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.
Sunday, June 26, 2011
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...
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