It has been a long time since I have felt compelled to write a piece for the experiment that is my theater blog. There are many factors for the hiatus—the amount of time it takes to write an article, the fact that the only people who read it are friends of mine that I can easily talk with about theater over coffee with a lot less effort, the discouragement of sending a few articles out to theater websites and companies with no response. But I think the main reason why is because there has been so very little out there to write about. The state of Broadway and the West End is not about theater, it is about spectacle. Mediocre movies are being turned into big and lavish, but still mediocre, musicals with very little in the way of quality or artistic merit. Pricilla Queen of the Deset is a flashy jukebox musical, filled with 80s dance floor hits that do not fit plot or theme. They make even the attempted emotional moments laughable because of their misplacement. Oh yeah, and it sets the gay rights movement back about 20 years. Instead of spending what I am sure were millions on costumes and a strobe-lit bus, maybe the producers could have hired a few original songwriters to give the talent cast something to sing about. Catch Me if You Can featured present and future Broadway royalty belting out original songs, set to a 60s groove, composed by the team that brought us the charming Hairspray. But there was little to no character development, so the audience has no attachment to what is being sung, nor a reason to care about the trails and tribulations of a con man. In fact, the one show I have seen in the last six months that was worthy of the time it takes to do a write up, The Scottsboro Boys, closed the week after I saw it. Of course, why wouldn’t it? It was only intelligent, beautifully choreographed by Susan Stroman, marvelously performed by the best ensemble cast I had seen since the original RENT, had songs by the legendary Kander and Ebb, a politically astute book about race in America, and still managed to entertain. And the kicker—it was an all black cast doing a minstrel show.
So why with all of the complaining have I decided to take to the keyboard and write again? Because I had the pleasure and pain of experiencing true theater in all of its glory—Angels in America Parts I and II: Millennium Approaches and Perestroika. This two night, seven hour masterpiece set in New York City during the first wave of the AIDS epidemic took the audience through a fever dream induced, monologue filled, valium delusion laden, life affirming journey into the lives and hearts of--among others –a closeted Mormon and his mentally unstable wife; said Mormon’s mother who leaves Salt Lake City for New York City; a thirty year old man who has discovered not only his first legions, but also that he is a prophet; his secular-Jewish ex-partner who could not bear to watch him die; an AIDS infected political powerhouse who pulled strings to get the then experimental AZT and is being haunted by the ghost of Ethel Rosenberg; an all-knowing drag queen nurse; and of course angels who see the destruction of Earth and whose only advice it to stay still. Got all that? I’m not sure I did either, but that basic plot summary is just that—basic. The true depth of this work of art can only truly be grasped by multiple viewings or readings. But isn’t that art? Peeling away layers to get to the heart underneath it all? And with all of the crazy, chaotic, funny, and tender moments in this play, the heart of it all is that in the face of any tragedy, personal or public, “the world spins forward.”
The cast was stellar and filled with New York theater veterans and newcomers alike, not B-list celebrities who won a reality show. The sets were sparce and the effects minimal, yet the emotional impact and intimacy was far greater than the Wickeds and Jersey Boys of the theater district. It makes me sad that so many will never experience such power in performance. But then again, I kind of love that those who made the time investment and effort to seek out a non commercial piece were there to actually watch the show and not crunch their candy in my ear or answer a phone call during a soliloquy.
Saturday, April 23, 2011
Friday, July 30, 2010
Abraham Lincoln's Big Gay Dance Party
Homosexuality in small town America. A teacher on trial for the moral depravity of her students. Dirty politicians with high aspirations. A fourth grade Christmas pageant. These are the parts that make up the worthwhile and thought provoking whole that is Abraham Lincoln’s Big Gay Dance Party, a new play written by Aaron Loeb and directed by Chris Smith, currently being staged at Theater Row. Don’t let the campy title fool you—this theatrical firecracker is no puff piece.
The time is 2006. The place is Menard County, Illinois, 300 miles from Chicago and the hometown of Abraham Lincoln. There, a veteran teacher creates a firestorm of controversy when her re-writing of the fourth grade Christmas pageant, “Christmas with the Presidents,” includes the idea that Abraham Lincoln was gay. Her arrest and subsequent trial set the stage for this three Act political dramedy.
Three of the trial’s key players—the defense attorney, the prosecution, and a New York Times reporter—are given an Act in which to share their perspective of the events that rocked this small town, as well as their personal motivations for getting involved. As the layers unfold, many complex questions are raised by all sides: Is it fair to compare the plight of blacks and gays in their fight for equal rights? Is teaching that romantic love can exist between members of the same sex appropriate for school? Can appearing pro-gay destroy a political career and appearing anti-gay make one a political hero? For all of the potential heaviness of the questions, Mr. Loeb’s script and Mr. Smith’s direction balance sincere dramatic moments with some light hearted comic gems. The hard working and talented ensemble each take on multiple roles, easily transitioning and finding nuisance in the characters they create.
This is not to say the production is flawless. There are some, however few, moments that seem a bit gimmicky and distract from, rather than add to, the moments of genius the play provides. Some of the musical interludes, largely used for transitioning scenes, come across as silly. Perhaps using music that lyrically or emotionally supports the play’s themes would have worked better. And a running gag for reporters crashing into things off stage adds unnecessary physical comedy to a play teeming with genuine and intelligent humor.
Last season, theaters seemed to be filled with experiments in political farce (Bloody, Bloody Andrew Jackson) and gay themed dramas (Next Fall, The Pride). Abraham Lincoln’s Big Gay Dance Party stands above them as more mainstream accessible, while remaining sharp and authentic in its purpose and execution.
The time is 2006. The place is Menard County, Illinois, 300 miles from Chicago and the hometown of Abraham Lincoln. There, a veteran teacher creates a firestorm of controversy when her re-writing of the fourth grade Christmas pageant, “Christmas with the Presidents,” includes the idea that Abraham Lincoln was gay. Her arrest and subsequent trial set the stage for this three Act political dramedy.
Three of the trial’s key players—the defense attorney, the prosecution, and a New York Times reporter—are given an Act in which to share their perspective of the events that rocked this small town, as well as their personal motivations for getting involved. As the layers unfold, many complex questions are raised by all sides: Is it fair to compare the plight of blacks and gays in their fight for equal rights? Is teaching that romantic love can exist between members of the same sex appropriate for school? Can appearing pro-gay destroy a political career and appearing anti-gay make one a political hero? For all of the potential heaviness of the questions, Mr. Loeb’s script and Mr. Smith’s direction balance sincere dramatic moments with some light hearted comic gems. The hard working and talented ensemble each take on multiple roles, easily transitioning and finding nuisance in the characters they create.
This is not to say the production is flawless. There are some, however few, moments that seem a bit gimmicky and distract from, rather than add to, the moments of genius the play provides. Some of the musical interludes, largely used for transitioning scenes, come across as silly. Perhaps using music that lyrically or emotionally supports the play’s themes would have worked better. And a running gag for reporters crashing into things off stage adds unnecessary physical comedy to a play teeming with genuine and intelligent humor.
Last season, theaters seemed to be filled with experiments in political farce (Bloody, Bloody Andrew Jackson) and gay themed dramas (Next Fall, The Pride). Abraham Lincoln’s Big Gay Dance Party stands above them as more mainstream accessible, while remaining sharp and authentic in its purpose and execution.
Tuesday, July 27, 2010
Broadway Stands Up for Freedom
The Broadway community, arguably more than any other group of artists, embraces the very idea and essence of that word--community. It seems that gifted groups of performers and musicians are continuously raising their hearts, voices, and money for causes that affect not only their interests, but the interest in a better world. From Broadway Cares / Equity Fights AIDS to Peace, Love and Marriage Equality to Broadway Barks pet adoption day, there is never a shortage of generosity and spirit in the Broadway world. The night of July 26 was no different as over 30 theater veterans and newcomers alike came together for Broadway Stands up for Freedom: A Concert to Benefit the Youth Services of the New York Civil Liberties Union. Hosted by the very funny and very charming Seth Rudetsky, the night seamlessly interwove art and politics, proving honorary chair Tony Kushner’s opening remarks to be true: that art and politics do not need to exist in an S & M relationship. Indeed, if the night was any indicator, art and politics can not only make beautiful music together, but can also rock, roll, and set the soul on fire.
The evening’s performances ranged from beautifully subtle standards such as Daphne Rubin-Vega’s (Rent, Anna in the Tropics) “Alfie” to hard rockin’ originals including “Love is Better than Me” (Bryce Ryness; Hair), with every music genre in between. But one message was made instantly clear: the power of love over hate and the belief that the world can change for the better would be the themes filling the room for the two hour event. Anthony Rapp (Rent, …Charlie Brown) paid tribute to both the night and one of his heroes with Elvis Costello’s “What’s So Funny ‘bout Peace, Love, and Understanding?” De’Adre Aziza (Passing Strange) performed a heartfelt mash-up of Bob Marley’s “Redemption Song / One Love.” Rebecca Luker (The Sound of Music) showed her love of the youth for whom the night was dedicated, literally, as she brought up her stepson to accompany her on the ukulele as she performed “Look for the Silver Lining,” by Jerome Kern.
The night certainly was about looking for silver linings in a government and a society which is so often filled with dark clouds. Between performances, NYCLU Executive Director Donna Lieberman and Founding Performer, Liana Stampur, humorously and engagingly reminded the audience members of all that has been fought for and won, and all of the challenges that still lay ahead. Video montages and student-penned essays offered glimpses of hope that these challenges can and will be met when the arts and politics come together as they did at this memorable and life affirming event. Now, this is not to say that things ever got heavy handed.
Mr. Rudetsky, as host and musical director, kept things light and upbeat between songs with his witty commentary, deconstructions of the artists, and even clips of The Brady Bunch Variety Hour (?!). Performance highlights included the quirky, yet adorable, Nellie McKay’s reggae original, “Caribbean Times,” which was prefaced with a very personal story about a woman’s sensitive time of the month and an airport security pat down, proving that protection of basic rights and human integrity is necessary anywhere at any time. The cast of Hair electrified the audience with a gorgeous and energetic medley of “To Make You Feel My Love / All You Need is Love.” This audience member felt the love, and that love really is all I need. However, the “WOW!” moment of the night belonged to Katie Thompson. Her scorchingly soulful rendition of “A Change is Gonna Come” had the audience collectively gasping for air. Putting ever fiber of her being into that some had me believe that change is right around the corner.
While I could go on and on about all who participated in Broadway Stands Up for Freedom, I would not want to take away from the true star of the evening: the NYCLU and the amazing work they do protecting the liberties and freedoms of all New York residents. If the blending of art and politics could inspire so much in two hours, imagine what could happen if the S & M gear that bonds their relationship were permanently removed.
A special thank you to Bill Augustin, Public Relations coordinator for the event, for inviting me to share in its magic.
The evening’s performances ranged from beautifully subtle standards such as Daphne Rubin-Vega’s (Rent, Anna in the Tropics) “Alfie” to hard rockin’ originals including “Love is Better than Me” (Bryce Ryness; Hair), with every music genre in between. But one message was made instantly clear: the power of love over hate and the belief that the world can change for the better would be the themes filling the room for the two hour event. Anthony Rapp (Rent, …Charlie Brown) paid tribute to both the night and one of his heroes with Elvis Costello’s “What’s So Funny ‘bout Peace, Love, and Understanding?” De’Adre Aziza (Passing Strange) performed a heartfelt mash-up of Bob Marley’s “Redemption Song / One Love.” Rebecca Luker (The Sound of Music) showed her love of the youth for whom the night was dedicated, literally, as she brought up her stepson to accompany her on the ukulele as she performed “Look for the Silver Lining,” by Jerome Kern.
The night certainly was about looking for silver linings in a government and a society which is so often filled with dark clouds. Between performances, NYCLU Executive Director Donna Lieberman and Founding Performer, Liana Stampur, humorously and engagingly reminded the audience members of all that has been fought for and won, and all of the challenges that still lay ahead. Video montages and student-penned essays offered glimpses of hope that these challenges can and will be met when the arts and politics come together as they did at this memorable and life affirming event. Now, this is not to say that things ever got heavy handed.
Mr. Rudetsky, as host and musical director, kept things light and upbeat between songs with his witty commentary, deconstructions of the artists, and even clips of The Brady Bunch Variety Hour (?!). Performance highlights included the quirky, yet adorable, Nellie McKay’s reggae original, “Caribbean Times,” which was prefaced with a very personal story about a woman’s sensitive time of the month and an airport security pat down, proving that protection of basic rights and human integrity is necessary anywhere at any time. The cast of Hair electrified the audience with a gorgeous and energetic medley of “To Make You Feel My Love / All You Need is Love.” This audience member felt the love, and that love really is all I need. However, the “WOW!” moment of the night belonged to Katie Thompson. Her scorchingly soulful rendition of “A Change is Gonna Come” had the audience collectively gasping for air. Putting ever fiber of her being into that some had me believe that change is right around the corner.
While I could go on and on about all who participated in Broadway Stands Up for Freedom, I would not want to take away from the true star of the evening: the NYCLU and the amazing work they do protecting the liberties and freedoms of all New York residents. If the blending of art and politics could inspire so much in two hours, imagine what could happen if the S & M gear that bonds their relationship were permanently removed.
A special thank you to Bill Augustin, Public Relations coordinator for the event, for inviting me to share in its magic.
Sunday, July 25, 2010
Next to Perfection: Next to Normal's (partially) new cast
So how do you recast the emotional center of the most original musical currently running on Broadway? The answer is much easier than I would have thought: call Marin Mazzie.
On July 19, Ms. Mazzie took over the role of Diana Goodman, a mother struggling to hold on to her family and her sanity in the pop-rock musical Next to Normal. Originally played by Alice Ripley, who gave a startlingly nuanced, Tony Award winning performance, the producers of the show had very big shoes to fill. Ms. Mazzie makes Diana all her own and fills those shoes with grace, strength, and a powerhouse vocal performance.
It is difficult to discuss the character of Diana without giving away key plot surprises, but suffice it to say, the audience is taken on a journey of one woman’s mental illness and the affect it has on her family. The role requires an emotional depth that is rarely seen on the Broadway stage today. From the frenetic opening number “Another Day,” to the reflective “I Miss the Mountains,” to the angry “The Break,” Ms. Mazzie not only vocally captures Diana’s pain and confusion, but gives her a heart and soul that will bring a tear to the eye of even the most jaded theater go-er. In the hands of a lesser singer / actress, the show would fall apart. But like Diana trying to hold herself together, Ms. Mazzie holds together the integrity of this powerful piece of work.
Other casting changes on the 19th included the roles of Dan and Natalie Goodman, Diana’s husband and daughter, now portrayed by Jason Danieley and Meghann Fahy, respectively. Mr. Danieley’s beautiful voice finds the hurt and desperation in Dan as he tries to help his wife the only way he knows how. In his performance, I was able to see how Dan is filled with the best intentions, if not exercising the best execution of those intentions. Ms. Fahy’s Natalie is phenomenal. As a daughter desperate to escape her family’s dysfunction by any means necessary, she possesses the voice and acting chops to make Natalie more than an angst ridden teen and more of a young woman who is terrified of what her future may hold.
Three members of the cast continue their roles and seem to just keep getting better. Adam Chanler-Berat oozes charm as the loveable stoner Henry, Natalie’s boyfriend. I have always regarded Henry as the quiet hero of the show; the unlikely anchor in the storm of Natalie’s world. And the chemistry between these two gifted performers is second to none. Kyle Dean Massey as the Goodman’s son, Gabe, beautifully walks the line of sometimes angelic, sometimes demonic youth. Louis Hobson, as Diana’s therapists Dr. Fine and Dr. Madden, possesses a strong voice and a loving concern for Diana in a role that could have easily been played as one dimensional.
With such a strong ensemble, I wish the creative team of Next to Normal continued success as Broadway’s premiere intelligent musical.
On July 19, Ms. Mazzie took over the role of Diana Goodman, a mother struggling to hold on to her family and her sanity in the pop-rock musical Next to Normal. Originally played by Alice Ripley, who gave a startlingly nuanced, Tony Award winning performance, the producers of the show had very big shoes to fill. Ms. Mazzie makes Diana all her own and fills those shoes with grace, strength, and a powerhouse vocal performance.
It is difficult to discuss the character of Diana without giving away key plot surprises, but suffice it to say, the audience is taken on a journey of one woman’s mental illness and the affect it has on her family. The role requires an emotional depth that is rarely seen on the Broadway stage today. From the frenetic opening number “Another Day,” to the reflective “I Miss the Mountains,” to the angry “The Break,” Ms. Mazzie not only vocally captures Diana’s pain and confusion, but gives her a heart and soul that will bring a tear to the eye of even the most jaded theater go-er. In the hands of a lesser singer / actress, the show would fall apart. But like Diana trying to hold herself together, Ms. Mazzie holds together the integrity of this powerful piece of work.
Other casting changes on the 19th included the roles of Dan and Natalie Goodman, Diana’s husband and daughter, now portrayed by Jason Danieley and Meghann Fahy, respectively. Mr. Danieley’s beautiful voice finds the hurt and desperation in Dan as he tries to help his wife the only way he knows how. In his performance, I was able to see how Dan is filled with the best intentions, if not exercising the best execution of those intentions. Ms. Fahy’s Natalie is phenomenal. As a daughter desperate to escape her family’s dysfunction by any means necessary, she possesses the voice and acting chops to make Natalie more than an angst ridden teen and more of a young woman who is terrified of what her future may hold.
Three members of the cast continue their roles and seem to just keep getting better. Adam Chanler-Berat oozes charm as the loveable stoner Henry, Natalie’s boyfriend. I have always regarded Henry as the quiet hero of the show; the unlikely anchor in the storm of Natalie’s world. And the chemistry between these two gifted performers is second to none. Kyle Dean Massey as the Goodman’s son, Gabe, beautifully walks the line of sometimes angelic, sometimes demonic youth. Louis Hobson, as Diana’s therapists Dr. Fine and Dr. Madden, possesses a strong voice and a loving concern for Diana in a role that could have easily been played as one dimensional.
With such a strong ensemble, I wish the creative team of Next to Normal continued success as Broadway’s premiere intelligent musical.
Tuesday, July 20, 2010
"Bloody, Bloody" Transfer to Broadway
Can a sometimes campy, often brilliant satire make the leap from the Public Theater to the Great White Way? It looks like audiences will find out this fall. Producers of Bloody, Bloody Andrew Jackson, the critically acclaimed emo-rock musical, with music and lyrics by Michael Friedman, and book and direction by Alex Timers, announced plans to transfer the show to Broadway with performances beginning September 21.
Part history lesson, part exploration into the psychology of power, Bloody, Bloody follows the life and times of our nation’s seventh, and, arguably, most controversial president. Known as the first populist president, Andrew Jackson was not born of aristocratic heritage, was opposed to a federal bank, and was responsible for the deaths of thousands of Native Americans as our young country expanded westward. Yet he graces our $20 bill. Is he a hero of the working class, or is he our country’s own Hitler? A question not easily answered, but one you will think about long after the last song is sung.
Mr. Friedman has succeeded in writing a clever score that captures the angst and conflict that Jackson and our nation face both in their respective childhoods and during his presidency. Mr. Timers’ book and direction walk a fine line between campy satire and thought provoking political commentary (I, for one, saw many parallels between Jackson and the presidencies of George W. Bush and Barack Obama). Benjamin Walker, as Andrew Jackson, is a stellar lead that is the centerpiece of a strong cast. So with all this praise, why do I fear a Broadway transfer might not work? The answer lies in the very culture that is Broadway.
Off Broadway often celebrates creative, quirky, outside-the-box, theatrical experimentation, providing more intimate spaces and lower ticket prices that allow more adventurous audiences a chance to explore and engage. Broadway often looks to the more lavish, commercially accessible, crowd pleasers (not that I am criticizing, as “Defying Gravity” is a frequent shower favorite). But can Bloody, Bloody compete with Wicked and Jersey Boys for the matinee and group sale crowd? Or will it go the way of other charming ([title of show]) and powerful (Caroline, or Change) transfers that did not fare as well as I had hoped? I am keeping my fingers crossed that it can and will have a long run.
Many Off Broadway transfers such as Next to Normal, Spring Awakening, and Rent found critical and commercial success with their pop-rock scores, and sensitive subject matter. Avenue Q proved that quirky can draw audiences of any demographic. And perhaps another intellectually stimulating triumph will encourage more mainstream producers to take risks with their work.
Part history lesson, part exploration into the psychology of power, Bloody, Bloody follows the life and times of our nation’s seventh, and, arguably, most controversial president. Known as the first populist president, Andrew Jackson was not born of aristocratic heritage, was opposed to a federal bank, and was responsible for the deaths of thousands of Native Americans as our young country expanded westward. Yet he graces our $20 bill. Is he a hero of the working class, or is he our country’s own Hitler? A question not easily answered, but one you will think about long after the last song is sung.
Mr. Friedman has succeeded in writing a clever score that captures the angst and conflict that Jackson and our nation face both in their respective childhoods and during his presidency. Mr. Timers’ book and direction walk a fine line between campy satire and thought provoking political commentary (I, for one, saw many parallels between Jackson and the presidencies of George W. Bush and Barack Obama). Benjamin Walker, as Andrew Jackson, is a stellar lead that is the centerpiece of a strong cast. So with all this praise, why do I fear a Broadway transfer might not work? The answer lies in the very culture that is Broadway.
Off Broadway often celebrates creative, quirky, outside-the-box, theatrical experimentation, providing more intimate spaces and lower ticket prices that allow more adventurous audiences a chance to explore and engage. Broadway often looks to the more lavish, commercially accessible, crowd pleasers (not that I am criticizing, as “Defying Gravity” is a frequent shower favorite). But can Bloody, Bloody compete with Wicked and Jersey Boys for the matinee and group sale crowd? Or will it go the way of other charming ([title of show]) and powerful (Caroline, or Change) transfers that did not fare as well as I had hoped? I am keeping my fingers crossed that it can and will have a long run.
Many Off Broadway transfers such as Next to Normal, Spring Awakening, and Rent found critical and commercial success with their pop-rock scores, and sensitive subject matter. Avenue Q proved that quirky can draw audiences of any demographic. And perhaps another intellectually stimulating triumph will encourage more mainstream producers to take risks with their work.
Welcome!
Welcome to "All That Theater," a forum for news, reviews, interviews, and insights into the goings-on on the New York and London Stage. I have created this blog as an outlet for the theater geek in us all. I am not in the industry, nor am I a professional critic--just an avid admirer of the performing arts since I saw Les Miserable at the ripe old age of 12. Over the last 20 years my tastes and opinions have changed, but my passion for the stage has not.
So please, read, respond, debate, discuss and come back often!
So please, read, respond, debate, discuss and come back often!
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