Closings

For those involved in theatre: Endings stink. For all those involved. You put so much of yourself into every moment. The closer the production is, the more of your life that is immersed, the more of a family everyone is, the more fun is had....and then: it's over.

As a director (and probably as an old person) I am no longer "affected" by the closings. But that is probably because it is "over" for me before it is those involved. Once we go up, it is no longer my show. It belongs to the kids: in the cast, the crew, the orchestra. During our three night run of Thoroughly Modern Millie, I only ventured backstage twice: once to check on an injured dancer and another time to check on an actress that was upset over a missed cue and wardrobe malfunctions. (OK...I WAS there before the show, during intermission and at the end....but that doesn't count.)

To lessen the blow of closing night, I announce the next "mainstage" productions. I'm actually already fully immersed in them. Three class one acts and the show we take into competition will develop simultaneously. There will most likely be overlap between casts as well. As long as I've SOMETHING to be working on, I don't "jones". (I don't even know who knows what that means anymore!) The announcements were met with positive reactions...even the show that no one's ever heard of.

*****************************************************

The closing announcements on B'way continue, and I STILL expect a few more to fall. The shows scheduled to close now include:

13 - 1/4/2009
*All My Sons - 1/11/2009
American Buffalo - 11/23/2008
Dividing the Estate - 1/4/2009
*Equus - 2/8/2009
Hairspray - 1/4/2009
*Irving Berlin’s White Christmas - 1/4/2009
*A Man for All Seasons - 12/14/2008
Monty Python’s Spamalot - 1/11/2009
*Pal Joey - 2/15/2009
The Seagull - 12/21/2008
*Speed-the-Plow - 2/22/2009
Spring Awakening - 1/18/2009
Young Frankenstein - 1/4/2009
Gypsy - early 3/2009

* = PLANNED Limited Engagement

It would not suprise me if some of these end up closing earlier then posted...it's happened often lately.

Add that to the frightenly DISMAL list of shows ALREADY closed since the TONY Awards:

Cry-Baby: June 22, 2008
Cat on a Hot Tin Roof: June 22, 2008
Curtains: June 29, 2008
*Sunday in the Park with George: June 29, 2008
Top Girls: June 29, 2008
*Les Liasins Dangereuses: July 6, 2008
November: July 13, 2008
*The Country Girl: July 20, 2008
Passing Strange: July 20, 2008
A Catered Affair: July 27, 2008
A Chorus Line: August 17, 2008
Thurgood: August 17, 2008
*Cirque Dreams: August 24, 2008
Rent: September 7, 2008
Xanadu: September 28, 2008
[title of show]: October 12, 2008
Legally Blonde: October 19, 2008
A Tale of Two Cities: November 9, 2008
*To Be or Not To Be: November 16, 2008

* = Planned limited run...but some ran shorter OR longer than originally planned.


Sigh. 'Tis sad.

Opening Night!

Well, it's finally here. After weeks of creativity, disappointments, frustrations and rehearsals...it's opening night for Thoroughly Modern Millie.

The school has suffered a horrid setback. A much beloved staff member was tragically killed in an early morning car accident. The school was in a fog all day, either people were personally affected by the news or KNEW someone that was in pain over the accident. And of course, during it all: still work to be done.

I am not one that outwardly handles grief well. I deal with things by working. On anything. In this case, I had a set to finish. I had technology to fix. I had a million things to take my focus from the sadness. The strange thing for me: I will cry like a baby when moved by literature, art, theatre. Reality? Cannot deal. Which is why theatre works so well for me. I am the living example of how catharsis actually works. (Look up the word: catharsis. It'll be worth your time.)

In spite of everything our final dress rehearsal on Tuesday night went truly beautifully. The orchestra has truly mastered incredibly difficult music and sound wonderful! The backstage crew, which has an incredibly large and cumbersome set, has gotten total of control of things. The actors have truly created some wonderful characters and can sell the hell out of their songs. My light and sound crews are feeling the show. Even the technology worked well. (After all my worries...the translations were actually an easy fix.)

I have surprises for the cast over the next few nights. I can't divulge all the info since some of them check out this blog (which I love!) The culminating surprise is that I will announce not only the title of the next show (the piece we take into competition) but the spring play. (Usually only the NEXT show is announced.)

Break a leg to all the students involved with Thoroughly Modern Millie!!!

A Drama-ful Weekend

Day-um it was good to be back in the city. It'd been almost 2 months, and I forget how "at home" I feel there. The weather was gorgeous....as was the company, the food and the frolicking.

I suppose we'll take this in order of the Good, Better and Best.

Farragut North, off b'way, the Atlantic Theater Company, still officially in previews. This political drama is written by Beau Willimon, directed by Doug Hughes and starring John Gallagher, Jr.,(Spring Awakening, Port Authority) Chris Noth (Law and Order, Sex in the City).

The plot is timely taking place during the earliest of primaries in Iowa, during a presidential campaign. It deals with the behind the scenes look at wheeling, dealing, manipulating and backstabbing of running a political campaign. While it IS a work of fiction, much of it is based on truths.

First the bad: I simply HATED the costuming. THis is a PRESIDENTIAL election and everyone is dressed like a schlump. Drove me nuts. The promotional materials are misleading...all the talk is that a sex scandal rocks the boat and puts the boy wonder's (Gallagher) career in jeopardy. It doesn't. Yes, there is questionable sex but not only is NOT innappropriate, it is NOT a scandal. So watching Act I you keep thinking: when is this going to turn? There are parts of the plot that are too "pat" and made me roll my eyes. I was not overly impressed with ANY of the actors. I didn't dislike any of them, just not wowed by them. (and I'm a BIG fan of John Gallagher, Jr.) I thought most of them OVER-acted for the space (the Atlantic/Linda Gross Theater is TINY.) I also found a lack of depth in the character portrayals. Since these "faults" pretty much hit all the actors, I place the blame on the directing. Not inventive, not complex enough.

The good: The story is terribly intriquing. I love a plot that makes me think and this one certainly does. Although I am not sure how it would be rec'd past January. (There is "talk" that there might be interest in moving it to B'way....I'm thinking they shouldn't...I don't think there will be enough interest.)


Speed The Plow, written by David Mamet, directed by Neil Pepe, starring Jeremy Piven (Entourage), Raul Esparza (Company, The Homecoming) and Elisabeth Moss (Mad Men). I believe this production marks the 30th Anniversary of STP.

I really like this production. I really like Mamet. I REALLY love Raul. Which is good, because it is SO his show. Piven is mostly very good, however, it was discerning that this far into the run he's still going up on lines and momentarily losing himself. I found his strength to be in the third act when his character is at his lowest status. Sadly, his character here is very much the character he plays in Entourage. I don't mean this as an acting mistake....the choices he makes really make sense for both characters.

Moss is "ok"; but I have a sneaking suspicion that it might be more the fault of the character than actress. Without providing "spoilers" I don't see the turning points in her journey. I love the reason for this third character I just don't feel she is fleshed out as completely as the other two. She needs to use her strength at some point.

And now Raul. Wow. He is beautifully subserviant, nervous and neurotic in ACT I. His physicallity and energy pushes the edge of over the top, but he gracefully reels it back in, just when necessary. You are left delightfully unawares and unsuspecting of his Act III catharsis. He is quite brilliant. I smell a Tony Nomination! (Maybe this time, Raul!)

Sets....very nice and they worked well...my only realy complaint is the set changes. The only reason they are as long as they are is to give the actors time for costume changes. The set is automated which would be neat to see. However, since it's a play about getting movies made, they decide to use a stobe light and annoying noise to simulate a movie being played. But it gave it more a film noir feel. Costumes were impeccable, too.


EQUUS by Peter Schaeffer, Starring Daniel Radcliffe and Richard Griffiths. Wow. Wowee wow.

Art.
Pain.
Beauty.
Love.
Loathing.
Family.
Religion.
Sex.
Horses.

This play is near and dear to my heart. While I had never seen it produced; I had done extensive work on it my senior year of college. This is a transplanted production from London and it came with glowing reviews. I was hoping for the best, and trying not to let my expectations make for unobtainable goals.

A quick overview of the plot: An overworked, unhappy and unfulfulled psychiatrist takes on another patient. The boy is Alan Strang who has viciously blinded six horses at the stable he works. (BTW, The event itself is true, the story is not.) We meet the people closest in the boys life both in flashback and during visits to him and the dr. at the hospital. It is obvious from first meeting Alan that he is a truly disturbed lad.

The set immediately strikes you. (Can I just say I do not miss the act curtain at all??) It is stark and ominous and immediately sets the dark mood. The basic feel is that of a horse barn complete with stalls. At center stage are four rectangular boxes set askew, which become all the necessary furniture throughout and is simply flipped and turned by the actors. Adorning the walls of the stable are six horse heads, made of metal and leather. They are striking. I want one; not a life size one, but a desktop version -- dont' know why they don't sell them. These life size horse heads are adorned by the actors that will symbolize the horses.

The actors:

Let's start with the one most are curious about Daniel Radcliffe. For the most part, I thought he was spot on. It is difficult to play a tortured soul, it is difficult to portray such viciousness and soulessness and, let's face it, it's hard to portray ANYTHING naked. (but only for about 20 minutes, not the entire time.) Radcliffe is certainly dedicated and up to the challenge. I found him quite connected to the work at all times, and indeed, there were many moments where I thought he was truly fascinating. Harry Potter is all grown up and I look forward to seeing where else he allows his career to take him.

Two other actors that I was in awe of were Carolyn McCormick (Law & Order) and T. Ryder Smith as Dora and Frank Strang. McCormack had me in tears for the first time of the evening...all that failure as a mother type stuff! Smith is a dislikable character at first, but you come to see that he simply represents human fraility. Just wonderfully. (Got to chat with him briefly after the show. So earnestly pleased to be a part of this producion and on B'way.)

The movement/choroegraphy of the horses, in general, and of Lorenzo Pisoni (in the dual roles of Nugget and the Young Horseman, in particular, was stunning. I was suprised to find out that they were not present the entirity of the show. At the very opening of the show, they don the previously mentioned horse heads and are human no more. On their feet are these gloriously crafted horse hooves which help provide a horselike gait as well as the visual of the hoof.

I have saved the best for last in Mr. Richard Griffiths. (Not a "Sir" as of yet, but I can't imagine what the queen is waiting for.) This could possibly be my favorite male performance to date. Martin Dysart is never off of the stage and the story is driven by his observances and insecruities. The man is simply brilliant, he doesn't have a single movement that is wasted, every eyebrow lift is placed impeccably and deepens and furthers the story. His focus is perhaps the most beautiful I have ever seen. Mr. Griffiths was simply mesmorizing. At times, I literally could NOT take my eyes from him; and I tried.

More than a fare share of credit must be given to director, Thea Sharrock. It seems so effortless that it is practically etheral. I almost feel manipulated (in a good way) to see only what she wanted us to see. I never had a choice in what to see...I always was looking at the most important and interesting thing available.

As a whole the show is simply impeccable. For me, it achieves the greatest of theatrical goals: true catharsis. I was so entirely and emotionally drained that I (if you could possibly imagine) was rendered speechless. I truly could not find words to express the beauty and poetry that had unfolded before me.