An evening of one act plays written by the likes of Ethan Cohen, Elaine May, and Woody Allen would probably seem like a great idea to anyone. The premise for each roughly 30-40 minute play seemed interesting enough. Each one would tackle a different area of "family" or "life events". The cast assembled was a mix of seasoned professionals and a few up and coming actors. The director (John Turturo) is adept as both an actor and a director. This left audiences (myself included) wondering, what went wrong?
Lets start with the material. Relatively Speaking is made up of three one act plays by the aforementioned playwrights. Each one act must be judged individually, and also as part of the larger whole. Ethan Cohen's Talking Cure was the first horse out of the gate. The play concerns a prison Psychiatrist who is trying to understand why a former Postal Worker - err, went postal so to speak, on a customer. There is some very amusing back and forth between the Dr. and the Patient, and the subject of childhood and parental guidance is eventually brought up. Just in the middle of this, the set splits in two and we see the patients parents before he as born, and we are meant to possibly understand through this quick encounter how he got to be where he is today.
The problem is (and is often the case with one act plays of this nature) that we are not given what feels like a complete story. The performances are fine. Jason Kravits and Danny Hoch are quite good as Dr. and Patient, while Katherine Borowitz and Allen Lewis Rickman shine as mother and father. The whole thing is just a bit confusing, and feels slightly underdone.
George is Dead by Elaine May, in contrast, does feel like a fully formed story. The characters are three dimensional (most of the time) and even though you can tell that something has happened before the action begins, you get a sense that you are seeing a complete story. We open on Carla, a woman who appears to be in her early 40's, stressing over an argument she had with her live in boyfriend when she is interrupted by Doreen, a woman of an indeterminate age but older by at least 15 years than Carla who announces that her husband, George, is dead.
This is the funniest of all three plays, because it is the most fully developed, and also has the added benefit of Marlo Thomas playing Doreen. Ms. Thomas is probably about 10 years too old (if not 20 years too old) to be playing Doreen, but she makes it work with aplomb. Grant Shaud and Lisa Emery also give extremely nuanced performances as Carla and her boyfriend Michael.
This brings us to what many I would imagine, expected to be the highlight of the evening, Woody Allen's Honeymoon Hotel. We are met with a man in a tux and a woman in a bridal gown entering a cheap, sleazy, honeymoon suite and a cheap and sleazy roadside motel. They speak of the wedding, how much they love each other, and how much they cannot wait to start the honeymoon. There is a knock at the door, and it is the man in the tux brother. We learn that the man in tux is in fact NOT the groom, but the grooms father who has run away with the bride. The rest of the wedding party files in eventually including the rest of the parents, the actual groom, and the rabbi who was to have performed the ceremony.
The play itself is not that bad. It's not Woody Allen's best work by any means, but it's really not that bad. Part of the problem is that it both begins and ends awkwardly, and feels like it belongs in 1995 rather than in 2011. The other problem is the casting. Nearly everyone is miscast. Steve Gutenberg and Grant Shaud withstanding, nearly everyone else is terrible in their roles. Julie Kavner is doing her best, but unfortunately she doesn't have much to work with.
As a whole evening of theater, these plays are so unevenly matched that though there is the common thread of family that binds them together, it's a very thin, white, barely visible thread. The set and costume designs were hit or miss, and as I said the casting was also inconsistent.
Relatively Speaking closed on Broadway at The Brooks Atkinson Theater on January 29th 2012. Marlo Thomas is really the only Tony Nomination the play can hope for. Considering it's large ensemble cast, and the marquis value of it's three writers, I would imagine that Relatively Speaking will live on in regional and community theaters. Though a Broadway revival is pretty unlikely.
Friday, February 24, 2012
Friday, February 17, 2012
Lysistrata Jones
Sex is probably the oldest and most powerful weapon on earth. The ancient Greeks knew it, and so was born a legend (and a play). Lysistrata is one of the oldest surviving pieces of Greek theater. What better platform to base a musical on? Douglas Carter Beane (The Little Dog Laughed, Sister Act) and Lewis Flynn have concocted a "High School Musical" of Greek proportions.
Lysistrata Jones updates the classic tale to our modern times and centers around a new girl at Athens University named (Lyssie J for short) and her attempt to turn around the mens basketball team (who hasn't won a game in 30 years) by convincing all the girls not to 'give it up' until they win. Basketball, comedy, and show tunes ensue.
The book is one of the smartest, laugh inducing, and relevant librettos to surface on Broadway for some time. I would be looking for Mr. Beane to be nominated (and possibly even win) a Tony for this stellar book filled with quotable one liners and seamless pop culture references. The music is catchy, up beat, modern, and altogether fun.
Casting could not have been more perfect. As Lysistrata Jones Patti Murin goes deeper that the shallow blank exterior and gives us a Lyssie J that is passionate, funny, and human. Josh Segarra as Mick has the difficult job of making the audience like a character who isn't very nice, but he succeeds. Jason Tam and Lindsay Nicole Chambers shine as two nerdy folks desperate for love (though Ms. Chambers does appear to be a bit too old).
The rest of the supporting cast (it's not really fair to call them supporting when there are only 12 people in the show) is fantastic. A special mention must be maid of Liz Mikel making her Broadway debut as Hetaira, as Greek Chorus/brothel Madame with one of the funniest reveals I've ever seen. From the moment Ms. Mikel steps onstage you know that you can count on her to be the shit. And she delivers every time she is on stage. If any woman in any Broadway production could count on a Tony nomination this season it would be Liz Mikel.
Sadly, despite Lysistrata Jones being one of the most well crafted musicals to hit the Broadway stage in many years, it closed on Broadway on January 8th 2012. Due to it's small, young cast, and minimal set requirements I would expect to see Lysistrata Jones pop up at a College campus or regional theater near you as soon as it becomes available for licensing. When it does, do not miss it!
Lysistrata Jones updates the classic tale to our modern times and centers around a new girl at Athens University named (Lyssie J for short) and her attempt to turn around the mens basketball team (who hasn't won a game in 30 years) by convincing all the girls not to 'give it up' until they win. Basketball, comedy, and show tunes ensue.
The book is one of the smartest, laugh inducing, and relevant librettos to surface on Broadway for some time. I would be looking for Mr. Beane to be nominated (and possibly even win) a Tony for this stellar book filled with quotable one liners and seamless pop culture references. The music is catchy, up beat, modern, and altogether fun.
Casting could not have been more perfect. As Lysistrata Jones Patti Murin goes deeper that the shallow blank exterior and gives us a Lyssie J that is passionate, funny, and human. Josh Segarra as Mick has the difficult job of making the audience like a character who isn't very nice, but he succeeds. Jason Tam and Lindsay Nicole Chambers shine as two nerdy folks desperate for love (though Ms. Chambers does appear to be a bit too old).
The rest of the supporting cast (it's not really fair to call them supporting when there are only 12 people in the show) is fantastic. A special mention must be maid of Liz Mikel making her Broadway debut as Hetaira, as Greek Chorus/brothel Madame with one of the funniest reveals I've ever seen. From the moment Ms. Mikel steps onstage you know that you can count on her to be the shit. And she delivers every time she is on stage. If any woman in any Broadway production could count on a Tony nomination this season it would be Liz Mikel.
Sadly, despite Lysistrata Jones being one of the most well crafted musicals to hit the Broadway stage in many years, it closed on Broadway on January 8th 2012. Due to it's small, young cast, and minimal set requirements I would expect to see Lysistrata Jones pop up at a College campus or regional theater near you as soon as it becomes available for licensing. When it does, do not miss it!
Tuesday, February 14, 2012
Private Lives
Noel Coward isn't every ones cup of tea. To be honest, it's not my favorite theatrical drink, but I appreciate it for what it is, and even enjoy certain flavors of it. Noel Coward has a very dry, and somewhat old fashioned sensibility. What makes his work stand the test of time is that he has always written about the human condition using characters that are somewhat relate able no matter what time period they reside in.
Take Amanda and Elyot, who are a couple of divorces from the 1930s. What they are going through could be happening to anyone. They have been divorced for 5 years, and are now each on their honeymoon with new partners, only to discover that they are honeymooning at the same hotel, in hotel rooms with side by side balconies. They discover that though their relationship was tumultuous that they still have feelings for each other. Comedy (and drama) ensues.
The recent Broadway Revival (the 4th) was as good a production as I think you could ask for. The cast was led superbly by Kim Cattrall (Sex and the City) as Amanda and Paul Gross as Elyot. The supporting cast of Simon Paisley Day, Ana Madeley, and Caroline Lena, Olsson were also quite good if a bit tiresome.
The costume design was perfect, though the set design was a bit odd for my taste. There wasn't anything wrong with it, but the second and third act set was too expansive for my taste. A slightly smaller playing area would have suited the piece better. The script is filled with clever Noel Coward puns and one liners. It's also filled with so much sex and sensuality one wonders how this played to audiences in the 1930's (and other decades for that matter).
Unfortunately despite excellent notices from The Times and other publications Private Lives ended it's run prematurely at the end of December.
Take Amanda and Elyot, who are a couple of divorces from the 1930s. What they are going through could be happening to anyone. They have been divorced for 5 years, and are now each on their honeymoon with new partners, only to discover that they are honeymooning at the same hotel, in hotel rooms with side by side balconies. They discover that though their relationship was tumultuous that they still have feelings for each other. Comedy (and drama) ensues.
The recent Broadway Revival (the 4th) was as good a production as I think you could ask for. The cast was led superbly by Kim Cattrall (Sex and the City) as Amanda and Paul Gross as Elyot. The supporting cast of Simon Paisley Day, Ana Madeley, and Caroline Lena, Olsson were also quite good if a bit tiresome.
The costume design was perfect, though the set design was a bit odd for my taste. There wasn't anything wrong with it, but the second and third act set was too expansive for my taste. A slightly smaller playing area would have suited the piece better. The script is filled with clever Noel Coward puns and one liners. It's also filled with so much sex and sensuality one wonders how this played to audiences in the 1930's (and other decades for that matter).
Unfortunately despite excellent notices from The Times and other publications Private Lives ended it's run prematurely at the end of December.
Friday, February 3, 2012
Hugh Jackman: Back on Broadway
Yes folks, I'm bringing you another blog about another closed show. I'm hanging my head in shame as I do so, I promise. Some of you may know that Hugh Jackman is one of my favorite performers. There is just something about the way he fills up a pair of jeans on screen that makes me appreciate his huge talent. He has a smile that makes even Tom Cruise Jealous and abs that would make Ryan Gosling cry.
But seriously, he is also a hugely talented actor. Not many guys can BE wolverine, and Peter Allen. At the same time. It's been a little more than a year since Hugh Jackman graced the Broadway stage in a play called A Steady Rain (which I saw). It has been even longer (8 years) since Hugh Jackman did a musical.
There is many a talented musical theater performer who could not command the stage for two hours in their own one person show. Hugh Jackman isn't one of them. Though he isn't exactly alone (he is backed by a great onstage orchestra, and some very talented young ladies who sing and dance with and around him), Hugh Jackman commands the stage every moment that he is on it.
There is no song list in the playbill. The audience is met with a personal note from Hugh about the show which we are about to see. It explains how the show came about, and what prompted him to create it. We are also met with a list of artists of whose work Mr. Jackman will be interpreting that evening.
The show is filled with many highlights, including many a tear jerking moment and also many a jazz hands, toe tapping, eyes wide moment as well. My favorite moments included a fantastic homage to MGM style movie musicals in which Hugh Jackman not only sang but also tap danced, a spot on rendition of soliloquy from Carousel, a "Peter Allen" moment at the top of act II in which Hugh Jackman recreated some of his Tony award winning magic, and the best moment of all was towards the end of Act II where Hugh was joined on stage by a wonderful group of Australian Aboriginal singers, Didgeridoo players, drummers, and chanters.
Overall it was a spectacular night at the theater. I'm sorry I didn't tell you about it sooner, though you wouldn't have been able to get a ticket anyhow. In fact, I didn't have even have a seat. I stood for the entire 2 hour show, and also waited for a half hour at the stage door to get Hugh Jackmans autograph and to faint at his feet.
My proudest moment, I have to say, was when my Husband trampled two middle aged ladies (who hadn't even seen the show) and got pointed at my Hugh Jackman and had his playbill signed. That's my boy!
But seriously, he is also a hugely talented actor. Not many guys can BE wolverine, and Peter Allen. At the same time. It's been a little more than a year since Hugh Jackman graced the Broadway stage in a play called A Steady Rain (which I saw). It has been even longer (8 years) since Hugh Jackman did a musical.
There is many a talented musical theater performer who could not command the stage for two hours in their own one person show. Hugh Jackman isn't one of them. Though he isn't exactly alone (he is backed by a great onstage orchestra, and some very talented young ladies who sing and dance with and around him), Hugh Jackman commands the stage every moment that he is on it.
There is no song list in the playbill. The audience is met with a personal note from Hugh about the show which we are about to see. It explains how the show came about, and what prompted him to create it. We are also met with a list of artists of whose work Mr. Jackman will be interpreting that evening.
The show is filled with many highlights, including many a tear jerking moment and also many a jazz hands, toe tapping, eyes wide moment as well. My favorite moments included a fantastic homage to MGM style movie musicals in which Hugh Jackman not only sang but also tap danced, a spot on rendition of soliloquy from Carousel, a "Peter Allen" moment at the top of act II in which Hugh Jackman recreated some of his Tony award winning magic, and the best moment of all was towards the end of Act II where Hugh was joined on stage by a wonderful group of Australian Aboriginal singers, Didgeridoo players, drummers, and chanters.
Overall it was a spectacular night at the theater. I'm sorry I didn't tell you about it sooner, though you wouldn't have been able to get a ticket anyhow. In fact, I didn't have even have a seat. I stood for the entire 2 hour show, and also waited for a half hour at the stage door to get Hugh Jackmans autograph and to faint at his feet.
My proudest moment, I have to say, was when my Husband trampled two middle aged ladies (who hadn't even seen the show) and got pointed at my Hugh Jackman and had his playbill signed. That's my boy!
Thursday, January 26, 2012
The Radio City Christmas Spectacular
I know what you're thinking. Christmas was over a month ago. You are correct, it was, and The Radio City Christmas Spectacular is long gone. As I explained in my last blog, I took about two months off from writing so I have a lot of shows to catch up on. One of them the Christmas show.
The first time I saw The Radio City Christmas Spectacular I was 10 years old. It was December of 1994. The show was a full two act, nearly two hour and forty five minute extravaganza. My memories of that first encounter are quite grand. This year, I wanted to experience that thrill of Christmas again so I took (dragged) my husband to this years show.
Some things never change. The Radio City Christmas show isn't one of them. This years show (the show changes roughly every four years) is both high tech and nostalgic. The Rockettes are truly a sight to behold. Their synchronicity is astounding. No matter how many times you may have seen the Toy Soldier routine on TV it's utterly remarkable live on stage. The Living Nativity is also a very powerful moment in the show.
To appeal to a new younger generation, the newest incarnation features moments in 3D where the audience is required to put on glasses. One of these moments is a sequence called Santa's video game, which actually isn't as bad as I had thought that it would be. Over all the 3D cheapens the show. Isn't live theater supposed to be in 3D anyhow?
Overall I'm glad that we went to see the show because it was a fun way to get into the Christmas spirit. In addition to being more "hi tech" this version of the show is a lean 90 minutes or so without any intermission. I wouldn't see the show every year, but I'm sure some time in the next decade I'll get a whiff of nostalgia again and beg my husband to take me back to see The Radio City Christmas Show.
The first time I saw The Radio City Christmas Spectacular I was 10 years old. It was December of 1994. The show was a full two act, nearly two hour and forty five minute extravaganza. My memories of that first encounter are quite grand. This year, I wanted to experience that thrill of Christmas again so I took (dragged) my husband to this years show.
Some things never change. The Radio City Christmas show isn't one of them. This years show (the show changes roughly every four years) is both high tech and nostalgic. The Rockettes are truly a sight to behold. Their synchronicity is astounding. No matter how many times you may have seen the Toy Soldier routine on TV it's utterly remarkable live on stage. The Living Nativity is also a very powerful moment in the show.
To appeal to a new younger generation, the newest incarnation features moments in 3D where the audience is required to put on glasses. One of these moments is a sequence called Santa's video game, which actually isn't as bad as I had thought that it would be. Over all the 3D cheapens the show. Isn't live theater supposed to be in 3D anyhow?
Overall I'm glad that we went to see the show because it was a fun way to get into the Christmas spirit. In addition to being more "hi tech" this version of the show is a lean 90 minutes or so without any intermission. I wouldn't see the show every year, but I'm sure some time in the next decade I'll get a whiff of nostalgia again and beg my husband to take me back to see The Radio City Christmas Show.
Tuesday, January 17, 2012
Patti LuPone and Mandi Patinkin: An Evening
Before I get into telling you all what I think about this show, I have to apologize because it's been a LONG time since I have updated this blog. People have been asking me, and it's not that I haven't been seeing shows (that would be the day!). The end of 2011 was just very busy for me and I couldn't find time (and motivation) to write. I promise to do better in the future! That being said, here goes.
There is absolutely no denying that Patti LuPone and Mandi Patinkin are both legends of the theater. While Ms. LuPone has been a constant presence on the Broadway stage in recent years, it has not been since 2001's The Wild Party (Lachiusa) that Mr. Patinkin has graced a Broadway stage. (solo concerts don't count IMHO).
The show begins as a song cycle, a character piece with very little dialogue that chronicles a relationship from it's early stages on. All of Act I follows in this pattern. As an audience member I found this to be a bit odd, because I wasn't prepared for it. (The relationship, or ships perhaps, are not that of the two legends) These are two characters that we are seeing meet, get involved, and have a relationship together. Once you get past the awkwardness of this initial premise (I fount it awkward, others may not) you can pretty much enjoy the first act.
It is in the second act however that Patti and Mandy appear before us as themselves. This is where the show got exciting for me personally. Mandy gives a very passionate speech about the first time he met Patti, and how they've remained friends for decades. This is followed by a fantastic performance of Oh, What a Circus and then (and then!) Don't Cry for me Argentina.
The show overall is enjoyable if you are a true fan of either (or both) of these, as I have said, legendary performers. The casual theatergoer may not enjoy the show so much. There are some wonderful moments in both acts, but as I have said Act II is where the money is in my opinion.
Unfortunately this show has closed it's Broadway run at the Barrymore theater but it IS touring the USA and may be coming to a theater near you soon. If you enjoy Patti and or Mandi, and would like to spend an evening with them at the theater, than you shouldn't miss this show.
And for the record, No lines from The Princess Bride are heard during the evening.
There is absolutely no denying that Patti LuPone and Mandi Patinkin are both legends of the theater. While Ms. LuPone has been a constant presence on the Broadway stage in recent years, it has not been since 2001's The Wild Party (Lachiusa) that Mr. Patinkin has graced a Broadway stage. (solo concerts don't count IMHO).
The show begins as a song cycle, a character piece with very little dialogue that chronicles a relationship from it's early stages on. All of Act I follows in this pattern. As an audience member I found this to be a bit odd, because I wasn't prepared for it. (The relationship, or ships perhaps, are not that of the two legends) These are two characters that we are seeing meet, get involved, and have a relationship together. Once you get past the awkwardness of this initial premise (I fount it awkward, others may not) you can pretty much enjoy the first act.
It is in the second act however that Patti and Mandy appear before us as themselves. This is where the show got exciting for me personally. Mandy gives a very passionate speech about the first time he met Patti, and how they've remained friends for decades. This is followed by a fantastic performance of Oh, What a Circus and then (and then!) Don't Cry for me Argentina.
The show overall is enjoyable if you are a true fan of either (or both) of these, as I have said, legendary performers. The casual theatergoer may not enjoy the show so much. There are some wonderful moments in both acts, but as I have said Act II is where the money is in my opinion.
Unfortunately this show has closed it's Broadway run at the Barrymore theater but it IS touring the USA and may be coming to a theater near you soon. If you enjoy Patti and or Mandi, and would like to spend an evening with them at the theater, than you shouldn't miss this show.
And for the record, No lines from The Princess Bride are heard during the evening.
Saturday, December 3, 2011
Billy Elliot - revisited
Some times you'll see a production, and you'll enjoy it, and you'll say "I'd like to see that again". That was the case when I first saw Billy Elliot back in January of 2009 with the original Tony Award winning Broadway cast. Three years after it opened, and two months before Billy does his last fuete on Broadway, I took in the production again. I'm happy to say that the production is not showing it's age one bit.
Often over time, a show can grow tired, and seem illustrious. That is not the case with Billy Elliot. The production is just as vibrant and full of energy as the first time I saw it. The current cast is just as buoyant as the original, though there are now five (5!) boys alternating the role of Billy as opposed to three. The Billy I saw was a wonderful dancer, and an adequate singer, as most Billys' are.
Emily Skinner was out when I saw the show (some things never change), so I cannot evaluate her performance, however her understudy, Donna Marie Asbury was fantastic. The rest of the supporting cast is also doing a helluva job. The choreography is absolutely astounding as always.
While sitting in the theater, I started to wonder to myself "Why the heck is this show closing?" the answer is - I have no idea. They are not the sell out show they once were (the show is regularly available on TKTS) however they have long recouped their original investment and have still been doing healthy box office numbers. The show does have a large cast of nearly 50 including swings and alternates, plus the orchestra. I'm sure it's an expensive show to run week to week, but I can't imagine that they're not making their nut.
Either way, Billy Elliot IS closing on January 8th 2012, so if you haven't seen it, you really really should.
Often over time, a show can grow tired, and seem illustrious. That is not the case with Billy Elliot. The production is just as vibrant and full of energy as the first time I saw it. The current cast is just as buoyant as the original, though there are now five (5!) boys alternating the role of Billy as opposed to three. The Billy I saw was a wonderful dancer, and an adequate singer, as most Billys' are.
Emily Skinner was out when I saw the show (some things never change), so I cannot evaluate her performance, however her understudy, Donna Marie Asbury was fantastic. The rest of the supporting cast is also doing a helluva job. The choreography is absolutely astounding as always.
While sitting in the theater, I started to wonder to myself "Why the heck is this show closing?" the answer is - I have no idea. They are not the sell out show they once were (the show is regularly available on TKTS) however they have long recouped their original investment and have still been doing healthy box office numbers. The show does have a large cast of nearly 50 including swings and alternates, plus the orchestra. I'm sure it's an expensive show to run week to week, but I can't imagine that they're not making their nut.
Either way, Billy Elliot IS closing on January 8th 2012, so if you haven't seen it, you really really should.
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