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.

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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.

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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.

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!)

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.

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.

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.

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-

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.