In August, I had the opportunity to see War Horse at Lincoln Center's Vivian Beaumont Theater. I was looking forward to it both because of the wonderful word-of-mouth, amounts of awards and praise heaped upon the production, and also because of my love for puppetry. I got a seat in the first row by the stage, and I was not disappointed. I thought that the show was quite spectacular and very heartwarming, showcasing the deep bond between a British farm boy and the horse he has raised and trained that can be hard to explain to people who have not experienced that bond or attraction themselves.
The other theme that War Horse movingly depicts is the depraved inhumanity of war, where humans get caught performing savagely and inhumanely, even if that is not their true nature. Peter Hermann's portrayal of a German officer who realizes the error of his ways and develops a conscience was well-written and well-acted. I strongly urge everyone who hasn't seen it yet to hurry to Lincoln Center. There is a major cast change happening in January, so there are only a few weeks left to catch the original cast. The cast is quite large, but they form a cohesive ensemble, with many actors playing multiple roles. Watching the puppeteers perform the horses as a cohesive unit is a highlight of my theatregoing experiences.
Monday, December 26, 2011
Saturday, November 12, 2011
Catch Me If You Can- Neil Simon Theatre, Broadway.
On Wednesday evening, I had the opportunity to catch Catch Me If You Can before it closed on Broadway. I had been looking forward to the show since its' Seattle tryout because I had enjoyed the film, and I loved Marc Shaiman and Scott Wittman's score for Hairspray, so I was surprised when many of the reviews and a lot of the word-of-mouth was mixed-to-negative. The only part of the production which consistently garnered praise was Norbert Leo Butz's performance as FBI Agent Carl Hanratty. Even so, I was interested in seeing the show for myself to decide what I thought.
I'm very glad I saw the show for myself, as I thought it was very enjoyable, and much better than I was expecting. One of the conceits of the show is that the format of a 1960's variety show is used as a framing device, which means the entire show is basically one long flashback with commentary. At times, this idea works well, and it times it seems corny or awkward. This was the most uneven part of the show for me.
Norbert Leo Butz is quite hilarious, and I was reminded of his performance in Dirty Rotten Scoundrels. He does a great job of playing the highly competent but highly lonely FBI Agent following the trail of a young con artist. Aaron Tveit is quite likeable as said young con artist Frank Abingale Jr, who travels across the US and eventually the world, leaving a trail of bad checks in his wake. I first saw Mr. Tveit as Link Larkin in the national tour of Hairspray, and I was struck by his talent and charisma back then, so it was great to see him in another leading role. He looks young enough to play a high school student, but also able to mature and play Frank over a period of years.
Tom Wopat appears as Frank's father, a man full of dreams he is unable to achieve. He is obsessed with power, prestige, and money, so he actually approves of his son's shenanigans and lives vicariously through him, especially after he gets divorced and his wife moves in with his former friend. Rachel de Benedet has the smallish role of said wife, Paula, who isn't a fully developed character. She loves her son but has grown apart from her husband, and seems unsure about what she wants out of life. Also getting a small role is Kerry Butler as Brenda, a nurse at the hospital where Frank pretends to be a doctor, and the object of his affection. She doesn't have a whole lot of stage time, or material to work with, but she does the best with what she is given. Veteran actors Linda Hart and Nick Wyman play Brenda's parents, but have little stage time and little to do except play typical Southern people, although their "Family Tree" song is one of the more entertaining, albeit cornier, songs of the show.
Three henchman accompany Norbert Leo Butz on most of his trailing excursions: Joe Cassidy, Brandon Wardell, and Timothy McCuen Piggee. Most of their dialogue involves poking fun at their supervisor, or the hapless Agent Dollar (Wardell), an inexperienced younger agent. The scenes are mostly filler, and some exposition about Frank's exploits. The ensemble has a few standouts as well, especially Michael X. Martin in a flurry of small roles, including bandleader Mitch Miller. Angie Schworer and Alex Ellis were also quite noticeable, on both ends of the height spectrum.
All in all, this was a very enjoyable show, and I'm sad that it closed prematurely, as I believe this show was stronger than some other shows which also opened last season and are still running. I guess being at the Neil Simon Theatre on 52nd St and further away from Times Square could have been a factor, but it's across the street from Jersey Boys, and Sister Act is still further north, so that can't be a main factor. I wish the cast well in their search for new roles, and it's a shame the Neil Simon lies fallow until Jesus Christ Superstar comes in during the spring. This show is primarily a visual show, as the songs are a bit hard to remember at this point, but the sets and costumes stay with me.
I apologize for the delay in posting this review, and posting on this blog in general, and I hope to get more reviews up in the next month and a half to close out the year!
I'm very glad I saw the show for myself, as I thought it was very enjoyable, and much better than I was expecting. One of the conceits of the show is that the format of a 1960's variety show is used as a framing device, which means the entire show is basically one long flashback with commentary. At times, this idea works well, and it times it seems corny or awkward. This was the most uneven part of the show for me.
Norbert Leo Butz is quite hilarious, and I was reminded of his performance in Dirty Rotten Scoundrels. He does a great job of playing the highly competent but highly lonely FBI Agent following the trail of a young con artist. Aaron Tveit is quite likeable as said young con artist Frank Abingale Jr, who travels across the US and eventually the world, leaving a trail of bad checks in his wake. I first saw Mr. Tveit as Link Larkin in the national tour of Hairspray, and I was struck by his talent and charisma back then, so it was great to see him in another leading role. He looks young enough to play a high school student, but also able to mature and play Frank over a period of years.
Tom Wopat appears as Frank's father, a man full of dreams he is unable to achieve. He is obsessed with power, prestige, and money, so he actually approves of his son's shenanigans and lives vicariously through him, especially after he gets divorced and his wife moves in with his former friend. Rachel de Benedet has the smallish role of said wife, Paula, who isn't a fully developed character. She loves her son but has grown apart from her husband, and seems unsure about what she wants out of life. Also getting a small role is Kerry Butler as Brenda, a nurse at the hospital where Frank pretends to be a doctor, and the object of his affection. She doesn't have a whole lot of stage time, or material to work with, but she does the best with what she is given. Veteran actors Linda Hart and Nick Wyman play Brenda's parents, but have little stage time and little to do except play typical Southern people, although their "Family Tree" song is one of the more entertaining, albeit cornier, songs of the show.
Three henchman accompany Norbert Leo Butz on most of his trailing excursions: Joe Cassidy, Brandon Wardell, and Timothy McCuen Piggee. Most of their dialogue involves poking fun at their supervisor, or the hapless Agent Dollar (Wardell), an inexperienced younger agent. The scenes are mostly filler, and some exposition about Frank's exploits. The ensemble has a few standouts as well, especially Michael X. Martin in a flurry of small roles, including bandleader Mitch Miller. Angie Schworer and Alex Ellis were also quite noticeable, on both ends of the height spectrum.
All in all, this was a very enjoyable show, and I'm sad that it closed prematurely, as I believe this show was stronger than some other shows which also opened last season and are still running. I guess being at the Neil Simon Theatre on 52nd St and further away from Times Square could have been a factor, but it's across the street from Jersey Boys, and Sister Act is still further north, so that can't be a main factor. I wish the cast well in their search for new roles, and it's a shame the Neil Simon lies fallow until Jesus Christ Superstar comes in during the spring. This show is primarily a visual show, as the songs are a bit hard to remember at this point, but the sets and costumes stay with me.
I apologize for the delay in posting this review, and posting on this blog in general, and I hope to get more reviews up in the next month and a half to close out the year!
Monday, August 15, 2011
Sister Act- Broadway Theatre, Broadway
Yesterday I saw the “new” Broadway musical Sister Act, with music by Alan Menken, lyrics by Glen Slater, book by Bill and Cheri Steinkellner and additional material by Douglas Carter Beane. I have always loved the music of Alan Menken, and I have been aware of this show since its Pasadena Playhouse debut a few years ago, so I was interested in seeing what the final product was.
Patina Miller is fantastic as Deloris Van Cartier, a struggling nightclub singer in 1978 Philadelphia who unwittingly sees her gangster boyfriend shoot one of his cronies. One of her songs, "Fabulous, Baby!" is probably the best tune in the show. The role is a bit of a caricature but Ms. Miller does the best that she can and carries the show on her back, as she is rarely off-stage for any significant plot moments or periods of time. As a result of what she has seen, she is placed into a convent as a way of offering her protective custody until her boyfriend’s trial when she can testify against him. She has an understandable culture shock upon her arrival at the convent, with its’ lack of materialism and emphasis on earthly possessions in favor of prayers and chores. She makes friends with Sisters Mary Lazarus (Audrie Neenan), Mary Patrick (Sarah Bolt), and Mary Robert (Marla Mindelle), all named after different patron saints. Mary Robert has the most developed subplot, as a timid postulant struggling to find her voice both in and out of the choir room. Deloris, as Sister Mary Clarence, takes over the struggling choir, and teaches them how to sing in harmony and with extra soul, raising the profile of the church. Their habits get more outlandish as their success increases.
Her police contact, Eddie Souther aka "Sweaty Eddie" has had a crush on her since high school. Chester Gregory makes the most of his limited role and excels at commanding the stage when he is present. He seems to often get stuck in a sidekick or supporting role, and it would be great to see him have a leading role. His solo number, "I Could Be That Guy" features wonderful costume quick changes against the backdrop of bums under a freeway ramp.
Victoria Clark was absent at the performance I attended, and Jennifer Allen played Mother Superior instead. She's a great actress with many solid credits and did a fine job in a mostly thankless role. I wonder how her performance differs from Ms. Clark's. She has a few songs sprinkled throughout the show, the most memorable being "I Haven't Got a Prayer". Fred Applegate is quite amusing as Monsignor O'Hara who is willing to sell the failing church to the highest bidder for extra funds until the popularity of the church choir changes their fortunes.
On the other side of the law, Kingsley Leggs plays Curtis Jackson, Deloris' married boyfriend. He appears to be an ineffectual Shaft wannabe who can only control people by threatening or shooting them. Demond Green, who was wonderful in The Toxic Avenger Musical, plays Curtis' nephew TJ. The character voice Mr. Green uses is one he also employed in Toxic Avenger, and it becomes a little annoying after a while, as it makes him sound retarded and gay. His character is implied to be the former, but I'm not sure that the latter is intended as well. Caesar Samoya plays Pablo, a stereotypical Hispanic thug who speaks mostly in Spanish or broken English. John Treacy Egan, always a wonderful actor who gives solid performances fares a little better as Eddie, leading a nun seduction song called "Lady in the Long Black Dress".
Most of the play's humor seems very silly and slapstick, the plot a bit contrived, and the stakes don't feel very high at all, so it's hard to get emotionally invested in these characters. I usually love Alan Menken scores, but many of these songs were forgettable, even within the context of the show. Glen Slater has some bits of inspired wordplay in the lyrics, but for the most part the songs sound like somewhat generic disco/soul ditties, with a bit more of a Broadway bent for the songs sung by the nuns in character (not as a choir). Still, the only songs that made a truly positive impression are Deloris' "Fabulous, Baby!" and Curtis' "When I Find My Baby". I had read mixed-to-negative reviews of this show previously, and I agree with some of the points that were made about where this show could use improvement. The show is set in a different time/place than the movie and Ms. Miller's characterization of Deloris is different than Whoopi Goldberg's, but other than that, the musical appears to be a faithful adaptation.
If you have an interest in seeing this musical, then by all means go see it. If you don't have an interest in seeing it, that's alright as well. Movie-to-musical adaptations are often hit-or-miss, and the ones that succeed don't simply recreate the films but rather rework and improve them. The Producers is an example of the source material being changed and improved. There are many adaptations I have enjoyed, and a few I have not, but I don't dislike the genre as a whole, as there are many stories that are improved and find new layers through musicalization. Dirty Rotten Scoundrels and Hairspray are examples which come to mind. I expect to see Catch Me if You Can before the end of its' run, and I will continue this discussion about musicals based on movies at that time. In summation, Sister Act is great for families which need something to see together, but otherwise does not live up to its' potential, as has been the case with many of the musicals to play the Broadway Theatre in the last decade, joining Shrek, Bombay Dreams, and The Color Purple as musicals that have somehow missed their mark and fallen short of the gold.
Sunday, August 14, 2011
Baby It's You!- Broadhurst Theatre, Broadway
I saw Baby, it's You! starring Beth Leavel last month, and I figured I should probably post a review of the show before the show closed! Beth Leavel is really the only reason to see this show, unless you really have a hankering for doo-wop and girl-group music along with some early R&B. This show really seems to be counting on the nostalgia factor to bring people in. At the performance I attended, the baby boomers seemed to be eating it up, but it struck me as a very good regional show which was not yet ready for Broadway, as the libretto was quite clunky and slap-dash, not giving much in the way of character development. Many, many songs are crammed into the show for reasons that are not always made apparent.
Beth Leavel stars as Florence Greenberg, the neophyte music producer from Passaic, New Jersey who turns four of her daughter's high school classmates into the girl group The Shirelles. The girls attain a modicum of fame in the 1950's and 60's until they are superseded by other groups, such as the Supremes, and later on, their style of music goes out of fashion entirely, as artists like Dionne Warwick become popular. Ms. Leavel gives the best performance in the show, and elevates the foolish material she is given. Her character's journey is the backbone of the play, rising from being a Jewish housewife to achieving her potential as a powerful and innovative music business mogul who brought her original thoughts and left a lasting impression.
Allan Louis has the second largest role, as Luther Dixon, Florence's songwriter, co-producer/business partner, and African-American love interest. He brings a quiet dignity in the role, which is also underwritten and a bit reliant on cliche. I look forward to seeing him in future productions, as he is a great actor with easy charm and a good singing voice. Geno Henderson plays several small roles of a radio DJ and contemporary entertainers such as Ronald Isley and Gene Chandler. His singing and dancing works works well to conjure up the vintage styles of the period. He is also saddled with some expositionary dialogue to induce nostalgia in baby boomers, but that's not his fault. And some of the dialogue is interesting.
The four Shirelles are estimably played by Erica Ash, Kyra Da Costa, Christina Sajous, and Crystal Starr, who warble a catalog of hits and change costumes an throughout the evening. As the lead singer of the Shirelles, Ms. Sajous makes the strongest impression. After her appearances in Rent and American Idiot, it's a surprise to find her a show taking place a half-century earlier. Kyra Da Costa is the best dancer of the foursome, and also has the most Broadway credits, dating back to the original cast of Aida. Considering that these characters start the play as teenagers, the casting seems a bit off, as the foursome don't all appear young enough to play that age, and they don't fully appear to be contemporaries of each other either, so the casting could be tightened in that respect. Most of them has a moment in the spotlight, with varying degrees of success. Erica Ash is particularly striking and bears a resemblance to Heather Headley.
Other standouts in the cast include Barry Pearl in a dual role as Florence's disapproving, chauvinistic husband and a competing record producer, making the most of his limited stage time. Many of the cast members play multiple roles actually: Brandon Uranowitz plays Florence's son and her business manager, and Kelli Barrett is underutilized as Florence's daughter and Lesley Gore.
The show could be improved by tightening the character relationships and giving them more dimensions, but at the moment it's the epitome of a jukebox musical that seems more suited to Las Vegas than Broadway. The cast shows promise, but most of them have few Broadway or national tours and as a result are ill-equipped to overcome a lack of direction and a weak book. If you are looking for a nostalgia kick, then check it out in the two weeks left, but otherwise you are not missing much.
Beth Leavel stars as Florence Greenberg, the neophyte music producer from Passaic, New Jersey who turns four of her daughter's high school classmates into the girl group The Shirelles. The girls attain a modicum of fame in the 1950's and 60's until they are superseded by other groups, such as the Supremes, and later on, their style of music goes out of fashion entirely, as artists like Dionne Warwick become popular. Ms. Leavel gives the best performance in the show, and elevates the foolish material she is given. Her character's journey is the backbone of the play, rising from being a Jewish housewife to achieving her potential as a powerful and innovative music business mogul who brought her original thoughts and left a lasting impression.
Allan Louis has the second largest role, as Luther Dixon, Florence's songwriter, co-producer/business partner, and African-American love interest. He brings a quiet dignity in the role, which is also underwritten and a bit reliant on cliche. I look forward to seeing him in future productions, as he is a great actor with easy charm and a good singing voice. Geno Henderson plays several small roles of a radio DJ and contemporary entertainers such as Ronald Isley and Gene Chandler. His singing and dancing works works well to conjure up the vintage styles of the period. He is also saddled with some expositionary dialogue to induce nostalgia in baby boomers, but that's not his fault. And some of the dialogue is interesting.
The four Shirelles are estimably played by Erica Ash, Kyra Da Costa, Christina Sajous, and Crystal Starr, who warble a catalog of hits and change costumes an throughout the evening. As the lead singer of the Shirelles, Ms. Sajous makes the strongest impression. After her appearances in Rent and American Idiot, it's a surprise to find her a show taking place a half-century earlier. Kyra Da Costa is the best dancer of the foursome, and also has the most Broadway credits, dating back to the original cast of Aida. Considering that these characters start the play as teenagers, the casting seems a bit off, as the foursome don't all appear young enough to play that age, and they don't fully appear to be contemporaries of each other either, so the casting could be tightened in that respect. Most of them has a moment in the spotlight, with varying degrees of success. Erica Ash is particularly striking and bears a resemblance to Heather Headley.
Other standouts in the cast include Barry Pearl in a dual role as Florence's disapproving, chauvinistic husband and a competing record producer, making the most of his limited stage time. Many of the cast members play multiple roles actually: Brandon Uranowitz plays Florence's son and her business manager, and Kelli Barrett is underutilized as Florence's daughter and Lesley Gore.
The show could be improved by tightening the character relationships and giving them more dimensions, but at the moment it's the epitome of a jukebox musical that seems more suited to Las Vegas than Broadway. The cast shows promise, but most of them have few Broadway or national tours and as a result are ill-equipped to overcome a lack of direction and a weak book. If you are looking for a nostalgia kick, then check it out in the two weeks left, but otherwise you are not missing much.
Lysistrata Jones- Transport Group off-Broadway
Last month I had the opportunity to see Lysistrata Jones, produced by the Transport Group off-Broadway at the Judson Memorial Church. I'm glad they were given an extension so that I was able to see it. I meant to post this review before, but given the newly announced Broadway transfer to the Walter Kerr Theatre, I find that it is still very pertinent now.
Lysistrata Jones is a new musical based on Aristophanes' Lysistrata, but made for the "High School Musical" generation, as the show's score has a catchy pop sound and the plot revolves around a basketball team and their cheerleader girlfriends. The music and lyrics are by Lewis Flinn, and the pop culture-filled libretto is by Douglas Carter Beane, who also contributed to the librettos of Sister Act and Xanadu, which was also choreographed by Dan Knechtges.
Patti Murin has the title role, as a new transfer student to Athens University who organizes her friends into a makeshift cheer-leading squad for the lackluster men's basketball team who hasn't won a game in recent memory, and doesn't really care about their constant defeats. Because it's a small cast, all of the cheerleaders are currently dating one of the basketball players, and Lysistrata gets the idea from one of the student librarians to use the same tactics as her namesake, and encourage the cheerleaders to take part in a sex strike until the basketball team wins a game. Her scheme initially backfires when the boys decide they would rather keep losing and find new girlfriends than give in and actually put effort into playing basketball. The girls also consult a prostitute played by Liz Mikel who serves as the narrator of the piece, playing a Greek goddess in disguise. She counsels both the boys and the girls in their battle of the sexes.
The supporting cast all are great to watch: Josh Segarra as Lizzie's boyfriend Mick, who is also the captain of the basketball team, Alex Wyse as Cinesius, a lilly-white player who thinks he is black, Alex Aguilar as a Hispanic player, Uardo, with raging hormones, and Ato-Blankson Wood and Teddy Toye as the remaining players, who find true love in each other's arms. Especially wonderful is Jason Tam as Xavier, the social outcast who gets drafted into Lizzie's plans and eventually falls under her spell. His song is one of the highlights of the show. On the female side, Kat Nejat and Lindsay Nicole Chambers stand out as Lizzie's friends, a fellow cheerleader and a politically-active librarian respectively. Ms. Chambers' Robin also pursues Mick, with hilarious results. Katie Boren and LaQuett Sharnell appear as Asian and African-American cheerleaders, but they aren't given as much time in the spotlight.
The show was performed on an actual basketball court in the Judson Memorial Church, which was a great environment for the show, since the audience was very close to the action, creating a feeling of being a bystander in the world of Athens University. The set, and general aesthetic (costumes, staging and choreography), reminded me a lot of High School Musical, both the stage and screen incarnations, as that show also dealt with the romantic entanglements of basketball players. (Also, Patti Murin originated the role of Sharpay in the Atlanta TOTS world premiere). Douglas Carter Beane's book is filled with pop-culture jokes and a biting humor that also calls to mind Glee in this setting. If you love musical young people, then you will really love this show. If you not get a chance to see the Transport Group run, then I urge you to support the show on Broadway, as it is an original musical with some catchy songs and great moments, and new musicals worth seeing can sometimes be difficult to come by. However, I fear that some of the intimacy will be lost on a Broadway stage, although I do look forward to seeing it, and I wish the production well.
Lysistrata Jones is a new musical based on Aristophanes' Lysistrata, but made for the "High School Musical" generation, as the show's score has a catchy pop sound and the plot revolves around a basketball team and their cheerleader girlfriends. The music and lyrics are by Lewis Flinn, and the pop culture-filled libretto is by Douglas Carter Beane, who also contributed to the librettos of Sister Act and Xanadu, which was also choreographed by Dan Knechtges.
Patti Murin has the title role, as a new transfer student to Athens University who organizes her friends into a makeshift cheer-leading squad for the lackluster men's basketball team who hasn't won a game in recent memory, and doesn't really care about their constant defeats. Because it's a small cast, all of the cheerleaders are currently dating one of the basketball players, and Lysistrata gets the idea from one of the student librarians to use the same tactics as her namesake, and encourage the cheerleaders to take part in a sex strike until the basketball team wins a game. Her scheme initially backfires when the boys decide they would rather keep losing and find new girlfriends than give in and actually put effort into playing basketball. The girls also consult a prostitute played by Liz Mikel who serves as the narrator of the piece, playing a Greek goddess in disguise. She counsels both the boys and the girls in their battle of the sexes.
The supporting cast all are great to watch: Josh Segarra as Lizzie's boyfriend Mick, who is also the captain of the basketball team, Alex Wyse as Cinesius, a lilly-white player who thinks he is black, Alex Aguilar as a Hispanic player, Uardo, with raging hormones, and Ato-Blankson Wood and Teddy Toye as the remaining players, who find true love in each other's arms. Especially wonderful is Jason Tam as Xavier, the social outcast who gets drafted into Lizzie's plans and eventually falls under her spell. His song is one of the highlights of the show. On the female side, Kat Nejat and Lindsay Nicole Chambers stand out as Lizzie's friends, a fellow cheerleader and a politically-active librarian respectively. Ms. Chambers' Robin also pursues Mick, with hilarious results. Katie Boren and LaQuett Sharnell appear as Asian and African-American cheerleaders, but they aren't given as much time in the spotlight.
The show was performed on an actual basketball court in the Judson Memorial Church, which was a great environment for the show, since the audience was very close to the action, creating a feeling of being a bystander in the world of Athens University. The set, and general aesthetic (costumes, staging and choreography), reminded me a lot of High School Musical, both the stage and screen incarnations, as that show also dealt with the romantic entanglements of basketball players. (Also, Patti Murin originated the role of Sharpay in the Atlanta TOTS world premiere). Douglas Carter Beane's book is filled with pop-culture jokes and a biting humor that also calls to mind Glee in this setting. If you love musical young people, then you will really love this show. If you not get a chance to see the Transport Group run, then I urge you to support the show on Broadway, as it is an original musical with some catchy songs and great moments, and new musicals worth seeing can sometimes be difficult to come by. However, I fear that some of the intimacy will be lost on a Broadway stage, although I do look forward to seeing it, and I wish the production well.
Wednesday, August 10, 2011
Anything Goes, Stephen Sondheim Theatre- Part II
Last weekend I saw Roundabout Theatre Company's production of Anything Goes for the second time. You can read my review from the the first time around here. "What was the difference this second time around?," skeptical or budget-conscious readers might ask. And the answer to that question is that there were two understudies on in supporting roles: Linda Mugleston was playing Mrs. Evangeline Harcourt, and Josh Franklin was playing Billy Crocker. I enjoyed the chance to see different takes on the roles, having already seen the original cast perform. Also having already seen these two performers in other shows, I was looking forward to seeing them take on principal roles in this production.
The star and central focus of the show is still Sutton Foster as Reno Sweeney, who has nearly all the familiar songs in the show's score. Personally, I believe that her best number is "Blow, Gabriel, Blow" in Act II, which really rouses the house. The performance of the title number is also very spirited, with the full cast tapping along.
Joel Grey is amusing as Moonface Martin, in a semi-constant state of befuddlement with occasional bright ideas for scams and solutions. I don't have another actor's portrayal to compare, but I would be interested in seeing different takes on the role.
I thought Josh Franklin did a wonderful job as Billy Crocker. He seemed to have a bit more personality and charisma than Colin Donnell, and did a better job at selling his numbers. He stood out from the chorus in a way Mr. Donnell couldn't quite manage.
Linda Mugleston does the best she can with the archetypal role of a patrician matron, marrying her daughter to the highest bidder to regain the family fortune lost in the 1928 stock market crash. It was great to see her in a larger role again, as I really enjoyed her performance as Ruth Sherwood in Wonderful Town back in 2005. I hope that she gets the chance to play more leading roles on Broadway.
Still strong in support are John McMartin, Jessica Stone, Walter Charles, and Robert Creighon, all of whom are quite funny and mostly underused. In the ensemble, Joyce Chittick stands out as "Virtue," Reno's low-voiced Angel with her eye on Moonface Martin. Ms. Chittick is also a former cast member of Wonderful Town, which was also directed and choreographed by Kathleen Marshall, who repeats her duties here.
The show is helped by a great physical production: Derek McLane's sets wonderfully convey the deck of a luxury ocean liner and various staterooms as well. I am especially impressed by the moving elements. There are a few room cutaways which move on and off, but parts of the deck move inward and outward as well. Peter Kaczorowski's lighting adds to the mood as well, with many windows which light in different colors over the course of the show, usually in shades of pink or blue. Martin Pakledinaz provides the many gowns Sutton Foster and her Angels wear over the course of the show.
The show is currently selling out with an average ticket price in the $100 range, so tickets are fairly hard to come by, but if you do get a chance to see this production, I would highly recommend it, as it is quite fun and hearing a Cole Porter score with a fairly large orchestra is always a must for any theater fan.
The star and central focus of the show is still Sutton Foster as Reno Sweeney, who has nearly all the familiar songs in the show's score. Personally, I believe that her best number is "Blow, Gabriel, Blow" in Act II, which really rouses the house. The performance of the title number is also very spirited, with the full cast tapping along.
Joel Grey is amusing as Moonface Martin, in a semi-constant state of befuddlement with occasional bright ideas for scams and solutions. I don't have another actor's portrayal to compare, but I would be interested in seeing different takes on the role.
I thought Josh Franklin did a wonderful job as Billy Crocker. He seemed to have a bit more personality and charisma than Colin Donnell, and did a better job at selling his numbers. He stood out from the chorus in a way Mr. Donnell couldn't quite manage.
Linda Mugleston does the best she can with the archetypal role of a patrician matron, marrying her daughter to the highest bidder to regain the family fortune lost in the 1928 stock market crash. It was great to see her in a larger role again, as I really enjoyed her performance as Ruth Sherwood in Wonderful Town back in 2005. I hope that she gets the chance to play more leading roles on Broadway.
Still strong in support are John McMartin, Jessica Stone, Walter Charles, and Robert Creighon, all of whom are quite funny and mostly underused. In the ensemble, Joyce Chittick stands out as "Virtue," Reno's low-voiced Angel with her eye on Moonface Martin. Ms. Chittick is also a former cast member of Wonderful Town, which was also directed and choreographed by Kathleen Marshall, who repeats her duties here.
The show is helped by a great physical production: Derek McLane's sets wonderfully convey the deck of a luxury ocean liner and various staterooms as well. I am especially impressed by the moving elements. There are a few room cutaways which move on and off, but parts of the deck move inward and outward as well. Peter Kaczorowski's lighting adds to the mood as well, with many windows which light in different colors over the course of the show, usually in shades of pink or blue. Martin Pakledinaz provides the many gowns Sutton Foster and her Angels wear over the course of the show.
The show is currently selling out with an average ticket price in the $100 range, so tickets are fairly hard to come by, but if you do get a chance to see this production, I would highly recommend it, as it is quite fun and hearing a Cole Porter score with a fairly large orchestra is always a must for any theater fan.
Monday, August 1, 2011
Jerusalem, Music Box Theater, Broadway
On Sunday, I had the opportunity to see Jez Butterworth’s Jerusalem, starring Mark Rylance as Johnny “Rooster” Byron a derelict Pied Piper of sorts who lives in the woods outside the fictional English town of Flintock. The play began at the Royal Court Theater in London before transferring to the West End, and now Broadway. All the action in the play takes place over a 24 hour period, on St. George’s Day, which is also the day of the town’s Mayfair, outside Rooster’s trailer. Johnny is often visited by teenagers looking to get drunk and high, as well as Ginger, a second-rate DJ who is older than the others but just as immature, having never grown out of the drug-addled lifestyle. There are occasional visits from an eccentric older man called “The Professor” as well as Wesley, a saloonkeeper who has known Rooster since they were children, and has a friendly rapport with him that is strained by Rooster's behavior.
The main conflict in the play deals with Rooster’s impending eviction from his land, as he doesn’t pay taxes, sells drugs, gives alcohol to minors, and often gets into bar fights, so he is considered an all-around bad influence and eyesore. He seems to represent the pastoral past of England who is being trampled by civilization, the "dark Satanic mills" of the hymn. He's considered an embarrassment to the town because he embodies many vices and temptations.
Jay Sullivan (taking over for John Gallagher Jr.) is Lee is the sort-of the prodigal son who is leaving to go to Australia, and the leader of the gang of high school kids who currently hang around Rooster's trailer. Molly Ranson and Charlotte Mills appear as Pea and Tanya, two high school girls reveling in the drunken debauchery. Aimee-Fifon Edwards plays Phaedra, the reigning May Queen who is a rather ethereal presence, walking around in fairy wings and speaking with a Welsh accent. She makes sporadic appearances at the top and bottom of acts and she doesn't have a real scene until the very end of the play. Her first two appearances consist of singing the hymn "Jerusalem" by William Blake and Sir Hubert Parry alone onstage at the top of each act.
Many of the characters don’t have much stage time as well. There are a couple city officials who set up the conflict at the top of the show but don't do much else to advance it, not appearing again until Act III. Especially gypped is Geraldine Hughes as Rooster’s ex-wife and mother of his child Marky, who barely speaks as well. I would have liked to have seen more time devoted to this subplot of how Rooster relates to his family. His son seems to want to have nothing to do with him because he gets mistreated at school for having a deadbeat dad. Having Marky around brings out a completely different side of Rooster than the beer-guzzling former daredevil that he appears to be for the rest of the play. To most of the hangers-on, Rooster is just an old drunk with drugs, only Ginger knows his past of being an attraction people came to see perform stunts at the annual fair.
Mark Rylance does a great job playing this character who is often surrounded by people but still very lonely at the same time, as evidenced by his ability to memorize Trivial Pursuit questions. Rooster Byron is a proud man who doesn't intend to give up his way of life anytime soon, citing a long list of famous relatives and the rarity of his blood type. I had previously seen Mr. Rylance perform in La Bete at this same theater back in January, and I enjoyed his performance much more in this play, where he got to show more of his range as an actor. He does a great job at playing idiot savants. The show's appeal is also increased by a wonderful and naturalistic set showing the countryside where Rooster resides, just outside civilization. The show has a few weeks left on Broadway before returning to London, where it first premiered in 2009. The play is three hours long but it certainly makes for memorable viewing, and I will be interested to see other plays written by Jez Butterworth, and unraveling the many layers of this one.
Monday, July 25, 2011
Bridesmaids
I saw the movie Bridesmaids a couple weeks ago, and it was pretty funny. I love watching Kristen Wiig on SNL, so I was excited to see this film where she was both star and co-writer. It seems that the film has been successful at the box office so far, and I hope it continues grossing some more money as it has recently crossed the $160 million mark, which does qualify it as a hit, but I think they deserve a little more.
Kristen Wiig really carries this movie as a down-on-her-luck single woman whose best friend (Maya Rudolph) is getting married, and while she is picked to be the Maid of Honor, she doesn't fit in with her friend's more affluent social circle, and she is especially upstaged by Helen, played with bitchy aplomb by Rose Bryne. Helen is a perfectionist who takes over the wedding plans and has the resources to accommodate her expensive tastes and ideas. Since she doesn't know the bride as well, she steals Kristen's ideas and fulfills them on a much larger scale. The supporting cast is very strong, with funny performances from Melissa McCarthy (who is full of surprises), Jon Hamm, and Ellie Kemper. Wendi McClendon-Covey is also very funny as Maya's droll older cousin. The movie isn't incredibly raunchy for an R-rated movie as would be expected, the rating seems to be more for the language than for any visuals, although the movie opens with a sex scene.
The trailers and promotional material seem to include scenes that are not in the actual movie. I hope the DVD will include extended or deleted scenes. This really is a comedy about friendships and relationships and I hope Kristen Wiig gets to star in more movies as a result, instead of being just a featured player in Judd Apatow projects, as she has the talent to carry a whole film.
Kristen Wiig really carries this movie as a down-on-her-luck single woman whose best friend (Maya Rudolph) is getting married, and while she is picked to be the Maid of Honor, she doesn't fit in with her friend's more affluent social circle, and she is especially upstaged by Helen, played with bitchy aplomb by Rose Bryne. Helen is a perfectionist who takes over the wedding plans and has the resources to accommodate her expensive tastes and ideas. Since she doesn't know the bride as well, she steals Kristen's ideas and fulfills them on a much larger scale. The supporting cast is very strong, with funny performances from Melissa McCarthy (who is full of surprises), Jon Hamm, and Ellie Kemper. Wendi McClendon-Covey is also very funny as Maya's droll older cousin. The movie isn't incredibly raunchy for an R-rated movie as would be expected, the rating seems to be more for the language than for any visuals, although the movie opens with a sex scene.
The trailers and promotional material seem to include scenes that are not in the actual movie. I hope the DVD will include extended or deleted scenes. This really is a comedy about friendships and relationships and I hope Kristen Wiig gets to star in more movies as a result, instead of being just a featured player in Judd Apatow projects, as she has the talent to carry a whole film.
Harry Potter and the Deathly Hallows, Part 2
I have been a huge fan of Harry Potter since I was in 8th grade, which is when I started reading the first three books and saw the first movie soon afterwards. I have been hooked into the magical fantasy world dreamed up by J.K. Rowling since then. You can tell it's a fantasy world for two reasons: They have wands, and good triumphs over evil. Because of this, I was of course very excited for the movie. I am proud to say that I was not disappointed. I had wished that the last few books had each been split into two movies, which had been discussed as a possibility for Harry Potter and the Goblet of Fire, so I am glad that this book was split into two so that all the action could be retained and the film was not rushed. This was the first movie that I thought really did justice to its source material instead of being a rapidly moving, "greatest scenes" version of the book. I was impressed that 75% of the movie actually took place at Hogwarts with an elongated battle sequence, as if the filmmakers were making up for the omission of the Battle of the Astronomy Tower from Harry Potter and the Half-Blood Prince.
It has been great to see Daniel Radcliffe, Rupert Grint, and Emma Watson grow up because they have embodied the characters well and have such a great chemistry with each other. Hermione and Harry especially have developed a great brother-sister relationship. I look forward to seeing them in other flims, and it would be great to see them in a non-Harry Potter film together.
I have always felt that the teachers and adults in the film series have always been given short shrift, and this film was no exception, but the balance was evened out a little bit. Alan Rickman gave a great performance as Severus Snape, showing a different and much more human side to the character that gave him another dimension. Seeing Maggie Smith on screen is always wonderful as well, especially in a leadership role. Robbie Coltrane's Hagrid doesn't show up until the end of the film, but he's always a welcome presence. Gary Oldman, David Thewlis, and Jim Broadbent make brief appearances as well, all of whom should have had more scenes in the last few films given their character's roles in the books. Only Ralph Fiennes gets significant screen time. Helena Bonham Carter also has a few scenes as his main lackey. The problem is that there are so many wonderful characters that it's hard to showcase them all correctly in the 2 1/2 hour spans of each film, so characters often make brief or background appearances.
The actual battle is quite physical and all-consuming, at times a bit tough to follow. There are a few changes from the book as well. The final image of the aftermath is the main three characters standing on a bridge looking back at the building that has been the centerpiece of their lives for the last seven years. The movie then concludes with an Epilogue taking place 19 years later that is a complete shift in tone, showing the next generation of Hogwarts students, the progeny of our main characters, who have been aged to be in their late thirties, although still played by the same actors. Rupert Grint's transformation makes him look a bit like Mark Williams, who plays Arthur Weasley. The final image of this scene, and the whole saga, is a closeup of our three heroes as adults. I hope that the film and book series doesn't go out of style and will remain popular with future generations of readers and moviegoers, because this universe is too vibrant to fade away.
It has been great to see Daniel Radcliffe, Rupert Grint, and Emma Watson grow up because they have embodied the characters well and have such a great chemistry with each other. Hermione and Harry especially have developed a great brother-sister relationship. I look forward to seeing them in other flims, and it would be great to see them in a non-Harry Potter film together.
I have always felt that the teachers and adults in the film series have always been given short shrift, and this film was no exception, but the balance was evened out a little bit. Alan Rickman gave a great performance as Severus Snape, showing a different and much more human side to the character that gave him another dimension. Seeing Maggie Smith on screen is always wonderful as well, especially in a leadership role. Robbie Coltrane's Hagrid doesn't show up until the end of the film, but he's always a welcome presence. Gary Oldman, David Thewlis, and Jim Broadbent make brief appearances as well, all of whom should have had more scenes in the last few films given their character's roles in the books. Only Ralph Fiennes gets significant screen time. Helena Bonham Carter also has a few scenes as his main lackey. The problem is that there are so many wonderful characters that it's hard to showcase them all correctly in the 2 1/2 hour spans of each film, so characters often make brief or background appearances.
The actual battle is quite physical and all-consuming, at times a bit tough to follow. There are a few changes from the book as well. The final image of the aftermath is the main three characters standing on a bridge looking back at the building that has been the centerpiece of their lives for the last seven years. The movie then concludes with an Epilogue taking place 19 years later that is a complete shift in tone, showing the next generation of Hogwarts students, the progeny of our main characters, who have been aged to be in their late thirties, although still played by the same actors. Rupert Grint's transformation makes him look a bit like Mark Williams, who plays Arthur Weasley. The final image of this scene, and the whole saga, is a closeup of our three heroes as adults. I hope that the film and book series doesn't go out of style and will remain popular with future generations of readers and moviegoers, because this universe is too vibrant to fade away.
Monday, July 4, 2011
Angels in America- Part 1: Millennium Approaches and Part 2: Perestroika
I am working through my backlog of reviews, so I might as well start at the beginning with the oldest and then move towards the more recent ones. Back in February, I had the chance to see the second cast of the off-Broadway revival of Angels in America at Signature Theatre Company perform both parts of Tony Kushner's epic play. I had previously seen the first cast perform Part II back in December, and that review can be found on this blog for comparison. I think Part II is my favorite part, as I feel that Part I is mostly the exposition to set up the events which actually occur in the second part, beginning with the entrance of the angel at the end of Part I.
Thankfully, some of the cast members from the first cast were still there, namely Frank Wood as Roy Cohn, Bill Heck as Joe Pitt, and Billy Porter as Belize. Frank Wood's portrayal of Mr. Cohn is quite a wonder to behold, as he plays the real-life lawyer as a slimy, unlikable self-hating Jewish man who spends most of this play attempting to carry out underhanded deals to keep himself afloat as he faces a potential disbarment hearing. He is in denial that he has contracted HIV from unprotected sex with men on business trips because of the stigma that comes with being labed homosexual. He is afraid of losing his position of political influence in Reagan-era America. As the plays progress, his symptoms worsen and he is eventually committed to a hospital where he lies slowly dying with his tongue hanging out and an odd orange complexion.
Billy Porter is still marvelous as Belize, the homosexual black nurse who tends to Roy Cohn and also helps his friend Prior Walter cope with the same disease. He often provides a voice of reason and hope to the other characters, the opposite of Louis. Adam Driver inhabits Louis with a nervous energy but gives a very solid believable performance as a gay man struggling with his life situation, and his personal and religious identity. His partner has contracted HIV and he doesn't know how to deal with it, so he leaves and begins dating the Mormon and newly gay Joe Pitt. Mr. Driver does a good job at conveying the neurotic qualities in this complex character struggling with his emotions. Bill Heck provides a grounded center as Joe, struggling with his homosexual feelings, his career choices offered to him by Roy Cohn, and his marriage to the pill-popping and agoraphobic Harper Pitt.
Out of the new cast members, I was most excited to see Michael Urie take on Prior Walter since I enjoyed seeing him as Marc St. James on Ugly Betty over the past few years. Some of his vocal inflections and character mannerisms were the same, which made it feel like I was watching the same character at times. I did enjoy his performance though, as it felt fairly realistic.
Sofia Jean Gomez did a wonderful job in her roles as a hospital nurse the titular angel descended from on high to speak to the would-be prophet Prior. Keira Keeley also did a great job as Harper Pitt, inheriting the role from the immensely talented Zoe Kazan. She communicated the anxiety and insecurity of a wife who is losing her husband but not fully in control of her own life decisions until the end of the play. Lynne McCollough did not leave a lasting impression as Joe's mother Hannah Pitt as well as the ghost of Ethel Rosenberg.
I am glad that I had the opportunity to see both parts of the play together with the same cast in a short timeframe. Some scenes were edited, presumably for time, but the staging in the small Peter Norton Space worked very well, as the audience was close to the action and the projections and set changes really set the stage in terms of locations. I was amazed at how much was achieved simply by rotating a set piece, and the appearance of the angel was well-conceived. I look forward to seeing more productions produced by Signature Theatre Company in the coming years, although I have not seen their production of The Illusion yet as I have been unable to get a ticket. Next season will be devoted to Athol Fugard, and since I am not familiar with most of his work, I look forward to those productions.
Thankfully, some of the cast members from the first cast were still there, namely Frank Wood as Roy Cohn, Bill Heck as Joe Pitt, and Billy Porter as Belize. Frank Wood's portrayal of Mr. Cohn is quite a wonder to behold, as he plays the real-life lawyer as a slimy, unlikable self-hating Jewish man who spends most of this play attempting to carry out underhanded deals to keep himself afloat as he faces a potential disbarment hearing. He is in denial that he has contracted HIV from unprotected sex with men on business trips because of the stigma that comes with being labed homosexual. He is afraid of losing his position of political influence in Reagan-era America. As the plays progress, his symptoms worsen and he is eventually committed to a hospital where he lies slowly dying with his tongue hanging out and an odd orange complexion.
Billy Porter is still marvelous as Belize, the homosexual black nurse who tends to Roy Cohn and also helps his friend Prior Walter cope with the same disease. He often provides a voice of reason and hope to the other characters, the opposite of Louis. Adam Driver inhabits Louis with a nervous energy but gives a very solid believable performance as a gay man struggling with his life situation, and his personal and religious identity. His partner has contracted HIV and he doesn't know how to deal with it, so he leaves and begins dating the Mormon and newly gay Joe Pitt. Mr. Driver does a good job at conveying the neurotic qualities in this complex character struggling with his emotions. Bill Heck provides a grounded center as Joe, struggling with his homosexual feelings, his career choices offered to him by Roy Cohn, and his marriage to the pill-popping and agoraphobic Harper Pitt.
Out of the new cast members, I was most excited to see Michael Urie take on Prior Walter since I enjoyed seeing him as Marc St. James on Ugly Betty over the past few years. Some of his vocal inflections and character mannerisms were the same, which made it feel like I was watching the same character at times. I did enjoy his performance though, as it felt fairly realistic.
Sofia Jean Gomez did a wonderful job in her roles as a hospital nurse the titular angel descended from on high to speak to the would-be prophet Prior. Keira Keeley also did a great job as Harper Pitt, inheriting the role from the immensely talented Zoe Kazan. She communicated the anxiety and insecurity of a wife who is losing her husband but not fully in control of her own life decisions until the end of the play. Lynne McCollough did not leave a lasting impression as Joe's mother Hannah Pitt as well as the ghost of Ethel Rosenberg.
I am glad that I had the opportunity to see both parts of the play together with the same cast in a short timeframe. Some scenes were edited, presumably for time, but the staging in the small Peter Norton Space worked very well, as the audience was close to the action and the projections and set changes really set the stage in terms of locations. I was amazed at how much was achieved simply by rotating a set piece, and the appearance of the angel was well-conceived. I look forward to seeing more productions produced by Signature Theatre Company in the coming years, although I have not seen their production of The Illusion yet as I have been unable to get a ticket. Next season will be devoted to Athol Fugard, and since I am not familiar with most of his work, I look forward to those productions.
Sunday, June 26, 2011
My 24th Birthday
Yesterday, June 25, marked the occasion of my 24th birthday, and so I am dedicating to this post to encapsulating my thoughts on this event so that I can view them later and have an accurate reckoning of my thoughts and feelings. At first I wasn't thinking my birthday was a big deal. I got into the mood a little bit on Friday, but Saturday was mostly a normal day for me. Reading and napping, and then in the evening I opened a couple cards from my mother and grandmother. My grandmother's card was a little bit weird, since she signed it "Sol and Family" and not "Grandpa and Grandma" as she always did before. This is also weird since my grandfather passed away on May 3, so the card should have been signed "Grandma". I started to open my mother's birthday package, but I haven't gone through all of it. A lot of magazine articles and newspaper clippings, also Playbills from Cabaret and Lion King since I love to read and collect Playbills.
I felt happier about my birthday today because I was able to celebrate it more. I saw the matinee of Billy Elliot because I hadn't actually seen it yet. It was a pretty powerful and moving show, and I want to write a full review of it in another post. (I am REALLY behind in posting reviews. I see plays much faster than I can write about them.) This was also the first time I actually paid to see a show in a few months, not since March I think. Everything else was a gift from family or I was ushering or otherwise seeing for free.
Last year when I turned 23, I was working for the Census as a Crew Leader, a position which I mostly enjoyed but I didn't know how long it would last. I also felt 23 was a weird number. It's odd, it's prime, not easily divisible. I'm glad to be 24 which is an even number and can be divided into halves, thirds, and fourths so that I can easily review the prior years in equal sections. This year I am working part-time at two jobs but the two positions don't add up to anywhere close to 40 hours a week, so I'm still not working full-time. I do enjoy math tutoring, but wish I could do more with my math skills. I need to focus more time on my part-time position so that I can give it 110%. It's hard to put time and effort in something that is only part-time, but devoting more time to it makes it easier to accomplish things.
At this moment, I am glad to have some sources of income, but I would like to have one full-time source that I feel is stable and secure. I would also like to have some other financial uncertainties solved so that they do not cause me any stress or other physical/psychological symptoms, which tends to happen. I hope that is coming year is full of new opportunities and accomplishments in life, and I have to keep thinking of ways to make that happen.
I felt happier about my birthday today because I was able to celebrate it more. I saw the matinee of Billy Elliot because I hadn't actually seen it yet. It was a pretty powerful and moving show, and I want to write a full review of it in another post. (I am REALLY behind in posting reviews. I see plays much faster than I can write about them.) This was also the first time I actually paid to see a show in a few months, not since March I think. Everything else was a gift from family or I was ushering or otherwise seeing for free.
Last year when I turned 23, I was working for the Census as a Crew Leader, a position which I mostly enjoyed but I didn't know how long it would last. I also felt 23 was a weird number. It's odd, it's prime, not easily divisible. I'm glad to be 24 which is an even number and can be divided into halves, thirds, and fourths so that I can easily review the prior years in equal sections. This year I am working part-time at two jobs but the two positions don't add up to anywhere close to 40 hours a week, so I'm still not working full-time. I do enjoy math tutoring, but wish I could do more with my math skills. I need to focus more time on my part-time position so that I can give it 110%. It's hard to put time and effort in something that is only part-time, but devoting more time to it makes it easier to accomplish things.
At this moment, I am glad to have some sources of income, but I would like to have one full-time source that I feel is stable and secure. I would also like to have some other financial uncertainties solved so that they do not cause me any stress or other physical/psychological symptoms, which tends to happen. I hope that is coming year is full of new opportunities and accomplishments in life, and I have to keep thinking of ways to make that happen.
Monday, May 30, 2011
True Grit
I enjoyed this movie more than I thought I would, as it is the first Coen Brothers film which I actually watched. Halle Steinfeld is great as Maddie, the straight-laced, no-nonsense 14 year old who is overseeing her late father’s affairs. Dakin Matthews has a great bit role as a horse trader who’s on the wrong side of a contract with Maddie. Jeff Bridges gives a great performance as Rooster Cogburn, the drunk, sodden old codger trying to finish his life out with no scruples or regard for personal dignity. Matt Damon is also good as a Texas Marshall who also lends help and support at times in the pursuit of Josh Brolin as an outlaw wanted for murder.
There is great dramatic tension throughout as to who this ragtag team of people will encounter next and whether they will survive. There is a scary moment of Maddie being attacked by a rattlesnake in a cave that will lead to her arm being amputated. It was a great Western, showing the thrill of the open road. Made me want to spend more time in this world of the Wild West with lawlessness, outlaws, and crazy gunslingers. I have never really been a fan of Westerns, but this movie did begin to cultivate an interest in them inside me, and I would be interested in exploring more movies within that genre.
No Strings Attached
I’m working through my back-log of theater and film reviews for productions I have seen in the last four months, so please bear with me if these reviews seem like past news! Since Friends With Benefits is still due to be released, I thought it would make sense to post this review and then compare both movies.
I thought No Strings Attached was a pretty enjoyable movie. Predictable at times but still funny and entertaining. Ashton Kutcher was actually likable as a struggling writer stuck being a Production Assistant for the High School Musical-esque show he wants to be on the writing staff for. He was more grown-up and grounded than other characters he has played, which made his portrayal more realistic and likable. Natalie Portman was quite amusing and likable as a young doctor who initially resists his romantic advances until the morning after a drunken party when they end up in bed together and decide to give “friends with benefits” a try. They do make a good couple, and have some chemistry with each other.
The movie also benefits from a strong supporting cast. Mindy Kaling has some great one-liners as a roommate/co-worker of Natalie Portman’s and Greta Gerwig has some scenes as well as a longtime friend. Kevin Kline hams it up as Ashton Kutcher’s father, a washed-up actor dating annoying women half his age, including Lake Bell
Wednesday, May 25, 2011
Freud's Last Session
I have seen Freud's Last Session several times since last fall, and I highly recommend it to anyone who doesn't mind thinking while being entertained. In the play, C.S. Lewis and Sigmund Freud engage in a battle of wits about love, war, sex, religion, and many other topics, but the main focus is on their differing views of faith and religion. The play, by Mark St. Germain, is based on Dr. Armand Nicholi's book The Question of G-d. It is unknown whether C.S. Lewis and Sigmund Freud actually met in real life, but it is possible that they did in London on the eve of World War II, which is when this play is set. One of the running plots is Dr. Freud listening to the news on the radio, culminating in King George VI's speech to the nation preparing for World War II, the same speech which forms the climax of The King's Speech. This play has many traits of an Oscar-nominated film itself:
Martin Rayner and Mark Dold have provided a wonderful master class in acting with their performances. They have wonderful chemistry with each other. The play is very thought-provoking and makes you question your own views and beliefs. A very funny, well-written verbal sparring match and battle of the wits. Martin Rayner gives an amazing performance as Sigmund Freud, at the end of his life and in pain from oral cancer, but still with his wits about him and able to hold his own in debate. Mark Dold as C.S. Lewis is his scene partner and foil, and is definitely up to the task. The chemistry between them is what elevates this show even further. I enjoy plays and movies which have a historical basis, and I enjoy the historical detail of late 1930's Britain on display here. Additionally, the play recently won the Off-Broadway Alliance's 2011 Best Play of the Year. Freud's Last Session is currently enjoying an open-ended run at the Majorie Deane Little Theatre at the West Side Y, 10 West 64th St. You can also visit www.freudslastsession.com for more information and to purchase tickets.
- Strong acting,
- Based on historical events
- Dialogue which is both humorous and emotionally stirring
- Main character overcoming adversity
- British period piece
Martin Rayner and Mark Dold have provided a wonderful master class in acting with their performances. They have wonderful chemistry with each other. The play is very thought-provoking and makes you question your own views and beliefs. A very funny, well-written verbal sparring match and battle of the wits. Martin Rayner gives an amazing performance as Sigmund Freud, at the end of his life and in pain from oral cancer, but still with his wits about him and able to hold his own in debate. Mark Dold as C.S. Lewis is his scene partner and foil, and is definitely up to the task. The chemistry between them is what elevates this show even further. I enjoy plays and movies which have a historical basis, and I enjoy the historical detail of late 1930's Britain on display here. Additionally, the play recently won the Off-Broadway Alliance's 2011 Best Play of the Year. Freud's Last Session is currently enjoying an open-ended run at the Majorie Deane Little Theatre at the West Side Y, 10 West 64th St. You can also visit www.freudslastsession.com for more information and to purchase tickets.
Anything Goes, Stephen Sondheim Theatre
Back in March, I saw Roundabout Theatre Company's revival of Anything Goes, at the Stephen Sondheim Theatre. Since I wasn't able to see Patti LuPone and Howard McGillin perform the show at Lincoln Center in 1987, and I liked Sutton Foster and Joel Grey, I decided that I definitely wanted to see this production, so I got a ticket for a preview. Also I knew that the mezzanine was pretty comfortable with great sight-lines, so I wasn't worried but I brought my binoculars and used them anyway.
I thought the production was really great, but not overwhelmingly so. It felt a little subdued so I would give a B+. Kathleen Marshall's choreography only pops during the title number and in the 11 o'clock number "Blow Gabriel Blow," which are the two most important numbers in the show in any case. That is what lifts this show from a B to a B+. There are many classic Cole Porter songs in this show, mostly from the original score and a few that were interpolated beginning in the last revival. Rest assured all of these songs are performed at least adequately.
Sutton Foster looks wonderful as a blonde and has a great entrance scene, getting to perform "I Get A Kick Out of You" right off the bat. The show overall is much more alive when she is onstage. She plays Reno as a droll, blowsy woman, different from her usual characters, and gets to deliver some great standards. She does her trademark split and gets to dance in most of her numbers. I can't say for sure but I would assume that she does more actual dancing than any of her Broadway predecessors in the role. Although I am impressed with Patti LuPone's Tony Awards performance from the last revival.
Joel Grey receives second billing as Moonface Martin, Public Enemy #13, and a very inept criminal posing as a minister aboard the ocean liner that most of the show takes place on. He plays the role like the little Jewish man that he is, but always clever and trying to think ahead with his planning. His "Friendship" duet with Ms. Foster is pretty good. He has one solo, the odd number "Be Like the Bluebird". He seems to be in his element when he has a partner to play off of.
Colin Donnell as Billy Crocker is adequate. He's the romantic lead but he is virtually unrecognizable from the ensemble. This is his first principal role on Broadway, coming after his stint as Fiyero in the national tour of Wicked. He sings and dances very well but he doesn't seem to have much personality or charisma.
Laura Osnes as Hope Harcourt, the object of his affection, fares slightly better. Ms. Osnes is a very talented actress, and she performs Hope as the pretty, standard issue ingénue she was written to be. The role doesn't really have any distinguishing characteristics, and Ms. Osnes plays the role as could be expected given the old-fashioned plot she is trapped in.
Living Broadway legend John McMartin appears as the eccentric, near-sighted, and lovelorn millionaire Elisha Whitney. He is great in all his scenes, providing comic relief. His object of affection is Jessica Walter as Hope Harcourt's mother Evangeline. Her character is also fairly standard- the wealthy and snobbish dowager who is protective of her daughter and intent on increasing her fortune by marrying off her daughter to the highest bidder. Ms. Walter excels at playing these types of roles, as any fan of Arrested Development can attest to.
Adam Godley appears as Hope's fiancée, an eccentric British lord whose comic number "The Gypsy In Me" is also a highlight of the show, especially his dancing with Sutton Foster. We get to see an external display of the silliness inside this amusingly befuddled Brit.
Walter Charles and Robert Creighton make a great comic team as the ship's captain and purser respectively. They are the most underrated part of the show. Mr. Charles has had a long and illustrious career and Mr. Creighton's star has been rising in the last few years, with a string of replacement roles in shows such as Chicago and The Lion King.
Jessica Stone gets a few funny bits as Erma, Moonface Martin's sidekick, who passes the time by romancing the ship's sailors. The ensemble deserves some credit as well. Special mention goes to Joyce Chittick with her deadpan delivery as one of Reno's angels. William Ryall does a great job in his small role of a minister. The male ensemble get to perform some amazing athletic choreography.
I definitely recommend this show to anyone who wants some good old-fashioned entertainment and has an interest in musical theater history. I believe the show is on sale through the end of 2011. I apologize for the delay in posting the review, and I have many more reviews to post as well, which I hope to do over the next few weeks, so keep checking back!
I thought the production was really great, but not overwhelmingly so. It felt a little subdued so I would give a B+. Kathleen Marshall's choreography only pops during the title number and in the 11 o'clock number "Blow Gabriel Blow," which are the two most important numbers in the show in any case. That is what lifts this show from a B to a B+. There are many classic Cole Porter songs in this show, mostly from the original score and a few that were interpolated beginning in the last revival. Rest assured all of these songs are performed at least adequately.
Sutton Foster looks wonderful as a blonde and has a great entrance scene, getting to perform "I Get A Kick Out of You" right off the bat. The show overall is much more alive when she is onstage. She plays Reno as a droll, blowsy woman, different from her usual characters, and gets to deliver some great standards. She does her trademark split and gets to dance in most of her numbers. I can't say for sure but I would assume that she does more actual dancing than any of her Broadway predecessors in the role. Although I am impressed with Patti LuPone's Tony Awards performance from the last revival.
Joel Grey receives second billing as Moonface Martin, Public Enemy #13, and a very inept criminal posing as a minister aboard the ocean liner that most of the show takes place on. He plays the role like the little Jewish man that he is, but always clever and trying to think ahead with his planning. His "Friendship" duet with Ms. Foster is pretty good. He has one solo, the odd number "Be Like the Bluebird". He seems to be in his element when he has a partner to play off of.
Colin Donnell as Billy Crocker is adequate. He's the romantic lead but he is virtually unrecognizable from the ensemble. This is his first principal role on Broadway, coming after his stint as Fiyero in the national tour of Wicked. He sings and dances very well but he doesn't seem to have much personality or charisma.
Laura Osnes as Hope Harcourt, the object of his affection, fares slightly better. Ms. Osnes is a very talented actress, and she performs Hope as the pretty, standard issue ingénue she was written to be. The role doesn't really have any distinguishing characteristics, and Ms. Osnes plays the role as could be expected given the old-fashioned plot she is trapped in.
Living Broadway legend John McMartin appears as the eccentric, near-sighted, and lovelorn millionaire Elisha Whitney. He is great in all his scenes, providing comic relief. His object of affection is Jessica Walter as Hope Harcourt's mother Evangeline. Her character is also fairly standard- the wealthy and snobbish dowager who is protective of her daughter and intent on increasing her fortune by marrying off her daughter to the highest bidder. Ms. Walter excels at playing these types of roles, as any fan of Arrested Development can attest to.
Adam Godley appears as Hope's fiancée, an eccentric British lord whose comic number "The Gypsy In Me" is also a highlight of the show, especially his dancing with Sutton Foster. We get to see an external display of the silliness inside this amusingly befuddled Brit.
Walter Charles and Robert Creighton make a great comic team as the ship's captain and purser respectively. They are the most underrated part of the show. Mr. Charles has had a long and illustrious career and Mr. Creighton's star has been rising in the last few years, with a string of replacement roles in shows such as Chicago and The Lion King.
Jessica Stone gets a few funny bits as Erma, Moonface Martin's sidekick, who passes the time by romancing the ship's sailors. The ensemble deserves some credit as well. Special mention goes to Joyce Chittick with her deadpan delivery as one of Reno's angels. William Ryall does a great job in his small role of a minister. The male ensemble get to perform some amazing athletic choreography.
I definitely recommend this show to anyone who wants some good old-fashioned entertainment and has an interest in musical theater history. I believe the show is on sale through the end of 2011. I apologize for the delay in posting the review, and I have many more reviews to post as well, which I hope to do over the next few weeks, so keep checking back!
Tuesday, March 15, 2011
The Idealist: A New Play at the Times Center February 23rd
I wanted to post a report of a special event I worked on at The Times Center last month. It was a staged reading of a new play, "The Idealist," produced and written by Jennifer Strome. The reading was also streamed live over the Internet to be viewed by people across the world in addition to being broadcast over Gatewave, a radio station for the visually impaired.
There were great performances in the cast, especially from Alison Pill as two central roles in the play, the French-accented Tereska Torres and a modern-day businesswoman. Martin Vidnovic gave a wonderful performance in the central role of Meyer Levin, filled with righteous anger and indignation at a society that was pushing him towards the edge into obscurity and irrelevance despite his illustrious writing career and his legal standing with regard to his dramatization of The Diary of Anne Frank. He commanded the stage as a man trying to understand what went wrong. Tony Roberts was also very influential in a relatively small but pivotal role as Otto Frank, trying to navigate unfamiliar waters of American business and entertainment. Samantha Soule was also great as a 1950's ambitious book editor and as a theater director in 2009 who is trying to resurrect the story of what happened fifty years ago and find out what the real issues are. This part actually anchors a large portion of the show. There was also a four-person Greek chorus filling in the holes and playing the peripheral characters around the four leads.
I would definitely like to see a fully-staged production of the show because I think it provides a valuable history lesson and could have a wonderfully meaningful emotional impact. For more information about the play, please visit http://www.theidealistonstage.com.
There were great performances in the cast, especially from Alison Pill as two central roles in the play, the French-accented Tereska Torres and a modern-day businesswoman. Martin Vidnovic gave a wonderful performance in the central role of Meyer Levin, filled with righteous anger and indignation at a society that was pushing him towards the edge into obscurity and irrelevance despite his illustrious writing career and his legal standing with regard to his dramatization of The Diary of Anne Frank. He commanded the stage as a man trying to understand what went wrong. Tony Roberts was also very influential in a relatively small but pivotal role as Otto Frank, trying to navigate unfamiliar waters of American business and entertainment. Samantha Soule was also great as a 1950's ambitious book editor and as a theater director in 2009 who is trying to resurrect the story of what happened fifty years ago and find out what the real issues are. This part actually anchors a large portion of the show. There was also a four-person Greek chorus filling in the holes and playing the peripheral characters around the four leads.
I would definitely like to see a fully-staged production of the show because I think it provides a valuable history lesson and could have a wonderfully meaningful emotional impact. For more information about the play, please visit http://www.theidealistonstage.com.
Sunday, March 13, 2011
How to Succeed in Business Without Really Trying- Al Hirschfeld Theatre, Broadway
Welcome back! I haven't written as many blog posts lately, and I am going to try and fix that and do more posts over the next few weeks to catch up on all the topics I wanted to talk about.
The first post is a review of How to Succeed in Business Without Really Trying, now in previews at the Al Hirschfeld Theatre on Broadway. Incidentally, this is the Broadway theater where I have attended the most performances, having previously four other shows at the venue.
I enjoyed this show and this production quite a bit. I wasn't sure what to think, as the show curtain looked a little tacky and I was thinking this production would be similar to Promises, Promises, in that it would be good but not spectacular and would be a little too slick and commercial, getting away from the show's heart. I was pleasantly surprised in that this show was much better than I expected, even with a dated book. Seeing Daniel Radcliffe sing and dance in white shirt and teal bow-tie as J. Pierpont Finch was pretty wonderful. He really carried the show from his first entrance, rising from the orchestra pit on his window-washing scaffold. It's fun to watch him weasel his way to the top through a mixture of lies, half-truths, and carefully placed words. He still reads a bit young for the part though, as if he was an over-zealous and ingratiating summer intern who refuses to leave. And when you look at the secretarial pool, you wouldn't want to leave either.
His love interest is Rose Hemingway as the earnest and idealistic Rosemary, who is quite fantastic in her Broadway debut. She is throughly likable as the sweet and wholesome ingénue who falls in love with Finch at first sight and dreams of their life together in New Rochelle where she keeps his dinner warm as he works his way up the corporate ladder, and doesn't give up when Finch doesn't always pay much attention to her. She aided in her schemes by Mary Faber as Smitty, who is saddled with a pair of ugly white glasses which nevertheless helps indicate the 1960's time period.
I also really enjoyed Tammy Blanchard as the boss's mistress and all-around office sexpot Hedy LaRue, who almost stole the show for me. She played the role as a cross between Judy Garland and Marilyn Monroe with a great figure but poor comprehension, dazed and oblivious to most of her surroundings. She does have some ambition and a fairly correct moral compass though. Ellen Harvey is underused as the boss' droll secretary Miss Jones.
John Larroquette was servicable as the big boss himself, J.B. Biggley. He was amiable and likable enough and believable in the role, but I think he needs to settle into the character and get comfortable a little bit more. His stand-out number was "Old Ivy" with Daniel Radcliffe and the male ensemble. Rob Bartlett also had a great number with those same two co-stars in "Company Way," with some comedic stage business for the principals and some inventive and highly entertaining choreography for the mail-room attendants. The perfect epitome of an office functioning in musical-comedy style. The rest of the principals include Michael Park as Mr. Bratt, the personnel manager and Christopher Hanke as Bud Frump, the bratty and effeminate nephew of J.B. Biggley and the "villain" of the show.
Which brings us to the ensemble, who were truly fantastic. Special mention goes to Cameron Adams, Cleve Asbury, Marty Lawson, Ryan Watkinson, and Charlie Williams. That list is skewed in favor of the men because they had a lot more to do in this show. Rob Ashford gave them great, spectacular, and athletic choreography to perform, particularly in "Company Way", "Brotherhood of Men" and "Old Ivy," although the last one was a bit long and started to stretch the limits of believability, even for this show. Both genders of the ensemble were great in "A Secretary is Not A Toy and especially "Coffee Break." The opening number was reminiscent of Ashford's choreography for Promises, Promises and also featured some wonderful partnering. The female ensemble got a chance to shine in "Cinderella Darling" and to a lesser extent in "Paris Original" which was another highlight of the show.
I enjoyed this production very much and urge you to see it as well. I admit that the show is dated at times and has sexist overtones, but is still an enjoyable experience. If only succeeding in business really was this simple...
The first post is a review of How to Succeed in Business Without Really Trying, now in previews at the Al Hirschfeld Theatre on Broadway. Incidentally, this is the Broadway theater where I have attended the most performances, having previously four other shows at the venue.
I enjoyed this show and this production quite a bit. I wasn't sure what to think, as the show curtain looked a little tacky and I was thinking this production would be similar to Promises, Promises, in that it would be good but not spectacular and would be a little too slick and commercial, getting away from the show's heart. I was pleasantly surprised in that this show was much better than I expected, even with a dated book. Seeing Daniel Radcliffe sing and dance in white shirt and teal bow-tie as J. Pierpont Finch was pretty wonderful. He really carried the show from his first entrance, rising from the orchestra pit on his window-washing scaffold. It's fun to watch him weasel his way to the top through a mixture of lies, half-truths, and carefully placed words. He still reads a bit young for the part though, as if he was an over-zealous and ingratiating summer intern who refuses to leave. And when you look at the secretarial pool, you wouldn't want to leave either.
His love interest is Rose Hemingway as the earnest and idealistic Rosemary, who is quite fantastic in her Broadway debut. She is throughly likable as the sweet and wholesome ingénue who falls in love with Finch at first sight and dreams of their life together in New Rochelle where she keeps his dinner warm as he works his way up the corporate ladder, and doesn't give up when Finch doesn't always pay much attention to her. She aided in her schemes by Mary Faber as Smitty, who is saddled with a pair of ugly white glasses which nevertheless helps indicate the 1960's time period.
I also really enjoyed Tammy Blanchard as the boss's mistress and all-around office sexpot Hedy LaRue, who almost stole the show for me. She played the role as a cross between Judy Garland and Marilyn Monroe with a great figure but poor comprehension, dazed and oblivious to most of her surroundings. She does have some ambition and a fairly correct moral compass though. Ellen Harvey is underused as the boss' droll secretary Miss Jones.
John Larroquette was servicable as the big boss himself, J.B. Biggley. He was amiable and likable enough and believable in the role, but I think he needs to settle into the character and get comfortable a little bit more. His stand-out number was "Old Ivy" with Daniel Radcliffe and the male ensemble. Rob Bartlett also had a great number with those same two co-stars in "Company Way," with some comedic stage business for the principals and some inventive and highly entertaining choreography for the mail-room attendants. The perfect epitome of an office functioning in musical-comedy style. The rest of the principals include Michael Park as Mr. Bratt, the personnel manager and Christopher Hanke as Bud Frump, the bratty and effeminate nephew of J.B. Biggley and the "villain" of the show.
Which brings us to the ensemble, who were truly fantastic. Special mention goes to Cameron Adams, Cleve Asbury, Marty Lawson, Ryan Watkinson, and Charlie Williams. That list is skewed in favor of the men because they had a lot more to do in this show. Rob Ashford gave them great, spectacular, and athletic choreography to perform, particularly in "Company Way", "Brotherhood of Men" and "Old Ivy," although the last one was a bit long and started to stretch the limits of believability, even for this show. Both genders of the ensemble were great in "A Secretary is Not A Toy and especially "Coffee Break." The opening number was reminiscent of Ashford's choreography for Promises, Promises and also featured some wonderful partnering. The female ensemble got a chance to shine in "Cinderella Darling" and to a lesser extent in "Paris Original" which was another highlight of the show.
I enjoyed this production very much and urge you to see it as well. I admit that the show is dated at times and has sexist overtones, but is still an enjoyable experience. If only succeeding in business really was this simple...
Monday, February 14, 2011
The Idealist: A New Play at the Times Center February 23rd
I am free-lancing on an exciting new project called The Idealist. It's a play which has been in the making for over a decade and is now receiving a staged reading at the Times Center in New York City on Wednesday, February 23, at 8:00 pm. The really wonderful thing about this event is that if you can't attend in person, you can watch it online! It will be streamed live on the night of the event, and will be available for six days afterward. You can click this link and purchase tickets to attend in-person and this link for purchasing a pass to watch online. And don't forget to visit the show's official website here. The play is the true story of the struggle to dramatize The Diary of Anne Frank, and one man's fight for an authentic adaptation that was not cleansed of Jewish content. I am personally fascinated by the play for its' insight into the xenophobia of 1950's America and the political climate of the time. I hope all of you can attend in-person or watch the live performance online, the first reading to be broadcast worldwide in such a manner. Become a part of history!
Sunday, January 23, 2011
Cymbeline, Theater for A New Audience, New Victory Theater
A friend of mine couldn't use their ticket, so they gave it to me, and I was very glad to have an opportunity to see some live Shakespeare, as it had been 2 1/2 years since I had last done so. I wasn't able to see the Lincoln Center production of Cymbeline from three years ago, so I was especially intrigued this particular play. I thought the show was very good. It was presented by the Fiasco Theatre, composed of MFA graduates from the Brown University/Trinity Repertory program, and features six actors playing fourteen roles, which they more or less do with a straight face until the final sequence. The play was streamlined in terms of scenes and characters, and featured an explanatory prologue, but I don't feel it detracted from the piece, although I would really have to see the play in its' unaltered from to know for sure. I had never seen Cymbeline before, so this was my first exposure to it. I wish I had seen the Lincoln Center production from 2007 but I wasn't in NYC then. I thought the cast was very good all-around, but some of them were better than others. I was impressed with how they shift characters. The actress who plays the Queen/Belaria, Emily Young is especially good and makes her performance seem effortless. Two of the actors, Noah Brody as Posthumus and Ben Steinfeld as Iachimo are also the co-directors, which makes me wonder what the rehearsal process. I think it's also quite amazing how much they cast can do with two crates, a fabulous trunk, and a white sheet as their set along with a few hand props and musical instruments. I think it's a very accessible production with some great stagecraft. It's a great way to introduce people to Shakespeare, especially a play which is one of the lesser-known works of the Bard. The play runs through January 30, so you have one more week to catch this wonderful and intimate production, which is right next door to Spiderman: Turn Off the Dark, at the opposite end of the theatrical spectrum and which I will not talk about in this post.
A Little Night Music- Broadway, Walter Kerr Theater
I realized that I never actually posted a review when I saw A Little Night Music last month. I had a really great seat in Row D of the right orchestra, and I was looking forward to seeing the show because I love Bernadette Peters and Elaine Stritch, as they are both Broadway institutions, specifically in connection to Stephen Sondheim musicals. I had seen a regional production of A Little Night Music over a year ago, so I knew the plot and had some familiarity with the score. I liked the opening "Night Waltz" with the majority of the cast on-stage, as it worked well in getting the audience into the realm and atmosphere of the play. Bernadette Peters was quite marvelous as Desiree, she really inhabited the role of the traveling actress, frequent lover, and sometime mother. Her line readings were imbued with a world-weariness and her performance felt very lived-in and naturalistic. Ms. Peters has a very distinctive voice and personality and I thought it served her well in this role, and allowed her to really make the role her own, separate from previous portrayals. The whole house was quiet when "Send in the Clowns" began. I have not seen Catherine Zeta-Jones in the role, and so I can't really draw comparisons between the two, but I don't think that Ms. Zeta-Jones could have brought a believable portrayal to the role that Ms. Peters did, and would have stuck out apart from the rest of the cast. Her Tony Awards performance certainly left a lot to be desired. Seeing the show during Ms. Zeta-Jones' tenure would have been "event theater", all about seeing her live performance, and now I think seeing the show is more about experiencing the show as a whole, with less emphasis on the individual cast members.
Ms. Peters commanded the stage and had the requisite chemistry with Stephen R. Buntrock, who gave a wonderful performance himself as Frederik, the lawyer in his 40's married to a virginal 18 year old who he has known since she was a child (Ramona Mallory in the role of Anne, originated by her mother Victoria Mallory in 1973). Mr. Buntrock reminded me of Brent Barret in physical appearance, had great stage presence and singing voice, and was a believable partner/foil for the many other characters he comes into contact with. At times, his Fredrick seemed to be a bit too much of a ham and a buffoon, but it didn't detract too much from the proceedings. Ms. Mallory is quite good as Anne, coming to terms with being a wife and an adult while still very much a child. The one weak link in the cast seems to be Hunter Ryan Herdlicka, who doesn't seem to do much as Henrik other than be awkward and mope around. I didn't really care much about his plight, perhaps because I already knew what would happen. Erin Davie and Leigh Ann Larkin seemed almost underused as Countess Charlotte Malcolm and the lusty maid Petra, but they made great use of their time onstage, Ms. Davie in particular having some great one-liners. I had previously seen Bradley Dean, who plays Count Carl-Magnus Malcolm, on the national tour of Spamalot, and he seems to do his better work in hammy roles. He looks older than Aaron Lazar, and I think that is a good thing for this character. His character is the villainous buffoon of the show, and Mr. Dean did a great but not spectacular job in the role. Still very entertaining though. Elaine Stritch was a hoot as Madame Armfeldt. Her dry delivery worked well with the role of the crotchety guardian of Frederika (played brilliant by Katherine McNamara) and exasperated mother of Desiree, and she showed her human side as well. The liebersingers were also great with their interludes and song snatches between scenes. I throughly enjoyed this production and I'm glad I got a chance to see it before it closed.
Ms. Peters commanded the stage and had the requisite chemistry with Stephen R. Buntrock, who gave a wonderful performance himself as Frederik, the lawyer in his 40's married to a virginal 18 year old who he has known since she was a child (Ramona Mallory in the role of Anne, originated by her mother Victoria Mallory in 1973). Mr. Buntrock reminded me of Brent Barret in physical appearance, had great stage presence and singing voice, and was a believable partner/foil for the many other characters he comes into contact with. At times, his Fredrick seemed to be a bit too much of a ham and a buffoon, but it didn't detract too much from the proceedings. Ms. Mallory is quite good as Anne, coming to terms with being a wife and an adult while still very much a child. The one weak link in the cast seems to be Hunter Ryan Herdlicka, who doesn't seem to do much as Henrik other than be awkward and mope around. I didn't really care much about his plight, perhaps because I already knew what would happen. Erin Davie and Leigh Ann Larkin seemed almost underused as Countess Charlotte Malcolm and the lusty maid Petra, but they made great use of their time onstage, Ms. Davie in particular having some great one-liners. I had previously seen Bradley Dean, who plays Count Carl-Magnus Malcolm, on the national tour of Spamalot, and he seems to do his better work in hammy roles. He looks older than Aaron Lazar, and I think that is a good thing for this character. His character is the villainous buffoon of the show, and Mr. Dean did a great but not spectacular job in the role. Still very entertaining though. Elaine Stritch was a hoot as Madame Armfeldt. Her dry delivery worked well with the role of the crotchety guardian of Frederika (played brilliant by Katherine McNamara) and exasperated mother of Desiree, and she showed her human side as well. The liebersingers were also great with their interludes and song snatches between scenes. I throughly enjoyed this production and I'm glad I got a chance to see it before it closed.
Saturday, January 8, 2011
The King's Speech
This is my second movie review, and I feel it's somewhat fitting for this blog since the film has a very theatrical feel to it at times. I've always enjoyed historical fiction, and this movie was getting a lot of awards buzz, so I was attracted to seeing it for those reasons in addition to also liking the cast a lot as well. Colin Firth was superb as Prince Albert, who became King George VI. Helena Bonham Carter was also fabulous as his wife, the future Queen Elizabeth. Geoffrey Rush had a method to his madness as Dr. Logue the speech pathologist, and the cast was stocked with so many other wonderful actors: Michael Gambon as King George V, Jennifer Ehle as Mrs. Logue, Derek Jacobi as the Archbishop, Eve Best as Wallis Simpson, and Timothy Spall as Winston Churchill, complete with cigar and a pompous scowl. He communicated a lot of the character through his posture and mannerisms alone. I highly recommend this movie to everyone interested in history, England, or good acting. It's a great example of how a movie should be put together, because even though the outcome is known ahead of time, there is still dramatic tension and buildup. This reminds me of the musical 1776, where even though we all know that the Declaration of Independence will be ratified and signed, the play does a great job of making us forget that in the moment of watching as we follow Thomas Jefferson and John Adams' actions. I hope that The King's Speech will inspire other similar movies about real-life events, so that people will learn more about historical events through watching them.
How Do You Know?
I figured I would post some movie reviews here as well, mix it up a little bit. I often see movies on Sunday afternoons, because I don't have to put as much planning into it as I do with seeing plays and finding affordable tickets. Plus movies make for better conversation since, on average, people see more movies than they do plays.
Last Sunday, I saw How Do You Know?, created by James L. Brooks. The movie was actually fairly disappointing. We barely saw Reese Witherspoon play softball, for all the media attention about it. We didn't see Owen Wilson play baseball at all. I expected more to happen in the movie, the stakes just didn't feel high enough. Even the plot of Paul Rudd facing prison time due to his father's actions felt muddled and not serious. Most of the actors appear to be walking through the film, although Paul Rudd puts some effort into his performance, and Kathryn Hahn is quite funny as Paul Rudd's pregnant and devoted assistant. This movie could have been so much better than what it was. Rudd and Witherspoon have some nice chemistry in a scene or two. The film also seems to end quite abruptly, it could have used another scene or two. Overall, a very disappointing film and not really worth the price of admission.
Last Sunday, I saw How Do You Know?, created by James L. Brooks. The movie was actually fairly disappointing. We barely saw Reese Witherspoon play softball, for all the media attention about it. We didn't see Owen Wilson play baseball at all. I expected more to happen in the movie, the stakes just didn't feel high enough. Even the plot of Paul Rudd facing prison time due to his father's actions felt muddled and not serious. Most of the actors appear to be walking through the film, although Paul Rudd puts some effort into his performance, and Kathryn Hahn is quite funny as Paul Rudd's pregnant and devoted assistant. This movie could have been so much better than what it was. Rudd and Witherspoon have some nice chemistry in a scene or two. The film also seems to end quite abruptly, it could have used another scene or two. Overall, a very disappointing film and not really worth the price of admission.
Wednesday, January 5, 2011
Oscar Song Nominees
Something I was recently thinking about, as Oscar nominations come out soon. This is meant to be one long thought, and so I am writing this from memory and not fact-checking. In recent years, it seems like the Best Song Winner is not actually the best song, or not a song with as much recognition as other nominees. I have also wondered whether a movie having multiple songs nominated had the effect of cancelling each other out, specifically in the cases of Dreamgirls and Enchanted. Both of these movies had three songs nominated. In the first case, it was "Listen", "Love You I Do" and "Patience". In the latter case, the selected songs were "How Do You Know?", "Happy Working Song", and "So Close". And none of those six songs won, and I thought a plausible explanation is that each of them were getting some votes, but they split the Academy's preferences and allowed an underdog candidate to sneak in. But then I thought back to The Lion King ("Circle of Life", "Can You Feel the Love Tonight?", "Hakuna Matata") and Beauty and the Beast ("Belle", "Be Our Guest", "Beauty and the Beast") in the 1990's. Both of those movies had three songs nominated from their scores. And both of them won Oscars for Best Score and Best Song. Aladdin and The Little Mermaid each had two songs nominated ("Part of Your World" was not nominated?) , and they also walked away with Best Score and Best Song. I would like to point out that five of these six examples had the involvement of Alan Menken or Tim Rice. Alan Menken also won Best Song and Score for Pocohontas featuring "Colors of the Wind." So I guess it's a newer trend for the votes to be split among the songs without one being a clear winner. Can anyone else think of movies which had multiple songs nominated in the last 30 years? Now I actually am interested in doing the research.
The update to this post is that I don't think any other movie has had more than one song nominated that wasn't listed above and I'm glad that Randy Newman won the Oscar for "We Belong Together" from Toy Story 3 and that a traditional nominee finally reclaimed the award after some very disappointing winners the last few years. Hopefully this will reverse that trend and there won't be as many obscure and untraditional winners. On a related note, can we have more time devoted to the performance of the songs on the telecast? That has also been bugging me, the small amount of time devoted to performance on a bloated telecast.
The update to this post is that I don't think any other movie has had more than one song nominated that wasn't listed above and I'm glad that Randy Newman won the Oscar for "We Belong Together" from Toy Story 3 and that a traditional nominee finally reclaimed the award after some very disappointing winners the last few years. Hopefully this will reverse that trend and there won't be as many obscure and untraditional winners. On a related note, can we have more time devoted to the performance of the songs on the telecast? That has also been bugging me, the small amount of time devoted to performance on a bloated telecast.
Tuesday, January 4, 2011
La Bete, Music Box Theatre
I have a lot of blog entries to write from the last few weeks and bring everything up to date, so this will be the first one in that series. I'm hoping for some effort to pay off this week, and it is hard to find the energy to put more effort in, so the current efforts need to carry over.
I saw La Bete last Monday because I didn't win the West Side Story lottery, and I didn't know about the blizzard discount at Billy Elliot. I need to hope for another blizzard I guess. La Bete is closing January 9 and I heard good things about Mark Rylance's performance and the creativity involved on David Hirson's part in writing a play mostly in verse, so I decided to check it out rather than not seeing a show at all. My seat was in a mezzanine box, but there was no one sitting in the first row of left mezzanine, so I moved there when the usher at the top of the stairs disappeared. Much better viewing experience, and I could see the actors' faces and expressions very well when the show started. Very weird non-verbal prologue with the cast at a feast as operatic music played and the Asian maid watched from downstage right. Then there was a funny scene with David Hyde Pierce and Stephen Ouimette, a fine Canadian actor, culminating in the appearance of Mark Rylance and a very long monologue as he prattles on about dinner and theater. He's very funny as the boorish, socially awkward actor/street artist, but I found him to start to get annoying after a while and was looking forward to the end of his monologue so that the other characters would talk. He was very funny for the 15 minutes that he commanded the stage, but it wasn't moving the play forward after a while.
The best part of the play is the fact that most of the lines are in rhyming verse, but they are comedic and make sense. It almost feels natural to hear people converse that way and finish each other's couplets. Mark Rylance gives a showy performance as the idiot savant Valere with his long hair and fake teeth and outrageous actions, but the heart of the play is David Hyde Pierce as Elomire, the playwright/director of a French theater troupe residing at the court of the Princess played by Joanna Lumley with amazing vocal power. The play focused on the Princess' insistence that Valere join Elmomire's troupe over the objections of Elomire, who doesn't trust Valere as part of an ensemble and resents the notion that his art is equal to that of the blubbering street artist. I actually side with Elomire in this debate. Valere seems quite self-absorbed and self-serving, not to mention very think and unable to pick up on expressions and cues from those around him. He reminds me of a people I know, which is possibly why I started to get annoyed with him and why I thought the play tended to fizzle out. Greta Lee is funny as Dorine the adolescent maid, and I think she could have been utilized more. The other actors in the cast really were only in one long scene and hence under-utilized as well. The play ends with Elomire leaving the troupe rather than be forced to cooperate with Valere, who wins over most of the other actors in the troupe with his bizarre comedy. Overall, the play was pretty good, and I loved the library set used for most of the play, so if you have a chance to see it this week, it's worth an evening. Or part of an evening. The play is about two hours and no intermission.
I saw La Bete last Monday because I didn't win the West Side Story lottery, and I didn't know about the blizzard discount at Billy Elliot. I need to hope for another blizzard I guess. La Bete is closing January 9 and I heard good things about Mark Rylance's performance and the creativity involved on David Hirson's part in writing a play mostly in verse, so I decided to check it out rather than not seeing a show at all. My seat was in a mezzanine box, but there was no one sitting in the first row of left mezzanine, so I moved there when the usher at the top of the stairs disappeared. Much better viewing experience, and I could see the actors' faces and expressions very well when the show started. Very weird non-verbal prologue with the cast at a feast as operatic music played and the Asian maid watched from downstage right. Then there was a funny scene with David Hyde Pierce and Stephen Ouimette, a fine Canadian actor, culminating in the appearance of Mark Rylance and a very long monologue as he prattles on about dinner and theater. He's very funny as the boorish, socially awkward actor/street artist, but I found him to start to get annoying after a while and was looking forward to the end of his monologue so that the other characters would talk. He was very funny for the 15 minutes that he commanded the stage, but it wasn't moving the play forward after a while.
The best part of the play is the fact that most of the lines are in rhyming verse, but they are comedic and make sense. It almost feels natural to hear people converse that way and finish each other's couplets. Mark Rylance gives a showy performance as the idiot savant Valere with his long hair and fake teeth and outrageous actions, but the heart of the play is David Hyde Pierce as Elomire, the playwright/director of a French theater troupe residing at the court of the Princess played by Joanna Lumley with amazing vocal power. The play focused on the Princess' insistence that Valere join Elmomire's troupe over the objections of Elomire, who doesn't trust Valere as part of an ensemble and resents the notion that his art is equal to that of the blubbering street artist. I actually side with Elomire in this debate. Valere seems quite self-absorbed and self-serving, not to mention very think and unable to pick up on expressions and cues from those around him. He reminds me of a people I know, which is possibly why I started to get annoyed with him and why I thought the play tended to fizzle out. Greta Lee is funny as Dorine the adolescent maid, and I think she could have been utilized more. The other actors in the cast really were only in one long scene and hence under-utilized as well. The play ends with Elomire leaving the troupe rather than be forced to cooperate with Valere, who wins over most of the other actors in the troupe with his bizarre comedy. Overall, the play was pretty good, and I loved the library set used for most of the play, so if you have a chance to see it this week, it's worth an evening. Or part of an evening. The play is about two hours and no intermission.
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