Mr. Davis

I've been wanting to mention just as an FYI that Bill C. Davis is a great interview and a very nice guy. I've been doing interviews for years now and, just like Forrest's box of chocolates, you never really know what you're going to get when you actually make contact. One of my worst interviews ever was with the comedian Stephen Wright whose deadpan, affectless delivery works great in his comedy but is just deadly in an interview. I've interviewed a fair amount of writers and some directors who were a bit full of themselves -- leading to very one-sided conversations. Given that Mr. Davis is both a writer and director, I was pleasantly surprised. He was polite and earnest and good-natured and forthcoming and had many wonderful things to say about Richmond.

Somewhat defying the popular stereotype, most of the actors I've interviewed have been delightful -- only one true prima donna that I can think of off-hand (and no, I'm not going to say who that was). And among the most delightful interviews I've ever had have been with hyphenates -- writer/directors, actor/directors, actor/producers, etc. Again, this seems to run against what the preconception would be -- someone good at multiple things must think they're a hotshot, right? Instead, the ones I've talked to seem to be somewhat humbled by the process of moving from one specialty to the other. Where's all that ego that's supposed to fuel you theater types?

Articles

Here's a link to my interview of Bill C. Davis, the playwright and director of "Austin's Bridge" set to open at the Firehouse tomorrow.

And the production of "Witches of Eastwick" in DC -- starring former Richmonder Emily Skinner -- has been getting a fair amount of press in the Washington Post. Here's one article and here's another. Logging into the Post's site is now required, in case you haven't registered there.

That should give you enough reading material for a while!

Apologies

The review of "The Tempest" didn't make it into this week's Style. Not sure why -- e-mail fired off to Arts editor to try to ascertain the situation.

But until it does, here's what I wrote. Not sure how it will appear in print. Enjoy.

Shelters in the Storm
Music, blithe spirit buoy Richmond Shakespeare’s “The Tempest”
By David Timberline (357 words)

As befits its title, “The Tempest” is a whirlwind of emotion. Like none other of Shakespeare’s plays, this brilliant mash-up of comedy and tragedy churns with errant themes of love, betrayal, music and magic. It is comparatively thin plotwise, however, as if the immortal Bard decided to give himself over to the passions of the heart without undo concern for the intellect.

In Richmond Shakespeare Theatre’s merry and sometimes manic production of “The Tempest,” currently playing at Agecroft Hall, the calm at the center of this storm is provided by Stephen Lorne Williams as Prospero. Williams has an impressive history with “The Tempest:” thirty years ago, he played Prospero’s trusty fairy assistant, Ariel, in a Royal National Theatre production opposite John Gielgud. But while Williams has the pedigree for the role, I found his Prospero a bit staid. Ironically, it is this production’s Ariel, played by the remarkable Graham Birce, who infuses significant charm and vigor into the proceedings.

It is Ariel who Prospero sends off to implement the many components of his plan. Having been stranded on a lonely island for twelve years, Prospero has become an adept magician and raises a storm that shipwrecks his enemies. Years before, they had stripped him of his title as Duke of Milan, then set him adrift with his infant daughter, Miranda (played with delightful fervor by Liz Blake), who has since has grown into a comely maid. The storm will also bring her a suitor, Prince Ferdinand (Matt Polson). Using his sprightly magic, Ariel brings Miranda and Ferdinand together; undermines Prospero’s treacherous brother, Antonio (Andy Nagraj); and befuddles a trio of would-be assassins, led by the evil witch-spawn, Caliban (David White).

Amidst all of this, Birce moves about spryly in black Converse sneakers, plays violin beautifully, sings enchanting songs, and even walks on stilts. He is assisted by Andrew Hamm and his Foolhardy Band; their playful array of songs and incidental melodies serve as a perfect compliment to the action. There are other exceptional performances in this production: White’s Caliban, for instance, is memorably earthy and bitter. But ultimately it’s Graham Birce that stands out in the storm.

“The Tempest” plays Thursday – Sunday at Agecroft Hall until July 8th. Tickets are $13-$24. Call 232-4000 for details.

A Stormy Conversation

I brought a friend, his wife and their daughter to the first preview of “The Tempest” last Thursday. The audience was made up mostly of senior citizens, whose unfiltered comments throughout the play sometimes amounted to a performance in themselves. My favorite was the guy who grew tired of the “Not too late” chorus of Andrew’s opening song and began intoning it sarcastically halfway through each verse. The most annoying was the guy who loudly explained Prospero’s final speech to his wife as it was going on (“He’s saying that he won’t leave until we clap…”)

Though you will see that my review was positive, I heard a fair amount of negative feedback about that first preview. An old friend I met at “Into the Woods” the next night said she left at intermission because she couldn’t hear what anyone was saying. And below is a back-and-forth between me and my friend about the merits of the production. So, in case you are thinking that the criticisms that get published are the toughest, you can see that there are audience-members who are much tougher than I’ll ever be.

PS: I'll update the "Now Showing" section to the left someday soon....

From my friend:

Thoughts:
· I wasn't as impressed with Ariel as you were. He had his moments, but I thought him not quite otherwordly enough
· I thought the production was somewhat marred by the sound considerations. The band drowned out the actors not infrequently but this may have been a hazard of our seating only. I should have beeen surprised if anyone heard the content of either the first scene or Ariel's storm.
· The camp wears a little thin in this production at times. The "wedding" scene is a good example of this.

My response:

While the volume was often a bit intense, I did appreciate the quality of the band -- many productions of "The Tempest" try to get by with a few fairies playing triangles and tambourines. My appreciation of Ariel was largely because he was so earthbound -- big-ticket productions usually have him (or generally her) flying and harboring a secret love for Prospero. I thought the way they played him made him more of a counterpart to Caliban.

I agree about the camp -- a sentiment I tried to capture in the word "manic" in my description -- a lot to encapsulate in one word but that is my frustration with having to write so short. I'm often in this mid-ground of wanting to express something but then realizing to really express it would take up half the review.

No excuses

So I’ve been gone for a while. I expected I might let a week or two slip but I’m shocked that it’s been 5 months. I can’t really come up with a coherent excuse. Life has been busy but it’s always that way, isn’t it? I’ve been on a bit of an emotional roller coaster – my daughter has been applying to high schools and my best friend is leaving town for Atlanta in two weeks, both thing in process since the beginning of the year.

But maybe the most relevant thing to say is that I took a class in Film at U of R this past semester and I have just been more in tune with film for these past several months. As a result, I haven’t seen that many shows, written many pieces for Style, and, worst of all, not kept in touch that well with anyone in the theater world. I’m sorry, folks. Life is like that sometimes; I appreciate your indulgence.

On the flip side, the past couple of weeks have been all about theater for me. I interviewed Bill C. Davis, the playwright of “Austin’s Bridge,” and the director of the production opening at the Firehouse this week. I saw “The Tempest” and “Into the Woods” last week and will be catching “Bridge” this week. I’ll be commenting on all of these separately since I have much to blather on about them all.

But before that, did you happen to catch the Tony Awards recap on the Entertainment Weekly site? I enjoyed it and thought you might too. I really wish I had seen “Spring Awakening” last December though…

Southern Intrigue

There had been talk of a new kid on the block (if you charitably extend the Richmond block to include Hopewell). The historic Beacon Theatre was set to debut “Wit” next week in what was billed as a theater “fully restored to its original beauty.” But then this week I was forward this info:

Due to uncontrollable circumstances, and in the best interest and protection of our cast, the Board of Directors and staff of Hopewell Preservation, Inc and the Beacon Theatre regretfully have to reschedule the performances of 'Wit'. Original dates were previously scheduled for January 26 through February 4.

Hmmmm. I’m sure there’s a story here, but I certainly have no clue what it is. The show, originally scheduled to run two weekends, has since been rescheduled to one weekend in March. I guess I could call someone and try to get the inside scoop on this but I prefer to fill in the mystery with all sorts of wild speculation. I’ve got to do something to entertain myself.

Thoughts both Idol and envious

I was watching the “American Idol” auditions last night (not on purpose or anything mind you…was folding laundry in the family room and the kids were watching it…what was I supposed to do???) and I swear that I saw Scott Wichmann in a street shot of Seattle. There was a guy shaking out an umbrella and he said something to the camera (can’t remember exactly what…didn’t have the DVR primed…) and between the voice and the look, it was unmistakably him. If it wasn’t, Scottie’s got a twin who lives out in the NorthWest.

If you want to catch up with Scott and his adventures out west (where he caught up with Richmond expats Foster Solomon and Susan Sanford), be sure to check out his blog.

Did anyone see the second edition of “Grease: You’re the one that I want” auditions? I’m afraid that one is probably going to drop right off my radar screen as time goes on. I did see that the ratings for the show dropped from about 23rd on the first night to something in the mid-40s for the second edition. May not bode well…

I’ve enjoyed hearing about people who went to shows in NYC around the holidays. For oneeyedog who came face-to-face with Cynthia Nixon – you lucky dog! I loved her on “Sex and the City” and my esteem for her has only grown as she has continued to do cool shows on Broadway since SATC closed up shop. It was a possibility that I would see “Chorus Line” when I was up there but it turned out to be a girls-only show for our family: my daughters, wife and mom-in-law went and filled me in later. Their opinion (not informed by the critical distain that comes with my job) was that the show was great. My lovely wife was surprised at how much she had forgotten about the show since she first saw it years and years ago.

I really wanted to see “Spring Awakening” but because we were planning on bringing two adolescents with us, I balked on that one. A show about adolescence and sex might have been a little too real both for the kids and us parental types. Now the wife and I are mulling over a possible spring NYC trip that I think will include “Drowsy Chaperone” and “Awakening.”

I saw Kristin Chenowith on David Lettermen last week and she was quite a hoot. It’s remarkable how tiny she is! Next to Dave, she seemed a bit like a dwarf. I appreciate a talk show that recognizes Broadway stars; Dave will always be the post-baby boom generation’s answer to Johnny Carson, if you ask me. Jay who?

“Wicked” was truly amazing. I went in with pretty low expectations for a number of reasons too involved to go into here. But man, I was just blown away. Ana Gasteyer is truly up to the task of Elphaba; she blew the doors off of “Defying Gravity.” The story is genius, fitting together with “The Wizard of Oz” so that the old movie seems like just a small piece of a much more intricate and interesting puzzle. And I don’t know if I can string together an adequate number of adjectives to describe the cleverness and well-craftedness of Stephen Schwartz’s songs. Particularly listening to the cast recording afterwards, it’s clear that he put everything he had into this one. I’m looking forward to showing our little ones “The Wizard of Oz” soon so we’ll have an excuse to go see “Wicked” again! I know that watching the movie will never be the same again!

Did you know that the name Elphaba comes from the initials of "TWofOZ's" author? L. Frank Baum = LFB = El-fa-ba. How's that for a fun fact!

I’ll have to write more about “The Grinch” sometime – not just the production, but some not-so-positive things I think the production says about the unique niche of “opportunistic” theater.

Johnny, Sprites, and the feedback loop

If you are just sitting down to your morning cuppa Joe on Saturday morning and leafing through the blogoshere, you might want to pop on the Disney channel. At 10am this morning, a new children’s show premieres on the Disney channel that stars John Tartaglia from “Avenue Q” and, as described in this New York Times piece, has been enhanced by the involvement of a lot of Broadway vets up to and including no less than Mr. Stephen Schwartz.

I wanted to thank everyone who has commented on the ole blog lately, particularly the responses to my post about impressions and RTP. It was particularly nice to hear from Mr. Knapp who prompted the post. Let me try to respond in kind.

Jacquie, you are way too kind and also a good friend and someone I still owe a Christmas card to (yes, sad to say, we are still sending them out…) Please don’t hesitate to call me ignorant; god knows I am about many many things (as my children will be only TOO glad to point out for you!) What I hope I have done is try to approach theater criticism as a fan. I also went into this gig with no illusions that it was a great way to meet new pals in the theater world so, while I wouldn’t ask for your envy, you also shouldn’t feel too sorry for me either.

Amy, I love when you post a comment and really respect your perspective. I think you hit a nail on the head. As a writer for (and therefore a representative of) Style, I expect the magazine’s treatment of theater gets confused with my opinion of theater. This is completely understandable; I know I consider the T-D’s lack of a full-time staff writer covering the performing/fine arts a comment on their lack of respect for those communities. The situation with Style has some complications and maybe when I get a second I can expound a little on the inner workings of Style as I understand them. They may or may not reflect the reality of the situation. And yes, I do remember your letter, Amy! Too bad it was back in the days before blogs or else I might have had a chance to respond. Responses were discouraged back in those non-interactive days…

John, I thought there was a hint of jest in your comment but I couldn’t be sure. I guess it tweaked the guilt I feel for not seeing any RTP shows in almost two years. Yes, I have GOT to get out more.

Did I review Pageant? I don’t remember doing so but I’ll have to comb through the archives and make sure. Let me assure you that I know very well that those who work in theater do it because they love it not to make scads of cash (well, I did it to meet chicks but that was years ago…) I try to bring that perspective to my reviews as well. But I also try to bring another perspective, which is that of a patron who has paid their good money and is devoting an evening to a show and has a right to expect certain things in response (though I get most of my tickets for free, some schedule juggling or hiring of a babysitter is required even for me. And my mother-in-law doesn’t work cheap…) Just one anecdote to put out there as an example: a couple I know recently walked out of the TheatreVCU production of “Medea” and went out to see a movie because it was their night out, dammit, and they were determined to be entertained even if they had to pay for both a play and a movie to make that happen.

I guess my point is that I certainly respect and admire that people do theater because they love it. But, if they want pats on the back from a critic or adoration from an audience, they have to do more than show up and put in the hours. They also have to be creative, talented and maybe even a bit lucky. It's not an easy job, I know, but love is never easy.

As for the inner workings of Style and why certain things are covered or not, per my response to Amy I’ll do my best to talk about some of that in a future post. Fer sure.

Good thoughts and reality shows

Speaking of Richmond Triangle Players, please send prayers and positive energy to Michael Gooding who is recovering from surgery. He has worked tirelessly to build and sustain RTP over the years, but he’ll be needing to take it easy for the next month. Heal well, Michael.

Apparently, the “Grease” reality show did pretty well in the ratings last weekend (look here for a detailed breakdown), even though some other critics expressed some of the same concerns I had. If the show can make it through the rehearsals OK, I expect it’ll do pretty well during the “live shows.” As glib as Billy Bush is, I think he thinks pretty well on his feet.

And in further intersections between theater and reality shows, that Constantine guy from American Idol will be joining the cast of “Jacques Brel.” I think it’s a bit odd, and maybe a little disturbing, that Broadway has become the landing strip for so many reality show also-rans (e.g., Diana DiGarmo, Frenchy whats-her-name, etc.) I preferred instead that trend we were seeing where Hollywood A-listers were showing up in New York (Julianne Moore, Denzel Washington, etc.)

And one last random aside: the lovely wife and I just saw “Little Children” at the movies last week and I’ll tell you now, if Kate Winslett ever appears on Broadway or on the West End – not unlikely given her husband’s profession – I’d sell a kidney in order to see her. She’s just amazing. I’d also go to extreme measures to see Anna Paquin (whose limited engagements on Broadway have escaped me in the past), though I’d try to keep body parts out of the equation.

Preparing for a thrill

I’m always interested in how impressions get formed. I had the occasion today to speak to John Knapp, the Artistic Director for Richmond Triangle Players. Mr. Knapp has directed many fabulous productions for RTP and is currently preparing “Thrill Me,” which he asserts will be an intriguing and creepy departure for RTP. He mentioned in passing (and to be fair, possibly half in jest; it’s hard to gauge these things over the phone) that he realized that I didn’t have any great love for the stuff RTP did. This took me aback a bit. I tried to assure him that to a great degree I am ignorant of much of what RTP is doing because I haven’t had the chance to see one of their shows in so long.

This prompted me to look back into my archives and the last time I had written a review about an RTP production was an only mildly qualified rave review of “Breathe” in 2005 (which I made a point to mention again in my 2005 wrap-up column) and before that, an unqualified rave of “Santaland Diaries” in 2004. So where-for comes the idea that I’m down on RTP?

I know my former Style partner-in-criticism, Mr. Nickerson, was no RTP fan, judging from his reviews last year. And on the cyperpages of this blog I voiced some reservations in advance of the VCU-student led Christmas show last year and maybe some unkind second-hand comments about some recent RTP productions. Perhaps I’ve done so without enough qualifications (e.g., “the opinions expressed by those whose opinions I pass on are theirs and do not necessarily reflect the opinions – or lack thereof – of this author…”) But rest assured, I look forward to each RTP show I go to with as much fresh-faced eagerness as I approach any other show in town. Truth be told, my attitude about ANY show that I actually attend is usually pretty euphoric given that a night at the theater means a night I’m not overseeing bedtime for 2 cranky tweens and 2 obstinate pre-schoolers.

This reminds me of times in the past when folks at Chamberlayne Actors Theatre thought I was down on them (beware of what you say in line on opening night – you never know who might be listening) and leadership at Swift Creek Mill wouldn’t even talk to me. Those were giddy times indeed! I’m looking forward to 2007 and the sowing of additional mis-impressions…

You’re…NOT the show I’ll be watching Sunday nights

The new reality TV show, “Grease: You’re the One that I Want,” has done something that I never would have thought possible: made me appreciate Paula Abdul. I’m not a huge “American Idol” fan – though I must admit to having caught a mild case of the McPheever last season. Generally, I have found “Idol” judges Paula and Randy to be insipid and repetitious when not downright moronic. Simon is the “bad guy” but most often, he’s just the most honest, occasionally with a brutality that adds entertainment value to the show.

However, as flawed as Simon’s cohorts are, at least they have personalities. “Grease” director Kathleen Marshall may be a great choreographer but she showed the vitality of a stone when judging during the show last night. And “Grease” author, Jim somebody or other, could barely get a coherent word out, let alone say something amusing or even mildly insightful. The tour of the haunts that inspired “Grease” basically insisted of him getting out of cars and pointing. Scintillating television.

Producer David Ian is a solid enough screen presence and he isn’t as brittle as Simon. But he’s also not nearly as entertaining. He also dominates the show in a way that Simon doesn’t dominate “Idol” so I fear he will grow tiresome soon. His “You’re…NOT Sandy” tagline grew tiresome after only one episode.

I have to respect “Grease” for using the real people whose careers and whose money are wrapped up in the Broadway production. If (when) Katharine McPhee’s first album tanks, it’ll barely distract the “Idol” judges. But putting their livelihoods on the line here has perhaps paralyzed the “Grease” team in a ‘deer-in-the-headlights’ kind of way that doesn’t play that well on the small screen.

The strongest aspect of the show so far is the potential Dannys and Sandys. Of course, the judges then didn’t do the show any favors by booting a few of the most interesting prospects (the plus-size dancing cupcake, the pharmaceutical rep who walked in from a convention, and the Danny who was doing it for his dead brother). I’ll probably give the show one more chance (overheating the DVR next weekend thanks to ‘24’s premiere) but, unless I see anything compelling next week, interest in theater alone won’t keep me squandering an hour a week of my life on this show.

What did you all think?

Lindsay Lohan, Britney Spears and Paris Hilton were on a plane with only one parachute...

Sorry about the title but I figure it's the only way to get some traffic back on this site...

But more to the point, sorry about the extended absence from the blog-o-sphere. For some reason, the holidays -- all phases of them -- just wallopped me harder than usual this year. The early weeks of December were crazy with work in particular, the Tline clan was on the road for 10 of the 12 days of Christmas, and I feel I've been playing catch-up since the New Year. So the blogging has fallen by the wayside.

I also realized that last year I was feeling like I had to post 5 times a week to keep people's interest. And maybe somewhere in my murky subconscious I was thinking that if I wasn't posting that often, I might as well not post at all. There is at least 5-7 interesting things to say about theater every week so by golly, says my subconscious, I should be posting that regularly (my subconscious doesn't actually speak in such outdated idioms but its real vernacular would be unprintable on a family blog).

In the long run, 5 times a week is probably not going to be workable. So I'm setting a new goal of posting at least 3 times a week. The saying in the consultant biz is: Under-promise, over-perform. We'll see if that pans out.

But enough of this navel-gazing. This is a theater blog after all so let's talk about theater. Did anyone see any good shows over the past month? Did anyone (besides me) wander on up to NYC by any chance and catch something wonderful? I saw two shows on Broadway over Christmas: "How the Grinch Stole Christmas" and "Wicked." It didn't occur to me until more than a week later that the main character in each is green. How's that for an odd coincidence?

Unfortunately, I didn't see anything in Richmond, what with all the shopping, wrapping and packing to do at night. I'm especially disappointed that I missed the Barksdale Holiday Cabaret. I guess I need to carve out a spot in my calendar NOW to see the spring cabaret.

I'm TIVOing "Grease: The One That I Want" right now. In theory, I am both intrigued and horrified by it. When I get the chance, I'll chime in with my opinion of the reality of it. In the meantime, please post your own thoughts.

And please come back and read me again! I won't abandon ship again (until maybe next December...)

Adventures in Attribution

I have to extend my congratulations to Frank Creasy (and I'll try not to sprain my arm patting myself on the back in the process). If you perused the T-D's Weekend magazine, you'll see that our pals at the Barksdale pulled a quote from Mr. Creasy's comment on this here blog for use in their ad for "Over the River and Through the Woods." It's kind of funny since in his comment he specifically mentions that it's a good thing he's an actor not a critic. And then suddenly, he's being attributed as if he is one!

It's kind of fascinating, this pulling of quotes from reviews for ads. Maybe Judi C. will post something someday about what goes into it. Are specific adjectives important (in the "OTRATTW" ad, "remarkable" is pulled from my review)? Are there marketing angles that are being highlighted (e.g., Mr. Creasy's mention of the play being "in the spirit of the season")? It usually doesn't occur to me until long after I've written my review that it might be excerpted for an ad. And the few times I've written something and thought, "hey, that'd be a perfect quote for an ad," that particularly clever turn of phrase has gone completely unnoticed every single time. So it goes.

The best anecdote along these lines that I have is one year when the Firehouse put out a season schedule flyer that had two quotes from me on it. However, at the time, I was writing for Style as D.L. Hintz and for 64 Magazine under my real name so they could use me twice without appearing to pull from the same source. Pretty tricky!

A Christmas Carol for Two Actors

And what a great coupla actors! I was kind of jazzed about this production because I figured Grant Mudge would be in it. I can't remember that last time I saw Mr. Mudge onstage and I've always enjoyed his performances. But when you add Jen Meharg in as the second actor, well, that just makes for a real power duo. It's easy to grow cynical about 'A Christmas Carol' after you've seen it a dozen times or so but between this production and the Jacob Marley show at Sycamore Rouge, I'm actually looking forward to two doses of Scrooge this year.

Theater Reading

Since I’m a bit too swamped work-wise to write anything interesting (I have no excuses for the uninteresting writing I’ve done in the past…), I’ll send you to some places where people are writing interesting things. First off, there’s a review of RTP’s “Christmas with the Crawfords” in the latest Style. While you’re at it, you might want to read up on the new dance troupe Amaranth that made such a good impression at the Commonwealth Coalition Benefit at the Barksdale a month or so ago.

In perusing the weeklies we get at the T house, I saw this article on Tom Stoppard’s “The Coast of Utopia” and there’s a neat little piece on the design of Mary Poppins’ house for the Broadway production. This last one isn’t the same without the picture – grab the magazine next time you’re at Barnes and Nobles and check it out.

Business and Art

It was refreshing and somehow appropriate to see Mystery Dinner Theater spotlighted in yesterday’s Business magazine in the T-D. Laura and Jim Daab are a couple of really nice people who I’ve known at least since my lovely wife appeared in one of their productions. Jim is also a great performer, which you might not know unless you caught him in one of the shows he did at the Mill years ago.

I say “appropriate” because Mystery Dinner Theater more than anything else seems like a great business model. It’s been interesting to see the company succeed and continue to expand. It also brings out a bit of a conflict in me and perhaps in other people, as well. There’s a bit of a snob in me that thinks that the MDT shows should not even be considered in the same ballpark as “artistic” shows like the ones the Barksdale, the Firehouse, etc. put on. When I think of MDT, I think in business terms: they have a fairly generic “product” that they repackage regularly to keep people interested. And clearly people like the product and continue to buy it.

That might sound a little cynical or condescending. But then I reflect on it a little and realize that it’s really what every theater does. You can look at the Barksdale’s move back into Hanover Tavern, for instance, and see that the product they’ve decided to sell out there is family-friendly classics. And clearly, that product is selling. Theatre IV sells kids shows, plain and simple. And they do a great job and the crowds come in and have a good time. So why, I wonder, am I just a touch disdainful about MDT? Am I holding on to this vague and highbrow notion that “art” shouldn’t be about commerce? Does a production have to big words or complicated themes or pretty sets to count as ‘theater’ in my narrow version of what theater is? Do I need to come down off my high horse of critical distance and mingle with the people a little? Regardless of how ‘important’ a show is, if nobody sees it, does it still make a sound?

I've added Mystery Dinner Theater to my "Producers" list to the left there in an effort to get over myself.

In the face of convention

OK, I know that what I should do today is talk about everything I'm thankful for and help to spread sweetness and light in the world. I sat down fully expecting to do such a thing. But now I'm annoyed so that particular post is going to have to wait for another day.

I don't mean to make this blog a continuing rant on any specific subject but Mr. Neman at the T-D just continues to get my goat. In the past few days, there have been sterling examples of what annoys me about him. First, there's the lazy use of 'we' that I've mentioned before. In his review of 'Bobby,' there's this:

"There is simply nothing intrinsically compelling about any of them, so we find ourselves bored and checking our watches with increasing frequency."

No, Dan, YOU checked your watch. We, who are reading, most likely haven't even seen the movie and so our watches weren't even close to the theater.

Then, there's the pseudo-cleverness that ends up just being kind of dumb, like in his appreciation of Robert Altman which ends like this:

"But no one quite made movies like Altman. To honor him best, we should stand around at a party talking about him, and let his microphone pick out the conversations he thinks are best."

OK, I get the idea -- sort of -- but it's expressed so badly that it ends up not really making sense.

Why does this annoy me so much? Because this is what Richmond readers are being trained to think is real criticism. But what they are getting, in fact, is lazy, bad writing. It also drives thinking people away from the T-D to read real film critics at The New Yorker or the Washington Post or really anywhere else.

Of course, there are people who would say, well, he's annoying you but you are still reading him. In fact, maybe by annoying you, he's actually making you a more fervent reader of the T-D. Actually, the exact opposite is true. I used to read the T-D Arts or Style sections cover to cover (as it were). Now, half of the time I skip over the movie reviews and -- though I like Ms. Ruggieri's writing style -- I only read the music articles if they are about an artist I have heard of (a diminishing pool, unfortunately). And theater reviews -- well, sometimes I can't find them to read them so I miss them oftentimes now too.

So, I guess in keeping with the spirit of the holiday, maybe what I should say is that I'm thankful for the website RottenTomatoes which gives me easy access to a whole host of movie reviewers who give me more insightful and clearly stated opinions on movies than what I can find in my daily paper.

Holiday Stylings

Here’s the theater-related story in Style that I mentioned, a pretty cool idea to talk about the holiday experience through several different characters. I wish I could say it was my idea…

And here’s the my review of “Over the River…” for your consideration.

New York, New York

There’s an interesting piece on “Mary Poppins” in the latest Newsweek. I’m glad to hear that the latest production makes MP a little darker, more of a Nanny McPhee-type character. This is enough to make me consider seeing this show now, maybe next year if it’s still around.

But for our December trip, it’s going to be “A Chorus Line” and “Wicked.” All of “the girls” wanted to see “ACL” and, through some tremendous good fortune and some most welcome generosity, we got killer seats for “Wicked,” so can’t argue with that. I’m still intrigued by “Spring Awakening” and would like a chance to see either “History Boys” or “A Drowsy Chaperone” before they disappear.

And finally, here’s a bit of cool news: Kevin Spacey will be playing on Broadway next spring in “A Moon for the Misbegotten.” I’d love to see that.

Stories of Winter Magic

The Science Museum has a winter-time show of storytelling. Looking for a respite as the days turn colder and vacation days from school loom large? The Science Museum is a great place to kill several hours and they serve Starbucks coffee there! Oh, and there's theater!