Into The Woods: The Movie!

I guess Into the Woods really is going to be a movie! The intention to adapt Into the Woods was announced in January of this year with Rob Marshall directing & the screenplay being adapted by the original book writer James Lapine. Don't get too excited, though because the production can't even start until Rob Marshall finishes filming The Thin Man [starring Johnny Depp], but there was a table read on Oct. 1 & this potential cast has potential. 

THE FULL CAST ROSTER:

Nina Arianda: The Baker's Wife
Christine Baranski: Stepmother 

Tammy Blanchard: Florinda 

Victoria Clark:  Cinderella’s Mother & Giant 

James Corden: The Baker

 David Garrison: The Narrator 

Ivan Hernandez: Wolf 

Megan Hilty: Lucinda 

Cheyenne Jackson: Rapunzel’s Prince 

Allison Janney: Jack’s Mother 

Anna Kendrick: Cinderella 

Michael McGrath: Steward/Baker’s Father 

Donna Murphy: The Witch 

Laura Osnes: Rapunzel 

Taylor Trensch: Jack 

 Casey Whyland: Little Red Riding Hood 

Patrick Wilson: Cinderella's Prince

MY THOUGHTS:

The Princesses & GirlFriends:

Christine Baranaski is obviously perfect as Cinderella's Stepmother. As Cinderella's Mother/Giant, Victoria Clark is a fine fit; she is a true-blue Broadway all-star [though, not my favorite leading lady] & well-cast in this role. Speaking of Broadway true-blues, I love Megan Hilty & was happy to see her cast as Cinderella's stepsister Lucinda. She has exhibited that sassiness that is necessary for a stepsister on SMASH & WICKED. I do wish she had been given a more prominent role; she would have been a great vocal fit for Rapunzel, but I was excited to see Laura Osnes' name on the roster. She was on NBC's reality show You're The One That I Want & won the role of Sandy on Grease on Broadway; she went on to play Hope in Anything Goes & Bonnie Park in Bonnie & Clyde (for which she received a 2012 Tony nomination for Best Lead Actress in a Musical). She also attended the same church as me in NYC [C3 Church: Manhattan] & is a sweet, mid-west girl who deserves all the success in the world. I could actually see her better fit as Cinderella than Rapunzel, but maybe she was a little unknown for the more prominent role. Casting Anna Kendrick as Cinderella seemed a little random to me until I found out she was the second-youngest Featured Actress Tony nominee for her role Dinah in High Society & workshopped Jane Eyre: The Musical. Physically, she is kind of perfect for the role, so this is a pretty awesome, out-of-the-box casting choice, IMO. 

The Baker & The Baker's Wife:

I was not familiar with the actors playing The Baker [James Corden] & The Baker's Wife [Nina Arianda]. After a little research, I am down with both choices. Corden is an accomplished actor from the U.K. who won the 2012 Best Leading Actor Tony for One Man, Two Guvnors & looks like Cam from Modern Family. Arianda is equally accomplished in film & stage:  she appeared in Midnight in Paris & is a Tony princess, having won the 2012 Tony for Best Leading Actress in a Play (Venus in Fur) & been nominated for a Best Leading Actress Tony in 2011 (Born Yesterday). But what won me over about this lady? She has been cast as Janis Joplin in the upcoming biopic (beating out everyone from Pink to Zooey Deschanel). 

The Princes/Wolf/Narrator + Little Red:

Patrick Wilson is an obvious & awesome choice for Cinderella's Prince; he has the stage & stage/street cred to carry the role, which makes me wonder why they altered the role to give the role less stage. In the stage version, there are two instances of double-casting roles: Cinderella's Prince/The Wolf & The Narrator/The Mysterious Man [who is implied/revealed to be be The Baker's Father as Act Two draws to a close]. The Mysterious Man does not exist in this adaptation; he has been renamed The Baker's Father & is double-cast with the Steward (played by Michael McGrath). I really don't get this decision & hope the thought-process behind it becomes apparent in the film's re-worked script. This shift in character definition leaves The Narrator (played by Law & Order alum David Garrison) in a more simply-defined role; his interaction with the characters will be minimized, hopefully for the purpose of presenting the story in a more narrative manner (I'm thinking Princess Bride-style). Otherwise, I liked the character combinations from the original production & oppose alterations to perfection. Casey Whyland is playing Little Red & I know nothing about her except that she played the token pudgy ballerina in Billy Elliot on Broadway. That alone is not enough for me. Personally, I find my DreamCast's choice of Madeleine Martin much more fitting. We know the girl can sing & she holds a wider-spread appeal than an unknown Broadway chorus girl (it hurts me to write that, but it's true).  

OUR WITCH:

So, Donna Murphy read for The Witch. I LOVE THIS. She is such an elegant lady, but proved in Passion that she can pull off the ugly just as well. Apparently, she was serving as a place-holder because Meryl Streep is actually going to play The Witch. While I have no doubt she can & will act like a champion, I have little confidence in her singing capabilities after seeing her in Mamma Mia. Maybe her name will sell more tickets, but I don't know if it will produce a higher quality film. Either way, this film has the makings of something great & I would appreciate it if Mr. Marshall started production ASAP. 

Metamorphoses @ Lookingglass *updated*

 

Tony Awards: Best Direction of a Play

Drama Desk Awards: Outstanding Play, Director, Lighting Design & Music

Drama League Awards: Outstanding New Broadway Play

Outer Critics Circle Awards: Outstanding Director of a Play

Lucille Lortel Awards: Outstanding Play

Time Magazine: Best Play of the Year (2001-2002)

METAMORPHOSES IS JUST GREAT. I had seen two productions prior to this legendary Lookingglass experience: a surprisingly decent 2007 production at the Artists Repertory Theatre in Portland, Oregon & an impressively noble 2010 community-theatre attempt @ The York Little Theatre in York, PA. Both were quality productions, but neither held a candle to this somewhat historic theatre experience. Mary Zimmerman is a professor at Northwestern & Lookingglass ensemble member. In 1998, Lookingglass opened their season with Metamorphoses.  It received critical acclaim & the production traveled to Berkeley Repertory Theatre & Seattle Repertory Theatre. In the fall of 2001, Metamorphoses opened Off-Broadway at Second Stage Theatre. It’s rave reviews & new commercial investors allowed the show to move to Broadway (Circle in the Square Theatre) in March 2002, where it ran for almost a year. It has been 14 years since Metamorphoses debuted at Lookingglass; I can think of no better way to start their 25th season than with this awesome & exciting production. 

ZIMMERMAN'S SCRIPT thematically centers on change & the cost, challenges, & unforeseen outcomes that can come from achieving one’s goals. This script defines timelessness by incorporating Ovid’s stories from 8 A.D. with morals & applications that equally apply to the audiences of yesterday, today, & tomorrow. Some things never change & the crazy challenge of conquering a huge life-change seems to be one of them. Zimmerman got it right when she said: "Change felt so soul destroying and…I was so frightened of what was going to come. And I sort of couldn’t stand the state I was in; I wanted to be through with it…through the moment of metamorphosis [which] is so excruciating, but then it can produce something new." 

THE CAST: If I had to pick one word to describe the cast it would be strong. They exhibited the confidence to boldly tell these bold tales, the flexibility & physical strength demanded by the stories, the ability to maintain consistency in performing different roles, and a clearly-grounded, thoughtful understanding of the text. Raymond Fox is a versatile actor whose charming nature infused every role; whether he was bumbling, obsessing, or rowing in the background, his presence onstage was always a highlight. Anne Fogarty provided solid, subtle, feminine presence who seamlessly interacted with the rest of her cast.  Anjali Bhimani also provided a necessary feminine presence as the actress who undertook the most youthful roles; she had an ageless beauty & astounding physical strength. One of my favorite moments in the show was her spastic, haunting portrayal of Hunger (picture Samara from the Ring). Lawrence E. DiTasi & Louise Lamson both stood out with languid physicality & striking stage presence. As Alcyon, the widow who turns into a bird, she was elegant & lovely while still portraying the impassioned waiting widow. Lauren Orkus was effervescent, so pretty, & had loveliest lilt in delivering her lines. I also loved Marilyn Dodds Frank’s distinct, gravelly voice, Chris Kipiniak’s seasoned performance quality, Usman Ally’s intensity, & Doug Hara’s fun, post-modern energy.  This cast worked as a strong unit while still maintaining their individuality. The rich history of this play & its’ performers & production staff partly factor into these high-quality performances.  In an interview with Lookingglass Literary Manager Marti Lyons, Zimmerman said: “…because I have so many of the same people returning and because all actors, if they were ever good, get better with age, I’m really looking forward to the deepened experience, connection & ability, and to see how the performances change under the weight of all these years. It’s one thing to see a bunch of kids doing these myths, ti’s another thing to see 45 year-olds do it - it has a gravitas to it - and almost a strangeness - that I’m looking forward to. The show is sort of a touchstone in our lives. Three cast members have been off and on since they were 21 or 22 years old and 3 marriages among various cast members came out of this show: Raymond Fox & Anne Fogarty, Phil Smith & Louise Lamson, and Erik Lochtefeld & Laura Eason. Out of these marriages, there are 4 children.”  

[Marilyn Dodds Frank, Raymond Fox, Anne Fogarty, Anjali Bhimani, Lawrence E. DiStasi, 
Louise Lamson, Lauren Orkus, Usman Ally, Doug Hara, Chris Kipiniak]

THE COSTUME DESIGN [crafted by Mara Blumenfeld] was pretty much pitch-perfect. Her design concept incorporated the necessary & sufficient sense of continuity while still making the costumes distinct to their respective story. The common threads threading the costume design together were innovative silhouettes, bright & brilliant colors, and clever attention to details. It did seem like there was more attention spent on the women’s costumes than the men’s (especially in the fabric choices). This had to be especially difficult production to costume considering these costumes had to be strikingly gorgeous, timeless & contemporary, and work well/look good while still wet [talk about an awesome Project Runway challenge]. 

Some highlights: Orpheus’ classy & contemporary conductor tails, the wiry alphabet constellation cap atop Morpheus/The God of Dream’s head, Hunger’s creepy pantyhose cap,  a skirt lined with Christmas lights, Euridyce’s perfect wedding dress with a simple grey shear beauty pageant sash, the consistent incorporation of men in stylized, high-waisted, belted skirts, and [my personal favorite] Alcyon’s gorgeous seafom, lace-enlayed, empire-waisted dress.

THE SET was stunning & simple; scenic designer Daniel Ostling presented concise design, pristine imagery, & calm background for the chaotic action it housed. He also had a peculiar challenge in this project considering the set is a pool. It consisted of a central pool with the audience sitting on three sides, a runway around the perimeter & a stationary double-floored back-wall anchoring the action. The pool sort of became a character itself & served as a chameleon background for the different stories: we had women washing in the river, men rowing in the ocean, a millionaire lounging on a floatie backyard, fierce fighting in the angry ocean (complete with tiny boats), the shore for a widow to wander, etc. I also think there is a weird little sense of interesting irony in this particular set seeing as they built a pool in a theatre that is housed water-pumping station. The literal/structural contrasts behind history, coincidence, & interpretation provided a cool mirroring effect of the message of the play itself.

Happy Birthday, Christian Borle!

My first encounter with Christian Borle was on the soundtrack to Legally Blonde: The Musical (which is actually a kinda awesome musical). MTV recorded the musical in October 2007 (and reran it constantly), so, although I didn't actually see him in Legally Blonde, I feel confident & competent enough to say he was a perfect Emmett. Thoroughly Modern Millie holds a special place in my heart (the movie more than the musical) and I can completely see him playing Jimmy; the same goes for him playing Bert in Mary Poppins. My favorite of his roles has been Tom on SMASH. He's dapper, likable, complicated, & a clearly authentic casting choice. The man deserves a happy birthday. His theatre/street cred: 

• Jimmy in Thoroughly Modern Millie (2003). Sutton Foster played the title role; the two had met in college & married in September 2006 [separated in 2010 :( ]
• Prince Herbert, the Historian, etc. in Monty Python's Spamalot (2005) which earned him a Drama Desk Award nomination as Outstanding Featured Actor in a Musical & a Broadway.com Audience Award as Favorite Featured Actor in a Musical. 
• Originated the role of Emmett Forrest in Legally Blonde (2007) & recieved a Tony nomination for  Best Featured Actor in a Musical. 
• Bert in the Broadway production of Mary Poppins (2009-2010) 
• Prior Walter in Angels in America in Signature Theatre Company's 20th anniversary production (2010/2011) [P.S. Signature is one of my favorite regional theatres ever]
• Captain Hook in Peter & the Starcatcher (2012) & winner Tony Award for Best Actor in a Featured Role.
• Tom on NBC's SMASH, otherwise known as my favorite show ever since LOST. 

an A.R.T. List.

I have never done a blog link-up. But I recently stumbled upon one with a prompt broad enough that I decided to give it a try. The idea was list of your opinions & soap-boxing is a favorite hobby of mine. So, here we have it: MY  RANDOM THEATRE OPINIONS: 

Theatre reality shows like You're the One That I Want & Legally Blonde ruled & I want more. 

Regarding Spiderman: The Musical's lawsuit: I love Bono, but I’m on Team Taymor. 
I will forever love The Office & forever resent how they ruined the great art of second-acting. 

The Lion King won the 2008 Tony Award for Best New Musical. It should have been Ragtime. 

The written words of C.S. Lewis belong onstage. 
Titus Andronicus is Shakespeare’s best work.
There was no Shakespeare. Team DaVere all the way. 

Anything that premiered at The National Theatre is good as gold. 
Anne Hathaway was the worst casting choice for the Les Mis movie. Ever.
Regarding Les Mis: Fantine is blond. Cosette is blond. Eponine is brunette.  DONE. 

Colm Wilkinson IS Jean ValJean & Philip Quast IS Javert. None will ever compare. 

Disney’s influence on Broadway has done more harm than good. 

Lea Salonga is best fit as a Disney songstress. 

I like flying actors trend. 
Carousel is Rodgers & Hammerstein‘s best musical.

GREASE SUCKS.
The thought of Rosie O’Donnell as Rizzo makes me want to cry. 

Ballet is boring. 

Improv is awkward.  

LOST is the best TV show ever. 
August Wilson is overrated. 
Rebecca Luker is an overrated ice queen with a pretty voice. 

Patti LuPone is the most overrated. 
Maybe Sarah Brightman is overrated, but I love her. 
History re-enactors are terrifying. 

Cameron Mackintosh should be President. 

Barnum should be revived. 

Some of the songs in CATS are pretty catchy.

PARADE would have had a longer/more deserving run if it had not premiered at the Lincoln Center.

Thoroughly Modern Millie the Movie was amazing & tainted by the musical by the same name. 

Most of the actresses who have had the leads in Chicago on Broadway seem bunk.

4-person plays (which I have dubbed Quadrangles) are generally awesome. 

Donmar Warehouse rules. 

Abba Mania > Mamma Mia. 

Shows should be 10 years old before being revived. 

Broadway is too catered towards children & the Mousification of Broadway must be stopped. 

National tours will never compare to Broadway shows or their pre-Broadway run.  

SMASH rules. 

InterView Theatre (a la Anna Deavere Smith) rules. 

The use of projections has brought about a new era of set design. 

I wish there were more plays on Broadway. It used to be 50/50. 

BAT BOY Is amazing & should be produced more frequently by regional theatres. 

Today’s Broadway is nothing compared to the Broadway of my youth.

I love Theatre of Cruelty.

I prefer a suspended band (Cabaret) to the traditional orchestra pit. 

Being a theatre critic is the noblest profession ever.

PostSecret: The Play!

What You Need To Know About PostSecret: 

+ PostSecret is an ongoing community art project where people mail in their secrets anonymously on one side of a homemade postcard to the home of Frank Warren, creator & curator of PostSecret. The blog, which debuted on Jan. 1, 2005, features new sets of secrets posted every Sunday. It's had over half a billion hits, 1.1 million FaceBook followers, & is the world's biggest ad-free blog. 

+ Yes, the secrets are sent to HIS ACTUAL HOME (PostSecret/ 13345 Copper Ridge Road/ Germantown, MD 20874). That fact alone proves his investment in this project, but he has consistently proven an honorable intention in the efforts & results of the creation of this  community-based collage. On August 24, 2012, Frank posted this comment on PostSecret's Facebook page: "A producer for Dr. Phil and another for the new Jeff Probst talk show called me this week. Neither invitation was right for PostSecret so I had to say no." He has always treated this project with commitment & integrity, and I give him mad props for both the initiation & execution of this project. Speaking of Frank's awesome efforts & influence, Frank teamed up with 1-800-suicide in 2008 in an effort to address anonymous cries for help being called into peer-run crisis-hotlines on college campuses.

+ There have been five books of secrets released that have climbed the NY Times Best Sellers List. My parents took me to a book signing in Philadelphia when My Secret was released. It was a great event & Frank was a warm, engaging, & insightful speaker. Besides speaking at PostSecret events, Frank has had speaking engagements at colleges all over the country. There have also been several touring art exhibitions featuring the actual post cards (including one at Baltimore's American Visionary Museum [one of my favorites ever] as well as NYC's more impressive Museum of Modern Art). 

+ There USED to be an iPhone App. It debuted Sept. 3, 2011 & was shut down on December 28th. It was the only App I have ever actually purchased & it RULED. I was not the only one who thought since the volunteer moderators were unable to keep with with the 2 million+ submissions (many of which were abusive, threatening, & nasty). Frank received threats & was contacted by users, Apple, law enforcement, & the FBI. There was an official notice on the PostSecret website on Jan. 1, 2012 that said the App would not be returning "due to its inherent inability to solve the problem of abusive submissions." 

R.I.P. PostSecret App. I miss you every day.

NOW THERE IS A POSTSECRET PLAY! 

+ This is even more exciting than the Dar Williams musical! The concept behind the play reminds me of my favorite plays, Fires in the Mirror by Anna Deavere Smith, which was constructed through the compilation of interviews. The honesty, approach-ability, & raw beauty of this script-writing technique (which I have personally/privately dubbed "InterView Theatre") is one that I adore. This new work by TJ Dawe & Kahlil Ashanti is going to be a multi-media theatrical event that incorporates new postcards & the ripple effects from past postcards. According to Frank Warren, "We're bringing together a lot of elements that I'm really excited about. Dozens of post cards that have never been seen before, email responses, connections people have made, really the voices of the PostSecret community that haven't had a chance to be fully shared & we're bringing them together on the stage so that we can act things out...we can use lighting, shadow, video...

it's gonna be pretty amazing."

The Performances:

Performance Works @ Vancouver International Fringe Festival:  Sept. 22-23 

Round House Theatre in Bethesda, MD: Oct. 5 (sold out) 

Temple Theatre in Saginaw, MI: Oct. 18

Cincinnati Playhouse in the Park in Cincinnati, OH: Oct. 22 (sold out)

A few more of my favorite secrets...