Andrew Lloyd Webber is the McDonald's of musical theater. We all know that it's not good, and that most of it has been ripped off from some other poor little mom and pop restaurant, yet we still leave humming the big mac. I go back and forth as to which is my favorite item on the ALW menu, and after seeing this production, for the time being at least, it's Jesus Christ Superstar.
The buoyant production now being presented at the Neil Simon Theater originated as part of the Stratford Shakespeare festival. Nobody on Broadway was really clamouring for a revival of Superstar especially considering the last revival just twelve years ago was a commercial flop. (though it did manage to eek out four weeks more of performances). This particular production, however, was much acclaimed by critics and Canadians alike, and so talk of moving it to Broadway after another pre-scheduled run at the La Jolla playhouse in CA surfaced.
Audiences and critics in CA also praised this new production, and plans were made to bring the show into New York for a spring Broadway Bow. The plot needed be discussed, but for those who are unfamiliar, it's basically The Passion of the Christ meets The Who's Tommy.
Des McAnuff's direction is wonderfully intricate. It brings out nuances in the piece that I have never seen before. You feel that each character has his own specific journey, and important part to play in this grand opera. Particular attention is paid the relationships between Jesus, Mary Magdalene, and Judas. Not that there isn't usually particular attention paid to these central characters, however, in this production something is different.
Different also is the urgency we feel right from the beginning. We get the impression right from the haunting opening electric guitar riff that things are not good in Judea, and some shit is about to go down. The opening is wonderfully choreographed by Lisa Shriver. Howell Binkley's lighting design is magnificent and Robert Brill's set design works well as both a functional set. and almost as a character in the piece. The costumes by Paul Tazewell are equally effective.
Josh Young is bringing something very special to the role of Jesus. His Tony nominated performance is a conflicted mass of Admiration, Love, Disdain, and contempt. His voice is also magnificent. As Mary Magdalene Chilina Kennedy has brought a new, post Davinci code depth to the role. All the usual layers are there, plus a bit of something else - a longing perhaps, that is deeply felt from the audience. Paul Nolan's Jesus is the only (very minor) week link. While vocally powerful, he doesn't bring nearly half the depth to his character as his costars do. Though we do see a side of Jesus that we don't often see - The rebel, the rabble rouser, the heretic. Though this is probably more due to Des McAnuf'fs sterling direction that to Mr. Nolan's performance.
The supporting cast is led strongly by Tom Hewitt as Pilate, who should have been nominated for a Tony as well for his insane rendition of Pilate's dream. Bruce Dow is funny and ferocious (in a scary way) as King Herod. For the first time during that song - I felt the danger that Jesus was in. Marcus Nance's deep basso bravura gave me chills.
This Jesus Christ Superstar is flying out of the Neil Simon Theater on Sunday July 1st, so get your tickets while you can. There are student rush tickets given out at the opening of the box office each day of performance for $28. The show is also frequently on TKTS, or if you prefer to buy in advance discounts can be found at Broadwaybox.com.
Saturday, June 23, 2012
Sunday, June 10, 2012
2012 Tony Awards predictions
Well folks, tonights the night. It's been a long theater season, with some wonderful highs and some tragic lows. It all comes to a head this evening as the 2012 Tony Awards air live on CBS. Who will win? Who should win? I discuss my predictions in the major categories below.
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Choreography: The nominees are:
Rob Ashford: Evita
Christopher Gateli: Newsies
Stephen Hogget: Once
Kathleen Marshal: Nice Work if you can get it.
Who should win: Christopher Gatelli
Who will win: Christopher Gatelli
He's been nominated before and never won. His choreography in newsies in absolutely wonderful. In addition to just being fantastic choreography, every step perfectly enhances the emotional moments of the story. The choreography is in fact an extension of story telling. This should be his year. Never count out Kathleen Marshal though, she could score back to back Tony wins.
Director of a musical: The nominees are:
Jeff Calhoun: Newsies
Kathleen Marshal: Nice work
Dianne Paulus: Porgy and Bess
John Tiffany: Once
Who should win: Jeff Calhoun
Who will win: John Tiffany
This year seems to be a battle between what is commercially popular and what is considered to be art. The "commercial entity" is Newsies, and the "art" is Once. Now, I'm not making any statements on the quality of either piece, however, if we base things on years past (the horribly boring and bland RED winning best play, for example) art usually wins out. Jeff Calhoun doesn't always do what I would consider quality work as a director. In Newsies, however, he has succeeded in steering a ship that could have easily been sunk, and he headed it straight to Broadway. He deserves to win. Of course, Dianne Paulus over came all odds (and Stephen Sondheim) to bring a profoundly different Porgy and Bess to the great white way. She could be rewarded for her efforts.
Director of a play: The nominees are:
Nicholas Hytner: One Man, Two Govnors
Pam Makinnon: Clybourne Park
Mike Nichols: Death of a salesman
Roger Rees and Alex Timbers: Peter and the Starcatcher.
Who should win: Roger Rees and Alex Timbers
Who will win: Mike Nichols
What Roger Rees and Alex Timbers have accomplished with Peter and the Starcatcher is nothing short of amazing. The simplicity of the story telling juxtaposed with the complexity of the play are delightful to watch. Nichols, however, has received huge praise for his touching, profound, and modern yet old fashioned revival of this Arthur Miller classic. Don't count out Nicholas Hytner however, One Man Two Guvnors has been a huge success and could be rewarded for it.
Featured Actor in a Play: The Nominees Are:
Christian Borle: Peter and the Starcatcher
Michael Cumpsty: End of the Rainbow
Tom Edden: One Man, Two Guvnors
Andrew Garfield: Death of a Salesman
Jeremy Shamos: Clybourne Park
Who should win: Christian Borle
Who will win: Tom Edden
Christian Borle is giving the best performance of his career so far every night at The Brooks Atkinson theater. The comic timing as well as emotional depth he is exhibiting in Peter and The Starcatcher trancesds everything this actor has done before. Tom Edden, however, is One mans best chance at a Tony win, and voters will surely not send this popular show home empty handed. Don't count out Andrew Garfield however, for his exceptional Broadway debut performance in DOS.
Featured Actress in a play: The Nominees Are:
Linda Emond: Death of a Salesman
Spencer Kayden: Don't Dress for Dinner
Celia Keenan Bolger: Peter and the Starcatcher
Judith Light: Other Desert Cities
Condola Rashad: Stick Fly
Who should win: Judith Light
Who will win: Judith Light
This category is the only one in which it's very difficult to choose the rightful winner. Every actress in this category is giving (or gave) a formiddle performance in the role for which she is nominated. Spencer Kayden carries the entire production of Don't Dress for dinner, while Condola Rashad was heart rending in Stick Fly. Judith light, having her second back to back nomination, is giving a performance of such high magnitude in a role that is so well written that it would be shocking if she didn't win.
Featured Actor in a musical: The Nominees Are:
Philip Boykin: Porgy and Bess
Michael Cerveris: Evita
David Alan Grier: Porgy and Bess
Michael McGrath: Nice work
Josh Young: Jesus Christ Superstar
Who should win: David Alan Grier
Who will win: Michael McGrath: Nice Work
This category is the least exciting. All of the actors nominated are extremely talented, but none are giving exceptionally buzz worthy perofrmances. Michael McGrath has won all other major awards ceremonys in this category so I would expect him to continue that streak. Of all the performances, David Alan Griers is the most deserving in my opinion. Don't count out Josh Young, who did recieve early criticle praise for playing Judas in Jesus Christ Superstar.
Featured Actress in a musical: The Nominees Are:
Elizabeth A Davis: Once
Jayne Houdyshell: Follies
Judy Kaye: Nice Work
Jessie Mueller: On a Clear Day you can see forever
Da'Vine Joy Randolph: Ghost
Who should win: Jayne Houdyshell
Who will win: Judy Kaye
This, like the featured actor musical category - is pretty much a non event. Da'Vine Joy Randolph and Jessie Mueller have been given obligitory nominations so that there shows could at least have SOMETHING nominated. To be fair, Mueller was one of very few bright spots in a terrible revival. Jayne Houdyshell brought the house down every night with her utterly fantastic Broadway Baby. Judy Kaye, however, is giving an equally comic performance in a slightly larger role. Not to mention she has won every other award in this category that she has been nominated for this season. Don't count out Elizabeth A. Davis for Once though.
Leading Actor in a Play: The Nominees are:
James Corden: One Man, Two Guvnors
Phillip Seymour Hoffman: Death of a Salesman
James Earl Jones: The Best Man
Frank Langella: Man and Boy
John Lithgow: The Columnist
Who should win: Philip Seymour Hoffman
Who will win: Philip Seymour Hoffman
There are only two horses in this race. Hoffman, and James Corden. Philip Seymour Hoffman is giving what many are calling the Penultimate Willy Lohman. This is not my favorite play, however, Hoffman is absolutely astounding in it. James Corden is giving an equally remarkable performance of a different kind over at The Music Box, however I expect Hoffman to walk away with the prize at the end of the day.
Leading Actress in a play: The Nominees are:
Nina Arianda: Venus in Fur
Tracie Bennett: End of the Rainbow
Stockard Channing: Other Desert Cities
Linda Lavin: The Lyons
Cynthia Nixon: Wit
Who should win: Stockard Channing
Who will win: Tracie Bennet.
This is the hardest, yet easiest category to call. Every single actress nominated is giving a spectacular performance. Stockard Channing is giving a chilling, yet warm performance as matriarch Polly Wyeth, and her acting choices are remarkable. Her specificity is tremendous. You feel for this woman despite her nature because of Ms. Channings performance. Tracie Bennett, however, is giving the more buzz worthy performance. That's not to say that she isn't good, and there is no denying that she IS the show.
Leading actor in a musical: The nominees are:
Danny Burstein: Follies
Jeremy Jordan: Newsies
Steve Kazee: Once
Norm Lewis: Porgy and Bess
Ron Raines: Follies
Who should win: Danny Burstein
Who will win: Danny Burstein.
Every actor nominated is giving a wonderful performance. Danny Burstein is the best Buddie to have ever played the role, and therefore he must win. He is the only actor who has ever made the character work perfectly. Norm Lewis is giving too controversial a performance in Porgy and Bess to win. Jeremy Jordan will have other chances. It's Danny Bursteins year.
Leading Actress in a musical: The Nominees are.
Jan Maxwell: Follies
Audra McDonald: Porgy and Bess
Cristin Milioti: Once
Kelli O'Hara: Nice Work
Laura Osnes: Bonnie and Clyde
Who should win: Jan Maxwell
Who will win: Audra McDonald.
This was a hard one for me. Jan Maxwell was absolutely stunning as Phylis, and though she has been nominated many times she has never won. This is the best musical performance she has ever given. It almost seemed as though the role was written for her. Audra McDonald is giving the same type of performance in a larger role, in a show that is still running. I imagine that she will take home the prize.
Best Revival Play: The Nominees Are:
Death of a Salesman
The Best Man
Master Class
Wit
What should win: Master Class
What will win: Death of a Salesman
The MTC revival of Wit was one of the most profound theatrical experiences of my life and it deserves to win for it's superb culmination of all elements of theater. Death of a Salesman was equally stunning, however the cheated in using the original set design and music. It was a wonderful revival though, and I wont be upset if they win. Don't count out The Best Man, which is still running until sept and could use the boost in ticket sales.
Revival Musical: The Nominees Are:
Evita
Follies
Porgy and Bess
Jesus Christ Superstar
What should win: Follies
What will win: Follies
The Kennedy center production of Follies that played this season at the Marquis was unparalelled to any other revival that opened on Broadway this year. In my opinion it should still be running. Every theatrical element was perfect. It deserves to win.
Best Play: Clybourne Park
Other Desert Cities
Peter and the Starcatcher
Venus in Fur
What should win: Peter and the starcatcher
What will win: Clybourne Park.
Every nominated play is excellent. Peter and the starcatcher deserves to win not for it's superior writing, but for being the best over all production. Clybourne Park is equally deserving for it's direction, performance, and wonderful script. Other Desert cities could pull ahead though, and I'd be ok with that too.
Best Musical: Leap of Faith
Newsies
Nice Work if you can get it
Once
What should win: Newsies
What will win: Once.
NEwsies deserves to win because it's a better over all production. It has a wonderful (mostly) new score, fantastic direction and choreography, effective set, lighting, and costume design, and it's the most fun on Broadway. Once, however, is the more artistic choice, and it needs more help. Artists like to vote for what they consider to be art, even if it isn't very good.
So there you have it. The show is about to start to - I guess we'll see if I'm right!
Saturday, June 2, 2012
Peter and the Starcatcher
There are very few stories that have captivated the world as the tale of Peter Pan. Originally produced as a play by Sir J.M.Barrie in London in 1904 (after having made a brief appearance in a novel for adults in 1902 called The little white bird). The story has been told innumerable times on Stage and Screen as well as in many editions of children's books.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
Many have often wondered, how did the boy who wont grow up come to Never land? Where did fairy's come from? Why does captain hook hate Peter Pan? These questions and many more are answered in the imaginative play Peter and the Star catcher currently mesmerizing audiences young and old at The Brooks Atkinson Theater on Broadway.
The story (without spoiling it for you) concerns, pirates, sailing ships, mysterious islands, and magical matter called Star Stuff. We are introduced to Molly Aster and her father Leonard, who are sailing to the Island of Randoon. Along the way we discover the origins of the boy who wont grow up.
The play is presented as a play. We are introduced to a group of actors who admittedly are presenting a show for us. The result is a magical, whimsical, and insanely creative way of story telling. There are no wire's or trap doors. Everything is visible. The ingenuity and theatrical craftsmanship is enchanting for audience members young and old.
The cast is also brilliant. Celia Keenan Bolger is giving a remarkable performance as Mary Aster. Christian Borle is inspired as Black Stache (and could very well win the Tony Award a week from Sunday). Adam Chanler-Beret is also quite good as "Boy", if not perhaps carrying over a bit too much angst from Rent and Next to Normal.
Peter and The Starcatcher is categorized as a "play with music". It's not a musical in the sense that characters do not sing to each other, and there are very few songs. It is however, a VERY musical play. The music is also wonderful, particularly the act II opener (which I hope they get to perform at The Tony Awards).
The set, costume and lighting design should be mentioned because each one compliments the other so divinely, as well as the show. Each theatrical element is almost it's own character in the piece. The play is so neatly tied together you feel as though if one tiny detail were different you'd be seeing an entirely different show.
Peter and The Starcatcher is nominated for Best Play at The Tony Awards and it stands a very good chance of winning. The challenge for this show is going to be convincing adults that this is not just a play for children. Children will certainly enjoy the play, but adults will enjoy it equally so. It has the trans formative power to render every person in the audience a 7 year old, at least for a few hours.
Saturday, May 26, 2012
Magic/Bird
Anyone who knows me well, or even a little, knows that "sports fan" is not a word that anyone would use to describe me unless it was opposite day and we were in first grade. It might shame my Boston based family for this to be made public, but I knew nothing about Larry Bird other than that he has bushy hair, is very tall, and played for the Celtics. I knew equally as much about Magic Johnson. I didn't even know that they had ever had a "rivalry".
The play Magic/Bird would have very much benefited from an out of town production before coming to Broadway. I'm sure that the creative team would have learned a lot about the way they chose to tell this story, and may have fixed some of the obvious "kinks" in what could have been a very powerful story of friendship in the face of adversity.
Magic/Bird takes place entirely on a basketball court. Not the action of the play, but rather different locations are depicted by bringing in different small pieces to establish a bar, a farm house, a locker room etc. The back wall is also lined with screens that show video images and projections of the real men themselves. All in all it was a very theatrical and affective way to tell the story.
The real problems with this play are in the characters. The author Eric Simonson (who wrote last years better by comparison Lombardi) has failed to develop either of the main characters in way that lets the audience into who these men were, what made them dislike each other, and then what eventually drew them together.
In addition to the lack of connection to the two star players, the supporting characters in Magic/Bird are all played by one white woman, one white man, and two black men. Normally this wouldn't be a problem, however, most of the characters these actors portray are so nondescript that they all seem to blend together and it's difficult to tell who each one is playing at what time.
This is not a good play, however, it is a compelling story. For this non sports fan, it would have been so wonderful to see more of these two great athletes of our time and less of the people around them who didn't matter (random reporters, fans, TV execs etc). Also, very little time is spent on Magic Johnson discovery he is HIV positive. We see nothing of how it effected him. We see how it impacted him professionally, but nothing of the private struggle. Magics wife never makes an appearance on stage.
All is all I went in expected to not like the play, but hopeful that if I kept my expectations low perhaps I might be surprised. All I left feeling was disappointed that this story didn't get told in the way that it deserved to be. Magic/Bird closed on Broadway at The Longacre Theater on May 12 after 37 performances.
The play Magic/Bird would have very much benefited from an out of town production before coming to Broadway. I'm sure that the creative team would have learned a lot about the way they chose to tell this story, and may have fixed some of the obvious "kinks" in what could have been a very powerful story of friendship in the face of adversity.
Magic/Bird takes place entirely on a basketball court. Not the action of the play, but rather different locations are depicted by bringing in different small pieces to establish a bar, a farm house, a locker room etc. The back wall is also lined with screens that show video images and projections of the real men themselves. All in all it was a very theatrical and affective way to tell the story.
The real problems with this play are in the characters. The author Eric Simonson (who wrote last years better by comparison Lombardi) has failed to develop either of the main characters in way that lets the audience into who these men were, what made them dislike each other, and then what eventually drew them together.
In addition to the lack of connection to the two star players, the supporting characters in Magic/Bird are all played by one white woman, one white man, and two black men. Normally this wouldn't be a problem, however, most of the characters these actors portray are so nondescript that they all seem to blend together and it's difficult to tell who each one is playing at what time.
This is not a good play, however, it is a compelling story. For this non sports fan, it would have been so wonderful to see more of these two great athletes of our time and less of the people around them who didn't matter (random reporters, fans, TV execs etc). Also, very little time is spent on Magic Johnson discovery he is HIV positive. We see nothing of how it effected him. We see how it impacted him professionally, but nothing of the private struggle. Magics wife never makes an appearance on stage.
All is all I went in expected to not like the play, but hopeful that if I kept my expectations low perhaps I might be surprised. All I left feeling was disappointed that this story didn't get told in the way that it deserved to be. Magic/Bird closed on Broadway at The Longacre Theater on May 12 after 37 performances.
Monday, May 21, 2012
Gore Vidals The Best Man
Long gone are the days when presidential primaries came "down to the wire". Where at convention, candidates made speeches, fought for delegates, and had more than one round of voting to choose their parties candidate. This, however, is the plot of Gore Vidal's 1960's era play The Best Man, currently being revived (for the second time in 12 years) at The Schoenfeld Theater.
The cast is starry. James Earl Jones and Angela Landsbury are billed above the title, though their roles are small (particularly Landsburys). Mr. Jone's role is somewhat more pivotal though his stage time is scarce. The true stars of the production are Tony award winner John Laroquette (Bill Russel) and Eric McCormick (Joe Cantwell) who play rival candidates in the same political party. One is considered to be more liberal than the other, and one is considered to be more of a "celebrity politician" than the other.
The first act is somewhat dry, with not much but character exposition taking place. The "conflict" is revealed toward the end of the first act where things start to pick up. The second act is much livelier and very entertaining. It is interesting to see how little the political circus has changed since 1960.
The direction, set, costume, and lighting are fine but nothing special. The entire theater is decorated in patriotic bunting. There are also several television screens to bring you "up to the minute" news reports. The house left box has also been made up to look like a news desk set up in a hotel.
The reason to see this play is for the stars. Besides the aforementioned Landsbury, Jones, McCormick, and Laroquette, are Candace Bergen, Michael McKeon, Jefferson Mays, and Kerry Butler, all giving wonderful performances. The play was short on Tony award nominations, but it's still worth seeing. It's also packing audiences in and recently extended until the September 1st. There are student rush tickets available, as well as most of the time being available on TKTS.
This wouldn't be the first play I would send people out to see (That would be Other Desert Cities) but if you enjoy politics, and famous people, this is the show for you.
The cast is starry. James Earl Jones and Angela Landsbury are billed above the title, though their roles are small (particularly Landsburys). Mr. Jone's role is somewhat more pivotal though his stage time is scarce. The true stars of the production are Tony award winner John Laroquette (Bill Russel) and Eric McCormick (Joe Cantwell) who play rival candidates in the same political party. One is considered to be more liberal than the other, and one is considered to be more of a "celebrity politician" than the other.
The first act is somewhat dry, with not much but character exposition taking place. The "conflict" is revealed toward the end of the first act where things start to pick up. The second act is much livelier and very entertaining. It is interesting to see how little the political circus has changed since 1960.
The direction, set, costume, and lighting are fine but nothing special. The entire theater is decorated in patriotic bunting. There are also several television screens to bring you "up to the minute" news reports. The house left box has also been made up to look like a news desk set up in a hotel.
The reason to see this play is for the stars. Besides the aforementioned Landsbury, Jones, McCormick, and Laroquette, are Candace Bergen, Michael McKeon, Jefferson Mays, and Kerry Butler, all giving wonderful performances. The play was short on Tony award nominations, but it's still worth seeing. It's also packing audiences in and recently extended until the September 1st. There are student rush tickets available, as well as most of the time being available on TKTS.
This wouldn't be the first play I would send people out to see (That would be Other Desert Cities) but if you enjoy politics, and famous people, this is the show for you.
Thursday, May 17, 2012
Newsies
It might surprise some of you to know that I have never seen Disney's film musical Newsies. It was a flow when it came out in 1992 (when I was 8 years old) and though I was probably the prime audience for the film, my parents didn't take me to see it, nor do I even remember it being on my radar at the time. Over the course of the next 20 years many people have scoffed at me for having never seen the film, and it's one of those movies that I keep meaning to add to my Netflix que but never get around to actually doing it.
This past week I had the pleasure of seeing Newsies in it's new incarnation as Broadway musical, and I can say that what is happening on stage at The Nederlander Theater 8 times a week must be making the folks at Disney very happy. Not only is the production creatively successful, but it's a success with the critics (for the most part) and most definitely with the enthusiastic audiences.
Having never seen the film any changes that may have been made did not bother me in the slightest. Though I understand that there are some significant changes (such as the addition of a love interest for Jack). The score to Newsies is very good. There are rousing anthems of sticking it to the man, as well as soft and sultry ballads of far away dreams and places.
Harvey Fiersteins new book is a gem. He does a wonderful job at keeping the show fast paced without glossing over any of the important details. The only character that is underwritten is that of Joseph Pulitzer, who seems more of a cartoon character villain (think a journalistic Gargamel with the newsboys being the smurfs) than a flesh and blood character. There is also a theater owner named Medda played with aplomb by the wonderful Capathia Jenkins, but the character seems extraneous.
Newsies is by no means a perfect musical, but what is? It is my every means a wonderful evening of Broadway entertainment. The set design by Tobin Ost is not only functional, the solid steel framework that weaves in and out and serves as many a location brings forth the new dawn of the industrial revolution and the changes in the country. Jess Goldsteins costumes are less effective, but none the less do their intended job. Jeff Croiters lighting is serviceable but nothing terribly special. The direction by Jeff Calhoun is sleek and fast paced. Christopher Gattelli's choreography is energetic and entertaining, and may finally earn him a well deserved Tony award.
Everyone has been raving about Jeremy Jordan's performance and he doesn't disappoint, though at this particular performance he did seem to be a bit vocally under the weather. Kara Lindsey is making a sparkling debut as Katherine. Andrew Keenan-Bolger as Crutchie and Ben Fankhauser as Davey are particularly delightful.
Newsies just announced an open ended run at The Nederlander Theater. The Tony awards are June 10th and I suggest buying your tickets before that date, otherwise you may end up having to wait a very long time to see this fantastic show!
This past week I had the pleasure of seeing Newsies in it's new incarnation as Broadway musical, and I can say that what is happening on stage at The Nederlander Theater 8 times a week must be making the folks at Disney very happy. Not only is the production creatively successful, but it's a success with the critics (for the most part) and most definitely with the enthusiastic audiences.
Having never seen the film any changes that may have been made did not bother me in the slightest. Though I understand that there are some significant changes (such as the addition of a love interest for Jack). The score to Newsies is very good. There are rousing anthems of sticking it to the man, as well as soft and sultry ballads of far away dreams and places.
Harvey Fiersteins new book is a gem. He does a wonderful job at keeping the show fast paced without glossing over any of the important details. The only character that is underwritten is that of Joseph Pulitzer, who seems more of a cartoon character villain (think a journalistic Gargamel with the newsboys being the smurfs) than a flesh and blood character. There is also a theater owner named Medda played with aplomb by the wonderful Capathia Jenkins, but the character seems extraneous.
Newsies is by no means a perfect musical, but what is? It is my every means a wonderful evening of Broadway entertainment. The set design by Tobin Ost is not only functional, the solid steel framework that weaves in and out and serves as many a location brings forth the new dawn of the industrial revolution and the changes in the country. Jess Goldsteins costumes are less effective, but none the less do their intended job. Jeff Croiters lighting is serviceable but nothing terribly special. The direction by Jeff Calhoun is sleek and fast paced. Christopher Gattelli's choreography is energetic and entertaining, and may finally earn him a well deserved Tony award.
Everyone has been raving about Jeremy Jordan's performance and he doesn't disappoint, though at this particular performance he did seem to be a bit vocally under the weather. Kara Lindsey is making a sparkling debut as Katherine. Andrew Keenan-Bolger as Crutchie and Ben Fankhauser as Davey are particularly delightful.
Newsies just announced an open ended run at The Nederlander Theater. The Tony awards are June 10th and I suggest buying your tickets before that date, otherwise you may end up having to wait a very long time to see this fantastic show!
Thursday, April 26, 2012
Death of a Salesman
There are many plays that are worthy of reviving. There are even some plays that are worthy of reviving more than once. There are very few plays that are worth reviving five times in only 63 years. Arthur Millers Death of a Salesman is one of those rare plays that no matter how many times it is done on Broadway, audiences still seem to flock to the theater.
Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.
The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.
This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".
In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.
He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.
The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.
The current revival of Death of a Salesman is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".
Part of the reason for their current flocking is the unparalleled cast assembled to inhabit the humble Brooklyn dwellings of the Lohman clan. The other, of course, is Arthur Millers wonderful play which, to modern audiences may seem dated in it's language and subject, is truly universal in it's themes.
The heart of Death of a Salesman lies in The American Dream, that which is described as "life, liberty, and the pursuit of happiness". Willy Lohman, a traveling salesmen, has been working his entire life to achieve this American Dream, and finds that at this stage of his life, he has very little to show for it. It is the want of most parents to create a better life for their children than they experienced. It is the want of most husbands to provide for their wives a decent home and a few comforts. Willy Lohman feels he has failed on all accounts.
This is the plight of many an American Citizen living amongst us today. We are constantly berated with messages of what it means to "have it good" in America. We are oppressed by our bosses, our government, and various financial obligations vying for a piece of our proverbial pie. We are all faced with that most basic of questions, "What's the point?".
In the role of Willy Lohman, Phillip Seymour Hoffman is giving a master class of a performance. Though he is at least 15 years too young to play the role, it hardly matters. This is the stuff of theatrical legend being created on the stage of the Barrymore Theater.
He is equally matched by Andrew Garfield as favorite son Biff, Linda Emond as faithful wife Linda, and Finn Wittrock as Happy. Linda Emond as Linda Lohman brings the perfect mixture of a faithful wife who longs to see her husband happy, coupled with a woman who has been on the sidelines of her husbands life and hasn't been able to live much of her own. As Biff, Garfield may at first seem to small of frame to be portraying a former football player, but soon displays a talent so large you forget how small of stature he may in fact be.
The rest of the cast, including John Glover as Ben, Bill camp as Charley, and Fran Kranz as Bernard are all equally wonderful in their roles. Mike Nichols direction is superb. His choice to recreate the original Broadway set designs by Jo Mielziner is a huge asset to the production. Mr. Nichols guides his cast perfectly though Arthur Millers minefields, though no character seems to come out unscathed.
The current revival of Death of a Salesman is currently booking through June 2nd. Due to the high demand of certain cast members, an extension is unlikely so make sure you see it while you can. There are $30 rush seats given out on the day of performance for those patrons under 30 years old. Get there at least 90 minutes before the box office opens if you want one of these tickets as the line forms early. However you see it, be sure not to miss it. To quote Linda Lohman, "Attention Must be Paid".
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