The evening started off quite well. A delightful dinner at Angus McIndoe, where we sat in the front window, able to do some people watching. Pretty cool seeing actors from other shows we have seen on their way to the theatre and as it turns out, we were seated next to one of the performers in AMERICAN IDIOT, which was the show we were going to see.
It had to happen eventually - a show that one of us liked/loved and the other disliked/hated. Cathy was absolutely miserable during the performance of AMERICAN IDIOT, which was due in part to a rather large and wide man seated directly in front of her, blocking the view, exacerbated by cigarette smoke from the stage wafting into the audience. Even without the large man and smoke, Cathy just hated almost everything about the performance. While Jeff certainly did not think this show is a real contender for the Tony Award for best musical (although buzz is that it may in fact be the front-runner), he found the show quite enjoyable.
AMERICAN IDIOT features the music of Green Day with lyrics by Billie Joe Armstrong, who co-authored the book with director Michael Mayer (EVERYDAY RAPTURE, SPRING AWAKENING, THOROUGHLY MODERN MILLIE, etc, etc, etc). John Gallagher, Jr. (SPRING AWAKENING), Stark Sands & Michael Esper were well cast as the male leads who brought electricity to the stage (says Jeff). The female lead usually played by Rebecca Naomi Jones was played by understudy Leslie McDonel. Kudos to the design team, consisting of Christine Jones, Andrea Lauer, Kevin Adams, Brian Ronan and Darrel Maloney for fabulously over the top special effects and scenic design.
AMERICAN IDIOT is (at least according to Jeff) to 2010 what HAIR was to the 1960’s and what RENT was to the 1990’s; a hard hitting musical about the trials and tribulations of youth. Cathy agrees with this with one major caveat - she feels it lacked the emotion its forerunners had. Back to this show: Johnny, Will and Tunny, played respectively by Gallagher, Esper and Sands, are three young men who are best friends and embark upon life taking very different paths. Will finds out that his girlfriend is pregnant and he cannot join his friends; he spends almost the entire show sitting on a couch singing and smoking from a bong. Tunny joins the army and is sent overseas to fight; he spends most of the show in a hospital bed, although the dream sequence where he flies through the air with his army girlfriend was pretty cool. Johnny runs away and keeps on running while doing serious drugs. He is actually the American Idiot, who destroys his relationship with Whatsername (usually played by Rebecca Naomi Jones). Johnny is drawn on and off to an androgynous character named St. Jimmy, played by Tony Vincent. Although not obvious, it seems that Johnny goes back and forth between Whatsername and St. Jimmy. Whatsername leaves Johnny; Will’s girl leaves him, baby in tow and Tunny and his girlfriend stay together. The three guys eventually settle into normalcy and eventually return home and reunite.
Interesting to watch the differences over forty plus years (HAIR, RENT & AMERICAN IDIOT) and even more interesting to note the recurring themes; desire to break away from parents, sex, drugs, rock & roll, more sex, more drugs & more rock & roll, war, protesting war, return to normalcy.
AMERICAN IDIOT is quite loud with lots of flashing lights, an electric performance one might say, although the other may say “boring” despite the loud noise, music and lights. Nice that we disagree so amicably.
NEXT UP: THE 2010 AMERICAN THEATRE WING TONY AWARDS (unless we manage to see something else between now & June 13th).
Tuesday, May 25, 2010
Tuesday, May 18, 2010
WE FELL FOR NEXT FALL
Nothing like wolfing down a couple of slices of pizza before a show but Tuesday night’s 7:00 pm curtain at most Broadway theatres often leads to a rushed dinner if the demands of the day run past 5:30 or 6:00 pm, which was the case last Tuesday when we saw NEXT FALL.
Not a great start to the evening but definitely uphill from there. Geoffrey Nauffts’ well written script follows the lives of a gay couple who meet at a party, fall in love and move in together. Adam, ably played by Patrick Breen, is a 40ish nebbishy kind of guy who obsesses about almost everything, while Luke (Patrick Heusinger) is a good looking twenty something aspiring actor who is far more carefree, except when it comes to religion. Adam, you see, is either an agnostic or an atheist (never really clear which) while Luke is a devout Southern Christian, who believes without question that acceptance of Jesus as the son of God is the only way that one can get into heaven. This extreme dichotomy between the characters gives rise to much of the very interesting storyline.
Just as Adam is leaving for home to attend a reunion that Luke decides not to attend with him, they have words over the religion thing and we learn much later in the play that Luke was in a terrible taxi accident right after Adam left, which will ultimately lead to his death.
Wilson Chin’s scenes very cleverly and easily switch back and forth between the hospital waiting room and Adam & Luke’s apartment. The cast is rounded out by Cotter Smith as Luke’s father Butch, another devout Southern Christian who threatened to forbid Luke’s younger brother from ever seeing him again if he ever found out that Luke was gay (did we forget to mention that unlike Adam, Luke was not out to his family?) Connie Ray as Luke’s free spirited mother, apparently had little to do with his upbringing (Luke’s parents are divorced but amicable), Maddie Corman as Adam’s best friend Holly and Sean Dugan as Luke’s gay (but not out – another Christian fundamentalist) former best friend Brandon.
Much of the story line revolves around the difference between Luke and Adam’s religious beliefs and Luke’s parents not knowing that their son is gay. Towards the end of the play, Adam tells Luke’s mother that they were lovers and while Cathy was sure that Luke’s father also knew, Jeff was just not convinced of this.
Although Adam was sometimes annoying and Brandon at first seemed to have a stick you know where, the actors meshed quite well together and were clearly all very well cast. We cannot think of a boring moment in this show; we never looked at our watches and walked out talking about what might have happened to the characters after what was revealed on stage, all signs of a very well written, acted and produced play. Don’t miss this one.
Next up (after Cathy’s birthday): AMERICAN IDIOT
Not a great start to the evening but definitely uphill from there. Geoffrey Nauffts’ well written script follows the lives of a gay couple who meet at a party, fall in love and move in together. Adam, ably played by Patrick Breen, is a 40ish nebbishy kind of guy who obsesses about almost everything, while Luke (Patrick Heusinger) is a good looking twenty something aspiring actor who is far more carefree, except when it comes to religion. Adam, you see, is either an agnostic or an atheist (never really clear which) while Luke is a devout Southern Christian, who believes without question that acceptance of Jesus as the son of God is the only way that one can get into heaven. This extreme dichotomy between the characters gives rise to much of the very interesting storyline.
Just as Adam is leaving for home to attend a reunion that Luke decides not to attend with him, they have words over the religion thing and we learn much later in the play that Luke was in a terrible taxi accident right after Adam left, which will ultimately lead to his death.
Wilson Chin’s scenes very cleverly and easily switch back and forth between the hospital waiting room and Adam & Luke’s apartment. The cast is rounded out by Cotter Smith as Luke’s father Butch, another devout Southern Christian who threatened to forbid Luke’s younger brother from ever seeing him again if he ever found out that Luke was gay (did we forget to mention that unlike Adam, Luke was not out to his family?) Connie Ray as Luke’s free spirited mother, apparently had little to do with his upbringing (Luke’s parents are divorced but amicable), Maddie Corman as Adam’s best friend Holly and Sean Dugan as Luke’s gay (but not out – another Christian fundamentalist) former best friend Brandon.
Much of the story line revolves around the difference between Luke and Adam’s religious beliefs and Luke’s parents not knowing that their son is gay. Towards the end of the play, Adam tells Luke’s mother that they were lovers and while Cathy was sure that Luke’s father also knew, Jeff was just not convinced of this.
Although Adam was sometimes annoying and Brandon at first seemed to have a stick you know where, the actors meshed quite well together and were clearly all very well cast. We cannot think of a boring moment in this show; we never looked at our watches and walked out talking about what might have happened to the characters after what was revealed on stage, all signs of a very well written, acted and produced play. Don’t miss this one.
Next up (after Cathy’s birthday): AMERICAN IDIOT
WE HAND IT TO CHRISTOPHER WALKEN
…for making A BEHANDING IN SPOKANE a truly wonderful theatrical experience.
This is not typical Mother’s Day fare but since we see almost everything on Broadway it was very difficult to find four tickets to a good show on Mother’s Day. Wanting of course to be with their mom, Jason & Danielle (Cathy’s kids) joined us. The day started with a great brunch at 44 & X that we would have liked to linger at a little longer but as Jeffrey pointed out, Mother’s Day is the busiest day of the year for most restaurants, so we left after eating and walked a bit. We actually tried to get tickets to FENCES however; when we got to the box office at 2:50; we were told (at the Advance Sale window) that they would not sell us tickets for a future performance until after 3:00 pm. Since we had to be at the Schoenfeld Theatre for a 3:00 pm curtain, that didn’t work. Being somewhat obstinate, Jeffrey announced that we would boycott FENCES because of this. We’ll see. Rushing to the Schoenfeld, we tried to figure out what “behanding” meant as we dodged an unusually cold and windy day.
We had great seats and were thrilled the show would have no intermission (we typically love a show that runs straight through). With really no idea what to expect and still wondering what “behanding” meant, the tattered curtain rose on a great set if you like a very, very dingy motel room. Christopher Walken was center stage and remained there for most of the 90 minutes. During the scene in which Sam Rockwell had a monologue we were amused but were already missing Walken.
So what is this about? Walken lost his hand when he was a young boy and has apparently been terrorizing people his whole life in search of said lost hand. We both agreed this is certainly a never before used idea and playwright Martin McDonagh wrote a rather clever script. The supporting cast, including Rockwell, Zoe Kazan and Anthony Mackie were perfectly cast and did a great job interacting with and supporting Walken. Need we say more? The show is Walken. Several of the very best moments of the show are when he is on the telephone with his unseen and unheard Mother; those scenes were just wonderful.
We can’t say you can’t live without seeing a BEHANDING but it is good solid theater and Walken is worth your time and money and perhaps even deserves the Tony Award for this performance.
Next up: NEXT FALL
This is not typical Mother’s Day fare but since we see almost everything on Broadway it was very difficult to find four tickets to a good show on Mother’s Day. Wanting of course to be with their mom, Jason & Danielle (Cathy’s kids) joined us. The day started with a great brunch at 44 & X that we would have liked to linger at a little longer but as Jeffrey pointed out, Mother’s Day is the busiest day of the year for most restaurants, so we left after eating and walked a bit. We actually tried to get tickets to FENCES however; when we got to the box office at 2:50; we were told (at the Advance Sale window) that they would not sell us tickets for a future performance until after 3:00 pm. Since we had to be at the Schoenfeld Theatre for a 3:00 pm curtain, that didn’t work. Being somewhat obstinate, Jeffrey announced that we would boycott FENCES because of this. We’ll see. Rushing to the Schoenfeld, we tried to figure out what “behanding” meant as we dodged an unusually cold and windy day.
We had great seats and were thrilled the show would have no intermission (we typically love a show that runs straight through). With really no idea what to expect and still wondering what “behanding” meant, the tattered curtain rose on a great set if you like a very, very dingy motel room. Christopher Walken was center stage and remained there for most of the 90 minutes. During the scene in which Sam Rockwell had a monologue we were amused but were already missing Walken.
So what is this about? Walken lost his hand when he was a young boy and has apparently been terrorizing people his whole life in search of said lost hand. We both agreed this is certainly a never before used idea and playwright Martin McDonagh wrote a rather clever script. The supporting cast, including Rockwell, Zoe Kazan and Anthony Mackie were perfectly cast and did a great job interacting with and supporting Walken. Need we say more? The show is Walken. Several of the very best moments of the show are when he is on the telephone with his unseen and unheard Mother; those scenes were just wonderful.
We can’t say you can’t live without seeing a BEHANDING but it is good solid theater and Walken is worth your time and money and perhaps even deserves the Tony Award for this performance.
Next up: NEXT FALL
Wednesday, May 12, 2010
MORE THAN EVERYDAY RAPTURE
We were actually quite disappointed to learn that at the last minute, Megan Mullally cancelled her appearance in LIPS TOGETHER, TEETH APART, causing non-profit Roundabout Theatre Company to cancel the production entirely.
Kudos to Sherie Rene Scott, who came to the rescue with EVERYDAY RAPTURE, which she co-wrote with Dick Scanlan. Ms. Scott describes herself as a "semi-star" but she has a powerful star quality voice. The show is really a cabaret act gone Broadway, almost like what Michael Feinstein & Dame Edna’s ALL ABOUT ME tried to be. The show uses existing songs which take on new meaning when for example; one hears the theme song of Mr. Rogers’ Neighborhood become a tale of sexual awakening.
The show is much about Scott’s own life and the story is simple. As she says in the opening by talking about 2 little pieces of paper she is never without, one of which says that she is a speck of dust and the other says the world is all about her. Ms. Scott talks about her beloved cousin with love and emotion, which is her way of publicly presenting her position on AIDS and how hate still exists in many parts of the US.
The show is very loosely woven together but it is hard to ignore the musical highlight of Scott signing “Get Happy” to a room full of mental patients at the Menninger Psychiatric Center. Back up vocals by Lindsay Mendez and Betsy Wolfe are terrific. They are the most unlikely looking Broadway backup singers but their voices and stage presence match Scott’s in power.
One of the true highlights of the show has Ms. Scott is one side of the stage watching Eamon Foley on the other side as he records himself lip-syncing Scott for a YouTube video. Eamon is over-the-top campy and the sketch is both hilarious and heartwarming. The show is entertaining but we wished for a more meaningful ending, something to bring it all together. It is still a show worth seeing if you want to see a powerhouse of talent.
NEXT UP: A BEHANDING IN SPOKANE
Kudos to Sherie Rene Scott, who came to the rescue with EVERYDAY RAPTURE, which she co-wrote with Dick Scanlan. Ms. Scott describes herself as a "semi-star" but she has a powerful star quality voice. The show is really a cabaret act gone Broadway, almost like what Michael Feinstein & Dame Edna’s ALL ABOUT ME tried to be. The show uses existing songs which take on new meaning when for example; one hears the theme song of Mr. Rogers’ Neighborhood become a tale of sexual awakening.
The show is much about Scott’s own life and the story is simple. As she says in the opening by talking about 2 little pieces of paper she is never without, one of which says that she is a speck of dust and the other says the world is all about her. Ms. Scott talks about her beloved cousin with love and emotion, which is her way of publicly presenting her position on AIDS and how hate still exists in many parts of the US.
The show is very loosely woven together but it is hard to ignore the musical highlight of Scott signing “Get Happy” to a room full of mental patients at the Menninger Psychiatric Center. Back up vocals by Lindsay Mendez and Betsy Wolfe are terrific. They are the most unlikely looking Broadway backup singers but their voices and stage presence match Scott’s in power.
One of the true highlights of the show has Ms. Scott is one side of the stage watching Eamon Foley on the other side as he records himself lip-syncing Scott for a YouTube video. Eamon is over-the-top campy and the sketch is both hilarious and heartwarming. The show is entertaining but we wished for a more meaningful ending, something to bring it all together. It is still a show worth seeing if you want to see a powerhouse of talent.
NEXT UP: A BEHANDING IN SPOKANE
NO TENOR ACTUALLY NEEDED
There is barely a note of music in Ken Ludwig’s LEND ME A TENOR. What there is though is a terrifically funny script, an outstanding cast and truly sublime comedic direction. Accomplished director Stanley Tucci has a terrific vision, a deft hand, an eye and ear for the hilarious and the ability to turn the physical comedy of this show into what looks like a well choreographed ballet.
Tony Shalhoub sets the tone for the entire show with his opening monologue as the very nervous impresario, Saunders, awaiting the arrival of the famed tenor, Tito Morelli, played by veteran actor Anthony LaPaglia. You know exactly what is going to go wrong, there are almost no surprises. Well actually there is one surprise - Justin Bartha! Bartha, who is making his Broadway debut in LEND ME A TENOR, plays the very nervous, unsophisticated, would-be fiancé of Saunders’ daughter, assistant to Saunders, etc. and he is totally entertaining.
LaPaglia’s entrance is highly staged as is his wife’s behavior but she is so well played by Jan Maxwell that you get lost in her pageboy and swish of fur. The actual physicality between the connected living room-bedroom that makes up the set is so beautifully timed that even though it is totally predictable it is also totally funny. We actually enjoyed every actor and thought each was ideally cast except for Mary Catherine Garrison who as the impresario’s daughter seems totally plastic and appeared as related to the Shaloub character as either of us is.
We didn’t learn anything new or answer any soul searching questions while watching LEND ME A TENOR but we were entertained. And isn’t that one of Broadway’s major jobs?
Next up: EVERYDAY RAPTURE
Tony Shalhoub sets the tone for the entire show with his opening monologue as the very nervous impresario, Saunders, awaiting the arrival of the famed tenor, Tito Morelli, played by veteran actor Anthony LaPaglia. You know exactly what is going to go wrong, there are almost no surprises. Well actually there is one surprise - Justin Bartha! Bartha, who is making his Broadway debut in LEND ME A TENOR, plays the very nervous, unsophisticated, would-be fiancé of Saunders’ daughter, assistant to Saunders, etc. and he is totally entertaining.
LaPaglia’s entrance is highly staged as is his wife’s behavior but she is so well played by Jan Maxwell that you get lost in her pageboy and swish of fur. The actual physicality between the connected living room-bedroom that makes up the set is so beautifully timed that even though it is totally predictable it is also totally funny. We actually enjoyed every actor and thought each was ideally cast except for Mary Catherine Garrison who as the impresario’s daughter seems totally plastic and appeared as related to the Shaloub character as either of us is.
We didn’t learn anything new or answer any soul searching questions while watching LEND ME A TENOR but we were entertained. And isn’t that one of Broadway’s major jobs?
Next up: EVERYDAY RAPTURE
Tuesday, May 4, 2010
THE TRUTH ABOUT WHITE’S LIES
The night started out with our dodging a scheduling disaster; once again the flawed Outlook Cathy uses nearly caused us to miss the show. We made up for lost time and grabbed dinner at Da Marino, good food that would really have tasted just the tiniest bit better if we’d seen Chris Noth again. But then again it was Monday night, not a usual theatre evening.
The New World Theater is a very interesting Off Broadway venue. Built in 1989 as part of Worldwide Plaza, it is quite modern and there is a great deal of activity since multiple shows are going on at once and the outdoor restaurants were packed. Stage 4 is home to WHITE’S LIES which we really knew nothing about except that Betty Buckley of CATS and SUNSET BOULEVARD fame would be in a supporting role, playing Joe White’s mother.
The set is terrific, with no curtain so it is totally exposed at all times. With two front row center seats we had a bird’s eye view of everything, including perspiration! All of the action takes place between Joe’s law office and an ever-changing thematic bar. The modern set is extremely clever and morphs almost seamlessly between the office and bar…the desk becomes the bar counter, etc.
WHITE’S LIES is a comedy with a small, tight cast. Two of the players handle several roles by change of accent and outfit. Ben Andron has written a clever, totally modern and current piece. It was difficult to tell where his script and Bob Cline’s adept direction stopped and started. This is an incredibly well crafted play and the timing was just spot-on perfect. Again, hard to know who to credit here since we thought this show was fabulously cast.
Tuc Watkins is new to Broadway and he’s a keeper. If you are a Desperate Housewives fan then you know Tuc and he is much more than just a handsome face and great body. He did occasionally fumpher over a few of his lines but even that can be forgiven as brief moments in an overall stellar performance. Peter Scolari is a master at physical comedy and his playing off Tuc as his law partner was just delicious to watch. They are total opposites in every way, physically, mannerisms, character and the way they played their roles. Jimmy Ray Bennett as the associate, AKA office assistant (and several other characters), was hysterical.
We wish Betty Buckley would have sung just a few bars but her comedy was fabulous. It was, by the way, quite funny when her son Joe told her that she had a terrible voice! She played the long-suffering mother to the hilt but knew exactly where to stop before becoming a characterization. Andrea Grano and Christy Carlson Romano, as Joe’s college sweetheart and her daughter, are welcome newcomers. They are incredibly talented, their chemistry together terrific and we found them both irresistible.
WHITE’S LIES grabbed us from the very first moment and kept us laughing for the entire evening. This is an evening of theater well worth seeing. It is especially enjoyable if you arrive a bit hassled and kvetchy - truthfully, you will forget all about your worries from the first line.
NEXT UP: LEND ME A TENOR!
The New World Theater is a very interesting Off Broadway venue. Built in 1989 as part of Worldwide Plaza, it is quite modern and there is a great deal of activity since multiple shows are going on at once and the outdoor restaurants were packed. Stage 4 is home to WHITE’S LIES which we really knew nothing about except that Betty Buckley of CATS and SUNSET BOULEVARD fame would be in a supporting role, playing Joe White’s mother.
The set is terrific, with no curtain so it is totally exposed at all times. With two front row center seats we had a bird’s eye view of everything, including perspiration! All of the action takes place between Joe’s law office and an ever-changing thematic bar. The modern set is extremely clever and morphs almost seamlessly between the office and bar…the desk becomes the bar counter, etc.
WHITE’S LIES is a comedy with a small, tight cast. Two of the players handle several roles by change of accent and outfit. Ben Andron has written a clever, totally modern and current piece. It was difficult to tell where his script and Bob Cline’s adept direction stopped and started. This is an incredibly well crafted play and the timing was just spot-on perfect. Again, hard to know who to credit here since we thought this show was fabulously cast.
Tuc Watkins is new to Broadway and he’s a keeper. If you are a Desperate Housewives fan then you know Tuc and he is much more than just a handsome face and great body. He did occasionally fumpher over a few of his lines but even that can be forgiven as brief moments in an overall stellar performance. Peter Scolari is a master at physical comedy and his playing off Tuc as his law partner was just delicious to watch. They are total opposites in every way, physically, mannerisms, character and the way they played their roles. Jimmy Ray Bennett as the associate, AKA office assistant (and several other characters), was hysterical.
We wish Betty Buckley would have sung just a few bars but her comedy was fabulous. It was, by the way, quite funny when her son Joe told her that she had a terrible voice! She played the long-suffering mother to the hilt but knew exactly where to stop before becoming a characterization. Andrea Grano and Christy Carlson Romano, as Joe’s college sweetheart and her daughter, are welcome newcomers. They are incredibly talented, their chemistry together terrific and we found them both irresistible.
WHITE’S LIES grabbed us from the very first moment and kept us laughing for the entire evening. This is an evening of theater well worth seeing. It is especially enjoyable if you arrive a bit hassled and kvetchy - truthfully, you will forget all about your worries from the first line.
NEXT UP: LEND ME A TENOR!
Thursday, April 29, 2010
SINGING PRAISES FOR I NEVER SANG FOR MY FATHER
Whenever we are seeing a show on 42nd Street it seems we find ourselves in a quandry as to where we to eat. We typically remember all too late that Chez Josephine is right there and this time we actually remembered BEFORE we ate. So we had a delicious dinner with really attentive service and then walked the 50 steps next door to see I NEVER SANG FOR MY FATHER.
Robert Anderson’s play is 40 years old and neither of us has ever seen it performed, nor have we seen the movie. Keir Dullea and Marsha Mason were hard to resist and Jeff was a huge Sopranos fan so he was looking forward to Matt’s Servitto’s performance. It’s an extremely male show in that it departs from the usual female range of emotions that one typically sees portrayed on stage. and This was a real change of pace. The story is really timeless and has some genuinely heartbreaking moments. Watching the on stage characters grapple with questions of familial guilt and regret was at times very difficult to watch. Cathy found she was asking herself some of the same questions the characters did.
This is a somewhat dark story and even Marsha Mason’s bright portrayal of the mother is overshadowed by the play’s darker moments. There was one line in particular that Matt Servitto’s character, the son, says: “Death ends a life, but it does not end a relationship.” How incredibly haunting.
We found Servitto’s Gene very real and compelling. You could feel this character’s sense of responsibility for his parents, as well as the confusion that surrounded this feeling and how confused he was too. Veteran actor Keir Dullea did not disappoint as Tom, the father. He was tough and soft at the same time and played his beginning dementia very well. There was a moment when his son hugged him and the stiffness with which he received the hug was impossible not to feel.
We wish Marsha Mason’s role and character were onstage more. She was a good balance to the play’s darkness and while Rose Courtney was terrific as the sister, this too is a depressing character. We both thought that perhaps the director, Jonathan Silverstein, could have played up the human humor a bit more. Anderson tackled some very serious issues - ones most of us face. We wanted to cry and fell just short of reaching that emotion. Tears or not, it’s a well done, tight show and worth seeing.
Next up: LEND ME A TENOR!
Robert Anderson’s play is 40 years old and neither of us has ever seen it performed, nor have we seen the movie. Keir Dullea and Marsha Mason were hard to resist and Jeff was a huge Sopranos fan so he was looking forward to Matt’s Servitto’s performance. It’s an extremely male show in that it departs from the usual female range of emotions that one typically sees portrayed on stage. and This was a real change of pace. The story is really timeless and has some genuinely heartbreaking moments. Watching the on stage characters grapple with questions of familial guilt and regret was at times very difficult to watch. Cathy found she was asking herself some of the same questions the characters did.
This is a somewhat dark story and even Marsha Mason’s bright portrayal of the mother is overshadowed by the play’s darker moments. There was one line in particular that Matt Servitto’s character, the son, says: “Death ends a life, but it does not end a relationship.” How incredibly haunting.
We found Servitto’s Gene very real and compelling. You could feel this character’s sense of responsibility for his parents, as well as the confusion that surrounded this feeling and how confused he was too. Veteran actor Keir Dullea did not disappoint as Tom, the father. He was tough and soft at the same time and played his beginning dementia very well. There was a moment when his son hugged him and the stiffness with which he received the hug was impossible not to feel.
We wish Marsha Mason’s role and character were onstage more. She was a good balance to the play’s darkness and while Rose Courtney was terrific as the sister, this too is a depressing character. We both thought that perhaps the director, Jonathan Silverstein, could have played up the human humor a bit more. Anderson tackled some very serious issues - ones most of us face. We wanted to cry and fell just short of reaching that emotion. Tears or not, it’s a well done, tight show and worth seeing.
Next up: LEND ME A TENOR!
THE BIRDCAGE
The evening started quite well with a very nice dinner at Da Marino on W. 49th St, where we were pleasantly surprised to see Chris Noth picking up dinner. An obvious tourist sitting across from us yelled out “Chris,” as he was walking out and when he turned around, snapped a picture of him. Needless to say, Mr. Noth was none too pleased with this. Guess that living in NYC has made us somewhat jaded about seeing celebs, although Cathy insists that Chris smiled at her as he was walking in and out. (He definitely winked!)
On to the Longacre Theatre, relatively small for a venue that hosts musical theatre, but somewhat comfortable nonetheless and a good choice for LA CAGE AUX FOLLES, since even those seated relatively far away were closer to the action than in some of the larger theatres usually reserved for musicals.
The literal translation of LA CAGE AUX FOLLES is “cage of madwomen,” although a loose translation can be “birdcage,” thus the Robin Williams/Nathan Lane movie of this story by that name.
Harvey Fierstein’s book is wonderful and there are some truly memorable songs by Jerry Herman, including “The Best of Times,” “Look Over There” and “I Am What I Am.” This is actually the first time in a while (other than PROMISES, PROMISES) that we can recall walking out of the theatre singing one of the songs. Perhaps we’re getting old(er) but it seems that the revivals have more memorable songs than the newer musicals.
Kelsey Grammer was perfectly cast in the role of Georges, and British import Douglas Hodge was a wonderful Albin and the chemistry between the two of them was really quite good and believable. Fred Applegate was the perfect M. Dindon and as a matter of fact, the entire cast was quite good. The La Cage drag queens were obviously just that, overemphasized if anything, which was very amusing.
The sets, costumes and choreography were all well done, which combined with the cast made for a very enjoyable two hours of musical theatre. Not the best thing we’ve seen this year but quite enjoyable.
Next up: I NEVER SANG FOR MY FATHER
On to the Longacre Theatre, relatively small for a venue that hosts musical theatre, but somewhat comfortable nonetheless and a good choice for LA CAGE AUX FOLLES, since even those seated relatively far away were closer to the action than in some of the larger theatres usually reserved for musicals.
The literal translation of LA CAGE AUX FOLLES is “cage of madwomen,” although a loose translation can be “birdcage,” thus the Robin Williams/Nathan Lane movie of this story by that name.
Harvey Fierstein’s book is wonderful and there are some truly memorable songs by Jerry Herman, including “The Best of Times,” “Look Over There” and “I Am What I Am.” This is actually the first time in a while (other than PROMISES, PROMISES) that we can recall walking out of the theatre singing one of the songs. Perhaps we’re getting old(er) but it seems that the revivals have more memorable songs than the newer musicals.
Kelsey Grammer was perfectly cast in the role of Georges, and British import Douglas Hodge was a wonderful Albin and the chemistry between the two of them was really quite good and believable. Fred Applegate was the perfect M. Dindon and as a matter of fact, the entire cast was quite good. The La Cage drag queens were obviously just that, overemphasized if anything, which was very amusing.
The sets, costumes and choreography were all well done, which combined with the cast made for a very enjoyable two hours of musical theatre. Not the best thing we’ve seen this year but quite enjoyable.
Next up: I NEVER SANG FOR MY FATHER
Wednesday, April 21, 2010
WE SHOULD HAVE KEPT GOING NORTH…
. . . right into the Atlantic Ocean, rather than spend a Saturday night at the Baryshnikov Arts Center, inconveniently located at 37th Street and the Hudson river.
Why did we get tickets for NORTH ATLANTIC? We couldn’t resist the idea of seeing Frances McDormand and Maura Tierney. Their parts were so small and the entire show so weird that we really have no idea what was going on.
The whole evening was bizarre. The theatre is so off the beaten track that there isn’t even a redeeming restaurant nearby. There is no assigned seating so this very New York crowd lined up in the lobby and then swooped in trying to get the best possible seats (we were pretty good at that!) We still haven’t figured out how this show was sold out but it was and at the end of the play, most of the audience seemed to have enjoyed the performance, although we are completely amazed at that.
We can’t tell you what it was about; we have no idea. We can’t tell you if we liked anyone in it; we didn’t get enough of a taste of anyone’s performance to even venture a guess. We walked out and simultanously commented that James Strahs had to have been on acid when he wrote this mess.
Here’s the good news: NORTH ATLANTIC is a limited run production by the Wooster Group, which closes on April 25th so you will probably miss it. Lucky you!
NEXT UP: LA CAGE AUX FOLLES
Why did we get tickets for NORTH ATLANTIC? We couldn’t resist the idea of seeing Frances McDormand and Maura Tierney. Their parts were so small and the entire show so weird that we really have no idea what was going on.
The whole evening was bizarre. The theatre is so off the beaten track that there isn’t even a redeeming restaurant nearby. There is no assigned seating so this very New York crowd lined up in the lobby and then swooped in trying to get the best possible seats (we were pretty good at that!) We still haven’t figured out how this show was sold out but it was and at the end of the play, most of the audience seemed to have enjoyed the performance, although we are completely amazed at that.
We can’t tell you what it was about; we have no idea. We can’t tell you if we liked anyone in it; we didn’t get enough of a taste of anyone’s performance to even venture a guess. We walked out and simultanously commented that James Strahs had to have been on acid when he wrote this mess.
Here’s the good news: NORTH ATLANTIC is a limited run production by the Wooster Group, which closes on April 25th so you will probably miss it. Lucky you!
NEXT UP: LA CAGE AUX FOLLES
Tuesday, April 20, 2010
A PROMISE FULFILLED
Dinner at Serafina, a brief walk to the huge Broadway Theatre (perfect for big budget musicals) and the promise of an enchanting evening. We were excited
from the moment we heard that PROMISES, PROMISES was being revived with Kristen Chenoweth as Fran Kubelik, the female lead and Sean Hayes as Chuck Baxter. And we weren’t disappointed for a single moment.
Neil Simon’s book is brilliant. The story, although clearly set in the sixties, is really timeless and if you are a tried and true New Yorker (like we are) then you love it even more. The music by Burt Bacharach and lyrics by Hal David remind you why each has won so many awards and why some of the tunes in the show have haunted people for over 30 years. We can’t count how many artists have recorded I Say A Little Prayer but when Kristen sings it with her “girls” behind it you remember instantly what a wonderful song it is. And A House Is Not Aa Home is just the perfect first act closer.
But forgive us for getting distracted,with so much wonderful to say it’s difficult to stay on track. Sean Hayes is really not a singer. What he is, though, is a simply brilliant comedic actor and his self-effacing super vibrato even endears you to his less than fabulous singing. After all, it is a little difficult to have to share a song with Kristen Chenowieth. We are still trying to figure out how 80 pounds and 5’ houses a 500 pound and 10’ voice. But she does - thank God and we adore her for her talent. Chenoweth, who created the role of Glinda in the wildly successful WICKED, has quite a resume and her talent is just beyond words.
We just loved it all. The costumes. The sets. The story. The directing and choreography both by Rob Ashford are award winning. The five philandering husbands, played by (Tony Goldwyn, Brooks Ashmanskas, Peter Benson, Sean Martin Hingston and Ken Land) are all wonderful, as is the doctor, played by Dick Latessa (Jeff commented that Latessa was reminiscent of Ned Glass as “Doc” in WEST SIDE STORY – interesting comparison). Tony Goldwyn, who has been in only one other Broadway show, was terrific as JD Sheldrake, but a standing ovation was earned by Katie FInneran as Marge MacDougall, the drunken distraction, who stops the show with her body language, her “owl” capelet and her unbelievable rendition of A Fact Can Be A Beautiful Thing.
The chemistry between Chenoweth and Hayes was perfect. This revival was worth waiting for and as soon as we see everything new this season we will definitely be back again. Make yourself a promise to see PROMISES, PROMISES and keep it!
NEXT UP: NORTH ATLANTIC
from the moment we heard that PROMISES, PROMISES was being revived with Kristen Chenoweth as Fran Kubelik, the female lead and Sean Hayes as Chuck Baxter. And we weren’t disappointed for a single moment.
Neil Simon’s book is brilliant. The story, although clearly set in the sixties, is really timeless and if you are a tried and true New Yorker (like we are) then you love it even more. The music by Burt Bacharach and lyrics by Hal David remind you why each has won so many awards and why some of the tunes in the show have haunted people for over 30 years. We can’t count how many artists have recorded I Say A Little Prayer but when Kristen sings it with her “girls” behind it you remember instantly what a wonderful song it is. And A House Is Not Aa Home is just the perfect first act closer.
But forgive us for getting distracted,with so much wonderful to say it’s difficult to stay on track. Sean Hayes is really not a singer. What he is, though, is a simply brilliant comedic actor and his self-effacing super vibrato even endears you to his less than fabulous singing. After all, it is a little difficult to have to share a song with Kristen Chenowieth. We are still trying to figure out how 80 pounds and 5’ houses a 500 pound and 10’ voice. But she does - thank God and we adore her for her talent. Chenoweth, who created the role of Glinda in the wildly successful WICKED, has quite a resume and her talent is just beyond words.
We just loved it all. The costumes. The sets. The story. The directing and choreography both by Rob Ashford are award winning. The five philandering husbands, played by (Tony Goldwyn, Brooks Ashmanskas, Peter Benson, Sean Martin Hingston and Ken Land) are all wonderful, as is the doctor, played by Dick Latessa (Jeff commented that Latessa was reminiscent of Ned Glass as “Doc” in WEST SIDE STORY – interesting comparison). Tony Goldwyn, who has been in only one other Broadway show, was terrific as JD Sheldrake, but a standing ovation was earned by Katie FInneran as Marge MacDougall, the drunken distraction, who stops the show with her body language, her “owl” capelet and her unbelievable rendition of A Fact Can Be A Beautiful Thing.
The chemistry between Chenoweth and Hayes was perfect. This revival was worth waiting for and as soon as we see everything new this season we will definitely be back again. Make yourself a promise to see PROMISES, PROMISES and keep it!
NEXT UP: NORTH ATLANTIC
MISSING STORY
After a very nice dinner at Blue Fin (one of our theatre district favorites), we headed over to the Samuel J Friedman Theatre, anxious to see Linda Lavin, also a favorite, in Donald Margulies’ COLLECTED STORIES. Although we were very disappointed with our seats, Cathy didn’t hesitate to ask for the theatre manager to see if we could be moved and we ended up in the second row of this very comfortable theatre.
Donald Marguiles’ COLLECTED STORIES seemed to be missing a story! In other words . . . we really liked this play, but we wanted to love it and just couldn’t. Linda Lavin plays Ruth Steiner, a never married writer and professor, who allows student Lisa Morrison, played by Sarah Paulson, to become her assistant and protégé, although this was clearly not Ruth’s original intent. Both Lavin and Paulson are very well cast and their performances are strong and sure. We thought it took Lavin a little too long to get up to the appropriate energy level but she does eventually get there.
The costumes and set were the perfect backdrops and it was quite believable that author Ruth Steiner had lived in that apartment for over 30 years.
What wasn’t believable was Steiner’s shock at her protégé “taking” her story/life and turning it into a novel! On many levels this is the literary version of ALL ABOUT EVE as we find in the second act that Lisa has hijacked Ruth’s life story and turned it into a novel, her first. Why such shock when Ruth tells Lisa her deepest story and it becomes Lisa’s novel?
All Ruth would have had to do was tell Lisa that she wanted to share her story with her but that it was permanently off limits in terms of re-telling. Then again, I guess there would have been no show. And we would have missed that.
A two person show is always a challenge with many opportunities for lagging and boredom. COLLECTED STORIES really succeeds in engaging the audience. We just felt a tiny bit cheated at the end. Not by Lavin or Paulson but by author Marguiles. This was clearly reminiscent of our feeling after Marguiles’ TIME STOOD STILL. That too was an almost great story.
NEXT UP: PROMISES, PROMISES
Donald Marguiles’ COLLECTED STORIES seemed to be missing a story! In other words . . . we really liked this play, but we wanted to love it and just couldn’t. Linda Lavin plays Ruth Steiner, a never married writer and professor, who allows student Lisa Morrison, played by Sarah Paulson, to become her assistant and protégé, although this was clearly not Ruth’s original intent. Both Lavin and Paulson are very well cast and their performances are strong and sure. We thought it took Lavin a little too long to get up to the appropriate energy level but she does eventually get there.
The costumes and set were the perfect backdrops and it was quite believable that author Ruth Steiner had lived in that apartment for over 30 years.
What wasn’t believable was Steiner’s shock at her protégé “taking” her story/life and turning it into a novel! On many levels this is the literary version of ALL ABOUT EVE as we find in the second act that Lisa has hijacked Ruth’s life story and turned it into a novel, her first. Why such shock when Ruth tells Lisa her deepest story and it becomes Lisa’s novel?
All Ruth would have had to do was tell Lisa that she wanted to share her story with her but that it was permanently off limits in terms of re-telling. Then again, I guess there would have been no show. And we would have missed that.
A two person show is always a challenge with many opportunities for lagging and boredom. COLLECTED STORIES really succeeds in engaging the audience. We just felt a tiny bit cheated at the end. Not by Lavin or Paulson but by author Marguiles. This was clearly reminiscent of our feeling after Marguiles’ TIME STOOD STILL. That too was an almost great story.
NEXT UP: PROMISES, PROMISES
Tuesday, April 13, 2010
CAN ANYONE FIGURE THIS SHOW OUT?
We were especially excited to see the NYCity Center ENCORES production of ANYONE CAN WHISTLE after having spent such a divine evening at SONDHEIM ON SONDHEIM. Sondheim is responsible for so many hits, megahits among them, that we felt it only right to see his most famous flop (the original ANYONE CAN WHISTLE ran for twelve previews and nine performances in 1964, with Angela Lansbury, Lee Remick and Harry Guardino in the headline roles).
And if we are going to be honest - we will see Raul Esparza in anything. And we mean anything! That includes an evening of listening to him read from the phone book.
The evening started out well. We had dinner at Rue 57; a welcome change from our more normal venues. Dinner was delicious and we had plenty of time for an easy walk to the theatre for a 7:30 curtain. It seemed a bit weird that the inside doors were locked at 7:15 and less weird when we found out the curtain was actually 8:00. This little “oops” however; cannot be blamed on Cathy’s recent Outlook issues! Left to mill about in the lobby (aka: killing time) we saw a flyer for a 25th Anniversary Gala in November starring Angela Lansbury, Ann Reinking, Bebe Neuwirth and Chita Rivera and we scored great seats for this November 8th special.
The theater was filled and it was a very New York crowd. Many of the theatre goers seemed to know each other, which we presume to be the case with ENCORES productions and besides, who else would go to see a well known Sondheim flop? The curtain opened on a great set with the orchestra on stage in the rear behind a scrim. Donna Murphy soon took center stage and the power of her voice and energy of her presence took our breath away. She was electric and her chemistry with Raul Esparza when he appeared worked from the first second they were together.
Sutton Foster more than held her own as did Jeff Blumenkrantz and Edward Hibbert. Minor complaint is that we can’t remember ever seeing a playbill without pictures of the cast and the lack of pictures makes it very difficult to identify those stars we are not familiar with but whom we want to credit.
The music is very Sondheim. Lots of words and then more words and then some more. What ANYONE CAN WHISTLE had in words it lacked in plot or story. There is actually a plot but it’s beyond inane and made no sense at all. The costumes were adorable; actually the right word we think. It is a little tricky trying to figure out what would have made this show work. Sondheim certainly tried, albeit without success, but then who are we to critique him?
It’s unfortunate though that the elements of story didn’t converge better because Sondheim has written two extremely strong women’s roles and very decent men’s roles. We saw some powerhouses of talent. And we can whistle, just don’t ask us to whistle any of the substantially unmemorable tunes.
Next up: COLLECTED STORIES!
And if we are going to be honest - we will see Raul Esparza in anything. And we mean anything! That includes an evening of listening to him read from the phone book.
The evening started out well. We had dinner at Rue 57; a welcome change from our more normal venues. Dinner was delicious and we had plenty of time for an easy walk to the theatre for a 7:30 curtain. It seemed a bit weird that the inside doors were locked at 7:15 and less weird when we found out the curtain was actually 8:00. This little “oops” however; cannot be blamed on Cathy’s recent Outlook issues! Left to mill about in the lobby (aka: killing time) we saw a flyer for a 25th Anniversary Gala in November starring Angela Lansbury, Ann Reinking, Bebe Neuwirth and Chita Rivera and we scored great seats for this November 8th special.
The theater was filled and it was a very New York crowd. Many of the theatre goers seemed to know each other, which we presume to be the case with ENCORES productions and besides, who else would go to see a well known Sondheim flop? The curtain opened on a great set with the orchestra on stage in the rear behind a scrim. Donna Murphy soon took center stage and the power of her voice and energy of her presence took our breath away. She was electric and her chemistry with Raul Esparza when he appeared worked from the first second they were together.
Sutton Foster more than held her own as did Jeff Blumenkrantz and Edward Hibbert. Minor complaint is that we can’t remember ever seeing a playbill without pictures of the cast and the lack of pictures makes it very difficult to identify those stars we are not familiar with but whom we want to credit.
The music is very Sondheim. Lots of words and then more words and then some more. What ANYONE CAN WHISTLE had in words it lacked in plot or story. There is actually a plot but it’s beyond inane and made no sense at all. The costumes were adorable; actually the right word we think. It is a little tricky trying to figure out what would have made this show work. Sondheim certainly tried, albeit without success, but then who are we to critique him?
It’s unfortunate though that the elements of story didn’t converge better because Sondheim has written two extremely strong women’s roles and very decent men’s roles. We saw some powerhouses of talent. And we can whistle, just don’t ask us to whistle any of the substantially unmemorable tunes.
Next up: COLLECTED STORIES!
Friday, April 9, 2010
THANK YOU MR. SONDHEIM!
Or should we say Thank You to Mr. and Mrs. Sondheim who only had one child but what a child he is! The lifelong contributions that Stephen Sondheim has made to the world of musical theater and all the countless people who have enjoyed his music are certainly too numerous for us to even begin counting.
It is difficult to know where to begin here because there is so much to say. We’re giving up the space we usually devote to where we ate and what we ate, etc. etc. and blah, blah, blah. We aren’t going to mention that Nancy Ploeger and Nancy Ryan are still semi-stalking us and were also lucky enough to be in the audience last night at SONDHEIM ON SONDHEIM. They had better seats than we did so that’s all we’re saying about them!
While this exploration of highlights from the Sondheim songbook is not a typical Broadway offering, my God it belongs smack in the middle of Broadway. The staging, and lighting and direction were just as individual and unusual as Mr. Sondheim himself who has actually in the theatre audience last night. Although we missed meeting him alas, he missed meeting us as well.
A series of different sized and widely interestingly angled flat screen TV’s blend with one another to create a master kind of screen and Stephen himself appears throughout the show to talk about none other than himself. He talks about his life, how he came to write many of the musicals we all love and cherish and his thoughts on many of these shows. He even tells the audience that his mother once wrote a letter that said her only regret in life was having him. Talk about evoking a reaction of total shock!
Sondheim is disarming and truthful when he speaks (he was filmed in the present) and there are videos and stills that take us from his childhood through his life (he is now 80 years old) and even include appearances on the Merv Griffin show in the 1960’s. Sondheim talks about his sexuality and the fact that he was unable to fall in love and have a meaningful relationship until he was 60.
The show is a chronology of his music headlined by veteran Barbara Cook. Although she too is in her 80’s, Barbara has aged and it seemed as if her hip or knee was giving her an enormous amount of pain. When Barbara opens her mouth and sings you are transported back to her heyday. Actually, given the way she sang Send in The Clowns, she’s having a second heyday! There is no better Broadway actress for this role than Barbara Cook. Tom Wopat is wonderful as the male counter balance to Barbara’s strong vocals. Vanessa Williams is gorgeous and so is her voice. She is grace personified and a joy to both watch and listen to.
The supporting ensemble is absolutely fantastic. Euan Morton’s interpretation of Franklin Shepard Inc. was fabulous, as was Matthew Scott’s portrayal of Shepard. Erin Mackey is adorable and her voice is strong, and true and clear. Leslie Kritzer and Norm Lewis rounded out this ensemble, which was perfectly cast. It was especially heartwarming to witness the thoughtfulness everyone showed Barbara when as she was going and coming on and off stage, with apparent difficulty.
We simply loved every minute of the evening. We were continually nudging each other’s elbows and looking at one another at the end of each song as if to check and make sure we were equally enthralled. This is first class Broadway and you should treat yourself to this feast of Sondheim. You won’t leave the theatre full . . . you will be in that special place between satisfied yet craving more. Thank you, Mr. Sondheim for sharing your gifts with us.
Next up: ANYONE CAN WHISTLE!
It is difficult to know where to begin here because there is so much to say. We’re giving up the space we usually devote to where we ate and what we ate, etc. etc. and blah, blah, blah. We aren’t going to mention that Nancy Ploeger and Nancy Ryan are still semi-stalking us and were also lucky enough to be in the audience last night at SONDHEIM ON SONDHEIM. They had better seats than we did so that’s all we’re saying about them!
While this exploration of highlights from the Sondheim songbook is not a typical Broadway offering, my God it belongs smack in the middle of Broadway. The staging, and lighting and direction were just as individual and unusual as Mr. Sondheim himself who has actually in the theatre audience last night. Although we missed meeting him alas, he missed meeting us as well.
A series of different sized and widely interestingly angled flat screen TV’s blend with one another to create a master kind of screen and Stephen himself appears throughout the show to talk about none other than himself. He talks about his life, how he came to write many of the musicals we all love and cherish and his thoughts on many of these shows. He even tells the audience that his mother once wrote a letter that said her only regret in life was having him. Talk about evoking a reaction of total shock!
Sondheim is disarming and truthful when he speaks (he was filmed in the present) and there are videos and stills that take us from his childhood through his life (he is now 80 years old) and even include appearances on the Merv Griffin show in the 1960’s. Sondheim talks about his sexuality and the fact that he was unable to fall in love and have a meaningful relationship until he was 60.
The show is a chronology of his music headlined by veteran Barbara Cook. Although she too is in her 80’s, Barbara has aged and it seemed as if her hip or knee was giving her an enormous amount of pain. When Barbara opens her mouth and sings you are transported back to her heyday. Actually, given the way she sang Send in The Clowns, she’s having a second heyday! There is no better Broadway actress for this role than Barbara Cook. Tom Wopat is wonderful as the male counter balance to Barbara’s strong vocals. Vanessa Williams is gorgeous and so is her voice. She is grace personified and a joy to both watch and listen to.
The supporting ensemble is absolutely fantastic. Euan Morton’s interpretation of Franklin Shepard Inc. was fabulous, as was Matthew Scott’s portrayal of Shepard. Erin Mackey is adorable and her voice is strong, and true and clear. Leslie Kritzer and Norm Lewis rounded out this ensemble, which was perfectly cast. It was especially heartwarming to witness the thoughtfulness everyone showed Barbara when as she was going and coming on and off stage, with apparent difficulty.
We simply loved every minute of the evening. We were continually nudging each other’s elbows and looking at one another at the end of each song as if to check and make sure we were equally enthralled. This is first class Broadway and you should treat yourself to this feast of Sondheim. You won’t leave the theatre full . . . you will be in that special place between satisfied yet craving more. Thank you, Mr. Sondheim for sharing your gifts with us.
Next up: ANYONE CAN WHISTLE!
ALL ABOUT (ARE YOU KIDDING) ME
The evening started off just a little rocky as Cathy has been having some Outlook calendar issues of late and Jeff was unaware that our dinner reservations were for 6:00 pm, rather than the usual 6:30. All was forgiven due to the wonderful company of friends Flo and Ben Geizhals and a really delicsious dinner at Steve Hanson’s Blue Fin.
Henry Miller’s Theatre (about to be renamed the Stephen Sondheim Theatre), which Roundabout rented to the company that produced ALL ABOUT ME (with disclaimers that this was NOT a Roundabout production) is actually quite nice and comfortable.
And that brings us to the conclusion of the nice part of the evening.
We have seen Michael Feinstein several times at his club FEINSTEIN’S AT THE REGENCY HOTEL. While he is not the best singer we have ever seen or heard, he is certainly a recognized expert in what he calls The Great American Song Book, which includes standards by Gershwin, Porter, etc. In the intimate atmosphere of his club, Michael is a good performer, particularly when working with chanteuses like Linda Eder or actresses like Christine Ebersole. We even saw Michael on his own one night and that was pretty good. Even better when he can stay on key.
ALL ABOUT ME starred Michael and Dame Edna Everage (aka Barry
Humphries) along with Jodi Capeless (who sang quite well), Gregory Butler & Jon-Paul Mateo who were both in ridiculously flamboyant outfits and behavior throughout the show.
There is unfortunately just nothing good to say about this production, which was vaudeville at its worst and certainly did not belong on Broadway. Rather than tear ALL ABOUT ME apart, let’s end here and all be grateful that the show closed two nights after we saw it. If only we had bought tickets for a few days later we would have gotten our money back and been spared the evening.
What was interesting was the over the top accolades by the obvious Dame Edna fans in the audience, most of whom were sitting up front and the constant references to Feinstein’s being in (or out of) the closet.
Clearly, the highlight of the evening (other than dinner with Flo & Ben) was standing next to Cynthia Nixon and her partner after the show. How sad is that? (No offense, Cynthia – we love you!)
Next Up: SONDHEIN ON SONDHEIM
Henry Miller’s Theatre (about to be renamed the Stephen Sondheim Theatre), which Roundabout rented to the company that produced ALL ABOUT ME (with disclaimers that this was NOT a Roundabout production) is actually quite nice and comfortable.
And that brings us to the conclusion of the nice part of the evening.
We have seen Michael Feinstein several times at his club FEINSTEIN’S AT THE REGENCY HOTEL. While he is not the best singer we have ever seen or heard, he is certainly a recognized expert in what he calls The Great American Song Book, which includes standards by Gershwin, Porter, etc. In the intimate atmosphere of his club, Michael is a good performer, particularly when working with chanteuses like Linda Eder or actresses like Christine Ebersole. We even saw Michael on his own one night and that was pretty good. Even better when he can stay on key.
ALL ABOUT ME starred Michael and Dame Edna Everage (aka Barry
Humphries) along with Jodi Capeless (who sang quite well), Gregory Butler & Jon-Paul Mateo who were both in ridiculously flamboyant outfits and behavior throughout the show.
There is unfortunately just nothing good to say about this production, which was vaudeville at its worst and certainly did not belong on Broadway. Rather than tear ALL ABOUT ME apart, let’s end here and all be grateful that the show closed two nights after we saw it. If only we had bought tickets for a few days later we would have gotten our money back and been spared the evening.
What was interesting was the over the top accolades by the obvious Dame Edna fans in the audience, most of whom were sitting up front and the constant references to Feinstein’s being in (or out of) the closet.
Clearly, the highlight of the evening (other than dinner with Flo & Ben) was standing next to Cynthia Nixon and her partner after the show. How sad is that? (No offense, Cynthia – we love you!)
Next Up: SONDHEIN ON SONDHEIM
Friday, April 2, 2010
DON'T BE A SCMUCK
Schmuck, a Yiddish word, has a range of meaning depending on context. In its most innocuous use, a schmuck is a person who does a stupid thing, in which case "dumb schmuck" means really, really stupid and is the appropriate expression. Some say that Schmuck is the Yiddish word for penis. We say that Schmuck is the appropriate term for anyone who actually sits through the 75 or so minutes of CIRCUMCISE ME, written and performed by Yisrael Campbell. But maybe we have to retract that - or else we are calling oursleves schmucks! We just want to save you from the same fate...
As you know by now, we see a great deal of theatre and try to write as much about the experience as we do about the show, performance, etc. and we can say without equivocation that this is the worst thing we have even seen together, worse even than the awful production of DUST that we saw two years ago. At least DUST had Richard Masur and Hunter Foster in the cast.
We have yet to figure out how or why Mr. Campbell, a convert to Orthodox Judaism from Catholicism, has his own show, albeit in an empty (except for the 23 other schmucks who also sat through this) Greenwich Village theatre, shared with a meditation studio. As a matter of fact we were asked when we walked in whteher we were there to mediatte or see the show...we should have tried the meditation!
Mr. Campbell, whose given name was Chris before he changed it to Yisrael at the time he converted, talks about everything related to his conversion, including his three circumcisions (not going to go any further on that) and making Aliyah (he currently lives in Jerusalem). Suffice it to say there is nothing terribly interesting about Mr. Campbell’s life or his conversion. The only remotely interesting parts of this diatribe are when he speaks and shows photos of friends who were killed in Israel.
Mr. Campbell is neither interesting nor a very good speaker and his story is less than noteworthy. We have yet to figure out why anyone would have invested any money at all in this project. Be smart and take a pass on CIRCUMCISE ME.
NEXT UP: MR & MRS FITCH
As you know by now, we see a great deal of theatre and try to write as much about the experience as we do about the show, performance, etc. and we can say without equivocation that this is the worst thing we have even seen together, worse even than the awful production of DUST that we saw two years ago. At least DUST had Richard Masur and Hunter Foster in the cast.
We have yet to figure out how or why Mr. Campbell, a convert to Orthodox Judaism from Catholicism, has his own show, albeit in an empty (except for the 23 other schmucks who also sat through this) Greenwich Village theatre, shared with a meditation studio. As a matter of fact we were asked when we walked in whteher we were there to mediatte or see the show...we should have tried the meditation!
Mr. Campbell, whose given name was Chris before he changed it to Yisrael at the time he converted, talks about everything related to his conversion, including his three circumcisions (not going to go any further on that) and making Aliyah (he currently lives in Jerusalem). Suffice it to say there is nothing terribly interesting about Mr. Campbell’s life or his conversion. The only remotely interesting parts of this diatribe are when he speaks and shows photos of friends who were killed in Israel.
Mr. Campbell is neither interesting nor a very good speaker and his story is less than noteworthy. We have yet to figure out why anyone would have invested any money at all in this project. Be smart and take a pass on CIRCUMCISE ME.
NEXT UP: MR & MRS FITCH
Friday, March 26, 2010
WE LOVED LOOPED
No catchy title and just no other way to say it. Tallulah Bankhead’s reputation precedes her. The world remembers this legend of stage, screen (big & small) and radio as outrageous, outspoken, and uninhibited. Some say her fame was a result of outrageous behavior rather than talent; we beg to differ.
There is much written about Ms. Bankhead (Tallulah, as she preferred to be called) and legend has it that she chain-smoked, drank nonstop and carried a handbag full of everything from cocaine to codeine. She allegedly had affairs with both men and women; it seems as if she lived to shock and outrage.
Playwright Matthew Lombardo really captured Tallulah in this script and notwithstanding the comments of many theatre critics; the play is not only campy but a great way to spend a couple of hours. It is funny, smart and human. Every word matters. Rob Ruggiero’s direction is “on the mark”. If your intention is to see Valerie Harper playing an older and more outrageous Rhoda Morgenstern you will be disappointed. If however; you attend a performance of LOOPED expecting to “meet” Miss Bankhead and fall in love with her, you will be thrilled. Ms. Harper IS Tallulah and she transfixes.
It’s easy for costume, make-up and hair to make Valerie Harper, a star in her own right, look like Tallulah. But it’s more than the look. Valerie clearly studied an enormous amount of footage form Bankhead’s heyday. She exhibits far more talent than we anticipated, becoming Tallulah for the two hours we sat right in front of the stage, hanging on to her every word and action. Given Tallulah’s reputation, this part is an open invitation to overact and kudos to everyone for staying just below that magic line.
Brian Hutchinson is Tallulah’s film editor who winds up having to work with her on this looping session, against his wishes and better judgment. The character is repressed and ultra conservative…and could have easily been overacted in contrast to Bankhead’s high energy. Brian does not disappoint and his chemistry with Valerie is wonderful as his character evolves.
We laughed for most of the evening. We sighed too at the very carefully written and acted poignant and character revealing moments. And we couldn’t get up on our feet fast enough with the rest of the audience to salute Valerie with not just a standing ovation, but one of a magnitude that was obviously unexpected by the cast. LOOPED is one of the few shows this season that is scheduled for a long run, which it richly deserves. Don’t miss this one. Harper has more than earned a Tony nod for her work.
Next up: CIRCUMCISE ME!
There is much written about Ms. Bankhead (Tallulah, as she preferred to be called) and legend has it that she chain-smoked, drank nonstop and carried a handbag full of everything from cocaine to codeine. She allegedly had affairs with both men and women; it seems as if she lived to shock and outrage.
Playwright Matthew Lombardo really captured Tallulah in this script and notwithstanding the comments of many theatre critics; the play is not only campy but a great way to spend a couple of hours. It is funny, smart and human. Every word matters. Rob Ruggiero’s direction is “on the mark”. If your intention is to see Valerie Harper playing an older and more outrageous Rhoda Morgenstern you will be disappointed. If however; you attend a performance of LOOPED expecting to “meet” Miss Bankhead and fall in love with her, you will be thrilled. Ms. Harper IS Tallulah and she transfixes.
It’s easy for costume, make-up and hair to make Valerie Harper, a star in her own right, look like Tallulah. But it’s more than the look. Valerie clearly studied an enormous amount of footage form Bankhead’s heyday. She exhibits far more talent than we anticipated, becoming Tallulah for the two hours we sat right in front of the stage, hanging on to her every word and action. Given Tallulah’s reputation, this part is an open invitation to overact and kudos to everyone for staying just below that magic line.
Brian Hutchinson is Tallulah’s film editor who winds up having to work with her on this looping session, against his wishes and better judgment. The character is repressed and ultra conservative…and could have easily been overacted in contrast to Bankhead’s high energy. Brian does not disappoint and his chemistry with Valerie is wonderful as his character evolves.
We laughed for most of the evening. We sighed too at the very carefully written and acted poignant and character revealing moments. And we couldn’t get up on our feet fast enough with the rest of the audience to salute Valerie with not just a standing ovation, but one of a magnitude that was obviously unexpected by the cast. LOOPED is one of the few shows this season that is scheduled for a long run, which it richly deserves. Don’t miss this one. Harper has more than earned a Tony nod for her work.
Next up: CIRCUMCISE ME!
Thursday, March 25, 2010
SONDHEIM SOARS
….because A LITTLE NIGHT MUSIC is such a special Sondheim treat. There’s no darkness nor is there a complicated plot or too many characters going in opposite directions. We couldn’t wait for the curtain to go up and we hated to see it fall.
There is nothing as special for theatre devotees as a special Actor’s Fund performance and this one did not disappoint. The audience is always electric and truly “New York” and the talent, who generously donates their time to this worth cause, plays as though this is truly a command performance. This performance was graced by the presence of Actors Fund President Brian Stokes Mitchell who was hobbling on crutches due to an injured Achilles tendon. We wish Brian a speedy recovery although he did tell us that he was fortunately not in any pain.
A very simple set is all that’s needed when two superstars grace the stage. Angela Lansbury is . . . well . . . Angela Lansbury. Surely she’s the current grande dame of Broadway. We loved her in DEUCE, she enchanted us in BLITHE SPIRIT and she’s so obviously perfect as Madame Armfeldt in A LITTLE NIGHT MUSIC. She’s elegant, she’s funny and she’s simultaneously over-the-top and real as can be. And we never forget that it’s just not possible for her to be with us forever so we never miss seeing anything she is doing.
If you consider Catherine Zeta-Jones a movie star, then you better prepare to readjust your thinking. This is her Broadway debut and she it totally captivating. Of course, she’s gorgeous and even every hand movement is perfect. But she really sings. And with phrasing and timing that’s impeccable and a voice much larger than we expected. After the first minute of her taking over the stage, it was impossible not to smile every time she was on it. Will Mrs. Douglas add a Tony to her Oscar this year? We certainly think she deserves it!
Catherine’s chemistry with her leading man . . . who turned out to be played the night we saw it by understudy Bradley Dean . . . was wonderful. This was Jeff’s second time seeing this production and he commented that Dean was every bit as good in the leading male role as Alexander Hanson.
A LITTLE NIGHT MUSIC has two show stopping tunes thanks to Sondheim’s genius. The Miller’s Son, sung by the character Petra, showcased Leigh Ann Larkin’s immense talent. She did Sondheim proud and held us entranced. The show’s most famous song, Send in the Clowns, is a totally different kind of song and Catherine Zeta-Jones sang it to perfection. It was languid and electric and humorous in all the right spots and every note - either sung or half sung/spoken was just exactly the right interpretation.
Jeff saw A LITTLE NIGHT MUSIC with his daughter Erica a few weeks before due to a tiny ticket buying snafu and he willingly went again. Cathy adored it as much as Jeff and both will need very, very little encouragement to spend another night at A LITTLE NIGHT MUSIC.
Next up: LOOPED!
There is nothing as special for theatre devotees as a special Actor’s Fund performance and this one did not disappoint. The audience is always electric and truly “New York” and the talent, who generously donates their time to this worth cause, plays as though this is truly a command performance. This performance was graced by the presence of Actors Fund President Brian Stokes Mitchell who was hobbling on crutches due to an injured Achilles tendon. We wish Brian a speedy recovery although he did tell us that he was fortunately not in any pain.
A very simple set is all that’s needed when two superstars grace the stage. Angela Lansbury is . . . well . . . Angela Lansbury. Surely she’s the current grande dame of Broadway. We loved her in DEUCE, she enchanted us in BLITHE SPIRIT and she’s so obviously perfect as Madame Armfeldt in A LITTLE NIGHT MUSIC. She’s elegant, she’s funny and she’s simultaneously over-the-top and real as can be. And we never forget that it’s just not possible for her to be with us forever so we never miss seeing anything she is doing.
If you consider Catherine Zeta-Jones a movie star, then you better prepare to readjust your thinking. This is her Broadway debut and she it totally captivating. Of course, she’s gorgeous and even every hand movement is perfect. But she really sings. And with phrasing and timing that’s impeccable and a voice much larger than we expected. After the first minute of her taking over the stage, it was impossible not to smile every time she was on it. Will Mrs. Douglas add a Tony to her Oscar this year? We certainly think she deserves it!
Catherine’s chemistry with her leading man . . . who turned out to be played the night we saw it by understudy Bradley Dean . . . was wonderful. This was Jeff’s second time seeing this production and he commented that Dean was every bit as good in the leading male role as Alexander Hanson.
A LITTLE NIGHT MUSIC has two show stopping tunes thanks to Sondheim’s genius. The Miller’s Son, sung by the character Petra, showcased Leigh Ann Larkin’s immense talent. She did Sondheim proud and held us entranced. The show’s most famous song, Send in the Clowns, is a totally different kind of song and Catherine Zeta-Jones sang it to perfection. It was languid and electric and humorous in all the right spots and every note - either sung or half sung/spoken was just exactly the right interpretation.
Jeff saw A LITTLE NIGHT MUSIC with his daughter Erica a few weeks before due to a tiny ticket buying snafu and he willingly went again. Cathy adored it as much as Jeff and both will need very, very little encouragement to spend another night at A LITTLE NIGHT MUSIC.
Next up: LOOPED!
Friday, March 19, 2010
COME FLY AWAY SOARS!
It takes real dedication on the part of avid theater goers to buy tickets for any show on St. Patrick’s Day. We are that avid and were uber excited to see COME FLY AWAY but we totally forgot what Times Square and the theatre district would be like post-parade and pre-all night St. Patrick’s Day drinking.
Dinner didn’t go exactly as planned since we were unable to get a table at our theatre district favorite Bond 45. It was nearly impossible to just navigate the sidewalks although watching a street fight break out was pretty cool.
So we’ll not talk about where we did eat and just move on to the Marquis Theater which is always a pleasure since it’s designers took into account that average heights and widths are a bit more ample than they were when some of Broadway’s older theaters were built. It’s really a gorgeous space and the seats are comfortable with almost enough legroom and when you are 3 rows from the edge of the stage, it’s a delight. The very friendly usher was also a pleasant way to start the experience.
We really had no idea what to expect - other than Frank Sinatra’s songs and Twyla Tharp’s choreography. Frank made so many songs famous that we were fascinated by how the ones used were chosen. The order was so right that it built perfectly to a total crescendo of music and dance. When intermission arrived we hated seeing the curtain fall.
When we turned around and spotted Diane Sawyer and hubby Mike Nichols canoodling we behaved ourselves and did not interrupt them. Later when we were behind them leaving the theater (he in very comfy looking sneaks and she in tottering heels) holding hands, we still resisted approaching them to tell them what fans we are of both of their work.
Back to the show. There wasn’t a single word spoken. Vocally that is. There were volumes spoken via the songs, the personalities of the dancers and the costumes that each wore. We knew exactly what was being said. Just watching these dancers was mesmerizing. Their musculature, the way they held themselves - everything said something Every single smile, eye blink and hand motion spoke to us. As a company, they were divine. Karine Plantadit, Keith Roberts and Charlie Neshyba-Hidges were justifiably the standouts.
The finale came in waves. It began with My Way which became New York, New York and then morphed into All the Way. COME FLY AWAY goes all the way. It’s a divine diversion from the plays and comedies we usually see on the Great White Way. It swept us up into the music and dance. How we wish we could sing and dance!
Next Up: A LITTLE NIGHT MUSIC!
Dinner didn’t go exactly as planned since we were unable to get a table at our theatre district favorite Bond 45. It was nearly impossible to just navigate the sidewalks although watching a street fight break out was pretty cool.
So we’ll not talk about where we did eat and just move on to the Marquis Theater which is always a pleasure since it’s designers took into account that average heights and widths are a bit more ample than they were when some of Broadway’s older theaters were built. It’s really a gorgeous space and the seats are comfortable with almost enough legroom and when you are 3 rows from the edge of the stage, it’s a delight. The very friendly usher was also a pleasant way to start the experience.
We really had no idea what to expect - other than Frank Sinatra’s songs and Twyla Tharp’s choreography. Frank made so many songs famous that we were fascinated by how the ones used were chosen. The order was so right that it built perfectly to a total crescendo of music and dance. When intermission arrived we hated seeing the curtain fall.
When we turned around and spotted Diane Sawyer and hubby Mike Nichols canoodling we behaved ourselves and did not interrupt them. Later when we were behind them leaving the theater (he in very comfy looking sneaks and she in tottering heels) holding hands, we still resisted approaching them to tell them what fans we are of both of their work.
Back to the show. There wasn’t a single word spoken. Vocally that is. There were volumes spoken via the songs, the personalities of the dancers and the costumes that each wore. We knew exactly what was being said. Just watching these dancers was mesmerizing. Their musculature, the way they held themselves - everything said something Every single smile, eye blink and hand motion spoke to us. As a company, they were divine. Karine Plantadit, Keith Roberts and Charlie Neshyba-Hidges were justifiably the standouts.
The finale came in waves. It began with My Way which became New York, New York and then morphed into All the Way. COME FLY AWAY goes all the way. It’s a divine diversion from the plays and comedies we usually see on the Great White Way. It swept us up into the music and dance. How we wish we could sing and dance!
Next Up: A LITTLE NIGHT MUSIC!
Sunday, March 14, 2010
TIME STOOD STILL AT TIME STANDS STILL
We had very high expectations for this show. So much so that we actually had 2 sets of tickets. Because of a conflict on the night of our original tickets, we gave them to Jason & Danielle, who really liked the play. After all, who could resist this cast?
The Manhattan Theatre Club’s Samuel J. Friedman Theatre is actually one of the more comfortable Broadway venues; seats roomier than most.
The fabulous cast did not disappoint. Alicia Silverstone (remember her from the 1995 flick CLUELESS?) has really grown up and her acting ability has clearly grown with her. Silverstone was perfectly cast as Mandy Bloom, who learns right after giving birth that the joys of motherhood, at least for her, far outweigh her career as an event planner.
Eric Bogosian, who is one of our favorites on LAW & ORDER, was also amazing in his role as the agent/best friend and love interest, baby daddy & eventually husband of Alicia Silverstone’s character.
We adore Brian D’Arcy James, who was also perfectly cast as Laura Linney’s love interest and then husband and who proves that his talent extends well beyond his outstanding performance as the all green Shrek.
And we are totally crazy for Laura Linney. In anything from Broadway (LOVED her in LES LIASONS DANGEREUSES ) to movies to television. The only negative we can say about Linney’s performance in TIME STANDS STILL was that her wardrobe seemed at most times to not fit her well. The best line of the play, which totally personified her character, was Linney standing with a straight face and saying to Brian D’Arcy James (then her husband), “This is me, happy.”
Linney, D’Arcy James, Bogosian & Silverstone were absolutely perfectly cast and played their roles flawlessly. Yet we never got engaged and walked out feeling as though something was missing. We can’t even say that the problem was with the way Daniel Sullivan directed this powerhouse of talent. This leaves us with only one person to “blame” – the playwright himself. Donald Marguiles took a really interesting subject and brought it nowhere. We missed David Mamet every minute of the show.
Next up: COME FLY AWAY!
The Manhattan Theatre Club’s Samuel J. Friedman Theatre is actually one of the more comfortable Broadway venues; seats roomier than most.
The fabulous cast did not disappoint. Alicia Silverstone (remember her from the 1995 flick CLUELESS?) has really grown up and her acting ability has clearly grown with her. Silverstone was perfectly cast as Mandy Bloom, who learns right after giving birth that the joys of motherhood, at least for her, far outweigh her career as an event planner.
Eric Bogosian, who is one of our favorites on LAW & ORDER, was also amazing in his role as the agent/best friend and love interest, baby daddy & eventually husband of Alicia Silverstone’s character.
We adore Brian D’Arcy James, who was also perfectly cast as Laura Linney’s love interest and then husband and who proves that his talent extends well beyond his outstanding performance as the all green Shrek.
And we are totally crazy for Laura Linney. In anything from Broadway (LOVED her in LES LIASONS DANGEREUSES ) to movies to television. The only negative we can say about Linney’s performance in TIME STANDS STILL was that her wardrobe seemed at most times to not fit her well. The best line of the play, which totally personified her character, was Linney standing with a straight face and saying to Brian D’Arcy James (then her husband), “This is me, happy.”
Linney, D’Arcy James, Bogosian & Silverstone were absolutely perfectly cast and played their roles flawlessly. Yet we never got engaged and walked out feeling as though something was missing. We can’t even say that the problem was with the way Daniel Sullivan directed this powerhouse of talent. This leaves us with only one person to “blame” – the playwright himself. Donald Marguiles took a really interesting subject and brought it nowhere. We missed David Mamet every minute of the show.
Next up: COME FLY AWAY!
Friday, March 12, 2010
THE MIRACLE WORKER WORKS!!!!
The last time we were in the Circle in the Square Theater was to spend a wonderful Saturday seeing the 3-play cycle of the NORMAN CONQUESTS. When you spend almost 10 hours in one day in a theater you become intimately acquainted with it and it starts to feel like “home”. And that is how we felt when the usher took us to our seats…right in the first row with incredible access to the stage - ready to see the revival of THE MIRACE WORKER.
We were taken with the intricacy of the set’s floor….a wooden floor hand-painted with a beautiful design that just begged one to reach out and touch it. The “stage police” (aka the usher) kept telling every single person she seated that no one was to touch the floor, put their bags on the floor, put their feet on the floor or walk on the floor. Got it?
When the show begins the set comes together from above and below . . . some of the set rises up from that incredible wooden floor and some is lowered from above on special cables. It’s minimalist but quite detailed and the perfect backdrop for this well known story of two of the world’s most iconic women – Helen Keller and Annie Sullivan. We were a little taken aback when a doorframe rose from the floor smack in front us which obstructed our otherwise perfect view. It surprised us but not as much as the cast did!
Matthew Modine was just ideal as the Captain (Helen’s father). We felt his pull between adoration for and frustration with his disabled daughter. Jennifer Morrison was wonderful too in her role as Helen’s mother. They had a special chemistry and it really played well. Amy Breslin is one of the most talented 14-year-olds we’ve seen and her interpretation of Helen was a perfect balance between emotion and physicality.
Alison Pill is clearly the star of the show. She gave a candid, humorous and forceful interpretation of Annie. She captivated us, as did the costumes. Being seated in the first row gave us the opportunity to see every button, dart, etc and the period dresses worn by Helen’s mother and aunt were truly breathtaking.
The only negative for us was the “dream” sequences with Annie’s dead brother Jamie, played by Lance Chantiles-Wertz. He acted the part perfectly and looked like a little boy suffering from consumption but every time he appeared we winced. We felt this was a poor decision by the director and rather than add to the drama it took away. Fortunately these scenes were very minimal.
There was a little lag right before the big breakthrough between Helen and Annie but the triumph we felt when Helen connects the letters being pressed into her hand with the objects she can touch and feel is great. When Helen connects the words “Mother” and “Father” you do feel the emotion. And then there is the final word of the show , “Teacher” and it hits the marks.
MIRACLE WORKER is a story we all know. There are no surprises and the only variable is the director’s creativity in how the story is presented. This version works. It’s a little miracle on 51st Street…go see it.
We were taken with the intricacy of the set’s floor….a wooden floor hand-painted with a beautiful design that just begged one to reach out and touch it. The “stage police” (aka the usher) kept telling every single person she seated that no one was to touch the floor, put their bags on the floor, put their feet on the floor or walk on the floor. Got it?
When the show begins the set comes together from above and below . . . some of the set rises up from that incredible wooden floor and some is lowered from above on special cables. It’s minimalist but quite detailed and the perfect backdrop for this well known story of two of the world’s most iconic women – Helen Keller and Annie Sullivan. We were a little taken aback when a doorframe rose from the floor smack in front us which obstructed our otherwise perfect view. It surprised us but not as much as the cast did!
Matthew Modine was just ideal as the Captain (Helen’s father). We felt his pull between adoration for and frustration with his disabled daughter. Jennifer Morrison was wonderful too in her role as Helen’s mother. They had a special chemistry and it really played well. Amy Breslin is one of the most talented 14-year-olds we’ve seen and her interpretation of Helen was a perfect balance between emotion and physicality.
Alison Pill is clearly the star of the show. She gave a candid, humorous and forceful interpretation of Annie. She captivated us, as did the costumes. Being seated in the first row gave us the opportunity to see every button, dart, etc and the period dresses worn by Helen’s mother and aunt were truly breathtaking.
The only negative for us was the “dream” sequences with Annie’s dead brother Jamie, played by Lance Chantiles-Wertz. He acted the part perfectly and looked like a little boy suffering from consumption but every time he appeared we winced. We felt this was a poor decision by the director and rather than add to the drama it took away. Fortunately these scenes were very minimal.
There was a little lag right before the big breakthrough between Helen and Annie but the triumph we felt when Helen connects the letters being pressed into her hand with the objects she can touch and feel is great. When Helen connects the words “Mother” and “Father” you do feel the emotion. And then there is the final word of the show , “Teacher” and it hits the marks.
MIRACLE WORKER is a story we all know. There are no surprises and the only variable is the director’s creativity in how the story is presented. This version works. It’s a little miracle on 51st Street…go see it.
Monday, March 8, 2010
RECIPE FOR LIFE
We were disappointed last Sunday night when we walked into the Acorn Theatre on W 42nd Street and learned that Marian Seldes had suffered an accident and was recuperating but would not be in RECIPE FOR LIFE. She was the motivator for us to see the show!
As we entered the theatre, we ran into Nancy Ploeger & Nancy Ryan, who we now really think are stalking us since this is the third time we’ve run into them at a show in the past couple of months. Seriously, it is always a pleasure to see them; we know they enjoy theatre as much as we do. We also ran into Lisa Linden and Lloyd Kaplan, who we haven’t bumped into since WAITING FOR GODOT. New York theatre really is a small universe. Maybe this is why almost everything now is staged as a “limited run”!
Jeffrey was quite surprised when we were seated, opened the Playbill and saw “In Memory of Tina Brozman” on the inside cover. Tina Brozman, who succumbed to ovarian cancer in 2007 was formerly the Chief Judge of the US Bankruptcy Court for the Southern District of New York and presided over the Barricade Books/Lyle Stuart cases that consumed many years of Jeffrey’s life. This case led to a long term friendship with Lyle, who died in 2006 and Carole, who continues to run Barricade Books. Judge Brozman’s husband Andrew, who did a Q&A at the end of RECIPE FOR LIFE, founded Tina’s Wish, a foundation whose mission is to fund research for the early detection of ovarian cancer, a terrible killer because it is typically detected too late to effectively treat. RECIPE FOR LIFE was presented by Cause Célèbre and Tina’s Wish and was a beautiful tribute to a wonderful woman.
The first RECIPE FOR LIFE skit (“The Love Course” by A.R. Gurney) was performed by Maria Tucci, Harris Yulin, Miriam Silverman and Jake Robards (son of legendary actor Jason) about the last class of two college professors who are about to each go their own way after teaching a class on Love. The cast is delightful and the simple set is enhanced by the chemistry of the cast. The one act was simply delightful - enjoyable and entertaining.
“The Love Course” was followed by “Tallulah Finds Her Kitchen,” a reading by the incomparable Frances Sternhagen, written by Joseph Stein (of “Fiddler on the Roof” fame and who was in the audience at this performance) together with Danny and Neil Simon. Ms. Sternhagen brought to life the wonderful words written by Messrs. Stein and Simon; the audience never took their eyes off her for a moment and every word was delicious.
Next up was “Menu by Jessie,” a reading by Tandy Cronyn about life with her parents, Jessica Tandy & Hume Cronyn. Having lived through much of what she read about her parents, Ms. Cronyn, an accomplished actress in her own right, gave wonderful insight into what her parents were really like and although it was refreshing to find the child of an acting family describe her parents and family life as normal, her turning of the pages throughout her reading was terribly distracting. This would have been much better with a teleprompter or even memorization.
The final skit was “The Hairdresser,” with Maria Tucci (who we thought was better in “The Love Course”) and Kathleen Chalfant. This one was about an actress having her hair done as she prepares to go to the Tony Awards as a nominee. In the end she can’t get her hair done because her hair is not real, she is undergoing chemotherapy. The drama of this sketch was a perfect lead-in for Andy Brozman to talk about his wife Tina, Tina’s Wish and Cause Célèbre. The Q&A was a bittersweet surprise but the idea of tying in a cause with an evening seeing great theater is a win-win and we look forward to seeing more of this.
Next up: THE MIRACLE WORKER!
As we entered the theatre, we ran into Nancy Ploeger & Nancy Ryan, who we now really think are stalking us since this is the third time we’ve run into them at a show in the past couple of months. Seriously, it is always a pleasure to see them; we know they enjoy theatre as much as we do. We also ran into Lisa Linden and Lloyd Kaplan, who we haven’t bumped into since WAITING FOR GODOT. New York theatre really is a small universe. Maybe this is why almost everything now is staged as a “limited run”!
Jeffrey was quite surprised when we were seated, opened the Playbill and saw “In Memory of Tina Brozman” on the inside cover. Tina Brozman, who succumbed to ovarian cancer in 2007 was formerly the Chief Judge of the US Bankruptcy Court for the Southern District of New York and presided over the Barricade Books/Lyle Stuart cases that consumed many years of Jeffrey’s life. This case led to a long term friendship with Lyle, who died in 2006 and Carole, who continues to run Barricade Books. Judge Brozman’s husband Andrew, who did a Q&A at the end of RECIPE FOR LIFE, founded Tina’s Wish, a foundation whose mission is to fund research for the early detection of ovarian cancer, a terrible killer because it is typically detected too late to effectively treat. RECIPE FOR LIFE was presented by Cause Célèbre and Tina’s Wish and was a beautiful tribute to a wonderful woman.
The first RECIPE FOR LIFE skit (“The Love Course” by A.R. Gurney) was performed by Maria Tucci, Harris Yulin, Miriam Silverman and Jake Robards (son of legendary actor Jason) about the last class of two college professors who are about to each go their own way after teaching a class on Love. The cast is delightful and the simple set is enhanced by the chemistry of the cast. The one act was simply delightful - enjoyable and entertaining.
“The Love Course” was followed by “Tallulah Finds Her Kitchen,” a reading by the incomparable Frances Sternhagen, written by Joseph Stein (of “Fiddler on the Roof” fame and who was in the audience at this performance) together with Danny and Neil Simon. Ms. Sternhagen brought to life the wonderful words written by Messrs. Stein and Simon; the audience never took their eyes off her for a moment and every word was delicious.
Next up was “Menu by Jessie,” a reading by Tandy Cronyn about life with her parents, Jessica Tandy & Hume Cronyn. Having lived through much of what she read about her parents, Ms. Cronyn, an accomplished actress in her own right, gave wonderful insight into what her parents were really like and although it was refreshing to find the child of an acting family describe her parents and family life as normal, her turning of the pages throughout her reading was terribly distracting. This would have been much better with a teleprompter or even memorization.
The final skit was “The Hairdresser,” with Maria Tucci (who we thought was better in “The Love Course”) and Kathleen Chalfant. This one was about an actress having her hair done as she prepares to go to the Tony Awards as a nominee. In the end she can’t get her hair done because her hair is not real, she is undergoing chemotherapy. The drama of this sketch was a perfect lead-in for Andy Brozman to talk about his wife Tina, Tina’s Wish and Cause Célèbre. The Q&A was a bittersweet surprise but the idea of tying in a cause with an evening seeing great theater is a win-win and we look forward to seeing more of this.
Next up: THE MIRACLE WORKER!
Saturday, February 27, 2010
FEELING BAD ABOUT FELA
Since we started this blog, we are usually so excited to write about what we’ve seen; we’re composing in the cab on the way home (except of course when he had food poisoning from eating at Glass House Tavern). We saw FELA last Wednesday night and decided to write this tonight, after ditching an incredibly long line at the movies and winding up with an unexpected free night. Even a little detour to the Container Store left us with plenty of time to blog.
So now here we are about to write about FELA and not only do we have difficulty pronouncing the name of the show, we really don’t even know what to say.
The minute you enter the Eugene O’Neill Theatre, you are immediately transported to Lagos, Nigeria in the 1970’s and the electricity of the show grabs your attention, with decorations unlike most other Broadway shows. The musicians, already playing on stage as you enter, transport you to the owner’s nightclub. The ushers neurotically remind everyone to keep the aisles clear, so you know that this show is going to be interactive. All of the ingredients normally needed for a successful Broadway show are in FELA; an incredibly talented cast, innovative costumes and make-up, creatively choreographed dancing, use of multi-media and an interesting soundtrack.
So what was our problem? Despite the fact that FELA “looks great on paper,” it was surprisingly slow at times, which is hard to imagine given the high energy level. Straining to understand the accents from the almost totally Nigerian cast, just took too much effort. We are struggling to write this as much as we struggled to understand the cast.
What intrigued Cathy the most was the bird’s eye view of the bunions on the dancer’s bare feet and what struck Jeff the most was the guys in the band bopped along with the cast. Pretty sad, eh? We can’t say that it was a bad experience but we can’t say that we would recommend this show either. MEMPHIS it’s not.
Up next: RECIPE FOR LIFE
So now here we are about to write about FELA and not only do we have difficulty pronouncing the name of the show, we really don’t even know what to say.
The minute you enter the Eugene O’Neill Theatre, you are immediately transported to Lagos, Nigeria in the 1970’s and the electricity of the show grabs your attention, with decorations unlike most other Broadway shows. The musicians, already playing on stage as you enter, transport you to the owner’s nightclub. The ushers neurotically remind everyone to keep the aisles clear, so you know that this show is going to be interactive. All of the ingredients normally needed for a successful Broadway show are in FELA; an incredibly talented cast, innovative costumes and make-up, creatively choreographed dancing, use of multi-media and an interesting soundtrack.
So what was our problem? Despite the fact that FELA “looks great on paper,” it was surprisingly slow at times, which is hard to imagine given the high energy level. Straining to understand the accents from the almost totally Nigerian cast, just took too much effort. We are struggling to write this as much as we struggled to understand the cast.
What intrigued Cathy the most was the bird’s eye view of the bunions on the dancer’s bare feet and what struck Jeff the most was the guys in the band bopped along with the cast. Pretty sad, eh? We can’t say that it was a bad experience but we can’t say that we would recommend this show either. MEMPHIS it’s not.
Up next: RECIPE FOR LIFE
Saturday, February 20, 2010
A VIEW FROM AFAR
We were especially excited about seeing A VIEW FROM THE BRIDGE because we were going with four dear friends, Flo Feinberg & Ben Geizhals, Kristene Doyle and Mark Terjesen. The evening started out fabulously; we arrived at Glass House Tavern for our 5:30 reservation and bumped into Nancy Ploeger and Nancy Ryan, who we believe are now shadowing us not only in theatre but in dining, as well. No sooner did we exchange hugs and kisses then we spotted Richard Thomas sitting less than a foot away. We didn’t want to be rude and interrupt his obviously quiet dinner with his adorable son Montana, but we had to tell him how much we adored him in RACE (Richard – hope you take us up on our offer to do a guest HOUSE SEATS blog!).
Dinner went downhill from there. The service was horrible and the waiter rude. The food was only mediocre and little did we know the best was yet to come. We were so rushed that we barely made it to the theatre in time. Once shown to our seats we were reminded of the only negative of buying tickets for 6 rather than 2 - it is very difficult to get the seats we like. We are spoiled. We admit it. Our usual seats are rows 1-5, on the aisle, of course. We forgot there is actually a Row O! OMG, our seats were almost in the lobby! And what was that overhang making it difficult to see and hear?
Onward. The set and costumes immediately brought us to the 1950’s Brooklyn waterfront, which is the setting for Miller’s dark story of post World War 2 familial relationships. Liev Schreiber and Scarlett Johansson were wonderful in the lead roles of Eddie Carbone and his niece Catherine. Jessica Hecht and Michael Cristofer were also truly fabulous as supporting players. Although Schreiber is a seasoned Broadway actor, this was Johansson’s Broadway debut and this role truly showcased her real talent.
Cathy thought the show was rather slow although Jeff enjoyed the tempo and found it to be typical of a good Arthur Miller play. The only negative was that the movement of the set at times disrupted the flow of the show.
As Cristofer’s character Alfieri, the lawyer, says in his narrative, you know what’s going to happen step by step before it does. So it is no secret that once Eddie “drops a dime” on his illegal immigrant visitors, he is going to die - and you can pretty well figure out that it will be at the very end of the show. The stabbing scene by the way was a bit overacted. It stopped just short of Beatrice or Catherine breaking into "There's A Place For Us" a la Maria in WEST SIDE STORY. Despite all this, one lonely woman was caught off guard and screamed “Oh My God” just as Eddie thrashed and died on the stage. This scene however; was not enough to deter from the overall power of the show and the talent of the cast.
We left the theater happy and said goodbye to our friends. Four hours later, our dinner at Glass Tavern returned to haunt us. We were both so sick for 36 hours we prayed for someone to do to us what had been done to Eddie Carbone! The food poisoning delayed this blog and despite a valiant effort, caused us to miss our next show, OUR TOWN!
Don’t miss this limited run production of A VIEW FROM THE BRIDGE but do stay away from Glass House Tavern!
Next up: FELA! THE MUSICAL.
Dinner went downhill from there. The service was horrible and the waiter rude. The food was only mediocre and little did we know the best was yet to come. We were so rushed that we barely made it to the theatre in time. Once shown to our seats we were reminded of the only negative of buying tickets for 6 rather than 2 - it is very difficult to get the seats we like. We are spoiled. We admit it. Our usual seats are rows 1-5, on the aisle, of course. We forgot there is actually a Row O! OMG, our seats were almost in the lobby! And what was that overhang making it difficult to see and hear?
Onward. The set and costumes immediately brought us to the 1950’s Brooklyn waterfront, which is the setting for Miller’s dark story of post World War 2 familial relationships. Liev Schreiber and Scarlett Johansson were wonderful in the lead roles of Eddie Carbone and his niece Catherine. Jessica Hecht and Michael Cristofer were also truly fabulous as supporting players. Although Schreiber is a seasoned Broadway actor, this was Johansson’s Broadway debut and this role truly showcased her real talent.
Cathy thought the show was rather slow although Jeff enjoyed the tempo and found it to be typical of a good Arthur Miller play. The only negative was that the movement of the set at times disrupted the flow of the show.
As Cristofer’s character Alfieri, the lawyer, says in his narrative, you know what’s going to happen step by step before it does. So it is no secret that once Eddie “drops a dime” on his illegal immigrant visitors, he is going to die - and you can pretty well figure out that it will be at the very end of the show. The stabbing scene by the way was a bit overacted. It stopped just short of Beatrice or Catherine breaking into "There's A Place For Us" a la Maria in WEST SIDE STORY. Despite all this, one lonely woman was caught off guard and screamed “Oh My God” just as Eddie thrashed and died on the stage. This scene however; was not enough to deter from the overall power of the show and the talent of the cast.
We left the theater happy and said goodbye to our friends. Four hours later, our dinner at Glass Tavern returned to haunt us. We were both so sick for 36 hours we prayed for someone to do to us what had been done to Eddie Carbone! The food poisoning delayed this blog and despite a valiant effort, caused us to miss our next show, OUR TOWN!
Don’t miss this limited run production of A VIEW FROM THE BRIDGE but do stay away from Glass House Tavern!
Next up: FELA! THE MUSICAL.
Thursday, February 11, 2010
RACE WINS THE RACE
That’s if the race we are discussing is the one to the TONYS.
But let’s backtrack. We are like the US Mail. Neither rain, snow, sleet or lack of cabs could keep us from getting to the Barrymore last night to see David Mamet’s latest offering, RACE. The only negative of last night’s awful weather is that we knew the empty seats in the theater could only have been from people who could not make it into the city because of the storm. They really missed something and if they are already living outside of the city (we feel so sorry for them!) they need to get an SUV.
Turned out to be a very easy commute to the theatre, dinner in a rather full Italian restaurant and once again an audience comprised mainly of hard core New York theatre goers. What fun, including the non (or barely) English speaking couple who mistakenly took our seats (on the aisle, of course), the too tall chatty guys behind us, the water, chocolate & wine hawker who knew everything about theatre (and was quite surprised that we knew more), not to mention Concetta Tomei sitting a few rows behind us, never off her phone during intermission.
RACE is a tight, smart show. There are no wasted moments, words or gestures. The curtain opens and the audience is thrust into the midst of a discussion between four characters. And this is one of the most perfectly cast shows we’ve seen in a long time. When you see plays with very small casts, even one misstep is glaring but this was really just right. Kudos to Mamet for both the play and the taut direction. David, did you cast it yourself too?
James Spader is the current front runner in our vote for Best Actor in a Play. He understood the play and his role as if it was written for him and the interplay with also-wonderful David Alan Grier was nothing short of energy charged. It took us a little while to understand the "tightness" behind Richard Thomas's character portrayal. As soon as we understood his interpretation of the very tight-assed, formal client, we were with him 100%!. This was Kerry Washington’s Broadway debut and we welcome her with open arms and a “what took you so long to get here?”. The drained look on her face at the well-deserved standing ovation was reminiscent of the cast of BLOOD BROTHERS after every performance.
RACE is a trim hour and 40 minutes and it flew by. The topic is both timely and timeless and Mamet’s dialogue, vulgar as is his style, really kept this play moving along at a very rapid pace.
When we walked out of the theater we realized both how much and how little have changed in respect to how we view the historical issue of race relations. Seeing RACE and being in the presence of such fabulous acting was the best history lesson we’ve had in a long time.
But let’s backtrack. We are like the US Mail. Neither rain, snow, sleet or lack of cabs could keep us from getting to the Barrymore last night to see David Mamet’s latest offering, RACE. The only negative of last night’s awful weather is that we knew the empty seats in the theater could only have been from people who could not make it into the city because of the storm. They really missed something and if they are already living outside of the city (we feel so sorry for them!) they need to get an SUV.
Turned out to be a very easy commute to the theatre, dinner in a rather full Italian restaurant and once again an audience comprised mainly of hard core New York theatre goers. What fun, including the non (or barely) English speaking couple who mistakenly took our seats (on the aisle, of course), the too tall chatty guys behind us, the water, chocolate & wine hawker who knew everything about theatre (and was quite surprised that we knew more), not to mention Concetta Tomei sitting a few rows behind us, never off her phone during intermission.
RACE is a tight, smart show. There are no wasted moments, words or gestures. The curtain opens and the audience is thrust into the midst of a discussion between four characters. And this is one of the most perfectly cast shows we’ve seen in a long time. When you see plays with very small casts, even one misstep is glaring but this was really just right. Kudos to Mamet for both the play and the taut direction. David, did you cast it yourself too?
James Spader is the current front runner in our vote for Best Actor in a Play. He understood the play and his role as if it was written for him and the interplay with also-wonderful David Alan Grier was nothing short of energy charged. It took us a little while to understand the "tightness" behind Richard Thomas's character portrayal. As soon as we understood his interpretation of the very tight-assed, formal client, we were with him 100%!. This was Kerry Washington’s Broadway debut and we welcome her with open arms and a “what took you so long to get here?”. The drained look on her face at the well-deserved standing ovation was reminiscent of the cast of BLOOD BROTHERS after every performance.
RACE is a trim hour and 40 minutes and it flew by. The topic is both timely and timeless and Mamet’s dialogue, vulgar as is his style, really kept this play moving along at a very rapid pace.
When we walked out of the theater we realized both how much and how little have changed in respect to how we view the historical issue of race relations. Seeing RACE and being in the presence of such fabulous acting was the best history lesson we’ve had in a long time.
Sunday, February 7, 2010
WE DID THE MARATHON IN RECORD TIME
We are having just as much difficulty condensing yesterday’s nine hours of Horton Foote’s Marathon opus “The Orphans’ Home Cycle” into a single two paragraph blog as Foote must have had condensing his original work, consisting of nine plays, into the three we saw at the Peter Norton Space.
From the minute we walked out of the Norman Conquests marathon last season, our theater appetites were whetted for another three-plays-in-one-day-adventure. We were thrilled when we scored Seats A106 and 107 for yesterday’s Marathon, we could literally see every character breathe. The Peter Norton space is actually very intimate and surprisingly comfortable, which was critically important since we were in the same seats for nine hours.
We knew immediately that every other person there was like us, a hard core NY theatergoer. We ran into dear friend Nancy Ploeger and her friend Nancy, also avid theatre goers, whose presence evidenced our thoughts and comments about who was in the audience. The only downside to this theatre is the lack of good restaurants very close by and the bitter cold wind yesterday made walking to find the oerfect mealtough. But who really cares about eating when we were being fed such great theater.
How can we explain that while nothing really happens in terms of action during the nine hours we spent in our seats yesterday, everything happened. We were hooked from the very beginning and our attention never wavered. The story and characters so engaged us that we just hated to leave. By the time the taxi brought us home we were missing Horace and Elizabeth, not to mention Mrs. Vaughn and her son Brother and we were already wondering how they were doing.
The sets and costumes were really perfect depictions of Texas in the early 1900’s. Michael Wilson’s direction was sublime….there were moments when it was hard to decide who made the decisions on physicality – the actors or the director. It didn’t matter since they worked beautifully. We were mesmerized by James DeMarse’s portrayals of two characters, Soll Gautier, the plantation owner and Henry Vaughan, Horace’s father-in-law. His energy and compassion and total understanding of the roles made all the difference in the world. The same must be said about Bill Heck’s portrayal of Horace and Maggie Lacey’s vision of his wife Elizabeth.
It was quite interesting to keep up with actors who played different roles in the three different plays, sometimes switching roles in different acts of the same play. The only actor who principally played only one role was Heck, who brought the adult Horace to life throughout the trilogy.
And if only the playwright could have lived to see his daughter Hallie bring this magnificent work to life. She grabbed us from the moment she stepped onto the stage and never let us go, just as the entire day did. In case you think we have lost all objectivity we do have to mention that we are not really sure how each of the individual plays is viewed on its own. It is nearly impossible to have a sense of that after having seen them consecutively, in the correct order, in one day.
Kudos to an incredible cast with amazing fortitude! It was a pleasure to see their hard word recognized with a well earned robust standing ovation at the end of the day, from real New Yorkers who appreciate truly good theatre.
We would give anything to know the rest of the story. Hallie – you must know it. Be an angel and shoot us an email at houseseats@yahoo.com and fill us in.
From the minute we walked out of the Norman Conquests marathon last season, our theater appetites were whetted for another three-plays-in-one-day-adventure. We were thrilled when we scored Seats A106 and 107 for yesterday’s Marathon, we could literally see every character breathe. The Peter Norton space is actually very intimate and surprisingly comfortable, which was critically important since we were in the same seats for nine hours.
We knew immediately that every other person there was like us, a hard core NY theatergoer. We ran into dear friend Nancy Ploeger and her friend Nancy, also avid theatre goers, whose presence evidenced our thoughts and comments about who was in the audience. The only downside to this theatre is the lack of good restaurants very close by and the bitter cold wind yesterday made walking to find the oerfect mealtough. But who really cares about eating when we were being fed such great theater.
How can we explain that while nothing really happens in terms of action during the nine hours we spent in our seats yesterday, everything happened. We were hooked from the very beginning and our attention never wavered. The story and characters so engaged us that we just hated to leave. By the time the taxi brought us home we were missing Horace and Elizabeth, not to mention Mrs. Vaughn and her son Brother and we were already wondering how they were doing.
The sets and costumes were really perfect depictions of Texas in the early 1900’s. Michael Wilson’s direction was sublime….there were moments when it was hard to decide who made the decisions on physicality – the actors or the director. It didn’t matter since they worked beautifully. We were mesmerized by James DeMarse’s portrayals of two characters, Soll Gautier, the plantation owner and Henry Vaughan, Horace’s father-in-law. His energy and compassion and total understanding of the roles made all the difference in the world. The same must be said about Bill Heck’s portrayal of Horace and Maggie Lacey’s vision of his wife Elizabeth.
It was quite interesting to keep up with actors who played different roles in the three different plays, sometimes switching roles in different acts of the same play. The only actor who principally played only one role was Heck, who brought the adult Horace to life throughout the trilogy.
And if only the playwright could have lived to see his daughter Hallie bring this magnificent work to life. She grabbed us from the moment she stepped onto the stage and never let us go, just as the entire day did. In case you think we have lost all objectivity we do have to mention that we are not really sure how each of the individual plays is viewed on its own. It is nearly impossible to have a sense of that after having seen them consecutively, in the correct order, in one day.
Kudos to an incredible cast with amazing fortitude! It was a pleasure to see their hard word recognized with a well earned robust standing ovation at the end of the day, from real New Yorkers who appreciate truly good theatre.
We would give anything to know the rest of the story. Hallie – you must know it. Be an angel and shoot us an email at houseseats@yahoo.com and fill us in.
Sunday, January 10, 2010
WE LOVE LUCIE
Although we were little kids when I LOVE LUCY aired we both adored the show. What could be better than the zany redhead and the Latin bandleader? Even the reruns are great. And we love Lucie Arnaz…the oldest offspring of the famous duo who forever changed TV and Latin music in the US.
We jumped when we saw that the 92nd Street Y had as one of the nights of their Lyrics and Lyricists Series an evening with Lucie Arnaz and decided to see this despite the fact that we were not able to get seats anywhere in the orchestra…and you know we prefer the first six rows center, aisle, if you please. Something must have come over the designer of the Y’s Kaufman Concert Hall, who was somehow confused between the often wider Jewish tush and the often anorexic Gentile derriere and let’s not even talk about the complete lack of legroom. When the curtain went up and Lucie danced onto the stage all this was forgotten.
We had no idea that she would discuss how her father’s music came to be and the very well chosen few slides in the background showed Desi in his prime. Who knew Lucie Arnaz had such an amazing voice? She looks fabulous and a genuine smile never left her face.
Lucie shared the stage with Valarie Pettiford who sings quite well and can almost dance. Desi Arnaz, Jr, who looks exactly like his father, didn’t really speak…Lucie was the moving force of the show…but Desi on the drums was a real treat and how incredibly nostalgic to think back to Little Ricky playing drums on the I Love Lucy show.
Now let’s talk about Raul Esparza. He’s to die for good looking and he just oozes talent. He, too, talked about his Cuban roots and how he cried when Lucie sent an email asking him to do this show with her. His renditions of Desi’s arrangements of songs like Cuban Pete, the Cuban Cabby, The Straw Hat Song and Old Devil Moon were just over the top. At the show’s end when Raul has the bowtie from his tuxedo undone and the huge Cuban drum across his body and he’s singing Babalu , well, it is over the top terrific. Lucie chose perfectly when she asked him to join her for this tribute.
The Y is an often over looked venue for some great, great evenings of song and dance. If you missed it last night, you only have until Monday January 11th to see this wonderful show. It is really much more than a wonderful two hours of song, dance and storytelling; it is a daughter’s love song to her Daddy.
We jumped when we saw that the 92nd Street Y had as one of the nights of their Lyrics and Lyricists Series an evening with Lucie Arnaz and decided to see this despite the fact that we were not able to get seats anywhere in the orchestra…and you know we prefer the first six rows center, aisle, if you please. Something must have come over the designer of the Y’s Kaufman Concert Hall, who was somehow confused between the often wider Jewish tush and the often anorexic Gentile derriere and let’s not even talk about the complete lack of legroom. When the curtain went up and Lucie danced onto the stage all this was forgotten.
We had no idea that she would discuss how her father’s music came to be and the very well chosen few slides in the background showed Desi in his prime. Who knew Lucie Arnaz had such an amazing voice? She looks fabulous and a genuine smile never left her face.
Lucie shared the stage with Valarie Pettiford who sings quite well and can almost dance. Desi Arnaz, Jr, who looks exactly like his father, didn’t really speak…Lucie was the moving force of the show…but Desi on the drums was a real treat and how incredibly nostalgic to think back to Little Ricky playing drums on the I Love Lucy show.
Now let’s talk about Raul Esparza. He’s to die for good looking and he just oozes talent. He, too, talked about his Cuban roots and how he cried when Lucie sent an email asking him to do this show with her. His renditions of Desi’s arrangements of songs like Cuban Pete, the Cuban Cabby, The Straw Hat Song and Old Devil Moon were just over the top. At the show’s end when Raul has the bowtie from his tuxedo undone and the huge Cuban drum across his body and he’s singing Babalu , well, it is over the top terrific. Lucie chose perfectly when she asked him to join her for this tribute.
The Y is an often over looked venue for some great, great evenings of song and dance. If you missed it last night, you only have until Monday January 11th to see this wonderful show. It is really much more than a wonderful two hours of song, dance and storytelling; it is a daughter’s love song to her Daddy.
Saturday, January 9, 2010
GIVE YOURSELF A PRESENT
Go see Present Laughter! We love Sir Noel Coward. Fortunately he wrote over 50 works before he passed away and we intend to see as many revivals of his plays as possible. So much of his work is purposefully flamboyant…just as he was when he was alive.
PRESENT LAUGHTER is the Roundabout’s latest offering at the American Airlines Theater. It’s a small but great space and we love to sit in the center orchestra – around the 4, 5 or 6th row…left side on the aisle. A volunteer usher befriended us and said we were in the ideal area if any celebs were going to be in the audience. Not two minutes later she turned away and who came to sit right behind us but the ever gracious Ron Rifkin and his lovely wife Iva. We love the way he portrays Saul (brother of Sally Field’s character Nora Walker) in Sunday night’s TV show Brothers & Sisters. The usher returned, saw Ron and asked us who he was!! The Rifkins by the way, are apparently devotees of Noel Coward, having seen productions of Present Laughter in several cities.
When the houselights dimmed and the curtain went up it was a tough decision…look straight ahead at the set, which is the gorgeous art deco living room of an upper-upper class London duplex, circa 1925, or swivel our necks around and stare at Ron. Needless to say, we have our standards and ignored Ron until the second intermission.
Victor Garber is just perfect as Gary Essendine. The title character’s name does beget the question of whether or not Coward was Jewish…Essendine? Yiddish for eat-dine!!!! Let us try to stay focused, there is no deep message here, this is a fun two hours of physical humor based on great staging and terrific timing. The very accomplished Harriet Harris is wonderful as Essendine’s long suffering secretary. Lisa Banes is the ex, but soon to be re-wife. Pamela Jane Gray and Holley Fain are wonderful passing love interests and Nancy Carroll as the Scottish cigarette-hanging-from-the mouth housekeeper is predictable but terrific, reminiscent of Irene Ryan in Pippin.
Brooks Ashmanskas steals the show with his over-the-top portrayal of gay playwright Roland Maule, who is obsessed with Essendine. He is so affected…so stereotyped…so aware of how he is playing the role that he’s just sheer joy to watch. Actually, he doesn’t even need to speak. He could depend entirely on his body and facial expressions to portray the role. He and Garber play off one another flawlessly and Garber utilizes a bit with checking his hair in a mirror throughout the play that is also predictable but much fun.
We are back where we started. Want to have two and a half hours of fun? Give yourself the present of PRESENT LAIUGHTER.
PRESENT LAUGHTER is the Roundabout’s latest offering at the American Airlines Theater. It’s a small but great space and we love to sit in the center orchestra – around the 4, 5 or 6th row…left side on the aisle. A volunteer usher befriended us and said we were in the ideal area if any celebs were going to be in the audience. Not two minutes later she turned away and who came to sit right behind us but the ever gracious Ron Rifkin and his lovely wife Iva. We love the way he portrays Saul (brother of Sally Field’s character Nora Walker) in Sunday night’s TV show Brothers & Sisters. The usher returned, saw Ron and asked us who he was!! The Rifkins by the way, are apparently devotees of Noel Coward, having seen productions of Present Laughter in several cities.
When the houselights dimmed and the curtain went up it was a tough decision…look straight ahead at the set, which is the gorgeous art deco living room of an upper-upper class London duplex, circa 1925, or swivel our necks around and stare at Ron. Needless to say, we have our standards and ignored Ron until the second intermission.
Victor Garber is just perfect as Gary Essendine. The title character’s name does beget the question of whether or not Coward was Jewish…Essendine? Yiddish for eat-dine!!!! Let us try to stay focused, there is no deep message here, this is a fun two hours of physical humor based on great staging and terrific timing. The very accomplished Harriet Harris is wonderful as Essendine’s long suffering secretary. Lisa Banes is the ex, but soon to be re-wife. Pamela Jane Gray and Holley Fain are wonderful passing love interests and Nancy Carroll as the Scottish cigarette-hanging-from-the mouth housekeeper is predictable but terrific, reminiscent of Irene Ryan in Pippin.
Brooks Ashmanskas steals the show with his over-the-top portrayal of gay playwright Roland Maule, who is obsessed with Essendine. He is so affected…so stereotyped…so aware of how he is playing the role that he’s just sheer joy to watch. Actually, he doesn’t even need to speak. He could depend entirely on his body and facial expressions to portray the role. He and Garber play off one another flawlessly and Garber utilizes a bit with checking his hair in a mirror throughout the play that is also predictable but much fun.
We are back where we started. Want to have two and a half hours of fun? Give yourself the present of PRESENT LAIUGHTER.
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