Billy Elliot Wow! Really an amazing piece of theater. I sat in the bargain seats--there are about 10 seats for each performance that sell for a paltry $41.50--and they are in the last row of the theater in the mezzanine. Suprisingly, not a terrible seat as the theater is wider than most so not as deep (seats approx 1400, I think). I could see and hear everything beautifully.
As you may know, the leading role of Billy is shared by three boys that rotate performances. There is no overt way of pre-planning who you will see as the schedule constantly changes and is guarded closely. I was lucky enough to see Trent Kowalik, who already had played the part in London. (see bio here of all the boys: http://www.billyelliotbroadway.com/cast-creative.php?Billy )
There are few changes between the movie of 2000. Normally that bothers me, but here it didn't....perhaps because it wasn't already a musical...just a story about dance. Both the film and the stage version are directed by Stephen Daldry and both are written by Lee Hall, who has also created the lyrics. The music was composed by Sir Elton John. For a musical, the score left me rather non plussed. The singers, while apt, did not amaze. The true star of the show is the choreography along with the execution of it. (Congrats to Peter Darling) I've never seen movement that advances the story as beautifully as does this in a traditional musical. It is said that when a character can no longer SAY what he feels, he must burst with song and when song is longer enough, he must dance. Billy Elliot is the epitome of this way of thinking; I can think of no better example! I think that Billy Elliot could truly BE a ballet...except it might be odd to tell a story of folks that don't understand a boy dancing WHILE dancing. (Ok...maybe NOT a great idea. I can admit that.)
Some of my favorite moments were of dancing juxtaposition: The mine workers and the children; the police, the mineworkers and the dancers. Really very moving and visually stunning. I was truly enchanted.
There were individual performances that were amazing. Greg Jbara as Billy's Dad; Haydn Gwynne as Ms. Wilkenson the dance teacher, Carole Shelley as Billy's alzheimer-stricken Grandmother and Santino Fontana as brother Tony. I could see Tony nominations for any or all of these performers. Another shout out heartily goes out to David Bologna as Billy's cross-dressing, budding gay friend, Michael.
When there was joy is was exhaulted; when there was sorrow it was heartbreaking. A truly lovely piece of theatre...and so far the ONLY success story of the 2008-09 season. Unless 9 to 5 can kick some major butt....Billy Elliot has NO competition at the Tony Awards come June; but that's ok, because it soars.
Boeing, Boeing Winner of the 2008 Tony Award for Best Revival of a Play. A little farce. And when I say farce, I mean silly bit with doors opening and closing and close call and more silliness. Now starring Mark Rylance (winner of Tony Award for Best Actor in a Play); Greg Germann (Ally McBeal); Paige Davis (Trading Places); Christine Barnanski (too many things to mention), Rebecca Greyheart, Missi Pyle.
What a delightful way to spend an afternoon! Greg German has three fiances, all flight attendants, all thinking they are the only one. One is American (Davis); another is Italian (Greyheart) and the other is German (Pyle). They are all on different route schedules so it works out nicely for him. His atypical french maid (Baranski) helps keep things running smoothly. And they do until his school pal (Rylance) shows up. Naturally, the schedules fail and the friend is left to straighten things up....or at least not make them worse.
I'm glad to have caught this before it closes, all too soon. Laughs abound -- the healthy guffaw type of laughter that we all need!
What's That Smell? This new comedy has us a part of a studio audience as the host interviews imaginary Songwriter Jacob Sterling about his career and his unproduced b'way bound shows.
I enjoyed this show for the most part. I thought the performances were fun as was the spirit of the show. However, I felt that the show was simply based on a one joke premise. There was no where for this plot "to go". And I found it grew a bit tiresome...even at only a 90-minute no intermission running time.
I'd heard many wonderful things about the show, so perhaps my expectations were too high. If felt more like a SNL skit than a complete play.
Road Show
Music and Lyrics by STEPHEN SONDHEIM
Book by JOHN WEIDMAN
Directed and Set Designed by JOHN DOYLE
Stephen Sondheim. THE American Musical Icon.
Public Theater debuts Road Show, which spans 40 years from the Alaskan Gold Rush to the Florida real estate boom in the ‘30s. Road Show is the story of two brothers whose quest for the American dream turns into a test of morality and judgment that changes their lives in unexpected ways. Director John Doyle (Sweeney Todd on Broadway), acclaimed for re-imagining Sondheim’s works, joins Weidman and Sondheim in exploring some of the great American issues: real estate, capitalism and crooks. (The above is from the Public's Website)
Sondheim and Weidman have been working on this piece for near a decade. It's had several titles, most recently as BOUNCE.
I was truly intrigued by this story. I knew nothing about the Mizner brothers, Wilson and Addison, brilliantly played by Michael Cerveris (Sweeney Todd -- Revival) and Alexander Gemignani (Sunday in the Park with George -- Revival), respectively. At each turn, I was eager to see the story unfold, and was never a step ahead. There was an interesting combination of pathos and humor, of salty with the sweet. John Doyle is a master at directing, and does not disssappoint here. So carefully crafted, so beautifully executed. Sondheim is never simple, always sophisticated and fierce.
Sadly, this show closed the day after I saw it; but it was only scheduled as a limited run. I do not know what, if anything, the future holds for Road Show; but I would not expect to see it anytime soon.
Re-Write Oh, my friend, Joe Iconis. What can I say? Love you. (OK, don't know you well enough to actually LOVE you) Wanted to love Re-Write. Wanted to look forward to your next cd that is said to be getting made. Wanted to be able to look you in the eye and congratulate you. [insert loud sigh] Alas, alack, I cannot.
I was truly so incredibly looking forward to seeing this that I'm not sure where to begin. Three one act musicals performed in an evening. Simply put: this was not good theatre. The plots were too sophomoric, too simple, too full of stock stereo type characters, too loud, too obnoxious and all played by the regular "Joe Players". Joe writes what he knows...perhaps too much. When I watch his pieces and I know what's real and what's not; or why a certain line exists or what the reference is, it's just too much. Maybe Joe just needs to know....more. His pieces need to grow up with him. In one of the stories, talk goes on about many of his criticisms (see my list above) and rather makes fun of them....but maybe they are right.
I'm still a Joe Iconis fan....just not on this ride.
Upcoming reviews:
Closing night of Spring Awakening
Garden of Earthly Delights (off bway)
The American Plan (New with Mercedes Ruehl)
Becky Shaw (new)
Hair (On Broadway)
Hedda Gabler (FINALLY!)
33 Variations (Jane Fonda)
West Side Story
Wicked (Revisted, 5 years later)
