Cheek") to obscure (and funny) novelty songs (the show-stopping "Dort Tanzt Lulu'), each introduced by Raabe in a deadpan, cheeky style. And with Raabe setting the tone, the musicians respond with an irresistible playfulness that recall bands of the period; as well as evoking the sophistication of a time today only glimpsed at in archival materials from the 1920s – 1940s when bands such as the Palast ruled popular music.

Max Raabe and the Palast Orchester. "Dream a Little Dream." Presented by the Celebrity Series of Boston. At Symphony Hall, Boston. Tuesday, March 19, 2024. For more information on Max Raabe and the Palast Orchester, click here. For more information on the Celebrity Series of Boston, click here.