And I am ashamed. But I have to admit: there is no way I'll catch up tonight.
However....this is what's to come...
From JUNE
Mary Stuart
Fuerza Bruta
From JULY with the kids
Billy Elliot
The Gazillion Bubble Show
From AUGUST
The Departure Lounge (off b'way)
Avenue Q (getting ready to close after almost 6 years)
Vanities (off b'way)
Next to Normal
The Toxic Avenger (off b'way)
Hair
Burn the Floor
Billy Elliot
The Bacchae (At the Delacourt theater in Central Park)
Matt Doyle (in his first solo gig)
Joe Iconis (and friends)
The 39 Steps (FINALLY!)
The Future:
Hard to believe we're experiencing a recession....because you sure couldn't tell from all the shows coming onto the Great White Way for the 2010 season!
Plays!
Revivals!
Musicals!
Hollywood Stars!
British Productions!
Broadway Favorites!
JOHN LITHGOW!!!!
Very exciting. I'll need a second job just to keep up!
Wednesday, August 19, 2009
Saturday, June 6, 2009
Wednesday, June 3, 2009
N2N -- v2 & God of Carnage
Got to see some friends, got to see some shows. Life is Good, Broadway is Better.
Next to Normal (revisted)
I know, I know...I only saw this a few weeks ago. Additionally, when I left the theater I wasn't sure if I could see this again as it is emotionally draining. But I found I couldn't stop thinking about it, couldn't stop listening to the cd. The cd kept evoking emotions that it hadn't while in the theater. A deeper understanding, perhaps? (If you haven't heard some of the music, there is a player over on the left where you sample about 10 of the songs. It's purple, so a little hard to miss although you need to scroll down a little. Listen and read.)
So, I lucked into a third row seat and prepared myself for an emotional beating. Wow. The entire cast was simply on fire, so much more intense than when I originally viewed the show. I heard from others that the show was like that for all five shows of the weekend. (Impressing Tony voters, perhaps???) I don't care the reason -- it was a theatrical experience NOT to be missed.
The cast:
Alice Ripley -- I don't know how this woman does this show 8 times a week, especially the two a days! The tears and the emotion flow from her as simply as turnig on your faucet. She is giving the performance of a lifetime...and one that will be a measuring stick for years to come. Granted it is an amazing character to play and she's been at it for quite some time. But still, I am in awe. There are folks that complain about pitch problems she may or may not have, people complain about the quality of her voice. Pooh to them all. Alice Ripley is an amazing actress, and I love every quirk and nuance of her.
J. Robert Spencer -- I am "over" Brian d'arcy James no longer being a part of this show. Spencer's portrayal of the family's patriach has gotten so nuanced and stronger even if the few weeks since I last saw it. I love how his character has become consumed with his wife, although sadly at the expense of his daughter. His pain is more evident and the brave face is an ardently failing mask.
Jennifer Damiano -- 18 years old, 2nd B'way Show. Tony Nominee. I wish I could hate her, but she is so incredibly talented. I was listening to a version of N2N from approx 2 years ago, when the show was off b'way at 2nd Stage. I was astounded to hear how much Jenn's voice has grown and matured in that time. She was captivating.
Aaron Tveit -- First, may I just say, "YUM"? When Aaron appears without his shirt, I am fairly certain I had to catch my breath. And I've seen the man in that form of undress a few times. It's wrong that he's so pretty. But since he is the purest form of energy while onstage makes it ok. *spoiler* Aaron plays a spirit, a soul, a hallucintation, an imagination....how fitting. end of *spoiler* Sadly for many of you that haven't seen the show yet: Aaron is leaving N2N for an out of town stint in the premiere of "Catch Me If You Can" in Seattle. The plan is for him to return early September. Kyle Dean Massey will be his replacement....while I will most likely catch him in August, I do not know his work. He is cuter than all get out as I saw him at the stage door last week while I was waiting for a friend.
God of Carnage -- Tony Nominated for: Best new play and all four actors rec'd acting noms as well. Sadly, my seats are less than stellar. I am in the back half of the mezzanine. (As a side note: I find I am becoming more and more of a seat snob) The actors/directors played NOTHING to the mezzanine.
The play is certainly entertaining....but still lacking something. I still can't figure out what, though. The plot surrounds two couples that have come together to discuss a playground accident. This quickly unravels into an evening of accuasations, confessions, lies and redemption.
I love the actors: Marsha Gay Harden, Jeff Daniels, James Gandolfini and Hope Davis. I LIKE the premise. I even liked the performances...except for Ganolfini, who I couldn't understand about 1/3 of the time. There were moments that were PRICELESS. But for the most part, I just kept thinking: Really? Why? Am I missing the point? There seems to be no reason for these people to be talking about the stuff they are, and certainly no reason to tell us about it.
Next up:
THE TONY AWARDS! I'm not going (don't I wish?) but I am watching. FYI more than 1/2 of the awards will be given out PRE telcast and the only way to see them is on a live feed. PS...not too happy with the format this year. CBS wants less focus on the awards and speeches; more attention on the musicals. Even if they aren't NOMINATED or currently plyaing. Yup...you read that correctly: the TOUR casts of Legally Blonde, The Jersey Boys and some show I have forgotten will be performing at the Tony awards. I GET that the Tonys get a limited audience. I GET that viewership is down -- but it is for ALL award shows. I even GET that CBS wants to make money. But it IS a freakin' AWARD show after all, so let's not make it so obvious that it's simply a multi hour commercial for B'way.
Mary Stuart and a re-visit to Fuerzabruta. The day can't be much more diverse!
Next to Normal (revisted)
I know, I know...I only saw this a few weeks ago. Additionally, when I left the theater I wasn't sure if I could see this again as it is emotionally draining. But I found I couldn't stop thinking about it, couldn't stop listening to the cd. The cd kept evoking emotions that it hadn't while in the theater. A deeper understanding, perhaps? (If you haven't heard some of the music, there is a player over on the left where you sample about 10 of the songs. It's purple, so a little hard to miss although you need to scroll down a little. Listen and read.)
So, I lucked into a third row seat and prepared myself for an emotional beating. Wow. The entire cast was simply on fire, so much more intense than when I originally viewed the show. I heard from others that the show was like that for all five shows of the weekend. (Impressing Tony voters, perhaps???) I don't care the reason -- it was a theatrical experience NOT to be missed.
The cast:
Alice Ripley -- I don't know how this woman does this show 8 times a week, especially the two a days! The tears and the emotion flow from her as simply as turnig on your faucet. She is giving the performance of a lifetime...and one that will be a measuring stick for years to come. Granted it is an amazing character to play and she's been at it for quite some time. But still, I am in awe. There are folks that complain about pitch problems she may or may not have, people complain about the quality of her voice. Pooh to them all. Alice Ripley is an amazing actress, and I love every quirk and nuance of her.
J. Robert Spencer -- I am "over" Brian d'arcy James no longer being a part of this show. Spencer's portrayal of the family's patriach has gotten so nuanced and stronger even if the few weeks since I last saw it. I love how his character has become consumed with his wife, although sadly at the expense of his daughter. His pain is more evident and the brave face is an ardently failing mask.
Jennifer Damiano -- 18 years old, 2nd B'way Show. Tony Nominee. I wish I could hate her, but she is so incredibly talented. I was listening to a version of N2N from approx 2 years ago, when the show was off b'way at 2nd Stage. I was astounded to hear how much Jenn's voice has grown and matured in that time. She was captivating.
Aaron Tveit -- First, may I just say, "YUM"? When Aaron appears without his shirt, I am fairly certain I had to catch my breath. And I've seen the man in that form of undress a few times. It's wrong that he's so pretty. But since he is the purest form of energy while onstage makes it ok. *spoiler* Aaron plays a spirit, a soul, a hallucintation, an imagination....how fitting. end of *spoiler* Sadly for many of you that haven't seen the show yet: Aaron is leaving N2N for an out of town stint in the premiere of "Catch Me If You Can" in Seattle. The plan is for him to return early September. Kyle Dean Massey will be his replacement....while I will most likely catch him in August, I do not know his work. He is cuter than all get out as I saw him at the stage door last week while I was waiting for a friend.
God of Carnage -- Tony Nominated for: Best new play and all four actors rec'd acting noms as well. Sadly, my seats are less than stellar. I am in the back half of the mezzanine. (As a side note: I find I am becoming more and more of a seat snob) The actors/directors played NOTHING to the mezzanine.
The play is certainly entertaining....but still lacking something. I still can't figure out what, though. The plot surrounds two couples that have come together to discuss a playground accident. This quickly unravels into an evening of accuasations, confessions, lies and redemption.
I love the actors: Marsha Gay Harden, Jeff Daniels, James Gandolfini and Hope Davis. I LIKE the premise. I even liked the performances...except for Ganolfini, who I couldn't understand about 1/3 of the time. There were moments that were PRICELESS. But for the most part, I just kept thinking: Really? Why? Am I missing the point? There seems to be no reason for these people to be talking about the stuff they are, and certainly no reason to tell us about it.
Next up:
THE TONY AWARDS! I'm not going (don't I wish?) but I am watching. FYI more than 1/2 of the awards will be given out PRE telcast and the only way to see them is on a live feed. PS...not too happy with the format this year. CBS wants less focus on the awards and speeches; more attention on the musicals. Even if they aren't NOMINATED or currently plyaing. Yup...you read that correctly: the TOUR casts of Legally Blonde, The Jersey Boys and some show I have forgotten will be performing at the Tony awards. I GET that the Tonys get a limited audience. I GET that viewership is down -- but it is for ALL award shows. I even GET that CBS wants to make money. But it IS a freakin' AWARD show after all, so let's not make it so obvious that it's simply a multi hour commercial for B'way.
Mary Stuart and a re-visit to Fuerzabruta. The day can't be much more diverse!
Sunday, May 17, 2009
Spring Awakening -- Revisted on Tour
You know of the unnatural affection I have for Spring Awakening and some of it's cast members. It's been only 4 months since it closed on B'way and, in talking to a number of people of recent weeks, we'd begun to talk more of it's flaws than anything else. I'd begun to wonder if a huge amount of the beauty of the show was indeed coming from the original cast, which also trickled into the first few replacements. Blake Daniel (Ernst), Emma Hunton (Ilse) & Blake Bashoff (Moritz) were all incredible and worthy additions to the cast. Additional actors as part of the ensemble/understudy crew were also positive: Eryn Murman, Matt Doyle (who has his own bizarre cult following) and Alexandra Socha, who ended up replacing Wendla. After that: not so much.
And now, there is the Tour Cast. The show has been in Boston for three weeks, with one more to go. I'm sure if it weren't for may own production/tech week (The Crucible --which turned out to be AMAZING, by the way), followed by my daughter's production/tech week (Willy Wonka, Jr.) I would have picked up stage seats for each week. But I settled for twice.
Overall, the show is intact. Being able to bring it across country to those that didn't have the opportunity to go to NY, is great and the audiences haven't been dissappointed for the most part. I've had many students find their way there over the last few weeks and only know of one (so far) that didn't care for it. The set travels well, with a few exceptions....there is no pit for Act Two which was bothersome (but probably NOT to new audience members) BUT it interferes with the final entrances of Moritz and Wendla to disappointment. The lighting is still magnificent, although (as always) less effective while on stage.
The performance itself? Well. Hm. The bloom is off the rose now. I do have to preface the following comments by saying seeing the production from onstage does limit your ability to view things as they should, since you don't see the actor's faces well enough. So, a bit of my more dour comments may have been softened had I seen the show from the house. (But I'm not conviced of this.)
To the women: Angela Reed as The Adult Women. LOVED her. In her entirety. I've always felt the only person that played this part well was the Christine Estabrook. When she left the B'way show she was greatly missed. NO ONE held a candle to her, until now. I thought she was wonderful. So varied, so intense, and truly captivating. To open, I thought I was going to love Christy Altomare. I'd heard wonderful things about her and was looking forward to seeing it. Her opening song was strong and I was thinking: Yes! I'm going to like her. Even during the first scene with Reed, I was on her side. Then is just sort of stopped. As she did. No growth, no dimension...just "nice". Steffie D (Ilse) was good (although there were a few clunker notes) but I was not drawn to her in any way. And honestly, that's all about the women worth discussing.The rest of the girls were...fixtures. I thought the beauty of the original cast was how individual they each were...here they only believed themselves to be minor characters.
The men: Many more positive things to be able to say here. Blake Bashoff, will continue to be one of my favorites of all time. I would go to see him unwrap a stick of gum. (Really, I would -- because he'd make it interesting.) He's now been playing this part since December of 2007. To the best of my memory/knowledge he hasn't taken vacation (but I don't follow the tour news) and while on Bway, took almost no days off. At 8 shows a week...that's a lot of suicides and a lot of tears. And he hasn't let down one iota. I am in awe of his talent and likewise his dedication. He plans to stay with the tour as it finishes this leg in Chicago in August. I look forward to what comes next for him. (Donnie Darko on B'way anyone???)
Kyle Riabko (Melchior) also comes from B'way having assumed the role briefly when Jonathan Groff departed. Kyle has improved LEAPS and BOUNDS since B'way, but still did not win my heart. I still don't see enought thought and life within his portrayal. I will never fault his singing, and will bow down to his falsetto any day of the week.
I enjoyed the Adult Men, Henry Stram except for one detail. Acting wise he was second only to Stephen Spinella, and world's above Glen Fleshler. In speaking, however, to Bashoff, I found out that Mr. Stram could not do the physical blocking necessary in the confrontation scene. I missed the smacking of Moritz, I thought it was integral in fully the utter despair into which he falls.
I enjoyed seeing Matt Shingledecker in a role instead of his chair on B'way, and his Georg was fun. Ben Moss and Andy Mientus were nicely cast as Ernst and Hanschen. I am still amazed, sadly, on audience reaction to their passionate kissing. Lord....it's 2009 and they are ACTING. (And it was fierce!)
I'll be returning...just one last time.
And now, there is the Tour Cast. The show has been in Boston for three weeks, with one more to go. I'm sure if it weren't for may own production/tech week (The Crucible --which turned out to be AMAZING, by the way), followed by my daughter's production/tech week (Willy Wonka, Jr.) I would have picked up stage seats for each week. But I settled for twice.
Overall, the show is intact. Being able to bring it across country to those that didn't have the opportunity to go to NY, is great and the audiences haven't been dissappointed for the most part. I've had many students find their way there over the last few weeks and only know of one (so far) that didn't care for it. The set travels well, with a few exceptions....there is no pit for Act Two which was bothersome (but probably NOT to new audience members) BUT it interferes with the final entrances of Moritz and Wendla to disappointment. The lighting is still magnificent, although (as always) less effective while on stage.
The performance itself? Well. Hm. The bloom is off the rose now. I do have to preface the following comments by saying seeing the production from onstage does limit your ability to view things as they should, since you don't see the actor's faces well enough. So, a bit of my more dour comments may have been softened had I seen the show from the house. (But I'm not conviced of this.)
To the women: Angela Reed as The Adult Women. LOVED her. In her entirety. I've always felt the only person that played this part well was the Christine Estabrook. When she left the B'way show she was greatly missed. NO ONE held a candle to her, until now. I thought she was wonderful. So varied, so intense, and truly captivating. To open, I thought I was going to love Christy Altomare. I'd heard wonderful things about her and was looking forward to seeing it. Her opening song was strong and I was thinking: Yes! I'm going to like her. Even during the first scene with Reed, I was on her side. Then is just sort of stopped. As she did. No growth, no dimension...just "nice". Steffie D (Ilse) was good (although there were a few clunker notes) but I was not drawn to her in any way. And honestly, that's all about the women worth discussing.The rest of the girls were...fixtures. I thought the beauty of the original cast was how individual they each were...here they only believed themselves to be minor characters.
The men: Many more positive things to be able to say here. Blake Bashoff, will continue to be one of my favorites of all time. I would go to see him unwrap a stick of gum. (Really, I would -- because he'd make it interesting.) He's now been playing this part since December of 2007. To the best of my memory/knowledge he hasn't taken vacation (but I don't follow the tour news) and while on Bway, took almost no days off. At 8 shows a week...that's a lot of suicides and a lot of tears. And he hasn't let down one iota. I am in awe of his talent and likewise his dedication. He plans to stay with the tour as it finishes this leg in Chicago in August. I look forward to what comes next for him. (Donnie Darko on B'way anyone???)
Kyle Riabko (Melchior) also comes from B'way having assumed the role briefly when Jonathan Groff departed. Kyle has improved LEAPS and BOUNDS since B'way, but still did not win my heart. I still don't see enought thought and life within his portrayal. I will never fault his singing, and will bow down to his falsetto any day of the week.
I enjoyed the Adult Men, Henry Stram except for one detail. Acting wise he was second only to Stephen Spinella, and world's above Glen Fleshler. In speaking, however, to Bashoff, I found out that Mr. Stram could not do the physical blocking necessary in the confrontation scene. I missed the smacking of Moritz, I thought it was integral in fully the utter despair into which he falls.
I enjoyed seeing Matt Shingledecker in a role instead of his chair on B'way, and his Georg was fun. Ben Moss and Andy Mientus were nicely cast as Ernst and Hanschen. I am still amazed, sadly, on audience reaction to their passionate kissing. Lord....it's 2009 and they are ACTING. (And it was fierce!)
I'll be returning...just one last time.
Saturday, May 16, 2009
Tony Predictions
I have to admit: I'm pretty impressed with my Tony Award nomination predictions.
Below are my predictions for the out come. I marked it 2 ways: What I think SHOULD win (*) and what I think WILL win (+). Here goes nothing! I took out some of the tech awards that I have no idea whatsoever.
Best Play
Dividing the Estate
God of Carnage *+
reasons to be pretty
33 Variations
Best Musical
Billy Elliot, The Musical+
Next to Normal*
Rock of Ages
Shrek The Musical
Producers: Dreamworks Theatricals, Neal Street Productions
Best Book of a Musical
Billy Elliot, The Musical
Next to Normal *+
Shrek The Musical
[Title of Show]
Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot, The Musical
Next to Normal *+
9 to 5: The Musical
Shrek The Musical
Best Revival of a Play
Joe Turner's Come and Gone *
Mary Stuart
The Norman Conquests+
Waiting for Godot
Best Revival of a Musical
Guys and Dolls
Hair*+
Pal Joey
West Side Story
Best Special Theatrical Event
Liza's at The Palace
Slava's Snowshow*
Soul of Shaolin
You're Welcome America. A Final Night with George W. Bush+
Best Performance by a Leading Actor in a Play
Jeff Daniels, God of Carnage
Raúl Esparza, Speed-the-Plow*+
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadoski, reasons to be pretty
Best Performance by a Leading Actress in a Play
Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage+
Janet McTeer, Mary Stuart*
Harriet Walter, Mary Stuart
Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical+
Gavin Creel, Hair*
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal
Best Performance by a Leading Actress in a Musical
Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, Next to Normal*+
Josefina Scaglione, West Side Story
Best Performance by a Featured Actor in a Play
John Glover, Waiting for Godot
Zach Grenier, 33 Variations
Stephen Mangan, The Norman Conquests*+
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner's Come and Gone
Best Performance by a Featured Actress in a Play
Hallie Foote, Dividing the Estate*
Jessica Hynes, The Norman Conquests
Marin Ireland, reasons to be pretty
Angela Lansbury, Blithe Spirit+
Amanda Root, The Norman Conquests
Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical+
Will Swenson, Hair*
Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal
Haydn Gwynne, Billy Elliot, The Musical+
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey*
Carole Shelley, Billy Elliot, The Musical
Best Scenic Design of a Musical
Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical*+
Scott Pask, Pal Joey
Mark Wendland, Next to Normal
Best Costume Design of a Play
Dale Ferguson, Exit the King
Jane Greenwood, Waiting for Godot
Martin Pakledinaz, Blithe Spirit
Anthony Ward, Mary Stuart*+
Best Costume Design of a Musical
Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
Tim Hatley, Shrek The Musical*+
Michael McDonald, Hair
Best Lighting Design of a Musical
Kevin Adams, Hair*
Kevin Adams, Next to Normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot. The Musical+
Best Direction of a Play
Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner's Come and Gone*
Matthew Warchus, God of Carnage+
Matthew Warchus, The Norman Conquests
Best Direction of a Musical
Stephen Daldry, Billy Elliot, The Musical+
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair*
Best Choreography
Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical*+
Randy Skinner, Irving Berlin's White Christmas
Below are my predictions for the out come. I marked it 2 ways: What I think SHOULD win (*) and what I think WILL win (+). Here goes nothing! I took out some of the tech awards that I have no idea whatsoever.
Best Play
Dividing the Estate
God of Carnage *+
reasons to be pretty
33 Variations
Best Musical
Billy Elliot, The Musical+
Next to Normal*
Rock of Ages
Shrek The Musical
Producers: Dreamworks Theatricals, Neal Street Productions
Best Book of a Musical
Billy Elliot, The Musical
Next to Normal *+
Shrek The Musical
[Title of Show]
Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot, The Musical
Next to Normal *+
9 to 5: The Musical
Shrek The Musical
Best Revival of a Play
Joe Turner's Come and Gone *
Mary Stuart
The Norman Conquests+
Waiting for Godot
Best Revival of a Musical
Guys and Dolls
Hair*+
Pal Joey
West Side Story
Best Special Theatrical Event
Liza's at The Palace
Slava's Snowshow*
Soul of Shaolin
You're Welcome America. A Final Night with George W. Bush+
Best Performance by a Leading Actor in a Play
Jeff Daniels, God of Carnage
Raúl Esparza, Speed-the-Plow*+
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadoski, reasons to be pretty
Best Performance by a Leading Actress in a Play
Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage+
Janet McTeer, Mary Stuart*
Harriet Walter, Mary Stuart
Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical+
Gavin Creel, Hair*
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal
Best Performance by a Leading Actress in a Musical
Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, Next to Normal*+
Josefina Scaglione, West Side Story
Best Performance by a Featured Actor in a Play
John Glover, Waiting for Godot
Zach Grenier, 33 Variations
Stephen Mangan, The Norman Conquests*+
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner's Come and Gone
Best Performance by a Featured Actress in a Play
Hallie Foote, Dividing the Estate*
Jessica Hynes, The Norman Conquests
Marin Ireland, reasons to be pretty
Angela Lansbury, Blithe Spirit+
Amanda Root, The Norman Conquests
Best Performance by a Featured Actor in a Musical
David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical+
Will Swenson, Hair*
Best Performance by a Featured Actress in a Musical
Jennifer Damiano, Next to Normal
Haydn Gwynne, Billy Elliot, The Musical+
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey*
Carole Shelley, Billy Elliot, The Musical
Best Scenic Design of a Musical
Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical*+
Scott Pask, Pal Joey
Mark Wendland, Next to Normal
Best Costume Design of a Play
Dale Ferguson, Exit the King
Jane Greenwood, Waiting for Godot
Martin Pakledinaz, Blithe Spirit
Anthony Ward, Mary Stuart*+
Best Costume Design of a Musical
Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
Tim Hatley, Shrek The Musical*+
Michael McDonald, Hair
Best Lighting Design of a Musical
Kevin Adams, Hair*
Kevin Adams, Next to Normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot. The Musical+
Best Direction of a Play
Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner's Come and Gone*
Matthew Warchus, God of Carnage+
Matthew Warchus, The Norman Conquests
Best Direction of a Musical
Stephen Daldry, Billy Elliot, The Musical+
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair*
Best Choreography
Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical*+
Randy Skinner, Irving Berlin's White Christmas
April's Shows -- Better Late Than Never!!
Ok...quite the whirlwind of Activity.
HAIR: I am the most confident I've ever been that Hair will win for Best Revival of a Musical. Not only do the other nominations have little to write home about; but Hair is extraordinary, moving and meaningful theatrical experience. I, indeed, did see this at Central Park this past summer and had my concerns for it's success INSIDE, as I felt the setting OF the park added a beautiful dimension to the story. Any fears I had are incredibly unfounded. Diane Paulus has re-imagined the production and beautifully directed it twice! She is incredibly deserving of her Tony nomination and I am actually hoping for her to win.
Since you can see my original review, I will just talk about a few noticeable differences.
Overall, the confines of the theater actually makes the production more intimate than at the vast openness of the Central Park theater. Theo (see below) put it into fabulous terms: At the park...it was for everyone...people walking through the park, the stars, the air. The theater-setting is more selfish and more about just us. The "us" meant all of us in the theater...not the cast. The amount of cast/audience interaction is insane. I've never been more molested, toyed with and entangled at a show. The energy this young cast expends is beyond the imagination. Gym memberships are not a necessity! I was lucky enough to sit in the front row, and landed front row tix again for August during my annual pilgrimage!
Gavin Creel (Thoroughly Modern Millie, Mary Poppins [London]) has replaced the boy toy of B'way, Jonathan Groff as Claude, the unsure and bewildered of the "Tribe". I adore Groff and adored him in this piece, but I have to admit, Creel brought "something" to the role that I didn't even know was missing. Creel was more centered, more thoughtful. I loved everything about his performance and how beautifully he fit in with the cast. Will Swenson (who should be picking up a Tony Award for Best Supporting Actor) was even better with Creel.
Caissie Levy as Sheila. There were many nay-sayers against Levy well before Hair opened on B'way. I'd never heard of her, so could care less. I loved her performance. I like the contrast she provides to the rest of the cast as the true protester...her Sheila wants to change the world. I was quite drawn to her plight.
There are a number of standouts (still from the Park's production) I'd like to mention for their unimaginable spirits and beauty, on and off stage.
Kacie Sheik -- her loopy and forlorn Jeanie is as delightful as she is. (Doesn't hurt that her brother is one of my musical idols, Duncan!)
Allison Case -- this girl is so incredibly powerful. No matter where she is on stage or what her character is doing, you cannot help but be drawn to her. She is light and beauty and emotion. I will liken her TO Jonathan Groff as being more "in the moment" than any other actors you are likely to see on a stage. I am not ashamed to admit: I got a little girl crush on Allison. I fangirl for her! (If that was too icky to read....too bad!)
Bryce Ryness -- continues his amazing portrayal of Woof. Loved him at the park, love him more now. (I cannot attest to Bryce's off stage beauty, as I haven't met him....yet.) His commitment is beautiful and you just want to be his mom. Go check out his band as well....wow! http://rynessband.com/music.html
Theo Stockman -- is a tribe member, and is glorious. Another ever present being, I found myself looking for him during the performance to "check in".
**********
NEXT TO NORMAL: This should be the Tony Winner for Best New Musical, but I fear it will lose to Billy Elliot. It is truly an ORIGINAL musical and thoughtful and moving and contemporary. (Look for music clips in my side bar, over there <------!!) N2N tells the story of a family riddled with problems. The most obvious is the mother's bi-polar diagnosis along with other mental issues. (To say more would require a spoiler alert!) It is heart-breaking, eye-opening, frightening and real. The cd is amazing and a constant on my playlist.
Sadly, N2N NEEDS to win the Tony to make it as a commercial success. It is not going to attract your average theater goer that thinks that have kept Phantom, Wicked and Mama Mia as long running shows. It's intellingent and sensitive, and a bit of a smack in the face with reality. The kind of show I thrive on.
Alice Ripley is a genius. If she does not win the Tony Award for Best Actress, then the Tony Awards are a total and complete sham. She is performing a tour de force. (I have no earthly idea if that spelled correctly.) The role is difficult, demanding and all encompassing. She is magnificent in all capacities.
J. Robert Spencer replaces Brian D'arcy James (now in Shrek -- more on that later) from the off b'way run. He is wonderful in his own right and worthy of his Tony nomination. I missed Brian, but that's a personal thing more than anything else.
Jenn Damiano as Natalie, the perfectionist daughter headed for trouble. Jenn made her b'way debut in Spring Awakening at 15, but left the show to pursue this role. She is outstanding. At 17, she too is nominated for a Tony Award for Supporting Actress. She is amazing, and I can only imagine what the future has in store for her.
Aaron Tveit, Gabe. Sadly, Aaron did not receive a nomination for his incredible performance in N2N. One of the few true slights in my opinion. He is ethereal and magical. (And he's phenomenal eye candy, too.)
*****
SHREK: Meh. I was disappointed. So were my kids. It was their least favorite show of our trip. I found the book as well as the music to be pedestrian. All the characters were 2-dimensional. I just wasn't made to care.
Sadly, for a family show, the language was suprisingly crude. Even my son remarked on it. It made him uncomfortable.
Sutton Foster (Fiona) is totally wasted here. Or perhaps her status at the "it" girl is fading.
Brian d'Arcy James does a great imitiation of Mike Myers, and physicalizes the part well. Big deal. I wish he'd stayed with N2N. Might Shrek end up running longer thereby providing him with a more consistent income: probably. But I wish he'd made the other choice.
Best part of the show? Neil Patrick Harris (The host of this year's Tony Awards, btw) He was sitting only a few row ahead of us. My daughter wanted to say hi, and he held her hand for a few moments (the result of an awkward failed handshake. I thought she was going to pass out! Priceless.
*****
WICKED: Then? I fell in love with this 5 years ago when I saw it with the original cast. I was not pleased when Avenue Q won the Tony award over it.
Now? It was....good. It's flaws of a weak book and lackluster character development screamed in my face. Luckily, my children where entranced...which is why I went back anyway. When my 8 year started to piece together how things were tying into The Wizard of Oz it was exhilarating! It was their favorite show. (And my son went begrudingly since it was his sister's choice.)
******
STOMP (off B'way): 15 years Stomp has been playing off b'way. It is still and amazing show full of suprises and energy and unique artistry. They are still putting in new material. We love this and would go back to see it again.
This was the first show my kids stage doored for, and I fear I have created a few monsters! They had to wait to get each performer sign their drumsticks. But they were delighted and in awe. The performers got a kick out them both.
Side note: having dinner near the theater we met Ben Baily and the crew of the Cash Cab. He was so kind to the kids. He invited them to come see and sit in the cab. They put the lights on and showed them all the cameras. We took pictures, they took pictures. My kids were in heaven!
HAIR: I am the most confident I've ever been that Hair will win for Best Revival of a Musical. Not only do the other nominations have little to write home about; but Hair is extraordinary, moving and meaningful theatrical experience. I, indeed, did see this at Central Park this past summer and had my concerns for it's success INSIDE, as I felt the setting OF the park added a beautiful dimension to the story. Any fears I had are incredibly unfounded. Diane Paulus has re-imagined the production and beautifully directed it twice! She is incredibly deserving of her Tony nomination and I am actually hoping for her to win.Since you can see my original review, I will just talk about a few noticeable differences.
Overall, the confines of the theater actually makes the production more intimate than at the vast openness of the Central Park theater. Theo (see below) put it into fabulous terms: At the park...it was for everyone...people walking through the park, the stars, the air. The theater-setting is more selfish and more about just us. The "us" meant all of us in the theater...not the cast. The amount of cast/audience interaction is insane. I've never been more molested, toyed with and entangled at a show. The energy this young cast expends is beyond the imagination. Gym memberships are not a necessity! I was lucky enough to sit in the front row, and landed front row tix again for August during my annual pilgrimage!
Gavin Creel (Thoroughly Modern Millie, Mary Poppins [London]) has replaced the boy toy of B'way, Jonathan Groff as Claude, the unsure and bewildered of the "Tribe". I adore Groff and adored him in this piece, but I have to admit, Creel brought "something" to the role that I didn't even know was missing. Creel was more centered, more thoughtful. I loved everything about his performance and how beautifully he fit in with the cast. Will Swenson (who should be picking up a Tony Award for Best Supporting Actor) was even better with Creel.
Caissie Levy as Sheila. There were many nay-sayers against Levy well before Hair opened on B'way. I'd never heard of her, so could care less. I loved her performance. I like the contrast she provides to the rest of the cast as the true protester...her Sheila wants to change the world. I was quite drawn to her plight.
There are a number of standouts (still from the Park's production) I'd like to mention for their unimaginable spirits and beauty, on and off stage.
Kacie Sheik -- her loopy and forlorn Jeanie is as delightful as she is. (Doesn't hurt that her brother is one of my musical idols, Duncan!)
Allison Case -- this girl is so incredibly powerful. No matter where she is on stage or what her character is doing, you cannot help but be drawn to her. She is light and beauty and emotion. I will liken her TO Jonathan Groff as being more "in the moment" than any other actors you are likely to see on a stage. I am not ashamed to admit: I got a little girl crush on Allison. I fangirl for her! (If that was too icky to read....too bad!)
Bryce Ryness -- continues his amazing portrayal of Woof. Loved him at the park, love him more now. (I cannot attest to Bryce's off stage beauty, as I haven't met him....yet.) His commitment is beautiful and you just want to be his mom. Go check out his band as well....wow! http://rynessband.com/music.html
Theo Stockman -- is a tribe member, and is glorious. Another ever present being, I found myself looking for him during the performance to "check in".
**********
NEXT TO NORMAL: This should be the Tony Winner for Best New Musical, but I fear it will lose to Billy Elliot. It is truly an ORIGINAL musical and thoughtful and moving and contemporary. (Look for music clips in my side bar, over there <------!!) N2N tells the story of a family riddled with problems. The most obvious is the mother's bi-polar diagnosis along with other mental issues. (To say more would require a spoiler alert!) It is heart-breaking, eye-opening, frightening and real. The cd is amazing and a constant on my playlist.Sadly, N2N NEEDS to win the Tony to make it as a commercial success. It is not going to attract your average theater goer that thinks that have kept Phantom, Wicked and Mama Mia as long running shows. It's intellingent and sensitive, and a bit of a smack in the face with reality. The kind of show I thrive on.
Alice Ripley is a genius. If she does not win the Tony Award for Best Actress, then the Tony Awards are a total and complete sham. She is performing a tour de force. (I have no earthly idea if that spelled correctly.) The role is difficult, demanding and all encompassing. She is magnificent in all capacities.
J. Robert Spencer replaces Brian D'arcy James (now in Shrek -- more on that later) from the off b'way run. He is wonderful in his own right and worthy of his Tony nomination. I missed Brian, but that's a personal thing more than anything else.
Jenn Damiano as Natalie, the perfectionist daughter headed for trouble. Jenn made her b'way debut in Spring Awakening at 15, but left the show to pursue this role. She is outstanding. At 17, she too is nominated for a Tony Award for Supporting Actress. She is amazing, and I can only imagine what the future has in store for her.
Aaron Tveit, Gabe. Sadly, Aaron did not receive a nomination for his incredible performance in N2N. One of the few true slights in my opinion. He is ethereal and magical. (And he's phenomenal eye candy, too.)
*****
SHREK: Meh. I was disappointed. So were my kids. It was their least favorite show of our trip. I found the book as well as the music to be pedestrian. All the characters were 2-dimensional. I just wasn't made to care.
Sadly, for a family show, the language was suprisingly crude. Even my son remarked on it. It made him uncomfortable.
Sutton Foster (Fiona) is totally wasted here. Or perhaps her status at the "it" girl is fading.
Brian d'Arcy James does a great imitiation of Mike Myers, and physicalizes the part well. Big deal. I wish he'd stayed with N2N. Might Shrek end up running longer thereby providing him with a more consistent income: probably. But I wish he'd made the other choice.
Best part of the show? Neil Patrick Harris (The host of this year's Tony Awards, btw) He was sitting only a few row ahead of us. My daughter wanted to say hi, and he held her hand for a few moments (the result of an awkward failed handshake. I thought she was going to pass out! Priceless.
*****
WICKED: Then? I fell in love with this 5 years ago when I saw it with the original cast. I was not pleased when Avenue Q won the Tony award over it.
Now? It was....good. It's flaws of a weak book and lackluster character development screamed in my face. Luckily, my children where entranced...which is why I went back anyway. When my 8 year started to piece together how things were tying into The Wizard of Oz it was exhilarating! It was their favorite show. (And my son went begrudingly since it was his sister's choice.)
******
STOMP (off B'way): 15 years Stomp has been playing off b'way. It is still and amazing show full of suprises and energy and unique artistry. They are still putting in new material. We love this and would go back to see it again.
This was the first show my kids stage doored for, and I fear I have created a few monsters! They had to wait to get each performer sign their drumsticks. But they were delighted and in awe. The performers got a kick out them both.
Side note: having dinner near the theater we met Ben Baily and the crew of the Cash Cab. He was so kind to the kids. He invited them to come see and sit in the cab. They put the lights on and showed them all the cameras. We took pictures, they took pictures. My kids were in heaven!
Sunday, May 3, 2009
My Tony Nominations
Well, since the real thing gets announced in approximately 36 hours, I thought I ought to go ahead and post.
Below are my PREDICITONS. Note that beyond Best Play and Best Revival, I did not complete the play categories. There are just SO many plays I have seen yet, that I felt like a fish out of Water.
Best Musical
Billy Elliot
Next to Normal
9 to 5
Shrek (?)
Best Revival
Pal Joey
West Side Story
Hair
Guys and Dolls
Best Actor
Gavin Creel (Hair)
The Billys (Billy Elliot)
Brian D’Arcy James (Shrek)
J Robert Spencer (Next to Normal)
Craig Bierko (Guys and Dolls)
Best Actress
Alice Ripley (Next to Normal)
Allison Janney (9 to 5)
Megan Hilty (9 to 5)
Kate Jennings(Guys and Dolls)
Stephanie Block (9 to 5)
Featured Actor
Greg Jbara (Billy Elliot)
Marc Kudisch (9 to 5)
Will Swenson (Hair)
Aaron Tveit (Next to Normal)
Chris Sieber (Shrek)
Featured Actress
Hayden Gwynne (Billy Elliot)
Jenn Damiano (Next to Normal)
Karen Olivo (West Side Story)
Martha Plimpton (Pal Joey)
Heidi Blickenstaff ([title of show])
Director
Daldry (Billy Elliot)
Greif (Next to Normal)
Paulus (Hair)
Mantello (9 to 5)
Choreographer
Darling (Billy Elliot)
Skinner (White Christmas)
Blankenbuehler (9 to 5)
Armitage (Hair)
Costume
Zinn (A Tale of Two Cities)
Robbins (White Christmas)
Hatley (Shrek)
McDonald (Hair)
Set
Walton (A Tale of Two Cities)
McNeil (Billy Elliot)
Hatley (Shrek)
Pask (9 to 5)
BookHall (Billy Elliot)
Yorkey (Next to Normal)
Bell ([Title of Show])
Resnick (9 to 5)
Score
Elton John (Billy Elliot)
Kitt/Yorkey (Next to Normal)
Parton (9 to 5)
Bowen ([title of show])
Best Play
Reasons to be pretty
God of Carnage
Irena’s Vow
33 Variations
Best Revival
Exit the King
Mary Stuart
Norman Conquests
Waiting for Godot
Below are my PREDICITONS. Note that beyond Best Play and Best Revival, I did not complete the play categories. There are just SO many plays I have seen yet, that I felt like a fish out of Water.
Best Musical
Billy Elliot
Next to Normal
9 to 5
Shrek (?)
Best Revival
Pal Joey
West Side Story
Hair
Guys and Dolls
Best Actor
Gavin Creel (Hair)
The Billys (Billy Elliot)
Brian D’Arcy James (Shrek)
J Robert Spencer (Next to Normal)
Craig Bierko (Guys and Dolls)
Best Actress
Alice Ripley (Next to Normal)
Allison Janney (9 to 5)
Megan Hilty (9 to 5)
Kate Jennings(Guys and Dolls)
Stephanie Block (9 to 5)
Featured Actor
Greg Jbara (Billy Elliot)
Marc Kudisch (9 to 5)
Will Swenson (Hair)
Aaron Tveit (Next to Normal)
Chris Sieber (Shrek)
Featured Actress
Hayden Gwynne (Billy Elliot)
Jenn Damiano (Next to Normal)
Karen Olivo (West Side Story)
Martha Plimpton (Pal Joey)
Heidi Blickenstaff ([title of show])
Director
Daldry (Billy Elliot)
Greif (Next to Normal)
Paulus (Hair)
Mantello (9 to 5)
Choreographer
Darling (Billy Elliot)
Skinner (White Christmas)
Blankenbuehler (9 to 5)
Armitage (Hair)
Costume
Zinn (A Tale of Two Cities)
Robbins (White Christmas)
Hatley (Shrek)
McDonald (Hair)
Set
Walton (A Tale of Two Cities)
McNeil (Billy Elliot)
Hatley (Shrek)
Pask (9 to 5)
BookHall (Billy Elliot)
Yorkey (Next to Normal)
Bell ([Title of Show])
Resnick (9 to 5)
Score
Elton John (Billy Elliot)
Kitt/Yorkey (Next to Normal)
Parton (9 to 5)
Bowen ([title of show])
Best Play
Reasons to be pretty
God of Carnage
Irena’s Vow
33 Variations
Best Revival
Exit the King
Mary Stuart
Norman Conquests
Waiting for Godot
Tuesday, March 24, 2009
Taking 93 people to NYC for a weekend is quite the experience. I've done it for the past 15 years....but always as "second banana" and only somewhat responsible. This year the road show was all mine. Except it didn't feel that way. And I mean that in a good way. I have an absolutely amazing support staff helping me out and easing the way....all together there were 20 adults, with only a few of them being ANY kind of hindrance. Couldn't have done it without them.
That being said, I am still amazed at how smoothly everything went, how wonderful the kids were, and what a great time we all had.
The shows we saw were: West Side Story, August: Osage County, and Altar Boyz.
I'd seen 2 of the three this past August and am happy to say that both are in FINE shape. Altar Boyz was even MORE fun the 2nd time around. Maybe it was the seat, maybe it was Neil Haskell (So You Think You Can Dance), maybe it was the energy of being with so many enthusiastic young people. We got to meet the entire cast (Well, there are only five of them.) afterwards and had a truly great time.
August was still riveting and shocking and stunning. MOST of the cast was the same as when I previously enjoyed it. The biggest change is that John Cullum is now in the role of Beverly Weston and wow was he incredible in the 15 minutes or so of stage time he has. I actually HATED the opening the first time I saw this and had actually warned the kids to "bear with it" through the horrid begining. Except it wasn't horrid anymore.
West Side Story.
The classic: West Side Story.
I'm not sure what to say. I was so incredibly disappointed in this production. Despite the word on the street and from the official reviews, I went in to the Palace Theater with high hopes. And they were dashed quickly.
The orchestra sounded amazing. Like Gypsy and South Pacific, the multi-piece orchestra was revived and beautifully so. Jerome Robbins choreography is still amazing. The only actor that I can REALLY send to the front of the class, is the beautiful and talented Karen Olivo (In the Heights fame).
Other than that: Meh. Or worse. The men are woefully weak and miscast. Matt Cavenaugh as Tony had no connection to any other character on the stage, including Maria. He sang with so much vibrato, I thought he might begin trembling. Cody Greene (Step Up and Dance Winner) -- whom I adore -- can dance up a storm. However, his singing, at best, is on pitch and serviceable. His acting....ouch. Maria is a newcomer from Latin America (sorry that I don't remember WHERE) that was good, with a terrific voice, but didn't make huge connections as an actress.
Changes that Laurents (director) made were met with varying success. I didn't feel that ANY of the changes made the show better. Some weakened the show. The change in the ending (which I won't spoil) was incomplete and ineffective. It also ruins the journey of the story.
The addition with adding Spanish was only wonderful in the Quintet. A few places in the dialogue it worked....because it "flavored" the scene; but too often it went on too long and the audience would loose interest. I actually DISLIKED it during I Feel Pretty and A Boy Like That. Again...it creates a disconnect for much of the audience.
The basic failure in the revival of West Side Story, is that it has no soul. In musicals, we sing when words are no longer enough to express our feelings, when song is no longer enough, we dance. This didn't happen at WSS....it was just "time to sing" or "dance break time".
I am saddened; a little part of my soul died.
That being said, I am still amazed at how smoothly everything went, how wonderful the kids were, and what a great time we all had.
The shows we saw were: West Side Story, August: Osage County, and Altar Boyz.
I'd seen 2 of the three this past August and am happy to say that both are in FINE shape. Altar Boyz was even MORE fun the 2nd time around. Maybe it was the seat, maybe it was Neil Haskell (So You Think You Can Dance), maybe it was the energy of being with so many enthusiastic young people. We got to meet the entire cast (Well, there are only five of them.) afterwards and had a truly great time.
August was still riveting and shocking and stunning. MOST of the cast was the same as when I previously enjoyed it. The biggest change is that John Cullum is now in the role of Beverly Weston and wow was he incredible in the 15 minutes or so of stage time he has. I actually HATED the opening the first time I saw this and had actually warned the kids to "bear with it" through the horrid begining. Except it wasn't horrid anymore.
West Side Story.
The classic: West Side Story.
I'm not sure what to say. I was so incredibly disappointed in this production. Despite the word on the street and from the official reviews, I went in to the Palace Theater with high hopes. And they were dashed quickly.
The orchestra sounded amazing. Like Gypsy and South Pacific, the multi-piece orchestra was revived and beautifully so. Jerome Robbins choreography is still amazing. The only actor that I can REALLY send to the front of the class, is the beautiful and talented Karen Olivo (In the Heights fame).
Other than that: Meh. Or worse. The men are woefully weak and miscast. Matt Cavenaugh as Tony had no connection to any other character on the stage, including Maria. He sang with so much vibrato, I thought he might begin trembling. Cody Greene (Step Up and Dance Winner) -- whom I adore -- can dance up a storm. However, his singing, at best, is on pitch and serviceable. His acting....ouch. Maria is a newcomer from Latin America (sorry that I don't remember WHERE) that was good, with a terrific voice, but didn't make huge connections as an actress.
Changes that Laurents (director) made were met with varying success. I didn't feel that ANY of the changes made the show better. Some weakened the show. The change in the ending (which I won't spoil) was incomplete and ineffective. It also ruins the journey of the story.
The addition with adding Spanish was only wonderful in the Quintet. A few places in the dialogue it worked....because it "flavored" the scene; but too often it went on too long and the audience would loose interest. I actually DISLIKED it during I Feel Pretty and A Boy Like That. Again...it creates a disconnect for much of the audience.
The basic failure in the revival of West Side Story, is that it has no soul. In musicals, we sing when words are no longer enough to express our feelings, when song is no longer enough, we dance. This didn't happen at WSS....it was just "time to sing" or "dance break time".
I am saddened; a little part of my soul died.
Tuesday, March 17, 2009
The Tony Predictions
This is subject to change...as I rely more on more on personal opinion and less and less on "buzz"
SO: In approximately two months the Tony Nominations will be announced. And while I can't wait, I thought I'd put my own list together.
FIRST the shows that have opened in the 08-09 Season:
2008
June 26 - Cirque Dreams Jungle Fantasy *
July 17 - [title of show] *
Sept 18 - A Tale Of Two Cities
Sept 25 - Equus *
Oct 2 - The Seagull
Oct 5 - 13
Oct 7 - A Man for All Seasons
Oct 14 - To Be or Not to Be
Oct 16 - All My Sons
Oct 23 - Speed-the-Plow *
Nov 13 - Billy Elliot *
Nov 17 - American Buffalo
Nov 20 - Dividing the Estate
Nov 23 - White Christmas
Dec 3 - Liza's At The Palace
Dec 7 - Slava's Snowshow *
Dec 14 - Shrek: The Musical **
Dec 18 - Pal Joey
2009
Jan 15 - Soul of Shaolin
Jan 22 - The American Plan *
Jan 25 - Hedda Gabler *
Feb 5 - You're Welcome America. A Final Night with George W Bush /
Feb 19 - The Story of My Life *
Mar 1 - Guys and Dolls
Mar 9 - 33 Variations *
Mar 15 - Blithe Spirit
Still to open and qualify for consideration:
Mar 19 - West Side Story **
Mar 22 - God of Carnage
Mar 24 - Impressionism
Mar 26 - Exit The King
Mar 29 - Irena's Vow **
Mar 30 - Happiness
Mar 31 - Hair **
Apr 2 - reasons to be pretty **
Apr 7 - Rock of Ages ***
Apr 15 - Next to Normal * & **
Apr 16 - Joe Turner's Come and Gone
Apr 19 - Mary Stuart ***
Apr 23 - The Norman Conquests
Apr 26 - The Philanthropist ***
Apr 27 - Desire Under the Elms
Apr 29 - Accent on Youth ***
Apr 30 - 9 to 5 ***
Apr 30 - Waiting for Godot **
Apr 30 - Tony Nomination Cut Off
* = I've seen it.
** = I have PLANS to see it before the Tony Noms.
*** = I hope to see before the summer is up (AFTER Tony Awards).
The Categories:
Best New Musical (4)
Best Revival of a Musical (4)
Best New Play (4)
Best Revival of a Play (4)
Best Performance Leading Male Musical (5)
Best Performance Leading Female Musical (5)
Best Performance Featured Male Musical (5)
Best Performance Featured Female Musical (5)
Best Performance Leading Male Play (5)
Best Performance Leading Female Play (5)
Best Performance Featured Male Play (5)
Best Performance Featured Female Play (5)
Best Book of a Musical (4)
Best Score of a Musical(4)
Best Choreography (4)
Best Set Design Musical(4)
Best Set Design Play (4)
Best Lighting Musical (4)
Best Lighitng Play(4)
Best Direction Musical (4)
Best Direction Play (4)
Best Costume Design Musical (4)
Best Costume Design Play (4)
OK....so, what do YOU think??
SO: In approximately two months the Tony Nominations will be announced. And while I can't wait, I thought I'd put my own list together.
FIRST the shows that have opened in the 08-09 Season:
2008
June 26 - Cirque Dreams Jungle Fantasy *
July 17 - [title of show] *
Sept 18 - A Tale Of Two Cities
Sept 25 - Equus *
Oct 2 - The Seagull
Oct 5 - 13
Oct 7 - A Man for All Seasons
Oct 14 - To Be or Not to Be
Oct 16 - All My Sons
Oct 23 - Speed-the-Plow *
Nov 13 - Billy Elliot *
Nov 17 - American Buffalo
Nov 20 - Dividing the Estate
Nov 23 - White Christmas
Dec 3 - Liza's At The Palace
Dec 7 - Slava's Snowshow *
Dec 14 - Shrek: The Musical **
Dec 18 - Pal Joey
2009
Jan 15 - Soul of Shaolin
Jan 22 - The American Plan *
Jan 25 - Hedda Gabler *
Feb 5 - You're Welcome America. A Final Night with George W Bush /
Feb 19 - The Story of My Life *
Mar 1 - Guys and Dolls
Mar 9 - 33 Variations *
Mar 15 - Blithe Spirit
Still to open and qualify for consideration:
Mar 19 - West Side Story **
Mar 22 - God of Carnage
Mar 24 - Impressionism
Mar 26 - Exit The King
Mar 29 - Irena's Vow **
Mar 30 - Happiness
Mar 31 - Hair **
Apr 2 - reasons to be pretty **
Apr 7 - Rock of Ages ***
Apr 15 - Next to Normal * & **
Apr 16 - Joe Turner's Come and Gone
Apr 19 - Mary Stuart ***
Apr 23 - The Norman Conquests
Apr 26 - The Philanthropist ***
Apr 27 - Desire Under the Elms
Apr 29 - Accent on Youth ***
Apr 30 - 9 to 5 ***
Apr 30 - Waiting for Godot **
Apr 30 - Tony Nomination Cut Off
* = I've seen it.
** = I have PLANS to see it before the Tony Noms.
*** = I hope to see before the summer is up (AFTER Tony Awards).
The Categories:
Best New Musical (4)
Best Revival of a Musical (4)
Best New Play (4)
Best Revival of a Play (4)
Best Performance Leading Male Musical (5)
Best Performance Leading Female Musical (5)
Best Performance Featured Male Musical (5)
Best Performance Featured Female Musical (5)
Best Performance Leading Male Play (5)
Best Performance Leading Female Play (5)
Best Performance Featured Male Play (5)
Best Performance Featured Female Play (5)
Best Book of a Musical (4)
Best Score of a Musical(4)
Best Choreography (4)
Best Set Design Musical(4)
Best Set Design Play (4)
Best Lighting Musical (4)
Best Lighitng Play(4)
Best Direction Musical (4)
Best Direction Play (4)
Best Costume Design Musical (4)
Best Costume Design Play (4)
OK....so, what do YOU think??
Saturday, March 7, 2009
The Cast List!
For those that stop by to read my blog....ignore this post. Below is a cast list for my HS students Spring Production. The snow we rec'ed earlier in the week put a chink in the armor and the kids couldn't wait until Monday to find out their fate!
CAST NOTES: Read thru on Tuesday in the Green Room...plan on staying until 4:15. There will be NO rehearsals for the rest of the week...but a rehearsal schedule for the following week will be available on Tuesday.
Directorial Staff
Assistant Director: Henry Schwartz
Dramaturg: Steven Schiefele
THE CAST
Betty Parris -- Lizzie Lynch
Reverend Samuel Parris -- Sawyer Paine
Tituba -- Noelle Micarelli
Abigail Williams -- Erin Keif
Susanna Wallcott – Amy Vangel
Mrs. Ann Putnam -- Maggie Weston
Thomas Putnam -- Phil Yudin
Mercy Lewis -- Christine Engels
Mary Warren -- Sarah Gorman
John Proctor -- Grant Ryan
Rebecca Nurse -- Meghan Cashel
Giles Corey -- Will Hall
Reverend John Hale -- Toby Walters
Elizabeth Proctor -- Anna Richardson
Francis Nurse -- John Smoot
Ezekiel Cheever -- Michael Creager
Martha Corey -- Sara Shawless
John Willard -- Chip Miller
Judge Hathorne -- Will Rocheleau
Deputy Governor Danforth -- Andy King
Sarah Good -- Kelly O'Connor
Hopkins -- Tyler Oser
Remember: If you were at callbacks, but NOT cast, let me know if you are INTERESTED in being an extra. It would involve very few rehearsals...and I'm NOT yet sure if we will go that way.
CAST NOTES: Read thru on Tuesday in the Green Room...plan on staying until 4:15. There will be NO rehearsals for the rest of the week...but a rehearsal schedule for the following week will be available on Tuesday.
Directorial Staff
Assistant Director: Henry Schwartz
Dramaturg: Steven Schiefele
THE CAST
Betty Parris -- Lizzie Lynch
Reverend Samuel Parris -- Sawyer Paine
Tituba -- Noelle Micarelli
Abigail Williams -- Erin Keif
Susanna Wallcott – Amy Vangel
Mrs. Ann Putnam -- Maggie Weston
Thomas Putnam -- Phil Yudin
Mercy Lewis -- Christine Engels
Mary Warren -- Sarah Gorman
John Proctor -- Grant Ryan
Rebecca Nurse -- Meghan Cashel
Giles Corey -- Will Hall
Reverend John Hale -- Toby Walters
Elizabeth Proctor -- Anna Richardson
Francis Nurse -- John Smoot
Ezekiel Cheever -- Michael Creager
Martha Corey -- Sara Shawless
John Willard -- Chip Miller
Judge Hathorne -- Will Rocheleau
Deputy Governor Danforth -- Andy King
Sarah Good -- Kelly O'Connor
Hopkins -- Tyler Oser
Remember: If you were at callbacks, but NOT cast, let me know if you are INTERESTED in being an extra. It would involve very few rehearsals...and I'm NOT yet sure if we will go that way.
Thursday, February 19, 2009
2 Plays and a Musical and more!
And a little Seth Rudetsky, too. Who doesn't love some Seth? Got to catch his Sirius B'way show being taped...well, most of it. Me and my NY arrogance: I was SOOOO sure that I knew exactly where the show was being taped that I didn't bother to check the address.....and went about 6 blocks out of my way...which made me late. So, I missed Marc Shaiman (composer) and part of Kerry Butler (Xanadu). BUT was happy to catch the silliness of Chris Sieber (Shrek). A delight as always.
********************************
And a little news: Next to Normal (formerly Feeling Electric) was one of my favorite OFF b'way shows from the 2007-08 season. It didn't get picked up and seemed to be "done". THEN it got a transfusion and a re-write and played November/December at the Arena Stage in DC to RAVE reviews. Such rave reviews that it just went into the recording studio to produce the Cast CD. (Hooray...my bootleg of it is sub-standard...not to mention there have been gads of changes.)
AND NOW ITS COMING TO BROADWAY: THIS SEASON! Bringing the DC cast....which, with the exception/replacement of Brian D'Arcy James (Port Authority, Titanic and Shrek) was the entire off B'way cast. Alice Ripley will almost definitely receive a Tony Nomination or her work in this touching, disturbing and frightening beautiful show. Aaron Tviet (Saved, Wicked) is a joy to behold on stage, although this must mean he is dropping OUT of the new show Catch Me If You Can....USUALLY a b'way contract has an initial run of one year. Jenn Damiano (OBC Spring Awakening) and few others.
N2N is taking the Longacre Theatre, but not planning on utilizing the mezzanine to keep the show from losing it's intimate feel. Previews are late March....opening mid April so that it is eligible for Tony consideration. This just changed the entire Tony race....sorry TOS, you just lost out! But wait a few days to see a post on my PREDICTIONS for Tony Noms.
*******************************
Now for the Show reviews (in order of viewing):
The Story of My Life
I will start with the most positive things I can about this new musical. Will Chase and Malcolm Gets turn in good performances, MAYBE even very good performances. I prefer Chase's singing to his acting but that is balanced because Gets' acting is far superior to his singing.
And...
And then....
Perhaps....
Nope...I've got nothing else to say positively....except it will positively have a short life and it will practically be ignored for Tony consideration.
The music is entirely forgettable. Boring even.
The book (the story) is too episodic to ever become invested. It never takes any chances, so there are not payoffs. It hasn't even made any decisions about its own theme and what the play wants to say. Is it a buddy story? A story about creative influences? A story of what we leave in our wake? I dunno.....because THEY don't know. All the questions that are raised are never answered. And somehow that's part of their point, sort of.
There are so many shows that now play without an intermission....here the reason is clear: the audience would have left in droves given the opportunity. In all honesty, I didn't HATE it enough to have left, I would have hoped that Act II cleared up and brought everything to some sort of wholeness.
The most egregious part I found with SOML simply came from the blatant ripoffs from Sondheim's Sunday in the Park with George. The set, some of the story, and even some specific LINES and the score: oh boy. If Sondheim were a fighting man, I suggest he might actually be able to sue them for their blatant use of his music.
NOTE: As of late Friday night; tickets are no longer being sold for The Story of My Life past Sunday's matinee. No official announcement has been made as to it's closing, but it is imminent. (The official reviews have not been kind, either.)
33 Variations
Only a week into previews, this new play by Moises Kaufman (The Laramie Project) is full of splendor, art, intrigue and love. Starring Jane Fonda, the story follows terminally ill (Lou Gehrig's Disease moving at an unexpected pace), music scholar Dr. Katherine Brandt, who is obsessively trying to finish her research/book on Beethoven and his obsession to completing all the variations that exist from a simple waltz. (Basically, the publisher asked many composers of the time to respond with ONE variation so that all of them could be published together....Beethoven writes 33 over many years.) This research in Baan, Germany is seen paralleling the (fictionalized) actual events of Beethoven, his assistant and the publisher. The strained relationship she has with her daughter is also brought to light as the daughter wants desperately to take care of her.
As a director and an actor, I love doing my homework/research on any play I'm working on, but I'm not sure a play alone has ever prompted me to learn more about the subject matter I'd just seen. I've already ordered a cd of Beethoven's variations and am looking for writings about the subject. I'm intrigued to learn more, so that I can more fully appreciate the beauty unfolding on the stage at the Eugene O'Neil theatre.
The acting was truly impeccable. Jane Fonda is SEVENTY and amazing. She takes so many risks with this work that so pay off. She is incredibly powerful on stage, it's hard to describe, even sitting quietly you are moved by her silence and stillness. The three men (Don Amendolia, Erik Steele and Zach Grenier) playing the early 19th Century portions captured the life and style beautifully. (Not everyone can play period.) Samantha Mathis, Colin Hanks and Susan Kellermann round out the cast superbly.
It's hard to get excited for contemporary costuming, but the period pieces are simply beautiful.
The set design is incredibly intriguing. Walls of sheet music encompass the stage and move fluidly by HUMAN HAND! Additionally, the use of (the ever popular) projections truly add a new dimension. Things were seemingly so simply, but in reality were part of the story: as it should be.
The SOUND design is impeccable. (and I can't even believe I'm mentioning the sound design!) All alone the sound created feelings ands moods that fully encompassed the plot lines and characterization. I don't think my words could do it justice. Add this to the live pianist playing the actual variations throughout is also a visceral impact.
I HOPE to see this again, but it is only a limited engagement. My fingers are crossed.
Hedda Gabler
Review on this (both professional and word of mouth) have been HORRIFIC. I went in expecting the worst. It wasn't. Mind you, it wasn't wonderful either.
I remember more heated discussions about Hedda Gabler in my Theater History class than I do about any single play we read. It was such a woman's story....in a time where women weren't given much voice. It is among my favorites. (I'm a fan of Ibsen, anyway.)
There are rumors galore that Mary Louise Parker (Hedda) is difficult to work with. There are rumors galore that MLP and the director, Ian Rickson, didn't see eye to eye and that she invariably led a revolt which caused the director to leave early. And it shows. The blocking and use of the set was not used to any advantage, and at many times it actually got in it's own way. These are things the audience shouldn't even NOTICE. Many of the actors turn in interesting performances. One such actor is Michael Cevaris -- most recently of Road Show and Sweeny Todd. Many have said the he was miscast in the role of Jorgen Tesman, but I disagree. Instead they are missing one of the most integral aspects of theatre: that sense of the world of the play, the being a part of the whole. This cast was not cohesive, they did not connect with the audience. It was more like watching individual character studies. All interesting, but none intertwined. These are all issues that the director brings to a production.
In this show, the sound design took AWAY from the story...too many times the music/sound itself detract my attention and left me wondering: what the hell WAS that?
I'm glad I went so that I got to see it for myself. But I couldn't really recommend Hedda.
********************************
And a little news: Next to Normal (formerly Feeling Electric) was one of my favorite OFF b'way shows from the 2007-08 season. It didn't get picked up and seemed to be "done". THEN it got a transfusion and a re-write and played November/December at the Arena Stage in DC to RAVE reviews. Such rave reviews that it just went into the recording studio to produce the Cast CD. (Hooray...my bootleg of it is sub-standard...not to mention there have been gads of changes.) AND NOW ITS COMING TO BROADWAY: THIS SEASON! Bringing the DC cast....which, with the exception/replacement of Brian D'Arcy James (Port Authority, Titanic and Shrek) was the entire off B'way cast. Alice Ripley will almost definitely receive a Tony Nomination or her work in this touching, disturbing and frightening beautiful show. Aaron Tviet (Saved, Wicked) is a joy to behold on stage, although this must mean he is dropping OUT of the new show Catch Me If You Can....USUALLY a b'way contract has an initial run of one year. Jenn Damiano (OBC Spring Awakening) and few others.
N2N is taking the Longacre Theatre, but not planning on utilizing the mezzanine to keep the show from losing it's intimate feel. Previews are late March....opening mid April so that it is eligible for Tony consideration. This just changed the entire Tony race....sorry TOS, you just lost out! But wait a few days to see a post on my PREDICTIONS for Tony Noms.
*******************************
Now for the Show reviews (in order of viewing):
The Story of My Life
I will start with the most positive things I can about this new musical. Will Chase and Malcolm Gets turn in good performances, MAYBE even very good performances. I prefer Chase's singing to his acting but that is balanced because Gets' acting is far superior to his singing.
And...
And then....
Perhaps....
Nope...I've got nothing else to say positively....except it will positively have a short life and it will practically be ignored for Tony consideration.
The music is entirely forgettable. Boring even.
The book (the story) is too episodic to ever become invested. It never takes any chances, so there are not payoffs. It hasn't even made any decisions about its own theme and what the play wants to say. Is it a buddy story? A story about creative influences? A story of what we leave in our wake? I dunno.....because THEY don't know. All the questions that are raised are never answered. And somehow that's part of their point, sort of.
There are so many shows that now play without an intermission....here the reason is clear: the audience would have left in droves given the opportunity. In all honesty, I didn't HATE it enough to have left, I would have hoped that Act II cleared up and brought everything to some sort of wholeness.
The most egregious part I found with SOML simply came from the blatant ripoffs from Sondheim's Sunday in the Park with George. The set, some of the story, and even some specific LINES and the score: oh boy. If Sondheim were a fighting man, I suggest he might actually be able to sue them for their blatant use of his music.
NOTE: As of late Friday night; tickets are no longer being sold for The Story of My Life past Sunday's matinee. No official announcement has been made as to it's closing, but it is imminent. (The official reviews have not been kind, either.)
33 VariationsOnly a week into previews, this new play by Moises Kaufman (The Laramie Project) is full of splendor, art, intrigue and love. Starring Jane Fonda, the story follows terminally ill (Lou Gehrig's Disease moving at an unexpected pace), music scholar Dr. Katherine Brandt, who is obsessively trying to finish her research/book on Beethoven and his obsession to completing all the variations that exist from a simple waltz. (Basically, the publisher asked many composers of the time to respond with ONE variation so that all of them could be published together....Beethoven writes 33 over many years.) This research in Baan, Germany is seen paralleling the (fictionalized) actual events of Beethoven, his assistant and the publisher. The strained relationship she has with her daughter is also brought to light as the daughter wants desperately to take care of her.
As a director and an actor, I love doing my homework/research on any play I'm working on, but I'm not sure a play alone has ever prompted me to learn more about the subject matter I'd just seen. I've already ordered a cd of Beethoven's variations and am looking for writings about the subject. I'm intrigued to learn more, so that I can more fully appreciate the beauty unfolding on the stage at the Eugene O'Neil theatre.
The acting was truly impeccable. Jane Fonda is SEVENTY and amazing. She takes so many risks with this work that so pay off. She is incredibly powerful on stage, it's hard to describe, even sitting quietly you are moved by her silence and stillness. The three men (Don Amendolia, Erik Steele and Zach Grenier) playing the early 19th Century portions captured the life and style beautifully. (Not everyone can play period.) Samantha Mathis, Colin Hanks and Susan Kellermann round out the cast superbly.
It's hard to get excited for contemporary costuming, but the period pieces are simply beautiful.
The set design is incredibly intriguing. Walls of sheet music encompass the stage and move fluidly by HUMAN HAND! Additionally, the use of (the ever popular) projections truly add a new dimension. Things were seemingly so simply, but in reality were part of the story: as it should be.
The SOUND design is impeccable. (and I can't even believe I'm mentioning the sound design!) All alone the sound created feelings ands moods that fully encompassed the plot lines and characterization. I don't think my words could do it justice. Add this to the live pianist playing the actual variations throughout is also a visceral impact.
I HOPE to see this again, but it is only a limited engagement. My fingers are crossed.
Hedda Gabler
Review on this (both professional and word of mouth) have been HORRIFIC. I went in expecting the worst. It wasn't. Mind you, it wasn't wonderful either.
I remember more heated discussions about Hedda Gabler in my Theater History class than I do about any single play we read. It was such a woman's story....in a time where women weren't given much voice. It is among my favorites. (I'm a fan of Ibsen, anyway.)
There are rumors galore that Mary Louise Parker (Hedda) is difficult to work with. There are rumors galore that MLP and the director, Ian Rickson, didn't see eye to eye and that she invariably led a revolt which caused the director to leave early. And it shows. The blocking and use of the set was not used to any advantage, and at many times it actually got in it's own way. These are things the audience shouldn't even NOTICE. Many of the actors turn in interesting performances. One such actor is Michael Cevaris -- most recently of Road Show and Sweeny Todd. Many have said the he was miscast in the role of Jorgen Tesman, but I disagree. Instead they are missing one of the most integral aspects of theatre: that sense of the world of the play, the being a part of the whole. This cast was not cohesive, they did not connect with the audience. It was more like watching individual character studies. All interesting, but none intertwined. These are all issues that the director brings to a production.
In this show, the sound design took AWAY from the story...too many times the music/sound itself detract my attention and left me wondering: what the hell WAS that?
I'm glad I went so that I got to see it for myself. But I couldn't really recommend Hedda.
Saturday, February 14, 2009
I'm So Excited
So...it's February Vacation, the kids are gone, and I'm gearing up for the Big Apple. (Gee, what a surprise!) And let's face it: I'm really only posting this to brag a little about my plans.
On board:
Story of My Life
33 Variations (with Jane Fonda)
Hedda Gabler (but this has been torn apart by almost everyone I know that has seen it!)
Now, I just have to wait for this wave of nausea to pass. Damn my students if they have gotten me sick!!!! (And just to update: nausea has turned to a terribly bad, bad day. Someone's gonna pay!)
On board:
Story of My Life
33 Variations (with Jane Fonda)
Hedda Gabler (but this has been torn apart by almost everyone I know that has seen it!)
Now, I just have to wait for this wave of nausea to pass. Damn my students if they have gotten me sick!!!! (And just to update: nausea has turned to a terribly bad, bad day. Someone's gonna pay!)
Thursday, February 5, 2009
Ah....it'd been too long.
The Spring Standards (formerly Old Springs Pike) was back in Boston. They sang a few newer songs which I hadn't heard yet as well as a few from their EP (No One Will Know). Sadly, none of their older stuff except Little Bug...but thats on the CD. When I mean older stuff...I'm talking about the early music the stuff they did with Johnny Gallagher. Drink in My Hand, Still Sixteen, etc. etc. Miss it.
Love their new music...I am always amazed by two things:
How often they are plopping new music "out there". Is there no end?
How many different sounds their work takes on. So varied --I mean Smith on the muted TRUMPET????? Very nice.
Both Cleare and Smith were sporting the Mike Nesbit of the Monkees look with their knit winter ski caps. Smith tossed his pretty early on and about 1/2way through Cleare let his locks free as well. Heather was adorable as usual. Sweet when they surprised with her beau on stage....he played the last number with them.
Great Scott in Boston was the venue. What a dump. Freezing. No place to sit unless you stayed in the back of the room. It's an 18+ venue so you get carded and stamped and wristbanded. Oy. I'm too old for bar gigs.
Tuesday, January 20, 2009
A Musical Interlude
Thanks to a student, (Henry, my assistant director) I scored tickets to see Adele last week in Boston last Wednesday night. I'd forgotten about it until TUESDAY night.
Anywho...I love listening to Adele's music. Such a great sound, I love her style...so easy going and a rich mellow voice. As a performer, she was delightful, but I have to admit...I could not always hear or understand her through her accent. So her chit chat was rather lost on me, sadly.
While I really enjoyed her, the opening act actaully stole the show for me. Angel Taylor. A similar style as Adele, from California, but I simply found her riveting. Her melodies were playful without being insignificant. Her tone was earthy and feminine. Her lyrics brought a fresh voice and beautiful use of language and imagery to them. A true poet.
She has a cd being released...March 1, I beleive? She had with her 3 song cuts from it and it sounds simply delicious. Cannot wait for the cd. Look for it...you won't be sorry.
Upcoming Music Stops:
In February: The Spring Standards. My favorite NYC band...even though they are totally NOT only a NYC band anymore. LOOOOVE them! Hate the clubs they play. They make me feel old.
In March: DUNCAN SHIEK with Lauren Pritchard. CANNOT wait. I am in awe of the work of Duncan Sheik. I adore Lauren Pritchard's voice. BOTH have CD's coming out as well...Duncan's at the end of the month, Lauren's not until SUMMER she said (postponed since OCTOBER) when we chatted at Sushi. Most exciting...when this was first announced it was scheduled for the western part of the state. THREE HOURS AWAY. That's not a concert...that's a weekender. While visiting Lauren's myspace (music) I happen to check again. Venue changed. Very, VERY happy.
Anywho...I love listening to Adele's music. Such a great sound, I love her style...so easy going and a rich mellow voice. As a performer, she was delightful, but I have to admit...I could not always hear or understand her through her accent. So her chit chat was rather lost on me, sadly.
While I really enjoyed her, the opening act actaully stole the show for me. Angel Taylor. A similar style as Adele, from California, but I simply found her riveting. Her melodies were playful without being insignificant. Her tone was earthy and feminine. Her lyrics brought a fresh voice and beautiful use of language and imagery to them. A true poet.
She has a cd being released...March 1, I beleive? She had with her 3 song cuts from it and it sounds simply delicious. Cannot wait for the cd. Look for it...you won't be sorry.
Upcoming Music Stops:
In February: The Spring Standards. My favorite NYC band...even though they are totally NOT only a NYC band anymore. LOOOOVE them! Hate the clubs they play. They make me feel old.
In March: DUNCAN SHIEK with Lauren Pritchard. CANNOT wait. I am in awe of the work of Duncan Sheik. I adore Lauren Pritchard's voice. BOTH have CD's coming out as well...Duncan's at the end of the month, Lauren's not until SUMMER she said (postponed since OCTOBER) when we chatted at Sushi. Most exciting...when this was first announced it was scheduled for the western part of the state. THREE HOURS AWAY. That's not a concert...that's a weekender. While visiting Lauren's myspace (music) I happen to check again. Venue changed. Very, VERY happy.
Monday, January 19, 2009
Baby, it's cold outside!!
Wow! So many great people to catch up with this weekend...and some unexpectedly! Gotta love NYC.
BECKY SHAW at 2econd Stage.
Wow. What a treat. An interesting and thoughtful script. Part love story, part family drama, part searching for self and growing up. Hard to put a label on it. Wonderful acting, great story telling. AND a bonus: an unexpected "talkback session" with the author and one of the lead actresses.
One ridiculous reason that I love going to straight plays....I am one of the youngest people in the theater. Well, at least on the lower half of the average at the least! And older NY'ers are never without comments and opinions! Love Talk Backs.
Garden of Earthly Delights at the Minetta Lane Theater
Martha Clarke brings Hieronymus Bosch’s provocative painting to life. Or so they say. I didn't see it. Ok...I saw it...sometimes...and other times it was movement. Beautiful, intense and dedicated, but the story just didn't happen for me. Granted, I don't know a HECK of a lot dance as a medium when it isn't part of the story (a traditional musical). I know ballet (and enjoy it) and I am often moved by dance on it's own. Maybe I was too tired. Or too full. Or too...just not into it. The friend that watched with me is very much into dance in all forms...she, on the other hand enjoyed it a great deal.
The American Plan -- Manhattan Theatre Club
BTW: never understimate the kindness of strangers. I had purchased my ticket for this with a discount code. I was in the second to last row of the balcony, but determined to make the best of it. I had struck up a conversation with a lovely older couple from Jersey (we find each other out quickly). Then, only minutes before curtain, the gentleman that just sat down behind us interrupts us, politely. Did we want to move to the orchestra? He had some extra tickets and would we like them? He apologized because they were all single seats...none together. Um...I don't KNOW these people: hell yes...I'll take an upgrade any time! They were "comp" tickets and I don't know who the man was...but THANK YOU! I'm sure the view was gads better from the orchestra.
On the whole, I liked and was horrified at this story. A trouble young lady (Lily Rabe), her overbearing, manipulative mother (Mercedes Ruhl) and the man that stumbles into their lives. I thought the performances were amazing. I was intrigued, and yet, I walked out of the theater totally unsatisfied. I talked to a suprising number of people about it. Waiting to cross 46th street to meet a friend, two others were talking about it and we struck up a nice conversation for a few blocks. I wanted more. Maybe 5 minutes more. But I still don't WHAT more I wanted. Sitting and having a drink even the WAITER wanted to talk about it. This is the best part of NY theater...just talking theater with strangers. LOVE it. And the waiter agreed with me. (Then I talked him into seeing Becky Shaw.)
SPRING AWAKENING, Closing Night
I've never been to a professional closing night for any show (or opening night for that matter!); yet alone for a show that has been so near and dear to my heart for almost 2 years. I've been to a few nights that have been closing nights for INDIVIDUALS: Jonanthan Groff's last (an amazing electric experience), Blake Bashoff's Last. All for Spring Awakening.
I hadn't been to the show since August, had seen the "new class", as they were dubbed and Gerard as Moritz. And I had said my goodbyes. My group of SA Junkies had pretty much decided we were over and done with it. MAYBE in a year we'd hit it again. MAYBE we'd see it on tour...dependent on who was actually ON tour. MAYBE we'd grab tickets when they announced the show was closing. And as you know, that's what came to be. A wonderful friend snagged us two seats to closing night and little by little plans fell into place. More and more friends were finding seats, my kids would be with their father for the weekend, tickets for other shows were available.
The show itself? It was good. It was an event. But had this performance, or any performance of the "new class", I doubt I would ever had been emotionally vested in the show at all. The heart of the show was long gone. This cast did an admirable job, their voices had finally melded together as one and even Caitlyn had managed to find some sort of character. (Don't ask.) But the evening was like a sentiment-free journey down memory lane -- without attachment, without emotion, without a soul. The audience was wonderful and supportive and cheered on every actor, every laugh and every song. Each and every actor rec'd applause and adulation for a last solo, song or favorite line. Added "schtick" was revered and appreciated from all. There were several standing ovations throughout the evening. And suprisingly, none of these were ever beyond reason.
The best parts of the evening: the encore of Totally Fucked...which turned into (and I suspect was planned that way) a sing along. Those young actors will never feel more love or emotion than they did at that moment of their lives. The dream of anyone that has ever dared to imagine themselves on a B'way stage.
Almost all of the orginal cast was there Sunday night, sans Lea Michele (Wendla) and Jenn Damiano (ensemble, U/S). Lea being in LA filming what seems to be a train wreck of a tv show, GLEE; Jenn doing more admirable work in Next to Normal in DC...I believe also closed that night. (I saw her in this, WAAAAY back last November. Beatifully haunting piece on mental illness.) To my suprise, both Gideon Glick (original Ernst) and Jonathan B. Wright (original Hanschen) were also in attendance. Neither the director (Michael Mayer) nor the choreographer (Bill T. Jones) were there. I was really hoping to finally meet Jones...the only one I never had the chance to. They all came on stage during the speeches at the end of the night to thunderous applause.
Personal gem: my favorite sushi place in Manhattan is in Midtown Manhattan. Pretty sure I go there at least once each time I visit. It's cheap, it's delicious, it's convenient. I always get to "b'way star" spot, particularly between matinees and evening shows -- adds to the fun. ANYWAY....we were seated in the back part of the restaurant and just about every other table besides ours had b'way people there Little Mermaid, In the Heights, and Amanda Castaños of SA. But, the creme de la creme? Almost the entire OBC of SA was seated right behind us. Very fitting. We had a great time.
As for the individual performances: The women practically went unnoticed with the exception of Christine Estabrook that was stealing every comedic scene she had. She is among my favorites of the show. A true professional. Even Alexandra Socha, whom I adore as Wendla, was not a favored performer last night. Michael Mayer totally screwed with some scenes last August and ruined some of what I thought were her best scenes.
The men: This was my first time seeing Hunter Parish as Melchior. I was non-plussed. He had moments I thought he was wonderful, but mostly, just OK. His singing was too "boy band"-esque for my tastes; and I don't think his acting choices were consistant or strong. He did however, rock the hell out of The Chair during Totally Fucked, THAT was amazing. I would have paid good money to have Jesse Swenson do the role...he's amazing in it.
Gerard Canonico as Moritz...not my favorite to say the least. The kid has stage presence, but seriously needs to attend some acting classes to hone his craft. To HAVE a craft. Only 3 men have played the role...two of them totally stole my heart for their performances...not so here.
Comic and cruel sidebar must be inserted: during Moritz's suicide, there was so much AUDIBLE sobbing going on in the theater that it totally RUINED the scene for me! So much so that I laughed. I just wanted to scream: the actors aren't dying, a play is just closing. GET OVER IT! It was really pathetic. I am a cold-hearted bitch...what can I say?
And return: I've seen Gerard 3 times perform it and he was never able to move me to tears. But he's a great kid...he's the one that gave me a prop from the show back in August. But....he just doesn't cut it for me in this role. Actually, I'd seen him cover another part and he didn't wow me then, either.
The final speeches at the end of the night: by Duncan Sheik and Steven Sater, by the producers (Ira Pettleman and Tom Hulce) were very nice. I wish them all well and can't wait to see what comes next to move us all on the Great White Way.
BECKY SHAW at 2econd Stage.
Wow. What a treat. An interesting and thoughtful script. Part love story, part family drama, part searching for self and growing up. Hard to put a label on it. Wonderful acting, great story telling. AND a bonus: an unexpected "talkback session" with the author and one of the lead actresses.
One ridiculous reason that I love going to straight plays....I am one of the youngest people in the theater. Well, at least on the lower half of the average at the least! And older NY'ers are never without comments and opinions! Love Talk Backs.
Garden of Earthly Delights at the Minetta Lane Theater
Martha Clarke brings Hieronymus Bosch’s provocative painting to life. Or so they say. I didn't see it. Ok...I saw it...sometimes...and other times it was movement. Beautiful, intense and dedicated, but the story just didn't happen for me. Granted, I don't know a HECK of a lot dance as a medium when it isn't part of the story (a traditional musical). I know ballet (and enjoy it) and I am often moved by dance on it's own. Maybe I was too tired. Or too full. Or too...just not into it. The friend that watched with me is very much into dance in all forms...she, on the other hand enjoyed it a great deal.
The American Plan -- Manhattan Theatre Club
BTW: never understimate the kindness of strangers. I had purchased my ticket for this with a discount code. I was in the second to last row of the balcony, but determined to make the best of it. I had struck up a conversation with a lovely older couple from Jersey (we find each other out quickly). Then, only minutes before curtain, the gentleman that just sat down behind us interrupts us, politely. Did we want to move to the orchestra? He had some extra tickets and would we like them? He apologized because they were all single seats...none together. Um...I don't KNOW these people: hell yes...I'll take an upgrade any time! They were "comp" tickets and I don't know who the man was...but THANK YOU! I'm sure the view was gads better from the orchestra.
On the whole, I liked and was horrified at this story. A trouble young lady (Lily Rabe), her overbearing, manipulative mother (Mercedes Ruhl) and the man that stumbles into their lives. I thought the performances were amazing. I was intrigued, and yet, I walked out of the theater totally unsatisfied. I talked to a suprising number of people about it. Waiting to cross 46th street to meet a friend, two others were talking about it and we struck up a nice conversation for a few blocks. I wanted more. Maybe 5 minutes more. But I still don't WHAT more I wanted. Sitting and having a drink even the WAITER wanted to talk about it. This is the best part of NY theater...just talking theater with strangers. LOVE it. And the waiter agreed with me. (Then I talked him into seeing Becky Shaw.)
SPRING AWAKENING, Closing Night
I've never been to a professional closing night for any show (or opening night for that matter!); yet alone for a show that has been so near and dear to my heart for almost 2 years. I've been to a few nights that have been closing nights for INDIVIDUALS: Jonanthan Groff's last (an amazing electric experience), Blake Bashoff's Last. All for Spring Awakening.
I hadn't been to the show since August, had seen the "new class", as they were dubbed and Gerard as Moritz. And I had said my goodbyes. My group of SA Junkies had pretty much decided we were over and done with it. MAYBE in a year we'd hit it again. MAYBE we'd see it on tour...dependent on who was actually ON tour. MAYBE we'd grab tickets when they announced the show was closing. And as you know, that's what came to be. A wonderful friend snagged us two seats to closing night and little by little plans fell into place. More and more friends were finding seats, my kids would be with their father for the weekend, tickets for other shows were available.
The show itself? It was good. It was an event. But had this performance, or any performance of the "new class", I doubt I would ever had been emotionally vested in the show at all. The heart of the show was long gone. This cast did an admirable job, their voices had finally melded together as one and even Caitlyn had managed to find some sort of character. (Don't ask.) But the evening was like a sentiment-free journey down memory lane -- without attachment, without emotion, without a soul. The audience was wonderful and supportive and cheered on every actor, every laugh and every song. Each and every actor rec'd applause and adulation for a last solo, song or favorite line. Added "schtick" was revered and appreciated from all. There were several standing ovations throughout the evening. And suprisingly, none of these were ever beyond reason.
The best parts of the evening: the encore of Totally Fucked...which turned into (and I suspect was planned that way) a sing along. Those young actors will never feel more love or emotion than they did at that moment of their lives. The dream of anyone that has ever dared to imagine themselves on a B'way stage.
Almost all of the orginal cast was there Sunday night, sans Lea Michele (Wendla) and Jenn Damiano (ensemble, U/S). Lea being in LA filming what seems to be a train wreck of a tv show, GLEE; Jenn doing more admirable work in Next to Normal in DC...I believe also closed that night. (I saw her in this, WAAAAY back last November. Beatifully haunting piece on mental illness.) To my suprise, both Gideon Glick (original Ernst) and Jonathan B. Wright (original Hanschen) were also in attendance. Neither the director (Michael Mayer) nor the choreographer (Bill T. Jones) were there. I was really hoping to finally meet Jones...the only one I never had the chance to. They all came on stage during the speeches at the end of the night to thunderous applause.
Personal gem: my favorite sushi place in Manhattan is in Midtown Manhattan. Pretty sure I go there at least once each time I visit. It's cheap, it's delicious, it's convenient. I always get to "b'way star" spot, particularly between matinees and evening shows -- adds to the fun. ANYWAY....we were seated in the back part of the restaurant and just about every other table besides ours had b'way people there Little Mermaid, In the Heights, and Amanda Castaños of SA. But, the creme de la creme? Almost the entire OBC of SA was seated right behind us. Very fitting. We had a great time.
As for the individual performances: The women practically went unnoticed with the exception of Christine Estabrook that was stealing every comedic scene she had. She is among my favorites of the show. A true professional. Even Alexandra Socha, whom I adore as Wendla, was not a favored performer last night. Michael Mayer totally screwed with some scenes last August and ruined some of what I thought were her best scenes.
The men: This was my first time seeing Hunter Parish as Melchior. I was non-plussed. He had moments I thought he was wonderful, but mostly, just OK. His singing was too "boy band"-esque for my tastes; and I don't think his acting choices were consistant or strong. He did however, rock the hell out of The Chair during Totally Fucked, THAT was amazing. I would have paid good money to have Jesse Swenson do the role...he's amazing in it.
Gerard Canonico as Moritz...not my favorite to say the least. The kid has stage presence, but seriously needs to attend some acting classes to hone his craft. To HAVE a craft. Only 3 men have played the role...two of them totally stole my heart for their performances...not so here.
Comic and cruel sidebar must be inserted: during Moritz's suicide, there was so much AUDIBLE sobbing going on in the theater that it totally RUINED the scene for me! So much so that I laughed. I just wanted to scream: the actors aren't dying, a play is just closing. GET OVER IT! It was really pathetic. I am a cold-hearted bitch...what can I say?
And return: I've seen Gerard 3 times perform it and he was never able to move me to tears. But he's a great kid...he's the one that gave me a prop from the show back in August. But....he just doesn't cut it for me in this role. Actually, I'd seen him cover another part and he didn't wow me then, either.
The final speeches at the end of the night: by Duncan Sheik and Steven Sater, by the producers (Ira Pettleman and Tom Hulce) were very nice. I wish them all well and can't wait to see what comes next to move us all on the Great White Way.
Saturday, January 10, 2009
Why Theatre is Life as told by Sherie Rene Scott
Or....Why Theater Is My Religion:
"That's the scary thing about theater—it doesn't live on. But that's actually the most beautiful thing about it, too. That's why it's more beautiful than film and certainly more beautiful than television, because it's like life. Real life. Any picture that you take or any video that you make of yourself is not really you, it's only an image that represents the experience you had. In theater, the process of it is the experience. Everyone goes through the process, and everyone has the experience together. It doesn't last—only in people's memories and in their hearts. That's the beauty and sadness of it. But that's life—beauty and the sadness. And that is why theater is life."
-Sherie Rene Scott-
Sunday, January 4, 2009
The Day The Lights Went Out on B'way
Or at least the begining of the slaughter. A sad day indeed, as NINE B'way show close today, with many more following in the next two weeks. I know that B'way isn't "over". But it is still a sad day, a reflection of the weak economic times. There are shows that have been cancelled, true, but there are a number of shows still getting ready to hit the Great White Way.
West Side Story
Guys and Dolls
9 to 5
33 Variations
The Story of My Life
Hair
Not to mention the already opened (and surviving)
Shrek
Billy Elliot
Below is a great article, a love letter to B'way actually, appearing in the New York Times today, 1/4, written by theatre critic Charles Isherwood:
http://tinyurl.com/89nydq
Some quotes:
"The sad superabundance of farewells to choose from obviously places limits on the number of last goodbyes theater lovers will be able to squeeze in this month. On Sunday alone you’ve got nine choices. It is haunting to think that that there could be more shows closing on that day alone than there will be running on Broadway by the time the Tonys roll around in June."
Blah, Blah, Blah.
"Joyous or galvanizing though the experience might be, it’s also undeniable that the undertow of sadness at these closings will be unusually strong this year. To love the theater is to admire from a distance the people who devote their lives to making it — always against tough odds.
This year, as you watch the lights dim on a performance that has meant something to you, that has made something happen in your heart or your head, you may see the real human being through the mask of the fictional characters a little more vividly. The chorus kid with the megawatt smile, the all-but-legendary musical diva with a devoted following, the up-and-coming young leading man — when the curtain falls they will all return to being actors anxiously awaiting their next engagement, at a scarily perilous time for everybody. So keep clapping, please, and a “Bravo!” or two would surely be appreciated."
I'll light a candle.
West Side Story
Guys and Dolls
9 to 5
33 Variations
The Story of My Life
Hair
Not to mention the already opened (and surviving)
Shrek
Billy Elliot
Below is a great article, a love letter to B'way actually, appearing in the New York Times today, 1/4, written by theatre critic Charles Isherwood:
http://tinyurl.com/89nydq
Some quotes:
"The sad superabundance of farewells to choose from obviously places limits on the number of last goodbyes theater lovers will be able to squeeze in this month. On Sunday alone you’ve got nine choices. It is haunting to think that that there could be more shows closing on that day alone than there will be running on Broadway by the time the Tonys roll around in June."
Blah, Blah, Blah.
"Joyous or galvanizing though the experience might be, it’s also undeniable that the undertow of sadness at these closings will be unusually strong this year. To love the theater is to admire from a distance the people who devote their lives to making it — always against tough odds.
This year, as you watch the lights dim on a performance that has meant something to you, that has made something happen in your heart or your head, you may see the real human being through the mask of the fictional characters a little more vividly. The chorus kid with the megawatt smile, the all-but-legendary musical diva with a devoted following, the up-and-coming young leading man — when the curtain falls they will all return to being actors anxiously awaiting their next engagement, at a scarily perilous time for everybody. So keep clapping, please, and a “Bravo!” or two would surely be appreciated."
I'll light a candle.
Subscribe to:
Posts (Atom)