10. FORBIDDEN BROADWAY: SVU
The laughs were non-stop to the point of being painful, but it was worth it to see these shows spoofed and lampooned
with such good humor & taste.
9. COMPANY, Winthrop Playmakers
This was one of those times that the marriage of director and cast got it. By keeping the story circa 1970, the true pain
and agony of being single and lonely came through thanks to the talent of such an ensemble.
8. JESUS CHRIST SUPERSTAR, North Shore Music Theatre
Praises were sung - and rightfully so for maintaining the original integrity of this masterpiece.
7. HAIRSPRAY, North Shore Music Theatre
Director/Choreographer Barry Ivan welcomed us to the 60's in this fantastic and fun spectacle.
6. MONTY PYTHON'S SPAMALOT, Colonial Theatre
This production was every bit hilarious as promised, even for those who do not follow the TV show & movies intensely.
5. WICKED, The Opera House
What a beautiful, spectacular experience this was. The outstanding actors, the lively score and the multi-layered book defied gravity.
4. CAROLINE, OR CHANGE, Speakeasy
What more can be said? They brought this extraordinary musical to life, and our Caroline knew how to rock our world!
3. 1776, Lyric Stage
Who knew that the signing of the Declaration of Indepence could be so much fun? A lively cast made this musical exciting and entertaining.
2. THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, The Wilbur Theatre
The new Chorus Line. Audiences love to see real people put themselves on the line and reveal the backstory behind an exciting competion.
1. CHILDREN OF EDEN, Stoneham Youth Company
The Performance of the Year. Everyone in the cast and crew got it. They just got it. The production was moving and intoxicating; the level of maturity and professional from the "youth" raised the bar for the theatre world. The sets and the lighting were intelligent and impressive. The musical direction re-defined "brilliant". Many, many congratulations to the director who provided an outstanding and inspirational evening.
This will be recorded as one of the best theatrical experiences. Ever.
Sunday, December 31, 2006
Top 5 Plays of 2006
5. THE WOMEN, Speakeasy Stage Company
All-star cast with stellar direction brought this timely tale of friends and gossip to delicious new heights this past fall!
4. THE PILLOWMAN, NewRep
Actor John Kuntz brought his brilliant self to this nightmarishly good fun play by Martin McDonagh.
3. FROZEN, New Rep
The actors were brilliant. The directing was brilliant. But the most brilliant aspect of this production was the "snow" that covered the stage. It added a textured layer of physical and audio sensations.
2. RABBIT HOLE, Huntington Theatre
What a powerful piece of theatre this is. And fortunately, audiences were blessed to witness such a powerful cast and direction - not to mention the impressive (and moving) set.
1. TWELVE ANGRY MEN, Colonial Theatre
The most powerful aspect of this masterpiece is its relevance, some 50 years after its initial release. An all-star cast provided riveting perfomances of this play which made everyone anything but angry.
All-star cast with stellar direction brought this timely tale of friends and gossip to delicious new heights this past fall!
4. THE PILLOWMAN, NewRep
Actor John Kuntz brought his brilliant self to this nightmarishly good fun play by Martin McDonagh.
3. FROZEN, New Rep
The actors were brilliant. The directing was brilliant. But the most brilliant aspect of this production was the "snow" that covered the stage. It added a textured layer of physical and audio sensations.
2. RABBIT HOLE, Huntington Theatre
What a powerful piece of theatre this is. And fortunately, audiences were blessed to witness such a powerful cast and direction - not to mention the impressive (and moving) set.
1. TWELVE ANGRY MEN, Colonial Theatre
The most powerful aspect of this masterpiece is its relevance, some 50 years after its initial release. An all-star cast provided riveting perfomances of this play which made everyone anything but angry.
Friday, December 22, 2006
Broadway on CD
SPRING AWAKENING
This is one of those rare situations when we need to know what the writers had for breakfast the day they collaborated on this brilliant piece of work. The vocals are as frank and naked as the lyrics themselves. The performances are exceptional as are the musicality and etherial vocal arrangements. This could have been just another sob story about teen angst, but these performances express maturity and intelligence about the subject material and never talk down to the audience. Come Tony Time, this is the show to be reckoned with! A+.
GREY GARDENS
Christine Ebersole has won every award possible for her roles in Grey Gardens. I think they've invented some awards for her to win. Listening to the soundtrack, it is easy to hear why. The infamous story of Grey Gardens is told in story and song, and it plays very well. Christine's transition from Big Edie in Act One to her grown daughter in Act Two is so effortless one would think it were easy.
The best part about this show is that in spite of being based on a documentary, it IS original! It plays like a throw-back to the good, old-fashioned book musicals. And it is quite good. The songs are fresh and alive, and the actors effortlessly breathe life into their characters. A.
A CHORUS LINE (Revival)
Everything you've heard is true -- the ENTIRE montage is here! And it sounds great! All of the actors fully comprehend their characters, and the orchestrations are contemporary enough but maintain the original score's integrity.
Charlotte d'Amboise is breathtaking as Cassie despite what you may have heard or read. Sans guitar and harp, some of the songs sound streamlined, but it is the energy and enthusiasm of the cast that makes this soundtrack a sensation. A-.
This is one of those rare situations when we need to know what the writers had for breakfast the day they collaborated on this brilliant piece of work. The vocals are as frank and naked as the lyrics themselves. The performances are exceptional as are the musicality and etherial vocal arrangements. This could have been just another sob story about teen angst, but these performances express maturity and intelligence about the subject material and never talk down to the audience. Come Tony Time, this is the show to be reckoned with! A+.
GREY GARDENS
Christine Ebersole has won every award possible for her roles in Grey Gardens. I think they've invented some awards for her to win. Listening to the soundtrack, it is easy to hear why. The infamous story of Grey Gardens is told in story and song, and it plays very well. Christine's transition from Big Edie in Act One to her grown daughter in Act Two is so effortless one would think it were easy.
The best part about this show is that in spite of being based on a documentary, it IS original! It plays like a throw-back to the good, old-fashioned book musicals. And it is quite good. The songs are fresh and alive, and the actors effortlessly breathe life into their characters. A.
A CHORUS LINE (Revival)
Everything you've heard is true -- the ENTIRE montage is here! And it sounds great! All of the actors fully comprehend their characters, and the orchestrations are contemporary enough but maintain the original score's integrity.
Charlotte d'Amboise is breathtaking as Cassie despite what you may have heard or read. Sans guitar and harp, some of the songs sound streamlined, but it is the energy and enthusiasm of the cast that makes this soundtrack a sensation. A-.
Sunday, November 05, 2006
Saturday, October 14, 2006
Spelling Bee is the New Chorus Line!
Let's face it - most of us love competition, rooting for the underdog, learning where these people came from, and having a great time.
That's why The 25th Annual Putnam County Spelling Bee is the new A Chorus Line, and it's worth every letter! A.
(now playing in Boston at the Wilbur Theatre)
That's why The 25th Annual Putnam County Spelling Bee is the new A Chorus Line, and it's worth every letter! A.
(now playing in Boston at the Wilbur Theatre)
Friday, October 06, 2006
All Shook Up and Down
The current tour of All Shook Up is cross between Footloose, Twelfth Night, and Grease, and it's the latest show to join the parade of Jukebox Musicals. Believe it or not, there is an okay - if not flimsy - book about a good-looking dude coming to town and making everyone fall in love. Joe Mandragona as Chad (the good-looking dude) has significant stage presence, but he needs to ooze more sex appeal to truly capture the character.
The choreography and sets are very impressive, and local audience members may remember Natasha Yvette Williams from North Shore Music Theatre's Ain't Misbehavin'. She all but steals the show with her torch song in Act Two. No, it's not a great musical, but it's a lot of fun. This is definitely a crowd pleaser. B-.
The choreography and sets are very impressive, and local audience members may remember Natasha Yvette Williams from North Shore Music Theatre's Ain't Misbehavin'. She all but steals the show with her torch song in Act Two. No, it's not a great musical, but it's a lot of fun. This is definitely a crowd pleaser. B-.
Saturday, September 30, 2006
High and Low Fidelity
The good news about the pre-Broadway run of HIGH FIDELITY at the Colonial Theatre is that it has been directed by Walter Bobbie (Footloose, Twentieth Centry, Sweet Charity revival). He has managed to create a very fun and entertaining evening.
Much of the credit, of course, also goes to the cast, who are having a lot of fun but are also totally credible as a close-knit group of friends. There is much energy and great talent to be had.
If only the book were a bit stronger. It's your basic boy-tries-to-get-girl-back story without much else going on. There needs to be more urgency and reason to the story we are obeserving.
Music enthusiasts may either delight or cringe as they get the in-jokes and pop culture references. I admit that I chuckled at the sight of the cover of the Beatles' original cover of the Yesterday...and Today album because I understood the social and financial significance.
Most of the rock-pop songs work and work well. Some not so much. It will be very interesting to see the path this show takes as it heads to the Great White Way.
But, for now, it's time to turn up the volume, and enjoy the show. B-.
Much of the credit, of course, also goes to the cast, who are having a lot of fun but are also totally credible as a close-knit group of friends. There is much energy and great talent to be had.
If only the book were a bit stronger. It's your basic boy-tries-to-get-girl-back story without much else going on. There needs to be more urgency and reason to the story we are obeserving.
Music enthusiasts may either delight or cringe as they get the in-jokes and pop culture references. I admit that I chuckled at the sight of the cover of the Beatles' original cover of the Yesterday...and Today album because I understood the social and financial significance.
Most of the rock-pop songs work and work well. Some not so much. It will be very interesting to see the path this show takes as it heads to the Great White Way.
But, for now, it's time to turn up the volume, and enjoy the show. B-.
Thursday, September 28, 2006
Speakeasy Opens Season with The Women's Open Season
Strong women. Strong cast. Strong director. Strong director.
Go see Speakeasy's production of The Women. A
Go see Speakeasy's production of The Women. A
Wednesday, September 27, 2006
Jesus Saves!
Go see North Shore Music Theatre's production of Jesus Christ Superstar! A
Okay, I'm not complaining, but y'all are starting to bore me. I have nothing bad to say about anything I've seen this month! Not that I enjoy picking shows apart; contrary to popular belief, I don't! But at the risk of having all my reviews sound alike, suffice it say, go see everything in town!!
Okay, I'm not complaining, but y'all are starting to bore me. I have nothing bad to say about anything I've seen this month! Not that I enjoy picking shows apart; contrary to popular belief, I don't! But at the risk of having all my reviews sound alike, suffice it say, go see everything in town!!
Who Knew That Signing the Declaration of Independence Could Be So Much Fun?
Go see the Lyrics Stage's production of 1776! A
Tuesday, September 26, 2006
Thursday, September 07, 2006
Lindsey Buckingham's Own Way
On October 3, Lindsey Buckingham releases his forth solo album, and soon I will be discussing his previous albums in preparation!
As a member of Fleetwood Mac, Lindsey had a different approach to songwriting than Stevie Nicks and Christine McVie did, but music enthusiasts applauded him for his unique and orginal style of producing.
LAW AND ORDER (1981)
Lindsey's first outing focuses on his vocal qualities and his guitar riffs. He plays it surprisingly safe here, but that was a wise choise. One might remember the single "Trouble," which peaked at #9 on the Billboard Singles Chart, but one might not remember much else. That doesn't mean the album is not worth listening to; it is. It is probably best recommended for true-blue fans of Fleetwood Mac who do not mind Lindsey's idiosynchratic behavior on his own. He is at his best when he slows down and allows his breathy voice to emote. He is at his quirkiest when he tries too hard to experiment. What he lacks in lyrics, he attempts to make up in production values, which is good or bad depending on your own personal taste. B.
GO INSANE (1984)
Not sure what to say about Lindsey's sophomore album, but Frank Zappa must have been proud! Buckingham flexes his creative muscles in ways that are brand new to most people. Unfortunately, there are not many radio-friendly tunes on this disc, save for "Slow Dancing," "I Want You," and the title track (maybe).
Surprisingly, "Play the Drum" and "Loving Cup" are quite bland considering the other selections, but the aforementioned do make for good listening.
Then there's "Play in the Rain." It is either a throwback to the Beatles' "Revolution 9" or Buckingham has totally lost his mind. To his credit, it is an interesting display of what one can do with sound effects, music, and breathy lyrics. It also acts a prelude to future production techniques that he will utilize.
Another surprise is how dated the percussion on this album sounds, but Lindsey maintains his own personal identity for a collection for down and dirty fans. B.
OUT OF THE CRADLE (1992)
Okay, I'm going to say something about Cradle that I say about very, very few albums.
Out of the Cradle is a Masterpiece.
From start to finish, top to bottom, everything about Cradle is unprecedented, undescribable perfection. Lindsey has put his paranoia on the shelf and focused on blending mature, intelligent lyrics with harmonious, melodius music. He has captured in this release everything that represents adult-orientated acoustic rock on the highest level with the highest standards.
Upon initial release, critics hailed this album as the Album of the Year and the Album of the Decade. And with good reason. It is a pure joy to listen to. It is genuine rapture to be enveloped in the magic. A+.
UNDER THE SKIN (2006)
An acoustic album is an awesome idea, but if only if it is executed properly. When a singer/songwriter is alone with his guitar, there is no need to super-produce everything. Lindsey's overlapping, echoing voice come across as more distracting than innovative. His breathy voice is less mystical and more exhausted, as if trying to prove something.
The disc is not a total disaster, but it made me long the days of "Never Going Back Again" and the acoustic versions of "Go Insane" and "Big Love." Sometimes a song is a song, and it is what it is. C-.
As a member of Fleetwood Mac, Lindsey had a different approach to songwriting than Stevie Nicks and Christine McVie did, but music enthusiasts applauded him for his unique and orginal style of producing.
LAW AND ORDER (1981)
Lindsey's first outing focuses on his vocal qualities and his guitar riffs. He plays it surprisingly safe here, but that was a wise choise. One might remember the single "Trouble," which peaked at #9 on the Billboard Singles Chart, but one might not remember much else. That doesn't mean the album is not worth listening to; it is. It is probably best recommended for true-blue fans of Fleetwood Mac who do not mind Lindsey's idiosynchratic behavior on his own. He is at his best when he slows down and allows his breathy voice to emote. He is at his quirkiest when he tries too hard to experiment. What he lacks in lyrics, he attempts to make up in production values, which is good or bad depending on your own personal taste. B.
GO INSANE (1984)
Not sure what to say about Lindsey's sophomore album, but Frank Zappa must have been proud! Buckingham flexes his creative muscles in ways that are brand new to most people. Unfortunately, there are not many radio-friendly tunes on this disc, save for "Slow Dancing," "I Want You," and the title track (maybe).
Surprisingly, "Play the Drum" and "Loving Cup" are quite bland considering the other selections, but the aforementioned do make for good listening.
Then there's "Play in the Rain." It is either a throwback to the Beatles' "Revolution 9" or Buckingham has totally lost his mind. To his credit, it is an interesting display of what one can do with sound effects, music, and breathy lyrics. It also acts a prelude to future production techniques that he will utilize.
Another surprise is how dated the percussion on this album sounds, but Lindsey maintains his own personal identity for a collection for down and dirty fans. B.
OUT OF THE CRADLE (1992)
Okay, I'm going to say something about Cradle that I say about very, very few albums.
Out of the Cradle is a Masterpiece.
From start to finish, top to bottom, everything about Cradle is unprecedented, undescribable perfection. Lindsey has put his paranoia on the shelf and focused on blending mature, intelligent lyrics with harmonious, melodius music. He has captured in this release everything that represents adult-orientated acoustic rock on the highest level with the highest standards.
Upon initial release, critics hailed this album as the Album of the Year and the Album of the Decade. And with good reason. It is a pure joy to listen to. It is genuine rapture to be enveloped in the magic. A+.
UNDER THE SKIN (2006)
An acoustic album is an awesome idea, but if only if it is executed properly. When a singer/songwriter is alone with his guitar, there is no need to super-produce everything. Lindsey's overlapping, echoing voice come across as more distracting than innovative. His breathy voice is less mystical and more exhausted, as if trying to prove something.
The disc is not a total disaster, but it made me long the days of "Never Going Back Again" and the acoustic versions of "Go Insane" and "Big Love." Sometimes a song is a song, and it is what it is. C-.
The Blue Grotto
Under new management, this magnificent restaurant is the place to be! The owners will do what they can to make your visit as enjoyable as possible. The new decor is handsome and relaxing, and the female vocalist is as cute as her voice is crystal-clear.
The menu is Italian, and the portions are just right. My choice was chicken/ziti/broccolli, and the pasta was cooked to perfection. Everything was seasoned correctly without being overpowering.
The desserts are tasty without being too sweet as well. I had the chocolate fudge cake drizzled with raspberry sauce, and it was as delicious as it sounds!
The wine list is impressive as is the size of the restaurant. This is the perfect place for any size party, function, or meeting.
Take advantage of the valet parking, and look forward to going back!!
The menu is Italian, and the portions are just right. My choice was chicken/ziti/broccolli, and the pasta was cooked to perfection. Everything was seasoned correctly without being overpowering.
The desserts are tasty without being too sweet as well. I had the chocolate fudge cake drizzled with raspberry sauce, and it was as delicious as it sounds!
The wine list is impressive as is the size of the restaurant. This is the perfect place for any size party, function, or meeting.
Take advantage of the valet parking, and look forward to going back!!
Sunday, September 03, 2006
Random Thought 45
I have better things to worry about than people who need something better worry about.
Tuesday, August 29, 2006
Thursday, August 24, 2006
Wednesday, August 23, 2006
12
1. 12 items in a dozen.
2. 12 dozens in a gross.
3. 12 hours on a clock.
4. 12 grades in primary education.
5. 12 months on a calendar.
6. 12 inches in a foot.
7. 12 signs in the Western Zodiac.
8. 12 Animals in the Chinese Zodiac.
9. 12 ounces in a troy pound.
10. 12 members on an American jury.
11. 12 cranial nerves.
12. 12 Days of Christmas.
2. 12 dozens in a gross.
3. 12 hours on a clock.
4. 12 grades in primary education.
5. 12 months on a calendar.
6. 12 inches in a foot.
7. 12 signs in the Western Zodiac.
8. 12 Animals in the Chinese Zodiac.
9. 12 ounces in a troy pound.
10. 12 members on an American jury.
11. 12 cranial nerves.
12. 12 Days of Christmas.
Cinderella Needs a Bit More Magic
Not being a 10-year girl, I'm not sure how excited I could be about Cinderella, but I nevertheless found both the book & score to be fairly underwhelming.
Fortunately, they had a good director (Charles Repole) who toned down the camp and did his best to "humanize" the characters. It was a joy to watch Prince Christopher being less than thrilled about the ball to begin with. However, he was still forced to recite lines like "Your hair is the color that EVERY girls' should be." I know this is a fairy tale, but someone got paid to make the Prince say "Your name is the most BEAUTIFUL in the world!" Ick. Ryan Silverman (Tony from West Side Story '03) is good-looking and good enough to pull this off, but his lines still received laughs from the audience.
Deborah Lew as Cinderella was good if not too optimistic in some places. Lisa McMillen as The Wicked Stepmother and Joyce Chittick & Natalie Joy Johnson as the stepsisters were solid and provided some much-needed comic edge.
David Coffee was terrific as the King.
The costumes & set design were elaborate and beautiful. The choreography by Karen Azenberg was amazing and offered some excitement in a production that seemed more sleepy than dreamy. C-
Fortunately, they had a good director (Charles Repole) who toned down the camp and did his best to "humanize" the characters. It was a joy to watch Prince Christopher being less than thrilled about the ball to begin with. However, he was still forced to recite lines like "Your hair is the color that EVERY girls' should be." I know this is a fairy tale, but someone got paid to make the Prince say "Your name is the most BEAUTIFUL in the world!" Ick. Ryan Silverman (Tony from West Side Story '03) is good-looking and good enough to pull this off, but his lines still received laughs from the audience.
Deborah Lew as Cinderella was good if not too optimistic in some places. Lisa McMillen as The Wicked Stepmother and Joyce Chittick & Natalie Joy Johnson as the stepsisters were solid and provided some much-needed comic edge.
David Coffee was terrific as the King.
The costumes & set design were elaborate and beautiful. The choreography by Karen Azenberg was amazing and offered some excitement in a production that seemed more sleepy than dreamy. C-
Wednesday, August 16, 2006
Random Thought 43
The difference between a work week and a vacation week:
The work week: "It's only Wednesday."
The vacation week: "IT'S ALREADY WEDNESDAY!"
The work week: "It's only Wednesday."
The vacation week: "IT'S ALREADY WEDNESDAY!"
Tuesday, July 11, 2006
Singin' in the Rain is a Glorious Feeling - Most of The Time
Singin' in the Rain is playing at the North Shore Music Theatre.
First of all, Matt Loehr as Don Lockwood is nothing shy of phenomenal. He's charming, sexy, has stage presence to spare, and more than masters the challenges of Don. Mark Ledbetter as Cosmo Brown is comfortable in the role and shoots out the one-liners with ease, but "Make 'Em Laugh" needed a bit more energy and spark.
Kathy Selden is played by Kelly D. Felthous, and she has a smooth, clear singing voice with the right amount of perkiness. However, she needed more of an edge and chemistry with Don to fully flush out the character. Beth Beyer as Lina Lamont is spot-on perfect throughout and a genuine joy to watch -- and listen to!!
Director Richard Stafford keeps the pace flowing nicely even though it felt the need to jump-started in some places. The beginning appeared a bit slow and choppy as if no one really knew where this was going. The number "Beautiful Girls" allowed the show to kick into gear.
Stafford's choreography is terrific and consistent, and thank you, thank you for doing the entire "Broadway Melody," which was wonderful. Randall Klein coordinated the outstanding, colorful costumes.
Even though the production seemed a bit cloudy, there is enough sunshine to put a smile on your face. B+
First of all, Matt Loehr as Don Lockwood is nothing shy of phenomenal. He's charming, sexy, has stage presence to spare, and more than masters the challenges of Don. Mark Ledbetter as Cosmo Brown is comfortable in the role and shoots out the one-liners with ease, but "Make 'Em Laugh" needed a bit more energy and spark.
Kathy Selden is played by Kelly D. Felthous, and she has a smooth, clear singing voice with the right amount of perkiness. However, she needed more of an edge and chemistry with Don to fully flush out the character. Beth Beyer as Lina Lamont is spot-on perfect throughout and a genuine joy to watch -- and listen to!!
Director Richard Stafford keeps the pace flowing nicely even though it felt the need to jump-started in some places. The beginning appeared a bit slow and choppy as if no one really knew where this was going. The number "Beautiful Girls" allowed the show to kick into gear.
Stafford's choreography is terrific and consistent, and thank you, thank you for doing the entire "Broadway Melody," which was wonderful. Randall Klein coordinated the outstanding, colorful costumes.
Even though the production seemed a bit cloudy, there is enough sunshine to put a smile on your face. B+
Saturday, July 08, 2006
Psych
TV-PG on USA
Using his acute attention to detail, sexy Shawn Spencer fakes being a psychic to help the police solve crimes. It's a cute premise, and the title role is portrayed very well by James Roday. His best friend from childhood, Gus, is paranoid that they will get caught, and that's part of the fun.
The program is more character study than mystery, but that's okay. One can look forward to see what types of mischief these boys will get into and how they will get out of it. B
Using his acute attention to detail, sexy Shawn Spencer fakes being a psychic to help the police solve crimes. It's a cute premise, and the title role is portrayed very well by James Roday. His best friend from childhood, Gus, is paranoid that they will get caught, and that's part of the fun.
The program is more character study than mystery, but that's okay. One can look forward to see what types of mischief these boys will get into and how they will get out of it. B
Random Thought 41
It's amazing that bags of popcorn, boxes of candy, and cups of soda become so heavy once they are empty: no one has the strength to pick them and throw them away.
Broadway On CD 3
TARZAN
Well, the songs from the movie are good, even if they appear to be lacking significant percussion one might expect from songs penned by Phil Collins. The rest of the soundtrack is not bad, and Josh Strickland has a wonderful voice, but there a sense that these tunes were rushed. It's almost as if the producers contacted Collins at the last minute crying for help to creat a finished score.
Given more time and attention, this could have been a more enjoyable soundtrack. While it won't make anyone want to swing from vines, it still might be worth a listen or two. C+
THE DROWSY CHAPERONE
How sad is it that we are excited by "original" musicals? Anyway, it is easily understood why critics' darling Sutton Foster received her nomination and why Beth Leavey won for portraying the title role. The songs are fresh and funny, and the orchestrations are authentic and adorable.
This must be another show that relies on its visuals, because some listeners might feel like they are missing something or that the show could have been taken to another level. The angle here is that we are watching a show from the 1920's via Man in Chair's re-telling of the story while he plays the soundtrack. It might have been interesting to hear/see what would have happened had the two worlds met, but this musical is straightforward and enjoyable enough to play. B+
Well, the songs from the movie are good, even if they appear to be lacking significant percussion one might expect from songs penned by Phil Collins. The rest of the soundtrack is not bad, and Josh Strickland has a wonderful voice, but there a sense that these tunes were rushed. It's almost as if the producers contacted Collins at the last minute crying for help to creat a finished score.
Given more time and attention, this could have been a more enjoyable soundtrack. While it won't make anyone want to swing from vines, it still might be worth a listen or two. C+
THE DROWSY CHAPERONE
How sad is it that we are excited by "original" musicals? Anyway, it is easily understood why critics' darling Sutton Foster received her nomination and why Beth Leavey won for portraying the title role. The songs are fresh and funny, and the orchestrations are authentic and adorable.
This must be another show that relies on its visuals, because some listeners might feel like they are missing something or that the show could have been taken to another level. The angle here is that we are watching a show from the 1920's via Man in Chair's re-telling of the story while he plays the soundtrack. It might have been interesting to hear/see what would have happened had the two worlds met, but this musical is straightforward and enjoyable enough to play. B+
Saturday, June 10, 2006
Wednesday, June 07, 2006
Broadway on CD 2
THE PAJAMA GAME
Kelli O'Hara is worlds away from her outstanding performance in THE LIGHT IN THE PIAZZA, and this is a sincere complement. Her voice and presence on the recording is one to be reckoned with. She has a clear, powerful vocal quality and successfully delivers every nuance of the character as well.
With a voice as handsome as he is, Harry Connick, Jr. more than pleases as well, and the two of them work great together.
Overall, this is a very enjoyable recording, and fortunately, is not as campy as it was originally written. The dance numbers are lively, and all of the characters are a pleasure to listen to. A-
THE WEDDING SINGER
If any songs from the 1980's sound cheesy by today's standards, it's only because the producers and artists took themselves so seriously back then. But the bottom line is that most of the songs were good in the first place.
The same cannot be said here. Creating instant nostalgia has proven to be an undaunting task for the songwriters. Instead of penning a collection of tunes that sound like they were actually written during the 1980's, the listeners are left to endure an entire soundtrack of cheap knock-offs of the sounds of said decade, which is just too demanding for a sophisticated Broadway audience.
On the flip side, the performers are quite good, and there seems to be a vague indication that these numbers need the visuals to accompany them.
Otherwise, these songs should have been left to be altered. D+
Kelli O'Hara is worlds away from her outstanding performance in THE LIGHT IN THE PIAZZA, and this is a sincere complement. Her voice and presence on the recording is one to be reckoned with. She has a clear, powerful vocal quality and successfully delivers every nuance of the character as well.
With a voice as handsome as he is, Harry Connick, Jr. more than pleases as well, and the two of them work great together.
Overall, this is a very enjoyable recording, and fortunately, is not as campy as it was originally written. The dance numbers are lively, and all of the characters are a pleasure to listen to. A-
THE WEDDING SINGER
If any songs from the 1980's sound cheesy by today's standards, it's only because the producers and artists took themselves so seriously back then. But the bottom line is that most of the songs were good in the first place.
The same cannot be said here. Creating instant nostalgia has proven to be an undaunting task for the songwriters. Instead of penning a collection of tunes that sound like they were actually written during the 1980's, the listeners are left to endure an entire soundtrack of cheap knock-offs of the sounds of said decade, which is just too demanding for a sophisticated Broadway audience.
On the flip side, the performers are quite good, and there seems to be a vague indication that these numbers need the visuals to accompany them.
Otherwise, these songs should have been left to be altered. D+
Saturday, May 13, 2006
Tony Predictions
BEST REVIVAL OF A PLAY
Faith Healer
Awake and Sing!
Barefoot in the Park
Three Days of Rain
BEST REVIVAL OF A MUSICAL
Sweeney Todd
The Pajama Game
Threepenny Opera
BEST PLAY
The History Boys
Festen
The Lieutenant of Inishmore
Rabbit Hole
BEST MUSICAL
The Drowsy Chapersone
Jersey Boys
The Color Purple
The Wedding Singer
BEST LEADING ACRESS IN A MUSICAL
Kelli O'Hara, The Pajama Game
Patti LuPone, Sweeney Todd
LaChanze, The Color Purple
Chita Rivera, Chita Rivera: The Dancer's Life
Sutton Foster, The Drowsy Chaperone
BEST LEADING ACTOR IN A MUSICAL
Harry Connick Jr., The Pajama Game
Michael Cerveris, Sweeney Todd
Josh Strickland, Tarzan
John Lloyd Young, Jersey Boys
Stephen Lynch, The Wedding Singer
BEST BOOK OF A MUSICAL
Jersey Boys
The Color Purple
The Wedding Singer
The Drowsy Chaperone
The Woman in White
BEST ORIGINAL SCORE FOR A MUSICAL
The Drowsy Chaperone
The Color Purple
The Wedding Singer
The Woman in White
Tarzan
BEST DIRECTION OF A MUSICAL
Sweeney Todd
The Pajama Game
The Drowsy Chaperone
Jersey Boys
The Color Purple
BEST DIRECTION OF A PLAY
The History Boys
Rabbit Hole
The Lieutenant of Inishmore
Festen
Faith Healer
BEST CHOREOGRAPHY
The Drowsy Chaperone
The Pajama Game
Chita Rivera: The Dancer's Life
Tarzan
The Wedding Singer
Faith Healer
Awake and Sing!
Barefoot in the Park
Three Days of Rain
BEST REVIVAL OF A MUSICAL
Sweeney Todd
The Pajama Game
Threepenny Opera
BEST PLAY
The History Boys
Festen
The Lieutenant of Inishmore
Rabbit Hole
BEST MUSICAL
The Drowsy Chapersone
Jersey Boys
The Color Purple
The Wedding Singer
BEST LEADING ACRESS IN A MUSICAL
Kelli O'Hara, The Pajama Game
Patti LuPone, Sweeney Todd
LaChanze, The Color Purple
Chita Rivera, Chita Rivera: The Dancer's Life
Sutton Foster, The Drowsy Chaperone
BEST LEADING ACTOR IN A MUSICAL
Harry Connick Jr., The Pajama Game
Michael Cerveris, Sweeney Todd
Josh Strickland, Tarzan
John Lloyd Young, Jersey Boys
Stephen Lynch, The Wedding Singer
BEST BOOK OF A MUSICAL
Jersey Boys
The Color Purple
The Wedding Singer
The Drowsy Chaperone
The Woman in White
BEST ORIGINAL SCORE FOR A MUSICAL
The Drowsy Chaperone
The Color Purple
The Wedding Singer
The Woman in White
Tarzan
BEST DIRECTION OF A MUSICAL
Sweeney Todd
The Pajama Game
The Drowsy Chaperone
Jersey Boys
The Color Purple
BEST DIRECTION OF A PLAY
The History Boys
Rabbit Hole
The Lieutenant of Inishmore
Festen
Faith Healer
BEST CHOREOGRAPHY
The Drowsy Chaperone
The Pajama Game
Chita Rivera: The Dancer's Life
Tarzan
The Wedding Singer
Tuesday, May 02, 2006
These Yankees Are Worth a Damn
When DAMN YANKEES premiered in the 1950's, it provided an ideal vehicle for superstar Gwen Verdon, and it provided sports fans an excuse to attend the theatre.
Now in 2006 it seems somewhat dated with its bland score and blander book. Fortunately, the creative team at North Shore Music Theatre had the knowledge to incorporate the Boston Red Sox into the story. This is an expert move on their part because now the show has built-in familiarity. The audience can now identify with something.
Director/Choreographer Barry Ivan has assembled a terrific cast of players who flush out the script the best they can with precision and ease. Many of the songs are well-known, even if that doesn't mean they are good.
This is a fun, light evening or afternoon at the park for anyone interested or not in sports. But, hey, there is nothing wrong with rooting for the home team. B
Now in 2006 it seems somewhat dated with its bland score and blander book. Fortunately, the creative team at North Shore Music Theatre had the knowledge to incorporate the Boston Red Sox into the story. This is an expert move on their part because now the show has built-in familiarity. The audience can now identify with something.
Director/Choreographer Barry Ivan has assembled a terrific cast of players who flush out the script the best they can with precision and ease. Many of the songs are well-known, even if that doesn't mean they are good.
This is a fun, light evening or afternoon at the park for anyone interested or not in sports. But, hey, there is nothing wrong with rooting for the home team. B
Saturday, March 18, 2006
Blondie's Best
The Best Songs -
1. "Heart of Glass"
2. "Rapture"
3. "No Exit"
4. "Maria"
5. "X Offender"
6. "Rip Her to Shreds"
7. "In the Flesh"
8. "Picture This"
9. "Call Me"
10."Dreaming"
The Best Album
Parallel Lines
1. "Heart of Glass"
2. "Rapture"
3. "No Exit"
4. "Maria"
5. "X Offender"
6. "Rip Her to Shreds"
7. "In the Flesh"
8. "Picture This"
9. "Call Me"
10."Dreaming"
The Best Album
Parallel Lines
Friday, March 17, 2006
Monday, March 13, 2006
PURE RAPTURE - BLONDIE TURNS 30!
Things to do before Blondie turns 30:
Be a popular punk band at CBGB’s. Check.
Have a #1 record. Check (times four).
Do pop, rock, disco, and reggae. Check.
Have a successful comeback. Check.
Be inducted into the Rock & Roll Hall of Fame. Check.
Before Pink, Christina, and Britney, Debbie Harry and her boys ate to the beat and showed women everyone how to rock – and pop, and reggae, and disco, and hip-hop, and rap!
The last time we really heard from Blondie was in 1999 with the release of the critically acclaimed No Exit, which contained “Maria,” a song that went to #1 in 14 countries. The USA, sadly, was not one of them, but their reunion tour was a huge success. Exit picked up where they had left off in 1982 with The Hunter. Although not well received by the public, this disc contains a rare, upbeat tune by Jimmy Destri, “Danceway,” and the original title track intended for the James Bond film “For Your Eyes Only.”
1980’s Autoamerican is probably the best example of how diverse their music is with the reggae “The Tide is High” and “Rapture,” America’s first rap song to reach #1.
In the same year they had another #1 song with “Call Me,” from the movie American Gigolo.
The year prior saw the release of Eat to the Beat, which was also released as the first full- length video album with “Dreaming” and “Atomic.” Arguably their best sounding release, it was the follow-up to 1978’s masterpiece Parallel Lines. You might recall “Heart of Glass” and “One Way or Another” catapulting them into the spotlight and the mainstream. Filled with infectious rock and pop, Lines became the band’s first Top Ten Album.
1977’s Plastic Letters contains many songs penned by keyboardist Jimmy Destri, and it may be the best example of their early punk days. Examples include “(I’m Always Touched By Your) Presence, Dear” and “Denis.”
But it all started in 1976 with their self-titled debut containing “X Offender, “Rip Her to Shreds,” and “In the Flesh,” songs made popular at CBGB’s in New York and in the UK.
Jump, jump thirty years later, Blondie is releasing Sound & Vision chronicling their singles and videos.
Like the song says, Debbie’s voice may be “cold as ice cream, but still as sweet,” and she knows how to use it!
Be a popular punk band at CBGB’s. Check.
Have a #1 record. Check (times four).
Do pop, rock, disco, and reggae. Check.
Have a successful comeback. Check.
Be inducted into the Rock & Roll Hall of Fame. Check.
Before Pink, Christina, and Britney, Debbie Harry and her boys ate to the beat and showed women everyone how to rock – and pop, and reggae, and disco, and hip-hop, and rap!
The last time we really heard from Blondie was in 1999 with the release of the critically acclaimed No Exit, which contained “Maria,” a song that went to #1 in 14 countries. The USA, sadly, was not one of them, but their reunion tour was a huge success. Exit picked up where they had left off in 1982 with The Hunter. Although not well received by the public, this disc contains a rare, upbeat tune by Jimmy Destri, “Danceway,” and the original title track intended for the James Bond film “For Your Eyes Only.”
1980’s Autoamerican is probably the best example of how diverse their music is with the reggae “The Tide is High” and “Rapture,” America’s first rap song to reach #1.
In the same year they had another #1 song with “Call Me,” from the movie American Gigolo.
The year prior saw the release of Eat to the Beat, which was also released as the first full- length video album with “Dreaming” and “Atomic.” Arguably their best sounding release, it was the follow-up to 1978’s masterpiece Parallel Lines. You might recall “Heart of Glass” and “One Way or Another” catapulting them into the spotlight and the mainstream. Filled with infectious rock and pop, Lines became the band’s first Top Ten Album.
1977’s Plastic Letters contains many songs penned by keyboardist Jimmy Destri, and it may be the best example of their early punk days. Examples include “(I’m Always Touched By Your) Presence, Dear” and “Denis.”
But it all started in 1976 with their self-titled debut containing “X Offender, “Rip Her to Shreds,” and “In the Flesh,” songs made popular at CBGB’s in New York and in the UK.
Jump, jump thirty years later, Blondie is releasing Sound & Vision chronicling their singles and videos.
Like the song says, Debbie’s voice may be “cold as ice cream, but still as sweet,” and she knows how to use it!
Monday, March 06, 2006
The Oscars CRASH through the MOUNTAIN!
It takes a lot to shock the unshockable Jack Nicholson, but even he became speechless when all he had to do was read the title of the movie that just won Best Picture. Most Oscar fans had predicted Brokeback Mountain to take home the top prize, but Crash did instead.
So, what happened?
Brokeback became the movie that you are not supposed to not like, but people soon discovered that the fact that the movie became mainstream at all became more important than the film itself. It is a great movie, but Crash is much edgier and grittier and less of a typical drama.
As usual, Oscar provided us with shocks and surprises to keep us alert during a typical snoozefest, arguably the most boring ceremony in history, aside from the musical numbers and Jon Stewart's attempts at saving the show. After the unnecessary and relentless montages and embarrassing introductions by the likes of Nicole Kidman and Lily Tomlin & Meryl Streep, audiences had enough.
But, at least offering the win to Hustle & Flow's "It's Hard to be a Pimp" the Best Song revamped the evening.
Except for Reese Witherspoon taking Felicity Huffman's Oscar from her, things seemed reletively calm and appropriate. Reese was wonderful in Walk the Line, but Felicty was much, much better in Transamerica, and it is not Reese's fault that the Academy made a mistake to play it safe.
For all other wins, please visit www.oscars.org.
So, what happened?
Brokeback became the movie that you are not supposed to not like, but people soon discovered that the fact that the movie became mainstream at all became more important than the film itself. It is a great movie, but Crash is much edgier and grittier and less of a typical drama.
As usual, Oscar provided us with shocks and surprises to keep us alert during a typical snoozefest, arguably the most boring ceremony in history, aside from the musical numbers and Jon Stewart's attempts at saving the show. After the unnecessary and relentless montages and embarrassing introductions by the likes of Nicole Kidman and Lily Tomlin & Meryl Streep, audiences had enough.
But, at least offering the win to Hustle & Flow's "It's Hard to be a Pimp" the Best Song revamped the evening.
Except for Reese Witherspoon taking Felicity Huffman's Oscar from her, things seemed reletively calm and appropriate. Reese was wonderful in Walk the Line, but Felicty was much, much better in Transamerica, and it is not Reese's fault that the Academy made a mistake to play it safe.
For all other wins, please visit www.oscars.org.
Friday, March 03, 2006
The Oscars--Who Should/Will Win and Who Should/Should Not Be Here!
Let the controversy begin!
BEST SUPPORTING ACTRESS NOMINEES
Amy Adams, Junebug
Catherine Keener, Capote
Frances McDormand, North Country
Rachel Weisz, The Constant Gardener
Michelle Williams, Brokeback Mountain
WHO SHOULD WIN: Michelle Williams. Her agony was real, and her performance was stellar.
WHO WILL WIN: Rachel Weisz. Not that Oscar is predictable, but he likes to go along with everyone else sometimes. Rachel has won pretty much everything else, so she might add an Academy Award to her collection.
WHO SHOULD BE HERE: Thandie Newton, Crash. Her "get-me-the-hell-out-of-this-car-anyone-but-you" scene alone should have secured her a nod here.
WHO SHOULD NOT BE HERE: Catherine Keener. Sure, she was great in Capote, but nothing she did was enormously earth-shattering.
BEST SUPPORTING ACTOR NOMINEES
George Clooney, Syriana
Matt Dillon, Crash
Paul Giamatti, Cinderalla Man
Jake Gyllenhaal, Brokeback Mountain
William Hurt, A History of Violence
WHO SHOULD WIN: Jake Gyllenhaal. Overshadowed by Heath Leadger, it would be nice for Jake to go home with a prize.
WHO WILL WIN: George Clooney. Oscar will probably not let his potential Triple Crown go unrewarded.
WHO SHOULD BE HERE: Bob Hoskins, Mrs. Henderson Presents. His performance was the perfect match for Dame Judi Dench's.
WHO SHOULD NOT BE HERE: William Hurt. Nothing personal, but there were other performances that were more exhilerating.
BEST ACTRESS NOMINEES
Dame Judi Dench, Mrs. Henderson Presents
Felictiy Huffman, Transamerica
Keira Knightley, Pride and Prejudice
Charlize Theron, North Country
Reese Witherspoon, Walk the Line
WHO SHOULD WIN: Felicity Huffman. Comfortable in her own skin, she proves going cross-country while cross-dressing is no drag.
WHO WILL WIN: Reese Witherspoon. Hollywood's Darling has nabbed almost all other awards for her performance as June Cash, and Oscar usually hates being a non-conformist.
WHO SHOULD BE HERE: Ziyi Zhang. Sure, the movie tanked, but give credit where it is due.
WHO SHOULD NOT BE HERE: No one.
BEST ACTOR NOMINEES
Philip Seymour Hoffman, Capote
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
Joaquin Phoenix, Walk the Line
David Strathairn, Good Night, and Good Luck
WHO SHOULD WIN: Philip Seymour Hoffman. If Capote himself saw the movie, he would swear that Hoffman stole his very being.
WHO WILL WIN: Philip Seymour Hoffman. He became Capote.
WHO SHOULD BE HERE: Jonathan Rhys Meyers, Match Point. His smoldering good looks were not match for his dark side.
WHO SHOULD NOT BE HERE: No one.
BEST FOREIGN LANGUAGE FILM NOMINEES
Don't Tell, Italy
Joyeux Noel, France
Paradise Now, Palestine
Sophie Scholl-The Final Days, Germany
Tsotsi, South Africa
WHO SHOULD WIN: Tsotsi. This spin on bad boy turned good is as credible as it is intriguging.
WHO WILL WIN: Tsotsi. Up to five minutes ago, I would have predicted Paradise Now, but I think Oscar might have a change of mind, too.
WHO SHOULD BE HERE: Cache, Austria. Okay, so the native tongue of Austria is not French. This great movie should not be hidden from the nominations.
WHO SHOULD NOT BE HERE: No one.
BEST ANIMATED FEATURE NOMINEES
Howl's Moving Castle
Tim Burton's Corpse Bride
Wallace & Gromit
WHO SHOULD WIN: Wallace & Gromit
WHO WILL WIN: Wallace & Gromit. These Oscars favorites will probably add an animated feature statue to their collection of animated short statues. This is one of the most critically and commercially successful movies of the season.
WHO SHOULD BE HERE: Madagascar. Okay, so they did not revolutionize the art of animation, but they did provide a colorful, hilarious tale with an all-star cast and great score.
WHO SHOULD NOT BE HERE: Corpse Bride. Had this award existed back then, Tim Burton's Nightmare Before Christmas definitely would have been nominated, and it probably would have won. So now, Oscar is giving Tim a complementary nod to this recycled version of Nightmare.
BEST ORIGINAL SCREENPLAY NOMINEES
Crash, Paul Haggis & Bobby Moresco
Good Night, and Good Luck, George Clooney & Grant Heslov
Match Point, Woody Allen
The Squid and The Whale, Noah Baumbach
Syrina, Stephen Gaghan
WHO SHOULD WIN: Crash
WHO WILL WIN: Crash. These intewoven storylines are exhilerating. It's fast-paced and contemporary.
WHO SHOULD BE HERE: Batman Begins. Instead of recycling a familiar series, they have breathed new life into it.
WHO SHOULD NOT BE HERE: No one.
BEST ADAPTED SCREENPLAY NOMINEES
Brokeback Mountain, Larry McMartry & Diana Ossana
Capote, Dan Futterman
The Constant Gardener, Jeffrey Caine
A History of Violence, Josh Olson
Munich, Tony Kushner & Eric Roth
WHO SHOULD WIN: Brokeback Mountain
WHO WILL WIN: Brokeback Mountain. Taking a 20-page story about a love affair of about as many years is no small task, but these writers did it!
WHO SHOULD BE HERE: Shopgirl, Steve Martin. Not only is he a talented comedian and actor, but he is also a talented author, and it is a crime that his script was lifted from this category.
WHO SHOULD NOT HERE: Munich. We appreciate the social relevance, but people are beginning to tire of all this political statements.
BEST ORIGINAL SCORE NOMINEES
Brokeback Mountain, Gustavo Santaolalla
The Constant Gardener, Alberto Iglesias
Memoirs of a Geisha, John Williams
Munich, John Williams
Pride & Prejudice, Dario Marianelli
WHO SHOULD WIN: Brokeback. The haunting acoustic score is the new Motorcycle Diaries.
WHO WILL WIN: Memoirs. Sure, Mr. Williams is one of the most talented composers of contempory times, but let's start spreading the wealth.
WHO SHOULD BE HERE: Good Night, and Good Luck. Not sure how much of the jazz numbers count for "original score," but they should.
WHO SHOULD NOT HERE: Munich. Enough, already.
BEST ORIGINAL SONG NOMINEES
"In the Deep," Crash
'It's Hard Out Here for a Pimp," Hustle & Flow
"Travelin' Thru," Transamerica
WHO SHOULD WIN: "Travelin' Thru"
WHO WILL WIN: "Travelin' Thru." Dolly Parton, as always, stays true to her roots and provides a tune that accurately decribes the feelings emoted in this film.
WHO SHOULD BE HERE: "A Love That Will Never Grow Old," Brokeback Mountain. The song wasn't in the movie long enough to be eligible. Give me a "break."
"Wunderkind," The Lion, the Witch, and the Wardrobe. There are usually five nominees. This wonderful song should be the fifth.
WHO SHOULD NOT BE HERE: No One.
BEST DIRECTING NOMINEES
George Clooney, Good Night, and Good Luck
Paul Haggis, Crash
Ang Lee, Brokeback Mountain
Bennett Miller, Capote
Steven Spielberg, Munich
WHO SHOULD WIN: Ang Lee
WHO WILL WIN: Ang Lee. Need I say more?
WHO SHOULD BE HERE: Woody Allen, Match Point. Well, at least he got recognized for writing this intelligent thriller.
WHO SHOULD NOT BE HERE: Steven Spielberg. I don't have anything against him. Really, I don't.
BEST PICTURE NOMINEES
Brokeback Mountain
Capote
Crash
Good Night, and Good Luck
Munich
WHO SHOULD WIN: Brokeback Mountain
WHO WILL WIN: Brokeback Mountain. Brokeback broke through. Let's reward it.
WHO SHOULD BE HERE: Walk the Line or Match Point. Anything but...
WHO SHOULD NOT BE HERE: Munich
Watch the Oscars, and have fun!
BEST SUPPORTING ACTRESS NOMINEES
Amy Adams, Junebug
Catherine Keener, Capote
Frances McDormand, North Country
Rachel Weisz, The Constant Gardener
Michelle Williams, Brokeback Mountain
WHO SHOULD WIN: Michelle Williams. Her agony was real, and her performance was stellar.
WHO WILL WIN: Rachel Weisz. Not that Oscar is predictable, but he likes to go along with everyone else sometimes. Rachel has won pretty much everything else, so she might add an Academy Award to her collection.
WHO SHOULD BE HERE: Thandie Newton, Crash. Her "get-me-the-hell-out-of-this-car-anyone-but-you" scene alone should have secured her a nod here.
WHO SHOULD NOT BE HERE: Catherine Keener. Sure, she was great in Capote, but nothing she did was enormously earth-shattering.
BEST SUPPORTING ACTOR NOMINEES
George Clooney, Syriana
Matt Dillon, Crash
Paul Giamatti, Cinderalla Man
Jake Gyllenhaal, Brokeback Mountain
William Hurt, A History of Violence
WHO SHOULD WIN: Jake Gyllenhaal. Overshadowed by Heath Leadger, it would be nice for Jake to go home with a prize.
WHO WILL WIN: George Clooney. Oscar will probably not let his potential Triple Crown go unrewarded.
WHO SHOULD BE HERE: Bob Hoskins, Mrs. Henderson Presents. His performance was the perfect match for Dame Judi Dench's.
WHO SHOULD NOT BE HERE: William Hurt. Nothing personal, but there were other performances that were more exhilerating.
BEST ACTRESS NOMINEES
Dame Judi Dench, Mrs. Henderson Presents
Felictiy Huffman, Transamerica
Keira Knightley, Pride and Prejudice
Charlize Theron, North Country
Reese Witherspoon, Walk the Line
WHO SHOULD WIN: Felicity Huffman. Comfortable in her own skin, she proves going cross-country while cross-dressing is no drag.
WHO WILL WIN: Reese Witherspoon. Hollywood's Darling has nabbed almost all other awards for her performance as June Cash, and Oscar usually hates being a non-conformist.
WHO SHOULD BE HERE: Ziyi Zhang. Sure, the movie tanked, but give credit where it is due.
WHO SHOULD NOT BE HERE: No one.
BEST ACTOR NOMINEES
Philip Seymour Hoffman, Capote
Terrence Howard, Hustle & Flow
Heath Ledger, Brokeback Mountain
Joaquin Phoenix, Walk the Line
David Strathairn, Good Night, and Good Luck
WHO SHOULD WIN: Philip Seymour Hoffman. If Capote himself saw the movie, he would swear that Hoffman stole his very being.
WHO WILL WIN: Philip Seymour Hoffman. He became Capote.
WHO SHOULD BE HERE: Jonathan Rhys Meyers, Match Point. His smoldering good looks were not match for his dark side.
WHO SHOULD NOT BE HERE: No one.
BEST FOREIGN LANGUAGE FILM NOMINEES
Don't Tell, Italy
Joyeux Noel, France
Paradise Now, Palestine
Sophie Scholl-The Final Days, Germany
Tsotsi, South Africa
WHO SHOULD WIN: Tsotsi. This spin on bad boy turned good is as credible as it is intriguging.
WHO WILL WIN: Tsotsi. Up to five minutes ago, I would have predicted Paradise Now, but I think Oscar might have a change of mind, too.
WHO SHOULD BE HERE: Cache, Austria. Okay, so the native tongue of Austria is not French. This great movie should not be hidden from the nominations.
WHO SHOULD NOT BE HERE: No one.
BEST ANIMATED FEATURE NOMINEES
Howl's Moving Castle
Tim Burton's Corpse Bride
Wallace & Gromit
WHO SHOULD WIN: Wallace & Gromit
WHO WILL WIN: Wallace & Gromit. These Oscars favorites will probably add an animated feature statue to their collection of animated short statues. This is one of the most critically and commercially successful movies of the season.
WHO SHOULD BE HERE: Madagascar. Okay, so they did not revolutionize the art of animation, but they did provide a colorful, hilarious tale with an all-star cast and great score.
WHO SHOULD NOT BE HERE: Corpse Bride. Had this award existed back then, Tim Burton's Nightmare Before Christmas definitely would have been nominated, and it probably would have won. So now, Oscar is giving Tim a complementary nod to this recycled version of Nightmare.
BEST ORIGINAL SCREENPLAY NOMINEES
Crash, Paul Haggis & Bobby Moresco
Good Night, and Good Luck, George Clooney & Grant Heslov
Match Point, Woody Allen
The Squid and The Whale, Noah Baumbach
Syrina, Stephen Gaghan
WHO SHOULD WIN: Crash
WHO WILL WIN: Crash. These intewoven storylines are exhilerating. It's fast-paced and contemporary.
WHO SHOULD BE HERE: Batman Begins. Instead of recycling a familiar series, they have breathed new life into it.
WHO SHOULD NOT BE HERE: No one.
BEST ADAPTED SCREENPLAY NOMINEES
Brokeback Mountain, Larry McMartry & Diana Ossana
Capote, Dan Futterman
The Constant Gardener, Jeffrey Caine
A History of Violence, Josh Olson
Munich, Tony Kushner & Eric Roth
WHO SHOULD WIN: Brokeback Mountain
WHO WILL WIN: Brokeback Mountain. Taking a 20-page story about a love affair of about as many years is no small task, but these writers did it!
WHO SHOULD BE HERE: Shopgirl, Steve Martin. Not only is he a talented comedian and actor, but he is also a talented author, and it is a crime that his script was lifted from this category.
WHO SHOULD NOT HERE: Munich. We appreciate the social relevance, but people are beginning to tire of all this political statements.
BEST ORIGINAL SCORE NOMINEES
Brokeback Mountain, Gustavo Santaolalla
The Constant Gardener, Alberto Iglesias
Memoirs of a Geisha, John Williams
Munich, John Williams
Pride & Prejudice, Dario Marianelli
WHO SHOULD WIN: Brokeback. The haunting acoustic score is the new Motorcycle Diaries.
WHO WILL WIN: Memoirs. Sure, Mr. Williams is one of the most talented composers of contempory times, but let's start spreading the wealth.
WHO SHOULD BE HERE: Good Night, and Good Luck. Not sure how much of the jazz numbers count for "original score," but they should.
WHO SHOULD NOT HERE: Munich. Enough, already.
BEST ORIGINAL SONG NOMINEES
"In the Deep," Crash
'It's Hard Out Here for a Pimp," Hustle & Flow
"Travelin' Thru," Transamerica
WHO SHOULD WIN: "Travelin' Thru"
WHO WILL WIN: "Travelin' Thru." Dolly Parton, as always, stays true to her roots and provides a tune that accurately decribes the feelings emoted in this film.
WHO SHOULD BE HERE: "A Love That Will Never Grow Old," Brokeback Mountain. The song wasn't in the movie long enough to be eligible. Give me a "break."
"Wunderkind," The Lion, the Witch, and the Wardrobe. There are usually five nominees. This wonderful song should be the fifth.
WHO SHOULD NOT BE HERE: No One.
BEST DIRECTING NOMINEES
George Clooney, Good Night, and Good Luck
Paul Haggis, Crash
Ang Lee, Brokeback Mountain
Bennett Miller, Capote
Steven Spielberg, Munich
WHO SHOULD WIN: Ang Lee
WHO WILL WIN: Ang Lee. Need I say more?
WHO SHOULD BE HERE: Woody Allen, Match Point. Well, at least he got recognized for writing this intelligent thriller.
WHO SHOULD NOT BE HERE: Steven Spielberg. I don't have anything against him. Really, I don't.
BEST PICTURE NOMINEES
Brokeback Mountain
Capote
Crash
Good Night, and Good Luck
Munich
WHO SHOULD WIN: Brokeback Mountain
WHO WILL WIN: Brokeback Mountain. Brokeback broke through. Let's reward it.
WHO SHOULD BE HERE: Walk the Line or Match Point. Anything but...
WHO SHOULD NOT BE HERE: Munich
Watch the Oscars, and have fun!
Tuesday, February 14, 2006
A Perfect Garden of Eden
Years ago when "young" performers were on stage, it meant that they displayed much energy and talent, and that was sufficient. Young Co.'s production of CHILDREN OF EDEN in Melrose MA introduced to its audiences a brand new standard. These "children" expressed the maturity and intelligence this show requires because director Corey Jackson allowed them to do so. Jackson obviously had the faith and confidence in his actors to put on a production that rivaled that of any "professional" performance.
Both the leads and the ensemble not only were in the moment, but they "got it." At all times they knew what they were doing and why. Both their acting and singing qualities have raised the bar on musical theatre in general. They knew how to act and react with each other, and they knew how to properly display their emotions and feelings with deep thought and purpose.
Everything about this show was outstanding, and there are just not enough superlatives to describe it accurately. The set was impressive, the music direction and harmonies were mesmerizing, the lighting was stellar, and the choreography was inspiring and a joy to watch. The costumes were colorful and relevant, and the enthusiasm of everyone involved was apparent from the onset.
Truth be told, this reviewer experienced something brand new -- the production started off great and actually became better as the night progressed. By the time Rocio Valles as Mama Noah tore the house down with "Ain't It Good," the audience knew they were experiencing something extraordinary.
The cast and crew need to know just how great this performance was. A+
Both the leads and the ensemble not only were in the moment, but they "got it." At all times they knew what they were doing and why. Both their acting and singing qualities have raised the bar on musical theatre in general. They knew how to act and react with each other, and they knew how to properly display their emotions and feelings with deep thought and purpose.
Everything about this show was outstanding, and there are just not enough superlatives to describe it accurately. The set was impressive, the music direction and harmonies were mesmerizing, the lighting was stellar, and the choreography was inspiring and a joy to watch. The costumes were colorful and relevant, and the enthusiasm of everyone involved was apparent from the onset.
Truth be told, this reviewer experienced something brand new -- the production started off great and actually became better as the night progressed. By the time Rocio Valles as Mama Noah tore the house down with "Ain't It Good," the audience knew they were experiencing something extraordinary.
The cast and crew need to know just how great this performance was. A+
Thursday, February 09, 2006
Broadway on CD
JERSEY BOYS
The term "Jukebox Musical" may be as tiresome as the genre itself, so in this parade of Mamma Mia wanna-be's, it is refreshing to hear another take on the format. Instead of weaving popular songs into a generic story, Jersey Boys is a biopic of the musical group the Four Seasons. It is an unapologetic look at the backstory that made them and almost broke them.
In the CD, the songs are amazingly fresh and alive, quite an achievement considering many people have been listening to them since the 1960's. Credit is given to the musical direction; the songs are as exciting and enjoyable to listen to as if it were the first time. The talent of the men who make up the Four Seasons is most impressive. It is easy to see by just listening to the soundtrack why this show has become so popular--the story is interesting, and the musical numbers are entertaining.
A
THE WOMAN IN WHITE
Andrew Lloyd Webber's return to Broadway offers the listener a dark, atmospheric tale of mystery and intrigue. The orchestrations are uniquely interesting, and the singing voices are desperately enchanting. Despite a few catchy numbers at the beginnning, however, the melodies begin to melt together. At some point, Webber stops the ebb and flow of music, and every song begins to sound alike. It is almost as if he were content with maintaining both the same melodies and notes.
Fortunately the story flows well enough that this can still offer good listening. The book is a streamlined version of the original novel, and while it may seem melodramatic at some points, the CD still paints a decent picture of the show for the listener.
B-
THE COLOR PURPLE
There is nothing on this CD that is bad; there is just nothing that is great. Except for LaChanze, the singers amble throught their numbers with good voices but not enough power or individuality.
The main issue is that the songs were written too safely. Not only are they too short, but none of them take any risks, something one would expect in a show such as this. Instead of conjuring up images of the Broadway Show, the listener instead finds themself thinking of either the movie or the book. The score is not strong enough to stand on its own. LaChanze as Celie appears to be the only actor to create a character all her own. Otherwise, this Purple lacks too much Color.
C
SWEENEY TODD
We are taught at a young age that if something isn't broken, don't fix it. Don't mess with the masterpiece. So, when Sweeney Purists heard that we are to attend the streamlined tale of Sweeney Todd, there wasn't much enthusiasm. We've gone from a 27-piece orchestra and cast of 30+ to ten actors playing the instruments.
However, the CD just might remove most doubt. Not only are the orchestrations a creepy pleasure to listen to, but this bare bones approach does bring out the horror quite well. Apparantly, the audience is observing people in an insane asylum re-telling the tale rather than watching it be acted out. This comes through in the recording. Patty LuPone & Michael Cerveris as the leading roles are a decadent joy. They have re-captured the esssence of their dark characters and made them their own. Knowing that they are also performing as the band raises the bar to another level.
This may or may not be recommended for those who have never seen an original staged performance, but this Sweeney may be a cut above the rest.
A-
The term "Jukebox Musical" may be as tiresome as the genre itself, so in this parade of Mamma Mia wanna-be's, it is refreshing to hear another take on the format. Instead of weaving popular songs into a generic story, Jersey Boys is a biopic of the musical group the Four Seasons. It is an unapologetic look at the backstory that made them and almost broke them.
In the CD, the songs are amazingly fresh and alive, quite an achievement considering many people have been listening to them since the 1960's. Credit is given to the musical direction; the songs are as exciting and enjoyable to listen to as if it were the first time. The talent of the men who make up the Four Seasons is most impressive. It is easy to see by just listening to the soundtrack why this show has become so popular--the story is interesting, and the musical numbers are entertaining.
A
THE WOMAN IN WHITE
Andrew Lloyd Webber's return to Broadway offers the listener a dark, atmospheric tale of mystery and intrigue. The orchestrations are uniquely interesting, and the singing voices are desperately enchanting. Despite a few catchy numbers at the beginnning, however, the melodies begin to melt together. At some point, Webber stops the ebb and flow of music, and every song begins to sound alike. It is almost as if he were content with maintaining both the same melodies and notes.
Fortunately the story flows well enough that this can still offer good listening. The book is a streamlined version of the original novel, and while it may seem melodramatic at some points, the CD still paints a decent picture of the show for the listener.
B-
THE COLOR PURPLE
There is nothing on this CD that is bad; there is just nothing that is great. Except for LaChanze, the singers amble throught their numbers with good voices but not enough power or individuality.
The main issue is that the songs were written too safely. Not only are they too short, but none of them take any risks, something one would expect in a show such as this. Instead of conjuring up images of the Broadway Show, the listener instead finds themself thinking of either the movie or the book. The score is not strong enough to stand on its own. LaChanze as Celie appears to be the only actor to create a character all her own. Otherwise, this Purple lacks too much Color.
C
SWEENEY TODD
We are taught at a young age that if something isn't broken, don't fix it. Don't mess with the masterpiece. So, when Sweeney Purists heard that we are to attend the streamlined tale of Sweeney Todd, there wasn't much enthusiasm. We've gone from a 27-piece orchestra and cast of 30+ to ten actors playing the instruments.
However, the CD just might remove most doubt. Not only are the orchestrations a creepy pleasure to listen to, but this bare bones approach does bring out the horror quite well. Apparantly, the audience is observing people in an insane asylum re-telling the tale rather than watching it be acted out. This comes through in the recording. Patty LuPone & Michael Cerveris as the leading roles are a decadent joy. They have re-captured the esssence of their dark characters and made them their own. Knowing that they are also performing as the band raises the bar to another level.
This may or may not be recommended for those who have never seen an original staged performance, but this Sweeney may be a cut above the rest.
A-
Wednesday, January 25, 2006
Friday, January 20, 2006
Thursday, January 19, 2006
Oscar Predictions
I believe the following movies will receive Best Picture Nominations.
BROKEBACK MOUNTAIN
WALK THE LINE
GOOD NIGHT, AND GOOD LUCK
MATCH POINT
PRIDE & PREJUDICE
BROKEBACK MOUNTAIN
WALK THE LINE
GOOD NIGHT, AND GOOD LUCK
MATCH POINT
PRIDE & PREJUDICE
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