Theatre Talk: In Our Own Little Corner

[Julia]

I'll be there too, of course. And the casting of Santino Fontana as John Adams makes the proposition as attractive to me as it's ever likely to be.

If it's the Sunday matinee, you all should have coffee :)

[Rick Kitchen]

Clips from 1776 at Encores!

 

[DisneyBoy]

I've gotten "Shut Up and Dance With Me" out of my head finally...quite the earworm, that one.

Anyone curious to hear the reviews coming out of London for Sunset Boulevard? It starts tonight. I wonder how well it will hold up without the set to distract the audience. Close's make-up at least seems less harsh this time out.

[Rick Kitchen]

Stephen Schwartz will deny any theater company in North Carolina from producing any of his works because of the anti-gay state law.

[JustaPerson]

 

A bit of WTF in terms of source material to make a musical out of but apparently the London production with Matt Smith was really good.

[ratgirlagogo]

If they can make Sweeney Todd into a musical, they can make anything into a musical.  Also, Assassins. And Macbeth and blah blah blah.

 

Now, can they make it into a GOOD musical.  I count on all of you mavens to tell me.

Edited April 2, 2016 by ratgirlagogo

[methodwriter85]

I figured you guys would know- is it possible that a well-regarded private high school could have done a production of Hairspray in Fall 2003? From what I understand, school productions weren't really done until 2008, but I was wondering if a school could have gotten away with doing one anyway? I know my school did songs from it, but of course that's far from being a full production.

[JustaPerson]

Amy Schumer proposes a new musical to Lin-Manuel Miranda, Betsey Ross!

 

ETA: Why isn't this viral?
 

Edited April 7, 2016 by JustaPerson

[dbklmt]

I saw "Rain:World Premiere Musical" on April 5th which was also a talk back with the cast and one member of the creative team, the musical director, J. Oconner Navarro.  I'll post my thoughts (VERY LONG) with ***SPOILERS*** that I sent to friends who have also seen it or were thinking about going.

 

The night before I saw this at the Old Globe I watched one of the three movie versions that have been made from this Somerset Maugham short story.  The one available for me to watch was the 1932 film version starring Joan Crawford and Walter Huston in which a prostitute finds redemption in Pago Pago thanks to a hard missionary man.

 

Cast (in credits order):
Fred Howard     Hodgson
Ben Hendricks Jr    Griggs
William Gargan    Sergeant O’Hara
Mary Shaw     Ameena
Guy Kibbee     Joe Horn
Kendall Lee     Mrs. MacPhail
Beulah Bondi     Mrs. Davidson
Matt Moore     Dr. MacPhail
Walter Huston     Alfred Davidson
Walter Catlett     Quartermaster Bates
Joan Crawford     Sadie Thompson

 

In the Old Globe musical production only five of these characters (those in bold above) are included.

In the three screen adaptations Sadie has been played by Joan Crawford, Gloria Swanson and Rita Hayworth.  At the Old Globe she is played superbly by Broadway “Wicked” star, Eden Espinosa.

 

The Old Globe cast includes:
Noi Noi (Wife of the Hotel owner)   Marie-France Arcilla (Excellent)
Anna Davidson (Wife of the Minister)   Elizabeth A. Davis
Jo (Scottish Hotel owner & Noi Noi’s husband)  Jeremy Davis (Very Good)
Sadie Thompson     Eden Espinosa (Superb)
Louisa MacPhail (Wife of the doctor)   Betsy Morgan (Very Good)
Kiwi (Ship sailor)     Rusty Ross
Quartermaster Hopper     Mike Sears
Alec MacPhail      Tally Sessions (Excellent)
Alfred Davidson (Pentecostal Minister)   Jared Zirilli  (Boo!  Hiss!)

 

All the cast were GR8 but the Minister and his wife were just EVIL and anyone that rapes someone on stage in the play ain’t gonna get any love from me.  At the Talk Back after the show it was interesting to hear the actor’s takes on their roles.  Elizabeth A Davis talked about how the wife in the movie (Buleau Bondi) was so disgusting (she was!) that she wanted to make her not be so evil.  She did but she was still someone I detested as a character in the play!  Jared Zirilli who played the minister talked about how he researched the role since they added things to his character that were not in the movie or book.  The book writer, Sybille Pearson changed him from just being a missionary to a Pentecostal minister and also revealed that like Sadie he was also a sinner who spent time in prison.  He even researched life in prison and being a Pentecostal minister in 1924 to play the role.  He felt that he had given the character some humanity.  That statement elicited a heated discussion with one of the men in the audience who disagreed with him.  Sorry Jared your character was despicable and as one woman in the audience said she could hardly wait for him to get it and he did!

 

I’ve never read the short story based on a true experience by Somerset Maugham which is short on details, but one of the best things about this production over the movie is that the characterizations have been expanded especially with the doctor and his wife.  She said barely nothing in the movie.  She was just there but Betsy Morgan who played it at the Old Globe was fantastic and made her a really sympathetic character,

 

When you come into the Old Globe for this play the first thing you see is the astounding set which fills the stage all the way to the top of the theatre.  It revolves and on all levels during the play the actors in their rooms are doing things even if the scene’s emphasis is only on what is happening in one room.  Betsy Morgan talked about it when she told us what she was doing--she was in her room writing in her journal or letters.

 

Photos of the impressive set can be seen here.

http://www.broadwayworld.com/article/Photo-Flash-First-Look-at-Eden-Espinosa-and-More-in-Michael-John-LaChiusas-RAIN-at-The-Old-Globe-20160330

 

As I already mentioned the musical director, J. Oconer Navarro was present at the Talk Back.  He has been with this production since it was first done as a workshop at Vassar College in New York during the summer in 2015 when they were getting the musical ready for it to debut at the Old Globe.  The 8 pc orchestra underneath the stage had many playing multiple instruments: Keyboards, Cello, Flute, Clarinet, Alto Saxophone, Oboe, Tenor Saxophone, Bassoon, French Horn, Trumpet, Flugelhorn, Acoustic Bass, Drums and Percussion.

 

Music and lyrics for this production was done by Michael John Lachiusa, a five-time Tony Award-nominated composer, lyricist, and librettist for his Broadway productions of "The Wild Party", "Marie Christine", and "Chronicle of a Death Foretold".   Many of his productions have been seen Off Broadway especially at the Public Theatre which I have a feeling just might be housing this musical in the near future.

 

According to John LaChiusa “Rain is one of the most unusual scores I’ve written in that in addition to character-driven music--the interior monologues or external duets, even group choruses--there is tremendous use of diegetic music; a Samoan chant, a Scottish folk song, tribal drums, gramophone music from the 1920s. The result should be a very diverse and hopefully, rich tapestry.”

(It was in my opinion, but for others that I heard at intermission and after the show it was not very appealing!  One person even said they thought it would have been better without any songs; I disagree!)

 

The night that I saw it the song list was inserted into the Performances playbill and consisted of 18 musical numbers 9 each in Act One and in Act Two.  Whether that changes during the run at the Old Globe remains to be seen.  I'll know when I see it again on April 20th.

 

There is no choreography in this show and it’s done in an opera/chamber musical style.

 

For me the best numbers were given to Sadie Thompson and Eden Espinosa delivered them with gusto.  Her vocal chops are still a powerhouse!  Her three standouts were “Sunshine” which I had heard before I saw it online.  I wasn’t particularly impressed with it then, but in the show it was much better when I saw it in respect to how it played in the storyline.  I loved her “Thirteen Dollars”!  The best was her heart breaking showstopper in Act 2, “Alone”.  It gave me goosebumps!

 

I also enjoyed the two songs with Jo (Jeremy Davis) and Noi Noi (Marie-France Arcilla) especially “Malo (Hello)”.  They were the only source of comic relief in what was a powerful but very depressing play!

 

One of the most heartbreaking rendered songs was by the Doctor (Tally Sessions) and his wife (Betsy Morgan) --”The Noise/Let Love Do What It Does”.

 

The Act 1 finale number “Prayer” was superb and towards the end of the number the hotel set pulled apart moving to the far left and right of the stage.  During the 20 minute intermission the Old Globe technicians redesigned it to span across the entire stage.  It was an amazing transformation when we came back inside for Act 2.

 

Since the musical is entitled "Rain" it did just that on the stage for the entire show.  Most of the rain although light fell on the far right and left sides of the stage. After the show during Talkback there were OG employees using Shop Vacs to clean it up.

 

Here’s a link to the Old Globe’s video with highlights from the musical.
http://www.broadwayworld.com/article/STAGE-TUBE-Watch-Highlights-from-LaChiusas-RAIN-at-The-Old-Globe-Starring-Eden-Espinosa-20160407

 

Now that I have seen it I can pick out scenes that are intertwined with Eden Espinosa singing “Sunshine”.  During the credits there is another song “Malo (Hello)” which I said earlier is a really good song and one of the few joyful songs/scenes in the musical.  They even showed the ending in the video which just like the movie and the book is abrupt.  My friend turned to me and said “Is that it?” and I said, “Yup!”  See if you can pick out the ending; I bet you can.

 

The show is really adult fare and not for children especially with that rape scene in the middle of the stage.  The acting is first rate and it’s worth seeing to see this talented Broadway ensemble cast and the amazing set.

 

ETA: Thanks ratgirlagogo for pointing out that LOL mistake.  Even people at Broadway World didn't comment on that same mistake in the post that I made there.  Off to edit it there before one of their nasty posters decides to make fun of it.

Edited April 11, 2016 by dbklmt

[ratgirlagogo]

 

He has been with this production since it was first done as a workshop at Vassar College in New York during the summer in 1915

Really!  Now that shows commitment.

 

Sorry, of course I realize that was just a typo but it was still funny.

[Rick Kitchen]

Aaron Tveit and Gavin Creel doing "Take Me or Leave Me" as Joanne and Maureen from Rent.

 

[Rick Kitchen]

Andrew Keenan-Bolger has begun a weekly vlog about the runup to the opening night of Tuck Everlasting.

 

[JustaPerson]

I love broadway.com's vlogs! I like the new camera style, but I hope every episode isn't like that one. For now, I'm far more partial to Jennifer Damiano's American Psycho vlog

 

Edited April 12, 2016 by JustaPerson

[DisneyBoy]

Aaron Tveit and Gavin Creel doing "Take Me or Leave Me" as Joanne and Maureen from Rent.

 

 

...so uncomfortable. A little intense, no? Good singing though...

 

I watched the first bit of Cry Baby recently and found the show rather meh. "Screw Loose" is a great song, though.

 

What did people think of the Encores performance of Merrily We Roll Along? I'm...having some trouble getting into it. The show is a bit of a downer.

[Rinaldo]

What did people think of the Encores performance of Merrily We Roll Along? I'm...having some trouble getting into it.

I found it middling as a performance, not really terribly satisfying. Director James Lapine seemed (to me) to concentrate on mostly irrelevant stuff, filling interludes with photoshopped newsreels showing our principals in the various historical periods, and having constant costume and hair changes for each period (and giving them the worst clothing and hair styles of each era too, as if the characteristic they all shared was bad taste). Most productions let them look relatively timeless (after all, there are also aspects of style that didn't change that much) and concentrate on the characters.

 

Also, the actors weren't the strongest: Colin Donnell looked good and sang well but didn't succeed in giving layers to the problematic Frank. And Lin-Manuel Miranda, all his talents acknowledged, is not the virtuoso actor of other people's material that Charlie needs to be (his big loss-of-control song was about the least effective I've seen). For me, the star of the production was Jonathan Tunick's new orchestrations, especially the wonderful new entr'acte.

 

I would add that my own gold standard for Merrily productions is the one done as part of the 2002 Sondheim Celebration at the Kennedy Center, which was not recorded. Christopher Ashley directed a cast who were both "real" actors and skilled musical performers: Michael Hayden, Miriam Shor, Raul Esparza, with Adam Heller, Anastasia Barzee, and Emily Skinner. They really made it zing.

Edited April 13, 2016 by Rinaldo

[Charlie Baker]

I would pretty much concur with Rinaldo's assessment of the Encores Merrily, but I guess I cut Lin-Manuel Miranda a bit more slack.

I didn't see the Kennedy Center production, sorry to say, but the most gratifying of the few Merrily productions I've seen is the video of the Menier Chocolate Factory production that also played the West End.  Good direction and cast, led by Jenna Russell, who was also a terrific Dot in Sunday in the Park with George.

Merrily is a show that may never totally satisfy, but there's so much in it that is so good. 

[Rick Kitchen]

I was reading last night about Austin P. Mackenzie who played Moritz in the Deaf West production of Spring Awakening.  He is hearing, but he studied sign language in school, and when he graduated, he applied with Michael Arden at Deaf West for an ASL interpreter job.  Instead, he got cast in the lead role of the production, and he might wind up getting a Tony nomination for Lead Actor in a Musical.  Of course, even if he gets nominated, he'll get steamrolled by Lin-Manuel Miranda, but what a life change.

[Sara2009]

I was reading last night about Austin P. Mackenzie who played Moritz in the Deaf West production of Spring Awakening. He is hearing, but he studied sign language in school, and when he graduated, he applied with Michael Arden at Deaf West for an ASL interpreter job. Instead, he got cast in the lead role of the production, and he might wind up getting a Tony nomination for Lead Actor in a Musical. Of course, even if he gets nominated, he'll get steamrolled by Lin-Manuel Miranda, but what a life change.

Or by Leslie Odom Jr if he goes lead.

But I agree with you.

[aradia22]

Hello Again! ;)

 

I've missed you all and I'm glad to see people were still posting here in my absence. I haven't figured out the Theatre News Roundup situation yet since things are still in flux here but I'll try to keep reporting back on the shows I'm seeing. Definitely ask if you want more fleshed out reviews. Going to the opening night of The Father tonight!

[aradia22]

Before I forget... I took a JetBlue flight and they played this on the Sirius Broadway channel. Did anyone see this show? https://en.wikipedia.org/wiki/Cyrano_%28musical%29

[aradia22]

If you're curious about my thoughts on The Father, I will, of course, elaborate but for now I'll just say it was OK. I have not seen all the plays this season but to me, Frank Langella is not giving a Tony-worthy performance, not because he's giving a bad performance, but because the material is not there for him to give a great performance. For much of the play he's made the choice to play Andre as a... there's no other way to put this, limp wristed, fussy man. I mean that literally. He literally has a limp-wristed affected manner. I feel like it was a choice that's not in the script simply to give Andre some more character than what's there on the page but it doesn't contribute much. He finds some moments of truth in his portrayal of dementia/memory loss but they're very short moments and fairly... expected. It's a problem of writing and structure. I can get into it, but the kind of choppiness and repetition that kept Constellations vital and immediate was distancing in The Father and made the play seem sluggish and cyclical. You didn't get the point of where you were going... it was one of those plays that could have ended at any time or kept going for another hour. Getting back to the expected nature of the portrayal of dementia (there are scenes of anger and childishness and weakness that you have probably seen before if you've seen anything dealing with this subject) I felt like a major part of the problem that it was always an outsiders perspective. It was the playwright looking at someone losing his memory instead of really trying to empathize or to align the audience with that character's perspective and experience. I don't know if I'm explaining myself very clearly but while I felt for him in some of those moments, it was always at a distance. And I'm particularly sensitive to anything to do with memory loss and dementia and Alzheimer's, not to mention just a bit of a softy, and my eyes were completely dry the entire time. Kathryn Erbe did a serviceable job supporting Vincent D'onofrio on Law & Order: Criminal Intent and she does the same here with Langella. Her character is rather flat most of the time, which could be a choice, but it wasn't a very effective one. Especially in the beginning of the play she held herself very stiffly (I've noticed that when an actor is giving a good performance they can be standing still and still have an energy in their body. She had the stiffness of someone told to stand on her mark and not given any direction about how to move her body. Perhaps it's a TV thing when you're in many cases being filmed from the waist up.) and her dialogue felt unnatural coming out of her mouth. It wasn't a terrible performance or even as awkward the first time I saw Sylvia and the cadence of Matthew Broderick's line readings was just very off. It was just flat. I was very conscious that she was reciting lines. Part of the play is this confusion that is part memory loss and part a gimmicky supernatural/metaphorical representation that reminded me of the unexplained noises in The Humans that involves the furniture and characters playing multiple/the same parts. The other actors in the company do a fine if unremarkable job but it's hard to ask a lot when they don't have time to develop characters. There is a scene of violence that worked for some of the audience but for me it felt manipulative and pointless because it really went nowhere. I don't think the playwright knew what he wanted to say about memory loss and aging. The play just... is. It feels unessential and it doesn't really communicate anything. The other male actor actually has an angrier approach to the character. He came across to me like a petulant Cary Elwes. I just thought I'd mention it.

 

It certainly seemed like many people enjoyed the play so I wouldn't dissuade you from seeing it. Maybe it'll work better for you. Again, it wasn't bad. It was just a bit simple. Surely there are better plays and other playwrights who have more vital work waiting to be produced. And there must be better vehicles for Langella. He displayed great charm at moments and he saved some fire for his outbursts (which seem typical of every play with a big star) but it felt like he was stifling his natural vitality for much of his performance. He didn't really play Andre as frail, at least not physically, and certainly not until the last 20 or 30 minutes, but I felt like I was not seeing him at the height of his powers. It wasn't subtlety. The play doesn't demand much from him when even not knowing much of his work, I could very clearly feel that he had so much more to give.

[aradia22]

 

 

Thanks for the report on Rain. I wish I could see it if only for that set. Between this and Encores! Zorba, I'm not sure I'm an Elizabeth A. Davis fan... I'll be interested to see if this moves forward and if there are casting changes. From what I've seen and listened to so far, I think I like LaChuisa best when his scores play to the strengths of his very talented leading ladies... Audra, Idina, Kate Baldwin.

[Charlie Baker]

Just a few ruminations about mortality and aging, prompted by current theater events. (You young folks can feel free to skip this post. ;-) )

 

Frank Langella at 78 doing eight performances a week in a demanding central role in The Father.  More power to him.

 

Anne Jackson and Eli Wallach finally reunited perhaps?  Rich long lives and careers for both of them.  

 

Sheldon Harnick interviewed today on NY1 News's On Stage: may we all be that vital and together in our 90s.  He seems genuinely thrilled at the Fiddler and She Loves Me revivals.

Edited April 16, 2016 by Charlie Baker

[Rick Kitchen]

Has anybody seen Straight, the Play?

[aradia22]

I saw Death For Five Voices tonight. It was very strong for a work in progress/off-Broadway musical. It's not perfect and I don't think it would find an audience on Broadway but that's a conversation for another day. Now, I spent much of the show having my recognition centers pinged. It's the closest to Lucy Simon (The Secret Garden/Zhivago) with hints of Jekyll & Hyde, Paul Gordon, etc. But it's the romantic couple that's throwing me off. I get a bit of classic Broadway (e.g. 50's/60's) and a more modern sound. It reminds me so much of something but I can't pin it down.

 

Here's a link to some of the songs. Listen to "You Should Not Have Loved Me" and see if you can figure it out please. Wait a bit until the melody slows and the chorus comes in.

[Charlie Baker]

Belatedly wanted to share a quote from Anne Jackson, who had a way with words and wrote as well as acted.

 

From an American Theater Wing seminar:

 

"To be an actor, you have to have the soul of a nightingale and the hide of a rhinoceros."

[Rick Kitchen]

I saw Newsies today at Broadway Sacramento.

 

The lead, Jack Kelly, was played by an understudy, Alex Prakken.  There isn't much about him at Broadway World, though the program says he has played Marius in Les Mes and Gabe in Next to Normal regionally.  http://www.broadwayworld.com/people/Alex-Prakken/.  He was very good.  Did a great job.

 

Crutchie - Zachary Sayle - http://www.broadwayworld.com/people/Zachary-Sayle/

 

Davey - Stephen Michael Langton - https://www.ibdb.com/Person/View/502895

 

Katherine - Morgan Keene - http://www.morgankeene.com/ A decent dancer and singer, but really a mediocre actor  She was much too bombastic,  She played to the back rows as if she didn't have a microphone.

 

I really enjoyed this.  The choreography was awesome.  Glad I saw it.

[Rinaldo]

Everybody knew it would happen, but now it's official.

 

Hamilton has just won the 2016 Pulitzer Prize for Drama, the ninth musical to do so.

 

Runners-up are Gloria and The Humans.

[aradia22]

Saw another fantastic 92Y Lyrics and Lyricists concert tonight. I will never understand why people insist on making comments while watching a show but that's a conversation for another day. Natasha Yvette Williams, Julia Murney, Emily Skinner, Lindsay Mendez... I already loved this ladies before tonight and they did not disappoint singing a program of Ethel Merman songs. Ted Sperling and his partner for the show put together some beautiful arrangements. Normally, I'm rather unimpressed with jazzy or slow versions of songs, at least modern ones, but there were some really gorgeous numbers tonight.

[JustaPerson]

I finally saw Hamilton on Friday. It was amazing (as expected). Leslie Odom Jr.'s voice sounds higher live for some reason than it did on the recording. I thought it was an understudy until I looked at the playbill. Perhaps he was having some vocal issues that night? I don't know. A couple of moments that weren't on the OBCR that were a pleasant surprise. I was heartbroken to miss Jonathan Groff (only by a week!), but Rory O'Malley was hilarious. Interesting that 2 BoM alums have played King George already. Is Josh Gad next lol? Now I can say I saw Sam from Smash live!

[DisneyBoy]

Question: I know nothing about the London production of FOLLIES but I heard the set was something crazy awesome, possibly better than the original. Anyone here a FOLLIES fan? I've seen some cruddy stitched-together footage of the original production, specifically the "Loveland" sequence, and that gave me a bit of an idea of what it looked liked, and from what Google shows me, the London production featured a turntable, which looked cool...but I'm curious how it differs from the recent Broadway revival, which was beautiful, but minimal from a set perspective.

Edited April 21, 2016 by DisneyBoy

[aradia22]

I finally saw An American in Paris tonight. In many ways I was charmed by it but I think things worked out the way they were supposed to at the Tony's with it taking choreography, orchestrations, and scenic design but losing Best Musical to Fun Home. With the way the characters are written, I don't see how they could have taken one of the acting categories with the exception of Featured Actor but of all those choices, I would have given it to Brad Oscar. He makes Something Rotten work in a big way. I didn't know than Leanne Cope was out on Wednesday evenings so I saw Garen Scribner and Sara Esty. They were both very good. Esty dances beautifully. I'm a little curious if Leanne Cope would have brought more to her performance but I think the show might suffer from a repeat viewing. We'll see if I can get a date to take me. Garen was the one who impressed me. I don't know his background but he did not come across as a dancer who sings. He held his own really well and I thought his voice, while not remarkable, was a very pleasant musical theatre leading man kind of sound. I would be happy to see him in another show. Obviously the music was great. I thought it never felt forced but sometimes it seemed a little unnecessary or more revue-like the way numbers were strung together to fit into the story. One of the worst offenders with Fidgety Feet. In spite of some bad early reports about the show being too long and/or boring, I enjoyed most of the dancing. The first sequence didn't work for me that well but after it, everything worked pretty smoothly to tell the story. My one complaint would be that as beautiful and fluid as the movement often was, it was also very fast and not really injected with a lot of emotion. Maybe I would have felt differently about some of the pas de deux if I had seen them with Robert Fairchild and Leanne Cope. The book was the biggest problem for me. It was "theatre funny," that is, not terribly funny at all. I chuckled a handful of times. The characters and conflict are thin and the resolution for everyone was weak. Those of you who frequent the TCM board may remember that I didn't love the movie. I thought they "improved" upon things from the movie. Jerry was less stakerish and pushy (though still not the best, following her around, refusing to listen to "no," changing her name). The weird father-daughter relationship with the rival in the movie was replaced with Henri and this Nazi resistance plot. The weirdness with the older patron was mostly softened in the writing of Jill Paice's character and casting a younger actress. But it wasn't replaced with a greater depth. Instead, filing all the rough edges away just left a bit of a superficial story... with beautiful dancing. Veanne Cox did a nice job with what she was given but she wasn't given much. Uranowitz is trying but there are better characters like his quasi-narrator who tie the story together. Also, he was getting most of the jokes that fell flat (at least to me). Max von Essen was very charming and gets his one big number (which I liked, though the choreography was a letdown from the more standard ballet numbers) but Henri didn't make much sense to me as a character. Was he gay? Was he not gay? Was he going to end up with Jill Paice? Also, no one had a believable French accent. But again, beautiful dancing. If someone else paid for it, I would see it again with Leanne Cope.

 

Side note: I don't know if it's because I went later into the run or because of this specific show but the audience (and my section in particular) could not control themselves. The whispering! Nigh constant. The singing along! Are you serious? The coughing! People... it's April already.

[aradia22]

YEEESSSSS

[Milburn Stone]

Side note: I don't know if it's because I went later into the run or because of this specific show but the audience (and my section in particular) could not control themselves. The whispering! Nigh constant. The singing along! Are you serious? The coughing! People... it's April already.

 

Hate this! It's awful. And (sadly) a reason to think twice about going to theatre.

 

Managements can't do much about coughing, but they ought to do more about talking, singing along, and cellphones. That they aren't doing more says that they see the world changing in favor of the barbarians, and they need the barbarians' patronage more than they need the patronage of those who understand the theatre to be a sacred place.

Edited April 21, 2016 by Milburn Stone

[Girlydiva53]

Hate this! It's awful. And (sadly) a reason to think twice about going to theatre.

Managements can't do much about coughing, but they ought to do more about talking, singing along, and cellphones. That they aren't doing more says that they see the world changing in favor of the barbarians, and they need the barbarians' patronage more than they need the patronage of those who understand the theatre to be a sacred place.

Hi! I've been lurking for months. I really like everyone's insights.

I could not agree more about how audiences behave anymore. I haven't been to the theatre in many years and it was getting bad back then.

I come from a theatrical family (my aunt is currently in the ensemble of "She Loves Me" and her husband is the percussionist for "Fiddler On The a Roof." I was taught to keep my mouth shut once the curtain goes up. If a fuss was made, we left the venue and it was burned into my brain not to ruin the event for others. I think cellphones should be checked with coats. I have other opinions also, I'll write my dissertation later... LOL

Edited April 21, 2016 by Girlydiva53

[aradia22]

Still looking for insights/suggestions on finding a balance between regular TNR's (which seem unlikely to resume anytime soon, unfortunately) and flooding this thread with headlines. 

 

In the meantime, this play, Oslo, with Jefferson Mays and Jennifer Ehle, directed by Bartlett Sher caught my attention.

 

Oh, and as a reminder, Incident at Vichy will air tonight on channel 13. 

 

And one more thing! Listen to Bright Star here.

 

(You see how this could become a problem.)

Edited April 21, 2016 by aradia22

[aradia22]

I have suddenly remembered all the other little things that bothered me at An American in Paris. The whispering and sing alongs were the worst. But there was also the woman who got up sometime in the middle of both acts and then returned to her seat. I know because she had a squeaky chair and the second time she chose a quiet moment to plop into it. There was the older woman who didn't turn her phone off until well into the first scene. There were people all around but especially behind me who wouldn't shut up through the entracte. Oh, and during act 2 a man near me kept scratching his leg... in a prolonged and loud fashion... his pants made a lot of noise. The one thing I will say is that while I cringed at the sign saying any food and drink purchased at the theatre could be taken inside, there was no disruption from that front... except a crinkly wrapper in act 1 but I think that might have been something someone snuck in.

 

The show was enjoyable. The audience made me a little aggravated and tense as I prepared to have to shush a new person. I shouldn't have to police other audience members. That's what ushers are for. I feel like I sound like a grump after this show but it really does put you on edge if you're a quiet person and you have all these rude interruptions (I can let the coughing go) around you. It didn't ruin the show but it was not a fun atmosphere. I had to keep resetting and relaxing myself after each disturbance.

[Rick Kitchen]

The only recent problem I've had with an audience was a couple of shows ago, the guy sitting next to me was really large, and he kept putting his arm on top of mine on the arm rest.  I would raise my arm up to make him move, then he would put his arm back down on top of mine again.

[aradia22]

Since I'm seeing Tuck Everlasting soon and I was inspired by MannForHam, I decided to finally listen to Cats. Apologies in advance if you love Cats. I know I can be a bit irreverent and normally I'm all for people having their own opinions but, and I'm being completely serious, dafuq? What in the hell is this? How was this is hit show, nevermind that it ran for so many years? This is utter nonsense. Some numbers are more tolerable than others (Jellicle Cats made me feel like someone was drilling a hole into my skull) but it's no threat to Evita as the only ALW show I actually like. Dear God. How did anyone sit through this? Listening to this was like being trolled. THIS is Cats? Terrence Mann and Betty Buckley are bright spots but great singing doesn't make up for bad songs... and beat poetry set to horror movie music.

[Charlie Baker]

Cats benefited from the staging and design--and was also a really good example of how hype could sell a show.  Because there sure isn't much there there. And as I recall, it got some good reviews as well.  The extent of its success was mind boggling.

[Rinaldo]

Cats benefited from the staging and design--and was also a really good example of how hype could sell a show.  

All of that may be true -- is true. But it doesn't account for the (as already described) mind-boggling extent of its success. It had multiple touring companies in addition to the ones running in NYC and London, and every engagement sold out instantly. Something in it genuinely appealed to audiences on an unprecedented scale, and I sure don't know what.

 

Being a teacher of musicals, and a writer about them, I knew that I eventually had to see it if I was to pretend to be well informed. When I went, late in the run (I chose the time because at least I'd get Liz Callaway as Grizabella), the entire audience around me clearly knew every word and was blissfully hypnotized the entire time. Whereas I... felt really stupid, because I couldn't understand it, on the most basic factual level. When were we in "present time," and when in a flashback? When were characters singing about someone else yet to arrive, and when were they talking about themselves in third person? (Both happen at different times, and I guessed wrong about, for instance, Old Deuteronomy.) What was the big event I was supposed to be waiting for, and why was it happening? Still mysteries to me, like all the rest of it. But I'm not losing any sleep over it.

[ebk57]

Mr ebk says Cats paid the mortgage on the house.  So...it's good!  :-)

 

It sat at our theatre for 8 months back in the day.  The best part was the cast.  The understudies put on A Little Night Music one Monday evening in the lobby lounge.  It was fabulous!

[Rick Kitchen]

I went to a showcase for season subscribers to the Sacramento Music Circus summer series today.

 

Glenn Casale - http://www.broadwayworld.com/people/Glenn-Casale/- is the music director of the Music Circus, and has been for years, and he served as the MC for the show.

 

There were four performers who will be starring in shows this summer, who sang from their audition books:

 

Jason Graae - http://www.broadwayworld.com/people/Jason-Graae/He said he auditioned for the part of the emcee this summer in Cabaret, but was cast as The Cat in the Hat in Seussical.

 

Matt Loehr, who is from Sacramento, and got his start at Music Circus when he was twenty years old - http://www.broadwayworld.com/people/matt-loehr/- He will be starring in Nice Work if You Can Get It

 

Lesli Margherita - http://www.broadwayworld.com/people/lesli-margherita/who will be playing Esmeralda in The Hunchback of Notre Dame

 

Lauren Zakrin - http://www.broadwayworld.com/people/lauren-zakrin/who will be playing Elle Woods in Legally Blonde.  She has a lovely soprano.

 

Music Circus has a strong relationship with Disney, and a couple of years ago they did a brand new production of The Little Mermaid which is now touring.  Casale said that, with Disney's permission, they are one of three venues that will be producing The Hunchback of Notre Dame this season, and they have cast deaf actor John McGinty as Quasimodo in their production:

 

[aradia22]

Rick, please report back on Lesli in Hunchback. Did you see her in Kiss Me Kate. That sounds like amazing casting, though it would be hard to top Rachel York in my mind.

[Rick Kitchen]

I will, aradia.  No, I didn't see Kiss Me Kate.  Thanks.

[Rinaldo]

Thanks so much for these reports on Sacramento Music Circus, Rick Kitchen. They do really high-level casting there, as I've seen from your past reviews, and these four people continue the standard. It was 30 years ago that I first encountered Jason Graae, in a Gershwin concert at the Library of Congress, conducted by the late John McGlinn. He was described to me, only half jokingly, as the tenor in the "McGlinn rep-company quartet" -- four superb singer-actors then unknown to me (Rebecca Luker, Kim Criswell, JG, George Dvorsky). Glad to see he's still going, and in leading roles.

[Charlie Baker]

I must ditto Rinaldo's gratitude for your posts, Rich Kitchen,  and am also gratified to learn about Jason Graae.  That was some quartet, all right.

[aradia22]

Oh! I forgot to tell you about Echoes playing at 59E59. It's a very strong play with two tremendous performances from Filipa and Felicity. It's only playing until May 4, so it's going to be tough to catch if you aren't near the city but I highly recommend it. Admittedly, this is not a play for everyone. Because of the realities of the play, it's only 50 minutes, there are only two actors so there's a lot of monologuing to the audience with bits of dialogue interspersed (they don't interact but each actress will sometimes put on a voice to deliver a scene in the context of her own story)... it does portray a somewhat limited view of men and the political situations it touches on. It's feminist and not man-hating but I can see how you could respond to it that way because the male characters are generally pretty awful. But this is some of the best and most natural dialogue I've heard, especially from a new play, in a while. It's realistic though at times it drifts towards poetry and yet these actresses always deliver it as though it's completely natural to them. Getting back to the performances, wow. This is not the kind of play where the performances rip your heart out and leave you in tears. That's partially due to the method of switching between perspectives, particularly after dramatic scenes of violence or high emotion, which you could interpret as undercutting the stakes or refusing to relish in scenes of sexual violence and oppression of women depending on your perspective. I thought it did a bit of both. Part of me did want to stay with one character as I was torn away into another's story, but another part of me appreciated that we didn't live in those moments too long in a way that might have felt exploitative. I will try to keep track of the writer and both actresses from this point on. Really excellent and worth your time for 50 minutes and $25.

[aradia22]

More thoughts on Tuck Everlasting later but for now I'll say it was a very charming show and it left me feeling swept up and happy. I don't recall the book very well but I remember it being a little more serious and dramatic. This version has been reworked to be more child-friendly. I think it was the red hair and the green dress but I got an Anne of Green Gables vibe at times. I want to go back and really get a good look at those costumes. I identified Regency and Victorian and more vaguely 1930's 1940's fashions but I couldn't grasp all the influences on the first go while still staying involved in the show itself. Before I get off the production though, this show is gorgeous. They aren't the biggest or grandest sets but they're so perfect and again, charming. Like a storybook. The sets and lighting are just a dream. The choreography is generally not of the highest difficulty, minus a few moments but I thought it generally worked well aside from the ending which went on too long for me. It's a very sweet, heartfelt show. All the performers were good but the standouts were Sarah Charles Lewis playing Winnie (big voice!), Andrew Keenan-Bolger as Jesse, and Michael Wartella as Hugo who was pitch perfect comic relief. Terrence Mann was great but not given enough to do for my taste. He gets one big song but he spends his time on stage well. He's fun and charming and sleazy but then appropriately menacing. I thought there were a few standouts in the score but I was indifferent to the rest of it. It didn't stand out as bad, just not remarkable, with a lot of reprises and such. If they market it right, this could catch on great with young people. I think it's still funny and sweet and appealing for older audience members too. I just think that for frequent/experienced/older theatregoers it might lack some depth and the weaknesses might be a little more apparent. But I would recommend it.

[aradia22]

By the way, theatre really is magic. I was feeling miserable today. It's allergy season and my dry eyes and runny nose know it very well. I don't know how it happens but whenever the lights go down and the curtain goes up, even at my worst (I put in eye drops but I was still using all the tissues before the show) it all stops. I think that's part of the reason the incessant coughing (thankfully absent today) baffles me. Theatre really does cure my ills somehow.