The Mediocore.

New Cast of Hair -- Weeelll.....not as bad as I feared, not as good as I hoped. Three weeks into their run after taking over, they still hadn't found their true ensemble. Kyle Riabko (Claude) was MUCH better than I expected. I knew vocally he could handle it (beautiful voice) but I was concerned about the acting: after the first few moment where I thought I would HATE him, he delivered a Claude that was sensitive, perplexed and caring. We got to chat for a few minutes after the show, and he was as gracious as ever. Ace Young (Berger) didn't fare as well in my eyes, but he was serviceable. He just didn't seem real. I felt he was trying to be Will Swenson trying to be Berger. Sadly, Diana DiGarmo was out the performance we saw, but I heard she is wonderful.

The Burnt Part Boys -- Zzzzzzzz. Why? WHY? It's just not right. An uninspired story, a redundant score (I'm SURE Bluegrass can be more diverse that what is here.), a cheesey ending. However, many talented folks trying their best to make it work.


American Idiot -- I wanted to love this, I really did. And there were things I truly liked, but I cannot be passionate over this, or go so far to reccommend it, and that breaks my heart. Truly.

First, this has made me a fan of Green Day. I get THEM, and I love listening to their music. Michael Mayer pretty much gave birth to this telling of Green Day's American Idiot concept album. They created more to the basic idea, but only added minimal lines of dialogue. Basic story line: three slacker friends run off to the big city only to have their lives continue to spiral toward death. One never makes it because his gf is preggers so he stays home. But he sucks as a partner AND a parent, so she leaves him. He's just as unhappy after she leaves. Buddy number two, makes it to the city but is somehow swept away my the media (???) and joins the army ***SPOILER*** where he loses a leg. He does fall in love with his nurse. We know nothing more. The third gentleman, gets to and stays in the city. He falls in love but falls to the perils of massive drug use. Somehow he sobers up enough to know he needs to straighten up. So he does, wears a tie and gets a job. And is miserable. Bottom line? I didn't feel a thing for a single character. And if I don't feel anything, I just don't care.

I fault the book for this. There just isn't anything to MAKE you care! We never get to know more than the slacker side to these characters -- and really, what the heck is appealing about that?. THAT being said, I think the cast is AMAZINGLY talented and the energy they expel is beyond belief. They dedicated themselves like nobody's business. They SOUNDED amazing -- the harmonies are beautiful. (Although, sadly, little of that transfered to the recording.) There is a part of me that sorta kinda wants to go back and see if a second viewing might make a more emotional connection -- but that feeling is waning.

John Gallagher, Jr was stupendous, and I'm a little suprised he did not garner a Tony Nomination. Other worthy mentions: Tony Vincent as the truly evil St. Jimmy, Rebecca Naomi Jones as Whathername and Gerard Canonico of the ensemble.

Everyday Rapture Hm. Where to start? Everyday Rapture is Sherie Rene Scott's life story, starring Sherie Rene Scott. And it's a musical. And the music is all pre-existing. And I didn't know a single song.

Scott is talented and highly entertaining. After all, her b'way resume is damn impressive: Rent, Aida, Dirty Rotten Scoundrels, Little Mermaid. AND she has a HUGE following. But as I sat there for 90 uninterupted minutes I kept thinking: WHY? Why do we care? Why is HER story worth telling? Why is this considered inspirational? WHY did I chose to see this? Ok...sure, she use to be a mennonite. Well, HALF mennonite. So what? She's not now. People praise her honesty for discussing an abortion early on in her life. WHY? When she talks about it, it's not any big deal...not to make the decision or live with the decision. It's not a frightening ordeal, no one is trying to keep her from doing it. She talks about it with no emotion whatsoever...so again I ask: WHY???

Thank goodness I only paid TDF prices. I think I would have HATED it if I'd paid full price! Please note: MANY people this is the best thing on the Great White Way...gosh, I hoope not.

One last thought: if Meghan Mullally (Of TV's Will and Grace and B'way's Young Frankenstien) hadn't walked out of the revival of Lips Together, Teeth Apart causing the Roundabout to cancel the show, this show would have never seen the light of day on B'way.

A Drama-ful Weekend

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

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

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

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

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

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


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

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

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

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

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


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

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

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

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

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

The actors:

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

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

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

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

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

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