The sumptuous darkness of Tim Burton's Sweeney Todd arrived on DVD last week. It's a pleasure to report that the film as transferred remarkably well to small screen, and in fact, in its DVD incarnation, I found it was easier to savor many of the smaller details of the movie while watching the DVD: most notably Johnny Depp's simultaneous romantic and demented interpretation of "My Friends" – Sweeney's lyrical paean to his razors. Depp's performance here is enhanced remarkably by Dariusz Wolski's swirling cinematography, which allows us to see Sweeney's reflection in his "choppers" as Mrs. Lovett calls them.
On disc, what I found interesting too, was the way in which the claustrophobic atmosphere of Victorian London –created by the Academy Award-winning team of Dante Ferretti (art direction) – seems to be increased exponentially. The black and white visuals – with traces of red – simply seem terrifically – and appropriately – oppressive. Given this, the film's the trio of Technicolor sequences – two early in the film when it flashes back to Sweeney's "happier" days with his wife and infant daughter and one late when Mrs. Lovett imagines her life with Sweeney by the sea – are not only visual reliefs, but eye-popping ones a well. It's a little like being taken out of a dark basement and into bright sunlight.
"Sweeney" has been released as both a single disc and a deluxe two-disc "Special Edition." A quick check of "street prices" online reveals that there's only about a $6.00 or $7.00 difference between the two, so I'd have to say that the double disc is probably the better bet, given some of the special features that are included on the second disc.
As with many bonus features on DVDs these days, several of the sequences are little more than extended press junket footage – interviews with the cast and creatives. There's interesting material here, but it does become repetitive as you surf between the features. What makes the bonus features truly interesting – for those familiar with the musical and those new to it alike – are the mini-documentaries that have been released alongside the movie. One focuses on the real history of "Sweeney Todd", Another one explores the theatrical tradition of "Grand Guignol" and a third investigates the realities of "Sweeney's London."
I also found myself captivated by a fourth segment here – the mysteriously titled "The Razor's Refrain" – a kind of medley from the soundtrack that is synched sublimely with still images from the movie.
All in all, this one is a delight – albeit a gory and chilling one.
QUICK LINK: http://www.sweeneytoddmovie.com/
Showing posts with label musicals. Show all posts
Showing posts with label musicals. Show all posts
Monday, April 7, 2008
Monday, March 17, 2008
Miscellany: Hudson in 'Songs', Yoba in 'Lesson', A Hip-Hop-Anime Pippin, Scott's "Worship Me' Video, NYC Extensions
Culled from various releases
Jennifer Hudson, the Oscar ® winning musical star of the hit motion picture “Dreamgirls,” has been confirmed to topline the cast of Songs For A New World. Hudson will be appearing in this song cycle from Jason Robert Brown at Edgemar Center for the Arts in Santa Monica from April 18 through May 24.
Malik Yoba, best known for his roles in Cool Runnings, Fox's television series New York Undercover, and most recently in Tyler Perry's film Why Did I Get Married?, is set to star as Boy Willie in August Wilson's The Piano Lesson, playing April 9-27,2008 at the Delaware Theatre Company.
East West Players in Los Angeles is describing their production of Pippin as being an "anime/hip hop revival of the Tony Award winning musical." The show, directed by Tim Dang, will feature choreography by Blythe Matsui, and Hip-Hop choreography by "consultant" Jason Tyler Chong. The production runs May 8 - June 8.
Sherie Rene Scott, a self-proclaimed “Broadway semi-star” and “one time Tony Award® loser,” recently allowed a camera into her dressing room to share a little insight into You May Now Worship Me, her one night only benefit for the Phyllis Newman's Women's Health Initiative at the Actors Fun on Monday, March 31 at 8 PM at The Eugene O’Neill Theatre. You can find the promotional video Scott has created at: http://www.bcefa.org/media/WORSHIPMEvideo/WorshipMeVideo.cfm
There are now two more chances for folks to catch Sarah Ruhl's Dead Man's Cell Phone at Playwrights Horizons in New York. The show will now close on March 29 - and the two additional performances are both on that final March Saturday. Also extended: Jez Butterworth's Parlour Song at the Atlantic Theater Company. This dark look at the interconnected lives of three neighbors will now run through April 6.
QUICK LINKS:
Edgemar Center for the Arts: http://www.edgemarcenter.org/
Delaware Theatre Company: http://www.delawaretheatre.org/
Playwrights Horizons: http://www.playwrightshorizons.org/
Atlantic Theater Company: http://www.atlantictheater.com/
East West Players: http://www.eastwestplayers.org/
Jennifer Hudson, the Oscar ® winning musical star of the hit motion picture “Dreamgirls,” has been confirmed to topline the cast of Songs For A New World. Hudson will be appearing in this song cycle from Jason Robert Brown at Edgemar Center for the Arts in Santa Monica from April 18 through May 24.
Malik Yoba, best known for his roles in Cool Runnings, Fox's television series New York Undercover, and most recently in Tyler Perry's film Why Did I Get Married?, is set to star as Boy Willie in August Wilson's The Piano Lesson, playing April 9-27,2008 at the Delaware Theatre Company.
East West Players in Los Angeles is describing their production of Pippin as being an "anime/hip hop revival of the Tony Award winning musical." The show, directed by Tim Dang, will feature choreography by Blythe Matsui, and Hip-Hop choreography by "consultant" Jason Tyler Chong. The production runs May 8 - June 8.
Sherie Rene Scott, a self-proclaimed “Broadway semi-star” and “one time Tony Award® loser,” recently allowed a camera into her dressing room to share a little insight into You May Now Worship Me, her one night only benefit for the Phyllis Newman's Women's Health Initiative at the Actors Fun on Monday, March 31 at 8 PM at The Eugene O’Neill Theatre. You can find the promotional video Scott has created at: http://www.bcefa.org/media/WORSHIPMEvideo/WorshipMeVideo.cfm
There are now two more chances for folks to catch Sarah Ruhl's Dead Man's Cell Phone at Playwrights Horizons in New York. The show will now close on March 29 - and the two additional performances are both on that final March Saturday. Also extended: Jez Butterworth's Parlour Song at the Atlantic Theater Company. This dark look at the interconnected lives of three neighbors will now run through April 6.
QUICK LINKS:
Edgemar Center for the Arts: http://www.edgemarcenter.org/
Delaware Theatre Company: http://www.delawaretheatre.org/
Playwrights Horizons: http://www.playwrightshorizons.org/
Atlantic Theater Company: http://www.atlantictheater.com/
East West Players: http://www.eastwestplayers.org/
Tuesday, March 11, 2008
News Roundup - Musicals Around the Country
A bunch of articles about musicals have caught my eye in the past 12 hours or so, so I figured let me distill them all into one handy blog entry.
First off, in Minnesota, the Minneapolis Star-Tribune and the St. Paul Pioneer Press have both weighed in on the Minneapolis Musical Theatre's production of Summer of '42. Somehow, I've managed to miss this one in production, but have always been charmed by the recording of it (from Jay Records). Sounds like the production in the Twin Cities is a real delight.
Secondly in California, there's a production of "Olympus on My Mind" - Barry Harman and Grant Sturiale's 1986 off-Broadway musical that's based on Kleist's 1807 retelling of the Amphityron myth. This is a bit of an odd-ball rarity and might be worth looking into.
So that's a couple of productions, now for some news about shows in development/workshop. In the Miami Herald, Christine Dolen's reporting on a largish workshop of a new musical called Fool's Paradise. It's a show written by Jim Camacho, a fixture apparently in South Florida's rock indie scene. Alongside the article there are a couple of audio clips to listen to.
Over in Texas, there's word in the Houston Chronicle, that Larry Dierker, former Houston Astros pitcher and manager, has penned a musical with composer Paul English, and their show, Old Stories, is getting a couple of workshop performances at Stages Rep in Houston.
Finally, yesterday in Playbill, there were reports of two shows that have set their sights on Broadway - Angels, which is casting for a August – September run in Louisiana, and Ntozake Shange's "For Colored Girls...," which has posted a casting notice for a production scheduled to open on Broadway in early August.
QUICK LINKS:
Minneapolis Musical Theatre: http://www.aboutmmt.org/
Onstage Theatre: http://www.onstagetheatre.org/
Stages Repertory Theatre: http://www.stagestheatre.com/
First off, in Minnesota, the Minneapolis Star-Tribune and the St. Paul Pioneer Press have both weighed in on the Minneapolis Musical Theatre's production of Summer of '42. Somehow, I've managed to miss this one in production, but have always been charmed by the recording of it (from Jay Records). Sounds like the production in the Twin Cities is a real delight.
Secondly in California, there's a production of "Olympus on My Mind" - Barry Harman and Grant Sturiale's 1986 off-Broadway musical that's based on Kleist's 1807 retelling of the Amphityron myth. This is a bit of an odd-ball rarity and might be worth looking into.
So that's a couple of productions, now for some news about shows in development/workshop. In the Miami Herald, Christine Dolen's reporting on a largish workshop of a new musical called Fool's Paradise. It's a show written by Jim Camacho, a fixture apparently in South Florida's rock indie scene. Alongside the article there are a couple of audio clips to listen to.
Over in Texas, there's word in the Houston Chronicle, that Larry Dierker, former Houston Astros pitcher and manager, has penned a musical with composer Paul English, and their show, Old Stories, is getting a couple of workshop performances at Stages Rep in Houston.
Finally, yesterday in Playbill, there were reports of two shows that have set their sights on Broadway - Angels, which is casting for a August – September run in Louisiana, and Ntozake Shange's "For Colored Girls...," which has posted a casting notice for a production scheduled to open on Broadway in early August.
QUICK LINKS:
Minneapolis Musical Theatre: http://www.aboutmmt.org/
Onstage Theatre: http://www.onstagetheatre.org/
Stages Repertory Theatre: http://www.stagestheatre.com/
Friday, March 7, 2008
Fighting the Smoking Ban in MN, and More News of the Day
Blog entries have been scarce this week – I know. Lots of reviews and a couple of pieces for Back Stage - one on April Yvette Thompson and Liberty City and one on Joanne Camp and Ghosts, the 50th production that the Obie-award winning and Tony and Drama Desk nominated actress has done with the company.
I figured rather than letting the blog be silent while I work on my review for In the Heights and finish up listening to a couple of things that I need to review, I'll point you toward a few interesting articles from this morning's News Clippings on ATW.
First off, in USA Today, there's an article about a theater in Minnesota that's trying to get round the state's smoking ban. You'll find it at www.usatoday.com – direct link.
In Paul Hodgins' blog for the Orange County Register, there's an interview with Richard Maltby, Jr., who's hard at work on the musical version of the movie Mask at the Pasadena Playhouse. This one's at Orange County Register – direct link.
Similarly, there's an interview with composer/lyricist Jerry Herman in The Houston Chronicle, coinciding with the last few performances of Hello, Dolly! with Leslie Uggams at Theatre Under the Stars. You'll find this article at Houston Chronicle – direct link.
Finally, bunch of articles about things here in New York. Roundabout Theatre Company's plans to produce a revival of Pal Joey this fall and news of Lincoln Center Theater's new theater space. Of course, there have been plenty of reviews of the revival of Cat on a Hot Tin Roof, which opened last night on Broadway. You'll find the "scrapbook" of reviews on ATW at ATW News Digest
Have a great weekend.
QUICK LINKS:
Pasadena Playhouse: http://www.pasadenaplayhouse.org/
Theatre Under the Stars: http://www.tuts.com/
Roundabout Theatre Company: http://www.roundabouttheatre.org/
Lincoln Center Theatre: http://www.lct.org
Cat on a Hot Tin Roof website: http://www.cat2008onbroadway.com/
I figured rather than letting the blog be silent while I work on my review for In the Heights and finish up listening to a couple of things that I need to review, I'll point you toward a few interesting articles from this morning's News Clippings on ATW.
First off, in USA Today, there's an article about a theater in Minnesota that's trying to get round the state's smoking ban. You'll find it at www.usatoday.com – direct link.
In Paul Hodgins' blog for the Orange County Register, there's an interview with Richard Maltby, Jr., who's hard at work on the musical version of the movie Mask at the Pasadena Playhouse. This one's at Orange County Register – direct link.
Similarly, there's an interview with composer/lyricist Jerry Herman in The Houston Chronicle, coinciding with the last few performances of Hello, Dolly! with Leslie Uggams at Theatre Under the Stars. You'll find this article at Houston Chronicle – direct link.
Finally, bunch of articles about things here in New York. Roundabout Theatre Company's plans to produce a revival of Pal Joey this fall and news of Lincoln Center Theater's new theater space. Of course, there have been plenty of reviews of the revival of Cat on a Hot Tin Roof, which opened last night on Broadway. You'll find the "scrapbook" of reviews on ATW at ATW News Digest
Have a great weekend.
QUICK LINKS:
Pasadena Playhouse: http://www.pasadenaplayhouse.org/
Theatre Under the Stars: http://www.tuts.com/
Roundabout Theatre Company: http://www.roundabouttheatre.org/
Lincoln Center Theatre: http://www.lct.org
Cat on a Hot Tin Roof website: http://www.cat2008onbroadway.com/
Thursday, February 21, 2008
Rarities Coming to the NY Stage - 'White House Cantata' and 3 by Grossman
Late yesterday, there were announcements about how you can catch a handful of musical rarities here in New York over the next few months. First off, the Collegiate Chorale, led by Music Director Robert Bass, will present the New York premiere of Leonard Bernstein’s and Alan Jay Lerner’s A White House Cantata, March 31st at 8 p.m. at Jazz at Lincoln Center’s Rose Theater. The performance will be conducted by The Collegiate Chorale’s Music Director Robert Bass, with the Orchestra of St. Luke’s.
Now then, for clarity's sake, here's some of the information from the press release about "Cantata":
Also, the York Theatre Company announced the shows that they'll be presenting as part of their next Musicals in Mufti series. The company, in June and July, will be presenting three musicals with books by Larry Grossman: Minnie's Boys (May 30-June 1), which tells the story of the Marx Brothers; Grind (June 13-15), about a Chicago burlesque house, and Goodtime Charley (June 27-29), focusing on Joan of Arc and King Charles VII.
QUICK LINKS:
Collegiate Chorale: www.collegiatechorale.org
York Theatre Company: www.yorktheatre.org
Now then, for clarity's sake, here's some of the information from the press release about "Cantata":
Leonard Bernstein’s A White House Cantata is fashioned from the historically controversial and short-lived Broadway musical 1600 Pennsylvania Avenue, which he wrote in collaboration with lyricist Alan Jay Lerner. The latter premiered at the Mark Hellinger Theater in New York in 1976 and closed after its first week. The Estate of Leonard Bernstein later decided to adapt the musical into a concert piece. Kent Nagano conducted the Cantata’s 1997 premiere in London with the London Symphony Orchestra and the London Voices, and it was the same group that recorded the work for the Deutsche Gramophone label. Ninety minutes of the original two hours of music have been incorporated into the work.---------------------
The Cantata depicts the absurdity of period social hierarchies within the first 100 years of the United States’ executive mansion using 11 presidents, selected first ladies, and three generations of black servants while illustrating the exclusivity of the American dream amongst the white privileged class. Scenes explore issues such as Thomas Jefferson’s then-alleged affair with a black maid, James Monroe’s refusal to halt slavery in Washington, and Andrew Johnson’s impeachment, in an engaging and often witty way. Jamie Bernstein recalled, “My dad and Lerner both agreed…, that the issue of race is at the core of the American historical experience…It’s the heartache and unresolved trouble that we carry with us to this day.” She continued, “the piece was ahead of its time. They [Lerner and Bernstein] were hoping to challenge people... They were definitely pushing the envelope.”
Roger Rees returns to The Chorale as Stage Director for this semi-staged performance, which features the sopranos Anita Johnson and Emily Pulley, in the roles of Seena and the First Lady, respectively, tenor Robert Mack as Lud, and baritone Dwayne Croft as the President, as well as the Orchestra of St. Luke’s. 2008 marks the 90th birthdays of Alan Jay Lerner and Leonard Bernstein. The Collegiate Chorale is presenting the evening in honor of Bernstein’s 90th birthday.
Subscriptions and single tickets may be purchased by calling The Collegiate Chorale at (646) 792-2373 or by visiting www.collegiatechorale.org.
Also, the York Theatre Company announced the shows that they'll be presenting as part of their next Musicals in Mufti series. The company, in June and July, will be presenting three musicals with books by Larry Grossman: Minnie's Boys (May 30-June 1), which tells the story of the Marx Brothers; Grind (June 13-15), about a Chicago burlesque house, and Goodtime Charley (June 27-29), focusing on Joan of Arc and King Charles VII.
QUICK LINKS:
Collegiate Chorale: www.collegiatechorale.org
York Theatre Company: www.yorktheatre.org
Monday, February 18, 2008
A Birthday Event (and CD) for a Special Cause
Brian Gari, the composer/lyricist of Late Nite Comic, will celebrate his birthday today with an evening of song at "Don't Tel Mama." Gari will be joined by Liz Larsen (Tony nominee for The Most Happy Fella) and there's a low cover for this annual event – it's just $5.00 with a 2 drink minimum. I'm imagining that you'll hear some selections from "Late Nite" should you drop by Don't Tell Mama….he's just released a new recording of the now-infamous show – one that features Larry Hochman's original orchestrations.
I've not had a chance to take a listen to the new "Late Nite" – which has been released to coincide with the show's 20th anniversary, but the disc (which Gari's produced) features some pretty incredible talent including: Liz Callaway, Brian D'Arcy James, Larsen, Howard McGillin, Julia Murney, Mary Testa, Karen Ziemba and Chip Zien. The 20th Anniversary recording of Gari's musical is another way Gari is working to raise money for the Actors Fund. All proceeds from sales of the disc (from Original Cast Records) will go to benefit this worthy organization.
Expect a review of "Late Nite" later this week or early next….tomorrow, some news about some Broadway rarities on CD.
Andy
Quick links:
Actors Fund: http://www.actorsfund.org/
Don't Tell Mama: http://www.donttellmama.com/
Original Cast Records: http://www.originalcastrecords.com/
I've not had a chance to take a listen to the new "Late Nite" – which has been released to coincide with the show's 20th anniversary, but the disc (which Gari's produced) features some pretty incredible talent including: Liz Callaway, Brian D'Arcy James, Larsen, Howard McGillin, Julia Murney, Mary Testa, Karen Ziemba and Chip Zien. The 20th Anniversary recording of Gari's musical is another way Gari is working to raise money for the Actors Fund. All proceeds from sales of the disc (from Original Cast Records) will go to benefit this worthy organization.
Expect a review of "Late Nite" later this week or early next….tomorrow, some news about some Broadway rarities on CD.
Andy
Quick links:
Actors Fund: http://www.actorsfund.org/
Don't Tell Mama: http://www.donttellmama.com/
Original Cast Records: http://www.originalcastrecords.com/
Friday, February 15, 2008
Friday Miscellany - Mainly NYTW's New Series
So, two days without entries here. What gives you might ask? Well, with a partner who's not completely laid up, but bad enough to require a drive to the office every morning, and two shows on Wednesday, time just sort of flies. You can find the reviews of those shows, Crimes of the Heart and The Jazz Age on ATW and TheaterMania, respectively. (Also, there are quick links below.)
Today, I hope to get round to finally writing about The Slug-Bearers of Kayrol Island - a musical that's just opened at the Vineyard Theatre, and that's now been extended for a couple of weeks through March 2. I had a pretty complex reaction to this musical and with time constraints, I've just not gotten there. The other theatergoing of the week has been Catherine Filoux's Killing the Boss, which is reviewed in Back Stage.
Looking ahead, it's quite the musical weekend ….tonight's The Blue Flower, tomorrow's "Sunday in the Park…" and Sunday's Talking Band's Imminence at La MaMa. (Expect a review of the latter in "The Voice," the others will appear on the site.
In terms of other things, I will get to catch up to Patrick Stewart's Macbeth next week and I'm at work on a feature on New York Theatre Workshop's Liberty City for Back Stage.
And speaking of NYTW – I was thrilled yesterday to read about their new "Encores!"-like program for off-Broadway musicals. According to the "Times" yesterday, the first two shows for a three show series have been chosen: Al Carmines and Maria Irene Fornes' Promenade and "Iphigenia in Concert" from Doug Dyer, Gretchen Cryer and Peter Link. A third is still to be announced.
The announcement got me to thinking…..will NYTW dust of relatively recent off-Broadway shows? For instance, can we expect a concert version of The Knife seen at the Public the mid-80s, about a man undergoing a sex-change operation? It's an intriguing score. What about another show from the Public….William Finn's Romance in Hard Times. Looking back to the rock era, I'm sort of hoping that NYTW artistic director James C. Nicola will be considering Your Own Thing, that rockin' Twelfth Night.
Whatever the choices, the new series will be quite welcome on the horizon.
Have a great weekend.
Andy
Quick links:
Crimes of the Heart review: http://www.americantheaterweb.com/news/ind.asp?id=192863
The Jazz Age review: http://www.theatermania.com/content/news.cfm/story/12855
Killing the Boss review: http://www.backstage.com/bso/news_reviews/nyc/review_display.jsp?vnu_content_id=1003710811
New York Theatre Workshop: http://www.nytw.org/
Today, I hope to get round to finally writing about The Slug-Bearers of Kayrol Island - a musical that's just opened at the Vineyard Theatre, and that's now been extended for a couple of weeks through March 2. I had a pretty complex reaction to this musical and with time constraints, I've just not gotten there. The other theatergoing of the week has been Catherine Filoux's Killing the Boss, which is reviewed in Back Stage.
Looking ahead, it's quite the musical weekend ….tonight's The Blue Flower, tomorrow's "Sunday in the Park…" and Sunday's Talking Band's Imminence at La MaMa. (Expect a review of the latter in "The Voice," the others will appear on the site.
In terms of other things, I will get to catch up to Patrick Stewart's Macbeth next week and I'm at work on a feature on New York Theatre Workshop's Liberty City for Back Stage.
And speaking of NYTW – I was thrilled yesterday to read about their new "Encores!"-like program for off-Broadway musicals. According to the "Times" yesterday, the first two shows for a three show series have been chosen: Al Carmines and Maria Irene Fornes' Promenade and "Iphigenia in Concert" from Doug Dyer, Gretchen Cryer and Peter Link. A third is still to be announced.
The announcement got me to thinking…..will NYTW dust of relatively recent off-Broadway shows? For instance, can we expect a concert version of The Knife seen at the Public the mid-80s, about a man undergoing a sex-change operation? It's an intriguing score. What about another show from the Public….William Finn's Romance in Hard Times. Looking back to the rock era, I'm sort of hoping that NYTW artistic director James C. Nicola will be considering Your Own Thing, that rockin' Twelfth Night.
Whatever the choices, the new series will be quite welcome on the horizon.
Have a great weekend.
Andy
Quick links:
Crimes of the Heart review: http://www.americantheaterweb.com/news/ind.asp?id=192863
The Jazz Age review: http://www.theatermania.com/content/news.cfm/story/12855
Killing the Boss review: http://www.backstage.com/bso/news_reviews/nyc/review_display.jsp?vnu_content_id=1003710811
New York Theatre Workshop: http://www.nytw.org/
Tuesday, February 12, 2008
Hello Jerry - Herman Productions Abound
Last week, I was musing on how it would be possible to glut oneself on musicals by Kander and Ebb – shifting from New York to the DC area to the Midwest and finally, Australia. Since that time, Signature Theatre in Arlington, VA, which is hosting the major Kander and Ebb celebration this spring has announced several ancillary events to its productions – including an exhibit of items related to the team's shows.
Today, a review in the San Diego Union-Tribune got me to thinking about songwriter Jerry Herman. There's a production of Hello, Dolly! that's running at the Lamb's Players Theatre there right now, and it continues through March 16. Interesting, I thought – there's also a production of this show starting up at the end of the month in Houston TX at Theatre Under the Stars. There Dolly Levi will be played by Leslie Uggams.
Okay, so in the interest of fair-is-fair, I figured what other Jerry Herman musicals are on the slates of theaters around the county in the next few weeks. Well, the other "big" Herman musical is "Mame." And this one could catch right now in Seattle at 5th Avenue Theatre. Dee Hoty is playing the flamboyant aunt of the title, and apparently, she's being costumed by Luly Yang, described in the Seattle Post-Intelligencer as "Seattle's couture queen." In a recent article the paper reported that Hoty would sport at the end of Act 2, "a $30,000 gown from Luly Yang's "Passage to Shanghai" collection. It's a hand-embroidered robe of red duchess silk satin with metallic organza sleeves, adorned with thousands of Swarovski crystals." This production continues through March 2.
Broadway's original "Mame," Angela Lansbury, of course, appeared in one other Herman show - Dear World - his musicalization of Giraudoux's. This one isn't running right now, but in just a couple of months, it will be playing on the East Coast, at Bristol Riverside Theatre in Pennsylvania.
Looking around the rest of the country – and internationally – there are several options for catching Herman's La Cage aux Folles. It's playing right now (and through March 2) at Theatre at the Center in Munster, Indiana. There's also the acclaimed production that's running through March 8 at the Menier Chocolate Factory in London. (It stars Philip Quast). And should one have the time (and resources) for a true U.K. adventure for Jerry Herman, Mack and Mabel will be playing at the King's Theatre in Edinburgh from February 26 through March 1.
So, having begun with Hello, Dolly! originally staged by Gower Champion – it seems I should mention that on March 31st, St. Luke's in New York will be the site of two panel discussions about Champion's work. Presented by Dancers Over 40, "In the Company of Friends: The Dancers and Creative Talents of Director/Choreographer Gower Champion" will feature such artists as Lee Roy Reams and Nicole Barth (both seen in "Dolly!") and will be moderated by David Hartman, host of Thirteen/WNET’s popular Walking Tours series who was featured in the original Hello, Dolly! as Rudolph the waiter.
Andy
Quick links:
Signature Theatre: http://sig-online.org/
Lamb's Players Theatre: http://www.lambsplayers.org/
Theatre Under the Stars: http://www.tuts.com/
5th Avenue Theatre: http://www.5thavenuetheatre.org/
Bristol Riverside Thatre: http://www.brtstage.org/
Theatre at the Center: http://www.theatreatthecenter.com/
Menier Chocolate Factory: http://www.menierchocolatefactory.com/
King's Theatre: http://www.edinburgh-life.com/theatres/kings-theatre-122463.html
Dancers Over 40: http://www.dancersover40.org/
Today, a review in the San Diego Union-Tribune got me to thinking about songwriter Jerry Herman. There's a production of Hello, Dolly! that's running at the Lamb's Players Theatre there right now, and it continues through March 16. Interesting, I thought – there's also a production of this show starting up at the end of the month in Houston TX at Theatre Under the Stars. There Dolly Levi will be played by Leslie Uggams.
Okay, so in the interest of fair-is-fair, I figured what other Jerry Herman musicals are on the slates of theaters around the county in the next few weeks. Well, the other "big" Herman musical is "Mame." And this one could catch right now in Seattle at 5th Avenue Theatre. Dee Hoty is playing the flamboyant aunt of the title, and apparently, she's being costumed by Luly Yang, described in the Seattle Post-Intelligencer as "Seattle's couture queen." In a recent article the paper reported that Hoty would sport at the end of Act 2, "a $30,000 gown from Luly Yang's "Passage to Shanghai" collection. It's a hand-embroidered robe of red duchess silk satin with metallic organza sleeves, adorned with thousands of Swarovski crystals." This production continues through March 2.
Broadway's original "Mame," Angela Lansbury, of course, appeared in one other Herman show - Dear World - his musicalization of Giraudoux's
Looking around the rest of the country – and internationally – there are several options for catching Herman's La Cage aux Folles. It's playing right now (and through March 2) at Theatre at the Center in Munster, Indiana. There's also the acclaimed production that's running through March 8 at the Menier Chocolate Factory in London. (It stars Philip Quast). And should one have the time (and resources) for a true U.K. adventure for Jerry Herman, Mack and Mabel will be playing at the King's Theatre in Edinburgh from February 26 through March 1.
So, having begun with Hello, Dolly! originally staged by Gower Champion – it seems I should mention that on March 31st, St. Luke's in New York will be the site of two panel discussions about Champion's work. Presented by Dancers Over 40, "In the Company of Friends: The Dancers and Creative Talents of Director/Choreographer Gower Champion" will feature such artists as Lee Roy Reams and Nicole Barth (both seen in "Dolly!") and will be moderated by David Hartman, host of Thirteen/WNET’s popular Walking Tours series who was featured in the original Hello, Dolly! as Rudolph the waiter.
Andy
Quick links:
Signature Theatre: http://sig-online.org/
Lamb's Players Theatre: http://www.lambsplayers.org/
Theatre Under the Stars: http://www.tuts.com/
5th Avenue Theatre: http://www.5thavenuetheatre.org/
Bristol Riverside Thatre: http://www.brtstage.org/
Theatre at the Center: http://www.theatreatthecenter.com/
Menier Chocolate Factory: http://www.menierchocolatefactory.com/
King's Theatre: http://www.edinburgh-life.com/theatres/kings-theatre-122463.html
Dancers Over 40: http://www.dancersover40.org/
Monday, February 11, 2008
A Taste of the Sound That Says Love...Applause
When Applause, the musical adaptation of the movie All About Eve bowed on Broadway in 1970, it starred screen legend Lauren Bacall. She played Margo Channing, a one-time screen star who had shifted her career to Broadway, and who found herself battling not only with fears of aging, but also a scheming would-be starlet, Eve Harrington. The role of Margo Channing (and it's a name that seems to warrant the use of both birth and surnames) in the movie, of course, was originated by Bette Davis, and even for those of use who grew up listening to the original cast recording of the Charles Strouse (music) and Lee Adams (lyrics) score, there seemed to be a certain juiciness to Bacall, with her deep smoky voice, taking on the role made infamous by Davis, whose clipped and vaguely British line readings have inspired generations of imitators, both male and female
For this past weekend's staging of Applause as the opener of the 2008 Encores! series, Christine Ebersole took on the role made famous by Davis and Bacall. Fresh from her Tony Award-winning turn in Grey Gardens, Ebersole is an interesting choice. She's done her stint in Hollywood, and has returned to New York to triumph not only in "Gardens," but in shows like 42nd Street (for which she also won a Tony) where she played Dorothy Brock, the aging musical comedy star whose broken ankle allows a completely unknown chorus girl to achieve overnight stardom.
Ebersole's work in these two shows, on certain levels, points toward certain success for her in assuming the role of Margo Channing. In both "Gardens" (in the first act in particular) and 42nd Street, Ebersole brought a larger-than-life imperiousness to the stage. Concurrently, Ebersole was able to communicate a certain vulnerability that made these characters human, and that's also a requisite for Applause and "Eve." We have to believe this queen of the theater is capable of loving her director Bill Sampson (Michael Park) and of being wounded by Eve's schemes.
Interestingly, an illness that plagued Ebersole all last week – meaning that she had to miss a great many rehearsals and went on at less than 100% - led to a further parallel between her past work and the story in Applause. (Could there have been an Eve backstage waiting for her chance to blossom in this staging directed by Kathleen Marshall? Most likely not, but this is after all the stuff of theatrical fairy tales.) Illness or no, go on Ebersole did – and while the human side of Margo Channing shone through – beautifully throughout – some of the character's grandiosity and "Queen Bee" characteristics were not in evidence as much as one might have hoped. At times, in fact, one almost wondered how this woman might have survived in the studio system of Hollywood's Golden Age.
Still Ebersole gave a performance that truly did make one rethink not only the role of Margo Channing, but also the Strouse/Adams score. A torch song that Margo sings one night as she pines for her beau who's off making a film in Rome suddenly churned with emotion in a 70s pop-sound that was never heard in Bacall's original vocals.
For Marshall's production (which unfolded with ease on a clever set from John Lee Beatty that made it feel as though one were watching a show unfold on a Broadway stage peering out into the house), a host of Broadway veterans provided color and some choicely turned performances. Chip Zien and Kate Burton shone as Margo's nebbish-y playwright and his well-heeled Radcliffe-educated wife. Mario Cantone provided a beautifully muted turn as Margo's fey hairdresser. Tom Hewitt oozed charm and a bit of menace as the Broadway producer who sets his sights on Eve (a revision to the Addison DeWitt character from the movie) and Megan Sikora brought zest to the Broadway gypsy who delivers the show's title song.
As backstabbing Eve, Erin Davie (Ebersole's co-star from "Gardens") actually did convince as Eve – ever-so-retiring – first makes her appearance, and while Eve's transformation didn't always convince – Davie, too, seems just a bit too nice – Davie delivered her 11 o'clock with blistering intensity.
City Center's Encores! series will continue next month with a staging of Juno Marc Blitzstein and Joseph Stein's musical adaptation of Sean O'Casey's Juno and the Paycock. It will play from March 27 through 30. Then, in May, No, No, Nanette will be featured, running from May 8 through 12.
I've already started thinking about these two, which will star, respectively Victoria Clark, and Sandy Duncan. During my recent move I made sure that Don Dunn's "The Making of No, No Nanette" made it to the top of a must-read pile (and if you're looking for a copy there are a few to be had on Amazon.com). Later this month, I'll start up my prep work for the two by listening to the Fynsworth Alley re-release of the original cast recording of Juno, which can still be purchased with a visit to Fynsworth Alley or Footlight Records online.
Quick links:
City Center: http://www.citycenter.org/
Fynsworth Alley: http://www.fynsworthalley.com/
Footlight: http://www.footlight.com/
For this past weekend's staging of Applause as the opener of the 2008 Encores! series, Christine Ebersole took on the role made famous by Davis and Bacall. Fresh from her Tony Award-winning turn in Grey Gardens, Ebersole is an interesting choice. She's done her stint in Hollywood, and has returned to New York to triumph not only in "Gardens," but in shows like 42nd Street (for which she also won a Tony) where she played Dorothy Brock, the aging musical comedy star whose broken ankle allows a completely unknown chorus girl to achieve overnight stardom.
Ebersole's work in these two shows, on certain levels, points toward certain success for her in assuming the role of Margo Channing. In both "Gardens" (in the first act in particular) and 42nd Street, Ebersole brought a larger-than-life imperiousness to the stage. Concurrently, Ebersole was able to communicate a certain vulnerability that made these characters human, and that's also a requisite for Applause and "Eve." We have to believe this queen of the theater is capable of loving her director Bill Sampson (Michael Park) and of being wounded by Eve's schemes.
Interestingly, an illness that plagued Ebersole all last week – meaning that she had to miss a great many rehearsals and went on at less than 100% - led to a further parallel between her past work and the story in Applause. (Could there have been an Eve backstage waiting for her chance to blossom in this staging directed by Kathleen Marshall? Most likely not, but this is after all the stuff of theatrical fairy tales.) Illness or no, go on Ebersole did – and while the human side of Margo Channing shone through – beautifully throughout – some of the character's grandiosity and "Queen Bee" characteristics were not in evidence as much as one might have hoped. At times, in fact, one almost wondered how this woman might have survived in the studio system of Hollywood's Golden Age.
Still Ebersole gave a performance that truly did make one rethink not only the role of Margo Channing, but also the Strouse/Adams score. A torch song that Margo sings one night as she pines for her beau who's off making a film in Rome suddenly churned with emotion in a 70s pop-sound that was never heard in Bacall's original vocals.
For Marshall's production (which unfolded with ease on a clever set from John Lee Beatty that made it feel as though one were watching a show unfold on a Broadway stage peering out into the house), a host of Broadway veterans provided color and some choicely turned performances. Chip Zien and Kate Burton shone as Margo's nebbish-y playwright and his well-heeled Radcliffe-educated wife. Mario Cantone provided a beautifully muted turn as Margo's fey hairdresser. Tom Hewitt oozed charm and a bit of menace as the Broadway producer who sets his sights on Eve (a revision to the Addison DeWitt character from the movie) and Megan Sikora brought zest to the Broadway gypsy who delivers the show's title song.
As backstabbing Eve, Erin Davie (Ebersole's co-star from "Gardens") actually did convince as Eve – ever-so-retiring – first makes her appearance, and while Eve's transformation didn't always convince – Davie, too, seems just a bit too nice – Davie delivered her 11 o'clock with blistering intensity.
City Center's Encores! series will continue next month with a staging of Juno Marc Blitzstein and Joseph Stein's musical adaptation of Sean O'Casey's Juno and the Paycock. It will play from March 27 through 30. Then, in May, No, No, Nanette will be featured, running from May 8 through 12.
I've already started thinking about these two, which will star, respectively Victoria Clark, and Sandy Duncan. During my recent move I made sure that Don Dunn's "The Making of No, No Nanette" made it to the top of a must-read pile (and if you're looking for a copy there are a few to be had on Amazon.com). Later this month, I'll start up my prep work for the two by listening to the Fynsworth Alley re-release of the original cast recording of Juno, which can still be purchased with a visit to Fynsworth Alley or Footlight Records online.
Quick links:
City Center: http://www.citycenter.org/
Fynsworth Alley: http://www.fynsworthalley.com/
Footlight: http://www.footlight.com/
Thursday, February 7, 2008
It's Springtime for ....Kander and Ebb
Reading through the announcement of casting for much of the Kander and Ebb celebration that will be kicking off shortly at the Signature Theatre in Virginia, I started thinking about there other shows, and how, during the next few months, one could catch not only the shows that are playing at this acclaimed Virginia theatre, but also in New York and elsewhere in the country.
Consider this: you could start off in New York and see two of the famed duo's shows. There's the long-running revival of Chicago at the Ambassador and Curtains (with contributions from Rupert Holmes) at the Al Hirschfeld. Also this later month, you'll be able to see a concert incarnation of Flora, the Red Menace at the Duplex Theater – a show produced by Opening Doors Theatre Company that's going to run February 24 & 25, and March 2 & 3.
Now, that pulls us pretty close to the start of the celebration at the Signature which gets underway on March 11 with the first performance of Kiss of the Spider Woman, which will continue through April 20. The show's going to star Natasha Diaz as Aurora, the Spider Woman of the title, and Hunter Foster and Will Chase as the cellmates who both fall under her spell. While "Kiss" is running, the theater will start up a second Kander and Ebb collaboration, The Happy Time, their 1968 work about a worldly photographer and the influence that he holds over his young nephew. When the show first played Broadway, it starred Robert Goulet. For the Signature revival, that role will be played by Michael Minarik. Also in the company – George Dvorsky and David Margulies. The production will run April 1 through June 1.
The final entry in the Signature celebration will be the team's long-in-development musicalization of Durrenmatt's The Visit, a show that was produced several seasons back at the Goodman in Chicago. In Virginia, the stars will be Chita Rivera and George Hearn, and the production's scheduled to run May 13 through June 22.
In addition to these productions, you'll be able to catch a couple of special shows at the Signature during its celebration. Karen Akers will perform her cabaret tribute to the team from March 11 through March 16. And then, June 4-7, graduates from the theater's Musical Theater Institute will perform a revue of Kander and Ebb hits in "Kander and Ebb Overtures."
Now, just while Signature is presenting "Happy Time," you'll need to hop out to Minnesota to catch a production of Cabaret that will be playing at the Ordway Center in St. Paul (running May 2-18).
Finally, and just because this will take some planning …there's going to be a production of 70, Girls, 70 playing in August. It's in Gosford Australia. It will run August 1 through 22 at the Laycock Street Theatre.
Meanwhile, you'll want to keep in mind the New York Public Library for the Performing Arts's multi-media exhibit "Songwriters and the Tony Awards." Cabaret will be one of the show highlighted in this tribute that will be on display from February 26 through June 14.
Another tribute – this one to Ebb – will be taking place at the 92nd Street Y from February 23 – February 25 – "Life Is a Cabaret: A Tribute to Fred Ebb." Scheduled to appear: Brent Barrett, Judy Blazer, Diana Canova, Tyne Daly, and David Garrison.
Quick links:
Chicago: www.ChicagoTheMusical.com
Curtains: www.CurtainsTheMusical.com
Signature Theatre Company: www.Sig-Online.org
Opening Doors Theatre Company: www.ODTConline.org
Ordway Center: www.Ordway.org
Laycock Street Theatre: www.Laycock.com
New York Public Library: www.NYPL.org
92nd Street Y: www.92ndsty.org
Consider this: you could start off in New York and see two of the famed duo's shows. There's the long-running revival of Chicago at the Ambassador and Curtains (with contributions from Rupert Holmes) at the Al Hirschfeld. Also this later month, you'll be able to see a concert incarnation of Flora, the Red Menace at the Duplex Theater – a show produced by Opening Doors Theatre Company that's going to run February 24 & 25, and March 2 & 3.
Now, that pulls us pretty close to the start of the celebration at the Signature which gets underway on March 11 with the first performance of Kiss of the Spider Woman, which will continue through April 20. The show's going to star Natasha Diaz as Aurora, the Spider Woman of the title, and Hunter Foster and Will Chase as the cellmates who both fall under her spell. While "Kiss" is running, the theater will start up a second Kander and Ebb collaboration, The Happy Time, their 1968 work about a worldly photographer and the influence that he holds over his young nephew. When the show first played Broadway, it starred Robert Goulet. For the Signature revival, that role will be played by Michael Minarik. Also in the company – George Dvorsky and David Margulies. The production will run April 1 through June 1.
The final entry in the Signature celebration will be the team's long-in-development musicalization of Durrenmatt's The Visit, a show that was produced several seasons back at the Goodman in Chicago. In Virginia, the stars will be Chita Rivera and George Hearn, and the production's scheduled to run May 13 through June 22.
In addition to these productions, you'll be able to catch a couple of special shows at the Signature during its celebration. Karen Akers will perform her cabaret tribute to the team from March 11 through March 16. And then, June 4-7, graduates from the theater's Musical Theater Institute will perform a revue of Kander and Ebb hits in "Kander and Ebb Overtures."
Now, just while Signature is presenting "Happy Time," you'll need to hop out to Minnesota to catch a production of Cabaret that will be playing at the Ordway Center in St. Paul (running May 2-18).
Finally, and just because this will take some planning …there's going to be a production of 70, Girls, 70 playing in August. It's in Gosford Australia. It will run August 1 through 22 at the Laycock Street Theatre.
Meanwhile, you'll want to keep in mind the New York Public Library for the Performing Arts's multi-media exhibit "Songwriters and the Tony Awards." Cabaret will be one of the show highlighted in this tribute that will be on display from February 26 through June 14.
Another tribute – this one to Ebb – will be taking place at the 92nd Street Y from February 23 – February 25 – "Life Is a Cabaret: A Tribute to Fred Ebb." Scheduled to appear: Brent Barrett, Judy Blazer, Diana Canova, Tyne Daly, and David Garrison.
Quick links:
Chicago: www.ChicagoTheMusical.com
Curtains: www.CurtainsTheMusical.com
Signature Theatre Company: www.Sig-Online.org
Opening Doors Theatre Company: www.ODTConline.org
Ordway Center: www.Ordway.org
Laycock Street Theatre: www.Laycock.com
New York Public Library: www.NYPL.org
92nd Street Y: www.92ndsty.org
Thursday, January 31, 2008
A couple of Passing Strange photos
This new show is about to start previews at the Belasco Theatre (111 West 44 Street) in Manhattan on February 8 prior to opening February 28, 2008.
Colman Domingo, Stew and Daniel Breaker in the Broadway-bound musical PASSING STRANGE
Photo Credit: Michal Daniel
Colman Domingo, Stew and Daniel Breaker in the Broadway-bound musical PASSING STRANGE
Photo Credit: Michal Daniel
Stew in the Broadway-bound musical PASSING STRANGE
Photo Credit: Michal Daniel
For further information and some mp3 downloads, drop by: http://www.passingstrangeonbroadway.com/
Monday, May 14, 2007
Tony Season Begins Tomorrow - Some Predictions
Well, I figured that I might as well join in on the prognosticating on who will be nominated for Tony Awards. This isn't a complete slate, but rather, a snapshot of whom I believe will be up for the top awards. As we barrel into the Tony Award season, remember you can always see a full selection of press about the 2007 Tony Awards at www.americantheaterweb.com/news/Tony2007.asp
Until next time,
Andy
PLAY
The Coast of Utopia
Coram Boy
Frost/Nixon
Radio Golf
MUSICAL
Curtains
Grey Gardens
LoveMusik
Spring Awakening
REVIVAL OF A PLAY
Inherit the Wind
Journey's End
A Moon for the Misbegotten
Talk Radio
REVIVAL OF A MUSICAL
The Apple Tree
A Chorus Line
Company
110 in the Shade
LEADING ACTOR IN A PLAY
Boyd Gaines – Journey's End
Frank Langella – Frost/Nixon
Brian F. O'Bryne – The Coast of Utopia
Christopher Plummer – Inherit the Wind
Liev Schreiber – Talk Radio
LEADING ACTRESS IN A PLAY
Eve Best – A Moon for the Misbegotten
Angela Lansbury – Deuce
Vanessa Redgrave – The Year of Magical Thinking
Marian Seldes - Deuce
Julie White – The Little Dog Laughed
LEADING ACTRESS IN A MUSICAL
Christine Ebersole – Grey Gardens
Audra McDonald – 110 in the Shade
Lea Michele – Spring Awakening
Debra Monk - Curtains
Donna Murphy – LoveMusik
LEADING ACTOR IN A MUSICAL
Raul Esparza - Company
Jonathan Groff – Spring Awakening
Gavin Lee – Mary Poppins
David Hyde Pierce - Curtains
Martin Short – Martin Short: Fame Becomes Me
DIRECTION OF A PLAY
Michael Grandage – Frost/Nixon
David Grindley – Journey's End
Doug Hughes – Inherit the Wind
Kenny Leon – Radio Golf
Jack O'Brien – The Coast of Utopia
DIRECTION OF A MUSICAL
John Doyle – Company
Scott Ellis - Curtains
Michael Greif – Grey Gardens
Michael Mayer – Spring Awakening
Jerry Mitchell – Legally Blonde
Until next time,
Andy
PLAY
The Coast of Utopia
Coram Boy
Frost/Nixon
Radio Golf
MUSICAL
Curtains
Grey Gardens
LoveMusik
Spring Awakening
REVIVAL OF A PLAY
Inherit the Wind
Journey's End
A Moon for the Misbegotten
Talk Radio
REVIVAL OF A MUSICAL
The Apple Tree
A Chorus Line
Company
110 in the Shade
LEADING ACTOR IN A PLAY
Boyd Gaines – Journey's End
Frank Langella – Frost/Nixon
Brian F. O'Bryne – The Coast of Utopia
Christopher Plummer – Inherit the Wind
Liev Schreiber – Talk Radio
LEADING ACTRESS IN A PLAY
Eve Best – A Moon for the Misbegotten
Angela Lansbury – Deuce
Vanessa Redgrave – The Year of Magical Thinking
Marian Seldes - Deuce
Julie White – The Little Dog Laughed
LEADING ACTRESS IN A MUSICAL
Christine Ebersole – Grey Gardens
Audra McDonald – 110 in the Shade
Lea Michele – Spring Awakening
Debra Monk - Curtains
Donna Murphy – LoveMusik
LEADING ACTOR IN A MUSICAL
Raul Esparza - Company
Jonathan Groff – Spring Awakening
Gavin Lee – Mary Poppins
David Hyde Pierce - Curtains
Martin Short – Martin Short: Fame Becomes Me
DIRECTION OF A PLAY
Michael Grandage – Frost/Nixon
David Grindley – Journey's End
Doug Hughes – Inherit the Wind
Kenny Leon – Radio Golf
Jack O'Brien – The Coast of Utopia
DIRECTION OF A MUSICAL
John Doyle – Company
Scott Ellis - Curtains
Michael Greif – Grey Gardens
Michael Mayer – Spring Awakening
Jerry Mitchell – Legally Blonde
Friday, May 11, 2007
An update from Andy / Reviews of recent openings
So what's become of Andy you might ask? The blog hasn't been updated in over a week and the reviews on AmericanTheaterWeb have been slight. All that I've written for the site itself is the review of Cymbeline that's playing at BAM through Saturday (Full Review). Despite what you might have read elsewhere, this is a truly effective and affecting production. If you've got time tonight or tomorrow, take the trip out to Fulton Street.
Meanwhile, an outline of some of my theatergoing and the reviews that have been appearing elsewhere: I quite enjoyed Memory at >59E59 (expect a full review in "The Voice" next week). This week, you'll find my thoughts on Harold Prince's excellent work on LoveMusik in the paper (Full Review).
Elsewhere, my review of Rachel Dickstein's Betrothed at the Ohio Theater has been posted this morning on backstage.com (Full Review). Also, while you're looking at that site, take a look at my review of Jenny Schwartz' God's Ear, this is one of the most exciting pieces of theater I've caught in a long time (Full Review). You should check it out. Finally, expect a review of An Octopus Love Story next week in Time Out. This quirky love story that's also a shrewd bit of commentary on what makes a marriage took me by surprise. It's funny and touching and well worth a look. (For quick reference - here's their website: http://www.kidswithguns.com/.
And with that, we're truly off and running in the 2007-2008 season.
Until next time,
Andy
Meanwhile, an outline of some of my theatergoing and the reviews that have been appearing elsewhere: I quite enjoyed Memory at >59E59 (expect a full review in "The Voice" next week). This week, you'll find my thoughts on Harold Prince's excellent work on LoveMusik in the paper (Full Review).
Elsewhere, my review of Rachel Dickstein's Betrothed at the Ohio Theater has been posted this morning on backstage.com (Full Review). Also, while you're looking at that site, take a look at my review of Jenny Schwartz' God's Ear, this is one of the most exciting pieces of theater I've caught in a long time (Full Review). You should check it out. Finally, expect a review of An Octopus Love Story next week in Time Out. This quirky love story that's also a shrewd bit of commentary on what makes a marriage took me by surprise. It's funny and touching and well worth a look. (For quick reference - here's their website: http://www.kidswithguns.com/.
And with that, we're truly off and running in the 2007-2008 season.
Until next time,
Andy
Friday, April 27, 2007
A Season Ends (sort of) With Strong Women
It's been over a week since I've posted here. Sorry for the silence. The Drama Desk nomination process is an arduous one that sort of overtook all of my time. But, it's done and I'll admit I'm quite proud of the slate – it's amazing how it gets done at all. Not including festival shows (Fringe, NYMF, etc.) I saw 287 shows in the 12 months since the last nominations were announced. Distilling that many shows, performances and design elements down to six per category is no easy feat. But, it's done, and so, now onto the 'new' season, even as the old winds down.
Speaking of which, there was a flurry of theatergoing for me during all of this, and in three instances, we're talking about, to paraphrase Cryer and Ford, women doing their "strong woman numbers." With these capsule reviews, along with a full review of Frost/Nixon that I'll post on ATW early next week, basically allow me to move forward into the "new" season (at least for Drama Desk purposes) with a relatively clean slate.
I'll start with The Pirate Queen – the new musical over at the Hilton from Les Miz creators Boublil and Schoenberg. Stephanie J. Block is doing some admirable work in this awfully heavy seagoing, almost swashbuckling, musical, but sadly, it never swings fully to life. To their credit, the creators have written some rather grand Elizabethan sounding arias for Queen Elizabeth (Drama Desk nominee Linda Balgord), and in act two when Elizabeth and Block's pirate queen Grace O'Malley square off, the show's rather grand. Also an asset to the show are choreographer Carol Leavy Joyce's Irish dances that are lovely variations of work seen in Riverdance. I'll admit to having had real hopes for this one, and perhaps my expectations were just too high. I left thinking that the writers, with Gary Griffin (director) and Graciela Daniele (musical staging) should have been able to fashion a truly thrilling adventure tale from this obscure piece of British history.
A similar level of female strength, albeit much more contemporary, and infinitely more cutting can be found at the Actors Temple Theatre on 47th Street where J.A.P – The Jewish American Princesses of Comedy is playing. Here Jackie Hoffman, Cory Kahaney, Jessica Kirson and Cathy Ladman each deliver 15 or 20 minutes of their standup routines all the while paying tribute to some of the women who paved the way for them in comedy field: comediennes like Jean Carroll, Betty Walker and Pearl Williams. Before the quartet of women performs, clips of these other women's routines (mostly from old television shows) are projected onto a pair of "Laugh-In"-esque flower mobiles that are a key element of Jo Winiarski's scenic design. It makes for an interesting contrast in what was and is cutting edge in women's humor. I found it hard not to want to see a more direct correlation between the old and new in J.A.P., and although, some of the Jewish flavor of "J.A.P." failed to land with this goy, the show, directed by Dan Fields, is ultimately an affable 90-minutes of standup comedy.
Finally, and in yet, another whiplash-inducing switch of styles and tones, I want to mention the subtle and often riveting performance that Vanessa Redgrave is giving in The Year of Magical Thinking at the Booth Theatre on 45th Street. As Redgrave performs Joan Didion's text – an adaptation of her memoir about her husband and daughter's deaths, Redgrave manages to be simultaneously coolly stoic and deeply emotional. For most of the evening, she sits centerstage in a wooden armchair and as the play progresses, scenic designer Bob Crowley punctuates the shifts in Didion's life with a series of scrims in mottled and muted grays and beiges, which plummet to the stage floor.
So, at least for the Drama Desks, 2006-2007 has ended…there will be second night reviews on ATW of the Broadway shows yet to open in the Tony Award realm of the past year, but for off and off-off-Broadway it's welcome to 2007-2008. (In fact, I've already been to the first show of the new season.)
Until next time,
Andy
Speaking of which, there was a flurry of theatergoing for me during all of this, and in three instances, we're talking about, to paraphrase Cryer and Ford, women doing their "strong woman numbers." With these capsule reviews, along with a full review of Frost/Nixon that I'll post on ATW early next week, basically allow me to move forward into the "new" season (at least for Drama Desk purposes) with a relatively clean slate.
I'll start with The Pirate Queen – the new musical over at the Hilton from Les Miz creators Boublil and Schoenberg. Stephanie J. Block is doing some admirable work in this awfully heavy seagoing, almost swashbuckling, musical, but sadly, it never swings fully to life. To their credit, the creators have written some rather grand Elizabethan sounding arias for Queen Elizabeth (Drama Desk nominee Linda Balgord), and in act two when Elizabeth and Block's pirate queen Grace O'Malley square off, the show's rather grand. Also an asset to the show are choreographer Carol Leavy Joyce's Irish dances that are lovely variations of work seen in Riverdance. I'll admit to having had real hopes for this one, and perhaps my expectations were just too high. I left thinking that the writers, with Gary Griffin (director) and Graciela Daniele (musical staging) should have been able to fashion a truly thrilling adventure tale from this obscure piece of British history.
A similar level of female strength, albeit much more contemporary, and infinitely more cutting can be found at the Actors Temple Theatre on 47th Street where J.A.P – The Jewish American Princesses of Comedy is playing. Here Jackie Hoffman, Cory Kahaney, Jessica Kirson and Cathy Ladman each deliver 15 or 20 minutes of their standup routines all the while paying tribute to some of the women who paved the way for them in comedy field: comediennes like Jean Carroll, Betty Walker and Pearl Williams. Before the quartet of women performs, clips of these other women's routines (mostly from old television shows) are projected onto a pair of "Laugh-In"-esque flower mobiles that are a key element of Jo Winiarski's scenic design. It makes for an interesting contrast in what was and is cutting edge in women's humor. I found it hard not to want to see a more direct correlation between the old and new in J.A.P., and although, some of the Jewish flavor of "J.A.P." failed to land with this goy, the show, directed by Dan Fields, is ultimately an affable 90-minutes of standup comedy.
Finally, and in yet, another whiplash-inducing switch of styles and tones, I want to mention the subtle and often riveting performance that Vanessa Redgrave is giving in The Year of Magical Thinking at the Booth Theatre on 45th Street. As Redgrave performs Joan Didion's text – an adaptation of her memoir about her husband and daughter's deaths, Redgrave manages to be simultaneously coolly stoic and deeply emotional. For most of the evening, she sits centerstage in a wooden armchair and as the play progresses, scenic designer Bob Crowley punctuates the shifts in Didion's life with a series of scrims in mottled and muted grays and beiges, which plummet to the stage floor.
So, at least for the Drama Desks, 2006-2007 has ended…there will be second night reviews on ATW of the Broadway shows yet to open in the Tony Award realm of the past year, but for off and off-off-Broadway it's welcome to 2007-2008. (In fact, I've already been to the first show of the new season.)
Until next time,
Andy
Wednesday, April 18, 2007
Mamet's Commercials - and Some Much Needed FL Cheer
As this is an incredible crunch time for me, I've been worrying about what to post here – not wanting the blog to go silent only a week after I launched. Yesterday's announcement that David Mamet would be directing television ads for Ford Motor Company got me to thinking about what the company's new tag line might be – something like "Have you driven a Ford lately, goddammit..'
Given events in Virginia, this seemed a little too glib, and I just went about my business. Would that I'd had the Blogger intuition of Betsey Maupin, who's the critic for the Orlando Sentinel. She managed to find a link on YouTube that beautifully captured my need – and I imagine the needs of others yesterday. Actually, there are two links – one that offers fabulous diversion and a brief moment of cheer and another that offer a bit of emotional inspiration.
Here's the link to Betsey's blog with a tip of my hat.
http://blogs.orlandosentinel.com/entertainment_stage_theat/2007/04/something_to_ch.html
Until next time,
Andy
Given events in Virginia, this seemed a little too glib, and I just went about my business. Would that I'd had the Blogger intuition of Betsey Maupin, who's the critic for the Orlando Sentinel. She managed to find a link on YouTube that beautifully captured my need – and I imagine the needs of others yesterday. Actually, there are two links – one that offers fabulous diversion and a brief moment of cheer and another that offer a bit of emotional inspiration.
Here's the link to Betsey's blog with a tip of my hat.
http://blogs.orlandosentinel.com/entertainment_stage_theat/2007/04/something_to_ch.html
Until next time,
Andy
Wednesday, April 11, 2007
Some Thoughts on the Paper Mill Situation
I'm stepping out on a limb here, but I want to say I'm really rather peeved by the dangerous crossroad that the Paper Mill Playhouse has reached. Mind you, I don't want the theater to shutter – far from it. I've spent many enjoyable afternoons and evenings there taking in the institution's often lavish productions. (I call it an institution rather than an organization because after 69 years the theater is an institution).
So, if I'm not rooting for the theater's demise? Why am I peeved? Well the thing is that I spent 8 years of my life working as a fundraiser – for one major institution – The New York Shakespeare Festival and also for two smaller non-profits, and know that the process by which a theater arrives at an annual operating budget is a carefully orchestrated tango between artistic staff, management and an organization's board of directors, trustees, or whatever term has been used in a group's bylaws.
The staff, starting with the artistic director, announces what his or her dream season will be. Management – by which I mean financial departments, fundraising, and general management – then estimates how much the season will cost, and also projects what sort of revenues can be expected at the box office and from private contributions. Normally there's a rather big difference between the expenses and the income side. It's why artistic directors are who they are…they get to dream big.
So, now, this is where the dance comes in. It's been my experience that before going to the board, the staff will attempt to minimize the gap between income and expense, examining how more money for a season can be found, and by trying to trim as much as possible from the expenses of a new season of plays and ancillary activities (like an education program).
With a shortfall still in place, the staff normally meets with the board – that must approve the budget as they are ultimately the fiscal guardians of the company. Now then, in some situations, the board will demand that the staff revisit the figures and come up with a balanced budget. At other times, the boards, like those with which which I've worked, will approve a budget with a shortfall that they feel, given historical fundraising capabilities, can be balanced during the course of a fiscal year.
Making sense? Anyway, for whatever reason, the board at the Paper Mill approved a budget with a $2.5 million shortfall. That's not insignificant for an organization with an annual $17 million budget where, according to reports, only 20% (or approximately $3.4 million) has traditionally been raised. In spite of this, the board felt that they would be able to raise the additional money before a crisis, such as the one the theater now faces, arrived.
Now then, look at those numbers. The board said that somehow, someway, it would be able to almost double contributed income in less than 12 months. Now I know the economy is healthy. I'd not realized it was that healthy. Making this situation more troubling are the facts outlined in a recent article in The Star Ledger that reports that up until this year, the board members for the Paper Mill had given or raised just under $120,000.
Optimism is one thing, but this is something else. And the reason for the strange sense of anger and sadness that I feel about what's going on over in Millburn. While the board is to be commended for its increased giving this year, they must also be condemned for allowing the theater to proceed with such unhealthy financial expectations. Maybe a show should have been dropped from the season – yes that means less ticket revenue, but it also means reduced expenses, which seem to be outpacing the box office anyway.
This is not unheard of. It's not only fiscally responsible: it sends an early signal to theatergoers, funders and politicians that there is a problem that needs to be addressed. Instead of sounding this alarm, the theater's staff and the board are scrambling to make sure the theater stays open on what amounts to a day-to-day basis. An unhealthy juncture both artistically and institutionally.
In all fairness, I should remember that board members are volunteers who donate not only their money, but also their time and varying levels of expertise to a non-profit. At the same time, they are, for all intents and purposes, the rather strict parents who must often have the unpleasant task of saying "no" to their offspring. It's not a pleasant thing to hear or say, but it's often necessary.
Similarly, the Paper Mill's staff should have looked beyond the Board's promises and exercised their own fiscal restraint, thus proving that sometimes it's necessary for children to raise themselves. Sadly, in theater, and in life, this should not be the case.
Until later next time,
Andy Propst
-------------------------
For those who want the direct URL to the story mentioned:
Paper Mill's fundraising performance falls short - The Star-Ledger
http://www.nj.com/starledger/stories/index.ssf?/base/news-11/1176006512185030.xml&coll=1
So, if I'm not rooting for the theater's demise? Why am I peeved? Well the thing is that I spent 8 years of my life working as a fundraiser – for one major institution – The New York Shakespeare Festival and also for two smaller non-profits, and know that the process by which a theater arrives at an annual operating budget is a carefully orchestrated tango between artistic staff, management and an organization's board of directors, trustees, or whatever term has been used in a group's bylaws.
The staff, starting with the artistic director, announces what his or her dream season will be. Management – by which I mean financial departments, fundraising, and general management – then estimates how much the season will cost, and also projects what sort of revenues can be expected at the box office and from private contributions. Normally there's a rather big difference between the expenses and the income side. It's why artistic directors are who they are…they get to dream big.
So, now, this is where the dance comes in. It's been my experience that before going to the board, the staff will attempt to minimize the gap between income and expense, examining how more money for a season can be found, and by trying to trim as much as possible from the expenses of a new season of plays and ancillary activities (like an education program).
With a shortfall still in place, the staff normally meets with the board – that must approve the budget as they are ultimately the fiscal guardians of the company. Now then, in some situations, the board will demand that the staff revisit the figures and come up with a balanced budget. At other times, the boards, like those with which which I've worked, will approve a budget with a shortfall that they feel, given historical fundraising capabilities, can be balanced during the course of a fiscal year.
Making sense? Anyway, for whatever reason, the board at the Paper Mill approved a budget with a $2.5 million shortfall. That's not insignificant for an organization with an annual $17 million budget where, according to reports, only 20% (or approximately $3.4 million) has traditionally been raised. In spite of this, the board felt that they would be able to raise the additional money before a crisis, such as the one the theater now faces, arrived.
Now then, look at those numbers. The board said that somehow, someway, it would be able to almost double contributed income in less than 12 months. Now I know the economy is healthy. I'd not realized it was that healthy. Making this situation more troubling are the facts outlined in a recent article in The Star Ledger that reports that up until this year, the board members for the Paper Mill had given or raised just under $120,000.
Optimism is one thing, but this is something else. And the reason for the strange sense of anger and sadness that I feel about what's going on over in Millburn. While the board is to be commended for its increased giving this year, they must also be condemned for allowing the theater to proceed with such unhealthy financial expectations. Maybe a show should have been dropped from the season – yes that means less ticket revenue, but it also means reduced expenses, which seem to be outpacing the box office anyway.
This is not unheard of. It's not only fiscally responsible: it sends an early signal to theatergoers, funders and politicians that there is a problem that needs to be addressed. Instead of sounding this alarm, the theater's staff and the board are scrambling to make sure the theater stays open on what amounts to a day-to-day basis. An unhealthy juncture both artistically and institutionally.
In all fairness, I should remember that board members are volunteers who donate not only their money, but also their time and varying levels of expertise to a non-profit. At the same time, they are, for all intents and purposes, the rather strict parents who must often have the unpleasant task of saying "no" to their offspring. It's not a pleasant thing to hear or say, but it's often necessary.
Similarly, the Paper Mill's staff should have looked beyond the Board's promises and exercised their own fiscal restraint, thus proving that sometimes it's necessary for children to raise themselves. Sadly, in theater, and in life, this should not be the case.
Until later next time,
Andy Propst
-------------------------
For those who want the direct URL to the story mentioned:
Paper Mill's fundraising performance falls short - The Star-Ledger
http://www.nj.com/starledger/stories/index.ssf?/base/news-11/1176006512185030.xml&coll=1
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