On a clear day you can see forever, is a Burton Lane and Alan Jay Lerner musical from 1965. It is based loosely on the book Berkley Square and is about a woman who has ESP and has been reincarnated. The original production was plagued with a poorly constructed book with ridiculous plot points and holes that left the audience scratching their heads. It was subsequently turned into a film starring Barbra Streisand in 1970.
The show has never really "worked" though it does have a tuneful and enjoyable score. Michael Mayer had the idea to redevelop the show to try and fix the problems in the book and sew together the holes in the plot. His solution to this was to take the lead character of Daisy (and her alter ego and past life Melinda) and turn her into DAVEY, while still keeping Melinda as a female. Interesting no? Unfortunately it wasn't.
While the idea of Daisy being Davey IS interesting, it wasn't at all executed well. New Book writer Peter Parnell did what he could under the new construct to help make the story make sense, but the concept was not fully developed, or committed to.
A new framing device was added for the Psychiatrist Mark Bruckner (played by Harry Connick Jr.) which basically made him the leading role and delegated the role(s) of Davey and Melinda to supporting characters in what was now HIS story. This may have fixed some of the earlier problems but it added a whole set of new ones.
Harry Connick Jr. was terrible in the role of Mark. His singing (as always) was superb, his acting however (not as always) was stiff and miserable. After the opening monologue we meet "Davey" who is portrayed as a boring, unremarkable type of guy who works in a florist shop. Basically every ounce of charm that Daisey possessed has been removed.
Davey wants to be put under hypnosis so that he can quit smoking and move in with his wonderful boyfriend Warren who hates smoking. While Davey is under hypnosis Dr. Bruckner discovers that Davey has the ability to remember his past lives.
Dr. Bruckner meets Davey's immediate past Life, Melinda, (played by a real girl, Jessie Mueller) and ends up falling in love with her. We see them dancing, experiencing all kinds of things, and we even see them kiss - many times in female form, and once, very quickly in male form.
The problem is that it's difficult to buy into the idea that Dr. Mark doesn't realize that he is looking at a man. It subtly bring up the subject of latent homosexual tendencies and the fact that two people can love each other and that their external parts don't matter but it never actually deals with them in a satisfying way.
Not to mention all of the ethical problems with taking advantage of a patient physically. Even in the 70's I can't imagine a Psychiatrist would not have lost his license for making out with a patient while they were under hypnosis. Luckily we never see them make love, though it is somewhat implied that it may have happened.
On a clear day contains a wonderful score. This production was "augmented" with songs from the film The Royal Wedding which also contained a Lane/Lerner score. The songs mix in just fine, but by separating the two characters the whole thing just loses steam.
The production was not helped with the fact that The Saint James theater is a cavernous house and the story is much more intimate than the theater allowed. Also, the set design, choreography and costume design was near disastrous.
Four things would have made this production better:
1) A stronger commitment to the idea that Marc Bruckner fell in love with a woman in a mans body
2) Stronger design elements (Set, Costumes)
3) More cohesive choreography
4) Being done in a smaller house, less than 1200 seats.
This production of On a clear day you can see forever closed on Broadway on January 31st 2012.
Perhaps someday we will see a successful (at least creatively) production of this show, but sadly this was not it.
Thursday, March 29, 2012
Friday, March 23, 2012
Stick Fly
There were two plays on Broadway this year that were about well to do family's with deep dark secrets and the people who refuse to let them stay buried in the holes that were dug for them. One of them was Other Desert Cities which I have already discussed (and which I loved) and the other, is Lydia R. Diamonds Stick Fly which I also thought to be extremely profound.
Stick Fly, produced by and featuring incidental music by Alicia Keys, is described thus by producers: Stick Fly follows the LeVays, an affluent African American family who come together to spend a summer weekend at their Martha's Vineyard home. The adult sons, aspiring novelist Kent and golden boy plastic surgeon Flip, have each brought their respective ladies (one Black and one White) to meet the parents. Food, drink and Trivial Pursuit tangle with class, race and identity politics in this contemporary comedy of manners.
Dark secrets are brought to the light and more than one characters true natures are bared before the evening is through. The play is extremely well written. Some may liken it to a soap opera in it's construction and the way in which it's plot devices are used, but I found it to be compelling and poignant.
The performances were hit and miss. Rubin Santiago Hudson was the strongest male in the cast as Joe, the patriarch of the LeVay family. Though the family bears his name, he married into the affluence and is therefore not considered part of the legacy. Dule Hill and Mekhi Phifer give acceptable if sometimes bland performances as Kent and Flip, respectively.
The woman fair much better. Tracie Thoms is excellent as Kent's Fiance Taylor, and Rosie Benton is a comic delight as Trips (white) girl friend Kimber. The utter revelation, however, is Condola Rashad as Cheryl, the daughter of the long time house keeper. Her performance is breath taking, powerful, and intense while at the same time being vulnerable and introspective.
The direction by Kenny Leon is smart and informative. The lighting design by Beverly Emmons is sufficient as are the costumes by Reggie Ray. The set design by David Gallo perfectly evokes that of a summer home on Martha's Vineyard complete with ornate interiors and quaint patios. Alicia Keys music is pretty darn good too, if not sometimes a little more featured a presence than incidental music in a play ought to be.
So, what was the problem? Why should Other Desert Cities thrive while Stick Fly closes early? As the play suggests, America still has a race problem, and a class problem. Put more simply, Cities is about white people while Stick Fly is about black people. It's a little known "fact" on Broadway that black people don't go to the theater, so the only way that shows about black people do well is if something compels the black community to go to the theater or if white audiences find interest and start showing up.
Stick Fly closed on Broadway at The Cort Theater on January 31st. If it comes to a local theater near you, see it, because it is one powerful play.
Stick Fly, produced by and featuring incidental music by Alicia Keys, is described thus by producers: Stick Fly follows the LeVays, an affluent African American family who come together to spend a summer weekend at their Martha's Vineyard home. The adult sons, aspiring novelist Kent and golden boy plastic surgeon Flip, have each brought their respective ladies (one Black and one White) to meet the parents. Food, drink and Trivial Pursuit tangle with class, race and identity politics in this contemporary comedy of manners.
Dark secrets are brought to the light and more than one characters true natures are bared before the evening is through. The play is extremely well written. Some may liken it to a soap opera in it's construction and the way in which it's plot devices are used, but I found it to be compelling and poignant.
The performances were hit and miss. Rubin Santiago Hudson was the strongest male in the cast as Joe, the patriarch of the LeVay family. Though the family bears his name, he married into the affluence and is therefore not considered part of the legacy. Dule Hill and Mekhi Phifer give acceptable if sometimes bland performances as Kent and Flip, respectively.
The woman fair much better. Tracie Thoms is excellent as Kent's Fiance Taylor, and Rosie Benton is a comic delight as Trips (white) girl friend Kimber. The utter revelation, however, is Condola Rashad as Cheryl, the daughter of the long time house keeper. Her performance is breath taking, powerful, and intense while at the same time being vulnerable and introspective.
The direction by Kenny Leon is smart and informative. The lighting design by Beverly Emmons is sufficient as are the costumes by Reggie Ray. The set design by David Gallo perfectly evokes that of a summer home on Martha's Vineyard complete with ornate interiors and quaint patios. Alicia Keys music is pretty darn good too, if not sometimes a little more featured a presence than incidental music in a play ought to be.
So, what was the problem? Why should Other Desert Cities thrive while Stick Fly closes early? As the play suggests, America still has a race problem, and a class problem. Put more simply, Cities is about white people while Stick Fly is about black people. It's a little known "fact" on Broadway that black people don't go to the theater, so the only way that shows about black people do well is if something compels the black community to go to the theater or if white audiences find interest and start showing up.
Stick Fly closed on Broadway at The Cort Theater on January 31st. If it comes to a local theater near you, see it, because it is one powerful play.
Tuesday, March 20, 2012
Seminar
The saying goes that you can't judge a book by it's cover, but in Theresa Rebeck's (SMASH) new play Seminar a world renowned writer turned private celebrity tutor attempts to mold a group of young students by reading just the first few lines of their manuscripts. The play is described as thus: four aspiring young novelists sign up for private writing classes with Leonard (Alan Rickman), an international literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon and hearts are unmoored. The wordplay is not the only thing that turns vicious as innocence collides with experience in this biting new comedy.
While I was watching Seminar I must say that I enjoyed it very much. It lasts a swift 99 minutes without an intermission. The play itself is quite good. It's about the creation, and subjectivity of art, as well as the honing of skills and the importance of developing a craft. Theresa Rebeck, who is one of the executive producers and head writers over at the new NBC desperate to be a hit show SMASH, has created fully formed characters where a lesser writer may have presented archetypes. Though the character of Leonard is somewhat of an archetype of the typical intellectual and liberal elitist, doused with the slightest touch of misogyny.
Alan Rickman, though he receives top billing, is not the leading male role. He is fantastic though, and possesses a complete magnetism whenever he is onstage. The role is, in my opinion, the weakest written but due to Rickmans wonderful presence and performance it becomes something better than it is on the page.
The two true stars of this piece are Hamish Linklater and Lilly Rabe as two aspiring writers who are students in this once weekly writing class. They both imbue their characters with an instant likability, vulnerability, and complexity that makes them interesting and entertaining to watch. They are joined by the equally excellent Jerry O'Connell and Hettienne Park.
The set design by David Zinn (who also did the costumes) is simple and effective. The direction by Sam Gold is smart and well paced. Overall I'd say this has a decent shot of being nominated for Tony Awards, specifically for Alan Rickman, Lilly Rabe, and Hamish Linklater. The best play category is going to be tough this year, so that might be a stretch.
Seminar continues to play at The John Golden Theater on Broadway however Alan Rickman, Hamish Linklater, and Lilly Rabe will be exiting the production in Early April. They will be replaced by Jeff Goldblum, Justin Long, and Zoe Lister Jones, receptively. I may or may not see the play again, just so I can swoon over Justin Long at the stage door, but that all depends on whether or not I can successfully lose 30 lbs, and convince him that he doesn't REALLY like women.
While I was watching Seminar I must say that I enjoyed it very much. It lasts a swift 99 minutes without an intermission. The play itself is quite good. It's about the creation, and subjectivity of art, as well as the honing of skills and the importance of developing a craft. Theresa Rebeck, who is one of the executive producers and head writers over at the new NBC desperate to be a hit show SMASH, has created fully formed characters where a lesser writer may have presented archetypes. Though the character of Leonard is somewhat of an archetype of the typical intellectual and liberal elitist, doused with the slightest touch of misogyny.
Alan Rickman, though he receives top billing, is not the leading male role. He is fantastic though, and possesses a complete magnetism whenever he is onstage. The role is, in my opinion, the weakest written but due to Rickmans wonderful presence and performance it becomes something better than it is on the page.
The two true stars of this piece are Hamish Linklater and Lilly Rabe as two aspiring writers who are students in this once weekly writing class. They both imbue their characters with an instant likability, vulnerability, and complexity that makes them interesting and entertaining to watch. They are joined by the equally excellent Jerry O'Connell and Hettienne Park.
The set design by David Zinn (who also did the costumes) is simple and effective. The direction by Sam Gold is smart and well paced. Overall I'd say this has a decent shot of being nominated for Tony Awards, specifically for Alan Rickman, Lilly Rabe, and Hamish Linklater. The best play category is going to be tough this year, so that might be a stretch.
Seminar continues to play at The John Golden Theater on Broadway however Alan Rickman, Hamish Linklater, and Lilly Rabe will be exiting the production in Early April. They will be replaced by Jeff Goldblum, Justin Long, and Zoe Lister Jones, receptively. I may or may not see the play again, just so I can swoon over Justin Long at the stage door, but that all depends on whether or not I can successfully lose 30 lbs, and convince him that he doesn't REALLY like women.
Thursday, March 8, 2012
Other Desert Cities
Every family has tragedies that they would like to forget. There are skeletons in every closet that we would all prefer never to have dragged into the light. Some of us are able to talk about our feelings and problems related to these tragedies and skeletons and others of us prefer to keep a stoic silence on the subject, to various degrees of success. Jon Robin Baitz has crafted a masterful play that explores the relationships between family, tragedy, success, and those all too familiar skeletons being dragged into the light.
Other Desert Cities concerns the Wyeth Clan, a resilient bunch of folks who have assembled at their Palm Springs home for Christmas. Lyman, a former movie star and former US Ambassador during the Reagan administration, and Polly who has a Nancy Reagan like stand by your man quality to her, are the staunchly republican parents to Brooke, a depressive writer, and Trip, an auteur of trashy reality television. They are joined by their Aunt (Polly's Sister) Silda.
Brooke has borne with her across the country from Long Island a long awaited manuscript for her second novel. The novel turns out to be a memoir that recounts the suicide of the Wyeth's oldest son, who was a weather man style underground activist in the 70s and caused Lyman and Polly great political scandal.
Many bombs are dropped during the evening, and many long held family secrets are brought into the light. Stockard Channing is giving an exceptionally layered and utterly fantastic performance as Polly Wyeth. You can tell that she is the backbone of the family and that she is holding everything together, and that she wields great power within her circle.
She is equally matched by Stacey Keach as Lyman, who at the onset seems to be more background but grows in a dynamic way through out the play. The script is filled with fantastic quips and one liners, as well as thought provoking statements about politics, family, depression, and secrecy.
Judith Light is giving a brave and spectacular performance as aunt Silda Grauman, a former screen writer and recovering alcoholic. Rachel Griffiths in her Broadway debut has given Brooke a passivity that makes her fragile yet aggressive simultaneously. As Trip Wyeth Justin Kirk is funny, charming, and altogether fantastic, even when he isn't speaking.
In my opinion Other Desert Cities is the current front runner for many Tony Awards including Best play, Best Actress, and Best Featured Actress. It currently plays at The Booth theater and is selling tickets through mid June. You can get student tickets day of the show or if you are under 30 you can purchase tickets through Lincoln Centers Linctix program.
Other Desert Cities concerns the Wyeth Clan, a resilient bunch of folks who have assembled at their Palm Springs home for Christmas. Lyman, a former movie star and former US Ambassador during the Reagan administration, and Polly who has a Nancy Reagan like stand by your man quality to her, are the staunchly republican parents to Brooke, a depressive writer, and Trip, an auteur of trashy reality television. They are joined by their Aunt (Polly's Sister) Silda.
Brooke has borne with her across the country from Long Island a long awaited manuscript for her second novel. The novel turns out to be a memoir that recounts the suicide of the Wyeth's oldest son, who was a weather man style underground activist in the 70s and caused Lyman and Polly great political scandal.
Many bombs are dropped during the evening, and many long held family secrets are brought into the light. Stockard Channing is giving an exceptionally layered and utterly fantastic performance as Polly Wyeth. You can tell that she is the backbone of the family and that she is holding everything together, and that she wields great power within her circle.
She is equally matched by Stacey Keach as Lyman, who at the onset seems to be more background but grows in a dynamic way through out the play. The script is filled with fantastic quips and one liners, as well as thought provoking statements about politics, family, depression, and secrecy.
Judith Light is giving a brave and spectacular performance as aunt Silda Grauman, a former screen writer and recovering alcoholic. Rachel Griffiths in her Broadway debut has given Brooke a passivity that makes her fragile yet aggressive simultaneously. As Trip Wyeth Justin Kirk is funny, charming, and altogether fantastic, even when he isn't speaking.
In my opinion Other Desert Cities is the current front runner for many Tony Awards including Best play, Best Actress, and Best Featured Actress. It currently plays at The Booth theater and is selling tickets through mid June. You can get student tickets day of the show or if you are under 30 you can purchase tickets through Lincoln Centers Linctix program.
Saturday, March 3, 2012
Chinglish
Pulitzer Prize winner David Henry Hwang has crafted a relevant and timely piece about business relations between the US and China with his new play, Chinglish. In this comedic drama, a white businessman named Daniel attempts to establish a relationship with a potential client in China, however, he finds the challenge to be far more difficult than he could have anticipated. Language is only one of the many barriers Daniel must overcome if he wants to operate successfully in this new and uncharted territory.
To help him through these barriers David hires a consultant named Peter who is a British man living in China. David owns a small family owned signage business in Ohio and is making a bid to provide the signs for a new international cultural center in Guiyang China. In order for his bid to be approved he must first establish a relationship with the minister of culture, but he must also win over his vice minister Xi Yan. Very soon we realize that all of the main characters have their own secret agendas and that nothing is exactly as it appears to have been.
Gary Wilmes who plays David is very funny at times, and also at times charming. He doesn't imbue the character with very much vulnerability, or for that matter likability, so it's very difficult for the audience to give a crap about his plight. Wilmes performance doesn't change much through out the course of the play so we are left with something very static and one dimensional.
Jennifer Lim as Xi Yan, however, is a complete revelation. Her performance is incredibly nuanced and dynamic. We see the shift in her characters thoughts and moods without always understanding what she is saying (90% of her dialogue is in Mandarin Chinese, most of which is translated with super titles). Through Ms. Lin's body language we are also able to see the complications of being a woman in China, and a woman in a prominent position at that.
The rest of the cast is quite good, Stephen Pucci as Peter and Larry Lei Zhang and Minister Cai Guoliang turn in excellent performances. Angela Lin has a scene stealing turn as an inept translator very early on in the piece and is a joy to watch. The rest of the cast is also fine.
Set design by David Korin is highly functional, using two turn tables to transform from offices to hotel lobbies, to hotel rooms, and restaurants quickly. He is also able to evoke the feeling that we're not in Kansas anymore, without making us feel like we're just in a Chinese restaurant down town. The lighting and projections are also effective.
Chinglish closed on Broadway January 29th 2012. Due to it's predominantly Chinese casting requirements, and also the requirement that all but one of it's actors speak fluent Mandarin Chinese I can't see this piece being done heavily in regional or community theaters. If you DO notice it playing at a Theater near you - see it because it's an incredibly smart and funny piece of theater that will also leave you with something to chew on later.
To help him through these barriers David hires a consultant named Peter who is a British man living in China. David owns a small family owned signage business in Ohio and is making a bid to provide the signs for a new international cultural center in Guiyang China. In order for his bid to be approved he must first establish a relationship with the minister of culture, but he must also win over his vice minister Xi Yan. Very soon we realize that all of the main characters have their own secret agendas and that nothing is exactly as it appears to have been.
Gary Wilmes who plays David is very funny at times, and also at times charming. He doesn't imbue the character with very much vulnerability, or for that matter likability, so it's very difficult for the audience to give a crap about his plight. Wilmes performance doesn't change much through out the course of the play so we are left with something very static and one dimensional.
Jennifer Lim as Xi Yan, however, is a complete revelation. Her performance is incredibly nuanced and dynamic. We see the shift in her characters thoughts and moods without always understanding what she is saying (90% of her dialogue is in Mandarin Chinese, most of which is translated with super titles). Through Ms. Lin's body language we are also able to see the complications of being a woman in China, and a woman in a prominent position at that.
The rest of the cast is quite good, Stephen Pucci as Peter and Larry Lei Zhang and Minister Cai Guoliang turn in excellent performances. Angela Lin has a scene stealing turn as an inept translator very early on in the piece and is a joy to watch. The rest of the cast is also fine.
Set design by David Korin is highly functional, using two turn tables to transform from offices to hotel lobbies, to hotel rooms, and restaurants quickly. He is also able to evoke the feeling that we're not in Kansas anymore, without making us feel like we're just in a Chinese restaurant down town. The lighting and projections are also effective.
Chinglish closed on Broadway January 29th 2012. Due to it's predominantly Chinese casting requirements, and also the requirement that all but one of it's actors speak fluent Mandarin Chinese I can't see this piece being done heavily in regional or community theaters. If you DO notice it playing at a Theater near you - see it because it's an incredibly smart and funny piece of theater that will also leave you with something to chew on later.
Subscribe to:
Posts (Atom)