Review: Women Show Their Might in a Mesmerizing Revival of Nine

For the Kennedy Center’s latest Broadway Center Stage production, three-time Tony winner Andy Blankenbuehler directs Nine with an innovative style, combining the feel of a classic Italian film with dynamic choreography to create something truly surreal and mesmerizing.

Adapted from Federico Fellini’s 1963 film, 8½, the musical Nine won a Tony when it first played Broadway in 1982 thanks to music and lyrics by Maury Yeston and a book by Arthur Kopit. It garnered another Tony win for Best Revival in 2003. More than 20 years later, Blankenbuehler offers a fresh look at the show, and proves the tale still has something important to say — even if the Italian accents sometimes make it difficult to follow.

The story revolves around renowned movie director Guido Contini, whose upcoming 40th birthday plunges him into an emotional crisis, jeopardizing both his personal and professional life. Charismatic yet deeply troubled, Guido finds himself entangled in a web of turmoil, haunted by his past relationships with women and his struggle to find inspiration for his next film.

Steven Pasquale, who was perfectly cast as Sky Masterson in the 2022 Broadway Center Stage production of Guys and Dolls, returns to play the self-absorbed director. While both Guido and Sky are charismatic and complex, Pasquale plays this journey as one of introspection and artistic struggle. Charming as ever, he hits all the right marks.

Still, it’s the women in the show who leave the biggest impression, as they do with Guido himself while appearing in and out of his consciousness. Carolee Carmello steals the first act as demanding producer Liliane La Fleur, who heads out to the audience during “Folies Bergère” and improvises interactions as she searches for the Casanova who sent her flowers. Costume designer Alejo Vietti enhances the scene even more with a stunning red gown, which flawlessly complements Carmello’s vivaciousness.

As Asa Nisi Masa, Sasha Hutchings is captivating. She effortlessly goes head-to-head with Pasquale’s Guido, and even leads the onstage orchestra at times. One of the show’s signature songs, “Be Italian,” is delightfully sung by Lesli Margherita as Saraghina, who adds a bit of whimsy to the number, backed up playfully by tambourines.

Elizabeth Stanley perfectly plays the dejection of a woman scorned as Guido’s wife, Luisa, showing her distaste and resentment in the song, “My Husband Makes Movies.” Michelle Veintimilla is sassy and sexy as the director’s mistress Carla, offering up sultriness in “A Call From the Vatican.” Shereen Ahmed, with her lovely soprano, is a hoot as Guido’s muse Claudia, while Mary Elizabeth Mastrantonio, better known to audiences for her storied film career, is a delight as Guido’s mom.

Though it would be easy to pay deserving complements to all the magnificent actresses who grace the stage — more than a dozen — I’ll simply add that the beautiful voices and magnetism of the ensemble shines through in every scene, thanks in great part to Blankenbuehler’s mesmerizing choreography.

The only other male in the entire show is the adorable Charlie Firlik, playing a 9-year-old version of Guido. He lights up the stage with his smile and enthusiasm and has a sweet falsetto that mixes well with his elder counterpart in “The Bells of St. Sebastien.”

With inventive use of curtains, fast pace, and synchronized rhythm at every turn, scenic designer Derek McLane and lighting designer Cory Pattak conjure up a pitch-perfect set that creates the atmosphere of a Parisian movie house.

Nine isn’t a perfect musical, and there are slow and confusing moments early on as the women’s relationships to Guido come into focus. But whether in his mind or in real life, Guido realizes that it’s the women who are truly in charge, and the message of female empowerment remains strong throughout thanks to the brilliant actresses who grace Nine in this excellent production.