I want to thank the Dogwood Dell production of “Hairspray” for many things. First off, for implanting in my head a whole slate of great tunes that have run like an internal soundtrack for me over the past couple of days. Earworms like these I can handle, particularly happy, up-tempo ones that make the turmoil in the economic world right now seem a little less agonizing.
Also, I’d like to thank this production for re-affirming the obvious: there is ample interest in live theater in this town. When I showed up at Dogwood Dell on Friday, I couldn’t believe my eyes. Granted I got there a little later than I probably should have (8:20ish) but the droves of people that scattered the hillside above the amphitheater and infiltrated the trees bordering house-right was unlike anything I’d ever seen at the Dell before. Clearly, the word had gotten out that this was a must-see production and Richmonders took advantage of a relatively cool night to swamp the outdoor venue. The crowd on Saturday was smaller (yes, I went twice), but showed their vigorous support by staying through a pretty persistent drizzle that ran through the middle third of the performance.
Finally, I want to thank “Hairspray” and director Leslie Owens-Harrington for introducing me to a whole new fleet of talented young performers. The dozens of teens that populated this cast took to Ms. Owens-Harrington’s lively choreography like fish to water and were consistently focused and first-rate in their performances. The major roles were all exceptional, everyone from little Imani Crosby as Little Inez to big gravelly-voiced Todd Schall-Vess as Edna Turnblad. I was surprised by the strong, clear vocals from supporting players like J.R. Booker as Seaweed Stubbs and Ashlyn Landrum as Penny Pingleton. But even more so, I was blown away by the performances from Glennis Crosby as Motormouth Maybelle – her “I Know Where I’ve Been” was a stunner – and of course, Kate Rancka as Tracy Turnblad. Ms. Rancka has a powerhouse voice and a sweet, sincere stage presence that anchored the whole enterprise. For a 17 year old to take on such a responsibility and succeed so completely is really impressive.
As “Hairspray” uncurled at the Dell, long-running “Dirty Rotten Scoundrels” closed down at the Empire and “Monique” moved on to greener pastures at RTP. But obstinately, the Richmond theater world won’t stop producing shows, as RTP will open up their “Dirty Little Showtunes” revue on the 18th. Doesn’t anyone take a rest anymore?
“Hairspray” officially closed out the 2010-2011 season as far as I’m concerned and I’ll be taking a breather from seeing anything on stage for a few weeks, at least until the September surge of new shows begins with “Lend Me a Tenor” on Sept. 9th. Looking at my personal statistics, last season I saw 33 professional mainstage productions offered by Richmond-area theater companies. I saw an additional 21 out-of-town or local non-professional productions over the year. This may be the first year ever that I saw more than 1 show a week on average (helped immensely by the unique opportunity to see 8 shows over 10 days back in July). That makes it kind of a landmark for me.
Even in a season where I saw so much, I still rue the key shows I missed. Even in the face of the raves I read or heard, I couldn’t make it the Mill’s “Wait Until Dark” or the Henley / RichShakes co-pro of “The Winter’s Tale.” I’ve seen almost everything Scott Wichmann has been in here but “A Thousand Clowns” escaped me, as did “Romeo and Juliet” starring two of my favorite local actors as the leads. I really wanted to check out CAT’s “Bloody Murder” and several folks talked up “Honk!” to me. It’s all a testament to how much good stuff is going on around here that it’s nearly impossible to see it all.
Do you have any show from last season that you missed that you are kicking yourself about missing now?
Also, be sure and check back here next Monday for the official announcement / listing of the nominations for the 4th Annual RTCC awards. Exciting times!
Showing posts with label all's well that ends with monique. Show all posts
Showing posts with label all's well that ends with monique. Show all posts
Monday, August 08, 2011
Friday, August 05, 2011
Whimsy
I went to see this movie last night – “Crazy Stupid Love” – with a couple of friends. It is a very entertaining movie that is very smartly written. It subverts at least a couple romantic comedy tropes and, in fact, in the one scene that is the most obviously cliché, one of the characters says, “this is so cliché.” It also mixes a kind of standard romantic comedy trajectory with the intertwined plot line sensibilities of dramas like “Crash,” resulting in some great payoffs.
However, my friends and I agreed that, as much as we all enjoyed the movie, it had nothing whatsoever to do with how real people interact and carry on relationships. Almost every pairing in the movie was cut from some fairy tale Hollywood model of how people meet, fall into bed, fall in love, fall out of love, etc. It is full of gestures both big and small that only happen in the minds of screenwriters. As one of my friends said, “I remember going to movies hoping to find some message or insight that might be relevant in my life.” As many laughs as this movie provides – and eye-candy moments, thank you Mr. Gosling – it certainly doesn’t provide insight.
Another friend of mine recently used the word “whimsy” in an email. It occurred to me that it’s one of those words that I’ve used before never knowing exactly what it meant. I checked Dictionary.com, which defines whimsy as “extravagant, fanciful, or excessively playful expression: a play with lots of whimsy.” It was an interesting coincidence because the person talking about whimsy was referring to a play, specifically “All’s Well that Ends with Monique.” Given that I also saw “Boeing Boeing” this week in addition to “Crazy Stupid Love,” I’ve pretty much overdosed on whimsy.
“Monique” has several things to recommend it: spirited performances, a very innovative set design, and some great uses of sound and music to support the action. Kristen Swanson totally commits to her self-obsessed character and director Donna Coghill has given her a talented supporting crew. I enjoyed each of Kimberly Jones Clark’s characterizations, Stephen Ryan playing a sock puppet was very funny, and it was a real treat to see BJ Kocen on stage again. I was wondering through the first act whether Mr. Kocen would sing in the show and, when he finally did, it was completely unexpected and delightful.
A lot of clever thinking went into each scene and there are several sharp lines delivered along the way. The way Monique kind of obliviously helps people she interacts with in their lives was a nimble conceit. Even so, my overall impression of the show was of a piece of work that still wasn’t clicking on all cylinders. Some bits didn’t cohere in the way that some Saturday Night Live skits never quite translate into feature films. The show seemed “writerly” to me at times, with characters’ reactions following a written rhythm not necessarily the organic rhythms between people on stage.
In that way, it contrasted with “Boeing Boeing,” which is clearly a work that has been honed over years of productions into a Rube Goldberg device of interactional madness. All the pieces of farce are juggled with precision in this production, directed by Bruce Miller, with potentially disastrous entries coinciding with perfectly timed exits, many doors slammed, and choice bon mots delivered along the way. The three “air hostesses” in the show (Maura Burroughs, Caylyn Temple, and Donna Marie Miller) are all sumptuous beauties that transcend their stereotypes, each with a special spark all her own. Ms. Lewis at the T-D likened Derek Phipps to vintage Jerry Lewis in his supporting role and that’s a spot-on characterization. And Susan Sanford is just so gloriously continental as the French maid, alternately deadpan, world-weary, and flabbergasted. In the midst of it all, Denis Riva holds his own as a man trying desperately to keep his life orderly as it starts to spin out of control.
My reaction to “Boeing” was similar to the one I had to “Crazy Stupid” – many laughs but operating in some alternate reality where people are more like cartoon characters than, you know, people. In the midst of such a whimsy-intensive week, my appreciation for the work did not exactly translate into a love of it.
But maybe I’m just getting old and crotchety. And maybe I’m just prejudicial in my preference for whimsy being kept to musicals where outrageous behavior is commonplace and expected (though two of the musicals I’ve enjoyed most lately – “Ragtime” and “Next to Normal” – were anything but whimsical). I certainly wouldn’t warn anyone away from any of the entertainments I enjoyed this week. I expect there are aspects of “Monique” that could translate into a more completely satisfying work. By all means, go to both “Boeing” and “Crazy Stupid” if you want a laugh-filled, occasionally ridiculous slice of romantic farce.
Personally, I’m in need of a little cleansing of my entertainment palette. Luckily, I came across this little piece to point to potential works of the decidedly unwhimsical kind. Also, at least “Hairspray” marries its silliness to social consciousness and some kick-ass songs so perhaps I’ll emerge next week better able to appreciate the more whimsical aspects of life (and theater).
However, my friends and I agreed that, as much as we all enjoyed the movie, it had nothing whatsoever to do with how real people interact and carry on relationships. Almost every pairing in the movie was cut from some fairy tale Hollywood model of how people meet, fall into bed, fall in love, fall out of love, etc. It is full of gestures both big and small that only happen in the minds of screenwriters. As one of my friends said, “I remember going to movies hoping to find some message or insight that might be relevant in my life.” As many laughs as this movie provides – and eye-candy moments, thank you Mr. Gosling – it certainly doesn’t provide insight.
Another friend of mine recently used the word “whimsy” in an email. It occurred to me that it’s one of those words that I’ve used before never knowing exactly what it meant. I checked Dictionary.com, which defines whimsy as “extravagant, fanciful, or excessively playful expression: a play with lots of whimsy.” It was an interesting coincidence because the person talking about whimsy was referring to a play, specifically “All’s Well that Ends with Monique.” Given that I also saw “Boeing Boeing” this week in addition to “Crazy Stupid Love,” I’ve pretty much overdosed on whimsy.
“Monique” has several things to recommend it: spirited performances, a very innovative set design, and some great uses of sound and music to support the action. Kristen Swanson totally commits to her self-obsessed character and director Donna Coghill has given her a talented supporting crew. I enjoyed each of Kimberly Jones Clark’s characterizations, Stephen Ryan playing a sock puppet was very funny, and it was a real treat to see BJ Kocen on stage again. I was wondering through the first act whether Mr. Kocen would sing in the show and, when he finally did, it was completely unexpected and delightful.
A lot of clever thinking went into each scene and there are several sharp lines delivered along the way. The way Monique kind of obliviously helps people she interacts with in their lives was a nimble conceit. Even so, my overall impression of the show was of a piece of work that still wasn’t clicking on all cylinders. Some bits didn’t cohere in the way that some Saturday Night Live skits never quite translate into feature films. The show seemed “writerly” to me at times, with characters’ reactions following a written rhythm not necessarily the organic rhythms between people on stage.
In that way, it contrasted with “Boeing Boeing,” which is clearly a work that has been honed over years of productions into a Rube Goldberg device of interactional madness. All the pieces of farce are juggled with precision in this production, directed by Bruce Miller, with potentially disastrous entries coinciding with perfectly timed exits, many doors slammed, and choice bon mots delivered along the way. The three “air hostesses” in the show (Maura Burroughs, Caylyn Temple, and Donna Marie Miller) are all sumptuous beauties that transcend their stereotypes, each with a special spark all her own. Ms. Lewis at the T-D likened Derek Phipps to vintage Jerry Lewis in his supporting role and that’s a spot-on characterization. And Susan Sanford is just so gloriously continental as the French maid, alternately deadpan, world-weary, and flabbergasted. In the midst of it all, Denis Riva holds his own as a man trying desperately to keep his life orderly as it starts to spin out of control.
My reaction to “Boeing” was similar to the one I had to “Crazy Stupid” – many laughs but operating in some alternate reality where people are more like cartoon characters than, you know, people. In the midst of such a whimsy-intensive week, my appreciation for the work did not exactly translate into a love of it.
But maybe I’m just getting old and crotchety. And maybe I’m just prejudicial in my preference for whimsy being kept to musicals where outrageous behavior is commonplace and expected (though two of the musicals I’ve enjoyed most lately – “Ragtime” and “Next to Normal” – were anything but whimsical). I certainly wouldn’t warn anyone away from any of the entertainments I enjoyed this week. I expect there are aspects of “Monique” that could translate into a more completely satisfying work. By all means, go to both “Boeing” and “Crazy Stupid” if you want a laugh-filled, occasionally ridiculous slice of romantic farce.
Personally, I’m in need of a little cleansing of my entertainment palette. Luckily, I came across this little piece to point to potential works of the decidedly unwhimsical kind. Also, at least “Hairspray” marries its silliness to social consciousness and some kick-ass songs so perhaps I’ll emerge next week better able to appreciate the more whimsical aspects of life (and theater).
Tuesday, July 05, 2011
Sheer Volume
My review of Sycamore Rouge's “The Odyssey” is in Style this week. Battersea Park is a charming place to hang out for a few hours and the weather was lovely when I went there; it was downright chilly by the time the show wrapped up. I’d definitely recommend bringing a picnic but leave some room for the sweet kettle corn that the concessionaires are selling. Yummy.
I continue to be staggered by the sheer volume of theater happening in the summer time these days. Theatre IV’s “Little Red Hen” opened last weekend (a link to Ms. Lewis’s review is over there on the right) and the next Richmond Shakespeare offering, “Two Gentlemen of Verona” premieres this weekend. And, while I knew Dogwood Dell would have “Hairspray” at the end of the month, I just became aware of perhaps the most exciting development of the summer, a world premiere of “All’s Well that Ends with Monique,” which will hit the RTP stage at the end of the month. More on this soon…
In conjunction with my other piece in Style this week about the dovetailing of Firehouse’s Festival of New Plays and SPARC’s New Voices, I’m also surprised and delighted at the level of talent that is involved in staging these new works. I’m more aware of what’s happening with New Voices than the Firehouse festival and the casts of the shows being produced by SPARC reads like a who’s-who of local theater. The performers will include Andrew Boothby, Jeff Cole, Larry Cook, Lauren Leinhaas-Cook, Thomas Cunningham, Matt Hackman, Chris Hester, Audra Honaker, Dean Knight, Emma Mason, Jen Meharg, Daniel Moore, Jay Welch and that’s just pulling the names of actors I recognize as recently (or currently) starring in local professional productions. And they’ll be led by 8 impressive directors, most of whom also have professional credits under their belts.
Personally, I’m still trying to catch up on the shows that are already open. Where can we petition to make every summer weekend last three days so a poor ragged theater lover can see all of the shows in town?
I continue to be staggered by the sheer volume of theater happening in the summer time these days. Theatre IV’s “Little Red Hen” opened last weekend (a link to Ms. Lewis’s review is over there on the right) and the next Richmond Shakespeare offering, “Two Gentlemen of Verona” premieres this weekend. And, while I knew Dogwood Dell would have “Hairspray” at the end of the month, I just became aware of perhaps the most exciting development of the summer, a world premiere of “All’s Well that Ends with Monique,” which will hit the RTP stage at the end of the month. More on this soon…
In conjunction with my other piece in Style this week about the dovetailing of Firehouse’s Festival of New Plays and SPARC’s New Voices, I’m also surprised and delighted at the level of talent that is involved in staging these new works. I’m more aware of what’s happening with New Voices than the Firehouse festival and the casts of the shows being produced by SPARC reads like a who’s-who of local theater. The performers will include Andrew Boothby, Jeff Cole, Larry Cook, Lauren Leinhaas-Cook, Thomas Cunningham, Matt Hackman, Chris Hester, Audra Honaker, Dean Knight, Emma Mason, Jen Meharg, Daniel Moore, Jay Welch and that’s just pulling the names of actors I recognize as recently (or currently) starring in local professional productions. And they’ll be led by 8 impressive directors, most of whom also have professional credits under their belts.
Personally, I’m still trying to catch up on the shows that are already open. Where can we petition to make every summer weekend last three days so a poor ragged theater lover can see all of the shows in town?
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