Tuesday, August 28, 2012

Les Mis: MOVIE TRAILER.


LES MISERABLES: THE OFFICIAL 2012 MOVIE TRAILER
COMING CHRISTMAS 2012

Russell Crowe looks like a great Javert & I can completely envision him as the obsessive, harsh, hounding officer. I'm just curious if Russell Crowe is going to be able to pull of Javert's character equally well through his singing and acting. STARS is one of my favorite songs ever & he better not drop the ball. As Jean ValJeanHugh Jackman seems like a cop-out casting. He really is the only/obvious Hollywood name who is as synonymous with musicals as with movies. However, for this specific role, he seems too soft around the edges, too young, too pretty, & too familiar. I would have loved to see a seasoned Broadway veteran playing ValJean. Not only is he an iconic literary character (who I always prefer to see performed by an unknown actor rather than a familiar star), but ValJean is pretty much the pinnacle male role in musical theatre. Of the 13 film adaptations of Les Miserables, this is the first  translation the stage musical to the screen. It would have been refreshing & in much better taste to give the honor of the role Jean ValJean to a deserving stage actor over a familiar Hollywood face. 

Where were Sacha Baron Cohen (Thenardier) & Helena Bonham Carter (Mme. Thenardier) in this preview? Talk about a bad marketing move. Not only are they some of the most popular & pseudo-beloved actors in the cast, but the Thenardiers are the only fun part of the musical. I would think an excerpt of Master of the House would draw a more excited potential audience than constant shots of a busted-up Anne Hathaway

I admit I am not an Anne Hathaway fan, but I don't think I'm biased when saying she was miscast. Her acting has never impressed me; I've liked her in the contemporary, girl-next-door-with-a-twist roles (Devil Wears Prada, Love and Other Drugs) but have not been impressed with period pieces (Becoming Jane) or oppressively emotional roles (Brokeback Mountain). She's not all bad, but she is not a chameleon & Fantine is not a role that does not rely on her strengths. Anne Hathaway actually can sing [even though her rendition of I Dreamed a Dream in the preview was warbling, weak, & lacked conviction]. I was really surprised at her Oscar performance [specifically spoofy-singing On My Own] because you could actually hear her skill behind the farce. Seeing her in this video makes me wonder, WHY WASN'T SHE CAST AS EPONINE? I'm very glad that Samantha Barks ended up in the part, but I'd rather it had gone to Anne Hathaway, so they could have put someone in the more critcal role of Fantine. [BTW, It's annoying Eponine/Samantha Barks only got one side shot in the preview. Eponine wasn't a huge role in the book or 1998 film adaptation, but she is very pivotal & present in the musical. I'm sure her absence in the preview wouldn't have occurred if the originally-casted Taylor Swift hadn't lost the role.] Even Amanda Seyfried would have been a better choice because she more conveys the hopeful, wide-eyed, desperate vibe that Fantine requires (and was perfected by Ms. Ruth Valentine Henshall). PLUS, SHE IS BLOND.  I'm all about the physical re-interpretation of classic characters, but Fantine's flowing blond hair is one of her defining characteristics that was completely ignored in this film's adaptation. Even though she'd be a better Fantine, I am confident Amanda Seyfried will be a picture-perfect Cosette. I am equally confident that our underdog Eponine Samantha Barks will shine in her role & soon become a household name. 

BEYOND THE TRAILER...

P.S. I still think THIS CAST of Les Miserables would be pretty awesome.

Monday, August 27, 2012

Midsommer/Midsummer @ the Park.

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The Chicago Parks District has been hosting free Shakespeare productions in various parks throughout the summer. Not surprisingly,  it took me until the last weekend in August to take advantage of these shows, but I finally saw A Midsummer Night’s Dream at Touhy ParkThis was a perfect choice for my inaugural CHC/park/Shakespeare experience since this show was an inaugural experience all its’ own. The play was produced by MIDSOMMER FLIGHT, a brand-new company founded by Beth Wolf whose objective is to establish a Chicago theatre collective dedicated to producing outdoor performances of Shakespeare’s plays. 


This production faced two obvious challenges: being a brand-new company (which is slightly remedied by the fact that they teamed with the Chicago Parks District, they offer FREE shows, & the fact that no one can resist a picnic) and performing against the elements of an urban park. Despite the sirens, crickets, & annoying neighborhood kids, this cast held up pretty well against the elements working against them. There was definitely room for improvement in terms of sound quality, but, for the most part, the actors spoke loudly & articulately. Since the audience sat level to the stage, it was difficult to see some of the action (especially during pivotal moments when the actors were lying down), but they generally used the space well. The cast also deserves mad props for making it work in a production space that offers no backstage. Only a seasoned & committed/invested group could conquer those challenges in their first attempt at a production.


The acting ensemble was as impressive in their credentials as in their performance quality,especially with Jared Dennis as a booming & authoritative Oberon, Annie Hogan as billowy & blustering Helena, & J. Preddie Predmore as a boisterous & engaging Bottom. It was a cleverly consolidated cast with the standard Theseus/Oberon & Titania/Hippolyta pairs, as well as the fairies doubling as the rude mechanicals. This play was especially fun because it reminded me of a project in which I participated as one of the founding members of the Delaware Shakespeare Festival. Our inaugural production was also Midsummer (I was a fierce Hermia, BTW). DSF is flourishing & celebrated their 10th anniversary season this summer with a new production of Midsummer. I predict Midsummer Flight will flourish just as boldly & brightly.

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Wednesday, August 22, 2012

NEWS: Will Smith Brings Back the Sun!

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According to BBC News, a new remake of ANNIE will start filming in NYC in Spring, 2013. 
Will Smith is producing the film & his daughter Willow Smith is playing the title role. 
Jay-Z is altering the original musical score & Emma Thompson is adapting the screenplay.  

I like ANNIE. I’m usually not a fan of kiddie-musicals (or kids in musicals), but ANNIE holds a stronger, stranger appeal than the traditional token kiddie-show. It has quality music that requires strong singers who can incorporate equally strong acting abilities, unique but eternally interpretable characters, genuinely funny moments that appeal to any age group (with the occasional veiled joke that only rings right-on with adults), the incorporation of historical content as opposed to the setting only serving as a backdrop, & the powerful appeal of nostalgia. Speaking of nostalgia, ANNIE has served as a gateway show for several of our current cinematic starlets (Sarah Jessica Parker, Alyssa Milano, Cynthia Nixon, Andrea McArdle, & Molly Ringwald). Also, I’m a sucker for the artistic styling that ANNIE demands: the ragtag tenement style costumes contrasted against newly-blossoming technology in a nation struggling against the world & themselves. There is a tremendous potential for arts, angles, & architecture in the setting of this musical & I am excited to see how that potential will be explored on the big-screen in this newest adaptation. 

[Hopefully, this movie will surpass the sub-par efforts of Rob Marshall's 1999 attempt at a TV remake. Despite the seeming potential of it’s all-star cast (Alan Cumming, Kathy Bates, Kristen Chenoweth, Victor Garber, Audra McDonald, & even a cameo by Broadway's original Annie Andrea McArdle), this movie was a hands-down flop. It would have been bad enough if it had been an original film, but it seemed even worse considering it was inevitably compared to the beloved classic from which it was inspired. This adaptation needs to learn from it's predecessors' mistakes: no one is interested in a cheesy movie from childhood being translated into a cheesy, contemporary movie.

Will Smith has proven himself as a smart producer in the film arena (having produced over 20 films), but he has recently applied his eye for production to musical theatre. Will & Jada Smith (along with Jay-Z) were also co-producers of FELA!, which I saw in the spring at Chicago’s Oriental Theatre & loved it. It was fresh, energetic, informative, & entirely different than any musical I‘d ever seen…overall, a great musical & a smart investment. (Plus, he produced a remake of The Karate Kid for his son Jaden, so it’s only fair that Willow gets her own title role in a remake). Not that I think this is a bad casting choice. She’s grown up in the limelight, so she will be a confident/capable as an iconic central character. More importantly, the girl can sing. She’s released a few videos & has something of a successful singing career; her music is nothing exceptional, but the raw vocal talent is there & I’m predicting an awesome rendition of TOMORROW

I’ve long loved Emma Thompson’s presence in female-friendly period pieces, both as an actress in films like Much Ado About Nothing & the screenwriter for Sense & Sensibility [side-note: her upcoming movie EFFIE looks GREAT]; she has also recently conquered the quirky-kiddie genre with the Nanny McPhee movies. She is insightful, quippy, clever, and I have never been disappointed with any art she’s brought to the table. She recently said, “I have been writing the script for nearly three years; it’s exciting. In the autumn, we get to go to L.A. to work with Willow and work on more of the script…Jay-Z has already started working on the music.” Her excitement regarding this project & her teammates only reiterates the faith I have in her screenplay. Jay-Z clearly has a Midas-like touch when it comes to choosing projects & executing innovative ideas. He’s already reworked “It’s the Hard Knock Life” into the song “Hard Knock Life (Ghetto Anthem)” & I loved his reimagining of such a familiar number. Hopefully, this video is a preview of what’s in store for us: 

Tuesday, August 21, 2012

NEWS: Perez Hilton's NY Theatre Debut!


Trailblazing blogger/ pop-culture commentator Perez Hilton will be making his NYC stage debut in Rick Crom's Off-Broadway musical review NEWSical: The Musical (Kirk Theatre). His 4-week limited engagement will begin on Sept. 8, with an official opening on Sept. 17. According to press notes, composer/lyricist Crom, "will add new satirical spoofs to the show including a Chick-fil-A number and a song about the phenomenon of Perez Hilton that will be performed by the man himself. 


"Dreams do come true, if you believe. And I BELIEVE, big time! I am beyond thrilled, nervous and zen about making my New York theater debut. It's gonna be a wild ride in a show that guarantees to put smiles on people's faces. It will be no holds barred! Pure unadulterated fun! I expect to have the time of my life and look forward to hugging happy theatergoers after each show!" (via Hilton's blog)

Monday, August 20, 2012

Theatre-Hikes..!?!

....this seems AWESOME.
theatre-hikes
When you come to a Theatre-Hikes performance, you are greeted by a Hike Leader. 
This Hike Leader will guide you down a short walk to the first scene of the show. 
You will sit for a bit & enjoy. 
You will then pick up your seats/blankets/etc & walk a short bit to the next scene. 
AND SO ON...
They do their best to bring you back to where you met them,
 so you can jump back in your car, bike, bus, or train back to your home. 


Current & Upcoming Shows: 

Winner of the 2001 Jeff Award for best new work, G. Riley Mills commented that this piece was more relevant today than when he wrote it at our Radio Play production this past fall. Encompassed in the telling of the story of how streeterville was formed around Captain Streeter's ship; this play includes 2 love stories (one young and budding, one old and endeuring), a class warfare that includes actual fights between hired guns from the rich and the poor occupying land that didn't exist previously and great characterizations in this historical fiction. This play with music is as entertaining and engaging as is it informative
August 26 @ 4pm - The City of Blue Island

Prospero and his daughter are shipwrecked on an island and must make do with what they have. Prospero discovers the magic of the island in particular; 2 magic creatures, Caliban and Ariel, who he uses for his own personal gain. This story starts when another ship is crashed upon the island and we follow what happens when this crew encounters the island, it's spirits, the old man and his daughter and are challenged by the magic that Prospero commands. The Tempest has recently gained popularity being made into a movie starring Helen Mirren as Prospera and playing on the Chicago Shakespeare Stage. Our production occurs outside, in nature; where it takes place. Experience the magic that is all around us at The Morton Arboretum in this wonderful tale.
September 8 & 9, 15 & 16, 22 & 23, 29 & 30 @ 1pm- The Morton Arboretum

The Werewolf's Curse or Hair Today, Gone Tomorrow

This punny play is appropriate for all ages and perfect for an afternoon as we lead up to Halloween. A vegan couple find themselves in a pickle when Harry is bitten by a werewolf cub. Now he craves rare roast beef and gets very harry at every full moon. Luckily for them, Dr. Frank Einstein and/or Madam Clara Voyant may have a cure! A vampire who drinks juice (as the child of a fruit bat), a puny strongman and others are involved as part of the traveling carneval also visiting Dr. Einstein. And, of course, there is a visit from the angry villagers in this spoof of 1930's horror movies.

October 6, 7 & 8, 13 & 14, 20 & 21, 27 & 28 @ 1 pm The Morton Arboretum
October 19 @ 7pm - The City of Blue Island

Friday, August 17, 2012

The Great American Trailer Park Musical @ Theatre Wit

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This production was a breath of fresh air. It was a musical whose songs were new to me but were still memorable, catchy, & less campy than expected (very Bat Boy-esque). I didn’t realize The Great American Trailer Park Musical has had such a rich/international production history: it debuted in 2004 at New York Music Theatre Festival. In 2005, TGATPM premiered Off-Broadway Dodger Stages on September 27, 2005. In 2006, it made its’ regional debut at the Hippodrome State Theatre in Gainsville Florida. 2008 marked the 1st National Tour, with the same cast taking to show to the Edinburgh Fringe Festival. 2008 also marked TGATPM’s English premiere in Birmingham, England. In 2010, Arizona Onstage Productions in Tucson, AZ presented TGATTM  as the world’s first scratch-and-sniff musical (the audience was handed out cards to scratch & sniff at different points throughout the show). TGATPM also made its’ Australian debut in 2010 with a production at New Theatre in Newtown, Sydney. The fact that this musical has existed & continued to be performed means the piece is quality, somewhat timeless work. It was a very smart choice for Kokandy Production’s premiere production: it is a quality show that is relatively unknown but is still appealing to a wide range of people. Kokandy Productions is a new company started by by Scot Kokandy; he has previously co-produced Towle Theatre's GOOD BOYS AND TRUE & was one of the awesome People of Godspell who joined together in produced GODSPELL on Broadway (a movement ultimately incorporated by my buddy Ken Davenport). TGATPM marks the company’s first full production & it presented a wonderful first impression. Check out their blog & keep an eye out for their future productions; I predict this company brings some great work to the stage.

The production was performed impeccably with a keen eye on details. One detail that was very much appreciated: a good program. It is my firm belief that a production should take pride in the details & establish as much of a sense of continuity in the theatre space as possible. I have been to recent productions that didn’t even hand out a program (infuriating, in my book). This program was engaging & cleverly constructed (rules for living in a trailer park, faux ads, etc.); the program lacked cast bios, but it was a very nice touch otherwise. That acute attention to detail was equally apparent onstage: from the hair claws to the Cheetos, the artistic & production staff was clearly committed to wholly creating this world within the trailer park. The set was impressive; it was not only visually appealing, but also smart & vibrant utilization of a constricted space. There stationary set consisted of three trailers, one of which had a cut-out in the front so that actors could use the interior space to provide a sense of dimension.  It is especially imperative for this specific show to have a stellar set since the setting is a character in itself. Set designer Zachary Gipson created a community that was part cartoon campground, part honky-tonk hang-out, & entirely awesome. 

The Players
cast
Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty), 
Alex Grelle (Duke), Bri Schumacher (Pippi), Jonathan Hickerson (Norbert)Christina Hall (Jeannie) 

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty) served as our Greek chorus; they gave exposition & insight on the characters & community while still playing isolated, independent roles. The singing capabilities of this cast were exceptional across the board & these women were steely belters who made 3 voices fill the space like a full ensemble. Their internal interactions were also notable: it was evident that these actresses have developed a strong performance connection and were [justifiably] confident onstage. As Norbert & Duke, Jonathan Hickerson & Alex Grelle provided nice punctuating moments in this female-heavy ensemble. Hickerson was an especially strong actor & carrying the bulk of the show’s conflict. The two stand-out performances were by Christina Hall as Jeannie (the agoraphobic wife trying to muster the strength to leave her trailer for her anniversary) & Bri Schumacher as Pippi (a dancer who’s the newest resident of Armadillo Acres & having an affair with Betty’s husband). Both of these women were impressive singers who performed their respective roles without turning them into cardboard, bland stereotypes. They nailed the jokes & an understanding of what made their characters fun & funny, but did not do the easy & obvious disservice to the production by relying too heavily on the humorous aspects of the show. This cast is a rarity considering there really were no weak links; but that sentiment could be applied to the entire production: no weak link & no complaints (except for the lack of cast bios, but I can let that slide). 

BUY TICKETS [or visit HotTix like me]
This was also my first Theatre Thursday experience, but more on that later... 
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Monday, August 13, 2012

sneaking around The ARAGON (+ a flea market)

EVERY 2nd SUNDAY * 11a-5p * $5 
The Vintage Bazaar is a blog about vintage home decor, fashion, DIY, & selling vintage. 
It is also a pop-up flea market filled with vintage décor, furniture, clothing, & accessories. 

They ALSO offered free tours of The Aragon, but somehow I got separated from my tour group...





My Dressing Room Window 
My Dressing Room
View From The Stage
Fancy Pants Dressing Room

The Vintage Bazaar
Stage Floor East









Saturday, August 11, 2012

Broadway in Chicago Summer Concert

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This ruled. Here's why:
  • It was FREE. 
  • Senate Bill 937 (Live Theatre Production Tax Credit) went into effect in July. This bill allows a tax break to pre-Broadway shows opening in Chicago, which will expand the quality/amount of shows brought in by Broadway in Chicago.
  • The concert served as a centennial celebration of the Nederlander Organizationwhose work has made this world a much more beautiful place in my book.
  • CYNDI LAUPER. She performed a number from her new musical Kinky Boots & made my night. 



THE SHOWS: 
+ Les Miserables: It was nice performance of the most random & downer number: Bring Him Home. I get that they could only produce one song & it’s best for it to be one of ValJean’s. What about WHO AM I??? It’s his defining moment, it’s uplifting, it’s more approachable, applicable, & enjoyable for audiences who don’t know Les Mis already. Nice performance quality, poor song choice.
+ I liked Catch Me If You Can more than I expected. The music was catchy & the lyrics seemed to have quality & content. It is a cool story with awesome artistic potential, so this one might actually end up being pretty good.
+ Million Dollar Quartet: It was fine, but less striking/impressive than I expected.
+ Cinderella: WHY IS THIS MUSICAL STILL BEING PERFORMED?
+ Peter Pan: I know Cathy Rigby was an Olympian, but it's just weird for a 50-something woman to be playing a little boy.

+ War Horse was awesome. I love anything that comes from the National Theatre & this performance provided heightened degree of artistry compared to the other performances. This is one I definitely want to see.
+ Sister Act was fun & had strong vocals. The ensemble was a little muddled, but it'll probably be a fun, entertaining show.
+ Potted Potter: I didn’t like it. I don’t know the Harry Potter series that well, but I’d be 100% more interested in an authentic Harry Potter musical rather than a spoofy one.
+ Besides War Horse, I Love Lucy was my favorite performance. It is such a great idea for a musical & seemed to true to the original show (which I'm predicting means there is going to be a huge, built-in audience-base & probably make great ticket sales)

Wednesday, August 8, 2012

HUNGER GAMES

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I’m usually RedBox kind of girl, but this was one movie I thought called for the big screen. 
I joined the Hunger Games club a little late & figured that was a lost cause until the Brew & View saved the day.
This was my first visit to The Vic's Brew & View & I LOVED IT. 
It’s such a smart idea for a theatre space to drop a projection screen & show movies. 
I will most definitely be returning to The Vic (specifically for Stephen Marley,  Ani DiFranco & The Mountain Goats).


The Book(s) v. The Movie 
I read all three books & really enjoyed them. They initially reminded me of one of my favorite short stories, The Lottery by Shirley Jackson. The best part of these books is the creation of a world that is simultaneously accessible & impossibly foreign. It is an imaginative narrative that uses our contemporary America to project a seemingly impossible future. It is the details of this projected, pretend society that create such an intriguing setting. Not to say the obvious, but the book was so much better. If you’ve read the books & liked them, you should see the movie; it won’t provide any new insight or highlight the novels, but it an enjoyable & gratifying accompaniment the text. Accompaniment being the operative word; this movie is not a strong enough entity to stand on its’ own. If you want to see the movie because it has gotten so much attention & want to be in on current pop-culture, don’t bother. Either read the book first, or don’t even bother with the movie. It is not a film that everyone will automatically love, but an enjoyable cinematic tribute (pun intended) to a crazy, contemporary book.


Here is the problem that erupted when this book was translated into a movie: the loss of details. It might just be the fault of a faulty script, but the details that made the book awesome somehow fell through the cracks. There was too much wasted time during the film that could have been used to communicate expository information. There were moments where this was not the case: I loved the moment of the newscaster Caesar [Stanley Tucci] giving an expository newscast to explain what Tracker Jackers are for the viewers at home who forgot. It was also a smart alteration to attach little fortune-cookie comments to the gifts that arrive to the tributes by parachute. In the book, we could read her reaction to & interpretation of these gifts; in the movie, we needed a little note from Haymitch [Woody Harrelson] to nail down his specific sentiment. I don’t love deviations in the process of translating a book to movie, but, in this case, the creative ways to stuff in some exposition were appreciated. However, overall, I don’t think the filmmakers utilized the movie‘s 142 minutes to convey/create this world & story that  Suzanne Collins created. 

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+ Elizabeth Banks as Effie Trinket: She is a great actress & I am so glad she was cast in this part. She's funny (as displayed on Scrubs & 30 Rock) & loved her in The Next Three Days, Our Idiot Brother, & Definitely, Maybe. The styling of her character was appropriately awesome & married the styles of  Queen Elizabeth I,  Harijuku Girls, Marie Antoinette, & Judy Jetson. 
+ Woody Harrelson as Haymitch Abernathy: I'm glad he underplayed a part that could have easily been portrayed as a caricature. I was expecting a little more gruffness. The most interested aspect of Haymitch's character to be the fact that he has had to coach these 2 kids every year & they all die. That pressure & life-long obligation was a little diluted, but I'll let it slide. This time. 
+ Lenny Kravitz as Cinna: Cinna's defining characteristic was his sense of thoughtful  insight.  Since Cinna is a fashion designer, I was expecting a more flamboyant character with a subtle streak of sensitivity. I'm so glad my expectations were off because Kravitz's calm energy was much more authentic to the character in the novel, as well as a nice deviation from the crazy corruption that permeated the rest of the film. 
+ Liam Hemsworth as Gale Hawthorne: He was a character in this movie, right? I forget because his role got butchered. In the first book, he serves as a character that helps define Katniss' character: his role provides more setting than plot-pointed action. I'll let his absence slide for the first movie; however, his role becomes more pivotal as the series progresses, so I'm hoping to garner a better gauge of his performance in the very distant future (seeing as the second installment will not be hitting theatres until November 2013). 
+ Josh Hutcherson as Peeta Mellark: He definitely nailed Peeta's likability quotient. He was appropriately charming while still fulfilling the necessary void of simplicity & good-nature in this psychotic, unnatural world. Peeta's role is more complicated than the nice, blond boy & Hutcherson acted with a sense of authority over his character that I am excited to see challenged in the next movies. 
+ Jennifer Lawrence as Katniss Everdeen: I love nothing more than an apathetic heroine. She was ideal: understated, hardcore, relatable, strong, sassy, etc.  She was a great leading lady & a perfect casting choice. She also seemed like Kate from LOST reincarnate. They are both unlikable, long-haired brunette who landed in this crazy jungle by crazy circumstances (and leaves behind a life that relied on crime, secrecy, & physical strength). Also, they can both climb trees & have 2 guys who love them: the bad boy (Gale/Sawyer) & the noble hero (Peeta/Jack). 
+ Stanley Tucci as Caesar Flickerman:This man can do no wrong in my book. He's a dynamic actor, but he brings such a lovely, endearing charm to every part he plays. He plays trustworthy parts very well, and he always brings a very layered performance to the table. Caesar is the closest character Hunger Games has to a narrator. We've seen Mr. Tucci play the perfect pseudo-narrator as Puck in A Midsummer Night's Dream as well as the sweet man happily/diligently working his way up in the shallow world in The Devil Wears Prada; Caesar Flickerman is marriage of these roles, so it's no surprise that he rocked it.
+ Donald Sutherland as President Snow: He was physical perfection in this part. He created a character so creepy you could smell the blood on his breath in the theatre. 

Tuesday, August 7, 2012

August WishList

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@ Chicago Dramatists 
A Steady Rain is the story of two seasoned police officers) who find themselves caught up in a conflict between family and duty when a seemingly routine domestic disturbance call results in the death of a boy. When the horrific truth of the situation is made public, one of the two must take the blame for the fatal mistake. Their life-long friendship is put to the test, as both men struggle with issues of honor, love and loyalty in the face of adversity. 
Through Sept. 2



Reefer Madness Circle Theatre
Reefer Madness takes the over-the-top morality tale of the 1936 film cult classic, and pushes it to the edge of ridiculous. Innocent teen Jimmy is lured into the dangerous world of marijuana, a world full of insanity, promiscuity, recklessness and murder. This campy musical will have you tapping your toes to a Tom Jones-esque Jesus, and just might make you hungry for a snack.
Through Aug. 26



The House Theatre of Chicago @ The Chopin Theatre 
Artistic Director Nathan Allen returns to his very first script having spent the last decade developing The House’s voice. The House’s original production featured magic, music, dance, and film. Now Allen, along with The House’s incredibly diverse ensemble of artists, bring their experience in creating ensemble theater and devising story to the life of history’s greatest magician, while reaching deep into its bag of tricks to create an altogether new theatrical event.

Through Aug. 17


Three Sisters 
@ Steppenwolf Theatre Company
The Prozorov family chafes at the constraints of life in their small provincial town, once a bustling army garrison where their late father served as general. Attempts to shore up their crumbling social status lay bare the larger forces of unrest that will soon engulf them all. Tony® Award-winning ensemble members Tracy Letts and Anna D. Shapiro continue their celebrated collaboration, bringing fresh insight to this classic story of a privileged family’s changing fortunes.
Through Aug. 26


Friday, August 3, 2012

Hit the Wall @ Theatre on the Lake


It’s the summer of ’69 and the death of music icon Judy Garland has emboldened her gay followers. A routine police raid on an underground Greenwich Village hotspot erupts in to a full-scale riot, the impetus of the modern gay rights movement. That’s the well-known, oft-rehearsed myth of Stonewall, anyhow. Smash that myth against the vivid theatrical imagination of playwright Ike Holter, add a howling live rock ‘n roll band, and you get the world premiere play, Hit the Wall. Remixing this historic confrontation reveals ten unlikely revolutionaries, caught in the turmoil and fighting to claim “I was there.”

This was my first visit to the Theatre on the Lake. It wasn’t as hard to find as I expected. I liked the theatre itself, especially that they provided fan and encouraged eating & drinking. There was a 3-person band that played before & during the show; I couldn’t help but think the theatre on the Lake was a better setting to showcase their sound the original production Upstairs at Steppenwolf. The band was great; besides an impeccable sound, they were incorporated into the show subtlety & provided a consistent tone for the show. 

I LOVED IT. I would liken it most to a lovechild of Hedwig & the Angry Inch, HAIR, and Fires in the Mirror (all winners in my book).  Ike Holter’s script incorporated a refreshing variety of moments & artistic styles…tirades that border on raps, personal & poignant revelatory monologues, whispered warnings, chaotic overlapping ensemble, etc. 

I had never heard of the Stonewall Riots, or that it was the catalyst for the LGBT movement. This play provided an interesting historic perspective for me: LGBT rights seem sort of an assumed right for our generation, but it’s interesting how little energy remembering the fight they fought. The struggle for Black Equality & Women’s Rights will never be forgotten, but the LGBT movement doesn‘t seem to garner the same sense of attention to its’ history. Maybe it’s because the LGBT movement puts all its’ energy in contemporary advancements, but it is important for any group to pay honor to those who came before them. Hit the Wall certainly accomplished that sense of respect towards the individuals who endured those riots, while simultaneously crafting an energetic, entertaining, funny, & innovative production. The Reader voted it Best New Play of 2012 and I agree. 


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Wednesday, August 1, 2012

Anna Karenina: The Movie!

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In college, I took a Russian literature class. I was surprised how many of the novels we read stayed on my shelf after the class ended…Oblomov, Dead Souls, The Brothers Karamazov, and, my hands-down favorite, Anna Karenina. EVERYONE SHOULD READ THIS BOOK. It has a long, intertwined story that was created to be retold & reinterpreted…great characters that change & grow, an awesome historic setting that is not usually utilized in full cinematic glory, & relatable conflict/complications in an unrelatable world. I vote next time we put this story on stage (as a musical, obviously). Tom Stoppard wrote the screenplay with Joe Wright serving as director.

Tom Stoppard is awesome. He is a 4-time Tony-winning playwright (Rosencrantz & Guildenstern are Dead, Travesties, The Real Thing, & The Coast of Utopia), has served as one of the key playwrights for London’s National Theatre & also co-wrote the screenplays for Shakespeare in Love & Brazil. His personal life is equally striking & impressive: Stoppard was a child refugee who settled in Britain after fleeing immiment Nazi occupation in Czechoslovakia. Before becoming a playwright in 1960, Stoppard worked as a journalist & drama critic; he was also knighted in 1977.

Joe Wright is best known for directing Pride & Prejudice and Atonement (clearly he has found his muse in Kiera Knightley). While I’m not the biggest fan of his chosen leading lady, I do like his modern interpretations of period pieces: he creates dynamic, artistic, refreshing interpretations without compromising the authenticity of antiqued eras.He also has a keen eye for casting, which I first appreciated after he cast Matthew Macfadyen as P&P’s Mr. Darcy. Macfadyen is an established stage actor who is based in the UK & studied at RADA. I saw Prince Hal in Henry IV Parts 1 & 2 at the National Theatre and he was exceptional in this challenging, iconic role. Wright could have easily cast a Hollywood all-star to play Ms. Knightley/Bennet’s surly love interest, but he opted for the highly-skilled, lesser-known perfect fit.

In casting Macfadyen as Mr. Darcy, Joe Wright took a talented unknown & allowed the world to enjoy their talent. He had the same effect on a young actress in Atonement. He cast Saoirse Ronan as the younger sister who carries the complicated bulk of the storyline. She was an unknown at the time & caught the eye of Peter Jackson, who wanted an unknown actress for the lead in his upcoming movie The Lovely Bones (also an awesome book). Unfortunately for Jackson, Joe Wright had found a star in Saoirse Ronan and she garnered an Oscar nomination for her performance in Atonement.

This intrinsic, innate ability to craft quality casts is so necessary for this specific film adaptation. Anna Karenina may seem like the story of one woman, but it is also an ensemble piece with characters. I have confidence that he made smart choices in who he trusted to play the people I have come to know on the pages of this beloved novel. Keira Knightley is not my first choice, my concern for her performance is a lack of maturity: Anna Karenina is a sensual woman & Knightley still seems a girl. She does look good in the part; I love the costumes & styling, so hope is not lost & I’m hoping she surprises me. Jude Law looks great as Alexei Karenin; I think sometimes his acting ability gets stifled behind his perfect physical appearance, but I think he is a genuinely talented actor. I’m glad he wasn’t cast as the charming playboy Vronsky; it is his time to step up to the plate, make the world forget his perfect face, & affirm his skills as an actor.

Opens November 9, 2012 
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