Wednesday, June 12, 2013

Love Never Ends: Sequel to Phantom of the Opera

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DVD Live on April 11, 2011 @ Sydney's Melbourne Theatre 

Love Never Dies picks up 10 years after the finale to The Phantom of the Opera. It is set in 1907, which we are to understand is 10 years after the original Phantom (which actually took place in 1881, but who cares). It is also the lovechild of Side Show + Barnum + the original Phantom, with hints of TitanticShow BoatCabaret, & RagtimeI was surprised at how well this musical created a nostalgia for Phantom (my very first Broadway show) while still creating a setting all its' own [click HERE is a full plot, including spoilers]. Overall, I was not disappointed, which is a surprising feat for a musical sequel of this proportion. The storyline was engaging, the characters were developed, the songs were sufficient, and the staging was fresh, stylish, & innovative. It's not a show I'd justify buying tickets for, but the Netflix selection was pretty good time. Now, some musical highlights: 

Love Never Dies 
A lovely song. I love it in Love Never Dies almost as much as I loved it in The Beautiful Game. 

The Beauty Underneath 
A weird, Vegas-esque duet showing the eeerrie bond/similarities between the Phantom & Christine's 10-year-old son.

Dear Old Friend
A great quartet about the awkward reuniting dance between Christine, Raoul, Meg, & Mme. Giry.

Thursday, May 16, 2013

Michelle Williams // Nellie Forbush

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SOUTH PACIFIC: THE MOVIE!!! 
According to Playbill, Michelle Williams will be playing Nellie Forbush in the cinematic adaptation of South Pacific, which is set to be directed by Tony winner Michael Mayer (American IdiotSpring Awakening). It is rumored that Tony-winner Hugh Jackman is going to be approached to play Emile de Becque & Grammy-winner Justin Timberlake is the hopeful casting choice for Lieutenant Cable. Michelle Williams can do no wrong & is a perfect pick for this role (she would have been perfect as Daisy Buchanan too, but that's it's own thing). Hugh Jackman proved his invincibility in Les Miserables & I think Emile is a complicated enough role that it might be one of the only ones that could actually challenge & enrich him after that life-changing [his & mine] performance. I love Justin Timberlake as Lt. Cable! His artistic endeavors never fail & he clearly has conquered all three of the threats that musical theatre demands. Plus, Lt. Cable is the all-American boy & Justin Timberlake could not embody that sentiment more. South Pacific has a beautiful score & a dramatic war-time storyline that was made for the big screen. I can't wait! I want Miss Saigon next!


WENDY & LUCYMy favorite Michelle Williams movie 

I mean, besides/in addition to Brokeback Mountain, Blue Valentine,  & Shutter Island
I liked her performances in My Week with Marilyn & Take This Waltz, but disliked those movies overall
I also grew up on Dawson's Creek & have nothing but positive things to say about her Jen Lindley years.}

Sunday, May 12, 2013

Farewell, SMASH.

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SMASH has been cancelled after 2 awesome seasons & I’m probably the only person in America who is surprised by this news. Apparently, the backstage drama of a Broadway production does not hold universal appeal. The Second Season of SMASH (although generally stellar, IMO) struggled from day one, which took place a long 9 months after Season One‘s finale. The show returned to his Tuesday night slot with only 4.5 million people tuning in & a 1.1 rating in the 18-24 demographic. 

 photo f9df0d96-4bf4-4cf2-bbe4-d34b29ff8525_zps7bc5c4cb.jpgEven though those are some bad ratings, I’m betting the cost of production had a huge effect on the show’s downfall. There were a million varying & elaborate sets/settings. Plus, the cost of the cast & production staff was probably much more substantial than the standard television drama. Besides the necessity of choreographers, vocal coaches, etc. on staff, they really did have a lot of A-listers on the show [hello, Jennifer Hudson] that had a hefty price-tag & probably didn’t mind moving on to a more stable, respectable project. Christian Borle won the 2012 Tony Award for Peter & the Starcatcher, which has probably placed him in high demand (an ironic parallel to his onscreen storyline). I love Megan Hilty & am so glad she has gained so much mainstream exposure from this show [she just released her CD It Happens All the Time, was named one of People magazine’s 100 Most Beautiful People in 2013, gave a bunch of interviews, & has concerts scheduled all over the country]. I hope her career continues takes off because of it (both onstage & onscreen).

This might actually be the perfect time for SMASH to end. SMASH was never fated for a long run & 2 solid seasons are better than having a mediocre 3rd dilute the integrity of the entire series. Farewell, SMASH, it was fun while it lasted. 

Monday, May 6, 2013

MEAN Little deaf Queer by Terry Galloway

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When Terry Galloway was born on Halloween in 1950, no one knew 
that an experimental antibiotic given to her mother had wreaked havoc on her fetal nervous system. 
After her family moved from Berlin Germany, to Austin, TX, 
hers became a deafening, hallucinatory childhood where everything, including her own body, changed for the worse.
But those unwelcome changes awoke in this particular child a dark, defiant humor
that fueled her lifelong obsessions with language, duplicity, & performance.


MY THOUGHTS:I bought this book from Open Books [an awesome non-profit bookstore in River North]. It was in the biography section & I only pulled it off the shelf because of the crazy title on its' spine. I was excited when the back cover told me this MEAN Little deaf Queer also loves theatre! The honesty with which Ms. Galloway told her story was refreshing. She presented herself as well-rounded, imaginable person with human flaws instead of one who simply & primarily coped with a physical incapacity. While reading, there were several times that I forgot that her deafness was the catalyst for the novel because her theatrical experiences, personal relationships, & retelling of family stories were so engaging. This is not to say she did not openly address the unasked questions regarding her deafness. There was a chapter entitled Little-d Deaf where she addressed the hierarchy that exists in the deaf community surrounding the choice to lip-read or sign [for the record, lip-reading is extremely difficult but allows a more universal sense of communication in the hearing community while signing serves as the approachable & universal means of communication in the deaf community. Terry Galloway is exceptionally skilled at lip-reading due to an intrinsic ability & having been self-taught in the skill since childhood, so relied primarily upon lip-reading until she received a cochlear implants later in life.] 

I loved the narrative of this autobiography, but I loved the author’s voice more.
Her writing style pretty much married 
ELIZABETH WURTZEL (Prozac Nation; More, Now, Again; & B***h), 
ANNA DEAVERE SMITH (Fires in the Mirror), & THE MIRACLE WORKER
This story is inspiring, approachable, awesome, & enriching. 
I loved this book & burned through it. You should do the same!

Thursday, May 2, 2013

Emma Stone // Sally Bowles

 photo a1355e71-8bda-4e60-b685-f3bb508146e7_zpse10bb518.jpgEmma Stone to Star as Sally Bowles opposite Alan Cumming 
in 2014 Broadway Revival of CABARET

It was announced on April 24 that Cabaret is returning to Broadway with Alan Cumming reprising his role as the Emcee. Anne Hathaway had been in talks to play Sally Bowles, but luckily it looks like she's being replaced by Emma Stone [according to Playbill]. I wish they wouldn't cast a Hollywood actress, but she's better than most. Playbill did a poll of their readers as to who should be our next Sally. The top 10 contenders [in order] were Nina AriandaAnna KendrickCarey MulliganDaisy EaganMegan HiltyJessie MuellerLady GagaSutton FosterKrysta Rodriguez, & Idina Menzel. I do think Ms. Stone will be able to pull off this iconic role, but she won't hold a candle to my favorite Sally ever: Susan Egan (best known as the original Belle in The Beauty & The Beast, & Meg in Hercules). But back to Ms. Stone. I never saw The Help, but I believe the rave reviews. I did like her silly movies The House Bunny &  Easy A. She is known for her raspy voice, which makes sense for Sally, & seems to be developing into a highly respected actress. And apparently she can carry a tune! Here's a little clip from Easy A [her break-out role] that proves it:

Tuesday, April 30, 2013

Ken Davenport on Reviving Reviewers

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I have written before on why I love Ken Davenport
His recent post on defending & promoting theatre critics 
is just another reason to add to that list: 

"Earlier this month, up North in colder Canada, the Canadian Journalism Foundation put on a panel discussion called “The Walking Dead: Do Traditional Arts Critics Have a Future?” Tough title, no? Perhaps a bit exaggerated, but with the advent of the internet, the role of the critic in theater and all art forms has been challenged. (Just yesterday, my blog-spiration, Seth Godin, posted this gem of an entry about Critics and my production of Macbeth.) 

Will they survive? You’re probably expecting me to say, “I HOPE NOT!” Sorry to disappoint.

See while I’ve certainly got some issues with critics, especially in an industry like the theater, overall I’m a fan. Why? My mission statement as a theater pro is to amplify the conversation about the theater. The more people talking about it, writing about, discussing it, debating it, etc. the better. The louder the conversation, the more likely that the art form will not only survive over the next 100 years, but will thrive over the next 100 years. And critics help stir up that conversation. But as the title of that panel discussion tells you... even they know they’re in a tough spot. So I thought I’d come up with five ways to help bring ‘em back:

1. Why have one reviewer when you can have two? Take a cue from the late great Siskel & Ebert and instead of having one reviewer – have two & have each of them review shows side-by-side. The public will get two discerning opinions, the shows will have two chances to impress, and the competitive gamification (“I’m right!  No I’m right!”) between the two will make the reviews more fun.

2. Qualify ‘em. There are a few critic associations out there in the world, but what if papers, etc. only hired those critics that were “accredited” and had a certain amount of education in the theater arts, in writing, criticism, etc? Critics help shape the future of the theater...shouldn’t we make sure that they are well versed in what they’re doing? A Good Housekeeping seal of approval might give them even more authority than they already have, and might distinguish themselves from thhundreds thousands of other reviewers on the web.

3. Raise the profile of your critic. Would you recognize the chief critic of thNY Times if you saw him on the street or in a theater?  What about the critic for the LA Times? I’d bet money you wouldn’t. That’s because the critics have always been more “behind the curtain”-like wizards. They’ve come forward a little more in the past five years, but if I was running a paper, I’d get them out in the world like a celeb... at openings, at press events, on twitter, etc. Pull back the curtain. People will become more attached, and therefore more likely to read, and more likely to trust.

4. If you can’t make your critic a celeb, then hire one. Wouldn’t Cherry Jones make a killer reviewer? Or what about Harvey Fierstein? Yes, it’s star-casting, but if it comes with readers, then wouldn’t it be worth it? I know, I know, maybe they’re not the best writers, but you could get them some ghost writer to help. Look at this example:  Huffpo had James Franco write reviews of some shows he just saw. Admit it, when you read James Franco, you were intrigued, right? I bet most of you click this link to see what he said, just because he’s James.

5. One reviewer doesn’t fit all. I’m still shocked that our biz has critics that review Shakespeare...and Disney musicals. Do music reviewers review Opera and Pop? What if a different reviewer (or even regular person) was assigned to a show depending on what the show was, and who that person was? A mom of four for a family show. A professor of literature for the latest Ibsen reviewer. Let’s face it, if I don’t like family shows, I’m probably not reading a review on a family musical anyway. So the people reading that review might believe in it so much more if it was written by someone they can relate to.

Criticism deserves a place in our art form, just like it deserves a place in our government, and society as a whole.  But it’s going to take some 2013 ideas to prevent them from being overrun by the criticism of the masses."

Sunday, April 28, 2013

ACT ONE by Moss Hart


 photo 66adc73c-9745-4bc5-934a-435bc53aa979_zps7149222a.jpgAnyone who loves theatre needs to read this 1959 autobiography by American playwright/director Moss Hart. Besides giving insight into the trials, tribulations, & adventures of a star-struck kid trying to make it in theatre, it also provides a poignant perspective on antiquated American theatre. Moss Hart is best known for writing You Can’t Take It With You, Lady in The Dark & The Man Who Came to Dinner; he also directed Camelot and  Rex Harrison & Julie Andrews in My Fair Lady. This book did not address those big-name hits, but told the story of his life leading up to his first play’s successful opening on Broadway.

I preferred the 1st half of the book, even though the 2nd half was more enriching. Hart opened by painting the picture of his destitute upbringing in Bronx, highlighted only by Broadway dreams & a loving, imperfect family. The first door that opened for him was as an office boy in a theatre’s office; he went on to spend his summers as the social director at adult summer camps, continually climbing the ladder until he found great respect at the top of this field. While working this position, Hart persevered at the art of playwriting. His first script that showed potential toured but was ill-received & the tour cut short. His hit finally came when he realized comedic writing was a better fit for him than drama. He wrote Once in a Life Time [the emphasis of the book’s 2nd half] which underwent months of tedious re-writes in collaboration with George S. Kaufman & eventually opened on Broadway to rave reviews.

Moss Hart wrote with unassuming & natural tone that was refreshing & entertaining. It read like a man telling you his extremely interesting life story over a cup of coffee. He answered questions as they popped in my head & recounted the minute details that truly paint a scene. I wish Mr. Hart had written Act Two as a sequel to this book. I’m glad to know what led up to his success, but I also wish I had the same insight on the rest of his career. The novel ends the day after Once in a Life Time’s smash opening on Broadway with the phrase Intermission, which makes me think that was his intention as well. Unfortunately, Moss Hart passed away from a heart attack only 2 years after the publication of Act One at age 57.

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 let's remember 2004...when stamps were 7 cents cheaper....

A FEW LITTLE LESSONS from ACT ONE
  • Take children to the theatre: Hart’s love for theatre would have disappeared into an abyss of untapped talent had his aunt had not insisted on attending the theatre despite a startling lack of funds. While her motivation was partially selfish, the end result of taking a little boy to plays was a man who forever impacted American theatre.  
  • The power of coincidence in the arts: Hart’s 1st job was as an office boy in a theatre that he obtained purely by coincidence & being in the right place at the right time. From there, he worked hard, met the right people, & made his own success. He earned his success, but the coincidental aligning of those stars commenced his career. 
  • Laughter is important: There is a reason that Moss Hart finally found success when he decided to stop being so serious & write a comedy. I would never undermine the powerful, political, & social effects that theatre can conjure, but there is nothing wrong with an audience who leaves laughing. 
  • The making of good theatre is tedious: The reason why I preferred the first half of the book to the second was that the second half was almost as frustrating as it was engaging. The dedication Hart & Kaufman displayed….the hot & hungry summer afternoons of writing in a stagnant 3rd floor apartment, the joy at a successful first act & devastation at a lackluster second & third, & the incessant obsession of being so close to success you can taste it. That notion is the backbone of the guts & glory of theatre that Moss Hart so embodied in his work & work ethic. 

Tuesday, April 9, 2013

Big Fish: World Premiere

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I didn't love this movie, but also hadn't seen it in so long that I forgot why. Luckily, the movie was on TV the other day, so it gave me a chance to remember the cause for my distaste. It wasn't that the movie was so bad; a cast comprised of Ewan McGregor, Alison Lohman, Jessica Lange, Billy Crudup, & Albert Finney with direction by Tim Burton couldn't really be that bad. It’s that Daniel Wallace’s short story was not a great cinematic fit; luckily this short story was created for a musical theatre adaptation; the artistry, interpretation, & performance quality of this production not only exceeded my expectations, but set a new Broadway bar in my book. The grandiose story-telling & picture-painting in this musical is reason why the musical exists: sometimes there are moments & emotions so substantial that nothing short of a song preformed in a setting of suspended reality will suffice to communicate them. 

10 REASONS WHY BIG FISH RULED: 

  • PRE-BROADWAY WORLD PREMIERE: It is a rare & awesome opportunity to see a pre-Broadway tour that everyone should take advantage of whenever possible. 
  • REMINISCENCE OF CLASSIC MUSICALS: Musicals are not islands. A Great American Musical cannot exist without influence from an authentic theme & its’ predecessor musicals. Big Fish’s most notable musical influences derived from: the schmoozy traveling salesman dynamic + all-American, Pleasantville set from The Music Man; Side Show’s freak-show/circus dynamic; Whistle Down the Wind’s sad,  Southern, & hopeful sound; & the contemporary sound/energy of Spring Awakening
  • WATERLAND by GRAHAM SWIFT: Waterland is one of my favorite novels of all time. The basic premise is that, just as our bodies are 90% water & 10% mass, our beings are 90% past & 10% present. Will Bloom [Edward's son] presented a similar metaphor: 10% of an iceberg shows over the ocean while 90% still swims under the sea. It is strange how the imagery surrounding swamps, cycles, & water consistently serves to force us to re-visit our pasts & picture our futures, but it is an effective & dynamic image that was utilized impeccably in this production. This water/reality is a interesting theory in which I have always found truth & I was excited to find one of my universal truths present in this bright, new musical. Go read this book after you see the show!
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  • SUSAN STROMAN: Ms. Stroman is an all-star who has won 5 Tony Awards for direction & choreography, most notably nabbing a record-breaking 12 Tony Awards for a little show called The Producers (which also made its’ pre-Broadway debut in Chicago). But, more importantly, she & I share Wilmington, DE as our home-town. Thank you for representing women in theatre from the greatest little city in the world, Ms. Stroman! [if you are reading this, Ms. Stroman, let’s go get some meatball sandwiches from Wawa, Italian ice from Rita’s, or a Bobbie from Capriotti’s…anytime, my treat.]
  • CHOREOGRAPHER/DIRECTOR DYNAMIC: Playwrights frequently turn director, but the case is not so frequent for choreographers turned director. Personally, I think that choreographers make excellent directors: they make their staging choices are more inventive, exotic, excellent, & (above all) GRACEFUL. That grace was especially necessary for a show with such extensive sets.
  • THE SETS: Seriously, there were 30 sets & they weren’t cop-out sets that incorporated slight changes to differentiate…they were fulfilling, imaginative, differing sets that used every inch of stage space & every application of creative & contemporary innovations. We were taken to the inside the belly of a giant fish, a daffodils field, a circus ring, split-set hospital rooms, a witch’s woods, scooping elephant’s poop behind the circus curtain, the list goes on & on & on...
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  • KATE BALDWIN as Sandra Bloom: In the film, the role was shared by Alison Lohman & Jessica Lange, but Ms. Baldwin played the role in it’s entirety in the musical adaptation. She is a truly stunning woman & almost reminded of me a young Glenn Close [I’d also like to see her play Mother in Ragtime]. She belted beautifully & performed with an ageless grace that lit up the stage every time she appeared. 
  • NORBERT LEO BUTZ as Edward Bloom: In the movie, Albert Finney played old Edward & Ewan McGregor played young Edward; in the musical, Butz played the role alone in its’ entirety. Butz made his Broadway debut in the original cast of Rent & grew into something of Broadway royalty. He has won 2 Tony Awards [Catch Me if You Can & Dirty Rotten Scoundrels] & originated the role Fiyero in Wicked. Edward Bloom is an extremely demanding role that only a seasoned actor like Butz could conquer & conquer it he did. His singing was strong, his acting was poignant, his storytelling was engaging, & his performance was overall impeccable. I predict Mr. Butz will be adding a trophy to his collection this year. 
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  • ANDREW LIPPA: Mr. Lippa won me over with his score for The Wild Party & re-affirmed by love with The Addams Family (another pre-Broadway Chicago opening).  His musicals tend to have an upbeat, almost jazzy, borderline rocker vibe that always remain true to classic musical theatre sound. 
  • THE FATHER DYNAMIC: Tim Burton's [movie director] father died from a heart attack,which was a motivating force in his choice to make this film. Andrew Lippa [music/lyrics], & John August [book] both lost their fathers to cancer. So did I; as the child of a cancer-killed father, it was difficult to sit through the final minutes of this production, but I have to applaud their authentic interpretation of this intense, insane, & indescribable personal hell. It was difficult, shocking, & beautiful musical finale, but don’t the adjectives difficult, shocking & beautiful describe every quality musical you've ever seen?
Both John August & I lost our fathers to cancer a few years apart. So when we wrote the final scene of the play we withheld that scene from ourselves & let the desire to write that scene build up over a very long period of time. One day, we were in a hotel room, I cannot even recall where because we used to meet all over the country & work on the show. We sat in the room & John said, “This is what I want you to do, I want you to talk about your relationship with your father, things that made you sad & things you wish you had done or said.” We both started talking about our fathers & burst out crying & became incredibly emotional, and then he looked at me & said, “Okay, go write the song right now.” And I did, right there with John in the room. He was working on the scene & I was working on the song, it’s called ‘How It Ends.’ It speaks to a truth about how we feel about our own lives & how we feel about our fathers.
New City 4.4.13 Dennis Polkow 

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Sunday, April 7, 2013

Jekyll & Hyde: pre-BROADWAY tour

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JEKYLL & HYDE: NOW BACK ON BROADWAY

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 photo 00a85264-9a0b-4666-bddc-43d0e2667d0c_zpsdf3b9fe5.jpgThis production disappointed & does not deserve its' current space on Broadway. I've long loved Jekyll & Hyde & saw it twice during its’ original Broadway run [1997-2001]. That production provided a pounding & powerful ensemble, thoughtfully-cast & high-quality performers, & perfectly intimate theatre for this moody, gothic piece. This musical was created for an inventive revival, so this production’s lack of an innovative interpretation & application of its' artistic opportunity was especially disappointing. What would I have done differently? Contemporized the entire production. The script is clearly period-British, but could easily be re-imagined to a contemporary time-period; the themes of addiction & obsession seem more applicable today than ever. For being a revival, there was no fresh infusion of musical development, artistic re-imagining, or any distinct improvements from the original Broadway production. The original production was not so long ago & there are going to be a lot of audience members from the original Broadway audience [like me] who will definitely not experience any shock or awe at this attempt at a revival. The main factor missing from this production is Robert Cuccioli as Jekyll & Hyde. His Dr. Jekyll was an intense, intelligent, sophisticated gentleman; as Edward Hyde, he completely transformed his voice, physicality, and created an entire new & terrifying character. This role was out of Constantine's league...


THE PLAYERS
Constantine Maroulis as Jekyll & Hyde: Constantine's weaknesses were most clearly exhibited in The Confrontation: This song provides Jekyll’s climactic battle with Hyde. It was written to be performed as an argument between his two dueling sides with the actor forced to switch roles quickly in the number. The production 100% copped-out by having Hyde’s presence projected in a painting over the fireplace, which allowed Constantine to only actually perform the role of Jekyll. The effect was not necessarily bad, but I’m betting the reasoning behind the choice was that his Jekyll & Hyde were far too similar to be presented back-to-back since his acting chops weren't up to par. He has an undoubtedly beautiful voice, but that wasn't enough to carry this performance. Plus, his Irish/British/Australian accent was very distracting.

Teal Wicks as Emma Carew:  I have a fondness for this role because it has served as a stepping stone for some of my favorite actresses: Carolee Carmello originated the role & went on to play Lucille Frank in my very favorite musical PARADE. Christiane Noll played Emma in the Original Broadway Cast & went on to play Mother in the revival of my second favorite musical RAGTIME. Those are difficult broads to hold a candle against, but Teal Wicks held her own & was the brightest spot in this production. Ms. Wicks is best known for playing Elpheba in LA, San Fran, & Broadway productions of WICKED. She was too good for this production, but hopefully this role will serve as a stepping stone for her as well.

Deborah Cox as Lucy: The role of Lucy belongs to composer Frank Wildhorn's ex-wife Linda Eder the same way Christine Daaé belongs to Andrew Lloyd Webber's ex-wife Sarah Brightman. However, Deborah Cox was completely competent in the role. I wasn't expecting much from Ms. Cox except lungs of steel. I also didn't realize she had made her Broadway debut as the title role in AIDA. Both Aida & Lucy require killer voices with quality acting ability behind the voice. Deborah Cox’s Lucy was a downtrodden, hopeful, relatable character that reminded me of Sally in Oliver!. I’m glad Ms. Cox has made the leap from a recording star to Broadway actress; it’s a great fit & her high-quality presence was a breath of fresh air.


THE MUSIC 
The leads could definitely sing, but their skills were not enough to mask the deterioration of this musical score. This music was a skeleton of its’ former self & was infused with a contemporary rocker quality that overrode Mr. Wildhorn’s original musical meets gothic sound. It seemed a terrible decision to re-introduce songs in the revival that were cut from the original Toronto production [I Need to Know & Bring on The Men]; they were cut for a reason & re-introduced in subdued & watered-down adaptations. His Work & Nothing More used to be a powerful quartet that ended with loud & beautiful harmonies but drizzled away with a soprano’s quiet solo. Worst of all, the ensemble’s skimpy sound diluted the two great ensemble numbers [Façade & Murder, Murder] into the greatest disappointments of the show. It is surprising that the infusion of rock did not provide a simultaneous infusion of energy. To the contrary, the energy of the original & revived numbers seemed sucked out of this production. I love this musical & enjoyed some numbers, but the music (and musical as a whole) was not done justice.

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Tuesday, March 19, 2013

From The Office to The Stage...

Q: Where will Jenna Fischer be when the series finale of The Office airs?
A: MAKING HER OFF-BROADWAY DEBUT!

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I LOVE The Office & Pam is clearly the backbone & heart of that show. I love NYC Theatre & Off-Broadway productions have given birth to many shows that serve as the backbone & heart of American Theatre. Therefore, I am very happy Jenna Fischer has been cast in Neil LaBute's newest piece Reasons To Be Happy @ MCC. She will perform alongside Josh Hamilton [Dead Accounts w/ Katie Holmes], Fred Weller, & Leslie Bibb [from TV series GCB]I always wondered why Ms. Fischer's enchanting, engaging portrayal of seemingly mundane Pam has not allowed her an avenue into movie success; but I am glad she held out since this career development is much more exciting than some random romantic comedy. However, this is not Ms. Fischer's first time on-stage. Her role in Zoo District Theatre's adaption of Nosferatu led Ms. Fischer to her first agent & the rest is history. 

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Three years after a contentious break-up, Steph & Greg are wondering if they can make a fresh go of it. Trouble is, she’s married to someone else & he’s just embarked on a relationship with Steph’s best friend, Carly, a single mom whose jealous ex-husband, Kent, has trouble articulating his feelings. Navigating the rocky landscape of conflicting agendas & exploding emotions isn’t going to be easy for any of them. Reasons to Be Happy is a funny, surprising, & poignant new play about the choices and sacrifices we are willing to make in the pursuit of that often elusive ideal: happiness.

Reasons to Be Happy is a sequel to LaBute's play reasons to be pretty, which was 1st produced by MCC in 2008 & made its' Chicago premiere in 2011 @ Profiles Theatre. I saw this production & it reminded me why I love Neil LaBute's acutely clever & insightful scripts. My first encounter his writings was The Donmar Warehouse's 2005 production of This Is How It Goes. I didn't know much about his plays at the time & was more excited to sit inside The Donmar Warehouse [where Gwyneth dominated in Proof & a new Parade was born]. It is funny how LaBute's plays always seem to cast successful TV & film actors. I genuinely don't think this is due to the infectious trend of casting any willing movie star to sell tickets. I think it is because his plays are contemporary & fast-paced pieces that could easily be written for/appeal to the screen, but are thankfully written for the stage. 

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Monday, March 18, 2013

Living Room Playmakers: Three Stories

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This was the inaugural production of The Living Room Playmakers! The show took place in an awesome, preserved Rogers Park mansion & traveled to different settings in the mansion for each of the three plays [1st play in the dining room, 2nd  the attic, & 3rd  in the basement]. I love this idea of moving to different locations during a production. It is an idea that is utilized by Theatre Hikes & a trend I shall coin Adventure Theatre. Adventure Theatre is awesome & I hope to see it flourish. I mean, it’s always awesome when a play’s opening “turn off your cellphones” speech includes instructions to bring your coat & follow the flashlight. Besides the innovative & mobile setting, The Living Room Playmakers provided intelligent, excellent, & well-executed performances in a lovely & approachable setting. Our host Alex Benjamin was engaging & articulate, the sound design by Jessy Smith was impeccable, & Daniel Immerwahr’s live music was a wonderful addition. The featured art by Jaclyn Mednicov also served as a beautiful enrichment to the theatrical productions: her paintings were a beautiful collection of industrial & apocalyptic landscapes [and reminded me of my sister’s art!]. 


THE DANCE LESSON
Written by Erin Austin // Directed by Alex Paul Young 
Aram Monisoff as Noah // Jin You as Morgan // Helene Alter-Dyche as Portia 
The premise for this piece was pretty straightforward: it is a weekday night & Noah has arranged for dancing lessons with his workaholic fiancée Morgan for their close-coming wedding.  Their dance instructor, Portia, comes ready to teach them to truly dance, but what they are looking for is a way to not make fools of themselves during the first dance at their wedding. The script was concisely written & pleasantly punctuated with cool, isolated moments of a man & woman envisioning their future & remembering their past. For being a simple script set in a dining room, the production was surprisingly full. They used every inch of their performance space by entering/exiting from the front door, kitchen, living room, & the porch that anchored the back wall of the performance space. The costumes were also perfectly appropriate for the needs of script.  All three actors gave pitch-perfect performances: Aram Monisoff created an open-hearted accountant who romanticized his glorious moments dancing in Carousel & Jin You played his perfectly paired fiancée who was fully committed to her man but still a driven, type-A working woman. Although they were very different, both actors communicated an appreciation for each other’s differences, despite the irritation it might occasionally cause. The highlight of this piece was Helene Alter-Dyche’s performance as Portia: in a role that could have been campy or over-acted, Ms. Alter-Dyche played a dynamic, though refreshingly quiet, eccentric. Picture Norma Desmond, but with a heart. And I really loved her main sentiment: We Don’t Dance. Until We Do


HOUSEBOAT
Written by Chad Eschman // Directed by Erin Murray 
Naomi Rosen as Ashley // Abby Zan Scwhartz as Carly 
Houseboat took place in a seemingly near but disturbingly distant future where Lake Michigan is overflowing the city & some *crazy creatures* are flooding the city along with the water. Ashley & Carly are two sisters in their attic waiting for their mother to return until Carly reveals she had been *bitten* & the time has come for them to fend for themselves. This play was equally well-defined in character-development & a driving plot. I especially enjoyed the dynamic of two sisters left alone together to face a disaster. In that sense, it is a coming-of-age story where the younger sister needs to be taught how to use a gun rather than apply make-up. It is also interesting to explore how individuals have such different reactions to the same disaster; Ashley envisioned the idealized glory aspect of a disaster & suggests making a contemporary Ark to master the flood, while the Carly snapped into adulthood & grabbed the reigns to save what was left of her family. All three pieces used their respective space well, but the attic was my favorite setting. It felt like a full-set & there were moments were one could forget that this was an actual attic as opposed to a set [scenic design by Kristin Abhalter & Sarah Berkeley]. 


THE BRIDE
Written by J.L. Rumberger // Directed by Damon Krometis 
J.L. Rumberger as The Bride
Here’s the set-up: a bride is waiting with her father at the back of a church when *something* sweeps the church & annihilates everyone. The Bride’s father shoves her out of the way & she locks herself in the church’s basement. We never learned the details of what happened or how long she has/will be in this basement, but we did get to know The Bride very well. When we first met The Bride -- sitting in her tattered dress, in a basement of white-washed brick & exposed pipes, crafting what appeared to be Amish crafts -- she seemed crazy & disjointed, but we soon realized a world ended on this woman’s wedding day. Her creepy crosses [crafted from wooden shards & strips of wedding dress] are actually makeshift grave markers for every individual she’s every known, almost making this piece the unsettling picture of the opposite of a funeral. We know what it’s like for a group of people to come together to honor the memory of one person, but what if one person is mourning the world? That’s heavy stuff. Luckily, the script was crafted cleverly with contemporary humor & a wholly-relatable character. She seemed like any bride, having ridiculous wedding day tiffs & living up Her Day; but she also could quietly break your heart her moments of relating to Castaway & slowly losing grip on her happy memories. The only play I can align this show to would be Profiles’ production of Bachelorette, but this script was written with a purpose & point that was much more relevant than the crass female frivolity that Bachelorette celebrated. This was better...


Thursday, March 14, 2013

TribNation: CHC & ART

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ChicagoForward: Do Chicagoans Embrace the Arts Scene?
 photo 3f3e5f34-bd23-4f9b-ac77-c4949a6c0afc_zps540c0aa7.jpgChicago Forward is a program hosted by the Chicago Tribune & serves as a forum to tackle & discuss issues that effect the city. This particular program addressed the question of what it takes to succeed as an artist in Chicago. The event was hosted by The Tribune's Bruce Dold [editorial page editor] & Chris Jones [theatre critic]. Jocelyn Winnecke [Tribune VP & associate editor] & Kevin Brookins [senior VP @ ComEd] served as the opening speakers. The panel was made up of: Rick Bayless: nationally acclaimed chef & restauranteur, Michelle Boone: Commisioner of Chicago's Dept. of Cultural Affairs & Special Events, Tony Fitzpatrick: Chicago-based playwright, poet, & visual artist, & Jeanne Gang: award-winning architect & MacArthur Fellow. 

A FEW THEMATIC HIGHLIGHTS:
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+ The Livable City: It was the general consensus than Chicago holds a strong appeal for young artists starting out because it is an affordable, livable city. I would agree with this idea considering I used to live in NYC & moved to Chicago specifically due to the affordability of theatre tickets/life as a whole. The flip-side of that coin is Chicago’s notoriously frigid winters, which was generally acknowledged as a difficulty in both the production of art & its’ accessibility to the public. 
+ Crime & The Arts: The problem of crime in Chicago could not be ignored in this conversation & was discussed with a hopeful, though frustrated, attitude. Michelle T. Boone cited Steppenwolf’s production of How Long Will I Cry?: Voices of Youth Violence as an example of art attacking violence. Each production also offers a talk-back session as an avenue for conversation. The ambitious (though slightly idealistic) goal is that kids will put down the weapons & pick up a pen; if any company has the smarts to have such a strong effect, it is Steppenwolf
+ Greenery: The issue of applying environmental innovations to the arts was a topic that held a particular emphasis in the architecture & culinary aspects of the talk. Jeanne Gang cited the main architecture trends as going more green, material research to cut out waste, tactical urban design through community gardens, & reclaiming the vast paved areas for pedestrians rather than cars (an idea which has been implemented in Times Square & is one of my favorite places to hang out in New York). She also emphasized the importance of one’s knowledge of their materials (using concrete as an example: we think of concrete as impenetrable but it’s actually a very fluid, malleable substance). Rick Bayless conveyed a similar mentality regarding agricultural excellence & it's being application chefs. His reasoning was based on the idea that quality ingredients allow the food to shine in a more simple presentation. On a completely unrelated note,  Rick Bayless & I were at the same performance of ATC’s awesome production of RENT last year. So, I respect his opinion on both food AND theatre.  
+ Education: Tony Fitzpatrick was especially passionate about the impact that education has & will continue to have on the arts. My favorite moment during the panel's conversation was his statement: “my biggest worry is the poverty of imagination.” To apply his passion for education in a tangible way, Fitzpatrick enlists interns to educate & enrich [all of whom have gone on to arts-related employment]. He implored his fellow leaders of the artistic community to give back by becoming mentors, which I think is a great & accessible way to invest in the future of one’s particular art. 

Sunday, March 10, 2013

Aspects of Love @ Theo Ubique

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Aspects of Love first appeared in 1983 as a cabaret project crafted by Andrew Lloyd Webber & Trevor Nunn. It fully debuted onstage 5 years later at London’s Prince of Wales Theatre, where it ran for 1,325 performances. A replica production opened on Broadway in 1990 & ran for 376 performances. In September of 1991, a revised version commenced a 29-city tour that ended in  June of 1993.  From 1993-94, a similar production toured the U.K. The original West End & Broadway productions reflected a grandiose, spectacular approach which the touring productions pared down to become a more intimate, character/relationship-based chamber piece. Theo Ubique chose to produce the version used in the tours & it was a smart decision. I’ve never seen Aspects of Love (although I can’t remember a time when I didn’t want to, seeing as it was one of my first favorite musicals) & I can’t imagine seeing it in any other capacity. The simplification of this contextually complicated show was a necessary move by the creative team; the setting of a bar/restaurant was a perfect one for producing this improved, updated piece of musical theatre history. 

Based on the novella of the same name by David Garnett, Aspects of Love is one of Sir Andrew Lloyd Webber’s lesser performed but arguably, one of his more intricate, complicated and most personal works. Spanning across 17 years (1947-1964), the story tightly centres on an ever increasing entanglement of relationships, conquests, betrayals and losses. Focusing on actress Rose Vibert, her admiring fan Alex Dillingham, his underage cousin Jenny, his uncle George, and George’s mistress, sculptress Giulietta Trapani, the musical is entirely sung through, reaching a mix between a chamber musical and intimate modern opera.
Michael Ball singing Love Changes Everything @ Andrew Lloyd Webbers 50th Birthday Celebration

THE THEATRE: I have long wanted to visit Theo Ubique [pronounced thee-ooh (Greek for god) oob-eeh-kay (Latin for "everywhere")]. They incorporated these two cultural corners of Western society due to the influence of theatre on their society in terms of communal storytelling. To further abide by this artistic vision of intimacy in storytelling, Theo Ubique also presents its' productions in a cabaret format with the option of a pre-show 3-course dinner served by the actors for $25. My inaugural visit to Theo Ubique was great & I regret not seeing a production earlier; specifically, I wish I had seen  their interpretations of Smokey Joe's Cafe (my mom's favorite musical), The Light in the Piazza (written by my boy Adam Guettel & recipient of rave reviews), or Cats (I have an emotional attachment). 

THE PRODUCTION: I can't say enough good things. They clearly cast based on singing ability first & foremost because there was no weak vocal link in this 10-person cast. However, just because the cast was comprised of singers does not mean their acting suffered in anyway. This cast was solid overall & were very much in-tune with the subtle & significant dynamics of their characters. The set was forced to be simple due to the cabaret setting, but that didn't cause them to slack on the set pieces that were incorporated; the set was comprised of quiet & quality pieces that served a variety of purposes throughout the production. The costumes were perfectly stylish, appropriate & obviously intentional in their vision & execution (especially Rose's dress in Act I & the show's infamous Celia gown). My one complaint with the vision behind the costume design was that Jenny's costumes were too juvenile; they were well-executed & I understand the purpose behind their vision was to communicate her youth, but the idea was taken too far. 

THE PLAYERS: 
Kelli Harrington as ROSE: Ms. Harrington is a goddess. Rose is a difficult role & I was fully expecting the most pivotal leading lady to inevitably drop the ball in some way or another. I could not have been more wrong & Ms. Harrington could not have been more right, perfect, & [insert favorite adjective here because I was left speechless]. I missed Theo Ubique’s recent legendary production of Light on the Piazza, although I was on the wait-list for tickets. Ms. Harrington won the 2012 Non-Equity Jeff Award for Best Actress & I’m sure she deserved it [also: this lady deserves Equity Membership more than anyone I’ve ever encountered]. I would bet that the clever choice to produce this show was based on knowing they had Ms. Harrington to cast as the leading lady & carry the show. Smart move, Theo Ubique! This lady rules.

This not Kelli Harrington, but Sarah Brightman in what appears to be a 1980's theatre music video singing Rose's big ballad.  

Matthew Keffer as ALEX: This man was blessed with an amazing set of lungs. He was a truly stellar Alex; it is a difficult role that marries family ties, sexuality, & the coming-of-age. I’m sure there were a lot of men who wanted this role & the director certainly chose the best-equipped. His singing capabilities were matched only by his exceptional, subtle, & insightful acting.  I can’t say enough good things about his performance: I love Michael Ball, but this man was created to play Alex. 

Sean Thomas as GEORGE: His singing capabilities were amazing & unmatched. However, he lacked the imposing, masculine presence & graceful, charming panache that so defines George’s character.

Colette Todd as GIULIETTA: Her voice is undoubtedly glorious, rich, & classically-trained. In terms of character, she adequately incorporated  Giulietta’s earthy, exciting, enticing charm; she also played Nancy in Oliver!, which is a similarly sensual role & one that would showcase her amazing vocal ability. 

Daniel Waters as MARCEL: His performance served as highlight as a  minor role. His bio credited a production of RAGTIME in which he played J.P. Morgan; I wish I had seen that production because Mr. Waters conquered this role & would certainly conquer that one. 

Rochelle Therrien as JENNY: I have always envisioned Jenny with as a blond, but Ms. Therrien presented a fresh, beautiful interpretation of Jenny that blew my imaginings out of the water. She sang with the most lovely little lilt & infused the second act with a very necessary sense of fresh & sweet air. I saw Ms. Therrien in Liberal Arts: The Musical & was impressed with her talents; this production served as a much stronger showcase for this lady’s amazing voice & performance capabilities.


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