A Mixed Bag!

Five shows; three days. My kind of weekend. And such a mixed bag to report upon. Where to start? With the Good? The Bad? or the It-Was-Fun-While-It-Lasted?

Billy Elliot Wow! Really an amazing piece of theater. I sat in the bargain seats--there are about 10 seats for each performance that sell for a paltry $41.50--and they are in the last row of the theater in the mezzanine. Suprisingly, not a terrible seat as the theater is wider than most so not as deep (seats approx 1400, I think). I could see and hear everything beautifully.

As you may know, the leading role of Billy is shared by three boys that rotate performances. There is no overt way of pre-planning who you will see as the schedule constantly changes and is guarded closely. I was lucky enough to see Trent Kowalik, who already had played the part in London. (see bio here of all the boys: http://www.billyelliotbroadway.com/cast-creative.php?Billy )

There are few changes between the movie of 2000. Normally that bothers me, but here it didn't....perhaps because it wasn't already a musical...just a story about dance. Both the film and the stage version are directed by Stephen Daldry and both are written by Lee Hall, who has also created the lyrics. The music was composed by Sir Elton John. For a musical, the score left me rather non plussed. The singers, while apt, did not amaze. The true star of the show is the choreography along with the execution of it. (Congrats to Peter Darling) I've never seen movement that advances the story as beautifully as does this in a traditional musical. It is said that when a character can no longer SAY what he feels, he must burst with song and when song is longer enough, he must dance. Billy Elliot is the epitome of this way of thinking; I can think of no better example! I think that Billy Elliot could truly BE a ballet...except it might be odd to tell a story of folks that don't understand a boy dancing WHILE dancing. (Ok...maybe NOT a great idea. I can admit that.)

Some of my favorite moments were of dancing juxtaposition: The mine workers and the children; the police, the mineworkers and the dancers. Really very moving and visually stunning. I was truly enchanted.

There were individual performances that were amazing. Greg Jbara as Billy's Dad; Haydn Gwynne as Ms. Wilkenson the dance teacher, Carole Shelley as Billy's alzheimer-stricken Grandmother and Santino Fontana as brother Tony. I could see Tony nominations for any or all of these performers. Another shout out heartily goes out to David Bologna as Billy's cross-dressing, budding gay friend, Michael.

When there was joy is was exhaulted; when there was sorrow it was heartbreaking. A truly lovely piece of theatre...and so far the ONLY success story of the 2008-09 season. Unless 9 to 5 can kick some major butt....Billy Elliot has NO competition at the Tony Awards come June; but that's ok, because it soars.

Boeing, Boeing Winner of the 2008 Tony Award for Best Revival of a Play. A little farce. And when I say farce, I mean silly bit with doors opening and closing and close call and more silliness. Now starring Mark Rylance (winner of Tony Award for Best Actor in a Play); Greg Germann (Ally McBeal); Paige Davis (Trading Places); Christine Barnanski (too many things to mention), Rebecca Greyheart, Missi Pyle.

What a delightful way to spend an afternoon! Greg German has three fiances, all flight attendants, all thinking they are the only one. One is American (Davis); another is Italian (Greyheart) and the other is German (Pyle). They are all on different route schedules so it works out nicely for him. His atypical french maid (Baranski) helps keep things running smoothly. And they do until his school pal (Rylance) shows up. Naturally, the schedules fail and the friend is left to straighten things up....or at least not make them worse.

I'm glad to have caught this before it closes, all too soon. Laughs abound -- the healthy guffaw type of laughter that we all need!

What's That Smell? This new comedy has us a part of a studio audience as the host interviews imaginary Songwriter Jacob Sterling about his career and his unproduced b'way bound shows.

I enjoyed this show for the most part. I thought the performances were fun as was the spirit of the show. However, I felt that the show was simply based on a one joke premise. There was no where for this plot "to go". And I found it grew a bit tiresome...even at only a 90-minute no intermission running time.

I'd heard many wonderful things about the show, so perhaps my expectations were too high. If felt more like a SNL skit than a complete play.

Road Show
Music and Lyrics by STEPHEN SONDHEIM
Book by JOHN WEIDMAN
Directed and Set Designed by JOHN DOYLE

Stephen Sondheim. THE American Musical Icon.
Public Theater debuts Road Show, which spans 40 years from the Alaskan Gold Rush to the Florida real estate boom in the ‘30s. Road Show is the story of two brothers whose quest for the American dream turns into a test of morality and judgment that changes their lives in unexpected ways. Director John Doyle (Sweeney Todd on Broadway), acclaimed for re-imagining Sondheim’s works, joins Weidman and Sondheim in exploring some of the great American issues: real estate, capitalism and crooks. (The above is from the Public's Website)

Sondheim and Weidman have been working on this piece for near a decade. It's had several titles, most recently as BOUNCE.

I was truly intrigued by this story. I knew nothing about the Mizner brothers, Wilson and Addison, brilliantly played by Michael Cerveris (Sweeney Todd -- Revival) and Alexander Gemignani (Sunday in the Park with George -- Revival), respectively. At each turn, I was eager to see the story unfold, and was never a step ahead. There was an interesting combination of pathos and humor, of salty with the sweet. John Doyle is a master at directing, and does not disssappoint here. So carefully crafted, so beautifully executed. Sondheim is never simple, always sophisticated and fierce.

Sadly, this show closed the day after I saw it; but it was only scheduled as a limited run. I do not know what, if anything, the future holds for Road Show; but I would not expect to see it anytime soon.

Re-Write Oh, my friend, Joe Iconis. What can I say? Love you. (OK, don't know you well enough to actually LOVE you) Wanted to love Re-Write. Wanted to look forward to your next cd that is said to be getting made. Wanted to be able to look you in the eye and congratulate you. [insert loud sigh] Alas, alack, I cannot.

I was truly so incredibly looking forward to seeing this that I'm not sure where to begin. Three one act musicals performed in an evening. Simply put: this was not good theatre. The plots were too sophomoric, too simple, too full of stock stereo type characters, too loud, too obnoxious and all played by the regular "Joe Players". Joe writes what he knows...perhaps too much. When I watch his pieces and I know what's real and what's not; or why a certain line exists or what the reference is, it's just too much. Maybe Joe just needs to know....more. His pieces need to grow up with him. In one of the stories, talk goes on about many of his criticisms (see my list above) and rather makes fun of them....but maybe they are right.

I'm still a Joe Iconis fan....just not on this ride.

Upcoming reviews:
Closing night of Spring Awakening
Garden of Earthly Delights (off bway)
The American Plan (New with Mercedes Ruehl)
Becky Shaw (new)
Hair (On Broadway)
Hedda Gabler (FINALLY!)
33 Variations (Jane Fonda)
West Side Story
Wicked (Revisted, 5 years later)

Short and Sweet!

Really: it can be done!!!

Happy Holidays to all, be safe, be happy. Have a wonderful and relaxing vacation...we've ALL earned it.


Reviews coming soon (before New Years, hopefully) of:

Billy Elliot
Boeing, Boening
What's That Smell?
Road Show
Joe Iconis' Re-Write

Casting Festival

As I've mentioned before, "we" refer to the festival show as Varsity Drama. It's the most competitive audition we hold; the most intense production of the year. Certainly, there are some kids that hold the musical more near and dear to their hearts. But this is THE show. USUALLY the smallest cast and the show that gets the most "public" attention since it IS competitive and awards are given. It is MY favorite production.

This year just over 50 kids auditioned for 16 to 22 parts. Truth be told, I was hoping to keep it closer to the 16; but that just didn't happen. The play were are producing, Things Fall (Meanwhile) by Barton Bishop, is the truest form of an ensemble piece that could be written. Yes, many of the 40 roles are only 2 to 5 lines each, which is why the ensemble plays multiple parts. Even the "single" parts are not overwhelmingly "huge". The cleverness of the play relies a great deal on the intertwining of several concurrent stories. It actually reads more like a movie...moving in and out of various places in various stories.

About half the students make the callback list, which makes many happy and many walking away from the list sad. It was a bad year for freshman as none of them made it that far. To be honest, it IS rare for freshman to make it that far in the process not BECAUSE they are freshman, but because they simply do not yet have the experience, ability and work ethic to truly compete with the older kids. However, in the last few years there HAVE been one or two that at least MADE callbacks. On the other hand, there are seniors that don't make callbacks, too. It isn't an automatic thing by any means. I keep telling the kids how rare it is for ANY student to be cast in all four of their festival shows. I'm pretty sure in my tenure, I've only had one. Currently, no one is even eligible for that honor. I know there have been kids with huge leads in the musical that don't make festival.

Once callbacks were over, I really, REALLY avoided the task at hand. I knew it was going to difficult to cast (and more difficult to cut) and I simply didn't want to face it. This casting was more difficult to cast than any in recent memory. (Possibly of all time.) Usually once one or two of the major parts have been cast, everything else falls in place and just "fits" (remember the puzzle analogy from the Millie casting?). But since there weren't TRULY any major parts, this just wasn't happening. I talk all the time about actors being "right" for the part; how the best actor is not always best for the biggest part. I was looking for the "right" choices to become evident. And then I realized: the ensemble parts are SOOO open to interpretation and character choices that there wasn't necessarily "right" choices so much as choosing the people that were indeed simply the strongest actors -- those truly adept at creating CHARACTERS, those that would look for ways to be sure each character they were playing was distinct from the others, and full and complete. There were really about 6 or so roles that had to be the "right" fit.

At the end of auditions, I was only certain about two parts. And only 100% sure about one of those. I had multiple names in many individual parts. Additionally, there was even ONE part I couldn't seem to find any name to put next to it. And, sadly, there were the names that simply weren't landing anywhere. Harsh reality. I even added a few non speaking parts, which I normally hate doing. Festival requires an intense commitment...and committing to be a non-speaking "extra" is a tough thing to ask. The good news: those folks will be called upon to both create physical uses of themselves when necessary...and I'll put that in their hands as well as if anyone DOES have to drop out of the show, we'll already have folks familiar with the show to be able to step in. (In this day and age, there are academic responsibilities that must be heeded or students cannot participate in extra-curricular activities. The bizarre connection with that: in the last three years we have gone to State Finals twice...both shows had a replacement actor!)

Finally, the deed is complete. I type, I print, I put away for school the next a.m. About 3 minutes from work the next morning, I realize I never put my schoolbag IN my car....and panic momentarily as I remember that I did indeed also EMAIL the list to myself! Whew. The list goes up. I hear squeals; I see sad faces. I ask around to find out if anyone is terribly upset. At first the word is good. But it quickly disintegrates. I won't go into details but there is indeed a few folks terribly upset; some even in tears. Have I mentioned I'm not good at tears? Mine or anyone else's. Even my kids. I'm a horrid woman, through and through. And it's not that I don't understand what they are feeling, even though I only remember crying at one cast list myself. (And that was when after FIVE callbacks for the role, I lost the lead to a Moliere play because I could play comedy and the other girls couldn't so I got a one scene comedic role while she walked away with the female lead. Oh, and she made PHIL sandwiches and baked him cookies.) I try to speak to those I'm aware that are upset, but am not sure if I'm really the person they WANT to be talking to at the moment. I hope I am of some comfort, but seriously doubt my effectiveness: what they are feeling is emotional and not logical.

Monday is our first read thru and only rehearsal of 2008. Tech theater class will begin creating the sets this week. Even with all the turmoil, I'm excited to get started...I'm happier when "in production".

Happy Holidays to all!

It's always something! (ten points to whomever knows that reference!)

More closings.

Grease -- can't say I'm sorry about this one, as the show...well, sucks. Granted, I don't like the show under the BEST of circumstances but this was like seeing a HS production. Don't get me wrong: I LOVE HS productions...particularly good ones, but I don't want to spend over a hundred bucks a seat to see one! And please, no lectures on me being a horrid person being glad that the closing has put many out of work. I'm not glad for the individuals...just getting dreck off of my beloved B'way. (and yes, I realize there are people that loved this show...I am not friends with them.)

Boeing, Boeing winner of the 2008 Tony Award for Best Revival of a Play. Hadn't seen it, but thanks to the Christmas week special performance schedule, I now have a ticket!

I say on Jan 4th (the night the lights go out on B'way) we all hold our own private candlelit vigils. I am truly saddened...even with all the new shows planning to come in.

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But new beginings as well on a personal nature: Even though we closed our three night run of Thoroughly Modern Millie less than two weeks ago, today we started our next "mainstage" production. We had our 'festie' meeting which is just me rambling about what the experience is like and giving all of the commitment dates and other important stuff. The room was PACKED!

The funny part: I started having "meetings" about Festival when I didn't work in the building. I couldn't talk to the kids about the show during the school day, so we created the "meeting". I forgot that. Now I'm IN the building...and scheduled the meeting ANYWAY. OY. What was I thinking? I said that to one of the classes and someone replied: but you should keep it...it's a great way to start fesie off.

Now on my white board there is a countdown of how many HOURS until the first rehearsal of festie starts! I thought that was pretty funny! I think that's one of the things I love most about my job. The enthusiasm youth has. It's beautiful and inspiring. And keeps me young...but adds to my gray hair count. (Yes, I know how many I have. Not.)

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As for my annual Christmas Pilgrammage to Manhattan: A whirlwind couple of days of seeing shows and catching up with friends and being in my element.

On the line up:
Billy Elliot -- I am SO excited to see this...even from the crappy 41.50 seat I have.

Boeing, Boeing -- When the closing notice was announced, I flew my fingers over the keyboard to get tix!

Re-Write 3 one act musicals written by the one and only Joe Iconis (Black Suits; The Plant that Ate Dirty Socks, Things to Ruin) and starring the usual Iconis Crowd

Road Show, the new Stephen Sondheim musical. I'm all a twitter over this one too!

Believe it or not, I still have one spot open (and I'll only be there Thurs thru Sat!!! I holding out hope that Playwrights Horizon will extend Jonathan Groff's play: Prayer for My Enemy; but it's not looking too good. I'm just dying to see Groff truly act...because I'm not sure if he can. I hope that he can. He's got to be the luckiest young man in Manhattan in a loooooong time. Not only did he land his first b'way show in freakishly a short amount of time; but the boy hasn't been out of work since. He even got to TURN DOWN reprising his role in HAIR as it comes to B'way! Something about previous commitments! No one seems to know what they are, and he won't answer my emails about it. I'm kidding...he always answers them. (kidding again, I haven't talked to Groff since Hair way back in August. That one's true.)

Oy. I'm silly.