The Wrap: "Kristin Chenoweth Is Back on the Fast Track"

The Wrap:

Kristin Chenoweth personifies old school glamour in the Broadway revival of On the 20th Century! The Wrap delivers its review of Kristin's latest role on the New York stage. Read a clip below and check out the full review here! ‘On the Twentieth Century’ Theater Review: Kristin Chenoweth Is Back on the Fast Track
Actress retires her pipsqueak Dietrich, and the show’s four porters impersonate a train so well you can almost get high on their smoke
“On the Twentieth Century” isn’t a great musical, but it does offer great opportunities for actors to prove why they’re stars – or not stars. The 1976 Broadway musical by Cy Coleman, Betty Comden, and Adolph Green needs stars to reach full locomotion speed. And the current Broadway revival, which opened Sunday at the American Airlines Theatre, has at least one in tip-top form, Kristin Chenoweth. In her last Broadway outing, a 2010 revival of “Promises, “Promises” in which she was miscast as a lowly elevator operator, Chenoweth offered up a pipsqueak Marlene Dietrich. In “On the Twentieth Century,” her high cheek bones and deep-set eyes are still in evidence, but here she’s able to use her pint-size build, high-pitched voice, and opera training to send up that old school glamour. And the marvel is that she never loses her innate femininity, even when performing some very outlandish physical comedy – like turning her Lily Garland character into a human barbell so lover boy Bruce Granit (Andy Karl being absurdly macho) can do his bicep curls as the 20th Century carries the two of them from Chicago to New York City in 16 hours.
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