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 dirty rotten scoundrels. Show all posts
Showing posts with label dirty rotten scoundrels. Show all posts
Monday, August 08, 2011
Thursday, July 21, 2011
Tribute
My critical colleague, Liz Ramsay, has written a heart-felt and even stirring tribute to the Harry Potter series on her blog. As I often am, I’m envious of both the time and talent it took to write such a fine appreciation, since my time has been crunched as of late (even more than usual) and my talent, well, the very existence of that is debatable.
I’m quite a few years older than Ms. Ramsay so my attachment to the HP series comes from a different place: from being reluctantly drawn into a world my children were exploring and having it become just as all-encompassing for me as it was for them. After slowly being introduced to the story reading the first three books to my daughters, I read each successive book in a weekend, even bringing the 4th book with me as I walked the dog around the neighborhood. When the first movie came out, I was the one who bought the tickets online well before the premiere date and left work early to join my children at the theater. When HP7.2 premiered last weekend, I was at a midnight showing, semi-dragged along by my 10-year old.
I love the books, even though my critical instincts were tweaked by some of the clunky prose and the occasional clumsy plot-saving device (e.g., Ron and Harry saved from the spiders by the enchanted car, the whole time-turner thing, etc.) But the series as a whole is plotted with tremendous skill and there are aspects of the 7th book that I think are pure genius, including one of the most satisfying endings I’ve ever read, all the more impressive given the immense pressure on Rowling to deliver something big (compare it to similar high-pressure series endings like “Seinfeld” or “Lost”).
In general, I’ve appreciated but not loved the movies (3 and 4 have been my faves). Most of them have had significant moments of gawking at the special effects or, in the last one, wasted time spent looking over artsy landscapes. The diminishing number of allowances made to those who aren’t intimately familiar with the story has made these last ones confusing for me, even though I’ve read the source material. And the complete bungling of the Harry and Ginny Weasley relationship is a crime (based on the movies, I’d have wanted Harry to end up with just about any other girl in the cast besides Ginny). Still, each movie has had at least one set-piece that was done spectacularly well. In this last movie, I thought the scene with Dumbledore and Harry in the celestial King’s Cross Station was about as good as I could have imagined it.
This is a lot of rambling about books on a blog that’s supposed to be about theater. I could say that Daniel Radcliffe is a Broadway star now so there’s some relevance. But actually the reason I go on is because, as I mentioned below, I saw the last HP movie only an hour or so after the curtain went down on the performance of “Dirty Rotten Scoundrels” I attended. And I consider them both blockbusters, each with the attendant pros and cons that come with such an enterprise.
There’s no denying the comic tsunami that is Scott Wichmann and the most guffaw-inducing scenes of “Dirty Rotten Scoundrels” involve his character’s ruses. Add Freddy Benson to the impressive list of characters that Scotty has taken to previously unimaginable comic heights. It would be easy to minimize the contribution of Broadway vet Jeff McCarthy in the face of Wichmann’s prodigious skills but that would be a mistake. McCarthy has a difficult and narrow path to travel. He has to be suave, worldly, confident but also a bit worn and you have to believe that after all of his years, that he actually falls for one of his marks. That I never questioned any of those aspects of his character is a tribute to the skill of the actor.
But unexpectedly, I came away from DRS newly impressed with Rachel Abrams, whose straight-forward but nuanced portrayal of Christine was a marked contrast to her last delightful appearance opposite Wichmann as Adelaide in “Guys and Dolls.” I expected to love the scoundrels, but in the end, the sneaky subtlety of Abrams’ performance was what really wooed me. Speaking of which, I also ended up enjoying the stumbling romance of Andre (Joe Pabst) and Muriel (Robin Arthur) more than I would have thought. Between not-too-heavy-handed writing and fresh performances from the actors, this potentially schmaltzy sidelight actually bolstered the trajectory of the main plotline rather than detract from it.
In one last note on an actor, Nicole Oberleitner certainly makes the most out of supporting role that I imagine is the kind actors love where you get to hit the stage for a brief time, chew up all the scenery in sight, and then move on.
It would take another several hundred words to fawn over the technical elements of the show, specifically Brian Barker’s spectacular set and Sue Griffin’s dapper costumes. Let’s just say that comparing this set and costumes to others in town isn’t quite on the level of comparing apples to oranges but it’s close.
Of course, I do have a quibble list and first on it is the sound. I heard most of what I wanted to from those on stage but I heard from several other audience members who didn’t (and that also seems to have been one of Mr. Miller’s at GayRVA’s chief complaints). Every modern musical struggles with the infamous “catchy” conundrum – creating songs that fit in context but also somehow stand-alone enough to be memorable. There were some good songs here – “Great Big Stuff” and “Dirty Rotten Number” specifically – but they suffered a bit from being more percussive and punchy versus melodic and catchy. This does present the opportunity to praise Sandy Dacus’s musical direction though: the big, brassy numbers in particular were sparkling and stirring and a delight to listen to.
My final quibble is more esoteric and, on some levels, perhaps not even appropriate given the subject. It also brings me back to Harry Potter. One of the things Rowling did with the HP books was reinforce some pretty steadfast and even stodgy values – the importance of loyalty and friendship, the fact that our choices define us, etc. – in a way that was actually uplifting instead of pedantic. The movies, even with their whiz-bang effects and some fabulous acting by some of the best Brits around, never really communicated those fundamentals in a convincing way. And perhaps it’s impossible for a big budget summer entertainment to do so.
Similarly, as fabulous as all of the aspects of DRS were (and shoot, I didn’t even mention all of the amazing dance numbers…), I didn’t leave with a sense that it all added up to much. I was entertained – thoroughly so – and I congratulate director Chase Kniffen for engineering such a bedazzling evening. I would even consider going back to get that thoroughly entertained again. But when the show ended, I wasn’t enlightened or emboldened in any way. Perhaps it’s too much to expect to be. But that doesn’t stop me from wanting it.
I’m quite a few years older than Ms. Ramsay so my attachment to the HP series comes from a different place: from being reluctantly drawn into a world my children were exploring and having it become just as all-encompassing for me as it was for them. After slowly being introduced to the story reading the first three books to my daughters, I read each successive book in a weekend, even bringing the 4th book with me as I walked the dog around the neighborhood. When the first movie came out, I was the one who bought the tickets online well before the premiere date and left work early to join my children at the theater. When HP7.2 premiered last weekend, I was at a midnight showing, semi-dragged along by my 10-year old.
I love the books, even though my critical instincts were tweaked by some of the clunky prose and the occasional clumsy plot-saving device (e.g., Ron and Harry saved from the spiders by the enchanted car, the whole time-turner thing, etc.) But the series as a whole is plotted with tremendous skill and there are aspects of the 7th book that I think are pure genius, including one of the most satisfying endings I’ve ever read, all the more impressive given the immense pressure on Rowling to deliver something big (compare it to similar high-pressure series endings like “Seinfeld” or “Lost”).
In general, I’ve appreciated but not loved the movies (3 and 4 have been my faves). Most of them have had significant moments of gawking at the special effects or, in the last one, wasted time spent looking over artsy landscapes. The diminishing number of allowances made to those who aren’t intimately familiar with the story has made these last ones confusing for me, even though I’ve read the source material. And the complete bungling of the Harry and Ginny Weasley relationship is a crime (based on the movies, I’d have wanted Harry to end up with just about any other girl in the cast besides Ginny). Still, each movie has had at least one set-piece that was done spectacularly well. In this last movie, I thought the scene with Dumbledore and Harry in the celestial King’s Cross Station was about as good as I could have imagined it.
This is a lot of rambling about books on a blog that’s supposed to be about theater. I could say that Daniel Radcliffe is a Broadway star now so there’s some relevance. But actually the reason I go on is because, as I mentioned below, I saw the last HP movie only an hour or so after the curtain went down on the performance of “Dirty Rotten Scoundrels” I attended. And I consider them both blockbusters, each with the attendant pros and cons that come with such an enterprise.
There’s no denying the comic tsunami that is Scott Wichmann and the most guffaw-inducing scenes of “Dirty Rotten Scoundrels” involve his character’s ruses. Add Freddy Benson to the impressive list of characters that Scotty has taken to previously unimaginable comic heights. It would be easy to minimize the contribution of Broadway vet Jeff McCarthy in the face of Wichmann’s prodigious skills but that would be a mistake. McCarthy has a difficult and narrow path to travel. He has to be suave, worldly, confident but also a bit worn and you have to believe that after all of his years, that he actually falls for one of his marks. That I never questioned any of those aspects of his character is a tribute to the skill of the actor.
But unexpectedly, I came away from DRS newly impressed with Rachel Abrams, whose straight-forward but nuanced portrayal of Christine was a marked contrast to her last delightful appearance opposite Wichmann as Adelaide in “Guys and Dolls.” I expected to love the scoundrels, but in the end, the sneaky subtlety of Abrams’ performance was what really wooed me. Speaking of which, I also ended up enjoying the stumbling romance of Andre (Joe Pabst) and Muriel (Robin Arthur) more than I would have thought. Between not-too-heavy-handed writing and fresh performances from the actors, this potentially schmaltzy sidelight actually bolstered the trajectory of the main plotline rather than detract from it.
In one last note on an actor, Nicole Oberleitner certainly makes the most out of supporting role that I imagine is the kind actors love where you get to hit the stage for a brief time, chew up all the scenery in sight, and then move on.
It would take another several hundred words to fawn over the technical elements of the show, specifically Brian Barker’s spectacular set and Sue Griffin’s dapper costumes. Let’s just say that comparing this set and costumes to others in town isn’t quite on the level of comparing apples to oranges but it’s close.
Of course, I do have a quibble list and first on it is the sound. I heard most of what I wanted to from those on stage but I heard from several other audience members who didn’t (and that also seems to have been one of Mr. Miller’s at GayRVA’s chief complaints). Every modern musical struggles with the infamous “catchy” conundrum – creating songs that fit in context but also somehow stand-alone enough to be memorable. There were some good songs here – “Great Big Stuff” and “Dirty Rotten Number” specifically – but they suffered a bit from being more percussive and punchy versus melodic and catchy. This does present the opportunity to praise Sandy Dacus’s musical direction though: the big, brassy numbers in particular were sparkling and stirring and a delight to listen to.
My final quibble is more esoteric and, on some levels, perhaps not even appropriate given the subject. It also brings me back to Harry Potter. One of the things Rowling did with the HP books was reinforce some pretty steadfast and even stodgy values – the importance of loyalty and friendship, the fact that our choices define us, etc. – in a way that was actually uplifting instead of pedantic. The movies, even with their whiz-bang effects and some fabulous acting by some of the best Brits around, never really communicated those fundamentals in a convincing way. And perhaps it’s impossible for a big budget summer entertainment to do so.
Similarly, as fabulous as all of the aspects of DRS were (and shoot, I didn’t even mention all of the amazing dance numbers…), I didn’t leave with a sense that it all added up to much. I was entertained – thoroughly so – and I congratulate director Chase Kniffen for engineering such a bedazzling evening. I would even consider going back to get that thoroughly entertained again. But when the show ended, I wasn’t enlightened or emboldened in any way. Perhaps it’s too much to expect to be. But that doesn’t stop me from wanting it.
Friday, July 15, 2011
Wrecked
I’m a bit wrecked this morning. Did a doubleheader last night of “Dirty Rotten Scoundrels” and then “Harry Potter” at midnight. Up and out to work at 8am this morning. Running on caffeine and doughnuts. Gearing up for another gamut tonight. Never a dull moment…
I’ll be ruminating over DRS this weekend and expounding next week. However, I thought it was ironic that I took in Richmond’s blockbuster musical and Hollywood’s blockbuster event on the same evening. My initial reaction to both of them was “Wow!” There is a lot of pizzazz and amazingness in both and scenes that I could not imagine being done any better. And I had a few quibbles with both – minor things that, if I was a grading man, would only knock back an A to an A minus.
But I also have that slight self-critical uneasiness of thinking that the quibbles I have are like being given a delicious feast with variety and enchantment and not being satisfied with the silverware. Both DRS and HP deliver spectacle, wonder, laughs (a hell of a lot more in the former then the latter), and charm. Both are incredibly satisfying entertainment extravaganzas. And I’m really glad I saw both of them – though I’m paying the price this morning.
Which is all preliminary to my real message for today: last chances to see “Wait Until Dark” and "The Odyssey" this weekend and ONLY chances to see “Reasons to be Pretty” by the newcomers at Stage B and the New Voices readings at SPARC. Harry Potter’s going to be running for weeks so, if your time is limited, skip it for now and go see a play.
I’ll be ruminating over DRS this weekend and expounding next week. However, I thought it was ironic that I took in Richmond’s blockbuster musical and Hollywood’s blockbuster event on the same evening. My initial reaction to both of them was “Wow!” There is a lot of pizzazz and amazingness in both and scenes that I could not imagine being done any better. And I had a few quibbles with both – minor things that, if I was a grading man, would only knock back an A to an A minus.
But I also have that slight self-critical uneasiness of thinking that the quibbles I have are like being given a delicious feast with variety and enchantment and not being satisfied with the silverware. Both DRS and HP deliver spectacle, wonder, laughs (a hell of a lot more in the former then the latter), and charm. Both are incredibly satisfying entertainment extravaganzas. And I’m really glad I saw both of them – though I’m paying the price this morning.
Which is all preliminary to my real message for today: last chances to see “Wait Until Dark” and "The Odyssey" this weekend and ONLY chances to see “Reasons to be Pretty” by the newcomers at Stage B and the New Voices readings at SPARC. Harry Potter’s going to be running for weeks so, if your time is limited, skip it for now and go see a play.
Tuesday, July 12, 2011
Next to Normal
Pick up this week's Style for Mr. Griset's reviews of "Dirty Rotten Scoundrels" and "Wait Until Dark." Time is running out on seeing "Wait" so don't....wait, that is, to get tickets.
I'm trying to think ahead -- looking forward to finally seeing DRS this week plus taking in some of SPARC's New Voices readings this weekend. But part of me is still stuck in this past weekend. See, my wife and son had talked up “Next to Normal” for months since they saw it in New York last summer. So I was giddy with anticipation when I took my seat in a Kennedy Center box (it was the back row of the box but still, I’d never seen a show at the Kennedy Center so it worked just fine for me). Just the N2N set is enough to peak your curiosity – it’s many levels and staircases giving it a modern, almost techno look.
The opening number (“Just Another Day”) didn’t disappoint – one of those openers in the classic musical mode that introduces most of the characters and their essential conflicts in an efficient but original manner. I was instantly impressed by Emma Hunton who plays the daughter Natalie and whose voice resonated clear and crystalline. All of the young performers were exceptional, propelled by a driving light-ish rock score.
But starting with the third song, “Who’s Crazy,” and really coming to the fore with “I Miss the Mountains,” there was something odd about lead actress Alice Ripley’s voice. At first, I just thought she had a weird pronunciation thing – an odd way of articulating specific words that I’ve since found out that others have commented on. But as the show continued, it became clearer that Ms. Ripley’s voice just wasn’t on par with the other singers in the cast. Again, there have been others on the Internets who have remarked on this situation with more depth and clarity than I really want to get into.
When the performance ended, I definitely had an appreciation for the power and originality of the show. There were many thrilling moments, most of them having to do with Ms. Hunton. As a parent, I felt a little weird to be identifying so completely with the teenage daughter and having little or no sympathy for the parents and a lot of that had to do with being annoying at Ms. Ripley for not singing better.
In the Washington Post review of the show, Peter Marks calls Ripley “tired.” In my opinion, that is an understatement. My somewhat stronger feelings on the matter are reflected in this review by Alice Kaderlan of the Seattle PI.
I'm a pretty easy-going guy and so, afterwards, I rationalized to myself that all things considered, it was a fine experience. I liked the music, I thought the story was challenging in many good ways, and there were some excellent performances. Perhaps more important, it was a good family outing spent traveling together, sharing conversation over some good food, and enjoying each other's company. But on another level I'm still sort of seething. I spent a whole day and a not-insignificant chunk of money to see a show that had a major defect in it. And it wasn't just that an artistic choice was made that somehow rubbed me the wrong way. There was/is a element in the show that is not working right. A colder, more pragmatic person would make the analogy that if a lighting instrument had burnt out during the course of a show, you'd replace it. Why hasn't someone made a similar replacement of the faulty piece of "Next to Normal?"
I'm trying to think ahead -- looking forward to finally seeing DRS this week plus taking in some of SPARC's New Voices readings this weekend. But part of me is still stuck in this past weekend. See, my wife and son had talked up “Next to Normal” for months since they saw it in New York last summer. So I was giddy with anticipation when I took my seat in a Kennedy Center box (it was the back row of the box but still, I’d never seen a show at the Kennedy Center so it worked just fine for me). Just the N2N set is enough to peak your curiosity – it’s many levels and staircases giving it a modern, almost techno look.
The opening number (“Just Another Day”) didn’t disappoint – one of those openers in the classic musical mode that introduces most of the characters and their essential conflicts in an efficient but original manner. I was instantly impressed by Emma Hunton who plays the daughter Natalie and whose voice resonated clear and crystalline. All of the young performers were exceptional, propelled by a driving light-ish rock score.
But starting with the third song, “Who’s Crazy,” and really coming to the fore with “I Miss the Mountains,” there was something odd about lead actress Alice Ripley’s voice. At first, I just thought she had a weird pronunciation thing – an odd way of articulating specific words that I’ve since found out that others have commented on. But as the show continued, it became clearer that Ms. Ripley’s voice just wasn’t on par with the other singers in the cast. Again, there have been others on the Internets who have remarked on this situation with more depth and clarity than I really want to get into.
When the performance ended, I definitely had an appreciation for the power and originality of the show. There were many thrilling moments, most of them having to do with Ms. Hunton. As a parent, I felt a little weird to be identifying so completely with the teenage daughter and having little or no sympathy for the parents and a lot of that had to do with being annoying at Ms. Ripley for not singing better.
In the Washington Post review of the show, Peter Marks calls Ripley “tired.” In my opinion, that is an understatement. My somewhat stronger feelings on the matter are reflected in this review by Alice Kaderlan of the Seattle PI.
I'm a pretty easy-going guy and so, afterwards, I rationalized to myself that all things considered, it was a fine experience. I liked the music, I thought the story was challenging in many good ways, and there were some excellent performances. Perhaps more important, it was a good family outing spent traveling together, sharing conversation over some good food, and enjoying each other's company. But on another level I'm still sort of seething. I spent a whole day and a not-insignificant chunk of money to see a show that had a major defect in it. And it wasn't just that an artistic choice was made that somehow rubbed me the wrong way. There was/is a element in the show that is not working right. A colder, more pragmatic person would make the analogy that if a lighting instrument had burnt out during the course of a show, you'd replace it. Why hasn't someone made a similar replacement of the faulty piece of "Next to Normal?"
Tuesday, June 28, 2011
Required Viewing
A review of “Dirty Rotten Scoundrels” by Mr. Miller is up at the GayRVA site, a review that may incite some conversation.
I’m adding another little feature to my navigation over there on the right. One thing that my eyes were opened to when I was in Los Angeles was the number of people out there in cyberland who are covering theater. So I am adding a little sidebar with links to other websites that I have – or will start to – access for the latest “News and Reviews” on Broadway and theater around the country (or the world).
The first link is to an online publication called Arts Journal. One of the highlights of my L.A. experience was the opportunity to work with Doug McClennan who is a true visionary when it comes to the effect of the internet and new media on the arts. He did a talk at the TCG conference called “The Community Formerly Known as the Audience: Who They Are, What They Want, and What to do About It” (you can – and should! – pull up the livestream of the talk. Doug actually starts talking at about 6:11 so go to that point for the beginning and skip all of the milling around. And if you watch, yes, that’s me up there on the dais providing what tech support I could during the talk).
While the talk was going on, Doug was also taking questions from the audience in the form of texts and there was a Twitter feed with responses to the talk being broadcast live on the screen behind him. It was a truly brilliant conflagration of interaction and response that characterizes the inter-connected world of today.
This talk should be REQUIRED viewing for artistic and managing directors at theater companies across the country. If you want to understand how to align yourself with the audiences of the future, listen closely to what Doug says.
One of the most telling moments of the talk was when someone Tweeted that they didn’t like how people were laughing at anecdotes and stats related to how often people text or tweet or use Facebook or are involved in other new media. This comment was re-tweeted about a dozen times and Doug finally addressed it in his talk. Texting and Facebook and everything are not “cute.” As someone with two teenagers, I can tell you from first-hand experience that these are all integral aspects of life for a new generation of young people, AKA a generation of potential audience members. Tittering about this behavior is akin to scoffing at the appeal of that wacky new box called the television back in 1940s.
If you have suggestions for more websites for me to list as theater-specific news sources, please include them in a comment. Thanks!
I’m adding another little feature to my navigation over there on the right. One thing that my eyes were opened to when I was in Los Angeles was the number of people out there in cyberland who are covering theater. So I am adding a little sidebar with links to other websites that I have – or will start to – access for the latest “News and Reviews” on Broadway and theater around the country (or the world).
The first link is to an online publication called Arts Journal. One of the highlights of my L.A. experience was the opportunity to work with Doug McClennan who is a true visionary when it comes to the effect of the internet and new media on the arts. He did a talk at the TCG conference called “The Community Formerly Known as the Audience: Who They Are, What They Want, and What to do About It” (you can – and should! – pull up the livestream of the talk. Doug actually starts talking at about 6:11 so go to that point for the beginning and skip all of the milling around. And if you watch, yes, that’s me up there on the dais providing what tech support I could during the talk).
While the talk was going on, Doug was also taking questions from the audience in the form of texts and there was a Twitter feed with responses to the talk being broadcast live on the screen behind him. It was a truly brilliant conflagration of interaction and response that characterizes the inter-connected world of today.
This talk should be REQUIRED viewing for artistic and managing directors at theater companies across the country. If you want to understand how to align yourself with the audiences of the future, listen closely to what Doug says.
One of the most telling moments of the talk was when someone Tweeted that they didn’t like how people were laughing at anecdotes and stats related to how often people text or tweet or use Facebook or are involved in other new media. This comment was re-tweeted about a dozen times and Doug finally addressed it in his talk. Texting and Facebook and everything are not “cute.” As someone with two teenagers, I can tell you from first-hand experience that these are all integral aspects of life for a new generation of young people, AKA a generation of potential audience members. Tittering about this behavior is akin to scoffing at the appeal of that wacky new box called the television back in 1940s.
If you have suggestions for more websites for me to list as theater-specific news sources, please include them in a comment. Thanks!
Monday, June 27, 2011
Of Kings and Kids
Reviews of Barksdale’s “Dirty Rotten Scoundrels” and Sycamore Rouge’s “The Odyssey” have appeared in the T-D already. I expect other outlets to have their takes in print or online soon, so stay tuned.
I knew this past weekend was going to be a busy one, but I had no idea just how crazy it was going to be for some of the theater folks in town. The Cultural Xpo at the Science Museum had people from multiple companies readying displays and performances and even flash mobs. The production to benefit the Massey Cancer Center, “The Pirates of the Chemotherapy,” a show that got edged over to the periphery of my radar screen, came back front-n-center as I started to hear good words from people who attended.
My focus for the weekend was on the SPARC 30th anniversary gala, in part because of my close personal connection to one of the performers, but also because of the incredible display of local talent I knew was going to be on-hand. The crew of rising teen actors that SPARC has groomed never fails to delight and the reprise of songs like “Money” that they had performed as part of “The World Goes Round” back in January looked great on the big Carpenter Center stage.
But though I knew a bit of what I was going to see beforehand, I was surprised (always pleasantly) by many of the performances, including Chase Kniffen doing a bit from “Oliver!” Jason Marks commanding the stage with his powerful “Memory,” and a charming collection of SPARC parents rolling out a rag-tag version of “Kids.”
There was even a moment early on that gave a glimpse into the versatile talent that SPARC employs. During a rendition of “Hard Knock Life” by SPARC’s “rising star” students, the performers started to waver from the tempo the onstage band was setting. With a skill that only years of handling similar situations can hone, music director and pianist Paul Deiss eased the band into matching tempo in time for the song to end perfectly. That kind of in-the-moment flexibility exemplifies not just Mr. Deiss’s talent but the quality of most all of SPARC’s teachers.
I didn’t know until Saturday that there were a whole slew of follow-up activities that SPARC was hosting on Sunday, so I missed all of that. But I hear that they were lots of fun and included a bunch of fine performances as well. Me, I went to see “King Lear” at Agecroft Hall and, while I might contest those that say it’s the best thing Richmond Shakespeare’s ever done, it certainly is a rousing production with a wide array of exceptional performances. In fact, there’s so much to say about it that I’m going to have to collect my thoughts over the next couple of days and get back to you with a more complete assessment later in the week. I will say that the Sunday performance was a near-sell-out so I would not procrastinate if you want to see it.
I knew this past weekend was going to be a busy one, but I had no idea just how crazy it was going to be for some of the theater folks in town. The Cultural Xpo at the Science Museum had people from multiple companies readying displays and performances and even flash mobs. The production to benefit the Massey Cancer Center, “The Pirates of the Chemotherapy,” a show that got edged over to the periphery of my radar screen, came back front-n-center as I started to hear good words from people who attended.
My focus for the weekend was on the SPARC 30th anniversary gala, in part because of my close personal connection to one of the performers, but also because of the incredible display of local talent I knew was going to be on-hand. The crew of rising teen actors that SPARC has groomed never fails to delight and the reprise of songs like “Money” that they had performed as part of “The World Goes Round” back in January looked great on the big Carpenter Center stage.
But though I knew a bit of what I was going to see beforehand, I was surprised (always pleasantly) by many of the performances, including Chase Kniffen doing a bit from “Oliver!” Jason Marks commanding the stage with his powerful “Memory,” and a charming collection of SPARC parents rolling out a rag-tag version of “Kids.”
There was even a moment early on that gave a glimpse into the versatile talent that SPARC employs. During a rendition of “Hard Knock Life” by SPARC’s “rising star” students, the performers started to waver from the tempo the onstage band was setting. With a skill that only years of handling similar situations can hone, music director and pianist Paul Deiss eased the band into matching tempo in time for the song to end perfectly. That kind of in-the-moment flexibility exemplifies not just Mr. Deiss’s talent but the quality of most all of SPARC’s teachers.
I didn’t know until Saturday that there were a whole slew of follow-up activities that SPARC was hosting on Sunday, so I missed all of that. But I hear that they were lots of fun and included a bunch of fine performances as well. Me, I went to see “King Lear” at Agecroft Hall and, while I might contest those that say it’s the best thing Richmond Shakespeare’s ever done, it certainly is a rousing production with a wide array of exceptional performances. In fact, there’s so much to say about it that I’m going to have to collect my thoughts over the next couple of days and get back to you with a more complete assessment later in the week. I will say that the Sunday performance was a near-sell-out so I would not procrastinate if you want to see it.
Friday, June 24, 2011
The Underwriting on the Wall
To address yesterday’s teaser: I found out earlier this week that the generous folks at the Carpenter Foundation have granted the Richmond Theatre Critics Circle the necessary funds to underwrite this year’s “Artsies” event. When I found out, I let loose with an enthusiastic (though quiet – I was in a room full of people) whoop of excitement. It’s a major burden off us organizers of the awards not to have to worry about money. But it’s also a good thing for the local theater community as a whole.
Hm. You look skeptical so let me explain. With all costs covered, every cent of the admission you pay to attend the event will go to the Theatre Artists Fund, which in turn benefits all local theater artists. Even if you don’t attend, more of the proceeds from the event will end up going to the Fund, which will in turn benefit the community as a whole.
Also, built into the budget that is now being underwritten is a smallish chunk of money for advertising. If we are able to advertise a little more broadly, we might reach more people who will come to the event, get a glimpse of how good the local shows are and will consequently be more motivated to see more shows in the future. We also set aside some money (again, a smallish amount) to cover expenses for any “big name” presenters who we might invite in from out of town. The hope would be that the big names would likewise build excitement for the event, incite more people to attend, they get a glimpse of how good…, etc. etc.
These last two bits might be a little pipe-dream-ish, I know, but still, they fit in with the general mission of the event: to build interest in and excitement for the local theater scene. To the extent that the event does that, everybody wins.
With that in mind, there are a couple shows opening this weekend -- “Dirty Rotten Scoundrels” at the Barksdale and Sycamore Rouge’s “The Odyssey” down at Battersea Park -- not to mention "Wait Until Dark" at the Mill, the Charlie Brown duo wrapping up at the Firehouse, and of course "Lear." Sounds like a winning weekend all around!
Hm. You look skeptical so let me explain. With all costs covered, every cent of the admission you pay to attend the event will go to the Theatre Artists Fund, which in turn benefits all local theater artists. Even if you don’t attend, more of the proceeds from the event will end up going to the Fund, which will in turn benefit the community as a whole.
Also, built into the budget that is now being underwritten is a smallish chunk of money for advertising. If we are able to advertise a little more broadly, we might reach more people who will come to the event, get a glimpse of how good the local shows are and will consequently be more motivated to see more shows in the future. We also set aside some money (again, a smallish amount) to cover expenses for any “big name” presenters who we might invite in from out of town. The hope would be that the big names would likewise build excitement for the event, incite more people to attend, they get a glimpse of how good…, etc. etc.
These last two bits might be a little pipe-dream-ish, I know, but still, they fit in with the general mission of the event: to build interest in and excitement for the local theater scene. To the extent that the event does that, everybody wins.
With that in mind, there are a couple shows opening this weekend -- “Dirty Rotten Scoundrels” at the Barksdale and Sycamore Rouge’s “The Odyssey” down at Battersea Park -- not to mention "Wait Until Dark" at the Mill, the Charlie Brown duo wrapping up at the Firehouse, and of course "Lear." Sounds like a winning weekend all around!
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