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. 

SOURCES:

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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Monday, March 4, 2013

a MY SO-CALLED LIFE musical!


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After spending two decades in Hell, central character Ryan White transfers to Heaven and is shocked to learn his new celestial neighborhood has its own penalties: he's ordered to go back to school. In fact, everyone under the age of 18 is forced to attend Eternal High. In teacher Christa McAuliffe's class, White meets an unusual group of former earth-bound, but well-known students, including Edward VI, JonBenet Ramsey and Anne Frank. (Frank becomes the Angela Chase to Ryan White's Jordan Catalano.)

Thursdays @ 8 p.m. / runs until 4.18.13 / $8

THIS LOOKS AWESOME. I recently wrote about TV shows being the next generation of musical inspiration. My So-Called Life was one of the shows I listed as a good fit for a potential musical. I'd been envisioning a more serious take rather than a spoofy one, but both ideas could work well. The idea behind this musical is undoubtedly bizarre & seems very removed/loosely inspired by the show itself; but I'm betting it makes sense in the context of the actual show. It reminds of of Gorilla Tango Theatre's Attend The Tale of Danny Tanner, which married Full House & a vengeful, Sweeney Todd-esque storyline. It was also an equally bizarre basis but somehow really worked. I can't see how My So-Called Afterlife would be any less perfect. 

Sunday, March 3, 2013

DISNEY + SHAKESPEARE.

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DISNEY IS TAKING ON SHAKESPEARE!!!

THE FACTS & FIGURES:
Disney has hired Alex Timbers to direct a musical adaptation of a TBD Shakespearean classic [with Amy Talkington adapting the screenplay]. Mr. Timbers has been nominated for two Tony Awards for co-directing Peter and the Starcatcher (for which SMASH's Christian Borle won the Best Supporting Actor Tony last year) & writing the book for Bloody Bloody Andrew Jackson (which he also directed). He has also directed The Pee-wee Herman ShowGutenberg! The MusicalBoozy, & A Very Merry Unauthorized Children's Scientology Christmas Pageant. The film will be produced by Offspring Entertainment's Adam ShankmanJennifer Gibgot, Jon Chu & Matt Smith.


The William Meets Walter Dynamic:
It is my prediction that this new Will & Walt connection will be the beginning of a long (& possibly glorious) union. I am opposed to the overwhelming Mousification of Broadway, but I am not so close-minded to forget the awesomeness the brought to stage...Julie Taymor's ground-breaking puppetry in The Lion KingMary Poppins flying over the audience, The Little Mermaid swimming on Heely'sElton John's beautiful score for AIDA, & the list goes on. One thing that anyone who has eaten at DisneyLand knows is that Disney brings the highest quality of product to the table. It's a little weird & feels a little bit off, but, overall, I like this an exciting development. The Disney corporation is also so universal that this film will undoubtedly introduce people (especially children) to the Wonderful World of Shakespeare [or Edward DaVere, but that's a blog for another day]. 

THE SHAKESPEAREAN MUSICAL:
 "Developing The Last Goodbye – a Romeo & Juliet with the music of Jeff Buckley, 
I've been so lucky to get to explore the possibilities of combining Shakespeare with contemporary music. 
This Disney film takes that concept even further & turns it on its head in an ingenious way."

Just the idea of anyone putting Shakespeare in the form of a musical makes this creative endeavor cool in my book & Timbers comes with experience in marrying musicals & Shakespeare. In addition to the recent rock musical The Last Goodbye, Timbers will also be directing a musical adaptation of Love's Labours Lost with composer Michael Friedman which will premier this summer as part of The Public Theater's Shakespeare in the Park. I'm just hoping the songs will be in iambic pentameter. 


The Great Question: Which Play Will It Be?
I am very curious as to which Shakespearean play they will choose for this inaugural production. According to Timbers, "The script stretches the boundaries of the movie musical & demands the sort of surprising visuals & raucous spectacle which I love to create in my own stage musicals.Obviously, it will be a comedy (which knocks out Titus Andronicus & most of my favorites) & will more than likely not be Love's Labour's Lost. My prediction is A Midsummer Night's Dream. It is the quintessential play for any inaugural Shakespearean company: it is probably the most accessible in terms of plot, probably the most popular in terms of audience familiarity, & there are fairies. My second bet (& the one I'm rooting for) is As You Like It. I have played Hermia in Midsummer twice, so I have a spot in my heart for that show, but As You Like It would be a little bolder & shine light on an entirely awesome Shakespearean comedy that always seems to slip through the cracks.  My other projected/hopeful possibilities would include The Taming of the Shrew (which actually could be a real contender due to the approach-ability of the subject matter), Much Ado About Nothing (which lacks the plot & I don't think anyone would be happy with a filler plot being incorporated), The Tempest (an exciting choice I would imagine to be too daunting). 
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