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.
Tuesday, January 20, 2009
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)