Love Never Ends: Sequel to Phantom of the Opera

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 Titantic, Show Boat, Cabaret, & Ragtime. I 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.

Michelle Williams // Nellie Forbush

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 Idiot, Spring 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 & LUCY: My 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.}

Aspects of Love @ Theo Ubique

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.

~theo ubique website

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.

Les Miserables: The Movie!

IT HAS FINALLY ARRIVED!!! 

AND IT RULED. 

It has been a long road from the initial cast, recasting decisions, 

the final cast announcement, & the trailer release 

to finally have this Christmas present arrive. 

[believe I was there on Christmas Day with Christmas bells on.]

• Hugh Jackman served as the backbone, brain, & beauty of this film in his performance of Jean ValJean. I initially thought he might seem too young, but that was a non-issue. His experience as a stage actor clearly infused his performance; his acting & singing were matched in excellence, awesomeness, & impressiveness.
• As Eponine, Samantha Barks brought a similar sense of theatrical professionalism to her performance; her singing was strong, her physical appearance was traditional & perfect (although her waist was freakishly tiny) & she presented an Eponine that was more pitiable than pathetic. Her role seemed more pivotal to this plotline in the film version & her rendition of “A Little Fall of Rain” was genuinely heart-breaking. 
• The role of Gavroche serves as a tiny bright spot of sorts, Daniel Huttlestone’s performance of Gavroche provided an equally bright spot in the movie. The moment of Javert pinning his pin to Gavroche’s tiny, fallen body & the aligning of Gavroche to baby Javert (“I am from the gutter, too” ~ Javert, "The Confrontation") was my favorite moment of the entire movie. 
• Speaking of Javert (incidentally, my favorite character), Russell Crowe was a great actor & sub-par singer. His singing wasn’t awful but it lacked the authoritative confidence that defines Javert; these short-comings became especially apparent during the confrontations between Javert & Jean ValJean.
• As Cosette, Amanda Seyfried was stunning in her effervescent beauty, created a fuller character than Cosette is often presented, & sang adequately. She had many moments of  a perfect & bird-like twittery sound, but, more often than not, she reached for notes & barely reached them. One thing I loved about Seyfried’s Cosette: she was blond! Cosette is traditionally brunette in the stage version, which never made sense considering she is Fantine’s daughter & Fantine’s flowing blond hair is a defining characteristic. 
• Speaking of Fantine’s flowing blond hair, where was it? I just want to know why they unnecessarily changed this iconic part of her character. Besides, the hair issue, Anne Hathaway was a pretty stellar Fantine. I really didn’t expect to like her in the role. In my nearly-never-wrong opinion, she peaked at The Devil Wears Prada & casting directors have been too generous in the roles in which they cast her (hello, Jane Austen). Apparently, I was wrong because she rocked as Fantine; her acting was thoughtful & she nailed the wide spectrum of emotions that fall upon Fantine. Her rendition of "I Dreamed a Dream" was refreshingly flawless & made me hear a song I’ve heard 10,000+ times in a new light (especially her angry growling delivery of “…he took my childhood in his stride, but he was gone when autumn came…”). Another perfect, gut-kicker moment was her dying eyes lighting up as ValJean carried her away from the whore-docks & promised to deliver Cosette to her. Well done, Anne! I’ll be rooting for you on Oscar night. 
• Eddie Redmayne played Marius & he presented the perfect balance of  man & boy. I didn’t realize he could sing, but was pretty impressed with his voice 90% of the time. I felt more understanding of this Marius: his past, his convictions towards the revolution, the crazy consuming feeling of first love, the need to take care of/provide for Cosette, & his relationship with ValJean…all of these aspects of Marius as an individual were more highly heightened & allowed the audience member a further investment in the future of his character.
• Helena Bonham Carter & Sacha Baren Cohen as The Thenardiers: Obviously, they were both funny, well-cast, & provided the necessary punctuating funny moments. However, they were what I expected them to be since these roles aren’t too removed from their normally-expected roles. Granted, S.B. Cohen doesn’t generally sing, but seeing H.B. Carter stuff meat into a grinder was a bit too much of a Sweeney Todd flashback for me. This is the lesson we learned from Samantha Barks beating out Taylor Swift for Eponine applies to the Thenardiers: even if a known face is a good fit for a role, an unknown actor might allow the audience to disappear into the story more. 
• Lastly, having Colm Wilkinson [the original & impeccable Jean ValJean] play the Bishop who re-routes ValJean's life was the best casting choice of them all. He is an exceptional performer who can conquer any role; but casting him as The Bishop who guides ValJean when he is the actor who guides the actors who play ValJean was so crazy clever, sentimental for the long-time Les Mis lovers, & respectful to the stage-version of the musical that I was crying within the first 10 minutes of the movie. One of many smart moves by our director, Mr. Tom Hooper. 

NOW GO SEE LES MISERABLES!!!

ONCE on Broadway

ONCE is based off of an awesome 2006 Irish musical-movie that was directed by John Carney. It starred musicians Glen Hansard (from the Irish folk band The Frames) & Markéta Irglová, who collaborated musically prior to the film & performed/composed all of the movie's original numbers. The movie's surprisingly supple skeleton of a storyline matched with a quietly striking dynamic between the actors  & heightened by stunning/haunting musical score made for a revolutionary film. The film was produced for only $160,000, but received enthusiastic reviews & a number of awards (2007 Independent Spirit Award for best foreign film, a Grammy nomination for the whole soundtrack, & the 2007 Academy Award for Best Original Song for "Falling Slowly." ONCE's shift from a movie-musical to one created for the stage has proven even more successful  & beloved than the film version. Enda Walsh adapted the screen play, John Tiffany served as director, Bob Crowley crafted the set/costume design & Steve Kazee & Cristin Milioti were cast as our Guy & Girl (both performers were nominated for Tony Awards but only Kazee won; Milioti was robbed.). It was named the Best Musical of 2012 by The Outer Critics' Circle, Drama League, The New York Drama Critics' Circle, & The Tony Awards. Winning Best New Musical by any of these groups is impressive, but to sweep them all is pretty exceptional. 

[Falling Slowly also served as the soundtrack for my sister's first dance with her husband]

BEN HOPE as GUY 

Clearly, I did not see Steve Kazee in his Tony Award-winning performance. But I don't mind. In the olden days, I would have been frustrated at missing out on seeing this awesome guy in a part in which he obviously ruled, but I've grown up. If I want to see Steve Kazee play Guy, all I need to do is plug his name into a YouTube search. There is something inherently refreshing & awesome about seeing an understudy. Even though the audience might register an initial feeling of disappointment, that disappointment is apparent in tri-folds by the excitement & adrenaline by the actor who gets to finally play the role. The pressure & excitement always comes through & that factor has been known to outshine the tired routine of an actor who has become comfortable in the awesomeness of his luck. The understudy never takes a performance opportunity for granted; for that reason, I have rarely been disappointed by the performance & Mr. Hope's performance quality was no exception. I had the opportunity to talk to Mr. Hope after the performance & found out he had not played the role of Guy in 3 weeks; his most recent understudy role was as the actor/drummer. For having not played the role regularly/in almost a month, Mr. Hope still presented a rich & enriching performance & the quality of my experience was not even slightly compromised by the presence of an understudy in a leading role. After reading his bio in the Playbill, I found out Mr. Hope is an accomplished musician whose strengths transcend being pigeon-holed into one role. Lesson (re)learned: sometimes there is something underneath the understudy that makes the show. 

Cristin & Me. 

CRISTIN MILIOTI as GIRL

To be honest, I didn't think she [or anyone] would be able to climb this mountain of a role. It's not that the role is exceedingly difficult, but Markéta Irglová crafted & created this role so impeccably in the movie that it had to be impossible to re-imagine. Luckily for us, Ms. Milioti has no interest in seeing the film until her run has ended. Her approach is clearly a clever one because she dominated this role. She brought a new level of charm to this role that is so essential in live performance; she portrayed an understated quirkiness, a cute/quiet humor, & the imperative infusion of intrigue. Her performance had a lot to live up to & she still managed to portray confidently humble impeccability. 

P.S. I have mad respect for this actress because, although this role's cornerstone is her ability as a pianist, she had no piano skills prior to the audition process to this show. She was director John Tiffany's hands-down favorite, so they gave her 10 days to practice piano, become impeccable, & come back to impress them. And impress them she did. 

P.P.S. After the drive back to DE from NYC, I was watching a 30 Rock rerun & who was the guest star? Ms. Milioti herself!! I knew I had seen her face before, but wigs can really distort a girl's memory. Seeing her play a ditzy, comedic blonde after watching her dominate as a strangely smart Czech pianist just reaffirmed my opinion that this broad from Cherry Hill, NJ is the real deal. 

The cast of ONCE, with my sister performing the best photo bomb ever.

BROADWAY TRENDWATCH:

The Decline of Design: The Broadway of today tends to utilize more stationary sets & singular costumes. The days of Miss Saigon's helicopter & the Phantom's lair have been left in the 90's; contemporary Broadway is stream-lined, stylized, & smartly executed. I'm a definite fan of this paring down, but I'll still never turn down a twirling barricade. 

Instrumental Actors: Sam Mendes' 1998 revival of Cabaret started this trend while simultaneously introducing the idea of a an orchestra/band being suspended above/behind the stage (in a world where they orchestra had never lived anywhere but the pit). This choice provides the audience a fresh perspective & appreciation regarding the musicians, as well as a much more engaging production. 

The Breaking Down of the Fourth Wall: This trend first became apparent to me during Spring Awakening. They had two sets of mini-bleachers set up on the outer edges of the stage (perpendicular to the audience). I didn't sit in these seats (and did think sitting in them would be be too visually restrictive). During the 2008 production of Equus on Broadway, the stage-seating was suspended in a semi-circle behind & above the stage; the effect was cool & I appreciated sitting closer to the action than I ever would have been able to afford in a standard seat. Once figured out the best way I have seen so far to allow audience members to break through the fourth wall: their stationary set was a bar that served as a cash bar for the audience before the show & during intermission. It was pretty cool; plus, I got a bottle of water AND got to set food on an actual Broadway stage for only $5! 

Attend The Tale of Danny Tanner @ Gorilla Tango

ATTEND THE TALE OF DANNY TANNER

Presented by Gorilla Tango
By Chris Gorton and Katie Johnston-Smith
Directed by Kelly Williams

This was my first visit to Gorilla Tango, which was especially exciting because it was also my first production in the Bucktown/Wicker Park area. The theatre was small & packed with an enthusiastic audience; this piece seemed like a perfect fit for a neighborhood comprised of the people who grew up on Full House. The opening number (a mash-up Attend the Tale of Sweeney Todd & Wake Up San Francisco. The despondent, & sweeping number quickly established that this was not TGIF’s Full House.  We soon learn why Danny Tanner allowed Joey Gladstone & Jesse Katsopolis to live in his house rent-free for all those years. It was not because they helped take care of the girls (as the television show made us believe), but because, once a year, on the anniversary of his wife’s DUI death, Joey & Jesse have to kill a drunk driver. On this year’s anniversary, Joey & Jesse decide they want to get out of this arrangement. Meanwhile, DJ wants to get out of the house to hang out with hunky Steve. But when Danny catches them stumbling home, things take a turn for the bloodier. I won’t ruin the ending, but I will say the references to Sweeney Todd hit hardest in the finale.

The 8-person ensemble was comprised of smart, confidant performers with clean & quality vocals. As Danny Tanner, Rob Speer channeled Bob Saget’s energy/mannerisms while simultaneously transforming the role into a blood-thirsty, vengeful widower.  As Joey & Jesse, Chris Gorton & James Dolbeare were excellent comedic actors who had a strong sense of history & chemistry with each other (which is an especially impressive feat considering they only perform the musical once a week). My one complaint: James Dolbeare seemed a little too Caucasian for Uncle Jesse; the Elvis obsession, smooth moves, slick hair, & Italian stallion element were in a little lacking.The Tannner girls were awesome across the board; their performances were articulate & finely-tuned into the personas from the 1990’s originals. As the senior sister DJ, Katie Johnston-Smith exhibited dead-on comedic timing, had a beautiful belt, & played over-the-top adolescent angst without inhibition. As the Jan Brady of the trio, Meghan M. Hillmeyer was a pitch-perfect Stephanie; her physical resemblance Jodie Sweetin was uncanny & her presence onstage was a consistent highlight of the production. Ali Keirn played the baby Michelle; I would imagine this is the most difficult to cast & perform in the musical. It’s a strange enough challenge for an adult to play a child, let alone a baby. But Ms. Keirn dominated the role by channeling a toddler-esque gurgle to her words & applying an adult’s interpretation to the R-Rated text. Her acting abilities were phenomenal; from other reviews I’ve read, I am not alone in this opinion. My one complaint regarding the girls: I wish they had all been blonde (DJ was brunette, Stephanie was blonde, & Michelle was a redhead). The Tanner girls were notorious blondies & I would have liked to see that element of the show kept consistent.Miryam Andrews and Tom Daily rounded-out the cast by filling in the miscellaneous remaining characters: Kimmy Gibler, DJ’s BF Steve, Aunt Becky, Mr. Woodchuck & miscellaneous drunk drivers. During the opening number, I assumed Miryam Andrews was playing DJ & Katie Johnston-Smith  was playing Aunt Becky (based only on physical appearances) but she ended up being a lovely performer & versatile actress. Most of Tom Daily’s stage time was spent playing a drunk, which he did convincingly. He had a wonderfully expressive face & fluid physical flexibility that added to his ability as a skilled actor. As the production’s accompanist (and musical director), Rhapsody Snyder created a strong backbone for the entire production.

The production was genuinely funny: it’s humor was original while incorporating the necessary mocks & digs towards the original sitcom. I am glad they didn’t wholly rely on relaying show’s original jokes or overplay the cheesiness. I was surprised, however, that there weren’t any jokes about the original cast members (especially Jodie Sweetin), but overall the production was energetic, innovative, engaging, & definitely worth the trek to Blue Line Country. 

* EXTENDED UNTIL JULY! *  Saturdays @ 7:30 * 


*UPDATE* ATTEND THE TALE OF DANNY TANNER: A FULL HOUSE MUSICAL has been extended yet again! 
It will perform TUESDAYS at 7:30pm, August 14 & 21, & September 4-25.
Tickets are $15 @ www.gorillatango.com or             773-598-4549       for tickets and more info.