I want to thank the Dogwood Dell production of “Hairspray” for many things. First off, for implanting in my head a whole slate of great tunes that have run like an internal soundtrack for me over the past couple of days. Earworms like these I can handle, particularly happy, up-tempo ones that make the turmoil in the economic world right now seem a little less agonizing.
Also, I’d like to thank this production for re-affirming the obvious: there is ample interest in live theater in this town. When I showed up at Dogwood Dell on Friday, I couldn’t believe my eyes. Granted I got there a little later than I probably should have (8:20ish) but the droves of people that scattered the hillside above the amphitheater and infiltrated the trees bordering house-right was unlike anything I’d ever seen at the Dell before. Clearly, the word had gotten out that this was a must-see production and Richmonders took advantage of a relatively cool night to swamp the outdoor venue. The crowd on Saturday was smaller (yes, I went twice), but showed their vigorous support by staying through a pretty persistent drizzle that ran through the middle third of the performance.
Finally, I want to thank “Hairspray” and director Leslie Owens-Harrington for introducing me to a whole new fleet of talented young performers. The dozens of teens that populated this cast took to Ms. Owens-Harrington’s lively choreography like fish to water and were consistently focused and first-rate in their performances. The major roles were all exceptional, everyone from little Imani Crosby as Little Inez to big gravelly-voiced Todd Schall-Vess as Edna Turnblad. I was surprised by the strong, clear vocals from supporting players like J.R. Booker as Seaweed Stubbs and Ashlyn Landrum as Penny Pingleton. But even more so, I was blown away by the performances from Glennis Crosby as Motormouth Maybelle – her “I Know Where I’ve Been” was a stunner – and of course, Kate Rancka as Tracy Turnblad. Ms. Rancka has a powerhouse voice and a sweet, sincere stage presence that anchored the whole enterprise. For a 17 year old to take on such a responsibility and succeed so completely is really impressive.
As “Hairspray” uncurled at the Dell, long-running “Dirty Rotten Scoundrels” closed down at the Empire and “Monique” moved on to greener pastures at RTP. But obstinately, the Richmond theater world won’t stop producing shows, as RTP will open up their “Dirty Little Showtunes” revue on the 18th. Doesn’t anyone take a rest anymore?
“Hairspray” officially closed out the 2010-2011 season as far as I’m concerned and I’ll be taking a breather from seeing anything on stage for a few weeks, at least until the September surge of new shows begins with “Lend Me a Tenor” on Sept. 9th. Looking at my personal statistics, last season I saw 33 professional mainstage productions offered by Richmond-area theater companies. I saw an additional 21 out-of-town or local non-professional productions over the year. This may be the first year ever that I saw more than 1 show a week on average (helped immensely by the unique opportunity to see 8 shows over 10 days back in July). That makes it kind of a landmark for me.
Even in a season where I saw so much, I still rue the key shows I missed. Even in the face of the raves I read or heard, I couldn’t make it the Mill’s “Wait Until Dark” or the Henley / RichShakes co-pro of “The Winter’s Tale.” I’ve seen almost everything Scott Wichmann has been in here but “A Thousand Clowns” escaped me, as did “Romeo and Juliet” starring two of my favorite local actors as the leads. I really wanted to check out CAT’s “Bloody Murder” and several folks talked up “Honk!” to me. It’s all a testament to how much good stuff is going on around here that it’s nearly impossible to see it all.
Do you have any show from last season that you missed that you are kicking yourself about missing now?
Also, be sure and check back here next Monday for the official announcement / listing of the nominations for the 4th Annual RTCC awards. Exciting times!
Monday, August 08, 2011
Friday, August 05, 2011
Whimsy
I went to see this movie last night – “Crazy Stupid Love” – with a couple of friends. It is a very entertaining movie that is very smartly written. It subverts at least a couple romantic comedy tropes and, in fact, in the one scene that is the most obviously cliché, one of the characters says, “this is so cliché.” It also mixes a kind of standard romantic comedy trajectory with the intertwined plot line sensibilities of dramas like “Crash,” resulting in some great payoffs.
However, my friends and I agreed that, as much as we all enjoyed the movie, it had nothing whatsoever to do with how real people interact and carry on relationships. Almost every pairing in the movie was cut from some fairy tale Hollywood model of how people meet, fall into bed, fall in love, fall out of love, etc. It is full of gestures both big and small that only happen in the minds of screenwriters. As one of my friends said, “I remember going to movies hoping to find some message or insight that might be relevant in my life.” As many laughs as this movie provides – and eye-candy moments, thank you Mr. Gosling – it certainly doesn’t provide insight.
Another friend of mine recently used the word “whimsy” in an email. It occurred to me that it’s one of those words that I’ve used before never knowing exactly what it meant. I checked Dictionary.com, which defines whimsy as “extravagant, fanciful, or excessively playful expression: a play with lots of whimsy.” It was an interesting coincidence because the person talking about whimsy was referring to a play, specifically “All’s Well that Ends with Monique.” Given that I also saw “Boeing Boeing” this week in addition to “Crazy Stupid Love,” I’ve pretty much overdosed on whimsy.
“Monique” has several things to recommend it: spirited performances, a very innovative set design, and some great uses of sound and music to support the action. Kristen Swanson totally commits to her self-obsessed character and director Donna Coghill has given her a talented supporting crew. I enjoyed each of Kimberly Jones Clark’s characterizations, Stephen Ryan playing a sock puppet was very funny, and it was a real treat to see BJ Kocen on stage again. I was wondering through the first act whether Mr. Kocen would sing in the show and, when he finally did, it was completely unexpected and delightful.
A lot of clever thinking went into each scene and there are several sharp lines delivered along the way. The way Monique kind of obliviously helps people she interacts with in their lives was a nimble conceit. Even so, my overall impression of the show was of a piece of work that still wasn’t clicking on all cylinders. Some bits didn’t cohere in the way that some Saturday Night Live skits never quite translate into feature films. The show seemed “writerly” to me at times, with characters’ reactions following a written rhythm not necessarily the organic rhythms between people on stage.
In that way, it contrasted with “Boeing Boeing,” which is clearly a work that has been honed over years of productions into a Rube Goldberg device of interactional madness. All the pieces of farce are juggled with precision in this production, directed by Bruce Miller, with potentially disastrous entries coinciding with perfectly timed exits, many doors slammed, and choice bon mots delivered along the way. The three “air hostesses” in the show (Maura Burroughs, Caylyn Temple, and Donna Marie Miller) are all sumptuous beauties that transcend their stereotypes, each with a special spark all her own. Ms. Lewis at the T-D likened Derek Phipps to vintage Jerry Lewis in his supporting role and that’s a spot-on characterization. And Susan Sanford is just so gloriously continental as the French maid, alternately deadpan, world-weary, and flabbergasted. In the midst of it all, Denis Riva holds his own as a man trying desperately to keep his life orderly as it starts to spin out of control.
My reaction to “Boeing” was similar to the one I had to “Crazy Stupid” – many laughs but operating in some alternate reality where people are more like cartoon characters than, you know, people. In the midst of such a whimsy-intensive week, my appreciation for the work did not exactly translate into a love of it.
But maybe I’m just getting old and crotchety. And maybe I’m just prejudicial in my preference for whimsy being kept to musicals where outrageous behavior is commonplace and expected (though two of the musicals I’ve enjoyed most lately – “Ragtime” and “Next to Normal” – were anything but whimsical). I certainly wouldn’t warn anyone away from any of the entertainments I enjoyed this week. I expect there are aspects of “Monique” that could translate into a more completely satisfying work. By all means, go to both “Boeing” and “Crazy Stupid” if you want a laugh-filled, occasionally ridiculous slice of romantic farce.
Personally, I’m in need of a little cleansing of my entertainment palette. Luckily, I came across this little piece to point to potential works of the decidedly unwhimsical kind. Also, at least “Hairspray” marries its silliness to social consciousness and some kick-ass songs so perhaps I’ll emerge next week better able to appreciate the more whimsical aspects of life (and theater).
However, my friends and I agreed that, as much as we all enjoyed the movie, it had nothing whatsoever to do with how real people interact and carry on relationships. Almost every pairing in the movie was cut from some fairy tale Hollywood model of how people meet, fall into bed, fall in love, fall out of love, etc. It is full of gestures both big and small that only happen in the minds of screenwriters. As one of my friends said, “I remember going to movies hoping to find some message or insight that might be relevant in my life.” As many laughs as this movie provides – and eye-candy moments, thank you Mr. Gosling – it certainly doesn’t provide insight.
Another friend of mine recently used the word “whimsy” in an email. It occurred to me that it’s one of those words that I’ve used before never knowing exactly what it meant. I checked Dictionary.com, which defines whimsy as “extravagant, fanciful, or excessively playful expression: a play with lots of whimsy.” It was an interesting coincidence because the person talking about whimsy was referring to a play, specifically “All’s Well that Ends with Monique.” Given that I also saw “Boeing Boeing” this week in addition to “Crazy Stupid Love,” I’ve pretty much overdosed on whimsy.
“Monique” has several things to recommend it: spirited performances, a very innovative set design, and some great uses of sound and music to support the action. Kristen Swanson totally commits to her self-obsessed character and director Donna Coghill has given her a talented supporting crew. I enjoyed each of Kimberly Jones Clark’s characterizations, Stephen Ryan playing a sock puppet was very funny, and it was a real treat to see BJ Kocen on stage again. I was wondering through the first act whether Mr. Kocen would sing in the show and, when he finally did, it was completely unexpected and delightful.
A lot of clever thinking went into each scene and there are several sharp lines delivered along the way. The way Monique kind of obliviously helps people she interacts with in their lives was a nimble conceit. Even so, my overall impression of the show was of a piece of work that still wasn’t clicking on all cylinders. Some bits didn’t cohere in the way that some Saturday Night Live skits never quite translate into feature films. The show seemed “writerly” to me at times, with characters’ reactions following a written rhythm not necessarily the organic rhythms between people on stage.
In that way, it contrasted with “Boeing Boeing,” which is clearly a work that has been honed over years of productions into a Rube Goldberg device of interactional madness. All the pieces of farce are juggled with precision in this production, directed by Bruce Miller, with potentially disastrous entries coinciding with perfectly timed exits, many doors slammed, and choice bon mots delivered along the way. The three “air hostesses” in the show (Maura Burroughs, Caylyn Temple, and Donna Marie Miller) are all sumptuous beauties that transcend their stereotypes, each with a special spark all her own. Ms. Lewis at the T-D likened Derek Phipps to vintage Jerry Lewis in his supporting role and that’s a spot-on characterization. And Susan Sanford is just so gloriously continental as the French maid, alternately deadpan, world-weary, and flabbergasted. In the midst of it all, Denis Riva holds his own as a man trying desperately to keep his life orderly as it starts to spin out of control.
My reaction to “Boeing” was similar to the one I had to “Crazy Stupid” – many laughs but operating in some alternate reality where people are more like cartoon characters than, you know, people. In the midst of such a whimsy-intensive week, my appreciation for the work did not exactly translate into a love of it.
But maybe I’m just getting old and crotchety. And maybe I’m just prejudicial in my preference for whimsy being kept to musicals where outrageous behavior is commonplace and expected (though two of the musicals I’ve enjoyed most lately – “Ragtime” and “Next to Normal” – were anything but whimsical). I certainly wouldn’t warn anyone away from any of the entertainments I enjoyed this week. I expect there are aspects of “Monique” that could translate into a more completely satisfying work. By all means, go to both “Boeing” and “Crazy Stupid” if you want a laugh-filled, occasionally ridiculous slice of romantic farce.
Personally, I’m in need of a little cleansing of my entertainment palette. Luckily, I came across this little piece to point to potential works of the decidedly unwhimsical kind. Also, at least “Hairspray” marries its silliness to social consciousness and some kick-ass songs so perhaps I’ll emerge next week better able to appreciate the more whimsical aspects of life (and theater).
Wednesday, August 03, 2011
One Thousand
According to the blogspot counter, this will be the 1,000th entry I’ve posted on this blog. Wow. That’s a lot of words thrown out into cyberspace over more than 5 years. I haven’t written all of them – Ms. Burruss had a short but lively tenure as a co-blogger and I’ve opened up the space to another commentator or two along the way. Regardless, it’s a lot of verbiage devoted to a fairly narrow subject: an art form that seems somewhat anachronistic in this world full of whiz bang virtual entertainments, in a town that, though beloved by many, still struggles to emerge from second (or third) tier status in the national scene. To some extent, I write this blog in defiance of those preconceptions and perhaps you read it for the same reason.
More important than the words I’ve written are the ones you have contributed to this enterprise. The comments I’ve received over the years – both posted on this site and delivered in person – generally reflect an intelligence and thoughtfulness about theater, theater criticism, the larger theater world, and the place of theater in society. Your responses have challenged me, entertained me, and sometimes enraged me. Whatever their subject or their tone, I’ve always welcomed them. Not because they mean I’ve said anything particularly astute or compelling but because they are proof that there are people out there who share my interest in and excitement for theater. And hopefully, the people who comment are also encouraging others to go see shows and to support the artists who work in this community.
I’m taking the opportunity of this 1,000th post to let you all in some things coming up. I’m planning to post something this Friday (to talk about “Monique” and “Boeing Boeing”) and then starting next Monday, I’m only going to post once a week. You’ll want to check out those weekly posts in the months ahead because the RTCC awards are coming up and the nominations will be announced here on August 15th. I’ll be filling in details about the annual gala event in the weeks ahead, as well as blathering on about the upcoming fall theater season. It’s shaping up to be an intriguing one.
As the post counter trips over into quadruple digits, let me thank everyone out there who reads this blog and, more importantly, who plays an active role in the local theater scene. The theater community here overflows with incredibly creative, dynamic, hard-working and just plain nice people. And while it’s my job to point out where I think a particular effort has come up short or when I think a choice has in some way been misguided, most of the time I am impressed by the level of effort, commitment, and artistry that local theater folks apply to their endeavors. The results are often exhilarating. As the summertime trudges on to a sweaty finish, I look forward to the gifts another theater season will offer with eager anticipation.
More important than the words I’ve written are the ones you have contributed to this enterprise. The comments I’ve received over the years – both posted on this site and delivered in person – generally reflect an intelligence and thoughtfulness about theater, theater criticism, the larger theater world, and the place of theater in society. Your responses have challenged me, entertained me, and sometimes enraged me. Whatever their subject or their tone, I’ve always welcomed them. Not because they mean I’ve said anything particularly astute or compelling but because they are proof that there are people out there who share my interest in and excitement for theater. And hopefully, the people who comment are also encouraging others to go see shows and to support the artists who work in this community.
I’m taking the opportunity of this 1,000th post to let you all in some things coming up. I’m planning to post something this Friday (to talk about “Monique” and “Boeing Boeing”) and then starting next Monday, I’m only going to post once a week. You’ll want to check out those weekly posts in the months ahead because the RTCC awards are coming up and the nominations will be announced here on August 15th. I’ll be filling in details about the annual gala event in the weeks ahead, as well as blathering on about the upcoming fall theater season. It’s shaping up to be an intriguing one.
As the post counter trips over into quadruple digits, let me thank everyone out there who reads this blog and, more importantly, who plays an active role in the local theater scene. The theater community here overflows with incredibly creative, dynamic, hard-working and just plain nice people. And while it’s my job to point out where I think a particular effort has come up short or when I think a choice has in some way been misguided, most of the time I am impressed by the level of effort, commitment, and artistry that local theater folks apply to their endeavors. The results are often exhilarating. As the summertime trudges on to a sweaty finish, I look forward to the gifts another theater season will offer with eager anticipation.
Monday, August 01, 2011
Two Gents
I was able to sneak in to see the last performance of “Two Gentlemen of Verona” this past weekend and clearly the theater-going gods were smiling on me. The temperature came down to the low 80s, I think, and there was even a light breeze. All in all, a perfect night for some outdoor theater.
I’ve mentioned that I saw “Two Gents” a dozen years or so ago, when Grant Mudge started the show with a Baywatch themed scene. It was a clever way to shore up what is one of the Bard’s shakiest plays. Director Molly Hood works a similar ploy by ostensibly setting the show in the 1950s. This strategy does provide some benefit but Ms. Hood’s best decision was the staging of Turio (Tood Patterson) and Proteus (Thomas L. Cunningham) serenading Sylvia (Laura Rikard). The scene becomes a near-perfect mix of sublime (Patterson’s velvet smooth vocals) and silly (Cunningham’s accompaniment).
The production also deserves a great deal of credit for its very briskness. To run through 5 acts of Shakespeare – with the addition of some entertaining dance bits at the beginning and the end – in just over 2 hours including intermission has to be some kind of record. It moved quickly enough to keep the 7 year old accompanying me awake, which is saying quite a lot.
But while Hood provides some great distractions, they can’t quite hide the fundamental issues with this play. Most absurd to me is the denouement when everybody’s motivations and sentiments seem to turn on a dime, allowing for the requisite happy ending. Yes, Valentine (David Janosik) embodies a near-saintly level of forgiveness and understanding about Proteus’s transgressions, but could anyone really turn the other cheek that quickly? And wouldn’t Julia (Laurel Maughan) deliver maybe a good knee to Proteus’s groin first before taking him back so magnanimously?
The cast provided some good performances but only a few really great ones, in my humble opinion. Austin Graham Seay was amusing as Speed and he has an agile physicality that serves him well. I’ll look forward to seeing him in “R&J” at Theatre VCU this coming fall. The laugh-winner award clearly goes to Jonathan Conyers who commits totally and effectively to his wacky role as sad-sack Launce. He certainly deserves props for appearing with an adorable dog on stage and not getting ignored completely.
And some sort of special award should go to Michael Brown for giving the most entertaining and original curtain speech I’ve ever heard. Could every theater employ him to do something similar for every production?
The final impression I left the show with was of a director trying valiantly to overcome some fairly endemic defects in the show. The effort produced some highly original moments and resulted in an entertaining summertime trifle. There are worse things.
I’ve mentioned that I saw “Two Gents” a dozen years or so ago, when Grant Mudge started the show with a Baywatch themed scene. It was a clever way to shore up what is one of the Bard’s shakiest plays. Director Molly Hood works a similar ploy by ostensibly setting the show in the 1950s. This strategy does provide some benefit but Ms. Hood’s best decision was the staging of Turio (Tood Patterson) and Proteus (Thomas L. Cunningham) serenading Sylvia (Laura Rikard). The scene becomes a near-perfect mix of sublime (Patterson’s velvet smooth vocals) and silly (Cunningham’s accompaniment).
The production also deserves a great deal of credit for its very briskness. To run through 5 acts of Shakespeare – with the addition of some entertaining dance bits at the beginning and the end – in just over 2 hours including intermission has to be some kind of record. It moved quickly enough to keep the 7 year old accompanying me awake, which is saying quite a lot.
But while Hood provides some great distractions, they can’t quite hide the fundamental issues with this play. Most absurd to me is the denouement when everybody’s motivations and sentiments seem to turn on a dime, allowing for the requisite happy ending. Yes, Valentine (David Janosik) embodies a near-saintly level of forgiveness and understanding about Proteus’s transgressions, but could anyone really turn the other cheek that quickly? And wouldn’t Julia (Laurel Maughan) deliver maybe a good knee to Proteus’s groin first before taking him back so magnanimously?
The cast provided some good performances but only a few really great ones, in my humble opinion. Austin Graham Seay was amusing as Speed and he has an agile physicality that serves him well. I’ll look forward to seeing him in “R&J” at Theatre VCU this coming fall. The laugh-winner award clearly goes to Jonathan Conyers who commits totally and effectively to his wacky role as sad-sack Launce. He certainly deserves props for appearing with an adorable dog on stage and not getting ignored completely.
And some sort of special award should go to Michael Brown for giving the most entertaining and original curtain speech I’ve ever heard. Could every theater employ him to do something similar for every production?
The final impression I left the show with was of a director trying valiantly to overcome some fairly endemic defects in the show. The effort produced some highly original moments and resulted in an entertaining summertime trifle. There are worse things.
Friday, July 29, 2011
Revival
It’s a weekend of newness: a world premiere of a new play has opened (“All’s Well that Ends with Monique”) and a new staging of “Hairspray” will arrive at the Dell this weekend. But I’d like to talk a little about renewal and revival.
I just recently became aware of Stacie Reardon Hall’s blog, an exploration of weight loss and body image, provocative subjects that she writes honestly and engagingly about. I think the issues she’s addressing are extremely important to tackle because we are pretty fucked up as a society about them. I grew up with three sisters, all who had various forms of body / food issues and, with a wife and two teenage daughters, weight and diet are subjects that are constantly under discussion in our house. I’ve had my own battles with weight, which I used to blog about 5 – 6 years ago as part of my rewarding experience with Weight Watchers and my inclusion in an irreverent band of fellow weight-loss questers called “the Knights of the Round Bottoms.”
But Mrs. Hall is tougher, more eloquent, and more insightful in many ways than we Knights ever were. I love her latest post where she explores the self-perpetuation of negative thinking. And I’m a little scared in anticipation of her letting the boys have it next (a preliminary self-defensive salvo: my most frequent evaluation of most any actress / model I am asked to comment on is “too skinny.” Really. You can ask the kids…) Her attitude is positive and she encapsulates some fundamental truths very well. One of her assertions is now forever stuck in my brain: Confidence is the sexiest thing you can wear. Amen to that.
But to turn this talk of renewal more distinctly toward theater, EW magazine recently ran some pictures from the Rent revival that just opened. They include a few short interesting comments from the director on his approach to the revival. If you go to the EW site, you can check out (and be either heartened by or enraged by) their listing of the “Funniest Musicals of All Time.” “Dirty Rotten Scoundrels” is number 9. Richmond home boy Jason Marks is currently in a production of “The Producers” in upstate New York, a show that EW puts at #4.
Finally, you’re probably aware that there’s a restaging of a revival going on at Barksdale Willow Lawn these days as “Nunsense” gets an extension into the summer. This production has received so many kudos that I had to check it out even though, to be frank, this show has annoyed the hell out of me in the past. As I found out in LA recently, it is a universal bitching point for critics worldwide that they have to see some shows over and over again. A show's very popularity becomes a nuisance.
So I settled in to “Nunsense” with a bit of a stoic attitude that was very quickly melted away by the winning assembly of actresses that director John Moon brings together for this production. At the top of the bill is the flustered, forceful and very funny Cathy Shaffner as the Mother Superior who has a stand-up comedian’s instincts underlying her expert thespian chops. She never reminded me of the iconic Pat Carroll exactly but she certainly had the audience whipped into as much of a comic frenzy as Ms. Carroll used to instigate.
The rest of the cast is just as winning, Katrina Lewis playing Cathy’s wing-nun with an almost regal imperiousness, while Jan Guarino is convincingly world-wise in contrast to Brittany Simmons’s innocence. But big swaths of the night are given over to Debra Wagoner as Sister Amnesia and she certainly makes the most of them. Most entertaining to me was Ms. Wagoner’s easy manner in her interactive moments with the crowd. Not only is Amnesia delightfully ditsy, as Ms. Wagoner plays her, she is as innocent and open as a child. You would have to have a pretty hard heart not to have it melt in her presence.
So, what I’m saying basically is that, in case you don’t have enough theater-going on your schedule already, it’s worth it to fit in a trip to “Nunsense.” Luckily the theater is well air-conditioned, not just because of the heat outside, but because of all the exercise you’re likely to get laughing. Hey, you might even consider including repeat viewings into your weight loss plan.
I just recently became aware of Stacie Reardon Hall’s blog, an exploration of weight loss and body image, provocative subjects that she writes honestly and engagingly about. I think the issues she’s addressing are extremely important to tackle because we are pretty fucked up as a society about them. I grew up with three sisters, all who had various forms of body / food issues and, with a wife and two teenage daughters, weight and diet are subjects that are constantly under discussion in our house. I’ve had my own battles with weight, which I used to blog about 5 – 6 years ago as part of my rewarding experience with Weight Watchers and my inclusion in an irreverent band of fellow weight-loss questers called “the Knights of the Round Bottoms.”
But Mrs. Hall is tougher, more eloquent, and more insightful in many ways than we Knights ever were. I love her latest post where she explores the self-perpetuation of negative thinking. And I’m a little scared in anticipation of her letting the boys have it next (a preliminary self-defensive salvo: my most frequent evaluation of most any actress / model I am asked to comment on is “too skinny.” Really. You can ask the kids…) Her attitude is positive and she encapsulates some fundamental truths very well. One of her assertions is now forever stuck in my brain: Confidence is the sexiest thing you can wear. Amen to that.
But to turn this talk of renewal more distinctly toward theater, EW magazine recently ran some pictures from the Rent revival that just opened. They include a few short interesting comments from the director on his approach to the revival. If you go to the EW site, you can check out (and be either heartened by or enraged by) their listing of the “Funniest Musicals of All Time.” “Dirty Rotten Scoundrels” is number 9. Richmond home boy Jason Marks is currently in a production of “The Producers” in upstate New York, a show that EW puts at #4.
Finally, you’re probably aware that there’s a restaging of a revival going on at Barksdale Willow Lawn these days as “Nunsense” gets an extension into the summer. This production has received so many kudos that I had to check it out even though, to be frank, this show has annoyed the hell out of me in the past. As I found out in LA recently, it is a universal bitching point for critics worldwide that they have to see some shows over and over again. A show's very popularity becomes a nuisance.
So I settled in to “Nunsense” with a bit of a stoic attitude that was very quickly melted away by the winning assembly of actresses that director John Moon brings together for this production. At the top of the bill is the flustered, forceful and very funny Cathy Shaffner as the Mother Superior who has a stand-up comedian’s instincts underlying her expert thespian chops. She never reminded me of the iconic Pat Carroll exactly but she certainly had the audience whipped into as much of a comic frenzy as Ms. Carroll used to instigate.
The rest of the cast is just as winning, Katrina Lewis playing Cathy’s wing-nun with an almost regal imperiousness, while Jan Guarino is convincingly world-wise in contrast to Brittany Simmons’s innocence. But big swaths of the night are given over to Debra Wagoner as Sister Amnesia and she certainly makes the most of them. Most entertaining to me was Ms. Wagoner’s easy manner in her interactive moments with the crowd. Not only is Amnesia delightfully ditsy, as Ms. Wagoner plays her, she is as innocent and open as a child. You would have to have a pretty hard heart not to have it melt in her presence.
So, what I’m saying basically is that, in case you don’t have enough theater-going on your schedule already, it’s worth it to fit in a trip to “Nunsense.” Luckily the theater is well air-conditioned, not just because of the heat outside, but because of all the exercise you’re likely to get laughing. Hey, you might even consider including repeat viewings into your weight loss plan.
Thursday, July 28, 2011
Goodbye to Essie
I only knew Essie Simms by reputation, never having the opportunity to get to know her. But by all accounts, she was Richmond's all-time best theater fan. I mourn her passing along with the rest of the local community. For more info., keep up with the Barksdale blog for details on a memorial service and other remembrances.
Wednesday, July 27, 2011
All’s Well
My preview on “All’s Well the Ends with Monique” is in this week’s Style. Also, the T-D had a review of AART’s “Langston is my Man” yesterday.
Speaking of “All’s Well” – the Shakespearean version, that is – Playbill has an interesting interview of the Artistic Director of the Public Theater who made a point of taking on the “problem plays” this summer. It provides a little insight into the decision-making process of at least one prominent AD.
A local AD was prominently featured last night as Barksdale / Theatre IV staged a preview of their 2011-12 seasons. As part of Irene Ziegler’s funny and engaging patter, Bruce Miller was the butt of a Muriel McAuley joke, which he himself then reinforced. It’s hard not to be charmed by such willing self-deprecation.
The event as a whole was pretty amazing, providing tantalizing snippets of what’s to come. I would love it if other companies in town did this sort of thing, though I expect it’s not as easy to throw together as Billy Christopher Maupin and the whole Barksdale machine made it seem. The most thrilling part of the night for me was hearing Ali Thibodeau sing a selection from “Spring Awakening” (backed by Robin Harris and Brittany Simmons). It had the exact effect I think the Barksdale / Theatre IV folks intended: I now simply cannot wait to see this show.
The most intriguing interlude of the evening was David Robbins introducing a scene from “Scorched Earth,” the world premiere adaptation of his novel that the Barksdale is preparing. I am hopeful for this show and would love to see it succeed. But centered as it is on a small southern town’s legal process and a black man’s prosecution, it is dangerously reminiscent of other popular entertainments (“To Kill a Mockingbird,” the entire John Grisham canon and its adaptations). It will be a challenge for this show to transcend its antecedents.
The talent Barksdale / Maupin was able to pull together for the night was impressive, with David Janeski and Aly Wepplo appearing often, the two of them making even “Lend Me a Tenor” seem like a promising prospect. The show wrapped up with a medley from “My Fair Lady” and really, any time spent listening to Stacey Cabaj perform is a good time. Nuff said there.
I was entertained by the night’s performances and expect it was an unparalleled success in most ways. I couldn’t help but catch a little whiff of a weird dichotomy about the evening, though. I’d say the average age of the crowd was (by very generous estimate) 65 years old. Ms. Ziegler got some mileage out of joking about texting and Tweeting, prompting laughs from the appreciative older crowd. However, “Spring Awakening” is a relatively in-your-face musical for a distinctly younger generation. “God of Carnage” is peppered liberally with ‘fucks’ and ‘shits.’ And considering that the staffers of Barksdale / Theatre IV are among the most prolific Tweeters I know in town, there was a definite young / old tension in the air, at least for me.
I realize that subscribers (who are always older) are still the bread and butter of many theater companies. And the older folks ate up “My Fair Lady” and “Blue Ridge Mountain Christmas.” But it is my fervent hope that Barksdale / Theatre IV is planning to go balls to the wall in using shows like “Spring Awakening” and “Carnage” to bring new patrons – younger patrons – into the theater and, to that end, using texting, Tweeting, blogging, and every social media possible. These new vehicles need to be embraced, not denigrated, and if your crowd is older, perhaps they need to be gently educated instead of coddled by comforting reassurances about how live theater is still that “old style” entertainment they love. For those wondering how best to do this, I’m sure you could bring Monique in as a consultant.
Speaking of “All’s Well” – the Shakespearean version, that is – Playbill has an interesting interview of the Artistic Director of the Public Theater who made a point of taking on the “problem plays” this summer. It provides a little insight into the decision-making process of at least one prominent AD.
A local AD was prominently featured last night as Barksdale / Theatre IV staged a preview of their 2011-12 seasons. As part of Irene Ziegler’s funny and engaging patter, Bruce Miller was the butt of a Muriel McAuley joke, which he himself then reinforced. It’s hard not to be charmed by such willing self-deprecation.
The event as a whole was pretty amazing, providing tantalizing snippets of what’s to come. I would love it if other companies in town did this sort of thing, though I expect it’s not as easy to throw together as Billy Christopher Maupin and the whole Barksdale machine made it seem. The most thrilling part of the night for me was hearing Ali Thibodeau sing a selection from “Spring Awakening” (backed by Robin Harris and Brittany Simmons). It had the exact effect I think the Barksdale / Theatre IV folks intended: I now simply cannot wait to see this show.
The most intriguing interlude of the evening was David Robbins introducing a scene from “Scorched Earth,” the world premiere adaptation of his novel that the Barksdale is preparing. I am hopeful for this show and would love to see it succeed. But centered as it is on a small southern town’s legal process and a black man’s prosecution, it is dangerously reminiscent of other popular entertainments (“To Kill a Mockingbird,” the entire John Grisham canon and its adaptations). It will be a challenge for this show to transcend its antecedents.
The talent Barksdale / Maupin was able to pull together for the night was impressive, with David Janeski and Aly Wepplo appearing often, the two of them making even “Lend Me a Tenor” seem like a promising prospect. The show wrapped up with a medley from “My Fair Lady” and really, any time spent listening to Stacey Cabaj perform is a good time. Nuff said there.
I was entertained by the night’s performances and expect it was an unparalleled success in most ways. I couldn’t help but catch a little whiff of a weird dichotomy about the evening, though. I’d say the average age of the crowd was (by very generous estimate) 65 years old. Ms. Ziegler got some mileage out of joking about texting and Tweeting, prompting laughs from the appreciative older crowd. However, “Spring Awakening” is a relatively in-your-face musical for a distinctly younger generation. “God of Carnage” is peppered liberally with ‘fucks’ and ‘shits.’ And considering that the staffers of Barksdale / Theatre IV are among the most prolific Tweeters I know in town, there was a definite young / old tension in the air, at least for me.
I realize that subscribers (who are always older) are still the bread and butter of many theater companies. And the older folks ate up “My Fair Lady” and “Blue Ridge Mountain Christmas.” But it is my fervent hope that Barksdale / Theatre IV is planning to go balls to the wall in using shows like “Spring Awakening” and “Carnage” to bring new patrons – younger patrons – into the theater and, to that end, using texting, Tweeting, blogging, and every social media possible. These new vehicles need to be embraced, not denigrated, and if your crowd is older, perhaps they need to be gently educated instead of coddled by comforting reassurances about how live theater is still that “old style” entertainment they love. For those wondering how best to do this, I’m sure you could bring Monique in as a consultant.
Monday, July 25, 2011
Costumes
Here’s a recent quote from an interview of a long-standing Hollywood star: “I like the details of costume a lot. The costume is a very important thing. It speaks before you do…You get a reference and it gives context about other characters and the relationships.” This quote came from such an unlikely (IMHO) person that I’ll give a prize to the first reader who can name the star who made the remark. Hint: it was an interview about one of the summer’s big movies.
I bring up this quote because I gained some additional appreciation for costumes this weekend. First there was SPARC’s “Ragtime” that, in addition to all of the amazing performances I mentioned last week, had some gorgeous costumes put together by Kym Minks. A large percentage of the magic created by that production was thanks to the convincing costumes that, as the quote says, provided so much context and even helped define certain characters – the flirty flooziness of Evelyn Nesbit versus the earnest dedication of Emma Goldman versus the stately elegance of Mother was all communicated and enhanced by Ms. Minks costumes.
Then I took in “Langston is my Man,” the musical that African American Rep is putting on at Pine Camp and that is in turns boisterous and thoughtful, rollicking and historically rigorous. I enjoyed this show a great deal, and much of that enjoyment came from being credibly transported to two different eras: Harlem of the 1920s in the first act, then Harlem in the post-depression 1930s in the second.
During the earlier period, club patrons party and play; during the latter, they work and decry their economic plight. But even before a single actor says a word at the opening of the second act, the audience knows things are going to be different because of the dramatic change in Mara Lynch Cravey’s costumes from bright and decorative to dark and utilitarian.
And in one of director Derome Scott Smith’s cleverest moves, later in the second act he has his actors pull out costume pieces from the first act to remind them of that earlier time. It’s a neat little bit of stagecraft that utilizes the artistry of one of his designers to create a beautiful theatrical moment.
This show only runs one more weekend and I highly recommend it, and not only because tickets are free. Smith has convened a great cast, including a top-notch hoofer with Broadway credits, Eugene Fleming. Fleming, along with fellow choreographers Willie Hinton and LaWanda Raines, have developed several fine dance interludes, most utilizing Flemings prodigious tap dancing skills. And underlying the entire enterprise is a foundation of Langston Hughes’s compelling poetry. It’s a relatively short evening – 90 minutes with intermission – but Smith has packed plenty of entertainment value into that amount of time.
If I was being fussy, I’d say I wished for a little more historical and cultural depth in the show so that I would come away with a deeper understanding of what inspired Hughes’s work. But that is my homework assignment now and Smith does provide more than enough of the broad strokes of history to know where to start. And along the way, the show – bolstered by some great vocal work by the ensemble and powerfully led by musical director David Corey – gets the blood pumping with saucy songs and an extended extravaganza of percussion in the second act. Given the admission price, it may be the best entertainment value of the summer.
I bring up this quote because I gained some additional appreciation for costumes this weekend. First there was SPARC’s “Ragtime” that, in addition to all of the amazing performances I mentioned last week, had some gorgeous costumes put together by Kym Minks. A large percentage of the magic created by that production was thanks to the convincing costumes that, as the quote says, provided so much context and even helped define certain characters – the flirty flooziness of Evelyn Nesbit versus the earnest dedication of Emma Goldman versus the stately elegance of Mother was all communicated and enhanced by Ms. Minks costumes.
Then I took in “Langston is my Man,” the musical that African American Rep is putting on at Pine Camp and that is in turns boisterous and thoughtful, rollicking and historically rigorous. I enjoyed this show a great deal, and much of that enjoyment came from being credibly transported to two different eras: Harlem of the 1920s in the first act, then Harlem in the post-depression 1930s in the second.
During the earlier period, club patrons party and play; during the latter, they work and decry their economic plight. But even before a single actor says a word at the opening of the second act, the audience knows things are going to be different because of the dramatic change in Mara Lynch Cravey’s costumes from bright and decorative to dark and utilitarian.
And in one of director Derome Scott Smith’s cleverest moves, later in the second act he has his actors pull out costume pieces from the first act to remind them of that earlier time. It’s a neat little bit of stagecraft that utilizes the artistry of one of his designers to create a beautiful theatrical moment.
This show only runs one more weekend and I highly recommend it, and not only because tickets are free. Smith has convened a great cast, including a top-notch hoofer with Broadway credits, Eugene Fleming. Fleming, along with fellow choreographers Willie Hinton and LaWanda Raines, have developed several fine dance interludes, most utilizing Flemings prodigious tap dancing skills. And underlying the entire enterprise is a foundation of Langston Hughes’s compelling poetry. It’s a relatively short evening – 90 minutes with intermission – but Smith has packed plenty of entertainment value into that amount of time.
If I was being fussy, I’d say I wished for a little more historical and cultural depth in the show so that I would come away with a deeper understanding of what inspired Hughes’s work. But that is my homework assignment now and Smith does provide more than enough of the broad strokes of history to know where to start. And along the way, the show – bolstered by some great vocal work by the ensemble and powerfully led by musical director David Corey – gets the blood pumping with saucy songs and an extended extravaganza of percussion in the second act. Given the admission price, it may be the best entertainment value of the summer.
Friday, July 22, 2011
Kids and Grown-Ups
While I’ve been distracted, at least a couple of pieces in this week’s Style have generated a modicum of interesting comments. One is Mr. Griset’s review of “Two Gentlemen of Verona” that prompted a somewhat obscure comment on what a review is and then a few comments that echoed the review’s sentiments.
I was also interested in this week’s Back Page about Eric Cantor. I could get a good political rant going here but I won’t. I just point to this particular piece because of how the current “debate” in Washington has been increasingly characterized as “childish.” Behaviors like tantrums, digging in of heels, name-calling, and “playing chicken” with the economy have been exhibited on both sides.
What confounds me is the contrast between those grown-ups and the “kids” that currently make up the cast, crew and orchestra of “Ragtime” that SPARC opened at CenterStage last night. The professionalism, poise, and commitment these teens (with a couple of adults and pre-teens thrown in) demonstrate in this production are truly phenomenal. It makes clear that calling the stuff happening on Capitol Hill these days “childish” is demeaning to children.
I can’t talk about “Ragtime” without first saying that I simply adore this musical. The story captures so much of the essential character and struggle that defines our great country and it’s all wrapped up in such an electrifying and enlightening package of songs and scenes.
Starting with this fantastic raw material, director Deb Clinton and musical director Blanton Bradley have crafted something extraordinary, using some of the best talent in town. Don’t get me started on Makenzie Mercer as Mother because I just might not stop. A voice that soars expressively and effortlessly, an almost ethereal calm that grounds her dramatic scenes, and much much more. I could go on but I’ll just say that I thought it couldn’t get much better than Debra Wagoner playing Mother in the concert version Chase Kniffen did a few years back. I’d say Ms. Mercer gives Debra more than a good run for her money.
Ms. Mercer is just the tip of an iceberg of remarkable breath and depth. Durron Tyre devastating and brilliant as Coalhouse, Tanner Pippert excelling in the somewhat thankless role of Father, the gorgeous Courtney Jamison as Sarah, spunky Allison Gilman as Evelyn Nesbit, spry and engaging Michael Thibodeau as Harry Houdini, Thomas Nowlin distinguished and steadfast as Booker T. Washington, even a little Timberline child milking the laugh lines as the Little Boy… It’s a cast of exceptional musical theater performers where even the ensemble is bursting with talent.
But two call-outs I must make because they involve performances that both delighted me and surprised me. Sam Brackley gives Tateh such a mature level of gravitas and handles the complicated character arc with such grace that it is unbelievable that he is still a teenager. And Brian Lampley, uncredited as the one who sings at the 2nd act funeral (don’t want to give away any plot points for anyone…), has such a rich and powerful voice that his solo – as poignant and heart-rending as it is – could have gone on forever as far as I’m concerned.
SPARC’s Ragtime may be a “school edition” of the musical but it succeeds gloriously as a truly grown-up entertainment. If I sound a little overwrought in my praise it’s because that’s exactly how the production left me: choked up with emotion, bleary-eyed with tears and nearly breathless in appreciation. And eager to go on the whole adventure again.
I was also interested in this week’s Back Page about Eric Cantor. I could get a good political rant going here but I won’t. I just point to this particular piece because of how the current “debate” in Washington has been increasingly characterized as “childish.” Behaviors like tantrums, digging in of heels, name-calling, and “playing chicken” with the economy have been exhibited on both sides.
What confounds me is the contrast between those grown-ups and the “kids” that currently make up the cast, crew and orchestra of “Ragtime” that SPARC opened at CenterStage last night. The professionalism, poise, and commitment these teens (with a couple of adults and pre-teens thrown in) demonstrate in this production are truly phenomenal. It makes clear that calling the stuff happening on Capitol Hill these days “childish” is demeaning to children.
I can’t talk about “Ragtime” without first saying that I simply adore this musical. The story captures so much of the essential character and struggle that defines our great country and it’s all wrapped up in such an electrifying and enlightening package of songs and scenes.
Starting with this fantastic raw material, director Deb Clinton and musical director Blanton Bradley have crafted something extraordinary, using some of the best talent in town. Don’t get me started on Makenzie Mercer as Mother because I just might not stop. A voice that soars expressively and effortlessly, an almost ethereal calm that grounds her dramatic scenes, and much much more. I could go on but I’ll just say that I thought it couldn’t get much better than Debra Wagoner playing Mother in the concert version Chase Kniffen did a few years back. I’d say Ms. Mercer gives Debra more than a good run for her money.
Ms. Mercer is just the tip of an iceberg of remarkable breath and depth. Durron Tyre devastating and brilliant as Coalhouse, Tanner Pippert excelling in the somewhat thankless role of Father, the gorgeous Courtney Jamison as Sarah, spunky Allison Gilman as Evelyn Nesbit, spry and engaging Michael Thibodeau as Harry Houdini, Thomas Nowlin distinguished and steadfast as Booker T. Washington, even a little Timberline child milking the laugh lines as the Little Boy… It’s a cast of exceptional musical theater performers where even the ensemble is bursting with talent.
But two call-outs I must make because they involve performances that both delighted me and surprised me. Sam Brackley gives Tateh such a mature level of gravitas and handles the complicated character arc with such grace that it is unbelievable that he is still a teenager. And Brian Lampley, uncredited as the one who sings at the 2nd act funeral (don’t want to give away any plot points for anyone…), has such a rich and powerful voice that his solo – as poignant and heart-rending as it is – could have gone on forever as far as I’m concerned.
SPARC’s Ragtime may be a “school edition” of the musical but it succeeds gloriously as a truly grown-up entertainment. If I sound a little overwrought in my praise it’s because that’s exactly how the production left me: choked up with emotion, bleary-eyed with tears and nearly breathless in appreciation. And eager to go on the whole adventure again.
Thursday, July 21, 2011
Still some Waiting to do
Somewhere I said that "Wait Until Dark" was closing last weekend. I was just on the Mill's website and the show runs through this weekend. The bad news is I'm still not perfect. The good news is that you still have several more opportunities to see this show.
Tribute
My critical colleague, Liz Ramsay, has written a heart-felt and even stirring tribute to the Harry Potter series on her blog. As I often am, I’m envious of both the time and talent it took to write such a fine appreciation, since my time has been crunched as of late (even more than usual) and my talent, well, the very existence of that is debatable.
I’m quite a few years older than Ms. Ramsay so my attachment to the HP series comes from a different place: from being reluctantly drawn into a world my children were exploring and having it become just as all-encompassing for me as it was for them. After slowly being introduced to the story reading the first three books to my daughters, I read each successive book in a weekend, even bringing the 4th book with me as I walked the dog around the neighborhood. When the first movie came out, I was the one who bought the tickets online well before the premiere date and left work early to join my children at the theater. When HP7.2 premiered last weekend, I was at a midnight showing, semi-dragged along by my 10-year old.
I love the books, even though my critical instincts were tweaked by some of the clunky prose and the occasional clumsy plot-saving device (e.g., Ron and Harry saved from the spiders by the enchanted car, the whole time-turner thing, etc.) But the series as a whole is plotted with tremendous skill and there are aspects of the 7th book that I think are pure genius, including one of the most satisfying endings I’ve ever read, all the more impressive given the immense pressure on Rowling to deliver something big (compare it to similar high-pressure series endings like “Seinfeld” or “Lost”).
In general, I’ve appreciated but not loved the movies (3 and 4 have been my faves). Most of them have had significant moments of gawking at the special effects or, in the last one, wasted time spent looking over artsy landscapes. The diminishing number of allowances made to those who aren’t intimately familiar with the story has made these last ones confusing for me, even though I’ve read the source material. And the complete bungling of the Harry and Ginny Weasley relationship is a crime (based on the movies, I’d have wanted Harry to end up with just about any other girl in the cast besides Ginny). Still, each movie has had at least one set-piece that was done spectacularly well. In this last movie, I thought the scene with Dumbledore and Harry in the celestial King’s Cross Station was about as good as I could have imagined it.
This is a lot of rambling about books on a blog that’s supposed to be about theater. I could say that Daniel Radcliffe is a Broadway star now so there’s some relevance. But actually the reason I go on is because, as I mentioned below, I saw the last HP movie only an hour or so after the curtain went down on the performance of “Dirty Rotten Scoundrels” I attended. And I consider them both blockbusters, each with the attendant pros and cons that come with such an enterprise.
There’s no denying the comic tsunami that is Scott Wichmann and the most guffaw-inducing scenes of “Dirty Rotten Scoundrels” involve his character’s ruses. Add Freddy Benson to the impressive list of characters that Scotty has taken to previously unimaginable comic heights. It would be easy to minimize the contribution of Broadway vet Jeff McCarthy in the face of Wichmann’s prodigious skills but that would be a mistake. McCarthy has a difficult and narrow path to travel. He has to be suave, worldly, confident but also a bit worn and you have to believe that after all of his years, that he actually falls for one of his marks. That I never questioned any of those aspects of his character is a tribute to the skill of the actor.
But unexpectedly, I came away from DRS newly impressed with Rachel Abrams, whose straight-forward but nuanced portrayal of Christine was a marked contrast to her last delightful appearance opposite Wichmann as Adelaide in “Guys and Dolls.” I expected to love the scoundrels, but in the end, the sneaky subtlety of Abrams’ performance was what really wooed me. Speaking of which, I also ended up enjoying the stumbling romance of Andre (Joe Pabst) and Muriel (Robin Arthur) more than I would have thought. Between not-too-heavy-handed writing and fresh performances from the actors, this potentially schmaltzy sidelight actually bolstered the trajectory of the main plotline rather than detract from it.
In one last note on an actor, Nicole Oberleitner certainly makes the most out of supporting role that I imagine is the kind actors love where you get to hit the stage for a brief time, chew up all the scenery in sight, and then move on.
It would take another several hundred words to fawn over the technical elements of the show, specifically Brian Barker’s spectacular set and Sue Griffin’s dapper costumes. Let’s just say that comparing this set and costumes to others in town isn’t quite on the level of comparing apples to oranges but it’s close.
Of course, I do have a quibble list and first on it is the sound. I heard most of what I wanted to from those on stage but I heard from several other audience members who didn’t (and that also seems to have been one of Mr. Miller’s at GayRVA’s chief complaints). Every modern musical struggles with the infamous “catchy” conundrum – creating songs that fit in context but also somehow stand-alone enough to be memorable. There were some good songs here – “Great Big Stuff” and “Dirty Rotten Number” specifically – but they suffered a bit from being more percussive and punchy versus melodic and catchy. This does present the opportunity to praise Sandy Dacus’s musical direction though: the big, brassy numbers in particular were sparkling and stirring and a delight to listen to.
My final quibble is more esoteric and, on some levels, perhaps not even appropriate given the subject. It also brings me back to Harry Potter. One of the things Rowling did with the HP books was reinforce some pretty steadfast and even stodgy values – the importance of loyalty and friendship, the fact that our choices define us, etc. – in a way that was actually uplifting instead of pedantic. The movies, even with their whiz-bang effects and some fabulous acting by some of the best Brits around, never really communicated those fundamentals in a convincing way. And perhaps it’s impossible for a big budget summer entertainment to do so.
Similarly, as fabulous as all of the aspects of DRS were (and shoot, I didn’t even mention all of the amazing dance numbers…), I didn’t leave with a sense that it all added up to much. I was entertained – thoroughly so – and I congratulate director Chase Kniffen for engineering such a bedazzling evening. I would even consider going back to get that thoroughly entertained again. But when the show ended, I wasn’t enlightened or emboldened in any way. Perhaps it’s too much to expect to be. But that doesn’t stop me from wanting it.
I’m quite a few years older than Ms. Ramsay so my attachment to the HP series comes from a different place: from being reluctantly drawn into a world my children were exploring and having it become just as all-encompassing for me as it was for them. After slowly being introduced to the story reading the first three books to my daughters, I read each successive book in a weekend, even bringing the 4th book with me as I walked the dog around the neighborhood. When the first movie came out, I was the one who bought the tickets online well before the premiere date and left work early to join my children at the theater. When HP7.2 premiered last weekend, I was at a midnight showing, semi-dragged along by my 10-year old.
I love the books, even though my critical instincts were tweaked by some of the clunky prose and the occasional clumsy plot-saving device (e.g., Ron and Harry saved from the spiders by the enchanted car, the whole time-turner thing, etc.) But the series as a whole is plotted with tremendous skill and there are aspects of the 7th book that I think are pure genius, including one of the most satisfying endings I’ve ever read, all the more impressive given the immense pressure on Rowling to deliver something big (compare it to similar high-pressure series endings like “Seinfeld” or “Lost”).
In general, I’ve appreciated but not loved the movies (3 and 4 have been my faves). Most of them have had significant moments of gawking at the special effects or, in the last one, wasted time spent looking over artsy landscapes. The diminishing number of allowances made to those who aren’t intimately familiar with the story has made these last ones confusing for me, even though I’ve read the source material. And the complete bungling of the Harry and Ginny Weasley relationship is a crime (based on the movies, I’d have wanted Harry to end up with just about any other girl in the cast besides Ginny). Still, each movie has had at least one set-piece that was done spectacularly well. In this last movie, I thought the scene with Dumbledore and Harry in the celestial King’s Cross Station was about as good as I could have imagined it.
This is a lot of rambling about books on a blog that’s supposed to be about theater. I could say that Daniel Radcliffe is a Broadway star now so there’s some relevance. But actually the reason I go on is because, as I mentioned below, I saw the last HP movie only an hour or so after the curtain went down on the performance of “Dirty Rotten Scoundrels” I attended. And I consider them both blockbusters, each with the attendant pros and cons that come with such an enterprise.
There’s no denying the comic tsunami that is Scott Wichmann and the most guffaw-inducing scenes of “Dirty Rotten Scoundrels” involve his character’s ruses. Add Freddy Benson to the impressive list of characters that Scotty has taken to previously unimaginable comic heights. It would be easy to minimize the contribution of Broadway vet Jeff McCarthy in the face of Wichmann’s prodigious skills but that would be a mistake. McCarthy has a difficult and narrow path to travel. He has to be suave, worldly, confident but also a bit worn and you have to believe that after all of his years, that he actually falls for one of his marks. That I never questioned any of those aspects of his character is a tribute to the skill of the actor.
But unexpectedly, I came away from DRS newly impressed with Rachel Abrams, whose straight-forward but nuanced portrayal of Christine was a marked contrast to her last delightful appearance opposite Wichmann as Adelaide in “Guys and Dolls.” I expected to love the scoundrels, but in the end, the sneaky subtlety of Abrams’ performance was what really wooed me. Speaking of which, I also ended up enjoying the stumbling romance of Andre (Joe Pabst) and Muriel (Robin Arthur) more than I would have thought. Between not-too-heavy-handed writing and fresh performances from the actors, this potentially schmaltzy sidelight actually bolstered the trajectory of the main plotline rather than detract from it.
In one last note on an actor, Nicole Oberleitner certainly makes the most out of supporting role that I imagine is the kind actors love where you get to hit the stage for a brief time, chew up all the scenery in sight, and then move on.
It would take another several hundred words to fawn over the technical elements of the show, specifically Brian Barker’s spectacular set and Sue Griffin’s dapper costumes. Let’s just say that comparing this set and costumes to others in town isn’t quite on the level of comparing apples to oranges but it’s close.
Of course, I do have a quibble list and first on it is the sound. I heard most of what I wanted to from those on stage but I heard from several other audience members who didn’t (and that also seems to have been one of Mr. Miller’s at GayRVA’s chief complaints). Every modern musical struggles with the infamous “catchy” conundrum – creating songs that fit in context but also somehow stand-alone enough to be memorable. There were some good songs here – “Great Big Stuff” and “Dirty Rotten Number” specifically – but they suffered a bit from being more percussive and punchy versus melodic and catchy. This does present the opportunity to praise Sandy Dacus’s musical direction though: the big, brassy numbers in particular were sparkling and stirring and a delight to listen to.
My final quibble is more esoteric and, on some levels, perhaps not even appropriate given the subject. It also brings me back to Harry Potter. One of the things Rowling did with the HP books was reinforce some pretty steadfast and even stodgy values – the importance of loyalty and friendship, the fact that our choices define us, etc. – in a way that was actually uplifting instead of pedantic. The movies, even with their whiz-bang effects and some fabulous acting by some of the best Brits around, never really communicated those fundamentals in a convincing way. And perhaps it’s impossible for a big budget summer entertainment to do so.
Similarly, as fabulous as all of the aspects of DRS were (and shoot, I didn’t even mention all of the amazing dance numbers…), I didn’t leave with a sense that it all added up to much. I was entertained – thoroughly so – and I congratulate director Chase Kniffen for engineering such a bedazzling evening. I would even consider going back to get that thoroughly entertained again. But when the show ended, I wasn’t enlightened or emboldened in any way. Perhaps it’s too much to expect to be. But that doesn’t stop me from wanting it.
Friday, July 15, 2011
Wrecked
I’m a bit wrecked this morning. Did a doubleheader last night of “Dirty Rotten Scoundrels” and then “Harry Potter” at midnight. Up and out to work at 8am this morning. Running on caffeine and doughnuts. Gearing up for another gamut tonight. Never a dull moment…
I’ll be ruminating over DRS this weekend and expounding next week. However, I thought it was ironic that I took in Richmond’s blockbuster musical and Hollywood’s blockbuster event on the same evening. My initial reaction to both of them was “Wow!” There is a lot of pizzazz and amazingness in both and scenes that I could not imagine being done any better. And I had a few quibbles with both – minor things that, if I was a grading man, would only knock back an A to an A minus.
But I also have that slight self-critical uneasiness of thinking that the quibbles I have are like being given a delicious feast with variety and enchantment and not being satisfied with the silverware. Both DRS and HP deliver spectacle, wonder, laughs (a hell of a lot more in the former then the latter), and charm. Both are incredibly satisfying entertainment extravaganzas. And I’m really glad I saw both of them – though I’m paying the price this morning.
Which is all preliminary to my real message for today: last chances to see “Wait Until Dark” and "The Odyssey" this weekend and ONLY chances to see “Reasons to be Pretty” by the newcomers at Stage B and the New Voices readings at SPARC. Harry Potter’s going to be running for weeks so, if your time is limited, skip it for now and go see a play.
I’ll be ruminating over DRS this weekend and expounding next week. However, I thought it was ironic that I took in Richmond’s blockbuster musical and Hollywood’s blockbuster event on the same evening. My initial reaction to both of them was “Wow!” There is a lot of pizzazz and amazingness in both and scenes that I could not imagine being done any better. And I had a few quibbles with both – minor things that, if I was a grading man, would only knock back an A to an A minus.
But I also have that slight self-critical uneasiness of thinking that the quibbles I have are like being given a delicious feast with variety and enchantment and not being satisfied with the silverware. Both DRS and HP deliver spectacle, wonder, laughs (a hell of a lot more in the former then the latter), and charm. Both are incredibly satisfying entertainment extravaganzas. And I’m really glad I saw both of them – though I’m paying the price this morning.
Which is all preliminary to my real message for today: last chances to see “Wait Until Dark” and "The Odyssey" this weekend and ONLY chances to see “Reasons to be Pretty” by the newcomers at Stage B and the New Voices readings at SPARC. Harry Potter’s going to be running for weeks so, if your time is limited, skip it for now and go see a play.
Tuesday, July 12, 2011
Next to Normal
Pick up this week's Style for Mr. Griset's reviews of "Dirty Rotten Scoundrels" and "Wait Until Dark." Time is running out on seeing "Wait" so don't....wait, that is, to get tickets.
I'm trying to think ahead -- looking forward to finally seeing DRS this week plus taking in some of SPARC's New Voices readings this weekend. But part of me is still stuck in this past weekend. See, my wife and son had talked up “Next to Normal” for months since they saw it in New York last summer. So I was giddy with anticipation when I took my seat in a Kennedy Center box (it was the back row of the box but still, I’d never seen a show at the Kennedy Center so it worked just fine for me). Just the N2N set is enough to peak your curiosity – it’s many levels and staircases giving it a modern, almost techno look.
The opening number (“Just Another Day”) didn’t disappoint – one of those openers in the classic musical mode that introduces most of the characters and their essential conflicts in an efficient but original manner. I was instantly impressed by Emma Hunton who plays the daughter Natalie and whose voice resonated clear and crystalline. All of the young performers were exceptional, propelled by a driving light-ish rock score.
But starting with the third song, “Who’s Crazy,” and really coming to the fore with “I Miss the Mountains,” there was something odd about lead actress Alice Ripley’s voice. At first, I just thought she had a weird pronunciation thing – an odd way of articulating specific words that I’ve since found out that others have commented on. But as the show continued, it became clearer that Ms. Ripley’s voice just wasn’t on par with the other singers in the cast. Again, there have been others on the Internets who have remarked on this situation with more depth and clarity than I really want to get into.
When the performance ended, I definitely had an appreciation for the power and originality of the show. There were many thrilling moments, most of them having to do with Ms. Hunton. As a parent, I felt a little weird to be identifying so completely with the teenage daughter and having little or no sympathy for the parents and a lot of that had to do with being annoying at Ms. Ripley for not singing better.
In the Washington Post review of the show, Peter Marks calls Ripley “tired.” In my opinion, that is an understatement. My somewhat stronger feelings on the matter are reflected in this review by Alice Kaderlan of the Seattle PI.
I'm a pretty easy-going guy and so, afterwards, I rationalized to myself that all things considered, it was a fine experience. I liked the music, I thought the story was challenging in many good ways, and there were some excellent performances. Perhaps more important, it was a good family outing spent traveling together, sharing conversation over some good food, and enjoying each other's company. But on another level I'm still sort of seething. I spent a whole day and a not-insignificant chunk of money to see a show that had a major defect in it. And it wasn't just that an artistic choice was made that somehow rubbed me the wrong way. There was/is a element in the show that is not working right. A colder, more pragmatic person would make the analogy that if a lighting instrument had burnt out during the course of a show, you'd replace it. Why hasn't someone made a similar replacement of the faulty piece of "Next to Normal?"
I'm trying to think ahead -- looking forward to finally seeing DRS this week plus taking in some of SPARC's New Voices readings this weekend. But part of me is still stuck in this past weekend. See, my wife and son had talked up “Next to Normal” for months since they saw it in New York last summer. So I was giddy with anticipation when I took my seat in a Kennedy Center box (it was the back row of the box but still, I’d never seen a show at the Kennedy Center so it worked just fine for me). Just the N2N set is enough to peak your curiosity – it’s many levels and staircases giving it a modern, almost techno look.
The opening number (“Just Another Day”) didn’t disappoint – one of those openers in the classic musical mode that introduces most of the characters and their essential conflicts in an efficient but original manner. I was instantly impressed by Emma Hunton who plays the daughter Natalie and whose voice resonated clear and crystalline. All of the young performers were exceptional, propelled by a driving light-ish rock score.
But starting with the third song, “Who’s Crazy,” and really coming to the fore with “I Miss the Mountains,” there was something odd about lead actress Alice Ripley’s voice. At first, I just thought she had a weird pronunciation thing – an odd way of articulating specific words that I’ve since found out that others have commented on. But as the show continued, it became clearer that Ms. Ripley’s voice just wasn’t on par with the other singers in the cast. Again, there have been others on the Internets who have remarked on this situation with more depth and clarity than I really want to get into.
When the performance ended, I definitely had an appreciation for the power and originality of the show. There were many thrilling moments, most of them having to do with Ms. Hunton. As a parent, I felt a little weird to be identifying so completely with the teenage daughter and having little or no sympathy for the parents and a lot of that had to do with being annoying at Ms. Ripley for not singing better.
In the Washington Post review of the show, Peter Marks calls Ripley “tired.” In my opinion, that is an understatement. My somewhat stronger feelings on the matter are reflected in this review by Alice Kaderlan of the Seattle PI.
I'm a pretty easy-going guy and so, afterwards, I rationalized to myself that all things considered, it was a fine experience. I liked the music, I thought the story was challenging in many good ways, and there were some excellent performances. Perhaps more important, it was a good family outing spent traveling together, sharing conversation over some good food, and enjoying each other's company. But on another level I'm still sort of seething. I spent a whole day and a not-insignificant chunk of money to see a show that had a major defect in it. And it wasn't just that an artistic choice was made that somehow rubbed me the wrong way. There was/is a element in the show that is not working right. A colder, more pragmatic person would make the analogy that if a lighting instrument had burnt out during the course of a show, you'd replace it. Why hasn't someone made a similar replacement of the faulty piece of "Next to Normal?"
Monday, July 11, 2011
A Monday on the Links
The reviews for “Two Gentlemen of Verona” have started to appear, Ms. Haubenstock weighing in this weekend and Mr. Miller’s analysis hitting the GayRVA site today.
For those who do not have enough theater to take in this summer already, you might be interested in the first offering from Richmond’s latest company, Stage B. They’ll be opening “Reasons to be Pretty” at the Richmond Triangle Players theater this weekend.
I spent some time last week updating the RTCC website. Besides the basic details on this October’s gala event, I’ve uploaded pictures from the 2008 and 2009 ceremonies. I’ve got to organize my 2010 pictures and will have them up soon. Before long, news on presenters and nominees will start to appear on the site. Stay tuned.
This past Saturday, I saw “Next to Normal” at the Kennedy Center. I’ve already posted some of my opinions about this production on Facebook but I’ll summarize by asking, ‘what’s up with Alice Ripley’s voice?’ More on this tomorrow…
For those who do not have enough theater to take in this summer already, you might be interested in the first offering from Richmond’s latest company, Stage B. They’ll be opening “Reasons to be Pretty” at the Richmond Triangle Players theater this weekend.
I spent some time last week updating the RTCC website. Besides the basic details on this October’s gala event, I’ve uploaded pictures from the 2008 and 2009 ceremonies. I’ve got to organize my 2010 pictures and will have them up soon. Before long, news on presenters and nominees will start to appear on the site. Stay tuned.
This past Saturday, I saw “Next to Normal” at the Kennedy Center. I’ve already posted some of my opinions about this production on Facebook but I’ll summarize by asking, ‘what’s up with Alice Ripley’s voice?’ More on this tomorrow…
Friday, July 08, 2011
Last night
Last night was the opening of Richmond Shakespeare’s “Two Gentlemen of Verona.” When I saw this company do this show about a dozen years ago, the “two gentlemen” first came on stage wearing bathing suits to the sounds of the “Baywatch” theme. It was an irreverent and innovative way to make the Bard vital and new and it immediately engendered an affection for Mr. Mudge and his company that has never worn off, regardless of the ups and downs since. Their “Lear” was such a powerful production; I’m curious to see if they can pull off a true one-two punch this summer.
And speaking of “Lear,” did you read the blog-review Monique wrote about the production? It’s good for a laugh and, as such, I’ve added a link to Ms. Monique’s site to keep it in sight for future droll hilarity.
I didn’t spend last night at the Shakespeare opening. Instead, I answered the very kind request of a camp teacher at St. Catherine’s to watch the final production offered by their summer theater program. She thought they’d get a kick out of a “professional” review and I was happy to give them one. Since writing it took up any time I would have had to blog (I know, you’re heartbroken….ha!), I’ve included it below. Happy weekend!
Alice in Not-So-Wonderful Land
It stands to reason that a modern day Alice wouldn’t be traipsing around an English garden but rather dosing off in the midst of middle school detention. That’s only one of many amusing updates that playwright Don Zolidis has packed into “Alice’s Adventures with Poorly Cooked Cafeteria Seafood,” his highly entertaining script which received an energetic staging as part of St. Catherine’s Brilliant Summer camp program.
Unlike Lewis Carroll’s absurdist lampoon of all things British, Zolidis takes aim at a more specific contemporary target – the cult of excellence that drives American education – and his subversive lunacy sounds just right coming out of the mouths of these young performers.
Molly Berger headlines the show as the hapless Alice, constantly denigrated for not excelling in her scholarly pursuits the way her pushy, nerdy little brother Waldo (Tim Webb) does. Landing in detention after daring to stand up to the comically abusive biology teacher, Mrs. Snodgrass (Abigail DeLuca), Alice wanders through a low-rent looking glass (callouts to the lack of a production budget provide several laughs) to meet an array of wild and fairly mean creatures.
Some of these oddballs are simply entertaining: a Griffin (Maddie Ownby) and a Ninja Turtle (Anna Woodworth) provide nice Abbott-and-Costello-like banter. Others have a sly message hidden in their rhetoric, like Jeri Newman’s Catepillar, satisfied in her slackerhood and not at all eager to blossom into a butterfly. At least a couple of the creatures she meets seem determined to get in her way, the in-your-face March Hare (Sarah Wells) and the not-so-secretly violent Cheshire Cat (Rebecca Houck).
In her search for the elusive White Rabbit (Megan Deibel), Alice is offered a modicum of assistance by a cheeky Mouse (Isoke Wright). She eventually finds the Mad Hater (also Tim Webb) who points her to the Red Queen (also DeLuca) who, in turn, threatens her with execution. Only when Alice asserts her self-worth despite her mediocrity does she defeat the Queen and return to her other reality with a renewed sense of empowerment.
All of the St. Catherine’s actors give wholehearted performances and maintain their composure (for the most part) in the midst of the madness. Berger is a winning narrator and sympathetic protagonist, wearing her wide-eyed frustration well. As the villain of the piece (in both of her guises), DeLuca snips and snaps at those around her convincingly. The March Hare doesn’t get much stage time, but Wells makes the most of it, infusing the bunny with a quick wit and contrary attitude.
Wright plays a spry and cheerful Mouse and Newman is delightfully laid-back as the Catepillar. I would have enjoyed seeing more of Deibel who showed good range in portraying both the determined White Rabbit and the clearly-playing-favorites Mother. Woodworth’s forgetful Ninja Turtle prompted many laughs, and her concerned refrain of “The Children!” was a great counterpoint during the Mad Hater’s rampage. And Houck gets a nicely sinister gleam in her eye as the Cheshire Cat explains her proclivity toward mayhem.
Two performances stuck out to me for completely different reasons. Webb’s over-the-top rants as Waldo were funny and surprising but also a bit much. At least that’s what I thought until he really let loose as the Mad Hater and then it was downright disturbing in a way that lifted the production above youngsters playing at theater into a realm of social commentary of the most eye-opening kind. On the complete other end of the spectrum was Maddie Ownby’s pitch-perfect off-hand energy as the Griffin. Her performance showed how, in a production full of extreme weirdness, the simple and straightforward can work exceptionally well.
I attended this production of “Alice” expecting a bunch of kids struggling with their lines and stumbling across the stage. Instead, I was treated to a wry and wonderful evening of laughs and insubordination. Many thanks to director Tony Scarsella (and fellow theater teacher Christina Bellew) for lifting both my spirits and my hopes for the next generation of young thespians.
And speaking of “Lear,” did you read the blog-review Monique wrote about the production? It’s good for a laugh and, as such, I’ve added a link to Ms. Monique’s site to keep it in sight for future droll hilarity.
I didn’t spend last night at the Shakespeare opening. Instead, I answered the very kind request of a camp teacher at St. Catherine’s to watch the final production offered by their summer theater program. She thought they’d get a kick out of a “professional” review and I was happy to give them one. Since writing it took up any time I would have had to blog (I know, you’re heartbroken….ha!), I’ve included it below. Happy weekend!
Alice in Not-So-Wonderful Land
It stands to reason that a modern day Alice wouldn’t be traipsing around an English garden but rather dosing off in the midst of middle school detention. That’s only one of many amusing updates that playwright Don Zolidis has packed into “Alice’s Adventures with Poorly Cooked Cafeteria Seafood,” his highly entertaining script which received an energetic staging as part of St. Catherine’s Brilliant Summer camp program.
Unlike Lewis Carroll’s absurdist lampoon of all things British, Zolidis takes aim at a more specific contemporary target – the cult of excellence that drives American education – and his subversive lunacy sounds just right coming out of the mouths of these young performers.
Molly Berger headlines the show as the hapless Alice, constantly denigrated for not excelling in her scholarly pursuits the way her pushy, nerdy little brother Waldo (Tim Webb) does. Landing in detention after daring to stand up to the comically abusive biology teacher, Mrs. Snodgrass (Abigail DeLuca), Alice wanders through a low-rent looking glass (callouts to the lack of a production budget provide several laughs) to meet an array of wild and fairly mean creatures.
Some of these oddballs are simply entertaining: a Griffin (Maddie Ownby) and a Ninja Turtle (Anna Woodworth) provide nice Abbott-and-Costello-like banter. Others have a sly message hidden in their rhetoric, like Jeri Newman’s Catepillar, satisfied in her slackerhood and not at all eager to blossom into a butterfly. At least a couple of the creatures she meets seem determined to get in her way, the in-your-face March Hare (Sarah Wells) and the not-so-secretly violent Cheshire Cat (Rebecca Houck).
In her search for the elusive White Rabbit (Megan Deibel), Alice is offered a modicum of assistance by a cheeky Mouse (Isoke Wright). She eventually finds the Mad Hater (also Tim Webb) who points her to the Red Queen (also DeLuca) who, in turn, threatens her with execution. Only when Alice asserts her self-worth despite her mediocrity does she defeat the Queen and return to her other reality with a renewed sense of empowerment.
All of the St. Catherine’s actors give wholehearted performances and maintain their composure (for the most part) in the midst of the madness. Berger is a winning narrator and sympathetic protagonist, wearing her wide-eyed frustration well. As the villain of the piece (in both of her guises), DeLuca snips and snaps at those around her convincingly. The March Hare doesn’t get much stage time, but Wells makes the most of it, infusing the bunny with a quick wit and contrary attitude.
Wright plays a spry and cheerful Mouse and Newman is delightfully laid-back as the Catepillar. I would have enjoyed seeing more of Deibel who showed good range in portraying both the determined White Rabbit and the clearly-playing-favorites Mother. Woodworth’s forgetful Ninja Turtle prompted many laughs, and her concerned refrain of “The Children!” was a great counterpoint during the Mad Hater’s rampage. And Houck gets a nicely sinister gleam in her eye as the Cheshire Cat explains her proclivity toward mayhem.
Two performances stuck out to me for completely different reasons. Webb’s over-the-top rants as Waldo were funny and surprising but also a bit much. At least that’s what I thought until he really let loose as the Mad Hater and then it was downright disturbing in a way that lifted the production above youngsters playing at theater into a realm of social commentary of the most eye-opening kind. On the complete other end of the spectrum was Maddie Ownby’s pitch-perfect off-hand energy as the Griffin. Her performance showed how, in a production full of extreme weirdness, the simple and straightforward can work exceptionally well.
I attended this production of “Alice” expecting a bunch of kids struggling with their lines and stumbling across the stage. Instead, I was treated to a wry and wonderful evening of laughs and insubordination. Many thanks to director Tony Scarsella (and fellow theater teacher Christina Bellew) for lifting both my spirits and my hopes for the next generation of young thespians.
Thursday, July 07, 2011
Trouble
I realized late yesterday that I gave short shrift to “The Odyssey,” just talking about its setting and not the show itself. Chalk it up to getting back into the swing of things coming off of a holiday weekend.
According to the Wikipedia, Odysseus means ‘trouble’ in Greek. I had been planning to use this factoid as part of my review because, while the Greek hero certainly had trouble thrown at him, he was also responsible for a fair amount of the trouble he faced. Similarly, the Sycamore Rouge production has some challenges thrust upon it, but also some of its problems are self-generated. Even so, as I mentioned in my review, there were many scenes where I got caught up in the action and the drama unfolding on stage. And I applaud the actors and production people who make the production work as well as it does, despite the challenges.
Certainly the trains are an issue. The performance I attended was interrupted 3 times by a train passing. The first time was kind of charming, the second time was still endurable, but by the third time, I was getting annoyed. The Rouge can’t control the trains, I know, so I don’t blame them. But I can’t deny that I found a fourth interruption in the action (including intermission) detrimental to my enjoyment of the experience.
I spent the first act of the show as close as possible to the stage. For the second act, I moved back to a back row on the lawn and that’s when I started hearing music from elsewhere. Again, not Sycamore Rouge’s fault but distracting for me.
I mention the episodic nature of the story. Much of “The Odyssey” unfolds as a series of misadventures and a dramatic arc such as one might expect in a modern-day drama doesn’t quite cohere. This also hampers character development to some extent. Some of Odysseus’s motivations didn’t quite work for me. Where does his pride in taunting the Cyclops come from that causes him such trouble with Poseidon? And after being away from home for decades, could he really keep his identity hidden from his son and wife for so long? The last quarter or so of the show where Odysseus has returned to Ithica takes entirely too long in my opinion.
There were some minor things that misfired at the performance I saw. The red ribbons signifying deaths were a great idea that were a mixed bag in practice – I didn’t even notice them until later in the show when the ribbon was curiously hanging out of Cyclops’ eye before it had been gouged. The occasionally awkward dialogue prompted some presentational performances, a bit stilted and forced at times. And there was a little pet peeve of mine that got tweaked when the gang of “suitors” at Odysseus’s home were often laughing and carrying on with no clear motivation. When characters just look at each other and start guffawing, it always takes me out of the action.
But putting all of that aside, there was plenty to cheer in the production. I enjoyed director kb saine’s modernizing touches – the “eyes on you” gesture Ms. Lewis mentioned, the come-ons from the Sirens, etc. Having the actor who played Zeus (Risegun Bennett-Olomidum) also provide sound effects enhanced the atmosphere at many key points. In my review, I called out Ms. Linas for her performance, which I enjoyed a great deal, but I did not have space to heap adequate praise on Ashley Maurisa Davis who infused her roles as Eurycleia and Calypso with delightful liveliness (including a musical “island” accent for the latter). Shanea Taylor brought her usual forcefulness to bear as the petulant Poseiden and Claire Biggers was entrancing throughout as narrator and Athena.
Zac Moon was a prime example of an actor who overcame the boundaries of the dialogue and made his Telemachus the most believable and natural character in the show. He was the reason I enjoyed many of the Ithica scenes the most. And of course, Jeff Cole managed to be the wild range of things the story required him to be convincingly and gracefully. He was prideful, sad, tormented, triumphant, tricky, and determined. And in perhaps the most effective scene of the show, he was wrenched emotionally as he chose between taking his boat into a whirlpool that would kill them all or into the clutches of a 6-headed beast that would devour one crew member for each head.
I hope the Rouge continues to do shows at Battersea Park because it is a beautiful location and there is a dearth of nice outdoor venues in the area (the Dell, Agecroft, and…am I missing something?) Next summer’s planned Battersea show is “Darker Face of the Earth,” which sounds like a perfect convergence of ancient source material, more modern situations, and an appropriate setting (i.e., an antebellum plantation). So I’ll definitely be back.
According to the Wikipedia, Odysseus means ‘trouble’ in Greek. I had been planning to use this factoid as part of my review because, while the Greek hero certainly had trouble thrown at him, he was also responsible for a fair amount of the trouble he faced. Similarly, the Sycamore Rouge production has some challenges thrust upon it, but also some of its problems are self-generated. Even so, as I mentioned in my review, there were many scenes where I got caught up in the action and the drama unfolding on stage. And I applaud the actors and production people who make the production work as well as it does, despite the challenges.
Certainly the trains are an issue. The performance I attended was interrupted 3 times by a train passing. The first time was kind of charming, the second time was still endurable, but by the third time, I was getting annoyed. The Rouge can’t control the trains, I know, so I don’t blame them. But I can’t deny that I found a fourth interruption in the action (including intermission) detrimental to my enjoyment of the experience.
I spent the first act of the show as close as possible to the stage. For the second act, I moved back to a back row on the lawn and that’s when I started hearing music from elsewhere. Again, not Sycamore Rouge’s fault but distracting for me.
I mention the episodic nature of the story. Much of “The Odyssey” unfolds as a series of misadventures and a dramatic arc such as one might expect in a modern-day drama doesn’t quite cohere. This also hampers character development to some extent. Some of Odysseus’s motivations didn’t quite work for me. Where does his pride in taunting the Cyclops come from that causes him such trouble with Poseidon? And after being away from home for decades, could he really keep his identity hidden from his son and wife for so long? The last quarter or so of the show where Odysseus has returned to Ithica takes entirely too long in my opinion.
There were some minor things that misfired at the performance I saw. The red ribbons signifying deaths were a great idea that were a mixed bag in practice – I didn’t even notice them until later in the show when the ribbon was curiously hanging out of Cyclops’ eye before it had been gouged. The occasionally awkward dialogue prompted some presentational performances, a bit stilted and forced at times. And there was a little pet peeve of mine that got tweaked when the gang of “suitors” at Odysseus’s home were often laughing and carrying on with no clear motivation. When characters just look at each other and start guffawing, it always takes me out of the action.
But putting all of that aside, there was plenty to cheer in the production. I enjoyed director kb saine’s modernizing touches – the “eyes on you” gesture Ms. Lewis mentioned, the come-ons from the Sirens, etc. Having the actor who played Zeus (Risegun Bennett-Olomidum) also provide sound effects enhanced the atmosphere at many key points. In my review, I called out Ms. Linas for her performance, which I enjoyed a great deal, but I did not have space to heap adequate praise on Ashley Maurisa Davis who infused her roles as Eurycleia and Calypso with delightful liveliness (including a musical “island” accent for the latter). Shanea Taylor brought her usual forcefulness to bear as the petulant Poseiden and Claire Biggers was entrancing throughout as narrator and Athena.
Zac Moon was a prime example of an actor who overcame the boundaries of the dialogue and made his Telemachus the most believable and natural character in the show. He was the reason I enjoyed many of the Ithica scenes the most. And of course, Jeff Cole managed to be the wild range of things the story required him to be convincingly and gracefully. He was prideful, sad, tormented, triumphant, tricky, and determined. And in perhaps the most effective scene of the show, he was wrenched emotionally as he chose between taking his boat into a whirlpool that would kill them all or into the clutches of a 6-headed beast that would devour one crew member for each head.
I hope the Rouge continues to do shows at Battersea Park because it is a beautiful location and there is a dearth of nice outdoor venues in the area (the Dell, Agecroft, and…am I missing something?) Next summer’s planned Battersea show is “Darker Face of the Earth,” which sounds like a perfect convergence of ancient source material, more modern situations, and an appropriate setting (i.e., an antebellum plantation). So I’ll definitely be back.
Tuesday, July 05, 2011
Sheer Volume
My review of Sycamore Rouge's “The Odyssey” is in Style this week. Battersea Park is a charming place to hang out for a few hours and the weather was lovely when I went there; it was downright chilly by the time the show wrapped up. I’d definitely recommend bringing a picnic but leave some room for the sweet kettle corn that the concessionaires are selling. Yummy.
I continue to be staggered by the sheer volume of theater happening in the summer time these days. Theatre IV’s “Little Red Hen” opened last weekend (a link to Ms. Lewis’s review is over there on the right) and the next Richmond Shakespeare offering, “Two Gentlemen of Verona” premieres this weekend. And, while I knew Dogwood Dell would have “Hairspray” at the end of the month, I just became aware of perhaps the most exciting development of the summer, a world premiere of “All’s Well that Ends with Monique,” which will hit the RTP stage at the end of the month. More on this soon…
In conjunction with my other piece in Style this week about the dovetailing of Firehouse’s Festival of New Plays and SPARC’s New Voices, I’m also surprised and delighted at the level of talent that is involved in staging these new works. I’m more aware of what’s happening with New Voices than the Firehouse festival and the casts of the shows being produced by SPARC reads like a who’s-who of local theater. The performers will include Andrew Boothby, Jeff Cole, Larry Cook, Lauren Leinhaas-Cook, Thomas Cunningham, Matt Hackman, Chris Hester, Audra Honaker, Dean Knight, Emma Mason, Jen Meharg, Daniel Moore, Jay Welch and that’s just pulling the names of actors I recognize as recently (or currently) starring in local professional productions. And they’ll be led by 8 impressive directors, most of whom also have professional credits under their belts.
Personally, I’m still trying to catch up on the shows that are already open. Where can we petition to make every summer weekend last three days so a poor ragged theater lover can see all of the shows in town?
I continue to be staggered by the sheer volume of theater happening in the summer time these days. Theatre IV’s “Little Red Hen” opened last weekend (a link to Ms. Lewis’s review is over there on the right) and the next Richmond Shakespeare offering, “Two Gentlemen of Verona” premieres this weekend. And, while I knew Dogwood Dell would have “Hairspray” at the end of the month, I just became aware of perhaps the most exciting development of the summer, a world premiere of “All’s Well that Ends with Monique,” which will hit the RTP stage at the end of the month. More on this soon…
In conjunction with my other piece in Style this week about the dovetailing of Firehouse’s Festival of New Plays and SPARC’s New Voices, I’m also surprised and delighted at the level of talent that is involved in staging these new works. I’m more aware of what’s happening with New Voices than the Firehouse festival and the casts of the shows being produced by SPARC reads like a who’s-who of local theater. The performers will include Andrew Boothby, Jeff Cole, Larry Cook, Lauren Leinhaas-Cook, Thomas Cunningham, Matt Hackman, Chris Hester, Audra Honaker, Dean Knight, Emma Mason, Jen Meharg, Daniel Moore, Jay Welch and that’s just pulling the names of actors I recognize as recently (or currently) starring in local professional productions. And they’ll be led by 8 impressive directors, most of whom also have professional credits under their belts.
Personally, I’m still trying to catch up on the shows that are already open. Where can we petition to make every summer weekend last three days so a poor ragged theater lover can see all of the shows in town?
Friday, July 01, 2011
Holiday Media Bonanza
I feel I’ve been playing catch up since I’ve been back from L.A., missing out on some of the big celebrity news (some of it summarized in this CBS news piece). Alicia Keys joining the ranks of producer should be a boon for those wanting more female perspectives and younger energy in the big-time professional stage world.
One of my NEA fellows was a bright and talented writer / editor named Grace Suh who has done a lot of thinking and writing about gender issues in theater. You can see some of that thought in this piece about the theater gender gap and this one where she asks some prominent theater people about this question.
Grace was also our go-to person for all things Julie Taymor. If you are interested, you can check out her coverage of Taymor’s time out in LA in this piece, arguably more comprehensive than this NYTimes piece on the recently embattled director.
There was plenty of local news to ponder, as well, and shows like “Pirates of the Chemotherapy” that I almost forgot were going to happen. Luckily, the T-D did some good work in reporting on that production.
And for other interesting reporting, you can check out Matt Miller’s interview with “King Lear” director, James Alexander Bond in today’s GayRVA. I particularly appreciate that Mr. Miller asked about the sexuality in his production (which I commented on in this space yesterday)and Mr. Bond's thoughtful response.
And to whet your appetite, Mr. Porter promises more coverage than his normal 3 minutes at his blog today. Check back to see some real analysis from someone who thinks about theater with more depth and experience than I’ll ever have.
Personally, I’ll be spending the long holiday weekend with family, getting too much sun and drinking too much beer. I hope you have a fine celebration of your own and manage to fit in attendance at a local show while you’re at it!
One of my NEA fellows was a bright and talented writer / editor named Grace Suh who has done a lot of thinking and writing about gender issues in theater. You can see some of that thought in this piece about the theater gender gap and this one where she asks some prominent theater people about this question.
Grace was also our go-to person for all things Julie Taymor. If you are interested, you can check out her coverage of Taymor’s time out in LA in this piece, arguably more comprehensive than this NYTimes piece on the recently embattled director.
There was plenty of local news to ponder, as well, and shows like “Pirates of the Chemotherapy” that I almost forgot were going to happen. Luckily, the T-D did some good work in reporting on that production.
And for other interesting reporting, you can check out Matt Miller’s interview with “King Lear” director, James Alexander Bond in today’s GayRVA. I particularly appreciate that Mr. Miller asked about the sexuality in his production (which I commented on in this space yesterday)and Mr. Bond's thoughtful response.
And to whet your appetite, Mr. Porter promises more coverage than his normal 3 minutes at his blog today. Check back to see some real analysis from someone who thinks about theater with more depth and experience than I’ll ever have.
Personally, I’ll be spending the long holiday weekend with family, getting too much sun and drinking too much beer. I hope you have a fine celebration of your own and manage to fit in attendance at a local show while you’re at it!
Wednesday, June 29, 2011
Lear
My enjoyment of Richmond Shakespeare's King Lear started the moment I sat down. I was soon approached by Thomas Cunningham in his guise as The Fool and was chatted up nicely. I think I was a boring subject but he soon moved on to other much more entertaining victims and provided a personalized and charming introduction to the play for many patrons. As per usual, RichShakes makes even waiting for their shows to start something interesting.
The production itself was fabulous with a boldness and sense of gravitas that begins and ends with Alan Sader's performance as the title character. His voice, his composure, even his regally shaggy mane of gray hair made his royal stature unmistakeable and his eventual descent into madness palpable. I loved the way director James Alexander Bond staged the first scene with the king and his daughters, Lear's directive for flattery seeming almost off-hand and casual. Oh, but what a tragic series of events springs from this simple command. Jai Goodman is quietly heart-breaking as Cordelia and her performance provides a tender frame to this otherwise dastardly mean-spirited play (and I mean that as praise), her scenes at the beginning and the end providing a window into a more sedate and loving time in Lear's reign.
Adrian Rieder was impressive as Edmund but there was also a bit more swagger in his performance where I might have wanted more anger or even hurt (at being so unfairly diminished by his father). Still, there's no denying the agility with which he navigates the moments he bounces between Goneril and Regan -- simply delicious. A still greater challenge falls to Charley Raintree whose Edgar starts noble and clueless, falls into pantomiming madness with incredible zeal, and then emerges noble once more but with a worldliness and an anger that gives his character even more depth than Lear. Raintree's performance really captivated me.
Rounding out a truly outstanding trio of dark, passionate, and handsome types was Ryan Bechard as Cornwall. Could this really be the same actor who played the washed-up alcoholic from RTP’s “Devil Boys?” I never would have believed it, his smoldering power-lust was like a physical force at times, propelling the emotion of many scenes and apparently inspiring near-constant passion from Regan.
In the midst of so much excellent stuff going on, it is easy to pass over other great performances, which would include Cunningham as The Fool (that he can be so hammy and erudite at the same time is really a gift) and Foster Solomon as Kent. It's true that in a few years, Solomon himself could be a darn good Lear (he's already been a damn good Hamlet) but he does fine work as Lear's most loyal and therefore most crestfallen acolyte. Agustin Correro projected just the right level of disdain and sometimes comic bitchiness as Oswald; I wonder when we’ll see Mr. Correro in a lead role that will display the full range of his gifts.
I found myself liking the mean daughters somewhat less than I expected to, particularly since I’m a fan of both Kerry McGee and Sarah Jamillah Johnson. Certainly, they both were satisfactorily callous to their father, oftentimes getting downright nasty. But I found Regan’s pawing of her husband, sometimes in the middle of his lines, distracting. Perhaps this was Mr. Bond’s choice and maybe it’s more evident in the text then a realize but it was a bit odd on stage. I also found myself confused at times whether their rebuke of their father was out of political gamesmanship, familial hurt (for being overlooked for the favorite Cordelia, in parallel to the Edgar story), or just ingrained badness. It could have been all three but their motivations at specific points as the drama unfolded were sometimes obscure to me.
I found myself noticing the lights at Agecroft (lighting design was by Maja White) more than I had in the past, which is mostly a good thing. The actors were all illuminated well without distracting shadows (a relief after some recent frustration at the Firehouse) and the light-play that enlivened the storm was first-rate. There was at least one time when I was confused about a reference in the play to it being night, however, because it seemed awfully bright. That’s probably a tough balance in an outdoor venue.
The Cairns / Hoskins teamwork on the costumes resulted in some exceptional outfits. The king and the members of his court were finely decked out, of course, but I found myself noticing small things, too, like how Poor Tom’s rags were barely there and yet securely covered everything needed to keep the show family friendly. Also, the garb Jai Goodman wore as a peasant helping Gloucester along the path was nicely simple.
I’m sure there’s plenty else I could say but this is a production that is rich with gifts and I can’t really enumerate them effectively. So I’ll end where I began, with Mr. Sader and Mr. Bond. As a director, Bond has once again shown he has a firm grasp of the oeuvre and can make Shakespeare vital and entertaining. And, if for no other reason, this is a show that’s worth seeing for Sader.
The production itself was fabulous with a boldness and sense of gravitas that begins and ends with Alan Sader's performance as the title character. His voice, his composure, even his regally shaggy mane of gray hair made his royal stature unmistakeable and his eventual descent into madness palpable. I loved the way director James Alexander Bond staged the first scene with the king and his daughters, Lear's directive for flattery seeming almost off-hand and casual. Oh, but what a tragic series of events springs from this simple command. Jai Goodman is quietly heart-breaking as Cordelia and her performance provides a tender frame to this otherwise dastardly mean-spirited play (and I mean that as praise), her scenes at the beginning and the end providing a window into a more sedate and loving time in Lear's reign.
Adrian Rieder was impressive as Edmund but there was also a bit more swagger in his performance where I might have wanted more anger or even hurt (at being so unfairly diminished by his father). Still, there's no denying the agility with which he navigates the moments he bounces between Goneril and Regan -- simply delicious. A still greater challenge falls to Charley Raintree whose Edgar starts noble and clueless, falls into pantomiming madness with incredible zeal, and then emerges noble once more but with a worldliness and an anger that gives his character even more depth than Lear. Raintree's performance really captivated me.
Rounding out a truly outstanding trio of dark, passionate, and handsome types was Ryan Bechard as Cornwall. Could this really be the same actor who played the washed-up alcoholic from RTP’s “Devil Boys?” I never would have believed it, his smoldering power-lust was like a physical force at times, propelling the emotion of many scenes and apparently inspiring near-constant passion from Regan.
In the midst of so much excellent stuff going on, it is easy to pass over other great performances, which would include Cunningham as The Fool (that he can be so hammy and erudite at the same time is really a gift) and Foster Solomon as Kent. It's true that in a few years, Solomon himself could be a darn good Lear (he's already been a damn good Hamlet) but he does fine work as Lear's most loyal and therefore most crestfallen acolyte. Agustin Correro projected just the right level of disdain and sometimes comic bitchiness as Oswald; I wonder when we’ll see Mr. Correro in a lead role that will display the full range of his gifts.
I found myself liking the mean daughters somewhat less than I expected to, particularly since I’m a fan of both Kerry McGee and Sarah Jamillah Johnson. Certainly, they both were satisfactorily callous to their father, oftentimes getting downright nasty. But I found Regan’s pawing of her husband, sometimes in the middle of his lines, distracting. Perhaps this was Mr. Bond’s choice and maybe it’s more evident in the text then a realize but it was a bit odd on stage. I also found myself confused at times whether their rebuke of their father was out of political gamesmanship, familial hurt (for being overlooked for the favorite Cordelia, in parallel to the Edgar story), or just ingrained badness. It could have been all three but their motivations at specific points as the drama unfolded were sometimes obscure to me.
I found myself noticing the lights at Agecroft (lighting design was by Maja White) more than I had in the past, which is mostly a good thing. The actors were all illuminated well without distracting shadows (a relief after some recent frustration at the Firehouse) and the light-play that enlivened the storm was first-rate. There was at least one time when I was confused about a reference in the play to it being night, however, because it seemed awfully bright. That’s probably a tough balance in an outdoor venue.
The Cairns / Hoskins teamwork on the costumes resulted in some exceptional outfits. The king and the members of his court were finely decked out, of course, but I found myself noticing small things, too, like how Poor Tom’s rags were barely there and yet securely covered everything needed to keep the show family friendly. Also, the garb Jai Goodman wore as a peasant helping Gloucester along the path was nicely simple.
I’m sure there’s plenty else I could say but this is a production that is rich with gifts and I can’t really enumerate them effectively. So I’ll end where I began, with Mr. Sader and Mr. Bond. As a director, Bond has once again shown he has a firm grasp of the oeuvre and can make Shakespeare vital and entertaining. And, if for no other reason, this is a show that’s worth seeing for Sader.
Tuesday, June 28, 2011
Required Viewing
A review of “Dirty Rotten Scoundrels” by Mr. Miller is up at the GayRVA site, a review that may incite some conversation.
I’m adding another little feature to my navigation over there on the right. One thing that my eyes were opened to when I was in Los Angeles was the number of people out there in cyberland who are covering theater. So I am adding a little sidebar with links to other websites that I have – or will start to – access for the latest “News and Reviews” on Broadway and theater around the country (or the world).
The first link is to an online publication called Arts Journal. One of the highlights of my L.A. experience was the opportunity to work with Doug McClennan who is a true visionary when it comes to the effect of the internet and new media on the arts. He did a talk at the TCG conference called “The Community Formerly Known as the Audience: Who They Are, What They Want, and What to do About It” (you can – and should! – pull up the livestream of the talk. Doug actually starts talking at about 6:11 so go to that point for the beginning and skip all of the milling around. And if you watch, yes, that’s me up there on the dais providing what tech support I could during the talk).
While the talk was going on, Doug was also taking questions from the audience in the form of texts and there was a Twitter feed with responses to the talk being broadcast live on the screen behind him. It was a truly brilliant conflagration of interaction and response that characterizes the inter-connected world of today.
This talk should be REQUIRED viewing for artistic and managing directors at theater companies across the country. If you want to understand how to align yourself with the audiences of the future, listen closely to what Doug says.
One of the most telling moments of the talk was when someone Tweeted that they didn’t like how people were laughing at anecdotes and stats related to how often people text or tweet or use Facebook or are involved in other new media. This comment was re-tweeted about a dozen times and Doug finally addressed it in his talk. Texting and Facebook and everything are not “cute.” As someone with two teenagers, I can tell you from first-hand experience that these are all integral aspects of life for a new generation of young people, AKA a generation of potential audience members. Tittering about this behavior is akin to scoffing at the appeal of that wacky new box called the television back in 1940s.
If you have suggestions for more websites for me to list as theater-specific news sources, please include them in a comment. Thanks!
I’m adding another little feature to my navigation over there on the right. One thing that my eyes were opened to when I was in Los Angeles was the number of people out there in cyberland who are covering theater. So I am adding a little sidebar with links to other websites that I have – or will start to – access for the latest “News and Reviews” on Broadway and theater around the country (or the world).
The first link is to an online publication called Arts Journal. One of the highlights of my L.A. experience was the opportunity to work with Doug McClennan who is a true visionary when it comes to the effect of the internet and new media on the arts. He did a talk at the TCG conference called “The Community Formerly Known as the Audience: Who They Are, What They Want, and What to do About It” (you can – and should! – pull up the livestream of the talk. Doug actually starts talking at about 6:11 so go to that point for the beginning and skip all of the milling around. And if you watch, yes, that’s me up there on the dais providing what tech support I could during the talk).
While the talk was going on, Doug was also taking questions from the audience in the form of texts and there was a Twitter feed with responses to the talk being broadcast live on the screen behind him. It was a truly brilliant conflagration of interaction and response that characterizes the inter-connected world of today.
This talk should be REQUIRED viewing for artistic and managing directors at theater companies across the country. If you want to understand how to align yourself with the audiences of the future, listen closely to what Doug says.
One of the most telling moments of the talk was when someone Tweeted that they didn’t like how people were laughing at anecdotes and stats related to how often people text or tweet or use Facebook or are involved in other new media. This comment was re-tweeted about a dozen times and Doug finally addressed it in his talk. Texting and Facebook and everything are not “cute.” As someone with two teenagers, I can tell you from first-hand experience that these are all integral aspects of life for a new generation of young people, AKA a generation of potential audience members. Tittering about this behavior is akin to scoffing at the appeal of that wacky new box called the television back in 1940s.
If you have suggestions for more websites for me to list as theater-specific news sources, please include them in a comment. Thanks!
Monday, June 27, 2011
Of Kings and Kids
Reviews of Barksdale’s “Dirty Rotten Scoundrels” and Sycamore Rouge’s “The Odyssey” have appeared in the T-D already. I expect other outlets to have their takes in print or online soon, so stay tuned.
I knew this past weekend was going to be a busy one, but I had no idea just how crazy it was going to be for some of the theater folks in town. The Cultural Xpo at the Science Museum had people from multiple companies readying displays and performances and even flash mobs. The production to benefit the Massey Cancer Center, “The Pirates of the Chemotherapy,” a show that got edged over to the periphery of my radar screen, came back front-n-center as I started to hear good words from people who attended.
My focus for the weekend was on the SPARC 30th anniversary gala, in part because of my close personal connection to one of the performers, but also because of the incredible display of local talent I knew was going to be on-hand. The crew of rising teen actors that SPARC has groomed never fails to delight and the reprise of songs like “Money” that they had performed as part of “The World Goes Round” back in January looked great on the big Carpenter Center stage.
But though I knew a bit of what I was going to see beforehand, I was surprised (always pleasantly) by many of the performances, including Chase Kniffen doing a bit from “Oliver!” Jason Marks commanding the stage with his powerful “Memory,” and a charming collection of SPARC parents rolling out a rag-tag version of “Kids.”
There was even a moment early on that gave a glimpse into the versatile talent that SPARC employs. During a rendition of “Hard Knock Life” by SPARC’s “rising star” students, the performers started to waver from the tempo the onstage band was setting. With a skill that only years of handling similar situations can hone, music director and pianist Paul Deiss eased the band into matching tempo in time for the song to end perfectly. That kind of in-the-moment flexibility exemplifies not just Mr. Deiss’s talent but the quality of most all of SPARC’s teachers.
I didn’t know until Saturday that there were a whole slew of follow-up activities that SPARC was hosting on Sunday, so I missed all of that. But I hear that they were lots of fun and included a bunch of fine performances as well. Me, I went to see “King Lear” at Agecroft Hall and, while I might contest those that say it’s the best thing Richmond Shakespeare’s ever done, it certainly is a rousing production with a wide array of exceptional performances. In fact, there’s so much to say about it that I’m going to have to collect my thoughts over the next couple of days and get back to you with a more complete assessment later in the week. I will say that the Sunday performance was a near-sell-out so I would not procrastinate if you want to see it.
I knew this past weekend was going to be a busy one, but I had no idea just how crazy it was going to be for some of the theater folks in town. The Cultural Xpo at the Science Museum had people from multiple companies readying displays and performances and even flash mobs. The production to benefit the Massey Cancer Center, “The Pirates of the Chemotherapy,” a show that got edged over to the periphery of my radar screen, came back front-n-center as I started to hear good words from people who attended.
My focus for the weekend was on the SPARC 30th anniversary gala, in part because of my close personal connection to one of the performers, but also because of the incredible display of local talent I knew was going to be on-hand. The crew of rising teen actors that SPARC has groomed never fails to delight and the reprise of songs like “Money” that they had performed as part of “The World Goes Round” back in January looked great on the big Carpenter Center stage.
But though I knew a bit of what I was going to see beforehand, I was surprised (always pleasantly) by many of the performances, including Chase Kniffen doing a bit from “Oliver!” Jason Marks commanding the stage with his powerful “Memory,” and a charming collection of SPARC parents rolling out a rag-tag version of “Kids.”
There was even a moment early on that gave a glimpse into the versatile talent that SPARC employs. During a rendition of “Hard Knock Life” by SPARC’s “rising star” students, the performers started to waver from the tempo the onstage band was setting. With a skill that only years of handling similar situations can hone, music director and pianist Paul Deiss eased the band into matching tempo in time for the song to end perfectly. That kind of in-the-moment flexibility exemplifies not just Mr. Deiss’s talent but the quality of most all of SPARC’s teachers.
I didn’t know until Saturday that there were a whole slew of follow-up activities that SPARC was hosting on Sunday, so I missed all of that. But I hear that they were lots of fun and included a bunch of fine performances as well. Me, I went to see “King Lear” at Agecroft Hall and, while I might contest those that say it’s the best thing Richmond Shakespeare’s ever done, it certainly is a rousing production with a wide array of exceptional performances. In fact, there’s so much to say about it that I’m going to have to collect my thoughts over the next couple of days and get back to you with a more complete assessment later in the week. I will say that the Sunday performance was a near-sell-out so I would not procrastinate if you want to see it.
Friday, June 24, 2011
The Underwriting on the Wall
To address yesterday’s teaser: I found out earlier this week that the generous folks at the Carpenter Foundation have granted the Richmond Theatre Critics Circle the necessary funds to underwrite this year’s “Artsies” event. When I found out, I let loose with an enthusiastic (though quiet – I was in a room full of people) whoop of excitement. It’s a major burden off us organizers of the awards not to have to worry about money. But it’s also a good thing for the local theater community as a whole.
Hm. You look skeptical so let me explain. With all costs covered, every cent of the admission you pay to attend the event will go to the Theatre Artists Fund, which in turn benefits all local theater artists. Even if you don’t attend, more of the proceeds from the event will end up going to the Fund, which will in turn benefit the community as a whole.
Also, built into the budget that is now being underwritten is a smallish chunk of money for advertising. If we are able to advertise a little more broadly, we might reach more people who will come to the event, get a glimpse of how good the local shows are and will consequently be more motivated to see more shows in the future. We also set aside some money (again, a smallish amount) to cover expenses for any “big name” presenters who we might invite in from out of town. The hope would be that the big names would likewise build excitement for the event, incite more people to attend, they get a glimpse of how good…, etc. etc.
These last two bits might be a little pipe-dream-ish, I know, but still, they fit in with the general mission of the event: to build interest in and excitement for the local theater scene. To the extent that the event does that, everybody wins.
With that in mind, there are a couple shows opening this weekend -- “Dirty Rotten Scoundrels” at the Barksdale and Sycamore Rouge’s “The Odyssey” down at Battersea Park -- not to mention "Wait Until Dark" at the Mill, the Charlie Brown duo wrapping up at the Firehouse, and of course "Lear." Sounds like a winning weekend all around!
Hm. You look skeptical so let me explain. With all costs covered, every cent of the admission you pay to attend the event will go to the Theatre Artists Fund, which in turn benefits all local theater artists. Even if you don’t attend, more of the proceeds from the event will end up going to the Fund, which will in turn benefit the community as a whole.
Also, built into the budget that is now being underwritten is a smallish chunk of money for advertising. If we are able to advertise a little more broadly, we might reach more people who will come to the event, get a glimpse of how good the local shows are and will consequently be more motivated to see more shows in the future. We also set aside some money (again, a smallish amount) to cover expenses for any “big name” presenters who we might invite in from out of town. The hope would be that the big names would likewise build excitement for the event, incite more people to attend, they get a glimpse of how good…, etc. etc.
These last two bits might be a little pipe-dream-ish, I know, but still, they fit in with the general mission of the event: to build interest in and excitement for the local theater scene. To the extent that the event does that, everybody wins.
With that in mind, there are a couple shows opening this weekend -- “Dirty Rotten Scoundrels” at the Barksdale and Sycamore Rouge’s “The Odyssey” down at Battersea Park -- not to mention "Wait Until Dark" at the Mill, the Charlie Brown duo wrapping up at the Firehouse, and of course "Lear." Sounds like a winning weekend all around!
Wednesday, June 22, 2011
Processing
The main computer system I use at work occasionally gets bogged down, the little chipmunks that make it run taking a lunch break or something, and when it does the system displays a message that says "Processing," and continues to flash that message over and over until Alvin and the gang get back to work.
I'm on a flight back from Los Angeles and I feel like that's what's happening in my head right now. I can't quite articulate anything about the experience of the last 10 days, the system is just processing...processing...processing...
While that's going on, I plan to read up on some of the stuff I've missed over the past week and a half and, if any of it still seems relevant I'll link to it here.
I wrote a fair amount of stuff while in L.A. But the piece I'm most proud of is this 'man on the street' video segment I did. I like it because I feel like you might get the same results if you approached people convening to see a big tour in Richmond and asked them about local shows. I also shot the video, edited it myself, and had it up on the site all within about 4 hours (with just a smidge of Engine28 tech help). So the world of video doesn't seem nearly as intimidating to me as it might have just a week or so ago.
The first bit of content I contributed to the site was this smallish rant in response to a panel the L.A. Times held to discuss "is L.A. a theater town?" featuring big names like Beth Henley and Tim Robbins. As you'll see if you read, I don't have much patience for that kind of navel-gazing.
The story that was the most fun to write - reflecting the enjoyment I had having the experience itself - was this story on seeing 4 shows in one night. It was a wacky night, only a fraction of which I could capture in the piece. Again, I like the aspect of universality in it; I expect many people could write a similar piece about any other kind of intense festival, whether it centered on music, film, theater, or dance.
The most interesting discussion / presentation I attended was the RADAR L.A. symposium that I reported on in this story, consisting of presentations by some of the most fervent, intelligent and articulate arts professionals I've heard speak. Associated with that story, I shot some other "man on the street" footage that became a little piece on people defining "devised theater." I can't find it on the site anymore, unfortunately. It was pretty funny, mostly because of the ingenious way the engine28 video gurus edited it.
I also did a story about L.A. actresses, prompted mostly by sitting next to an incredibly nice and chatty young woman at the L.A. Times panel who has done voice work in the "Land before Time" cartoons for years. It was eye-opening to hear stories from someone who has been on the inside of the movie and TV business for so long and yet didn't really have a clue about how the theater scene worked.
Finally, I did one straight review of a show called "Brewsie and Willie," a production that design-wise was pretty cool but content-wise didn't really deliver. The best part about doing this review was that I got to work one-on-one with Howard Shapiro, an incredibly learned and passionate critic who gave me some great insights into improving my critical writing. Also, I came up with the headline which I was proud of in that geeky self-satisfied way that writers can get when they think they've come up with something clever (that probably annoys the heck out of those around him, particularly spouses...)
So that's a taste of my fellowship experience, or as much as can be gleaned from the writing I did out there. More info and details may (or may not...) be forthcoming...
(UPDATE: Went through and corrected the more obvious grammer/spelling mistakes. Clearly, I've got some settling in to do before the blog flows as freely...and correctly...as before.)
I'm on a flight back from Los Angeles and I feel like that's what's happening in my head right now. I can't quite articulate anything about the experience of the last 10 days, the system is just processing...processing...processing...
While that's going on, I plan to read up on some of the stuff I've missed over the past week and a half and, if any of it still seems relevant I'll link to it here.
I wrote a fair amount of stuff while in L.A. But the piece I'm most proud of is this 'man on the street' video segment I did. I like it because I feel like you might get the same results if you approached people convening to see a big tour in Richmond and asked them about local shows. I also shot the video, edited it myself, and had it up on the site all within about 4 hours (with just a smidge of Engine28 tech help). So the world of video doesn't seem nearly as intimidating to me as it might have just a week or so ago.
The first bit of content I contributed to the site was this smallish rant in response to a panel the L.A. Times held to discuss "is L.A. a theater town?" featuring big names like Beth Henley and Tim Robbins. As you'll see if you read, I don't have much patience for that kind of navel-gazing.
The story that was the most fun to write - reflecting the enjoyment I had having the experience itself - was this story on seeing 4 shows in one night. It was a wacky night, only a fraction of which I could capture in the piece. Again, I like the aspect of universality in it; I expect many people could write a similar piece about any other kind of intense festival, whether it centered on music, film, theater, or dance.
The most interesting discussion / presentation I attended was the RADAR L.A. symposium that I reported on in this story, consisting of presentations by some of the most fervent, intelligent and articulate arts professionals I've heard speak. Associated with that story, I shot some other "man on the street" footage that became a little piece on people defining "devised theater." I can't find it on the site anymore, unfortunately. It was pretty funny, mostly because of the ingenious way the engine28 video gurus edited it.
I also did a story about L.A. actresses, prompted mostly by sitting next to an incredibly nice and chatty young woman at the L.A. Times panel who has done voice work in the "Land before Time" cartoons for years. It was eye-opening to hear stories from someone who has been on the inside of the movie and TV business for so long and yet didn't really have a clue about how the theater scene worked.
Finally, I did one straight review of a show called "Brewsie and Willie," a production that design-wise was pretty cool but content-wise didn't really deliver. The best part about doing this review was that I got to work one-on-one with Howard Shapiro, an incredibly learned and passionate critic who gave me some great insights into improving my critical writing. Also, I came up with the headline which I was proud of in that geeky self-satisfied way that writers can get when they think they've come up with something clever (that probably annoys the heck out of those around him, particularly spouses...)
So that's a taste of my fellowship experience, or as much as can be gleaned from the writing I did out there. More info and details may (or may not...) be forthcoming...
(UPDATE: Went through and corrected the more obvious grammer/spelling mistakes. Clearly, I've got some settling in to do before the blog flows as freely...and correctly...as before.)
Wednesday, June 15, 2011
Good, with some Grief
I'm out of town but the Style machine keeps rolling along, with my review of "You're a Good Man, Charlie Brown" in this week edition.
It's been a bit of an insane time in LA, attending a panel tonight that included Tim Robbins and Beth Henley. The NEA program's site goes live in about 20 minutes. Check it out here.
Both the T-D and GayRVA love "Lear." Though I'm not exactly looking forward to the heat of home (it was about 73 in LA today), I am excited about seeing this production. Looks like a winner for Richmond Shakespeare!
It's been a bit of an insane time in LA, attending a panel tonight that included Tim Robbins and Beth Henley. The NEA program's site goes live in about 20 minutes. Check it out here.
Both the T-D and GayRVA love "Lear." Though I'm not exactly looking forward to the heat of home (it was about 73 in LA today), I am excited about seeing this production. Looks like a winner for Richmond Shakespeare!
Sunday, June 12, 2011
I'm Off
The NEA Fellowship program starts tomorrow. It's been a frantic week thanks to an astounding convergence of events and situations but here it is and I'll be on a plane heading west in a few hours. I'll be sorry to miss all of the goings on here over the next 10 days or so -- the big Tonys party at RTP, Richmond Shakespeare's first Agecroft show of the summer, a staged-reading at the Firehouse narrated by my pesky, constantly-involved son, etc. etc. I'll read what I can from a distance and hope people will fill me in on things when I get back.
I doubt I'll be posting much in the next couple of weeks but, if you are at all interested in goings-on at the TCG Conference and other things LA-theater related, you can follow the work of my fellow fellows and I here. Cheers!
I doubt I'll be posting much in the next couple of weeks but, if you are at all interested in goings-on at the TCG Conference and other things LA-theater related, you can follow the work of my fellow fellows and I here. Cheers!
Thursday, June 09, 2011
Dog Sees God
The extremes of "Dog Sees God" can be off-putting. The early scenes practically pummel the audience with surrogates for the beloved Peanuts characters getting drunk, smoking dope, and snorting coke. It's not long before the crudest sexual innuendoes are pantomimed and unexpected sexual impulses acted on. I had very adventurous high school years but even at their most free-wheeling they weren't as debaucherous (sp?) as this. Charlie Brown seems to have matriculated into Sodom and Gomorrah High School.
But I think Bert Royal does this for more than shock value. In a clever way, I think he's honoring the perspective of the original Peanuts cartoons. As in those more innocent depictions of childhood, a world swirls around "CB" that he only sporadically engages in and seems relatively clueless about. As with the kids in the cartoons, the teens of "DSG" are precocious, but when you're in high school precociousness isn't just restricted to deep thoughts about Buddhism but can also devolve into manipulating people's emotions in order to get laid.
And in the midst of the carnal and chemical pleasures of "DSG," the sweet and simple relationships between CB and Beethoven, and more poignantly, CB and his little sister, are strikingly honest and clear. Oh, they're messy, with none of the people involved quite understanding what's going on, but isn't that how life is? Full of confusion and missteps and messy misunderstandings?
There are many specific pleasures in the Firehouse's production, most of them having to do with the exceptional performances. Kyle Cornell makes a great CB, not the full-blown blockhead he might have been as a kid, but still a little adrift. Ben Hill fully embraces the aggressively sexual teen role; he reminded me of a couple guys I knew in high school who acted in nearly the exact same overboard way. The "mean girls" were an entertaining sidelight and, while I continue to love Liz Blake White in just about everything I've seen her in (including her underwear!), I'll also be adding Maggie McGrann to the list of actresses I'll be looking forward to seeing on stage again.
In the end, the chemistry between Cornell and Audra Honaker as CB's sister sold me on this production. In the last several scenes, Honaker strips away the affectations that have characterized some of her more extreme roles in the past and plays it straight, to great effect. These are siblings that don't always click but, in their own way, they still love each other, and Honaker and Cornell make you feel that.
The technical elements of this production are all solid, with Adam Dorland's scenic design a nice departure from anything cartoon-y you might expected. The technical wizardry that enhances the final scene is impressive and surprising.
"DSG" is certainly very funny, a fact that the shout-laugher who was sitting behind me last weekend would certainly attest to. But what may be most surprising about the show is that on one level, it's a tale of empowerment. There is tragedy involved but instead of maximizing the melodrama that the final events could present, the show focuses on CB's ongoing journey toward self-awareness. Some folks could quibble that Beethoven (an intense and effective performance by Lucian Restivo) is given short shrift by the plot and that homosexuality is not embraced as triumphantly as you might expect. The orientation of several characters is not firmly established at the show's close. But CB has taken a devastating but significant step towards a sort of redemption. Linus, er, I mean Van the Buddhist would be happy.
But I think Bert Royal does this for more than shock value. In a clever way, I think he's honoring the perspective of the original Peanuts cartoons. As in those more innocent depictions of childhood, a world swirls around "CB" that he only sporadically engages in and seems relatively clueless about. As with the kids in the cartoons, the teens of "DSG" are precocious, but when you're in high school precociousness isn't just restricted to deep thoughts about Buddhism but can also devolve into manipulating people's emotions in order to get laid.
And in the midst of the carnal and chemical pleasures of "DSG," the sweet and simple relationships between CB and Beethoven, and more poignantly, CB and his little sister, are strikingly honest and clear. Oh, they're messy, with none of the people involved quite understanding what's going on, but isn't that how life is? Full of confusion and missteps and messy misunderstandings?
There are many specific pleasures in the Firehouse's production, most of them having to do with the exceptional performances. Kyle Cornell makes a great CB, not the full-blown blockhead he might have been as a kid, but still a little adrift. Ben Hill fully embraces the aggressively sexual teen role; he reminded me of a couple guys I knew in high school who acted in nearly the exact same overboard way. The "mean girls" were an entertaining sidelight and, while I continue to love Liz Blake White in just about everything I've seen her in (including her underwear!), I'll also be adding Maggie McGrann to the list of actresses I'll be looking forward to seeing on stage again.
In the end, the chemistry between Cornell and Audra Honaker as CB's sister sold me on this production. In the last several scenes, Honaker strips away the affectations that have characterized some of her more extreme roles in the past and plays it straight, to great effect. These are siblings that don't always click but, in their own way, they still love each other, and Honaker and Cornell make you feel that.
The technical elements of this production are all solid, with Adam Dorland's scenic design a nice departure from anything cartoon-y you might expected. The technical wizardry that enhances the final scene is impressive and surprising.
"DSG" is certainly very funny, a fact that the shout-laugher who was sitting behind me last weekend would certainly attest to. But what may be most surprising about the show is that on one level, it's a tale of empowerment. There is tragedy involved but instead of maximizing the melodrama that the final events could present, the show focuses on CB's ongoing journey toward self-awareness. Some folks could quibble that Beethoven (an intense and effective performance by Lucian Restivo) is given short shrift by the plot and that homosexuality is not embraced as triumphantly as you might expect. The orientation of several characters is not firmly established at the show's close. But CB has taken a devastating but significant step towards a sort of redemption. Linus, er, I mean Van the Buddhist would be happy.
Wednesday, June 08, 2011
As If
I have a Twitter account but still hardly ever use it. Due to time constraints, however, I’m thinking of this post as if it were a series of tweets. So here’s several 140 character or less slices of theater:
Nice piece in Style this week about the Tony Awards viewing party. Good times, good deed, doesn’t get any better right?
Review of “Charlie Brown” in the T-D and reviews of both the Peanuts-inspired rep shows in GayRVA. Both pluses and minuses highlighted (highlit?).
I saw the same shows as Mssrs. Miller and Lewis. My take: Liked “DSG” a lot, details to come. “Charlie Brown:” good, not great but Shofner’s awesome!
Last chances to see [title of show] this weekend. Don't miss out!
The cool and crazy Saines in Petersburg have started blogging! Keep up with them here.
A “Rocky” musical. Really? I’d be more skeptical if the creative team wasn’t so impressive. But then again, so was “Spiderman’s.”
Nice piece in Style this week about the Tony Awards viewing party. Good times, good deed, doesn’t get any better right?
Review of “Charlie Brown” in the T-D and reviews of both the Peanuts-inspired rep shows in GayRVA. Both pluses and minuses highlighted (highlit?).
I saw the same shows as Mssrs. Miller and Lewis. My take: Liked “DSG” a lot, details to come. “Charlie Brown:” good, not great but Shofner’s awesome!
Last chances to see [title of show] this weekend. Don't miss out!
The cool and crazy Saines in Petersburg have started blogging! Keep up with them here.
A “Rocky” musical. Really? I’d be more skeptical if the creative team wasn’t so impressive. But then again, so was “Spiderman’s.”
Friday, June 03, 2011
1-2 Punch
I seldom have a clue what is going to get people talking. Apparently my “Casting Games” post on Wednesday struck a nerve of some kind because more than a dozen folks have chimed in with their thoughts. I love it when people are talking/writing because that means they care and/or think about theater and that’s the whole point of this thing here. (Update: you might want to check out Mr. Miller's recently-posted discussion about casting on the Barksdale blog.)
Style had two stories this week tangentially related to theater that you might have skipped over if you were only looking for theater reviews. One is this week’s cover story on the VCU library’s comic book collection – one of the largest in the country – that was written by the other Style theater reviewer, Rich Griset. The other is Ed Slipek’s architectural review of the still-relatively-new theater space that the Richmond Triangle Players has developed in Scott’s Addition. It’s an interesting piece, and not only because it’s twice as long as the typical Style theater review these days (no, I’m not bitter). This gives me the opportunity to point out that “[title of show]” has been extended until next weekend so hustle up and make reservations if you haven’t seen it yet.
(PS: Style also snuck in a quick story on the Conciliation Project’s latest production yesterday. Check out a preview of “Stolen Land” here.)
In other news, an eclectic group of theater folk has organized a Tonys Awards viewing party at the RTP theater as a benefit for the Theatre Artists Fund. This is a great idea and one that I would be totally there for if I wasn’t headed out of town. Still, you lucky folks who are here should waste no time making your reservations because I wouldn’t be surprised if this shindig sells out.
Finally, the Charlie Brown double-play has opened at the Firehouse. In an effort to take full advantage of the “rep” situation, I’m going to try and see both shows this weekend, perhaps to see if either production somehow informs the other. I’m also curious to see how a troupe of actors cast for a straight play has adapted to a musical. A few folks from the cast were on Virginia This Morning earlier this week. I can’t figure out how to link to the specific videos but both an interview and a performance from the appearance are available here. Judging from just this brief sneak preview, it seems they have adapted fine.
Style had two stories this week tangentially related to theater that you might have skipped over if you were only looking for theater reviews. One is this week’s cover story on the VCU library’s comic book collection – one of the largest in the country – that was written by the other Style theater reviewer, Rich Griset. The other is Ed Slipek’s architectural review of the still-relatively-new theater space that the Richmond Triangle Players has developed in Scott’s Addition. It’s an interesting piece, and not only because it’s twice as long as the typical Style theater review these days (no, I’m not bitter). This gives me the opportunity to point out that “[title of show]” has been extended until next weekend so hustle up and make reservations if you haven’t seen it yet.
(PS: Style also snuck in a quick story on the Conciliation Project’s latest production yesterday. Check out a preview of “Stolen Land” here.)
In other news, an eclectic group of theater folk has organized a Tonys Awards viewing party at the RTP theater as a benefit for the Theatre Artists Fund. This is a great idea and one that I would be totally there for if I wasn’t headed out of town. Still, you lucky folks who are here should waste no time making your reservations because I wouldn’t be surprised if this shindig sells out.
Finally, the Charlie Brown double-play has opened at the Firehouse. In an effort to take full advantage of the “rep” situation, I’m going to try and see both shows this weekend, perhaps to see if either production somehow informs the other. I’m also curious to see how a troupe of actors cast for a straight play has adapted to a musical. A few folks from the cast were on Virginia This Morning earlier this week. I can’t figure out how to link to the specific videos but both an interview and a performance from the appearance are available here. Judging from just this brief sneak preview, it seems they have adapted fine.
Wednesday, June 01, 2011
Casting Games
I haven’t linked to them explicitly before now but John Porter’s reviews of “[title of show]” and “Bloody Murder” were both posted relatively recently. For that matter, I didn’t link to the T-D review of “Murder” either – click here for Ms. Lewis’s take.
When the Barksdale “Signature Season” announcement came out a couple of weeks ago, one of the entries was listed as “rights pending.” Apparently, the rights for “God of Carnage” have come through and so now it’s their official “Acts of Faith” entry for next year, definitely an exciting development.
One of the fun things about season announcements has always been playing the casting guessing game. I know when word first started circulating that Barksdale was doing “Spring Awakening,” the speculation among “SA” devotees (e.g., my lovely wife) about who in town could / should play each part began in earnest. Now the same thing can happen with “God of Carnage.” The stars who originated the lead roles on Broadway definitely put distinctive stamps on them, making it hard for me to immediately plug local actors into each slot. It’s also interesting that the roles in this show have sometimes been swapped by the leads in each gender before so perhaps the specific person is not as important as someone who is just a damn good actor. Hmm.
The Barksdale shows aren’t the only ones that lend themselves to this game (“My Fair Lady” being precast took that one out of the running). Firehouse’s “Cat on a Hot Tin Roof” certainly was rife for speculation (though not anymore since casting has been finalized). I’m still fascinated by thoughts of who among the extremely talented local youngsters will be tapped for Triangle Players’ “Stupid Kids.” Certainly, someone of substantial skill will need to play Shylock in Henley Street’s “Merchant of Venice.” Sycamore Rouge’s “Topdog / Underdog” should spark some intense competition for the two leads. And even Theatre IV’s season generates conjecture: who, for instance, would be appropriate to step into the shoes – or webbed feet, as it were – of either Frog or Toad?
This kind of casting conjecture happens all the time for movies: anyone remember the strum and drang over the casting of the "Twilight" leads? Similar anticipation followed the announcement of an American adaptation of the "Dragon Tattoo" series. More recently, the producers of "The Hunger Games" got a lot of press for their decision to make Jennifer Lawrence their Catniss (an excellent choice, IMHO). The final decisions are always the director’s, of course. But even so, it’s fun to imagine who might be perfect for a specific role. Anyone out there want to offer up your thoughts for upcoming Richmond shows? You'll probably have a better chance guessing who'll be Richmond's Stinky Cheese Man than Hollywood's Lisbeth Salander.
When the Barksdale “Signature Season” announcement came out a couple of weeks ago, one of the entries was listed as “rights pending.” Apparently, the rights for “God of Carnage” have come through and so now it’s their official “Acts of Faith” entry for next year, definitely an exciting development.
One of the fun things about season announcements has always been playing the casting guessing game. I know when word first started circulating that Barksdale was doing “Spring Awakening,” the speculation among “SA” devotees (e.g., my lovely wife) about who in town could / should play each part began in earnest. Now the same thing can happen with “God of Carnage.” The stars who originated the lead roles on Broadway definitely put distinctive stamps on them, making it hard for me to immediately plug local actors into each slot. It’s also interesting that the roles in this show have sometimes been swapped by the leads in each gender before so perhaps the specific person is not as important as someone who is just a damn good actor. Hmm.
The Barksdale shows aren’t the only ones that lend themselves to this game (“My Fair Lady” being precast took that one out of the running). Firehouse’s “Cat on a Hot Tin Roof” certainly was rife for speculation (though not anymore since casting has been finalized). I’m still fascinated by thoughts of who among the extremely talented local youngsters will be tapped for Triangle Players’ “Stupid Kids.” Certainly, someone of substantial skill will need to play Shylock in Henley Street’s “Merchant of Venice.” Sycamore Rouge’s “Topdog / Underdog” should spark some intense competition for the two leads. And even Theatre IV’s season generates conjecture: who, for instance, would be appropriate to step into the shoes – or webbed feet, as it were – of either Frog or Toad?
This kind of casting conjecture happens all the time for movies: anyone remember the strum and drang over the casting of the "Twilight" leads? Similar anticipation followed the announcement of an American adaptation of the "Dragon Tattoo" series. More recently, the producers of "The Hunger Games" got a lot of press for their decision to make Jennifer Lawrence their Catniss (an excellent choice, IMHO). The final decisions are always the director’s, of course. But even so, it’s fun to imagine who might be perfect for a specific role. Anyone out there want to offer up your thoughts for upcoming Richmond shows? You'll probably have a better chance guessing who'll be Richmond's Stinky Cheese Man than Hollywood's Lisbeth Salander.
Friday, May 27, 2011
Fourth Wall
A month or so ago I stated in a review that “silence is one of the scariest things in live theater.” At the other end of the spectrum, one of the most fun aspects of live theater – and sometimes the trickiest – is the fourth wall. Just to heap a little more praise on “[title of show]”, I think the way the show doesn’t break the fourth wall outright, choosing instead to have the actors often give knowing looks or skittish glances that telegraph their awareness of the audience, is another one of its many charms.
From what I hear/read, CAT’s latest production, “Bloody Murder,” does break the fourth wall and, like “[tos],” has characters that know they are characters in a play. But while the musical’s characters were mostly happy to be there, the characters in “Bloody” are understandably none too thrilled about the plotline of their little drama and rebel against it. It’s a fabulous premise for a show and I really hope CAT can bring it off well. With a cast that includes talented vets like Emma Mason and Bob Murphy, the production certainly has good raw material to work with.
I hope everyone has a great holiday weekend. It won’t be long before Richmond’s stages are replete with scoundrels, Peanuts, epic battles and tragic kings, so brace yourself for the eminent onslaught of new productions.
From what I hear/read, CAT’s latest production, “Bloody Murder,” does break the fourth wall and, like “[tos],” has characters that know they are characters in a play. But while the musical’s characters were mostly happy to be there, the characters in “Bloody” are understandably none too thrilled about the plotline of their little drama and rebel against it. It’s a fabulous premise for a show and I really hope CAT can bring it off well. With a cast that includes talented vets like Emma Mason and Bob Murphy, the production certainly has good raw material to work with.
I hope everyone has a great holiday weekend. It won’t be long before Richmond’s stages are replete with scoundrels, Peanuts, epic battles and tragic kings, so brace yourself for the eminent onslaught of new productions.
Thursday, May 26, 2011
Hilarious
What might not have been obvious about my review of Triangle Players’ “[title of show]” that I linked to yesterday is that it’s a bit more than just another rave about a cleverly directed, enthusiastically acted, and well-designed production. For one thing, it’s a review that I suggested be titled “Rave About Musical” to keep with the spirit of the show but my own little meta-effort apparently did not make the cut.
The review was also a bit of writing exercise for me. For much of the performance, when I wasn’t laughing out loud, I was smiling broadly or giggling softly. A show as consistently funny as that begs to be called “hilarious.” But ‘hilarious’ is one of those words that is notoriously overused in reviews. Sure, there are plenty of other options: ‘funny,’ ‘amusing,’ even ‘gut-busting,’ ‘side-splitting’ or ‘uproarious.’ But few words fit the bill as consistently as ‘hilarious.’ I thought a show as good as this one deserved a little extra effort on my part so I consciously avoided that one adjective. I was helped, so to speak, by a somewhat reduced word count on the review assignment but still, even with less space to fill, it was a challenge.
And that’s largely because this production is truly hilarious. It contains many clever little bits (the texting of potential stripper names), a few wonderfully ribald touches (I love the term ‘procrastibater’), some Richmond-specific shout-outs (yay, RTCC!), and even a crass prurient moment of semi-nakedness (Ms. Farmer’s scene may not have been this straight guy’s favorite moment but it was close!) The real genius of the piece, however, is how it maintains a logical narrative flow while also expertly walking the weird tightrope of meta-comedy. From small things like the impossible movement of chairs between apartments to the big concepts like the take-over of the show by secondary characters, “[tos]” does indeed push “meta to the max” and has a great time doing so.
So I succeeded in my little writing experiment but that was not nearly as impressive as this production. Each performer is spot-on – as my wife said to me, it’s now a show that’s hard to imagine with any other actor playing each part. But this is also one of those productions where I am more aware of the director’s skill than many others. Part of it is just a pacing thing – the show moves along at a great clip – but there is also a vision clearly guiding the production, an encouragement not to overplay certain parts while staging other scenes to maximize comic potential. So many kudos to Mr. Amellio for his accomplishment.
Finally, if you read this blog, then you ARE a theater geek and, while my review specifically said the show’s appeal transcends theater geekiness, it is a particular pleasure for the stage aficionado. Passing mentions of Dinah Manoff and shows like “Ruthless!” may be beyond the knowledge of even the most fervent geek, but the alternating excitement and drudgery of the perennial understudy or chorus filler will be familiar to many.
I really enjoy smart shows but, unlike intellectually overstuffed pieces like “Arcadia” (which I also loved, BTW), “[title of show]” has such a playful accessible intelligence that everyone can love it. It inspired me to try to write smarter; maybe it’ll inspire others to stretch new intellectual or theatrical muscles. Or, at the very least, to go see more shows.
The review was also a bit of writing exercise for me. For much of the performance, when I wasn’t laughing out loud, I was smiling broadly or giggling softly. A show as consistently funny as that begs to be called “hilarious.” But ‘hilarious’ is one of those words that is notoriously overused in reviews. Sure, there are plenty of other options: ‘funny,’ ‘amusing,’ even ‘gut-busting,’ ‘side-splitting’ or ‘uproarious.’ But few words fit the bill as consistently as ‘hilarious.’ I thought a show as good as this one deserved a little extra effort on my part so I consciously avoided that one adjective. I was helped, so to speak, by a somewhat reduced word count on the review assignment but still, even with less space to fill, it was a challenge.
And that’s largely because this production is truly hilarious. It contains many clever little bits (the texting of potential stripper names), a few wonderfully ribald touches (I love the term ‘procrastibater’), some Richmond-specific shout-outs (yay, RTCC!), and even a crass prurient moment of semi-nakedness (Ms. Farmer’s scene may not have been this straight guy’s favorite moment but it was close!) The real genius of the piece, however, is how it maintains a logical narrative flow while also expertly walking the weird tightrope of meta-comedy. From small things like the impossible movement of chairs between apartments to the big concepts like the take-over of the show by secondary characters, “[tos]” does indeed push “meta to the max” and has a great time doing so.
So I succeeded in my little writing experiment but that was not nearly as impressive as this production. Each performer is spot-on – as my wife said to me, it’s now a show that’s hard to imagine with any other actor playing each part. But this is also one of those productions where I am more aware of the director’s skill than many others. Part of it is just a pacing thing – the show moves along at a great clip – but there is also a vision clearly guiding the production, an encouragement not to overplay certain parts while staging other scenes to maximize comic potential. So many kudos to Mr. Amellio for his accomplishment.
Finally, if you read this blog, then you ARE a theater geek and, while my review specifically said the show’s appeal transcends theater geekiness, it is a particular pleasure for the stage aficionado. Passing mentions of Dinah Manoff and shows like “Ruthless!” may be beyond the knowledge of even the most fervent geek, but the alternating excitement and drudgery of the perennial understudy or chorus filler will be familiar to many.
I really enjoy smart shows but, unlike intellectually overstuffed pieces like “Arcadia” (which I also loved, BTW), “[title of show]” has such a playful accessible intelligence that everyone can love it. It inspired me to try to write smarter; maybe it’ll inspire others to stretch new intellectual or theatrical muscles. Or, at the very least, to go see more shows.
Wednesday, May 25, 2011
VCU
I think the day after my review of “[title of show]” appeared in Style is a good time to give an overdue shout out to Theatre VCU. If there was any doubt as to the importance of this local university’s program to the local theater scene, a scan of the recent graduates should alleviate that. Looking just through the list of MFA recipients, I see at least two RTCC award winners and perhaps two other RTCC award nominees. And, thinking back on this past season, I wouldn’t be surprised if at least two more of the listed MFAs don’t snag a nomination before the year is over.
Not that the RTCC awards are the be-all-and-end-all but they are one convenient measure of the impact of these individuals specifically and the Theatre VCU program generally. It’s also worth mentioning that the folks who taught these graduates also participate regularly in the local professional scene, perhaps none more prolifically than Patti D’Beck (featured in this graduation ceremony picture).
I’ll admit to being too blasé about Theatre VCU in the past. I don’t make going to its productions a priority, though my colleague, John Porter, has encouraged me to do so several times in the past. This in the face of the fact that some of my favorite theatrical experiences over the past couple of years (“Chicago,” “Tommy,” etc.) have been at their productions. I don’t always scrutinize the school’s upcoming season when all of the other local companies are announcing theirs, even though this September they’ll produce the intriguing “Shakespeare R&J” directed by Keri Wormald, a fabulous director who’s been at the helm of some of the best pro productions in Richmond history (IMHO). And to complete the litany of inadequacy, I didn’t make it out to “The Bluest Eye,” the VCU co-pro with Barksdale, which I heard very good things about second-hand.
So I am going to do better in the future. For a start, I’ll add the fun and informative Theatre VCU BackStage Pass blog to the roll on the right. This should keep me (and any of you that care) apprised of some of the VCU goings on. And come next season, I’ll carve out the space required to see the VCU shows, something that won’t be chore by any means given shows like “Grease!” and “Arabian Nights” on their docket.
For those of you who pay attention, the Drama Desk awards were announced over the weekend and seem to give a good indication of how the Tonys might go, that is, lots of recognition for “The Book of Mormon.”
A few people have asked me about the NEA fellowship thing and I realized that I’ve probably confused some folks. I went to LA a few weeks ago as part of my 9-5 job, not for the fellowship. The NEA Institute begins two weeks from this Sunday and I’m alternately excited and terrified. Since I’m going to have to act like a real journalist while I’m there, I’ve been trying to pay more attention to how theater is covered. There’s no better place than the NYTimes to go for that and I was particularly impressed a couple of weeks ago at this little slideshow about “Catch Me If You Can.” It’s a great deconstruction of the choreography of a scene. I’ve always been a fan of journalism that’s instructive as well as informative and this piece definitely fits the bill. Now, if I could only make my blog posts just as good...
Not that the RTCC awards are the be-all-and-end-all but they are one convenient measure of the impact of these individuals specifically and the Theatre VCU program generally. It’s also worth mentioning that the folks who taught these graduates also participate regularly in the local professional scene, perhaps none more prolifically than Patti D’Beck (featured in this graduation ceremony picture).
I’ll admit to being too blasé about Theatre VCU in the past. I don’t make going to its productions a priority, though my colleague, John Porter, has encouraged me to do so several times in the past. This in the face of the fact that some of my favorite theatrical experiences over the past couple of years (“Chicago,” “Tommy,” etc.) have been at their productions. I don’t always scrutinize the school’s upcoming season when all of the other local companies are announcing theirs, even though this September they’ll produce the intriguing “Shakespeare R&J” directed by Keri Wormald, a fabulous director who’s been at the helm of some of the best pro productions in Richmond history (IMHO). And to complete the litany of inadequacy, I didn’t make it out to “The Bluest Eye,” the VCU co-pro with Barksdale, which I heard very good things about second-hand.
So I am going to do better in the future. For a start, I’ll add the fun and informative Theatre VCU BackStage Pass blog to the roll on the right. This should keep me (and any of you that care) apprised of some of the VCU goings on. And come next season, I’ll carve out the space required to see the VCU shows, something that won’t be chore by any means given shows like “Grease!” and “Arabian Nights” on their docket.
For those of you who pay attention, the Drama Desk awards were announced over the weekend and seem to give a good indication of how the Tonys might go, that is, lots of recognition for “The Book of Mormon.”
A few people have asked me about the NEA fellowship thing and I realized that I’ve probably confused some folks. I went to LA a few weeks ago as part of my 9-5 job, not for the fellowship. The NEA Institute begins two weeks from this Sunday and I’m alternately excited and terrified. Since I’m going to have to act like a real journalist while I’m there, I’ve been trying to pay more attention to how theater is covered. There’s no better place than the NYTimes to go for that and I was particularly impressed a couple of weeks ago at this little slideshow about “Catch Me If You Can.” It’s a great deconstruction of the choreography of a scene. I’ve always been a fan of journalism that’s instructive as well as informative and this piece definitely fits the bill. Now, if I could only make my blog posts just as good...
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