Reviews of “[title of show]” came out over the weekend, both Ms. Haubenstock at the T-D and Mr. Miller at GayRVA seeming to like it quite a bit. I finished up my review yesterday and it should be in next week’s Style. The best capsule review I can offer is also the simplest: don’t miss this show or you’ll be sorry you did.
This past weekend was a little weird in that seemingly all of a sudden, a big slew of shows were all closing. “Art,” “Honk!” and “Quilters” all wrapped up and, to complete the slew of one-word titles, “Shorts” opened and closed. (For those of you who might have missed it, Ms. Lewis in the Times-Dispatch wrote up “Shorts” and Mr. Miller weighed in on “Honk!” last week). I’m always more aware of openings and those occasional weekends when several shows arrive at the same time and there’s a buzz of new possibilities in the air. Now it’s like a big deflation as I look around and rue the shows I didn’t get a chance to see.
My recent out-of-town adventures allowed me to take in my 30th and 31st shows of the season. Several years ago I started keeping track of the local shows I’d seen during a season and this year I expanded my little spreadsheet tally to include any production whatsoever, including staged readings and out-of-town shows (I only counted the Radio City Xmas Spectacular once, even though I saw most or all of it at least 4 times). So “[title of show]” became the 32nd production I’ve seen this season, the 23rd local professional production.
Twenty-three was the total number of local pro productions I saw last season so I’m certainly going to beat that number this year. I’m looking ahead and thinking I could possibly make it to 30, particularly given that the Firehouse will have two shows in rep that I haven’t seen (thanks, Firehouse!). Even if I make it to 30, that’ll mean 39 productions overall for the year which will fall short of the 2008-2009 season when I saw 35 local pro productions and 5 non-pro ones.
Forty productions. That means that, on average, three weekends out of the four in the typical month I went to see a show. I’m not tooting my horn here or anything. It’s just a little staggering when I look at the numbers. Even more staggering to me is that I know people whose theater consumption dwarfs mine (looking at you, Ms. Haubenstock!) How do they find the time?
Wednesday, May 18, 2011
Friday, May 13, 2011
Spent
Sorry, blog-land. This week has been a killer for me in many ways and anything I would have written about would have been of the personal rant variety. Many companies are coming out with their 2011-12 seasons with some very interesting productions planned. I’ll try to get it together enough to write about that soon but, in the meantime, feel free to leave your comments.
If you have been paying attention, “Spiderman” turned off the dark recently (having been dark for three weeks). I’ve only read one recap of the differences in the newly imagined production. I’m somewhat amazed to read how much they’ve changed, particularly re-engineering the entire second act. It’s definitely a wise move based on what I saw but it also makes me glad that I saw the show before it was revamped. Perhaps what producers are counting on is people who will come back to see it again every time it goes through a facelift.
I’m looking forward to seeing “[title of show]” this weekend. Any of y’all seen it? Ms. Haubenstock at the T-D liked it. What did you think?
If you have been paying attention, “Spiderman” turned off the dark recently (having been dark for three weeks). I’ve only read one recap of the differences in the newly imagined production. I’m somewhat amazed to read how much they’ve changed, particularly re-engineering the entire second act. It’s definitely a wise move based on what I saw but it also makes me glad that I saw the show before it was revamped. Perhaps what producers are counting on is people who will come back to see it again every time it goes through a facelift.
I’m looking forward to seeing “[title of show]” this weekend. Any of y’all seen it? Ms. Haubenstock at the T-D liked it. What did you think?
Monday, May 09, 2011
Stories
Our stories define us: tales from childhood retold at family reunions, nights of reverie recalled at high school reunions, the stories of courtship and marriage that parents tell their children. But at what point do these stories enslave us – trap us in roles from years past, encapsulating what is complicated and mutable into something pat and repeatable?
These is one of the meta-questions that lie behind “The Walworth Farce,” a production at the Studio Theatre in DC that my lovely wife and I took in a while back. But it won’t occur to you until at least midway through this disturbing slice of Irish darkness that is also fast-paced and intermittently funny. You’re likely to spend much of the first act just wondering what the heck is going on.
An old man sits in a beat-up armchair in the middle of a crumbling apartment, one younger man is in the next room ironing a dress, another nervously unpacks groceries in the kitchen. The old man, Dinny (Ted van Griethuysen), starts a tape recorder with peppy music from decades ago and the two younger men, who you soon find out are Dinny’s sons, fly into a bizarre series of interactions. Only a good way into the first act does it become clear that the boys, Sean (Alex Morf) and Blake (Aubrey Deeker), are acting out scenes from the last day Dinny spent in Ireland.
The play-within-a-play is a baroque farce involving two scams, two funerals, and a lot of quick costume changes (Blake plays all of the female parts). The boys’ agitation is palpable, and we discover why when Sean suffers the consequences of messing up some of the key props. He has had a conversation with a clerk, Hayley (Azania Dungee), at the grocery store and this contact with anyone outside the isolated apartment has totally unnerved him. When Hayley ultimately insinuates herself into this weird world, the results are disastrous.
Within its limited, strange little structure, “Walworth” is quite brilliant and presents prime opportunities for every actor involved to chew a healthy amount of scenery. As Sean, Morf has to surf between the three levels of reality in the play: Dinny’s fantastical story, the real-life relationship between a father and his sons, and the bigworld outside beyond their apartment door. Van Griethuysen’ Dinny is imperious and unhinged but also charming in places. Deeker makes Blake physically imposing but emotionally fragile, and the drama eventually turns on a decision his fevered mind must sort out. Dungee is unfortunately forced to sit and watch a lot of the action but she projects a breezy and appealing personality in her first scenes with Morf.
As the tension escalates, “Walworth” gets trapped in some frustrating scene constructions that you might expect in a bad horror movie. By late in the second act, you might find yourself asking, “Why doesn’t Hayley just use the knife prominently at hand in the kitchen?” Or “Why does Hayley’s cell phone ring for SO long?” For a show that teeters on the edge of plausibility as it is, these moments threaten to push it over the edge.
But even with its structural faults and overall weirdness, “Walworth” is fascinating in its exploration of the stories we tell ourselves and how they can ultimately determine our fate. A one-set show with only four actors, it’d be a prime candidate for production by the Firehouse or one of the fringier companies in town. The playwright is the recently celebrated Enda Walsh, a challenger to Martin McDonagh’s realm of idiosyncratic but amazing plays and a name I’ll be watching for in years to come.
These is one of the meta-questions that lie behind “The Walworth Farce,” a production at the Studio Theatre in DC that my lovely wife and I took in a while back. But it won’t occur to you until at least midway through this disturbing slice of Irish darkness that is also fast-paced and intermittently funny. You’re likely to spend much of the first act just wondering what the heck is going on.
An old man sits in a beat-up armchair in the middle of a crumbling apartment, one younger man is in the next room ironing a dress, another nervously unpacks groceries in the kitchen. The old man, Dinny (Ted van Griethuysen), starts a tape recorder with peppy music from decades ago and the two younger men, who you soon find out are Dinny’s sons, fly into a bizarre series of interactions. Only a good way into the first act does it become clear that the boys, Sean (Alex Morf) and Blake (Aubrey Deeker), are acting out scenes from the last day Dinny spent in Ireland.
The play-within-a-play is a baroque farce involving two scams, two funerals, and a lot of quick costume changes (Blake plays all of the female parts). The boys’ agitation is palpable, and we discover why when Sean suffers the consequences of messing up some of the key props. He has had a conversation with a clerk, Hayley (Azania Dungee), at the grocery store and this contact with anyone outside the isolated apartment has totally unnerved him. When Hayley ultimately insinuates herself into this weird world, the results are disastrous.
Within its limited, strange little structure, “Walworth” is quite brilliant and presents prime opportunities for every actor involved to chew a healthy amount of scenery. As Sean, Morf has to surf between the three levels of reality in the play: Dinny’s fantastical story, the real-life relationship between a father and his sons, and the bigworld outside beyond their apartment door. Van Griethuysen’ Dinny is imperious and unhinged but also charming in places. Deeker makes Blake physically imposing but emotionally fragile, and the drama eventually turns on a decision his fevered mind must sort out. Dungee is unfortunately forced to sit and watch a lot of the action but she projects a breezy and appealing personality in her first scenes with Morf.
As the tension escalates, “Walworth” gets trapped in some frustrating scene constructions that you might expect in a bad horror movie. By late in the second act, you might find yourself asking, “Why doesn’t Hayley just use the knife prominently at hand in the kitchen?” Or “Why does Hayley’s cell phone ring for SO long?” For a show that teeters on the edge of plausibility as it is, these moments threaten to push it over the edge.
But even with its structural faults and overall weirdness, “Walworth” is fascinating in its exploration of the stories we tell ourselves and how they can ultimately determine our fate. A one-set show with only four actors, it’d be a prime candidate for production by the Firehouse or one of the fringier companies in town. The playwright is the recently celebrated Enda Walsh, a challenger to Martin McDonagh’s realm of idiosyncratic but amazing plays and a name I’ll be watching for in years to come.
Friday, May 06, 2011
Puncturing pretense
On the third day I was in Los Angeles, I finally realized that the Fox Studios backlot was only 2 blocks from my hotel. For two days, I had turned left out of my hotel toward Santa Monica Blvd (a street I can't even say in my head without a melody line, thanks to Sheryl Crow) whenever I went walking or jogging. The last day there I turned right and boom, there was the Fox lot. Not that I could just run right in and wander around, but on my jog that day I did circle around the whole compound and took what opportunities I could to peak in. Mostly, it was lots of golf carts puttering around and lots of numbered buildings. However, when I finally got around to the front gate where people who work there were driving in, I saw someone who looked distinctly like Amber Riley (Mercedes from "Glee") drive right in front of me. That's the story I'm sticking with even if it wasn't her.
This happened the morning after I had several bona fide celebrity encounters at the performance of "God of Carnage" with the original Broadway cast. After the show, I was heading down to retrieve the bag I'd checked and nearly ran head first into John Stamos. I said "excuse me" and sidestepped just in time, but not before taking in his very chiseled good looks and the scary fact that he doesn't look a day over 35 in person even though he is exactly 2 days OLDER than me. Oy.
I inadvertently went by the stage door as I was leaving the theater (I was going to find the bus; I guess all the beautiful people went in the opposite direction). Unlike Broadway where stage doors are swamped after a show, there were only 5 other folks hanging out at the Ahmanson waiting for autographs. So I joined them and soon Jeff Daniels (taller than expected and nice but perfunctory to the fans) and Hope Davis (warm and personable and a little weary perhaps) came out. After another 15 minutes, Marcia Gay Harden came out and seemed like she couldn't light up a smoke fast enough. She had a distinct kind of "old broad" attitude that was refreshing and funny and, even though she was carrying two large handbags full of stuff, she wouldn't accept any help.
As for the show, I'm going to go ahead and do something like a full length review of it because I've got to warm up in preparation for my fellowship thingy in June. I've realized that I'm so stuck in a 400 word box that I'm not sure whether I can write anything longer. So what follows is something close to what I'd write if I was writing for the LA Weekly or some such thing. Feel free to skip it if you've got better things to do.
Though I've only seen two of her plays, it seems clear to me that Yasmina Reza is determined to deflate high-minded intellectualism, exposing, as it were, the Bugs Bunny cartoon that lies just beneath the surface of every opera. "Art" is precipitated by the consideration of sophisticated modern art but devolves into various hijinks and pratfalls. Similarly, "God of Carnage" begins with the most civilized of discussions between well-mannered adults but it quickly become clear how close each of the four characters is to the edge of barbarism. The infamous (and impressive, stage magic-wise) hurl at the show's midpoint is just one sign-post leading inexorably from blithe discussions of recipes to childish destruction of ornamental flowers.
You probably know the basic story: two couples have come together to discuss a fight between their children. The 11 year-old son of Alan and Annette (Jeff Daniels and Hope Davis) has taken a stick to the son of Michael and Veronica (James Gandolfini and Marcia Gay Harden), knocking out a couple of his teeth. There is no denying the entertainment value Reza skillfully draws from the tension that boils intensely beneath this simple set-up. But her brilliance truly becomes evident as allegiances fray and re-form during the course of the evening, demonstrating a remarkable depth of psychological insight into the dynamics between men and other men, women and other women, and married people of varying degrees of mental health.
Though filled with stars familiar from TV and movie screens, the cast of this production brings an intense theatricality to their roles, none more so than Daniels, who I found mesmerizing as the most nakedly assholish member of the quartet. Playing a lawyer trying to guide a pharmaceutical company through a potential lawsuit, Daniels uses the cell phone calls that regularly interrupt the evening to establish his profoundly cynical personality, which sets the stage for him to bond with kindred spirit, Michael. Gandolfini successfully escapes the bonds of his most famous role; when Michael finally untucks his shirt - a move that could be threatening coming from Tony Soprano - it's a signal of his resignation and frustration, not of impending violence.
Davis is slight and brittle on stage (seeing her afterwards in jeans and a loose sweater was like meeting a different person) and she traverses the highest highs and lowest lows here while never losing her bearings. Perhaps it's because her character ends up being the only one who doesn't seem to lose sight of the children that prompted the meeting in the first place. Harden has a somewhat thankless role, her Veronica clearly Reza's stand-in for deluded, righteous, and oversensitive do-gooders everywhere. Honestly, though she was excellent in the role, I'm surprised she was the one that one the Tony.
I laughed often and heartily throughout "Carnage" and not just at the slapsticky moments but also at Reza's unflinching disdain for pretense. However, I also tasted a little bile of bitterness seeping in by the play's conclusion, never a charming sensation. Michael's lament that "children devour your lives, and then they kill you" seems overwrought when he says it. But later you realize it's just a precursor to soften you up for the ugly epithets that will fly before the end. I think I would like Reza's plays better if I felt she left even the residue of sympathy somewhere in her characterizations. That the audience comes to consider Alan the only vestige of restraint is telling.
The production shines from a technical stand-point, with the subtle lighting design a particular stand-out. It was satisfying to me that even a big fancy Los Angeles theater can have trouble with sound design, as I heard a few people complain on the way out about not being able to hear certain lines.
In the end, I feel pretty profoundly lucky to have seen this production. I may not worship at the temple of this particular "God," but I had a fabulous time visiting it just the same
Wednesday, May 04, 2011
I get a-round
My review of "Circle Mirror Transformation" is in this week's Style. Better late than never, right? Mr. Griset's review of "Art" also appears this week, which is a cool coincidence since I just saw another of Yasmina Reza's works last night. More on that tomorrow.
It's always interesting for me to go back and read a review of mine a couple of weeks after I've written it. There's a way that a show settles into my consciousness: my initial impressions age and mature and don't always end up where they started. Sometimes this process results in a bolstering of my opinion of a show. After I saw "Avenue Q" the first time, my feelings about the show just got more and more positive (enhanced by repeated plays of the soundtrack) to the point that I was actually a little disappointed when I went and saw it a second time.
I wouldn't take back anything I said about "CMT" in my review. I enjoyed this show but it hasn't aged as well in my memory as other shows. Trying to think about it analytically, I suspect it's because this is a show of moments, usually small ones, subtle and simple character turns that are intriguing but also fleeting. At the performance I saw, the audience was older and relatively impatient about the pauses and stretches of silence. In the face of that, I felt a sense of defiance on behalf of the actors. I wanted to turn to the talkers in the crowd and say, 'pay attention -- there's good work going on here!' I also wanted to get pedantic and say, 'theater isn't always about rapid-fire dialogue!' So while I highlighted the pauses in my review, the rest reads to me now like a defense of the actors who utilize the open spaces in the script to fully inhabit the characters they play.
As I think back on it, I would put "CMT" in the category of plays that I appreciate more than I love. The lack of an intermission is a problem experientially. Some of the scenes are pretty indulgent (like the one where people portray the items in Schultz's room) and I'm not sure what they added to the play as a whole. As my colleague Mr. Porter suggests, there is also a fair amount of telling not showing going on thanks to the monologues where each character lays out another character's back story. For a show with less dialogue than many, the proportion of telling to showing seems high in retrospect.
There are other smaller issues that have popped up in my reflections about the show. I have ended up feeling frustrated with the Marti character. There is obviously a lot going on with this character but, more so than with any of the others, I think she gets short-changed by the play. I came away feeling like I wanted to empathize with her, particularly as portrayed by the always-winning Kelly Kennedy. But in the end, I don't think she really earns much empathy, seeming kind of rigid all the way to the end.
My appreciation of certain scenes has increased over the weeks, however. The "telling secrets" scene in particular is kind of stunning. I can pretty clearly remember each character's reaction as each secret was read. This is not a testament to my memory but to each actor's clarity in their almost entirely non-verbal response. Beyond being specifically impressed with Mr. Flannagan's performance, I thought he and Erin Thomas-Foley had a very compelling, very authentic chemistry, both as their relationship was heating up and as it frayed. In fact, every interaction between Theresa and another character had an energy a notch above the others, a reflection of Thomas-Foley's unique skills as an actress.
As I think back now, the scenes that most succinctly reflect how I ended up feeling about the show are the "lying in a circle, counting" scenes. I appreciate their purpose in the context of the play and there were some funny and/or interesting moments in them. But they also tended to go on too long and the pay-offs we're sometimes minimal. I can see how people with an abiding interest in theater and who happen to be fascinated by actors might be particularly enamored with "CMT." However, I can also see why some patrons, like the one who I overheard as I filed down the stairs at the Barksdale, might wonder, "...but what was it about?"
It's always interesting for me to go back and read a review of mine a couple of weeks after I've written it. There's a way that a show settles into my consciousness: my initial impressions age and mature and don't always end up where they started. Sometimes this process results in a bolstering of my opinion of a show. After I saw "Avenue Q" the first time, my feelings about the show just got more and more positive (enhanced by repeated plays of the soundtrack) to the point that I was actually a little disappointed when I went and saw it a second time.
I wouldn't take back anything I said about "CMT" in my review. I enjoyed this show but it hasn't aged as well in my memory as other shows. Trying to think about it analytically, I suspect it's because this is a show of moments, usually small ones, subtle and simple character turns that are intriguing but also fleeting. At the performance I saw, the audience was older and relatively impatient about the pauses and stretches of silence. In the face of that, I felt a sense of defiance on behalf of the actors. I wanted to turn to the talkers in the crowd and say, 'pay attention -- there's good work going on here!' I also wanted to get pedantic and say, 'theater isn't always about rapid-fire dialogue!' So while I highlighted the pauses in my review, the rest reads to me now like a defense of the actors who utilize the open spaces in the script to fully inhabit the characters they play.
As I think back on it, I would put "CMT" in the category of plays that I appreciate more than I love. The lack of an intermission is a problem experientially. Some of the scenes are pretty indulgent (like the one where people portray the items in Schultz's room) and I'm not sure what they added to the play as a whole. As my colleague Mr. Porter suggests, there is also a fair amount of telling not showing going on thanks to the monologues where each character lays out another character's back story. For a show with less dialogue than many, the proportion of telling to showing seems high in retrospect.
There are other smaller issues that have popped up in my reflections about the show. I have ended up feeling frustrated with the Marti character. There is obviously a lot going on with this character but, more so than with any of the others, I think she gets short-changed by the play. I came away feeling like I wanted to empathize with her, particularly as portrayed by the always-winning Kelly Kennedy. But in the end, I don't think she really earns much empathy, seeming kind of rigid all the way to the end.
My appreciation of certain scenes has increased over the weeks, however. The "telling secrets" scene in particular is kind of stunning. I can pretty clearly remember each character's reaction as each secret was read. This is not a testament to my memory but to each actor's clarity in their almost entirely non-verbal response. Beyond being specifically impressed with Mr. Flannagan's performance, I thought he and Erin Thomas-Foley had a very compelling, very authentic chemistry, both as their relationship was heating up and as it frayed. In fact, every interaction between Theresa and another character had an energy a notch above the others, a reflection of Thomas-Foley's unique skills as an actress.
As I think back now, the scenes that most succinctly reflect how I ended up feeling about the show are the "lying in a circle, counting" scenes. I appreciate their purpose in the context of the play and there were some funny and/or interesting moments in them. But they also tended to go on too long and the pay-offs we're sometimes minimal. I can see how people with an abiding interest in theater and who happen to be fascinated by actors might be particularly enamored with "CMT." However, I can also see why some patrons, like the one who I overheard as I filed down the stairs at the Barksdale, might wonder, "...but what was it about?"
Tuesday, May 03, 2011
Out of town adventures
I haven’t really known what to post today, my mind still reeling a bit from the momentous news of last night. I’m also hanging out on the left coast this week so am fairly discombobulated thanks to that. After things settle a bit in my head, I’ll be able to regroup and post something more interesting. I have lots to talk about; Saturday I saw a weird and wonderful piece of work at The Studio Theatre in Washington called “The Walworth Farce” and on Tuesday, I’ll see “God of Carnage” with the original Broadway cast out here in L.A.
In the meantime, Ms. Lewis’s review of “Honk!” came out on Sunday and looks like another winner for Theatre IV. The Broadway in Richmond series for 2011-12 was announced and honestly, I'm not too impressed (I saw "South Pacific" on Broadway and, while wonderful, I don't think I need to see it again. Perhaps I'll take the opportunity to finally see Blue Man Group...) Also, the Tony nominations will be announced in about 7 hours as I write this. Since they’ll more than likely be out by the time you read this, who do you think is likely to collect a trophy? Were you shocked or disappointed by any of the noms?
UPDATE: The nominees are...
In the meantime, Ms. Lewis’s review of “Honk!” came out on Sunday and looks like another winner for Theatre IV. The Broadway in Richmond series for 2011-12 was announced and honestly, I'm not too impressed (I saw "South Pacific" on Broadway and, while wonderful, I don't think I need to see it again. Perhaps I'll take the opportunity to finally see Blue Man Group...) Also, the Tony nominations will be announced in about 7 hours as I write this. Since they’ll more than likely be out by the time you read this, who do you think is likely to collect a trophy? Were you shocked or disappointed by any of the noms?
UPDATE: The nominees are...
Friday, April 29, 2011
It was 20 years ago today
This is not a post about the Beatles or Sergeant Pepper’s Lonely Hearts Club Band. Twenty years ago yesterday my lovely wife and I got married. As I’ve probably mentioned in this space a dozen or so times, my wife and I first met while we were both involved (she was onstage, I was backstage) in a production of “Quilters” at Theatre IV some 25 years ago. This year, history (and Swift Creek Mill’s season) conspired to allow us to revisit the show that brought us together so many moons ago. We brought our 4 kids along with us so they could see what we had been yammering on about for so long.
I believe the whole clan was pretty much entranced by the experience. In my memories of the songs and the stories, I forget sometimes what a great historical piece “Quilters” is and that the show is built upon a solid “girl power” backbone. I was glad for my girls to see that (though you never know how much that sinks in). One of the central metaphors in the show really hits home with me now that I’m older: basically, that life will throw many things at you but it’s how you put those things together that defines you. As the matriarch Sarah says (paraphrased): “The piecin’ is your business.”
The Mill’s production is truly top-notch with a cast of very talented actresses. I can’t offer a true review. I think I could if I had to, it just wouldn’t be easy. So ingrained is this show in my memory that I have to work really hard to put out of my mind the specific line readings and blocking and choices that were made in the production I saw and heard dozens and dozens of times. And last night wasn’t about work so I let those memories come forward to enrich and confuse the performance I was seeing. I was listening intently to Jackie Jones say her lines, but I couldn’t help hearing the echo of Chris Bass Randolph. Ms. Jones was sweet and warm and motherly in places where Ms. Randolph was gruff and stern and commanding. Both actresses were great in their own way, making the choices that worked best for them.
I had those kinds of feelings through the whole night: Audra Honaker’s sneaky schoolboy with a snake was very funny and made me think back to Dawn Westbrook’s similarly mischievous scamp. Emily Cole’s “I never married” monologue is a heartbreaker and she delivered it expertly in what might have been my favorite moment of the show. And it reminded me how Jody Strickler never failed to break my heart as well in the same scene. T’arah Craig’s “Green, Green, Green” was sweet and clear and made me remember how night after night I was entranced by a similarly lovely young actress named Holly singing that song.
So again, I can’t offer a true critical review because I spent the night just soaking it all in. I can say that Tom Width’s set was exceptional, rustic and utilitarian with cool little cutouts for the different quilt patterns. And Paul Deiss did a fine job as both musical director and in the key (and underappreciated) job of sound effects guy. Sometimes it is the subtle sounds that are essential in setting the atmosphere for this show.
The voices of this cast really come together beautifully, making a song like the already gorgeous “Never Grow Old” absolutely ache with tenderness and intensity. I could have listened to them sing that one song all night. It was great to have the opportunity to see two actresses I don’t remember seeing before: Brittany Simmons who has a knock-out voice and delivered an emotional punch early on in her “Little Babes That Sleep All Night” scene and Katy Burke who has a great comic flair – I loved her as Lavinia Hall.
As I mentioned above, Ms. Cole’s performance – not just in the “Never Grow Old” scene but throughout the show – may have been my favorite of the night. But I can’t wrap up without gushing a little about Ali Thibodeau who shows tremendous range in this show. From the flirtatious Pru to the caring “prairie nightingale” to the studly cowboy dreamed up during “Quiltin’ and Dreamin’” Ms. Thibodeau imbued each of her characterizations with a specific, organic energy that felt exactly right for each scene.
As my family and I were driving to the Mill last night, we caught sight of a beautiful rainbow and we watched it as it grew in intensity during the nearly half-hour trip down 95. As I rolled along with my great family heading out on what proved to be a very entertaining evening, it was a striking reminder to me of how lucky I am. A production of “Quilters” was a key event – perhaps the essential element – that set me on the path to where I am today. Last night I was reminded that, beyond being just a pivotal life experience for me, it’s a pretty darn good show.
I believe the whole clan was pretty much entranced by the experience. In my memories of the songs and the stories, I forget sometimes what a great historical piece “Quilters” is and that the show is built upon a solid “girl power” backbone. I was glad for my girls to see that (though you never know how much that sinks in). One of the central metaphors in the show really hits home with me now that I’m older: basically, that life will throw many things at you but it’s how you put those things together that defines you. As the matriarch Sarah says (paraphrased): “The piecin’ is your business.”
The Mill’s production is truly top-notch with a cast of very talented actresses. I can’t offer a true review. I think I could if I had to, it just wouldn’t be easy. So ingrained is this show in my memory that I have to work really hard to put out of my mind the specific line readings and blocking and choices that were made in the production I saw and heard dozens and dozens of times. And last night wasn’t about work so I let those memories come forward to enrich and confuse the performance I was seeing. I was listening intently to Jackie Jones say her lines, but I couldn’t help hearing the echo of Chris Bass Randolph. Ms. Jones was sweet and warm and motherly in places where Ms. Randolph was gruff and stern and commanding. Both actresses were great in their own way, making the choices that worked best for them.
I had those kinds of feelings through the whole night: Audra Honaker’s sneaky schoolboy with a snake was very funny and made me think back to Dawn Westbrook’s similarly mischievous scamp. Emily Cole’s “I never married” monologue is a heartbreaker and she delivered it expertly in what might have been my favorite moment of the show. And it reminded me how Jody Strickler never failed to break my heart as well in the same scene. T’arah Craig’s “Green, Green, Green” was sweet and clear and made me remember how night after night I was entranced by a similarly lovely young actress named Holly singing that song.
So again, I can’t offer a true critical review because I spent the night just soaking it all in. I can say that Tom Width’s set was exceptional, rustic and utilitarian with cool little cutouts for the different quilt patterns. And Paul Deiss did a fine job as both musical director and in the key (and underappreciated) job of sound effects guy. Sometimes it is the subtle sounds that are essential in setting the atmosphere for this show.
The voices of this cast really come together beautifully, making a song like the already gorgeous “Never Grow Old” absolutely ache with tenderness and intensity. I could have listened to them sing that one song all night. It was great to have the opportunity to see two actresses I don’t remember seeing before: Brittany Simmons who has a knock-out voice and delivered an emotional punch early on in her “Little Babes That Sleep All Night” scene and Katy Burke who has a great comic flair – I loved her as Lavinia Hall.
As I mentioned above, Ms. Cole’s performance – not just in the “Never Grow Old” scene but throughout the show – may have been my favorite of the night. But I can’t wrap up without gushing a little about Ali Thibodeau who shows tremendous range in this show. From the flirtatious Pru to the caring “prairie nightingale” to the studly cowboy dreamed up during “Quiltin’ and Dreamin’” Ms. Thibodeau imbued each of her characterizations with a specific, organic energy that felt exactly right for each scene.
As my family and I were driving to the Mill last night, we caught sight of a beautiful rainbow and we watched it as it grew in intensity during the nearly half-hour trip down 95. As I rolled along with my great family heading out on what proved to be a very entertaining evening, it was a striking reminder to me of how lucky I am. A production of “Quilters” was a key event – perhaps the essential element – that set me on the path to where I am today. Last night I was reminded that, beyond being just a pivotal life experience for me, it’s a pretty darn good show.
Wednesday, April 27, 2011
And the links...
Best Local Actor
Best Local Actress
Best Local Theatre Company
Best Local Comedy Group
A short piece that I wrote using a story from fellow critic, John Porter.
And finally, a little toot of my own horn.
Best Local Actress
Best Local Theatre Company
Best Local Comedy Group
A short piece that I wrote using a story from fellow critic, John Porter.
And finally, a little toot of my own horn.
It’s Huge
I know, “that’s what she said.” (Farewell, Mr. Carell! “The Office” won’t be the same without you.) But if you’ve checked out the Style rack at your local retailer, you’ll notice that this week’s edition is massive because it’s the “Best Of Richmond” issue, sure to be an instigator of quite a lot of conjecture and speculation and time spent randomly combing through the various categories.
Last time I checked, there weren’t links to individual stories on the Style website but I’ll do you this service, loyal reader. All the theater-related stuff is pretty much consolidated on page 33, with some performance-related items spilling over on to page 35. Many congratulations to the companies, actors and actresses listed.
I wasn’t surprised by the list of actors, a nice trio of accomplished pros, all of whom have a mix of recent appearances and well-received past roles (though I can’t remember the last thing I saw Mr. Joy in – “The Wire” perhaps?) The actresses, however, surprised me across the board. I have no dispute with the list – each of the four listed has done truly exceptional work. Mostly, I’m curious what performances stuck in people’s memories enough to make them vote. Was it her recent portrayal of Juliet that put Ms. White on the list? With Ms. Satterfield’s relatively-recent splashy role in “Virginia Woolf,” I might have expected her to place higher. I also would have thought Kelly Kennedy would make the list given her current appearance in “Circle Mirror Transformation” and her well-reviewed turns in “Smoke on the Mountain Homecoming” and “On Golden Pond” over the past year.
The top two actresses are truly excellent choices but, again, I wonder what performances inspired people’s votes. Ms. Honaker was out of town for a spell but has come roaring back with “Dog Sees God” and the current “Quilters.” Is that what inspired votes or was it memories of older shows like “Urinetown” or “tick, tick…Boom!” Ms. Price is a fantastic actress (one of my favorite Queen Gertrude’s ever) and more than deserving of recognition. But did enough people see “Facing East” to put her tied for first? Or is it her indelible portrayal in “The Goat” that still lingers for theater fans?
Of course, it occurs to me that perhaps I’m selling people short to think it’s one or two or even three performances that got them to vote for somebody. Maybe more people than I realize actually have a sense of the entire bodies of work of different local actors. If that’s true, I think companies should be doing even more to highlight certain actors in their marketing materials. Because clearly there are folks out there that are paying attention.
Last time I checked, there weren’t links to individual stories on the Style website but I’ll do you this service, loyal reader. All the theater-related stuff is pretty much consolidated on page 33, with some performance-related items spilling over on to page 35. Many congratulations to the companies, actors and actresses listed.
I wasn’t surprised by the list of actors, a nice trio of accomplished pros, all of whom have a mix of recent appearances and well-received past roles (though I can’t remember the last thing I saw Mr. Joy in – “The Wire” perhaps?) The actresses, however, surprised me across the board. I have no dispute with the list – each of the four listed has done truly exceptional work. Mostly, I’m curious what performances stuck in people’s memories enough to make them vote. Was it her recent portrayal of Juliet that put Ms. White on the list? With Ms. Satterfield’s relatively-recent splashy role in “Virginia Woolf,” I might have expected her to place higher. I also would have thought Kelly Kennedy would make the list given her current appearance in “Circle Mirror Transformation” and her well-reviewed turns in “Smoke on the Mountain Homecoming” and “On Golden Pond” over the past year.
The top two actresses are truly excellent choices but, again, I wonder what performances inspired people’s votes. Ms. Honaker was out of town for a spell but has come roaring back with “Dog Sees God” and the current “Quilters.” Is that what inspired votes or was it memories of older shows like “Urinetown” or “tick, tick…Boom!” Ms. Price is a fantastic actress (one of my favorite Queen Gertrude’s ever) and more than deserving of recognition. But did enough people see “Facing East” to put her tied for first? Or is it her indelible portrayal in “The Goat” that still lingers for theater fans?
Of course, it occurs to me that perhaps I’m selling people short to think it’s one or two or even three performances that got them to vote for somebody. Maybe more people than I realize actually have a sense of the entire bodies of work of different local actors. If that’s true, I think companies should be doing even more to highlight certain actors in their marketing materials. Because clearly there are folks out there that are paying attention.
Tuesday, April 26, 2011
Star Connections
“Regrets…I’ve had a few…but then again…” OK, enough singing to myself. And besides, this post is about at least one regret that I’ll mention. This past Saturday, my lovely wife and son took a leave of absence from our family time together to spend some time with members of another Richmond family. And by spend time with, I mean watch the eldest son of the family command the new Liberty University stage as the lead character in “The Phantom of the Opera.”
If you’ve seen any number of productions by the Theater Company at Fort Lee or CYT or even Theatre IV’s “Peter Pan,” you know the T. Davis Mercer is a significant talent. But according to my wife, he’s only improved since heading off to school. And she also reports that both the Christine (Rachel Day) and the Carlotta (Erica Mini) of the production were exceptional. That’s not surprising given Ms. Day’s reverse lineage – her little sister starred in Theatre IV’s “Annie” just a couple of years ago.
I had the opportunity to go see this show (video snippet available here) but I decided to spend my afternoon hanging out in the sun, getting a not insignificant amount of sunburn and eating and drinking too much. In retrospect, I should have gone to see the show. For one thing, the still-fairly new Liberty University stage is apparently a gorgeous $7 million facility. Also, I’d be able to go into more detail about what was so good about Mr. Mercer’s performance (moral: don’t send a civilian to do a critic’s job). And finally, I’d be able to check off “Phantom” on my life “must see” list (yes, that burden continues…).
In some local news, Barksdale officially announced over the weekend that the lead in “Dirty Rotten Scoundrels” is going to be Jeff McCarthy who may be familiar to some folks from his regular stints in “Chicago.” But he’s got some geek cred for appearing on the best of the many Star Trek series, “Next Generation.” Plus, he’s got a connection to Richmond expatriate Emily Skinner for his appearance in the original cast of “Side Show.” So there are any number of reasons to be excited about that casting news.
Triangle Players also just announced their season for 2011-12 and it includes many intriguing entries, including Tennessee Williams’ “Suddenly Last Summer.” But the one that caught my attention first was “Stupid Kids” – and not just because it’s a phrase I regularly mutter under my breath. There are so many extremely talented teens in Richmond – a bunch who are going to be in SPARC’s summer production of “Ragtime” – that I would love to see a few of them step up to a truly mature acting challenge. It sounds like there will be plenty of those involved in this show and I hope whoever directs the show is willing to take a chance on a rising young talent.
PS: I almost forgot: the reading of "The Water Principle" at Firehouse tonight has a cast of very talented local stars. Check out Andrew Hamm's blog post (link over to the right) for details!
If you’ve seen any number of productions by the Theater Company at Fort Lee or CYT or even Theatre IV’s “Peter Pan,” you know the T. Davis Mercer is a significant talent. But according to my wife, he’s only improved since heading off to school. And she also reports that both the Christine (Rachel Day) and the Carlotta (Erica Mini) of the production were exceptional. That’s not surprising given Ms. Day’s reverse lineage – her little sister starred in Theatre IV’s “Annie” just a couple of years ago.
I had the opportunity to go see this show (video snippet available here) but I decided to spend my afternoon hanging out in the sun, getting a not insignificant amount of sunburn and eating and drinking too much. In retrospect, I should have gone to see the show. For one thing, the still-fairly new Liberty University stage is apparently a gorgeous $7 million facility. Also, I’d be able to go into more detail about what was so good about Mr. Mercer’s performance (moral: don’t send a civilian to do a critic’s job). And finally, I’d be able to check off “Phantom” on my life “must see” list (yes, that burden continues…).
In some local news, Barksdale officially announced over the weekend that the lead in “Dirty Rotten Scoundrels” is going to be Jeff McCarthy who may be familiar to some folks from his regular stints in “Chicago.” But he’s got some geek cred for appearing on the best of the many Star Trek series, “Next Generation.” Plus, he’s got a connection to Richmond expatriate Emily Skinner for his appearance in the original cast of “Side Show.” So there are any number of reasons to be excited about that casting news.
Triangle Players also just announced their season for 2011-12 and it includes many intriguing entries, including Tennessee Williams’ “Suddenly Last Summer.” But the one that caught my attention first was “Stupid Kids” – and not just because it’s a phrase I regularly mutter under my breath. There are so many extremely talented teens in Richmond – a bunch who are going to be in SPARC’s summer production of “Ragtime” – that I would love to see a few of them step up to a truly mature acting challenge. It sounds like there will be plenty of those involved in this show and I hope whoever directs the show is willing to take a chance on a rising young talent.
PS: I almost forgot: the reading of "The Water Principle" at Firehouse tonight has a cast of very talented local stars. Check out Andrew Hamm's blog post (link over to the right) for details!
Sunday, April 24, 2011
After midnight
Happy Easter, y'all! Since it's a vacation weekend, I'm up late hanging out with family and happened to check for the T-D review of "Art," and sure enough it's up. Starting next weekend, this'll be another interesting situation where a show playing at Sycamore Rouge was staged somewhere else first. That's gotta be some kind of a record right, twice in one season? Anyway, can't wait to see the show once it gets to Petersburg.
Saturday, April 23, 2011
Friday, April 22, 2011
Existential
I have really great memories involving “Waiting for Godot.” Decades ago when I was in college, my friends and I would get together and read from existential and absurdist plays just for entertainment. Beckett and Ionesco were our favorites. I remember us not being able to get through more than a few lines of “Godot” without cracking up. There may have been some chemical enhancement involved.
For that reason, I have been eager to see the current Henley Street production but the number of possible nights for me to see it dwindled quickly. So I was happy that the smart folks at Henley did an industry night on Tuesday. Even so, I could only manage to get there to catch the first act. I was very disappointed not to be able to see the whole thing, but I also felt that, barring a radical reinterpretation from Mr. Ricks, I wasn’t going to miss any surprise ending. I really hope no one associated with the production read any kind of affront into my early departure; my reasons for leaving had nothing to do with the quality of the show.
I enjoyed the first act but I also feel like time may have hardened my sensibilities just a bit against existentialism. Perhaps it’s having much more of a stake in the real world that makes getting into that existential space more difficult. Or maybe it’s the lack of chemical enhancement. But one thing I hope I will always appreciate is the ability of Beckett to look at even the most serious things with a skewed view, his healthy way of not taking it all (particularly himself) so damn seriously. After all, as Christine Walters recently told me, life should be fun, even the serious parts.
As my colleague Mr. Griset said, I can’t really think of a better production of the show. Bob Nelson and Bob Jones both seem like natural comedians and one great aspect of the production is the unique quality of each of their voices, which adds new and unusual comic notes to already wacky dialogue. And speaking of voice: Foster Solomon is a fantastic Pozzo, using both his size and his booming voice to bring a larger-than-life stature to that character. Jerome Weiss manages to be both heartbreaking and very funny as Lucky, also incorporating his stature – exceedingly lean and athletic into his characterization, and young Mr. Millman does a fine job in his short interlude on stage.
All of the elements are there for this production but I found myself growing a bit impatient with the course of the “action,” even during just one act. But this is Beckett and, to borrow a phrase from the show, there’s “nothing to be done” about the source material. It is brilliant and challenging and distinctive and sometimes just odd. Mr. Ricks mines it well and, particularly if you haven’t seen “Godot” before, it’s worth checking out.
For that reason, I have been eager to see the current Henley Street production but the number of possible nights for me to see it dwindled quickly. So I was happy that the smart folks at Henley did an industry night on Tuesday. Even so, I could only manage to get there to catch the first act. I was very disappointed not to be able to see the whole thing, but I also felt that, barring a radical reinterpretation from Mr. Ricks, I wasn’t going to miss any surprise ending. I really hope no one associated with the production read any kind of affront into my early departure; my reasons for leaving had nothing to do with the quality of the show.
I enjoyed the first act but I also feel like time may have hardened my sensibilities just a bit against existentialism. Perhaps it’s having much more of a stake in the real world that makes getting into that existential space more difficult. Or maybe it’s the lack of chemical enhancement. But one thing I hope I will always appreciate is the ability of Beckett to look at even the most serious things with a skewed view, his healthy way of not taking it all (particularly himself) so damn seriously. After all, as Christine Walters recently told me, life should be fun, even the serious parts.
As my colleague Mr. Griset said, I can’t really think of a better production of the show. Bob Nelson and Bob Jones both seem like natural comedians and one great aspect of the production is the unique quality of each of their voices, which adds new and unusual comic notes to already wacky dialogue. And speaking of voice: Foster Solomon is a fantastic Pozzo, using both his size and his booming voice to bring a larger-than-life stature to that character. Jerome Weiss manages to be both heartbreaking and very funny as Lucky, also incorporating his stature – exceedingly lean and athletic into his characterization, and young Mr. Millman does a fine job in his short interlude on stage.
All of the elements are there for this production but I found myself growing a bit impatient with the course of the “action,” even during just one act. But this is Beckett and, to borrow a phrase from the show, there’s “nothing to be done” about the source material. It is brilliant and challenging and distinctive and sometimes just odd. Mr. Ricks mines it well and, particularly if you haven’t seen “Godot” before, it’s worth checking out.
Wednesday, April 20, 2011
USC, NEA and extreme giddiness
I found out yesterday that I am being given an all-expenses paid 11-day trip to Los Angeles in June. But that’s not all: while I’m out there, I’ll be able to see shows nearly every day, sometimes day and night, including events that are part of the Hollywood Fringe Festival, the Radar LA Festival and the Asian American Theater Festival.
And possibly best of all, I’ll be accompanied by a couple dozen other theater geeks (or journalists, if you prefer) from all around the country, working together with them and learning from them as we meet with leading theater professionals from all around the world.
Which is all a roundabout way of saying that I’ve had the extreme good fortune to be offered a fellowship for the 2011 NEA Arts Journalism Institute in Theater and Musical Theater at the University of Southern California. It’s an insanely amazing program and, with the support of Style and my lovely wife and family, I applied this year and was accepted. My heart hasn’t stopped racing since I got the email last night.
This kind of total immersion experience just sounds like a dream to me. And less than 8 weeks from now, that dream is going to come true. The logistics both job-wise and family-wise will probably be complicated but, when I am able to push those aside, I just feel extremely giddy with delight at this incredible opportunity.
As soon as I am able to focus again, I’ll be able to talk about things like Henley Street’s “Waiting for Godot,” which both Mr. Porter and Mr. Griset reviewed recently and that I caught only the first act of last night. I’m also primed to dig into Barksdale’s “Circle Mirror Transformation,” but in the meantime you can read Mr. Miller’s review at GayRVA.
But for now, my energies will mainly go into regulating my breathing and wiping this fool grin off my face.
And possibly best of all, I’ll be accompanied by a couple dozen other theater geeks (or journalists, if you prefer) from all around the country, working together with them and learning from them as we meet with leading theater professionals from all around the world.
Which is all a roundabout way of saying that I’ve had the extreme good fortune to be offered a fellowship for the 2011 NEA Arts Journalism Institute in Theater and Musical Theater at the University of Southern California. It’s an insanely amazing program and, with the support of Style and my lovely wife and family, I applied this year and was accepted. My heart hasn’t stopped racing since I got the email last night.
This kind of total immersion experience just sounds like a dream to me. And less than 8 weeks from now, that dream is going to come true. The logistics both job-wise and family-wise will probably be complicated but, when I am able to push those aside, I just feel extremely giddy with delight at this incredible opportunity.
As soon as I am able to focus again, I’ll be able to talk about things like Henley Street’s “Waiting for Godot,” which both Mr. Porter and Mr. Griset reviewed recently and that I caught only the first act of last night. I’m also primed to dig into Barksdale’s “Circle Mirror Transformation,” but in the meantime you can read Mr. Miller’s review at GayRVA.
But for now, my energies will mainly go into regulating my breathing and wiping this fool grin off my face.
Monday, April 18, 2011
Spring Surprises
I saw Barksdale’s “Circle Mirror Transformation” on Sunday and will hold off on any commentary at least until Wednesday because I haven’t finished writing my review yet. One thing I’ll say: given that it was a Sunday afternoon performance (i.e., an audience even older than a typical one) and given that the show has a fair amount of silence in it, I had the opportunity to hear more unfiltered thoughts from my fellow theater patrons than any other performance I’d been to in a long time. All I want to know is: At what point in an adult’s aging process does the awareness that a theater is not one’s living room break down?
One particularly entertaining neighbor of mine seemed to lose interest in the show at various points and took to making comments about other people in the audience. Now I enjoy people watching as much as the next guy but I would think that when you pay money to attend a play the people you really want to be watching are in that brightly lit place in the middle, not the dimly lit seats over to the side. But maybe I’m just weird that way.
I was surprised to check the Times-Dispatch website this morning and see that the top two “Entertainment” highlights were theater-related items, one a review of the recently opened “Wonderland” (which is not getting much love it seems, based on another review I read over the weekend) and the other a recounting of Broadway stars at the Opera Awards. Could it be that people are getting bored of movie and TV coverage and are demanding more theater news? Regardless of the reason, all I can say is: more theater coverage please!
Of course, what I was looking for were links to the review of “Circle Mirror Transformation” that was published yesterday as well as a feature on the upcoming “Art” co-pro at the VA Museum, and then moving down to Sycamore Rouge. And apparently I was asleep at the wheel and missed “The Bluest Eye” review that showed up last week. People never tell me about these things anymore…
Someone did alert me to this article in American Theatre magazine about the different theater-oriented awards shows across the country. I think it’s fascinating the variations that you can find in different cities and to read a little about the genesis of each effort. It makes me feel a little more confident that our little “Artsies” effort isn’t as misguided as I might otherwise feel.
Another item I read about this weekend that I found interesting is a recap of the star-studded concert production of “Company” out in LA a couple of weeks ago. One Richmond-related tidbit: did you know that Tony Award-winning actress Katie Finneran has a relative (I think she’s an aunt) who lives here in town? You can imagine she is one proud aunt.
And finally, Stephen King and John Mellencamp are collaborating on a musical? The mix of popular horror-esque writer and Americana pop musician is surprisingly similar to the Clay McLeod Chapman / Bruce Hornsby team-up for “SCKBSTD” that opened at Virginia Stage a couple of months ago, dontcha think? Virginia: the place where theater trends are set, right?
One particularly entertaining neighbor of mine seemed to lose interest in the show at various points and took to making comments about other people in the audience. Now I enjoy people watching as much as the next guy but I would think that when you pay money to attend a play the people you really want to be watching are in that brightly lit place in the middle, not the dimly lit seats over to the side. But maybe I’m just weird that way.
I was surprised to check the Times-Dispatch website this morning and see that the top two “Entertainment” highlights were theater-related items, one a review of the recently opened “Wonderland” (which is not getting much love it seems, based on another review I read over the weekend) and the other a recounting of Broadway stars at the Opera Awards. Could it be that people are getting bored of movie and TV coverage and are demanding more theater news? Regardless of the reason, all I can say is: more theater coverage please!
Of course, what I was looking for were links to the review of “Circle Mirror Transformation” that was published yesterday as well as a feature on the upcoming “Art” co-pro at the VA Museum, and then moving down to Sycamore Rouge. And apparently I was asleep at the wheel and missed “The Bluest Eye” review that showed up last week. People never tell me about these things anymore…
Someone did alert me to this article in American Theatre magazine about the different theater-oriented awards shows across the country. I think it’s fascinating the variations that you can find in different cities and to read a little about the genesis of each effort. It makes me feel a little more confident that our little “Artsies” effort isn’t as misguided as I might otherwise feel.
Another item I read about this weekend that I found interesting is a recap of the star-studded concert production of “Company” out in LA a couple of weeks ago. One Richmond-related tidbit: did you know that Tony Award-winning actress Katie Finneran has a relative (I think she’s an aunt) who lives here in town? You can imagine she is one proud aunt.
And finally, Stephen King and John Mellencamp are collaborating on a musical? The mix of popular horror-esque writer and Americana pop musician is surprisingly similar to the Clay McLeod Chapman / Bruce Hornsby team-up for “SCKBSTD” that opened at Virginia Stage a couple of months ago, dontcha think? Virginia: the place where theater trends are set, right?
Friday, April 15, 2011
Why Critics Matter
The recent elimination of Pia Toscano from “American Idol” was like pop culture catnip – it gave commentators far and wide (including me) the opportunity to postulate, conjecture, hypothesize and rant, which is kind of what we like to do. But I took notice of this article by the Entertainment Weekly movie critic, Owen Gleiberman because he seemed to be making a bigger point about the value of critics and criticism. This point of view is summed up in his conclusion: “[C]riticism, when it’s offered by people who know what they’re doing, isn’t evil. It’s a force that enriches, an aesthetic helping hand, a declaration of reality that helps the best artists prevail.”
I agree with the essential point of Mr. Gleiberman’s piece. After all, isn’t that the basis for so-called “constructive criticism?” Of course, a key phrase is “offered by people who know what they’re doing.” Hm. I expect there are few people who are willing to concede that most critics know what they’re doing. Heck, after a dozen years at it myself, I’m still figuring it out. Still, I will add the concept of “an aesthetic helping hand” to my pantheon of self-justifications just the same.
In a more practical and immediate sense, critics matter because of shows like “Circle Mirror Transformation” which is opening at the Barksdale this weekend. Personally, I have only the vaguest idea what this show is about. Such was the case with Barksdale’s last offering, “Legacy of Light,” and with any number of generically or obscurely titled shows this past season – “Home” at AART or “Something Intangible” at the Firehouse, even “Arcadia” by Richmond Shakespeare.
And how do people find out what a show is about? They read a review. Even more important, what will compell a person to overcome ignorance about a title or disinterest in a summary provided in marketing blurbs about a show? A positive review by a critic that a reader likes or trusts. It is in this simple function that I think critics matter most of all, particularly when it comes to theater. Movies spend as much to market the average movie as it costs to produce it, and can pretty near overwhelm the public with coersive and seductive messages. Most theater companies don’t have that option.
Nationally, news about the Tonys is starting to percolate, starting with the announcement of who is going to announce nominees on May 3rd. I’m glad Aniki Noni Rose will get a little notoriety from this – the song “Dig a Little Deeper” is in pretty regular rotation at Kids Place Live on XM Radio and her one little solo in that song (from the movie “Princess and the Frog”) is my favorite part.
But the bigger question is: who is going to host the show? I expect there’s no chance Neil Patrick Harris would do it again, though he was so awesome. Who do you think would be a good choice?
I agree with the essential point of Mr. Gleiberman’s piece. After all, isn’t that the basis for so-called “constructive criticism?” Of course, a key phrase is “offered by people who know what they’re doing.” Hm. I expect there are few people who are willing to concede that most critics know what they’re doing. Heck, after a dozen years at it myself, I’m still figuring it out. Still, I will add the concept of “an aesthetic helping hand” to my pantheon of self-justifications just the same.
In a more practical and immediate sense, critics matter because of shows like “Circle Mirror Transformation” which is opening at the Barksdale this weekend. Personally, I have only the vaguest idea what this show is about. Such was the case with Barksdale’s last offering, “Legacy of Light,” and with any number of generically or obscurely titled shows this past season – “Home” at AART or “Something Intangible” at the Firehouse, even “Arcadia” by Richmond Shakespeare.
And how do people find out what a show is about? They read a review. Even more important, what will compell a person to overcome ignorance about a title or disinterest in a summary provided in marketing blurbs about a show? A positive review by a critic that a reader likes or trusts. It is in this simple function that I think critics matter most of all, particularly when it comes to theater. Movies spend as much to market the average movie as it costs to produce it, and can pretty near overwhelm the public with coersive and seductive messages. Most theater companies don’t have that option.
Nationally, news about the Tonys is starting to percolate, starting with the announcement of who is going to announce nominees on May 3rd. I’m glad Aniki Noni Rose will get a little notoriety from this – the song “Dig a Little Deeper” is in pretty regular rotation at Kids Place Live on XM Radio and her one little solo in that song (from the movie “Princess and the Frog”) is my favorite part.
But the bigger question is: who is going to host the show? I expect there’s no chance Neil Patrick Harris would do it again, though he was so awesome. Who do you think would be a good choice?
Wednesday, April 13, 2011
Shouting
Mr. Porter has put out reviews on “Something Intangible” and “Devil Boys from Beyond” this week. I still haven’t seen anything on “The Bluest Eye” and am wondering whether any of the local media outlets will be reviewing this Barksdale/VCU co-pro.
Style has Rich Griset’s take on “Quilters” this week as well as my review of “Devil Boys.” I’m sure there are aspects of this review that people won’t like, and I don’t mean the “deliriously funny” characterization. I hope I made it clear that I enjoyed this production; however, as someone once said, “I calls ‘em like I sees ‘em” and there were a couple places where I thought this romp got a little too loose. Some people may argue that the word “sloppy” doesn’t really have a place when you’re dealing with a campy “out there” piece like “Devil Boys,” but I don’t agree. Sometimes precision is exactly what makes comedy work.
As most any reader of this will know, Steve Moore is comedy royalty in this town. He’s a very funny comic and he does some very good work in “Devil Boys.” The bit with the suitcase works well once but then it becomes a joke of diminishing returns as it continues. And it characterized for me moments during the show when it seemed the players either seemed to be working too hard or were being a bit indulgent.
As far as the “shouting” comment goes, I was a little hesitant to get into this territory. This kind of criticism was the basis a couple of years ago for one of the most hot-button posts that ever ran on this blog and resurfaced recently in a review of “The BFG.” Personally, I can’t think of a time in the past where I’ve been particularly disturbed by this during a performance. However, the material in “Devil Boys” is wonderfully extreme already; I didn’t think it needed any extra volume to get the point across. In fact, some of the funniest lines are almost asides, like the particularly devilish one about Rock Hudson delivered in a perfectly soft purr by Mr. Moore.
But putting those points aside, I found a lot to enjoy at “Devil Boys” and was impressed by the ability of director James Alexander Bond to excel with this kind of campy silliness just as he has with his Shakespearean efforts. As every review has pointed out, the costumes are fabulous. I think Cairns and Hoskins could have a nicely lucrative line of fetish wear if they were inclined toward that business. Thomas Cunningham extends his streak of indelible roles with Lucinda Marsh; he has become one of those actors in town that I can’t wait to see what he will do next. I loved Timothy Goad’s “I am not insane” speech that opens the show and starts things off on the right foot. Tommy Callan made a lovely Matty and was a worthy foe for Cunningham’s Lucinda.
I left the show appreciating most the lower-key performances that made for a great counterpoint to the more flamboyant ones: Ryan Bechard’s hang-dog, hen-pecked alky who has a great moment of personal revelation and Bill Brock’s frustrated but inventive editor. “Devil Boys” may not exactly be high art, but it was certainly fun.
Best of all, it was a show that wasn’t afraid to get a little raunchy. There’s not many companies in town that can do much reveling in the raunch, which is just one of many reasons it’s always a treat to go to a Triangle Players show.
Style has Rich Griset’s take on “Quilters” this week as well as my review of “Devil Boys.” I’m sure there are aspects of this review that people won’t like, and I don’t mean the “deliriously funny” characterization. I hope I made it clear that I enjoyed this production; however, as someone once said, “I calls ‘em like I sees ‘em” and there were a couple places where I thought this romp got a little too loose. Some people may argue that the word “sloppy” doesn’t really have a place when you’re dealing with a campy “out there” piece like “Devil Boys,” but I don’t agree. Sometimes precision is exactly what makes comedy work.
As most any reader of this will know, Steve Moore is comedy royalty in this town. He’s a very funny comic and he does some very good work in “Devil Boys.” The bit with the suitcase works well once but then it becomes a joke of diminishing returns as it continues. And it characterized for me moments during the show when it seemed the players either seemed to be working too hard or were being a bit indulgent.
As far as the “shouting” comment goes, I was a little hesitant to get into this territory. This kind of criticism was the basis a couple of years ago for one of the most hot-button posts that ever ran on this blog and resurfaced recently in a review of “The BFG.” Personally, I can’t think of a time in the past where I’ve been particularly disturbed by this during a performance. However, the material in “Devil Boys” is wonderfully extreme already; I didn’t think it needed any extra volume to get the point across. In fact, some of the funniest lines are almost asides, like the particularly devilish one about Rock Hudson delivered in a perfectly soft purr by Mr. Moore.
But putting those points aside, I found a lot to enjoy at “Devil Boys” and was impressed by the ability of director James Alexander Bond to excel with this kind of campy silliness just as he has with his Shakespearean efforts. As every review has pointed out, the costumes are fabulous. I think Cairns and Hoskins could have a nicely lucrative line of fetish wear if they were inclined toward that business. Thomas Cunningham extends his streak of indelible roles with Lucinda Marsh; he has become one of those actors in town that I can’t wait to see what he will do next. I loved Timothy Goad’s “I am not insane” speech that opens the show and starts things off on the right foot. Tommy Callan made a lovely Matty and was a worthy foe for Cunningham’s Lucinda.
I left the show appreciating most the lower-key performances that made for a great counterpoint to the more flamboyant ones: Ryan Bechard’s hang-dog, hen-pecked alky who has a great moment of personal revelation and Bill Brock’s frustrated but inventive editor. “Devil Boys” may not exactly be high art, but it was certainly fun.
Best of all, it was a show that wasn’t afraid to get a little raunchy. There’s not many companies in town that can do much reveling in the raunch, which is just one of many reasons it’s always a treat to go to a Triangle Players show.
Monday, April 11, 2011
Getting Your Hopes Up
The first "Godot" review is in. Haven't seen anything on "The Bluest Eye" yet. I'm curious to read more reactions to both of these productions.
I have a lot of admiration for people who do theater. One of the reasons I enjoy writing theater criticism is because I find the talents of those involved so fascinating, particularly those of the actors. And I’m not just talking about singing, dancing and performing in general, but the whole process, from training to auditioning to rehearsing to closing.
A couple of years ago, I wrote about the emotional toll that a particular show closing had on me, a production I was only tangentially involved in. Lately, I’ve had a taste of one of the other ridiculously stressful processes that an actor goes through. My editors at Style nominated me for a Virginia Press Association award this year in the Critical Writing category. The process felt a lot like an audition. I knew that my work was being reviewed by a judge or panel of judges; that choosing my work to award could be based on all sorts of intangible factors that I couldn’t really control; and that, in the end, I’d have little real insight into why or why not I was chosen for an award.
As it turned out, I won a 3rd place recognition, which is fine. But there were many times in the past few weeks that, thinking about possibly winning the category, I had that “god, I hope I get it" feeling that must vex actors to no end. Frankly, I don’t know how they cope.
I’ve had some second-hand experience with this, too. Over the past year or two, my energetic eldest son has had dozens of auditions. He’s had a good deal of success and I can’t argue with that. But there have been a couple dozen or so movie or TV projects that he’s tried out for that, in my obviously biased eye, he seemed like he would have been perfect for. And I’ve indulged in thoughts of: imagine if he lands this one! And as the weeks went by with no follow-up from the casting folks, that little spark of hope faded. And, if I’m being honest, there were times that spark was pretty big and when it faded, it shrunk down to a bitter little pill.
Again, this was just my second-hand experience. I can’t imagine how actors themselves who do this regularly make it through it. There must be some complicated psychological coping mechanisms involved. If I personally had to go through the process more often, I think I would drink a lot more beer.
I have a lot of admiration for people who do theater. One of the reasons I enjoy writing theater criticism is because I find the talents of those involved so fascinating, particularly those of the actors. And I’m not just talking about singing, dancing and performing in general, but the whole process, from training to auditioning to rehearsing to closing.
A couple of years ago, I wrote about the emotional toll that a particular show closing had on me, a production I was only tangentially involved in. Lately, I’ve had a taste of one of the other ridiculously stressful processes that an actor goes through. My editors at Style nominated me for a Virginia Press Association award this year in the Critical Writing category. The process felt a lot like an audition. I knew that my work was being reviewed by a judge or panel of judges; that choosing my work to award could be based on all sorts of intangible factors that I couldn’t really control; and that, in the end, I’d have little real insight into why or why not I was chosen for an award.
As it turned out, I won a 3rd place recognition, which is fine. But there were many times in the past few weeks that, thinking about possibly winning the category, I had that “god, I hope I get it" feeling that must vex actors to no end. Frankly, I don’t know how they cope.
I’ve had some second-hand experience with this, too. Over the past year or two, my energetic eldest son has had dozens of auditions. He’s had a good deal of success and I can’t argue with that. But there have been a couple dozen or so movie or TV projects that he’s tried out for that, in my obviously biased eye, he seemed like he would have been perfect for. And I’ve indulged in thoughts of: imagine if he lands this one! And as the weeks went by with no follow-up from the casting folks, that little spark of hope faded. And, if I’m being honest, there were times that spark was pretty big and when it faded, it shrunk down to a bitter little pill.
Again, this was just my second-hand experience. I can’t imagine how actors themselves who do this regularly make it through it. There must be some complicated psychological coping mechanisms involved. If I personally had to go through the process more often, I think I would drink a lot more beer.
Friday, April 08, 2011
Pia, Paul and All
In case you haven’t picked up this week’s Style (which you should because it has a nice wrap-up of the VCU run to the Final Four), here’s a link to the piece I wrote on the resurrected ComedySportz company. Shows will start in their new location out by West Tower Cinemas the first weekend of May and my son is already bothering me to go out to one.
I’ve been vaguely following casting news about the movie adaptation of “Rock of Ages” but this item caught my eye because this is the role that was supposed to go to Constantine Moroulis who appeared on Broadway and, before that, on American Idol, of course. Which bring me to the pop culture tidbit that I am most focused on this morning: the elimination of Pia from American Idol last night.
I’m only moderately ashamed that I watch American Idol anymore. I started because my kids watched it and now they have moved on and I’m still stuck. I have two justifications: I DVR the show and only listen to the performances since the critiques are seriously lame and the other interviews and puff pieces that fill out the show are annoying and irrelevant. I also skip performances from people I find boring (Stefano, Scotty) meaning that I can watch a 2 hour episode of Idol in about 20 minutes.
My other justification is that so many Idol alums have gone on to Broadway that watching it seems like work-related research to me. Of course Broadway seems like a good place for these people to go because you have to actually be able to sing to perform on Broadway, a talent that seems to be lacking in many contemporary recording artists.
If you haven’t been watching Idol, Pia was one of the few contestants this year who was consistently excellent. Her song choice was a little stodgy and her personality a little plastic. But her voice was rock solid; she was one of the only performers that I always listened to while fast-forwarding through many others. And last night she left the show with 8 others still in contention, only 1 or 2 of whom have the vocal ability that she has. Randy used to be fond of saying “this is a singing competition” (maybe he still does; I’m just not listening) but it clearly is not anymore. An overwhelming number of the voters are teenage girls and they seem to be voting on the basis of cute, versus talent. That was clearly the case last season and Pia’s ouster confirms it for this season.
So, as disappointed as I am that I won’t be hearing her on the show anymore, now I can look forward to her showing up on stage in about 2 years. The question is what show will work best for her. I’ll be mulling that one over for the next few weeks.
Some people have said they think Paul on Idol looks like me, which maybe I can see but you’d have to put about 15-20 years on the guy to really see if there’s a resemblance. I haven’t really liked him as a singer until this past week, which was the first time he seemed to be singing significantly above a whisper.
Sorry to veer off into Idol country even though there’s plenty to talk about locally. “The Bluest Eye” opens at VCU this weekend, the next production in the burgeoning relationship between Barksdale and VCU. The last partnership, “Legacy of Light,” seemed to work darn well which bodes well for this one. For those who have been waiting since the Fall, “Godot” finally arrived at Henley Street last night. I’m eager to read/hear what people have to say about the production.
And if there’s a lesson to be learned from Idol, don’t stop going to productions just because you think the economy is on the mend and theater seems to be economically secure. You wouldn’t want your favorite company to go the way of Pia due to lack of support, now would you?
I’ve been vaguely following casting news about the movie adaptation of “Rock of Ages” but this item caught my eye because this is the role that was supposed to go to Constantine Moroulis who appeared on Broadway and, before that, on American Idol, of course. Which bring me to the pop culture tidbit that I am most focused on this morning: the elimination of Pia from American Idol last night.
I’m only moderately ashamed that I watch American Idol anymore. I started because my kids watched it and now they have moved on and I’m still stuck. I have two justifications: I DVR the show and only listen to the performances since the critiques are seriously lame and the other interviews and puff pieces that fill out the show are annoying and irrelevant. I also skip performances from people I find boring (Stefano, Scotty) meaning that I can watch a 2 hour episode of Idol in about 20 minutes.
My other justification is that so many Idol alums have gone on to Broadway that watching it seems like work-related research to me. Of course Broadway seems like a good place for these people to go because you have to actually be able to sing to perform on Broadway, a talent that seems to be lacking in many contemporary recording artists.
If you haven’t been watching Idol, Pia was one of the few contestants this year who was consistently excellent. Her song choice was a little stodgy and her personality a little plastic. But her voice was rock solid; she was one of the only performers that I always listened to while fast-forwarding through many others. And last night she left the show with 8 others still in contention, only 1 or 2 of whom have the vocal ability that she has. Randy used to be fond of saying “this is a singing competition” (maybe he still does; I’m just not listening) but it clearly is not anymore. An overwhelming number of the voters are teenage girls and they seem to be voting on the basis of cute, versus talent. That was clearly the case last season and Pia’s ouster confirms it for this season.
So, as disappointed as I am that I won’t be hearing her on the show anymore, now I can look forward to her showing up on stage in about 2 years. The question is what show will work best for her. I’ll be mulling that one over for the next few weeks.
Some people have said they think Paul on Idol looks like me, which maybe I can see but you’d have to put about 15-20 years on the guy to really see if there’s a resemblance. I haven’t really liked him as a singer until this past week, which was the first time he seemed to be singing significantly above a whisper.
Sorry to veer off into Idol country even though there’s plenty to talk about locally. “The Bluest Eye” opens at VCU this weekend, the next production in the burgeoning relationship between Barksdale and VCU. The last partnership, “Legacy of Light,” seemed to work darn well which bodes well for this one. For those who have been waiting since the Fall, “Godot” finally arrived at Henley Street last night. I’m eager to read/hear what people have to say about the production.
And if there’s a lesson to be learned from Idol, don’t stop going to productions just because you think the economy is on the mend and theater seems to be economically secure. You wouldn’t want your favorite company to go the way of Pia due to lack of support, now would you?
Wednesday, April 06, 2011
Op-Ed
The “Quilters” reviews started rolling in on Tuesday, again with the T-D and GayRVA leading the charge. Both Ms. Haubenstock and Mr. Miller clearly enjoyed the production. I’m planning to check out the show in a couple of weeks because, really, how can I not see a production of “Quilters” when it’s in town?
John Porter’s “Almost Maine” review is available both on his blog or, if you prefer to hear the dulcet tones of his lovely voice, you can stream it off of the WCVE site. This show closes this weekend so get out to see it while you can.
Grant Mudge of Richmond Shakespeare wrote an Op-Ed in this past weekend’s Times-Dispatch in anticipation of the opening of “Art” at the Virginia Museum. Check it out if you haven’t read it.
There are many cool things about this production being the one that re-opens the theater at the museum, the most obvious being the title and theme of the show. Director kb Saine also used to work for TheatreVirginia, if I remember correctly. Mr. Mudge uses his Op-Ed piece to talk a little bit more about the value of live theater. His sentiments are encapsulated in this passage:
The closing and re-opening of the theater begs more general entertainment-related questions too: the rise of social media and the explosion in the popularity of video games could be construed as indicating that people – particularly young people – want interactivity to be part of the entertainment experience. How can theater capitalize on that?
Of course, I don’t have much in the way of answers. But I’m always one to jump on the opportunity to ask the questions. If you have any answers, I’d be very interested to hear them. Also, in other Richmond Shakespeare-related news, they issued an Audition Turnout Challenge on their blog recently. If you've got a hankerin' for that iambic pentameter, their audition this weekend is the place to be.
John Porter’s “Almost Maine” review is available both on his blog or, if you prefer to hear the dulcet tones of his lovely voice, you can stream it off of the WCVE site. This show closes this weekend so get out to see it while you can.
Grant Mudge of Richmond Shakespeare wrote an Op-Ed in this past weekend’s Times-Dispatch in anticipation of the opening of “Art” at the Virginia Museum. Check it out if you haven’t read it.
There are many cool things about this production being the one that re-opens the theater at the museum, the most obvious being the title and theme of the show. Director kb Saine also used to work for TheatreVirginia, if I remember correctly. Mr. Mudge uses his Op-Ed piece to talk a little bit more about the value of live theater. His sentiments are encapsulated in this passage:
You respond to a work of art with only your own senses, thoughts and emotion. In theater, the art responds back. Actors hear and are influenced by the audience. And they respond. It's vital that audiences know how much of every performance they see they are inextricably a part. This shared experience is the performing arts' chief recommending quality. The entire community, artists and audiences alike, experiences together.I’m glad that Grant took the opportunity to put that kind of endorsement of live theater out in a piece that he could have devoted solely to promoting his own company or production. After reading this op-ed, it occurs to me that there are many other interesting topics that could be explored as part of the re-opening of the Museum Theater. There are very specific ones like the economic reasons that TheatreVA closed and how theater has changed in town since. And there are also more general theater-related issues involved: what is the state of regional theater? Do local audiences care about having an Equity theater in town? Should they?
The closing and re-opening of the theater begs more general entertainment-related questions too: the rise of social media and the explosion in the popularity of video games could be construed as indicating that people – particularly young people – want interactivity to be part of the entertainment experience. How can theater capitalize on that?
Of course, I don’t have much in the way of answers. But I’m always one to jump on the opportunity to ask the questions. If you have any answers, I’d be very interested to hear them. Also, in other Richmond Shakespeare-related news, they issued an Audition Turnout Challenge on their blog recently. If you've got a hankerin' for that iambic pentameter, their audition this weekend is the place to be.
Monday, April 04, 2011
Another links-a-palooza
This past weekend was chock full of action, from the VCU game and its aftermath to the Fairy Tale Ball at the Empire to “The Laramie Project: 10 Years later” down at Sycamore Rouge. RTP opened “Devil Boys from Beyond,” which was promptly hailed as a success by both the Times-Dispatch and GayRVA. Swift Creek Mill opened “Quilters” but I have yet to see a review. Did the T-D’s review get knocked by more incessant Charlie Sheen coverage, I wonder?
Mostly this weekend, I tried to catch up on sleep. But my lovely wife and I did manage to make it out to “Devil Boys” and my review will be forthcoming in a future Style, I expect / hope. In the meantime, I will echo the other reviews out there that praise the high camp of the production but, overall, I think I was less entranced by the proceedings than my critical compatriots. Details to come.
Richmond.com’s review of “Something Intangible” hit the internets last week as well. As you may have noticed, the articulate and analytical Richmond.com reviewer Liz Jewett also maintains a blog that is linked to at the bottom of her reviews. Though she doesn’t focus on theater, it makes for some very interesting reading so I’ve put a link to it over there on the right. Check it out some time.
Online coverage really seems to be where it’s at these days. In addition to GayRVA’s quick posting of a “Devil Boys” review, they had a preview up of the show last week and were one of the only media outlets to report on Sycamore Rouge’s “Laramie: 10 years after” production. We slacker print folks just can’t keep up.
One last thing on “Spider-man:” after seeing the show, I had a great time going back and reading reviews by others. There’s a collection of links to the many reviews on the Ent Weekly site, as well as a link to a video collection of reviews. It seems that critics took the opportunity of such a colossally conflicted show to sharpen their pens to particularly pointed levels. My favorite line from any of the reviews is in the LA Times review by Charles McNulty, where he says “Nothing cures curiosity about "Spider-Man" quite like seeing it.” Indeed.
Speaking of nicely written reviews, in a review of “The Book of Mormon” last week, the critics summarizes the show in a way that also describes the exact antithesis of “Spider-man.” He says that the show’s creators “honor the traditions of great song-and-dance musical theater in all the best ways: Every detail of the production serves a purpose. Every character signifies. Every song is crafted with erudition about what a song is meant to do.” Perhaps the Spider-man producers should hire the team from “BOM?”
Mostly this weekend, I tried to catch up on sleep. But my lovely wife and I did manage to make it out to “Devil Boys” and my review will be forthcoming in a future Style, I expect / hope. In the meantime, I will echo the other reviews out there that praise the high camp of the production but, overall, I think I was less entranced by the proceedings than my critical compatriots. Details to come.
Richmond.com’s review of “Something Intangible” hit the internets last week as well. As you may have noticed, the articulate and analytical Richmond.com reviewer Liz Jewett also maintains a blog that is linked to at the bottom of her reviews. Though she doesn’t focus on theater, it makes for some very interesting reading so I’ve put a link to it over there on the right. Check it out some time.
Online coverage really seems to be where it’s at these days. In addition to GayRVA’s quick posting of a “Devil Boys” review, they had a preview up of the show last week and were one of the only media outlets to report on Sycamore Rouge’s “Laramie: 10 years after” production. We slacker print folks just can’t keep up.
One last thing on “Spider-man:” after seeing the show, I had a great time going back and reading reviews by others. There’s a collection of links to the many reviews on the Ent Weekly site, as well as a link to a video collection of reviews. It seems that critics took the opportunity of such a colossally conflicted show to sharpen their pens to particularly pointed levels. My favorite line from any of the reviews is in the LA Times review by Charles McNulty, where he says “Nothing cures curiosity about "Spider-Man" quite like seeing it.” Indeed.
Speaking of nicely written reviews, in a review of “The Book of Mormon” last week, the critics summarizes the show in a way that also describes the exact antithesis of “Spider-man.” He says that the show’s creators “honor the traditions of great song-and-dance musical theater in all the best ways: Every detail of the production serves a purpose. Every character signifies. Every song is crafted with erudition about what a song is meant to do.” Perhaps the Spider-man producers should hire the team from “BOM?”
Friday, April 01, 2011
Oh My
I'm feeling totally disoriented today. Drove through the night to get back from NYC and am at work running on about 2 hours sleep. That doesn't explain why blogger keeps screwing up my posts -- won't put line feeds and returns in when I copy and paste text. Very frustrating. It also doesn't explain why on Wednesday I called "Something Intangible" by the name "Something to Ponder." Don't know where my head was at. Adding to the delirium are the scenes from "Spider-man: Turn off the dark" running through my head, alternating with the song "Loser Like Me" from "Glee" that I was playing on the CD during the drive home.
One reason I was playing the "Glee" songs (besides keeping me awake) was because there wasn't a single song from "Spider-man" that stuck in my head; most were significantly melody deprived. I had to fill the void with something. I'll have more to say about Spidey when I collect my thoughts but I'll give this quick capsule: The production had some of the most amazing aerial work I have ever seen and the many millions of dollars that went into the production are plain to see in the sets, lights, costumes, and general spectacle. There are about 3 scenes in the show that stick out as among the most awe-inspiring I've ever seen.
Having said that, the second act of the show is just dreadful. Weird things happen that are only vaguely explained, if at all, and the denouement is among the most disappointing ever. It certainly wasn't as bad as I thought it might be. But it was not great, and only better than good because of the eye-popping technology and design work. Off to take a nap...have a great weekend!
One reason I was playing the "Glee" songs (besides keeping me awake) was because there wasn't a single song from "Spider-man" that stuck in my head; most were significantly melody deprived. I had to fill the void with something. I'll have more to say about Spidey when I collect my thoughts but I'll give this quick capsule: The production had some of the most amazing aerial work I have ever seen and the many millions of dollars that went into the production are plain to see in the sets, lights, costumes, and general spectacle. There are about 3 scenes in the show that stick out as among the most awe-inspiring I've ever seen.
Having said that, the second act of the show is just dreadful. Weird things happen that are only vaguely explained, if at all, and the denouement is among the most disappointing ever. It certainly wasn't as bad as I thought it might be. But it was not great, and only better than good because of the eye-popping technology and design work. Off to take a nap...have a great weekend!
Wednesday, March 30, 2011
Quickly
Well, this day has totally gotten away from me. I wanted to delve further into “Something Intangible” but won’t have much time. So I’ll talk briefly about the negatives in my review, since those always seem to be what people want to talk about.
1. Disney specificity. So obviously the plot of the play follows the development of “Fantasia” at Disney. The brothers are surrogates for Ray and Walt. You can imagine Wistonville becoming Disneyland. “Grandioso” is the analog for “Fantasia.” Even the curly script of Disney’s autograph are mimicked on the water tower.
But this play seems to want to be more than just a pseudo-biography of the Disney brothers. The playwright talks about Theo and Vincent Van Gogh in his notes on the show. And the interplay of envy and love are wonderfully explored during the course of the show. This created a weird tension for me. After a point, every detail borrowed from the Disney’s story diluted the generalizability of the deeper themes, in my opinion. It made it easier to think, “this is just a story about the Disneys” instead of “this is a story exploring fundamental dynamics that might exist between all brothers / siblings.”
2. Creasy’s von Meyerhoff. My mention of Mr. Creasy’s performance led to a very interesting and edifying conversation between Frank and I. Among the things Frank related to me: “The stage direction for [von Meyerhoff’s] first entrance describes him as a man who is ‘theatrical even when standing still’. Clearly, he's …a man who stands out even amongst crazy artistic Hollywood types.
“…beyond that, in the context of the play, I believe (my opinion alone) that there's a reason Bruce Graham had one actor double in these supporting roles as opposed to having a sixth actor: Bartelli and Von Meyerhoff are even more extreme examples of the distinctions between Dale and Tony. Bartelli is even less attuned to creative matters than Dale, while Von Meyerhoff "out-Wistons" Tony's extreme behavior! The duality of the brothers is emphasized and underscored through the supported role doubling.”
This is all great background and perceptive analysis and I appreciate Frank sharing it with me. As I told him, the von Meyerhoff character didn't work for me because I could imagine all of the other characters as being real, even Tony (who just seems like a calmer version of Charlie Sheen, ya know?) But von Meyerhoff just seemed a bit cartoony to me; I didn’t quite believe in von Meyerhoff like I did the other characters. I don’t necessarily mean that Mr. Creasy was bad in the role; he may have been doing exactly what the playwright intended or what his director guided him toward. But because I didn’t believe in him, the scenes with von Meyerhoff took me out of me suspension of disbelief.
So that’s the quick ‘n dirty on “Something Intangible.” I could heap some more praise on Mr. Maupin or Mr. Reider but that’ll have to wait for another day. If you want another take on the show, here’s Matthew Miller’s review at GayRVA.
Did you hear that the Oscar-winning director of “The King’s Speech” is in talks to direct a musical film adaptation of “Les Mis?” I don’t know whether to be excited or scared by this.
Also, both “Quilters” and “Devil Boys from Beyond” open this weekend. Another pair perfect for a mash-up. Can you imagine “Devil Quilters from Beyond…the Prairie” or something… Could be funny.
Tuesday, March 29, 2011
Something Intangible
My review of "Something Intangible" is on the Style website. Some additional commentary to come tomorrow...
Monday, March 28, 2011
The “National Stage”
So how about VCU, ay? It was pretty amazing having two college basketball teams from Richmond in the Sweet Sixteen but now to have one in the Final Four is, to carry the alliteration to an absurd level, fabulously phenomenal. The buzz in town about this accomplishment is feverish and I only wish I could have gone downtown last night to join in the craziness that was going on.
The phrase “National Stage” always occurs to me at a time like this. You’ll hear commentators saying that VCU has now arrived on the national stage. But what a complex concept that one is. With the democratization of media, I think it’s harder than ever to figure out what the “national stage” is, where it is, who is on it, how you get there, etc. etc. For instance, Rebecca Black exploded on the national stage just a couple of weeks ago but I know there is a big slice of America who still doesn’t know who she is or why they should know her.
To propose another variation on the theme: as Ms. Haubenstock points out in her review of “Almost Maine,” this show that didn’t make much of an impact on the “national stage” (if you consider Broadway to be that place as far as theater goes) has obviously appealed to regional and local theater directors across the country. So the show has gone on to make a nationwide impact of sorts, but not from a position on the national stage.
Anyway, there’s a long rant on perception, reality, quantity vs. quality and the LA/NYC arbiters of “what is important” encapsulated in there but I don’t want to get too deep with it. Too much esoteric thinking is bound to make my head hurt on a Monday. So, instead, I’ll mention that in addition to “Almost Maine,” “Something Intangible” opened this past weekend. I went to opening night, thoroughly enjoyed the show and will post some additional comments about it when my review comes out, which with any luck will be this Wednesday.
In the meantime, have you read any of the reviews of “How to Succeed in Business…” with Daniel Radcliffe? I’ve made it through a few. One thing I think is interesting is how one critic’s reaction can be so much different than another’s even though they both seem to have seen the exact same thing. And by that, I don’t mean just that they saw the same performance but that they picked up something specific about a production but each put a completely different spin on it. For instance, the enthusiastic Entertainment Weekly reviewer says that you could see Radcliffe working hard in his role (“he always lets you see him sweat”) and that this part of the production added to its charm. The grumpy NYTimes review points out the same thing: “You can almost hear an unseen coach’s voice whispering to Mr. Radcliffe, telling him when to do what. [Y]ou… feel the effort and eagerness with which Mr. Radcliffe responds to that voice.” But instead of praising that behavior, condemns it. You can say Brantley is just a curmudgeon and EW is just a frothy entertainment mag and that accounts for the different conclusions. I’d say they were both astute reviewers, just with distinctly different attutudes about what makes a quality production or effective performance. What would you say?
Finally, thanks to everyone who made suggestions for what show I should see on Thursday. After caucusing with my companion for the trip, we have concluded to give Spidey a try. I'm almost embarrassed to have picked morbid curiosity over interest in quality but I do feel like there is some value to have seen the "bad Spidey" if and when a "good Spidey" ever emerges. Of course, I may feel differently around 11pm on Thursday night...
Friday, March 25, 2011
A Question
I was saddened to read yesterday about the death of Lanford Wilson, one of the true playwrighting legends. Though I’ve seen “Fifth of July” and “Burn This,” I’m hopeful to someday see a production of “Hot L Baltimore,” the play that really put him on the map as I remember it. Though I think my review at the time was a little harsh, I have fond memories of Barksdale’s production of “Fifth” five or six years ago. It starred some of my favorite Richmond actors, including Chris Evans as the lead character’s lover. Not the Captain America Chris Evans though, just so there’s no confusion.
It’s been hard to get conversation rolling here on the blog as of late. Beyond the general down-turn in blog interest -- or some particularly boring posts from me -- I’m thinking it may be because I’m too often asking “big questions” about the nature of theater and the purpose of criticism and such. So, in an effort to get comments – any comment! – I’m going to try a simple question. I’m going to be taking a quick jaunt to NYC next Thursday and I want to see a show. As I do every time I’m planning a trip to Manhattan, I’m struggling with the choices. Should I get a nose-bleed seat to “Spiderman” just to see exactly how awful it is? Should I see something fresh and new that most people haven’t seen yet (“Priscilla”)? Or how about an old classic that I'm embarrased to say I've never seen (“Phantom”) or a newer not-quite-classic that I might be able to get great seats for (“Adams Family”)? Then there’s the possibility to see an awesome actor starring in a smallish vehicle off-Broadway (Andre Braugher in “The Whipping Man”).
What would YOU do if you were popping up to New York just for a day at this specific moment in time? What show are you itching to see and why? I’m interested in your thoughts, of course, but also, I need your help!
It’s been hard to get conversation rolling here on the blog as of late. Beyond the general down-turn in blog interest -- or some particularly boring posts from me -- I’m thinking it may be because I’m too often asking “big questions” about the nature of theater and the purpose of criticism and such. So, in an effort to get comments – any comment! – I’m going to try a simple question. I’m going to be taking a quick jaunt to NYC next Thursday and I want to see a show. As I do every time I’m planning a trip to Manhattan, I’m struggling with the choices. Should I get a nose-bleed seat to “Spiderman” just to see exactly how awful it is? Should I see something fresh and new that most people haven’t seen yet (“Priscilla”)? Or how about an old classic that I'm embarrased to say I've never seen (“Phantom”) or a newer not-quite-classic that I might be able to get great seats for (“Adams Family”)? Then there’s the possibility to see an awesome actor starring in a smallish vehicle off-Broadway (Andre Braugher in “The Whipping Man”).
What would YOU do if you were popping up to New York just for a day at this specific moment in time? What show are you itching to see and why? I’m interested in your thoughts, of course, but also, I need your help!
Wednesday, March 23, 2011
The One That Got Away
In the absence of other shows opening, reviews of “A Thousand Clowns” continue to trickle in with Mr. Griset’s take on the show in this week’s Style. The opening drought ends tomorrow with “Something Intangible” raising the curtain at the Firehouse.
Speaking of openings, it is with a slight feeling of sadness that I read about the musical adaptation of “Priscilla, Queen of the Desert” opening on Broadway this past weekend. The sadness doesn’t come from the decidedly mixed reviews (an overview of the reviews can be found here; the NY Times calls the show “…monotonous and mechanical” in its review). It doesn’t come from the fact that “Priscilla” essentially kicked “West Side Story” off Broadway, a production I wouldn’t have minded seeing again (OK, that’s a simplification but still…). No, this particular opening causes a little pang in my heart because only once in a while do I look at the pictures of celebs like Christie Brinkley and Bette Midler attending an opening and realistically imagine that I could have been there.
The story behind it is a little long and it’s not worth going through every detail but my son was up for a role in “Priscilla.” If you remember the movie at all, the main character, Tick, has a son named Benji who is supposed to be around 10 years old. In fact, the whole trip across the desert is spurred by Benji’s mom booking Tick in her theater.
As anyone who has been through the casting process for a big production knows, it can be a little grueling and, for us, “Priscilla” may have been the hardest ever. The casting directors had seen Cooper a couple of times but had still not made a decision last fall when a “Press Event” had been planned. Basically, the producers wanted to alert the media to “Priscilla’s” eminent Broadway opening before the production had a try-out run in Toronto. But they didn’t have a Benji yet so they asked us if Cooper could be a Benji stand-in for the event. We thought this was an encouraging sign about his chances to land the role.
So, back in September, Cooper actually appeared on a Broadway stage opposite Will Swenson (still a hot name from “Hair”). He didn’t get to sing but still, he got his own dressing room, he met a lot of cool Broadway folks, and he performed in a packed New York theater. Not bad for a kid from Richmond.
Unfortunately, very soon thereafter, the casting folks said they were looking at kids in Toronto for the role. The boy they eventually cast, Luke Mannikus, seems like a cute kid. And while a role in a Broadway show could have been life-changing for all of us Tlines, there is a certain sense of weird relief in seeing that the young Master Mannikus isn’t named in the Times review and his one big scene is written off as “ludicrous.” Perhaps it’s just as well the way things worked out.
My lovely wife and I were talking about “Priscilla’s” mixed reviews over dinner last night and my never-shy son chimed in, between bites of pasta, “It would have been better with me in it.” Hmmm... Maybe. But I’m not convinced our lives would have been better…even if I had met Christie Brinkley.
Speaking of openings, it is with a slight feeling of sadness that I read about the musical adaptation of “Priscilla, Queen of the Desert” opening on Broadway this past weekend. The sadness doesn’t come from the decidedly mixed reviews (an overview of the reviews can be found here; the NY Times calls the show “…monotonous and mechanical” in its review). It doesn’t come from the fact that “Priscilla” essentially kicked “West Side Story” off Broadway, a production I wouldn’t have minded seeing again (OK, that’s a simplification but still…). No, this particular opening causes a little pang in my heart because only once in a while do I look at the pictures of celebs like Christie Brinkley and Bette Midler attending an opening and realistically imagine that I could have been there.
The story behind it is a little long and it’s not worth going through every detail but my son was up for a role in “Priscilla.” If you remember the movie at all, the main character, Tick, has a son named Benji who is supposed to be around 10 years old. In fact, the whole trip across the desert is spurred by Benji’s mom booking Tick in her theater.
As anyone who has been through the casting process for a big production knows, it can be a little grueling and, for us, “Priscilla” may have been the hardest ever. The casting directors had seen Cooper a couple of times but had still not made a decision last fall when a “Press Event” had been planned. Basically, the producers wanted to alert the media to “Priscilla’s” eminent Broadway opening before the production had a try-out run in Toronto. But they didn’t have a Benji yet so they asked us if Cooper could be a Benji stand-in for the event. We thought this was an encouraging sign about his chances to land the role.
So, back in September, Cooper actually appeared on a Broadway stage opposite Will Swenson (still a hot name from “Hair”). He didn’t get to sing but still, he got his own dressing room, he met a lot of cool Broadway folks, and he performed in a packed New York theater. Not bad for a kid from Richmond.
Unfortunately, very soon thereafter, the casting folks said they were looking at kids in Toronto for the role. The boy they eventually cast, Luke Mannikus, seems like a cute kid. And while a role in a Broadway show could have been life-changing for all of us Tlines, there is a certain sense of weird relief in seeing that the young Master Mannikus isn’t named in the Times review and his one big scene is written off as “ludicrous.” Perhaps it’s just as well the way things worked out.
My lovely wife and I were talking about “Priscilla’s” mixed reviews over dinner last night and my never-shy son chimed in, between bites of pasta, “It would have been better with me in it.” Hmmm... Maybe. But I’m not convinced our lives would have been better…even if I had met Christie Brinkley.
Monday, March 21, 2011
Teach Your Children Well
In case you missed him on the radio, check out Mr. Porter's blog to read about the love he gave to "A Thousand Clowns" in his latest review.
That performance arts training hotspot, SPARC, had another boffo event this past weekend. The faculty banded together to produce a cabaret spotlighting the significant talents of the staff. It was a great idea and made for a very entertaining show. In talking to some of the performers afterwards, some of them took the opportunity to do a piece they would never actually be appropriate for on stage, a good indication to me that the staff at SPARC aren’t just talented teachers, actors, dancers, and singers but also students of their respective genres. They could have phoned it in, just doing one of their usual audition pieces. But instead, they gave it their all, stretching themselves and providing a delightful show for everyone who attended.
The highlights from the show are really too numerous to single out. But it was a real treat to see Erin Foley in three monologues sprinkled throughout the evening and to learn that she’ll be in “Circle Mirror Transformation” at the Barksdale soon. Matt Polson was both tuneful and hilarious with his “I am Adolfo” and I liked that Ali Thibodeau and Robin Harris both got a chance to belt out a solo. The performance of “Without Love” begged the earnest entreaty: will someone do “Hairspray” here sometime soon? Please? And there was a dance/art/poetry piece that ended up being pretty entrancing. Given that it involved people getting paint all over their feet, it looked like a lot of fun too!
A real surprise to me was hearing such a big beautiful voice from Deb Clinton having only seen her on stage in straight plays. And finally, the whole evening was hosted by a coterie of SPARC’s most charming and talented students – Meg Carnahan, Allison Gilman, Jessie Jennison and Michael Thibodeau – who make me wish I was back in high school every time I see them together. When did theater kids get so cool?
Speaking of young Ms. Gilman, she is one of the kids featured in the cover story of the latest Richmond Family magazine that talks about SPARC quite a bit as part of talking about young performers in general. The issue has been out for a while so you may have seen it. Pick it up to read about Allison as well as Eric Pastore and Ellie Wilson (who played Gretl in “Sound of Music” not Liesl as mentioned in the article. Kinda funny though that the actress who played Liesl – Ali Thibodeau – is a teacher at SPARC). The article also features a somewhat hilarious juxtaposition, mentioning a certain Timberline kid and then following it by listing former SPARC student Jason Mraz and Tony-nominated actress Emily Skinner. Hmmm. Not exactly parallel in terms of their acclaim and accomplishments. Well, at least not yet…
One last SPARC-related tidbit: I just read today that Henley Street Theatre Company will be using SPARC’s black box space as their performance venue next season. Given the challenges of Pine Camp, I expect this will be a boon to Henley Street and probably not a bad thing for SPARC either. I love a win-win situation.
That performance arts training hotspot, SPARC, had another boffo event this past weekend. The faculty banded together to produce a cabaret spotlighting the significant talents of the staff. It was a great idea and made for a very entertaining show. In talking to some of the performers afterwards, some of them took the opportunity to do a piece they would never actually be appropriate for on stage, a good indication to me that the staff at SPARC aren’t just talented teachers, actors, dancers, and singers but also students of their respective genres. They could have phoned it in, just doing one of their usual audition pieces. But instead, they gave it their all, stretching themselves and providing a delightful show for everyone who attended.
The highlights from the show are really too numerous to single out. But it was a real treat to see Erin Foley in three monologues sprinkled throughout the evening and to learn that she’ll be in “Circle Mirror Transformation” at the Barksdale soon. Matt Polson was both tuneful and hilarious with his “I am Adolfo” and I liked that Ali Thibodeau and Robin Harris both got a chance to belt out a solo. The performance of “Without Love” begged the earnest entreaty: will someone do “Hairspray” here sometime soon? Please? And there was a dance/art/poetry piece that ended up being pretty entrancing. Given that it involved people getting paint all over their feet, it looked like a lot of fun too!
A real surprise to me was hearing such a big beautiful voice from Deb Clinton having only seen her on stage in straight plays. And finally, the whole evening was hosted by a coterie of SPARC’s most charming and talented students – Meg Carnahan, Allison Gilman, Jessie Jennison and Michael Thibodeau – who make me wish I was back in high school every time I see them together. When did theater kids get so cool?
Speaking of young Ms. Gilman, she is one of the kids featured in the cover story of the latest Richmond Family magazine that talks about SPARC quite a bit as part of talking about young performers in general. The issue has been out for a while so you may have seen it. Pick it up to read about Allison as well as Eric Pastore and Ellie Wilson (who played Gretl in “Sound of Music” not Liesl as mentioned in the article. Kinda funny though that the actress who played Liesl – Ali Thibodeau – is a teacher at SPARC). The article also features a somewhat hilarious juxtaposition, mentioning a certain Timberline kid and then following it by listing former SPARC student Jason Mraz and Tony-nominated actress Emily Skinner. Hmmm. Not exactly parallel in terms of their acclaim and accomplishments. Well, at least not yet…
One last SPARC-related tidbit: I just read today that Henley Street Theatre Company will be using SPARC’s black box space as their performance venue next season. Given the challenges of Pine Camp, I expect this will be a boon to Henley Street and probably not a bad thing for SPARC either. I love a win-win situation.
Friday, March 18, 2011
Spring Awakening
People are probably sick of me pimping for Entertainment Weekly but last week’s issue included not just one but TWO articles focused on Broadway. A preview of Daniel Radcliffe’s opening in “How to Succeed in Business in Without Really Trying” might be expected (there’s an excerpt online here) but there is also a fairly thoughtful piece on Jason Patric appearing in “That Championship Season,” a play written by his father (an interview available online). I mostly mention things like this because all EW cares about is what’s stirring at the top of the entertainment stew and when that something is theater-related, I think it’s a good indication of the enduring popularity of live theater. It also gives me something to write about.
But while I’m promoting other media outlets, let me make a push for the soon-to-be unfunded NPR which regularly has new content under it’s Performing Arts section. It’s the kind of place you can find an alternative take on “Spider-Man” (the article entitled “Don’t be so quick to write off the dark”), not to mention coverage of the “Arcadia” revival and Chris Rock’s new Broadway show. Now THAT is fair and balanced.
And I’m making a preliminary request from both of you readers for help with a possible intervention. As if falling under some seasonal spell, my wife has become obsessed with the current national tour of “Spring Awakening.” She already traveled to North Carolina last weekend to see the show and is now talking about heading to either Pennsylvania or New Jersey to see it again. The only show I’ve been similarly smitten by is “Les Miz” which I have not only seen in NYC a couple of times but traveled to DC (twice) and Kentucky to see on tour. Do you have any show obsessions you’d like to share?
Spring is the season for obsessions, after all, so enjoy the turn of the seasons this weekend (and Purim, too) and prepare to be obsessed with a new flock of local openings starting next weekend!
But while I’m promoting other media outlets, let me make a push for the soon-to-be unfunded NPR which regularly has new content under it’s Performing Arts section. It’s the kind of place you can find an alternative take on “Spider-Man” (the article entitled “Don’t be so quick to write off the dark”), not to mention coverage of the “Arcadia” revival and Chris Rock’s new Broadway show. Now THAT is fair and balanced.
And I’m making a preliminary request from both of you readers for help with a possible intervention. As if falling under some seasonal spell, my wife has become obsessed with the current national tour of “Spring Awakening.” She already traveled to North Carolina last weekend to see the show and is now talking about heading to either Pennsylvania or New Jersey to see it again. The only show I’ve been similarly smitten by is “Les Miz” which I have not only seen in NYC a couple of times but traveled to DC (twice) and Kentucky to see on tour. Do you have any show obsessions you’d like to share?
Spring is the season for obsessions, after all, so enjoy the turn of the seasons this weekend (and Purim, too) and prepare to be obsessed with a new flock of local openings starting next weekend!
Thursday, March 17, 2011
On Judas
I packed quite a few adjectives into my review of “The Last Days of Judas Iscariot” but one thing that I didn’t say specifically was that it was relevant. That seems like a pretty tepid adjective but it’s a pretty powerful endorsement in my book. Unfortunately, it’s not a word that I am frequently inspired to use in reference to a show. “Relevance” initially occurred to me during the testimony of Mother Theresa, the first scene that made me really sit up and take notice during the show. Here was a still-beloved contemporary figure being called to task for her less-than-spotless moral rectitude, a scene brought to vivid life thanks to performances by Jennie Meharg and Kristen Swanson. Certainly relevant as you consider that Pope John Paul II is set to be beatified in another couple of months. Kinda makes you wonder whether that whole sainthood thing is a little more complicated than you were taught in Sunday school, if not an outright farce.
Later on, we realize that there are compelling existential questions underlying Jennie Meharg’s character’s investment in Judas’s trial. And really, they are the kind of questions that we all face at different times in our lives. As the tragedy in Japan continues to unfold, how can we not wonder about the nature of God? Given the overwhelming scale of big tragedies and the prevalence of little daily tragedies, how do we find solace and/or hope? Simple honest people seem to be punished by fate when real modern-day villains (hello, Wall Street billionaires! And hey there, Khadafi!) wallow in their riches. How can you not wonder whether God really cares, perhaps whether he really exists?
Of course, the play does a great job of bringing it all down to a humanist level with the scene between Jesus and Judas and then Jonathan Conyer’s character’s coda. Whether we go to a physical hell or not, there is unquestionably an emotional hell and some people are living it every day.
I could talk about the content of this play for hours, making it a perfect “Acts of Faith” entry in my humble opinion, but it must be mentioned that Bo Wilson got some incredible performances out of his cast. I’ve slathered praise on David Clark and Ronnie Brown already but they deserve at least one more layer. Mr. Clark is a delight throughout the show and Mr. Brown is riveting as Pilate. Other stand-outs to me were Vinnie Gonzalez as Satan and Jill Bari Steinberg as Judas’s mother. And while Diana Carver was indeed hilariously profane as Saint Monica, I was pretty sure she was going wonky on some lines on opening night. Call me a stickler but I’m a firm believer that, before anything else, you have to know the lines.
This collaboration between Henley and RTP has certainly proven a winner and hopefully will lead to additional similarly exceptional co-pros in the future. This is the last weekend to see it and they’ve added a show on Sunday so there’s no excuse to miss it.
Later on, we realize that there are compelling existential questions underlying Jennie Meharg’s character’s investment in Judas’s trial. And really, they are the kind of questions that we all face at different times in our lives. As the tragedy in Japan continues to unfold, how can we not wonder about the nature of God? Given the overwhelming scale of big tragedies and the prevalence of little daily tragedies, how do we find solace and/or hope? Simple honest people seem to be punished by fate when real modern-day villains (hello, Wall Street billionaires! And hey there, Khadafi!) wallow in their riches. How can you not wonder whether God really cares, perhaps whether he really exists?
Of course, the play does a great job of bringing it all down to a humanist level with the scene between Jesus and Judas and then Jonathan Conyer’s character’s coda. Whether we go to a physical hell or not, there is unquestionably an emotional hell and some people are living it every day.
I could talk about the content of this play for hours, making it a perfect “Acts of Faith” entry in my humble opinion, but it must be mentioned that Bo Wilson got some incredible performances out of his cast. I’ve slathered praise on David Clark and Ronnie Brown already but they deserve at least one more layer. Mr. Clark is a delight throughout the show and Mr. Brown is riveting as Pilate. Other stand-outs to me were Vinnie Gonzalez as Satan and Jill Bari Steinberg as Judas’s mother. And while Diana Carver was indeed hilariously profane as Saint Monica, I was pretty sure she was going wonky on some lines on opening night. Call me a stickler but I’m a firm believer that, before anything else, you have to know the lines.
This collaboration between Henley and RTP has certainly proven a winner and hopefully will lead to additional similarly exceptional co-pros in the future. This is the last weekend to see it and they’ve added a show on Sunday so there’s no excuse to miss it.
Monday, March 14, 2011
Last Weekends
I’m mostly trafficking in old news today, playing catch up after several days being fairly staggered throughout the weekend by events in Japan. But the T-D review of “A Thousand Clowns” came out this weekend and Mr. Porter posted a review of “The Last Days of Judas Iscariot,” so there are plenty of other theater opinions to read out there.
For a myriad of reasons, I’ve seen several recent productions on their final weekend of performances. It has me pondering the tradition of critics going to a show’s opening night. There’s no denying the excitement and energy of opening night. But I’ve also seen productions gel as they go along, getting more relaxed and/or natural and/or fun from week to week (that was my impression of “BFG”). Of course, others get a little too loose as a run proceeds past its third or fourth week (I wondered if the “Jitney” cast was feeling a little fatigue going into their sixth week of performances this past weekend).
If a critics is supposed to give a sense of what the average patron will see, maybe the first Sunday matinee would be the best performance to see. Or maybe, since part of the joy of live theater is that every performance is a little different, it doesn’t really matter what show a critic sees?
Anyway, lest anyone think my question about “Jitney” is meant as a slight, it certainly is not. The production I saw at Sycamore Rouge last Friday was top-notch, great performances all around, and an entertaining night of theater. Toney Cobb is always solid, and his portrayal of Becker was spot-on, a real lived-in characterization of a proud man facing some hard life challenges. J. Ron Fleming was a hoot as Fielding and Delvin Young did amazing things with the smallish but pivotal part of Booster. I always love to see young talent like Justin Delaney (who was Youngblood) emerge. I only vaguely remember him from “Charcoal Street” and “Black Nativity” but he made a real impression with “Jitney.”
But my real favorite of the production was Ray Taalib-Deen and not just because his customer-service-pleasant refrain of “Car Service” always got a laugh. Turnbo is a character who somehow means well, even though his meddling in everyone’s business is the main source of dramatic tension during the play. Taalib-Deen’s soft voice lent a “gentle giant” vibe to the character and was a great asset when risen in outrage against Youngblood.
The show was a long one and there was a few spots that dragged. But in general Derome Scott Smith did an exceptional job of pacing the drama to balance the alternating ensemble scenes with the more syllologuy-like scenes. It’s definitely the best work I’ve seen from AART.
At this point, “Once on this Island” seems like really old news having closed two weekends ago, but my experience at the closing night performance was the best time I’ve had at a musical so far this year. Even with its tragic elements, it is such an exuberant show and, like the best of musicals, leaves you with several strong melodies that echo in your mind for weeks (“Waiting for Life” is playing in my head even as I write this).
There are numerous aspects of the Mill’s production that deserve recognition. Most all of the acting and singing was very strong, with particular kudos to Kris Roberts as TiMoune and Durron Tyre as Daniel. Both the lighting by Joe Doran and Leslie Owens-Harrington’s choreography were exceptional and director Tom Width brought it all together with flare. But the real, perhaps unappreciated star of this production was musical director Paul Deiss who led a rock-solid orchestra in keeping that lively, infectious Caribbean-tinged music flowing throughout the show. If there was a moment without music or sound of some sort I don’t remember it, so infused with melody is my memory of the show.
For those who are still following the ongoing saga of “Spider-man” on Broadway, there’s an interesting perspective offered by one journalist in Newsweek this week in response to Julie Taymor’s dismissal and the push of an official opening to the summer. I don’t know the show’s score but if it’s the antithesis of something like “Once on this Island” – that is, free of memorable melodies and engaging songs – then placing at a hearty chunk of blame for this massive fail in the laps of Bono and the Edge certainly seems warranted.
For a myriad of reasons, I’ve seen several recent productions on their final weekend of performances. It has me pondering the tradition of critics going to a show’s opening night. There’s no denying the excitement and energy of opening night. But I’ve also seen productions gel as they go along, getting more relaxed and/or natural and/or fun from week to week (that was my impression of “BFG”). Of course, others get a little too loose as a run proceeds past its third or fourth week (I wondered if the “Jitney” cast was feeling a little fatigue going into their sixth week of performances this past weekend).
If a critics is supposed to give a sense of what the average patron will see, maybe the first Sunday matinee would be the best performance to see. Or maybe, since part of the joy of live theater is that every performance is a little different, it doesn’t really matter what show a critic sees?
Anyway, lest anyone think my question about “Jitney” is meant as a slight, it certainly is not. The production I saw at Sycamore Rouge last Friday was top-notch, great performances all around, and an entertaining night of theater. Toney Cobb is always solid, and his portrayal of Becker was spot-on, a real lived-in characterization of a proud man facing some hard life challenges. J. Ron Fleming was a hoot as Fielding and Delvin Young did amazing things with the smallish but pivotal part of Booster. I always love to see young talent like Justin Delaney (who was Youngblood) emerge. I only vaguely remember him from “Charcoal Street” and “Black Nativity” but he made a real impression with “Jitney.”
But my real favorite of the production was Ray Taalib-Deen and not just because his customer-service-pleasant refrain of “Car Service” always got a laugh. Turnbo is a character who somehow means well, even though his meddling in everyone’s business is the main source of dramatic tension during the play. Taalib-Deen’s soft voice lent a “gentle giant” vibe to the character and was a great asset when risen in outrage against Youngblood.
The show was a long one and there was a few spots that dragged. But in general Derome Scott Smith did an exceptional job of pacing the drama to balance the alternating ensemble scenes with the more syllologuy-like scenes. It’s definitely the best work I’ve seen from AART.
At this point, “Once on this Island” seems like really old news having closed two weekends ago, but my experience at the closing night performance was the best time I’ve had at a musical so far this year. Even with its tragic elements, it is such an exuberant show and, like the best of musicals, leaves you with several strong melodies that echo in your mind for weeks (“Waiting for Life” is playing in my head even as I write this).
There are numerous aspects of the Mill’s production that deserve recognition. Most all of the acting and singing was very strong, with particular kudos to Kris Roberts as TiMoune and Durron Tyre as Daniel. Both the lighting by Joe Doran and Leslie Owens-Harrington’s choreography were exceptional and director Tom Width brought it all together with flare. But the real, perhaps unappreciated star of this production was musical director Paul Deiss who led a rock-solid orchestra in keeping that lively, infectious Caribbean-tinged music flowing throughout the show. If there was a moment without music or sound of some sort I don’t remember it, so infused with melody is my memory of the show.
For those who are still following the ongoing saga of “Spider-man” on Broadway, there’s an interesting perspective offered by one journalist in Newsweek this week in response to Julie Taymor’s dismissal and the push of an official opening to the summer. I don’t know the show’s score but if it’s the antithesis of something like “Once on this Island” – that is, free of memorable melodies and engaging songs – then placing at a hearty chunk of blame for this massive fail in the laps of Bono and the Edge certainly seems warranted.
Wednesday, March 09, 2011
Sneaking one in
My review of "Last Days of Judas Iscariot" just showed up on the Style website. Supplemental commentary to come...
“J” names
There’s a line in the musical “Quilters” (now in rehearsal down at Swift Creek Mill and, based on what I’ve heard, peopled by a cast of awesome actresses) about the popularity of giving children names that start with ‘J.’ There’s also a great kid’s song -- a Timberline family favorite -- called “Favorite Names” all about ‘J’ names.
Two productions in town generating a lot of buzz are ‘J’ shows: “Judas Iscariot” and “Jitney.” This is the last weekend, you can catch the latter, so don’t hesitate to take the trip southward to Sycamore Rouge to check it out. “Judas” has been featured in a nice piece in Style this week and WCVE broadcast Joan Tupponce’s review of the show recently. I’m hoping my review will show up soon online and then I’ll expand on it.
I’m also collecting my thoughts on “Once on this Island,” which I saw the closing performance of last weekend. What a great production! More detailed thoughts to come…
Two productions in town generating a lot of buzz are ‘J’ shows: “Judas Iscariot” and “Jitney.” This is the last weekend, you can catch the latter, so don’t hesitate to take the trip southward to Sycamore Rouge to check it out. “Judas” has been featured in a nice piece in Style this week and WCVE broadcast Joan Tupponce’s review of the show recently. I’m hoping my review will show up soon online and then I’ll expand on it.
I’m also collecting my thoughts on “Once on this Island,” which I saw the closing performance of last weekend. What a great production! More detailed thoughts to come…
Monday, March 07, 2011
Times Gone By
Joan Tupponce hasn’t been updating her blog recently but WCVE has been getting better (IMHO) at posting her audio reviews on their website. You can go to this link for a listing of all the recent ones they’ve broadcast, including her take on the still-running “Legacy of Light.”
I’ve had a few occasions to talk about “Godspell” since it closed two weekends ago and I’ve been intrigued at people’s impressions. On one extreme, one particularly harsh friend called the show “dated and dumb.” On the other, someone commenting on the post below said Nick Shackleford portrayal of Jesus was “one of the best performances I've seen in Richmond in a long time.” Among my critical pals, the response was also varied with even the most positive voicing some reservations, even the most negative admitting to some nice aspects of the Cadence production.
“Godspell” will always be a show I have a hard time being thoroughly objective about. It was the first musical I remember seeing as a kid and was really my entrée into any interest in theater. My high school’s production when I was a sophmore will in many ways remain the gold standard against which I compare all productions I’ve seen since, a now gauzy euphoric memory infused with the joy of discovery. This poses both positive and negative challenges for me when considering any production: I automatically react with excitement when I hear that fabulous music but I also instinctively know nothing will measure up to my memory.
But even carrying that baggage into the Cadence production, I left having really enjoyed it. I loved the 60s-era vibe that director Anna Johnson gave the production, the overall sense of freshness and innocense that emanated from the performances (this vibe was one some of my pals specifically did not enjoy). She also made good use of what was undoubtedly a challenging performance space. The choreography by Leslie Owens-Harrington was fantastic, skillfully keeping the players in compelling motion throughout a somewhat cramped space. Kim Fox’s music direction was strong and assured.
There weren’t any weak spots in the cast, a real testament to Ms. Johnson’s ability to lure top-notch talent to her projects. It’s always a joy to see new talent seize the opportunity a production like this provides and the unbelievably young T’arah Craig was a revelation: agile in her movement, sincere in her performance and amazing in her voice, partnering with Aly Wepplo to perform the sweetest version of “By My Side” I’ve ever heard. Daniel Cimo is someone who seems born to act, his emotions coming across so clearly from the stage, and it was impossible not to get caught up in Chris Hester’s antic energy. Carolyn Meade’s “Turn Back Old Man” was a distinct highlight and Wepplo seemed to be genuinely choked up at the show’s end, adding a real poignance to the finale.
But while both Shackleford and Russell Rowland did fine jobs, I think there was something of an inbalance in their relationship. Basically, I think Rowland is such a forcefull presence, particularly with that voice, that it was hard for Shackleford to be more compelling. And I wanted Jesus to be more compelling than Judas.
Another issue for me just has to do with the actual story of “Godspell,” which I was much more willing to let flow over me when I was younger. I’ve read a fair amount on the historical Jesus and the history of Christianity in the past decade. I’ve also had a touchy ideological relationship with the faith over the years, particularly with guidance offered by its more fundamental adherents. So its hard for me to put that stuff out of my head and just take in the dramatization of the history of Jesus as a nice little story (one of the reasons I appreciated the “free love” era vibe of the production was it helped me put all of that out of my mind as much as possible.)
So, in the final analysis, I thought it was quite a fine production, another feather in the cap of Cadence’s still-young cap. I was particularly glad that my sons got to see it because it’s a show I’ve wanted them to see and I’m happy they saw an excellent production instead of a marginal one. But seeing it also has had the lingering effect of making me wonder how anxious I’ll be to run out and catch the next production of “Godspell” that shows up on the radar (a Broadway production is being planned for this summer).
Speaking of Broadway, a new production I think people in regional theaters across the country will be checking out with interest is “Good People,” starring the always-intriguing Frances McDormand. David Lindsay-Abaire’s work has been a favorite of local theaters for years – Firehouse has done great productions of “Fuddy Mears” and “Rabbit Hole,” just to name a couple – so I would expect “Good People” to show up on a local stage as soon as the rights are available.
I’ve had a few occasions to talk about “Godspell” since it closed two weekends ago and I’ve been intrigued at people’s impressions. On one extreme, one particularly harsh friend called the show “dated and dumb.” On the other, someone commenting on the post below said Nick Shackleford portrayal of Jesus was “one of the best performances I've seen in Richmond in a long time.” Among my critical pals, the response was also varied with even the most positive voicing some reservations, even the most negative admitting to some nice aspects of the Cadence production.
“Godspell” will always be a show I have a hard time being thoroughly objective about. It was the first musical I remember seeing as a kid and was really my entrée into any interest in theater. My high school’s production when I was a sophmore will in many ways remain the gold standard against which I compare all productions I’ve seen since, a now gauzy euphoric memory infused with the joy of discovery. This poses both positive and negative challenges for me when considering any production: I automatically react with excitement when I hear that fabulous music but I also instinctively know nothing will measure up to my memory.
But even carrying that baggage into the Cadence production, I left having really enjoyed it. I loved the 60s-era vibe that director Anna Johnson gave the production, the overall sense of freshness and innocense that emanated from the performances (this vibe was one some of my pals specifically did not enjoy). She also made good use of what was undoubtedly a challenging performance space. The choreography by Leslie Owens-Harrington was fantastic, skillfully keeping the players in compelling motion throughout a somewhat cramped space. Kim Fox’s music direction was strong and assured.
There weren’t any weak spots in the cast, a real testament to Ms. Johnson’s ability to lure top-notch talent to her projects. It’s always a joy to see new talent seize the opportunity a production like this provides and the unbelievably young T’arah Craig was a revelation: agile in her movement, sincere in her performance and amazing in her voice, partnering with Aly Wepplo to perform the sweetest version of “By My Side” I’ve ever heard. Daniel Cimo is someone who seems born to act, his emotions coming across so clearly from the stage, and it was impossible not to get caught up in Chris Hester’s antic energy. Carolyn Meade’s “Turn Back Old Man” was a distinct highlight and Wepplo seemed to be genuinely choked up at the show’s end, adding a real poignance to the finale.
But while both Shackleford and Russell Rowland did fine jobs, I think there was something of an inbalance in their relationship. Basically, I think Rowland is such a forcefull presence, particularly with that voice, that it was hard for Shackleford to be more compelling. And I wanted Jesus to be more compelling than Judas.
Another issue for me just has to do with the actual story of “Godspell,” which I was much more willing to let flow over me when I was younger. I’ve read a fair amount on the historical Jesus and the history of Christianity in the past decade. I’ve also had a touchy ideological relationship with the faith over the years, particularly with guidance offered by its more fundamental adherents. So its hard for me to put that stuff out of my head and just take in the dramatization of the history of Jesus as a nice little story (one of the reasons I appreciated the “free love” era vibe of the production was it helped me put all of that out of my mind as much as possible.)
So, in the final analysis, I thought it was quite a fine production, another feather in the cap of Cadence’s still-young cap. I was particularly glad that my sons got to see it because it’s a show I’ve wanted them to see and I’m happy they saw an excellent production instead of a marginal one. But seeing it also has had the lingering effect of making me wonder how anxious I’ll be to run out and catch the next production of “Godspell” that shows up on the radar (a Broadway production is being planned for this summer).
Speaking of Broadway, a new production I think people in regional theaters across the country will be checking out with interest is “Good People,” starring the always-intriguing Frances McDormand. David Lindsay-Abaire’s work has been a favorite of local theaters for years – Firehouse has done great productions of “Fuddy Mears” and “Rabbit Hole,” just to name a couple – so I would expect “Good People” to show up on a local stage as soon as the rights are available.
Friday, March 04, 2011
Still
My little finger’s still in a cast and typing is still a pain in the butt. So this will have to be short and sweet. My review of “Legacy of Light” was in Style this week. I’ve got a link up to the T-D review of “Judas” over to the right there but there is also a wonderfully written Richmond.com review by Ms. Jewett that was posted yesterday. My review of the production should show up online soon.
The same week I mention EW’s stage coverage they do a big spread in the magazine on “Broadway’s Craziest Season!” but, in a classic ‘dis to stage fans, the article is nowhere to be found on their website. Anyway, the article includes this interesting assertion: “Spiderman has arguably done s much as – if not more than – the TV show “Glee” to raise theater’s profile as a popular art form in the past few months.” Would you agree? Is this in line with the ‘there’s no such thing as bad publicity’ ethos we hear so much about?
No openings this week but plenty of closings (“BFG,” “Once on this Island,” JCC’s “Kindertransport,” etc.). Just because a couple of shows are getting summer revivals – congrats to “Nunsense” and “Dog Sees God” – doesn’t mean anyone should get complacent about getting out there to see shows while they can!
The same week I mention EW’s stage coverage they do a big spread in the magazine on “Broadway’s Craziest Season!” but, in a classic ‘dis to stage fans, the article is nowhere to be found on their website. Anyway, the article includes this interesting assertion: “Spiderman has arguably done s much as – if not more than – the TV show “Glee” to raise theater’s profile as a popular art form in the past few months.” Would you agree? Is this in line with the ‘there’s no such thing as bad publicity’ ethos we hear so much about?
No openings this week but plenty of closings (“BFG,” “Once on this Island,” JCC’s “Kindertransport,” etc.). Just because a couple of shows are getting summer revivals – congrats to “Nunsense” and “Dog Sees God” – doesn’t mean anyone should get complacent about getting out there to see shows while they can!
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