Saturday, March 31, 2012

SMASH 8: The Coup

    First, let's define COUP:
  • A highly successful, unexpected stroke, act, or move; a clever action or accomplishment
  • A brave or reckless deed performed in battle by a single warrior, as touching or striking an enemy warrior without sustaining injury oneself (among the Plains Indians of North America)
  • Coup d’état: The sudden overthrow of a government by a usually small group of persons in or previously in positions of authority.
  • THE BEST EPISODE OF SMASH SO FAR.

  1. I was glad (but surprised) that Michael (Will Chase) was written off; that storyline was going nowhere except the indulgent stroll down the path of an affair & I am glad that energy has been stifled. The character of Michael was pretty boring except for the affair factor. The goodbye scene at the park was nice & much appreciated.
  2. I have zero interest in Karen’s boyfriend, Dev (played by Raza Jaffrey). I hate that he actually has a storyline now & am hoping his storyline was only included to serve this episode’s theme of backstabbing. I hope they break up because their scenes seem like a waste of airtime & Karen’s breathy, romantic voice is annoying.
  3. I loved Grace Gummer, who guest-starred as Eileen’s daughter Katie. Her acting style was understated with a sense of casual comfort & confidence among the established characters. Her sense of selflessness also served as such a stark contrast to Ivy, Karen, & most of the characters on the show, which was very necessary in light of this episode’s focus on theatre as A Dirty Business.
  4. I am growing to like Julia’s son Leo (played by Emory Cohen) more & more; I hope he gets to air time. As children of the production staff, both Leo and Katie offer intriguing perspectives as next-generation, incidental witnesses as the musical comes together.
  5. The bowling scene reminded very much of a cheesy, indulgent scene from one of my favorite guilty pleasure movies, Center Stage. This isn't necessarily a bad thing because I love me some cheesy, musical-theatre geeks breaking into dance in public places. This spectacle went pretty far & there was nothing wrong with that.
  6. The Failed Experiment: I LOVED IT. I liked the masked chorus members, Karen's towel/toga/Marilyn-dress costume, the jerky choreography, the band on an upstage platform, & the presence of a band rather than a hidden orchestra. The shifting of Marilyn’s bed into prison cell exhibited awesome artistry; this potential production looked like a more enjoyable, engaging piece of theatre. Even more clever was the following image of Karen’s character locked in that same onstage-prison but with the real-life prison of her betrayal sinking in…I’m always a fan of the caged-bird imagery.
  7. I think Derek’s contemporary, post-modern, “Marilyn for a New Generation” vision for the musical would be largely more appealing. The confrontation between Tom & Derek was a fierce, fulfilling fight that has been a long-time coming.
  8. I can’t take this Ellis storyline seriously. I guess if art causes an emotion to erupt within you, if is effective; this storyline must be artistically warranted since it is SO exasperating. I don’t get why Katie, Eileen’s very vocal daughter, didn’t say something about this sketch weasling in on her mom & clearing riding her coattails with dishonorable intentions. It does re-enforce the notion that Eileen has an intrinsically good, trusting nature, but I find her stupidity frustrating. I also find his faux, new-found protection over Eileen overwhelmingly creepy.
  9. Tom & Ivy’s scene was well-written, excellently-acted, & authentic in message. The idea that a new show needs A Star is not unfamiliar or unrealistic in the Broadway community. A perfect example of this is the story of Ms. Stephanie J. Block: in 2000, Block was cast as Elpheba in the workshop of WICKED. She is a talented performer whose performance was well-received, but she was re-cast when the show was slotted to go to Broadway for the same reasons that plagued Ivy: no one knew her name. The role for the Broadway debut went to Idina Menzel, who won the Best Supporting Actress Tony for RENT & was as well-known as a Broadway star can be. The re-casting devastated Block, but she moved on & created a successful career for herself. Ironically enough, Megan Hilty made her Broadway debut understudying Glinda in WICKED, so somehow things have come full-circle. Hilty was so incredibly well-cast in this role; her face translated the reality of accepting a dead dream & I have never once questioned that her character is married to her art. This is undoubtedly derivative of the fact that she is a successful Broadway actress & has an intimate understanding of Ivy's struggle. 

Wednesday, March 28, 2012

WORLD THEATRE DAY!


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Yesterday was the 50th Anniversary of World Theatre Day!

Created in 1961, World Theatre Day, is celebrated annually on March 27 by International Theatre Institute (ITI) Centers around the world as well as the international theatre community. Each year, a renowned theatre artist of world stature is invited to craft an International Message to mark the global occasion. This year, in honor of World Theatre Day's 50th Celebration, TCG is asked theatremakers to respond to the question of whether the next generation will be A Generation Without Borders. Award-winning actor, director and producer, John Malkovich, wrote this year's annual International Message. This speaker is especially exciting for the Chicago theatre-community since Malkovich is an iconic Member of Steppenwolf’s Ensemble. An excerpt from Sir Malkovich’s speech:

May your work be compelling and original.
May it be profound, touching, contemplative, and unique.

May it help us to reflect on the question of what it means to be human,
and may that reflection be blessed with heart, sincerity, candor, and grace.

May you overcome adversity, censorship, poverty & nihilism,
as many of you will most certainly be obliged to do.

May you be blessed with the talent and rigor
to teach us about the beating of the human heart in all its complexity,
and the humility and curiosity to make it your life’s work.

And may the best of you
(for it will only be the best of you, and even then only in the rarest and briefest moments)
succeed in framing that most basic of questions, “how do we live?”


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While this holiday’s efforts center on theatre across the globe, it doesn’t seem like the whole globe actually cared. New York celebrated in an appropriate loud & proud manner. Chicago celebrated equally-well with a multitude of events hosted by The League of Chicago Theatres. I wasn’t able to attend any of the events, but I am glad The League put so much effort into the celebration & acknowledgement of The Day. It does not only speak well of the Chicago theatre scene, but of the audience members themselves: the fact that Chicago audiences care enough & carry enough pride to hear debates, interviews, & speeches surrounding their theatres speaks volumes on the intrinsic quality of this city's artistic community.

Monday, March 26, 2012

Thank You, Ken Davenport.

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My musical theatre upbringing was substantially influenced by a man named Ken Davenport. I was in 6th grade when I first got the clever idea to write letters to the Human Resources Departments of Broadway theatres to tell them I loved their shows & ask them to send me a playbill. RAGTIME opened the next year & is/was my favorite musical, so I promptly wrote a letter to the Ford Center for Performing Arts. Ken Davenport sent me a playbill, a business card, & a post-it that said he was happy a 13-year from Delaware loves theatre & that one of their production managers was also from Delaware. His business card had his email address; it was an AOL address. This was in the age where AOL was bright, fresh, & shiny; instant messaging was revolutionary. Obviously, I added his AOL name to my Buddy List & IM’d him the first time his name showed up. We chatted online regularly. As a junior high girl who had recently transferred from one school to a starkly different one (picture Bring It On, but worse), his friendship helped to salvage that awkward period. I sent him my first attempts at theatre criticism & he took them seriously. He was kind, smart, and maybe/hopefully saw some of his younger self in me. I wrote a review of the national tour of Show Boat, which he showed to the actual producer of the tour; he encouraged me by not discrediting my opinions despite my age. I remember sending him a cassette tape of the musical Wuthering Heights, which at the time I thought was amazing but has since disappeared into the musical theatre abyss. [I still think that random musical rules, SO CHECK OUT Heathcliff’s Lament, I Belong to the Earth, One Rules My Heart, or If Only]. Eventually, Ken made it possible for my sister & me to see RAGTIME from a perfect pair of front-row seats (which is still, HANDS-DOWN, the best production I have ever experienced). When we picked up the tickets at the box office, I met Ken for the first & only time in person with my parents & sister. He was kind, my parents were appreciative, & we could not be more excited.

Our happy, scrappy snap-shots from that evening:
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P.S. RAGTIME IS STILL THE BEST MUSICAL EVER:



NOW, LET'S FAST FORWARD
Ken Davenport currently serves as one of the most important producers on Broadway.
His success is astounding but not surprising.

He produced the current Broadway revival of Godspell,

He writes an exceptional & insightful blog entitled The Producer’s Perspective,
which addresses the tangible/business-oriented aspects of theatre, gives insight to the inner-workings
of the Broadway world, provides industry classifieds, & offers ticket discounts / giveaway opportunities.

He appeared in a 2008 iPhone commercial,
after creating the highly-successful TKTS iPhone app.

He is the perfect example of the recipe for success as a producer (or anyone in the arts):
work hard, work well, & invest recognition/interest/effort in the future talent.

Thank You, Kenny D. I wouldn’t be blogging without you :)

Sunday, March 25, 2012

Time Stands Still @ Steppenwolf


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The most difficult reviews to write are those regarding pretty perfect productions.
Steppenwolf productions tend to fall into this category; Time Stands Still was no exception.

The script’s thematic elements faced themes head-on. Sarah had to deal with outsiders’ expectation for a photographer to step in & fix the frame of upsetting subject matter. This allowed the understanding to erupt that altering art entirely discredits it & there is a stark difference between photography & photojournalism. The value of this specific art lies largely at presenting authenticity, despite the upsetting nature of what the camera captures. Sarah also poses the question of If It wasn’t for the ones with cameras, who would know? Who would care?

There is a sense of invasion of intimacy of the capturing of these complicated images on permanent & detached film. Sarah’s photos allowed a snap-shot into the private, tragic, distant world of war. This script was similarly structured as a invasive snap-shot into the realistic contemporary detachment in dealing with one’s PTSD & its’ abounding ripple effects. One arising result of Sarah’s homecoming was the experience of feeling like a stranger on your own sofa. Upon coming home, Sarah’s long-time partner James saw their future with 20/20 certainty, which his eyes saw hopefully & excitedly, while Sarah felt a sense of oppression. Re-seeing one’s old world with new eyes that have seen too much is a theme that can be applied to a wider scale of individuals than just those returning from war. There is a sense of empowerment that comes with overcoming the death & adrenaline of real-life tragedy, but it is equally crippling & confusing. The script did a beautiful job of addressing that grayscale kaleidoscope of emotion, action, & reaction.


I love a modern, QUADRANGULAR script:
2 couples [or 4 individuals] + 1 night/central event + the unraveling of characters =
recipe that consistently creates a quality script.
It is a formula that has been successfully applied in plays such as
I don’t know if this trend is on its way up, on its’ way out, or a somewhat eternal playwrighting tool, but I am a fan.


 

The Players
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As Sarah’s boyfriend Richard Ehrlich, Francis Guinan created a very human character. He was, at times, somewhat vacant & seemed too empty to fill his character’s anger & angst. If this was intentional, it was an interesting approach to apply…being unquestionably devoted to a weathered woman but, at times, having to detach out of self-preservation. His performance was layered, sympathetic, & well-conceived. Randall Newsome played James Dodd & provided a calming anchor of sorts. His role was not the most colorful, but he I have no complaints. Kristina Valada-Viars played Mandy Bloom, Newsome’s young love. She reminded me of Maya Rudolph & I liked that she was costumed in shorts with tights. She offered a cute, chipper charm but was too quick to erupt into emotion. Overall, she was good but not great.

As Sarah Goodwin, Sally Murphy carried the show in a role that is nothing less than a star-carriage. Murphy is an amazingly talented actress who has been an ensemble member at Steppenwolf since 1993. I enjoyed her performance in Sex With Strangers & appreciate her commitment & versatility. I’ve loved Ms. Murphy since her performance as the perfect Julie Jordan in the 1995 Broadway Revival of Carousel. Julie Jordan is a part that is usually played as a wilting daisy…a bright, bubbly blonde who falls in love with a guy from the wrong side of the tracks but makes the best of it. To swing the pendulum, this role could also be textually defined as the disintegration of a young woman’s life & hope from an abusive relationship. She incorporated both elements to her portrayal & played the Julie Jordan we have all been waiting for. She applied to same insightful skill to the portrayal of this heavy character.

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Friday, March 23, 2012

SMASH: Episode 7

7
7: THE WORKSHOP
Featuring Guest Star Bernadette Peters!
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I was excited to have Bernadette Peters on the show but I wasn’t expecting her to play Ivy’s mom. It was an awesome character addition because she added insight to Ivy’s person & past. Casting her as Ivy’s mom was also great because it allowed an open-ended opportunity to have her re-appear. She was great in the part; she & Ivy had no familial resemblance but did interact well together. There is something cute & funny about an actual Broadway legend playing a Broadway legend on TV. I’m sure it was difficult to figure out to have Bernadette Peters guest star & perform a number without it seeming awkward & forced. Her rendition of Everything’s Coming Up Roses was vibrant & perfect. It was also very thematically clever to incorporate a song from Gypsy, considering the mother/daughter/starlet dynamic (plus, it was a plus that Bernadette Peters did recently play Mama Rose on Broadway).




on the facts surrounding actual Broadway workshops
versus the show’s fictionalized workshop:  

FICKLE FRIENDS: Those chorus kids Jessica, Dennis, Bobby, and the rest, are changeable as weather. First, they're on the side of rising-star Ivy, then they take pity and side with Karen (Katharine McPhee) and advise her on how to succeed in the workshop world. When Karen gets an appointment with powerful record producer Bobby Raskin (yet to be seen), who has arranged studio time and an engineer for her to cut a demo ("Brighter Than the Sun," the Colbie Caillat pop song), the workshop gang tells her that she should quit the workshop and take the pop meeting. Look, they say, you're only getting $200 a week for the workshop and this musical isn't a sure thing. "No one will hold it against you," they say. This glib statement is some of the worst advice in theatre history, and seems inconsistent with what has been (or should be) in the heart of every artist working on Marilyn the Musical (or any other piece of art, commercial or otherwise): the unstoppable hope that their artistry will find the light of day and reward their souls, feed their bank accounts and fuel a future. In the real world, who would hold it against you for quitting a $200,000, four-week workshop the day before potential backers come see it? Everyone would hold it against you: the producer, the writers, the casting director, the director, the choreographer and, perhaps especially, the very ensemble members who said she should quit. The burden would be on the chorus to fill in the gaps of an already lean experience. That Karen rejects their advice and sticks with the workshop proves her class and loyalty. We've decided that bad karma will keep Jessica, Bobby, et al, in the chorus for a long time to come.


WORKSHOPS: In the world of commercial theatre, workshops like the one seen on "Smash" are union-approved multi-week rehearsals in which the creative team tests and sharpens a work in progress toward several presentations attended by investors and theatre owners. They are barebones, book-in-hand affairs in which movement is allowed in order give the less imaginative investors some visual punch. Workshops have replaced what used to be called backers' auditions, at which, in the Golden Age, stars gathered in living rooms around a piano and sang songs from a composer's new show and checks were written on the spot. (Or was that only in the movies?) You could say that workshops are about process and discovery, but, really, they are about gauging the future and getting dough. That future looks bleak at the end of Episode 7, when the 40 or so people in attendance (including Nick the bartender) respond with a shrug. Yes, the steam heat was working overtime (that boiler never got fixed), but did this crowd not see how much better this score (by Marc Shaiman and Scott Wittman) is compared to 90 percent of what surfaces in real workshops? Maybe Shaiman and Wittman should have dumbed down their workshop score (or rather Tom and Julia's score) for the series. It's hard to believe that the internet chatter from spies at the workshop is negative. Marilyn is a mess, they say. For now. By the way, for major workshops like what Marilyn seems to be, presentation audiences usually number more than 40 people, and actors usually get paid more than $200 a week for their efforts (plus a tiny piece of future profits, too).

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P.S. SMASH has been renewed for a Second Season!

Thursday, March 22, 2012

Happy Birthday, SONDHEIM & LLOYD WEBBER!

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Happy Birthday to the Kings of Musical Theatre

Today kind of seems like Christmas for the musical theatre community.
My life (especially the junior high years) & iTunes have been infintely improved by these two men,
so their birthdays are certainly worth the celebrating.
I vote that next year, they should do a birthday concert at Royal Albert Hall.

[my boyfriends singing a tribute to Cameron Mackintosh]


[A side note on birthdays & Sondheim: I met Stephen Sondheim with my sister on her 25th birthday. We were at the Lincoln Center in NYC to see a concert performance of Sweeney Todd  & got to the theatre obscenely early. There was a bar on the empty lobby of the mezzanine & there were 2 people at the bar with their backs to us. Jenny thought one of them was Sir Sondheim, but we couldn’t be sure. Then the lady he was with turned around & we recognized her as Maria Friedman, which meant the man was with her was probably Sondheim. So we approached, using our status as Friedman-fans as the catalyst. And then we met the man himself, breathed his air, & exchanged words. I remember nothing anyone said except his affirmation that my sister looked like Johanna. Talk about a happy birthday.]

Wednesday, March 21, 2012

Phantom of the Opera 25th Anniversary Concert

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The Phantom of the Opera was the first show I ever saw on Broadway.
I went with my parents & sister in the winter of sixth grade.
The tickets cost $15 & our seats were in the 2nd to last row  (we bought binoculars).
it was amazing.
My father grew to love musicals because of the interest my sister & I exhibited;
this was probably his favorite musical, so it will always mean a lot to me.
In celebration of Phantom’s 25th Anniversary, Cameron Mackintosh directed an innovative, amazing concert performance 
@ Royal Albert Hall with a cast & orchestra of over 200 & some special guest appearances. and it ruled.


THE PLAYERS
THE PLAYERS
  • As our Leading Men, Ramin Karimloo (The Phantom) & Hadley Fraser (Raoul) were both sufficient, but neither brought anything especially heightened or new to their roles. The Phantom needs to seem like he’s constantly on the brink of losing his crazy temper & Karimloo lacked that gruffness. As Raoul, Fraser was romantic & committed, but I like Raoul to be presented as a strong man of society man with striking, impeccable charm. The audience needs to fall in love with Raoul along with Christine, but I just fell into like.
  • As Carlotta, Wendy Ferguson immediately established her character as an veteran, 19-year employee of the Opera Populaire who has been taken advantage of rather than the bland, warbling Prima Donna. Carlotta was originally supposed to be played by Kiera Duffy, but, couldn’t perform the role due to illness. I can’t imagine Ms. Duffy could have been better than Ms. Ferguson because she really was the perfect Carlotta. As Piangi, Wynne Evans embodied the male musical diva to compliment his Carlotta; they seemed to have an established history & strong symbiotic relationship that was consistently & subtly communicated throughout the show.
  • Barry James & Gareth Snook were great as M. Firmin & M. André. They had great comedic timing without being over-the-top & created fulfilling characters considering their stage time (especially solo-time) was somewhat limited.
  • I didn’t love Daisy Maywood as Meg; her performance was a too Ado Annie & lacked the sense of French elegance. I love that Phantom has a brunette lead with a blonde supporting actress, but this Meg was a little too blonde, a little too old, & a little too much. This is especially frustrating since Meg is not that difficult role to perform well. Maybe it was an artistic intention to have Meg have no resemblance to Mme. Giry (physically & in character), but I dislike when familial resemblance is given no regard in casting. I loved Liz Robertson’s Mme. Giry; she was sharp, smart, providing a sense of mystery & backstory (and had that classic French beauty). I have no idea how she could have given birth to this Meg.
And finally…Sierra Boggess as Christine
sierra
I immediately recognized our Christine as Ariel from Broadway’s The Little Mermaid. There are some unexpected similarities between Christine & Ariel: the relentless pursuit of misguided goals, easily-manipulated, and having the Voice of An Angel that people manipulate & use to their advantage. Boggess played all the facets of Christine’s character impeccably: the impressionable young girl, the terrified victim, the young starlet shining in a new spotlight, & young woman falling into her first love. Her voice was perfect & liked her half-curled hair with contemporary crimps (much better than the 1980s ringlet-wig from productions past). Overall, a perfect Christine who carried the show & needs to be acknowledged as one of our generation's most-respected, exceptional leading ladies.



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  • The Prologue’s moment of a “a little illumination” opened the show with the perfect sharp, strong, startling effect. I’m glad they made an appropriate spectacle of the chandelier because that dramatic factor is always underplayed; this chandelier was huge, crazy, & perfect.
  • Due to the size of the theatre, the production relied heavily on the use of projectors. Projectors are becoming more & more apparent in musical theatre. When used well, projecting a set provides both an opportunity for further authenticity & further artistry in production design.
  • The Royal Albert is the perfect setting for this performance; the setting established the creepy old theatre factor better than any other theatre I could imagine. The opera was so full & vibrant (and Jamaican in color-scheme!). The opera felt operatic rather than a musical’s lame interpretation of what an opera would be. I loved the aerial shots of the ballerinas.
  • Think of Me started off too trembling, but I loved the songs’s transformation from a quick, on-the-spot audition to full-costumed glory.
  • Music of the Night was performed to an awake Christine (who is such a good actress, she absorbs other character‘s energy), which allowed a more multi-faceted performance of the song; however, my first (and lasting) impression of the Phantom was that he was too clean & needed to be roughened up around the edges.
  • All I Ask of You was perfect & beautiful. Their rendition made me re-hear the lyrics for the first time & appreciate them with a more mature perspective & understanding. It is a song that is taken for granted, but really is quite insightful & stunningly in message. Plus, the harps were lovely.
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  • The Overture was stunning; it reminded me of olden-times Broadway when there were songs worth an orchestrational reprise. I liked the choice to have the orchestra suspended above & behind the actors. It is more respectful to the musicians since the are not hidden in a pit underneath the production & probably provides a fuller orchestral sound for the audience. The first time I saw a production staged in this manner was Sam MendesBroadway Revival of Cabaret. I’m glad this trend has caught on & hope it becomes more apparent in future, large-scale musicals.
  • Masquerade was a glorious, old-school glamorous, carnival-vibed gala. The spectacle did astound me & The Phantom appearing as a singing skull (+ the giant projection behind him) was pretty terrifying & effective. I didn’t really get why Raoul was costume looked like a matador (maybe it was symbolic because he taunts the big Phantom BULLy, but I didn’t love it).
  • Wishing You Were Somehow Here Again was my favorite part of this show. Christine’s costume was starkly different than the traditional attire for this number; it seemed more intentional in design due to the reminiscence of Little Red Ridinghood lost in the forest; I love that juxtaposition that allows the audience to subconsciously associate her feelings with the feelings we associate with the familiar character that is Little Red. She looked exhausted & still completely immersed at the end of the song (as well she should). It was also a beautiful & emotional element to showcase the strong violinists in the orchestra since Christine’s father was an accomplished violinist.
  • The Point of No Return was a strange, sweaty, intense ballad. The moment of Piangi’s lynching was much more terrifying. The mayhem in the theatre was palpable. It is a very interesting dynamic when there is a play within a play factor because the audience is inadvertently forced into playing the role of the audience. This production seemed to incorporate that subtle psychological element (which was largely lacking in previous productions) & I am sure that element enriched the experience of the audience members.
  • Down Once More was presented as a character-based finale; there was a simplicity in setting in compared of rest of production. It was a great finale that provided the climax of the play as well as the breaking point for Christine. The dynamics of the finale seemed at a higher stake than the rest of the show, which is appropriate & shows a smart, conscientious attention to pacing & perception.

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[I try not to post super-long videos, but this one is worth it.]

  • I teared up when MICHAEL CRAWFORD came out. I grew up on his voice & it was great to see the effect on his face of seeing all his fans [like me] thrilled.
  • SARAH BRIGHTMAN is a goddess. It was so cool to see her singing the songs that were written for her & inspired by her 25 years ago. She is a perfect, professional performer who still exhibits the wow-factor she did so many years ago. Speaking of so many years ago, there is also the Webber/Brightman love story that is still such an important facet of the creation of this musical. I have such respect for that, despite their divorce, they still speak of each other with such respect  & admiration.
  • The PHANTOMS: Colm Wilkinson, Anthony Warlow, John Owen Jones, Peter Jöback. I like them all, but Colm Wilkinson is the biggest, best, all-star Phantom & his presence was the icing on an already heavily-iced cake.

Tuesday, March 20, 2012

SMASH: Episodes 5-6

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5: Let's Be Bad
5 lets be bad
  • The whole Ellis-shadowing-Eileen vibe bugs me. His little comment “I’m pretty good with computers” seemed indicative of some forthcoming betrayal on his part. Ellis represents the new iPhone generation that are able to use technology to take advantage of the older.
  • I liked Karen’s moment of stepping up to the plate with her rendition of Happy Birthday Mr. President (in her all-too-appropriate butterfly shirt).
  • The ripple effect of personal distress on a production are becoming more apparent & I hope/predict this theme continues to be explored. I like when they acknowledge & accentuate how strongly & subtly intertwined the lives of a cast/production staff can become.
  • Megan Hilty did a great job in the showing the glory breaking her; her moments of Marilyn paranoia reminded me of the Marilyn that Joyce Carol Oates crafted in BLONDE (incidentally, one of my favorite books ever).
  • The last scene (between Julia & Michael) provided a new conflict & potentially dramatic new storyline, but I was not a fan. It’s just not a storyline that offers a new perspective on the collaborative creation of a musical. The affair element is just a little tired/unnecessary.
6: Chemistry
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  • I liked Julia’s initial resolve to fight temptation, but was disappointed she didn’t actually fight that hard before giving in. Her resolve was so quickly shaken that it makes her appear spineless & too easily influenced.
  • I like Eileen, both because her character is interesting & because Anjelica Houston can do no wrong. But her character but she is so future-oriented that she can’t see Ellis being smarmy little weasel in front of her
    & it makes me question her common-sense (which is a pretty imperative trait for a producer to implement in all of their professional endeavors).
  • I like that Jessica (Savannah Wise) is getting more air-time & influence in the plot. She’s an old-school, true-blue Broadway who is the daughter of accomplished actor/director/choreographer Scott Wise, started her career as Little Cosette & Eponine, & played Evelyn Nesbitt in Ragtime’s 2009 D.C. Revival at the Kennedy Center.


Thursday, March 15, 2012

2012 Olivier Award Nominations

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BEST NEW PLAY
  • Collaborators @ the Cottesloe
  • Jumpy @ the Jerwood Theatre Downstairs at the Royal Court
  • The Ladykiller @ the Gielgud
  • One Man, Two Guvnors @ the Lyttelton
I vote One Man, Two Guvnors because I like the title & LOVE the Lyttelton.

BEST REVIVAL
  • Anna Christie at the Donmar Warehouse
  • Flare Path at the Theatre Royal, Haymarket
  • Much Ado About Nothing at the Wyndham’s
  • Noises Off at the Old Vic
I like the Old Vic, but Noises Off is tired. Much Ado is equally tired, but this fresh production was set in 1980s Gibraltar & looked like a production of a classic that was infused with contemporary influence, style, & perspective. Much Ado gets my vote.


BEST ENTERTAINMENT AND FAMILY
  • Derren Brown - Svengali at the Shaftesbury
  • Midnight Tango at the Aldwych
  • Potted Panto at the Garrick
  • The Tiger Who Came to Tea at the Vaudeville
I love that this category exists in the Olivier docket. The Tony's should apply the same category considering the Mousification of Broadway, but then there wouldn't be enough nominees for Best New Musical. 
 
BEST ACTRESS
  • Celia Imrie for Noises Off at the Old Vic
  • Lesley Manville for Grief at the Cottesloe
  • Kristin Scott Thomas for Betrayal at the Harold Pinter
  • Marcia Warren for The Ladykillers at the Gielgud
  • Ruth Wilson for Anna Christie at the Donmar Warehouse
I vote Kristin Scott Thomas becase Betrayal is awesome & the fact The Harold Pinter Theatre exists is just super.


BEST ACTOR
  • James Corden for One Man, Two Guvnors at the Lyttelton
  • Benedict Cumberbatch and Jonny Lee Miller for Frankenstein at the Olivier
  • David Haig for The Madness of George III at the Apollo
  • Douglas Hodge for Inadmissable Evidence at the Donmar Warehouse
  • Jude Law for Anna Christie at the Donmar Warehouse

BEST PERFORMANCE IN A SUPPORTING ROLE
  • Mark Addy for Collaborators at the Cottesloe
  • Oliver Chris for One Man, Two Guvnors at the Lyttelton
  • Johnny Flynn for Jerusalem at the Apollo
  • Bryony Hannah for The Children's Hour at the Harold Pinter
  • Sheridan Smith for Flare Path at the Theatre Royal, Haymarket

BEST ACTRESS IN A MUSICAL
  • Kate Fleetwood for London Road at the Cottesloe
  • Sarah Lancashire for Betty Blue Eyes at the Novello
  • The Matilda's for Matilda The Musical at the Cambridge
  • Scarlett Strallen for Singin' In The Rain at the Palace
I'm rooting for "The Matilda's." I loved when the three Billy Elliots won the Tony for Best Leading Actor. When children are slated against adults, I think the advantage is slated towards the children since their inexperience is such a stark disadvantage. The fact that they are being compared to adults is reason enough for them to win. I don't think it is cool, however, that they are referred to as "The Matilda's" rather than by name.

BEST ACTOR IN A MUSICAL
  • Bertie Carvel for Matilda The Musical at the Cambridge
  • Nigel Lindsay for Shrek The Musical at the Theatre Royal, Drury Lane
  • Reece Shearsmith for Betty Blue Eyes at the Novello
  • Paulo Szot for South Pacific at the Barbican

BEST PERFORMANCE IN A SUPPORTING ROLE IN A MUSICAL
  • Sharon D Clarke for Ghost The Musical at the Piccadilly
  • Sophie-Louise Dann for Lend Me A Tenor The Musical at the Gielgud
  • Nigel Harman for Shrek The Musical at the Theatre Royal, Drury Lane
  • Paul Kaye for Matilda The Musical at the Cambridge
  • Katherine Kingsley for Singin' In The Rain at the Palace

BEST NEW MUSICAL
  • Betty Blue Eyes at the Novello
  • Ghost the Musical at the Piccadilly
  • London Road at the Cottesloe
  • Matilda the Musical at the Cambridge
  • Shrek the Musical at the Theatre Royal, Drury Lane
It will probably go to Matilda the Musical, which is fine by me. I love Matilda & formatting it into a musical was genius. I'm thinking we will be seeing Matilda on Broadway in the near future.

BEST MUSICAL REVIVAL
  • Crazy for You at the Regent's Park Open Air Theatre
  • Singin' in the Rain at the Palace
  • South Pacific at the Barbican
  • The Wizard Of Oz at the London Palladium
I would be cool with Singin' in the Rain or The Wizard of Oz. The other 2 seem boring options.

BEST DIRECTOR
  • Sean Foley for The Ladykillers at the Gielgud
  • Nicholas Hytner for One Man, Two Guvnors at the Lyttelton
  • Rufus Norris for London Road at the Cottesloe
  • Matthew Warchus for Matilda The Musical at the Cambridge
NICKY HYTNER FOR LIFE!!!

BEST THEATRE CHOREOGRAPHER
  • Peter Darling for Matilda The Musical at the Cambridge
  • Javier de Frutos for London Road at the Cottesloe
  • Stephen Mear for Crazy For You at the Regent's Park Open Air Theatre
  • Andrew Wright for Singin' In The Rain at the Palace
    I'm not sure, but I'm pretty sure Singin' In The Rain should take this one.

BEST LIGHTING DESIGN
  • Anna Christie designed by Howard Harrison at the Donmar Warehouse
  • Frankenstein designed by Bruno Poet at the Olivier
  • Ghost the Musical designed by Hugh Vanstone at the Piccadilly
  • Matilda the Musical designed by Hugh Vanstone at the Cambridge
I would imagine Anna Christie is the best bet, even though the Donmar Warehouse is tiny & I find tiny theatres don't excel in lighting design. Ghost the Musical might take the cake because ghosty shows offer the opportunity to truly showcase cool lighting effects.

BEST SET DESIGN
  • Ghost the Musical designed by Rob Howell at the Piccadilly
  • The Ladykillers designed by Michael Taylor at the Gielgud
  • Matilda the Musical designed Rob Howell at the Cambridge
  • One Man, Two Guvnors designed by Mark Thompson at the Lyttelton

BEST COSTUME DESIGN
  • Crazy for You designed by Peter McKintosh at the Regent’s Park Open Air Theatre
  • Matilda the Musical designed by Rob Howell at the Cambridge
  • Shrek the Musical designed by Tim Hatley at the Theatre Royal, Drury Lane
  • South Pacific designed by Catherine Zuber at the Barbican
I've gotta vote Matilda. Crazy for You & South Pacific are somewhat straight-forward in their costume requirements; there is only so much artistry & insight that can be applied. And Shrek doesn't count, in my opinion.

BEST SOUND DESIGN
  • Ghost the Musical designed by Bobby Aitken at the Piccadilly
  • Frankenstein designed by Underworld and Ed Clarke at the Olivier
  • The Ladykillers designed by Ben and Max Ringham at the Gielgud
  • Matilda the Musical designed by Simon Baker at the Cambridge

OUTSTANDING ACHIEVEMENT IN AN AFFILIATE THEATRE
  • The Royal Exchange Theatre, Manchester for Mogadishu at the Lyric Hammersmith
  • Theatre Royal, Stratford East in association with the Barbican and Traverse Theatre for Roadkill
  • The Donmar Warehouse for Salt, Root and Roe at the Trafalgar Studios 2
  • The Royal Court for The Village Bike at the Jerwood Theatre Upstairs

BEST NEW OPERA PRODUCTION
  • English National Opera’s Castor and Pollux at the London Coliseum
  • English National Opera's A Midsummer Night's Dream at the London Coliseum
  • English National Opera's The Passenger at the London Coliseum
  • ROH2’s Clemency (in association with Scottish Opera) at the Linbury Studio, Royal Opera House, Covent Garden
I LOVE THAT OPERA HAS ITS' OWN CATEGORIES.

OUTSTANDING ACHIEVEMENT IN OPERA
  • ENO for the breadth and diversity of its artistic programme
  • Amanda Holden for her translation of Castor and Pollux at the London Coliseum
  • Richard Jones for his direction of Anna Nicole and Il Trittico at the Royal Opera House, Covent Garden and The Tales of Hoffmann at the London Coliseum
  • Mark-Anthony Turnage for his composition of Anna Nicole at the Royal Opera House, Covent Garden and Twice Through the Heart at Sadler's Wells.

OUTSTANDING ACHIEVEMENT IN DANCE
  • The Design Team for their work on the Royal Ballet's Alice's Adventures in Wonderland at the Royal Opera House
  • Edward Watson for his performance in The Metamorphosis at the Linbury Studio at the Royal Opera House
  • Sylvie Guillem for her performance in her production of 6000 Miles Away at Sadler’s Wells
  • Tommy Franzen for his performance in ZooNation’s Some Like it Hip Hop at the Peacock
I LOVE THAT DANCE HAS ITS' OWN CATEGORIES.

BEST NEW DANCE PRODUCTION
  • Desh by Akram Khan Company at Sadler's Wells, choreographed by Akram Khan
  • Gardenia by Les Ballets C de la B at Sadler's Wells, directed by Alain Platel and Frank van Laecke
  • The Metamorphosis by ROH2 at the Linbury Studio, choreographed by Arthur Pita
  • Some Like It Hip Hop by ZooNation at the Peacock, choreographed by Kate Prince, Tommy Franzen and Carrie-Anne Ingrouille

Wednesday, March 14, 2012

SMASH: Episodes 3-4

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3: Enter, Mr. DiMaggio
enter mr dimaggio
I liked that Ivy showed insecurity & vulnerability; her type of second-guessing is the perfect articulation of the doubt that can cause one’s downfall. Her character does a good job of largely hiding her insecurities by utilizing her strengths, but her hidden demons are seeping to the surface. I like Ivy’s character & want to know more about her person in ways unrelated to this musical. Maybe her character has no real backstory because we are supposed to see her as someone whose life wholly dedicated to pursuing her dream. But even the hardcore dream-pursuers have a history & family, and I want to know about Ivy’s. It is inconsistent considering that we have met Karen’s parents, understand her background in respect to her current standing, & have a well-rounded impression of her romantic relationship.

I’m not too interested in the past affair between Julia (Debra Messing, half of the writing team) & Michael (the actor favored to play Joe DiMaggio). However, I LOVE that Will Chase is playing Michael Swift, the established Broadway veteran, because he actually is an established Broadway veteran. He made his Broadway debut in 1998 as Roger’s understudy in Rent; when Rent closed in 2008, he starred as the last Roger in a performance that was recorded for theatrical release (Rent: Filmed Live on Broadway). He also appeared in Miss Saigon, opposite original star Lea Salonga as Kim (an amazing production I was lucky enough to see…for the record, Mr. Chase is just as pretty in real-life). Other Broadway credits include The Full Monty, Lennon, Aida, High Fidelity, & Billy Elliot. In 2009, he received a Helen Hayes Nomination for Outstanding Lead Actor for his performance as Valentin in Kiss of the Spider Woman at Arlington, VA’s Signature Theatre (otherwise known as MY FAVORITE REGIONAL THEATRE.) I don’t love his storyline so far, but I am glad Will Chase is part of this cast.


4: The Cost of ART
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This episode showed Karen growing up as a person & performer. Out of insecurity & potential self-preservation, Ivy managed to get Karen kicked out of an ensemble number. The unavoidable catty factor of competing females is one that needs to be constantly re-acknowledged throughout this season because it is such a real part of those theatre times of rehearsals, breaks, the dressing room, & backstage. It never goes away & I hope this dynamic is adequately explored & infiltrated in the storyline. After being removed from the number, Karen got mad & lashed out at fellow ensemble-member Jessica (played by Savannah Wise, who played Evelyn Nesbit in the 2009 Broadway Revival of RAGTIME), which was actually an inadvertent request for help. Her lash-out was authentically received & the ensemble members who had been adamantly on Ivy’s side couldn’t help but help someone struggling that all-too-familiar, new-kid mentality. I liked that Karen was so receptive to help; it shows a humble, authentic commitment to her art.

Conversely, while Karen is finding her way on Broadway, Ivy begins to understands what it means to be a starlet. The director invites her to a birthday party for a young Hollywood hit (Joe Jonas) who had been discovered as a child for a Broadway musical. This script incorporation was really smart because so many of our current Hollywood All-Stars found their start on Broadway….remember that time Natalie Portman & Britney Spears served as joint-understudies for Broadway Alum Laura Bell Bundy (original Elle Woods in Legally Blonde the Musical)? Probably not, because it was in 1993 & the production was the little-known Ruthless. Many of our Hollywood Royalty have found their first steps towards success on Broadway (like Sarah Jessica Parker), which indicates the insider authenticity of this story-line. Ivy had to deal with seeing Derek (the director with whom she is having an affair) flirting with an other woman for funding, performing at the drop of a hat (which is why it was smart that they cast a seasoned professional instead of the new girl from Iowa), & charming potential investors. She got to see the work that comes with carrying a show as opposed to shining in the ensemble. She got to see that getting what you want DOES NOT COME WITHOUT A COST.

Tuesday, March 13, 2012

EVITA is Back on Broadway!

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Yesterday, March 12, marked the first preview for the first Broadway revival for Evita since it’s debut over 30 years ago. Unfortunately, today’s preview was cancelled due to a flood at the Marquis Theatre, but the show will go on tomorrow for their inaugural Wednesday matinee. [Press Statement: "The deluge system went off at the Marquis Theatre, and clean up is underway…The deluge system is a large reservoir of water stored above the stage which, when released in case of fire, will flood the stage in an attempt to extinguish any flames. There was no fire at the theatre."] Michael Grandage serves as director, with Rob Ashford choreographing (both performed the same duties for the previous revival of Evita in the West End). I love the casting choice, the style, & the focused intent surrounding the vision of the artistic staff. IT LOOKS GREAT.


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MICHAEL CERVERIS as Perón
TOMMY is back in the limelight!
Originally from Bethesda, MD, Michael Cerveris is "arguably the most versatile leading man on Broadway" [Playbill.com]. I love their casting decision to balance the other two leads with a true-blue Broadway veteran. I have loved Mr. Cerveris since 1993, when I was first introduced to him on The Who’s Tommy soundtrack. This production marked his Broadway debut as an "18-20 year old Tommy/Narrator." He received a Tony Award nomination as Best Featured Actor in a Musical, Drama League nomination, Theater World Award, & Original Cast Grammy Award. He also played the title role in Hedwig & The Angry Inch in the West End, Los Angeles, & Off-Broadway. He next appeared on Broadway in 1997 as the architect Thomas Andrews in Titantic, which was not embraced by the masses but loved by me. In 2004, he played the role of John Wilkes Booth in the Broadway musical Assassins & won the Tony Award for Best Featured Actor in a Musical & the Outer Critics Circle Award. In the 2005 Broadway revival of Sweeney Todd, Cerveris played the title role & lyric guitar; he was nominated for the Tony Award, Drama Desk Award, Outer Critics Circle Award, Drama League award, & received the Drama Critics Circle citation. In the Broadway musical LoveMusik (2007) he appeared as Kurt Weill, and received Tony, Drama Desk, Outer Critics& Drama League award nominations. He appeared Off-Broadway in the Stephen Sondheim-John Weidman musical Road Show at the Public Theater in 2008 as Wilson Mizner. From January 2009 to March 2009, Cerveris appeared opposite Mary-Louise Parker in the limited Roundabout Theatre Company production of Hedda Gabler. In October 2009, he played Dr. Givings in the Broadway comedy by Sarah Ruhl, in The Next Room or the vibrator play.



ELENA ROGER as Eva
A genuine Argentinean playing Eva Perón!
I am not overly-familiar with Elena Roger, but I like this casting very much. Having been born & bred in Buenos Aries, Argentina, Rogers will undoubtedly infuse this role with insight, experience, flavor, & strength. Roger’s Argentinean credits include the original production of Piaf (which garnered several awards, including the 2011 Konex Award for Best Actress in a Musical of the Decade), Nine, Beauty and the Beast, Les Miserables, Saturday Night Fever& La Fiaca. In 2006, members of Andrew Lloyd Webber’s Really Useful Group went to Argentina to research the West End’s revival of Evita. A Really Useful employee saw Roger perform & suggested her for the title role. After extensive auditions, she was cast as the West End’s new Eva Perón & received critical acclaim (and an Olivier Award Nomination for Best Actress). During her time in the West End, Roger also won an Olivier Award for Best Actress in Piaf & received critical acclaim for her portrayal of Fosca at Donmar Warehouse’s Passion.



RICKY MARTIN as Che
Cleverest Casting Choice Ever!
I think the general first impression is to find fault with this casting choice, but I love it. Though he is not a seasoned actor, Ricky Martin is not new to Broadway; in 1996, he made his debut as Marius in Les Miserables. Che is not a complicated role, acting-wise; he serves as the narrator, the rebel-rouser, the conscience, & the cause, but the emotionally heavy-handed acting is left primary to the Perón pair. Che needs to be engaging & dynamic, which are two of Ricky Martin’s defining characteristics. Having been heralded by Billboard as “an international pop icon and Latin Music’s Global Ambassador,” Ricky Martin presents the perfect balance of charisma, approachability, & the essence of Latin culture. He is an accomplished, dynamic professional & there is no doubt the man will make this production money. Plus, he just seems like a nice guy.




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