Wednesday, November 07, 2007
Random Thought 50
You will not be happy with what you will receive unless you are happy with what you now have.
Tuesday, October 30, 2007
Broadway on CD
IN THE HEIGHTS
Lin-Manuel Miranda is not only both a friendly & powerful storyteller, but he knows how to write music and lyrics that are contemporary & urban and relevant & powerful. He instantly invites us in to the rich, lush spirit of the community which is perfectly captured here with its sexy hip-hop and Latin influences. In addition to Lin-Manuel, standout performances include Robin De Jesus, Mandy Gonzalez, Karen Olivio, Carlos Gomez, and (of course) Olga Merediz as the neighborhood's Matriarch. The arc of the stories are clear and the overall arc is
deep and moving. A+
XANADU
The season's big surprise hit is accredited to Book writer Douglas Carter Beane, who not only had a ball creating the script, but allows us in on the fun and never leaves us out. Beane takes the material just seriously enough to establish credibility while teetering on the sublime but never going over the top.
As far as the CD is concerned, credit is given to Music Director Eric Stern who has known all along that the strength of the material lies in the songs. Though the orchestra is stripped to about five musicians, and the cast exists of twelve performers, listeners are not void of talent or quality.
Kerry Butler is adorable as Kira, the muse who comes to rescue Sonny, portrayed to perfection by Cheyenne Jackson. This Broadway stud proves that he can not only sing, dance, and act, but can rollerskate as well! Tony Roberts adds sweet affection to "Whenever You're Away From Me," as Danny and is quite enjoyable when playing Zeus.
The Muses justify an argument for a Tony category for Best Ensemble, buy it's Mary Testa & Jackie Hoffman who stop the show with their hilarious rendition of "Evil Woman."
The place where "nobody dared to go" is now the place where everyone is going! A
YOUNG FRANKENSTEIN
Mel Brooks has devoted much time and attention to his lyrics and music to make sure that we have the best possible time that we can, and this is clear on the CD. What is not clear, however, is a sense of time and place. As impressive as this score sounds, at no point does it offer the listener the comedic gloom that is the set-up.
The first big and surprising disappointment is Roger Bart as Dr. Frankenstein who never establishes a cohesive character. Sutton Foster, known for blowing the ceiling off a theatre with a whisper, barely musters much of anything as Inga. She is shockingly subdued and bland.
Faring better are Megan Mulally & Andrea Martin who both have created interesting characters and maintain humorous vocal qualities throughout. Shuler Hensley is surprisingly unfunny as he mumbles his way through Act Two's "Puttin' On The Ritz," but by the sounds of it, Susan Stroman has just secured another nomination for choreography.
Perhaps this show is better seen than heard. Well, that remains to be seen. C-
GREASE
Aside from having cheap, carnival-flavored orchestrations, this latest
revival lacks both identity and character. Max Crumm makes an affable
Danny, but Laura Osnes offers him nothing to work with except a shrill
soprano. The bass line in "Greased Lightning" is imprssive; "Freddy, My
Love" is nice, but the fun stops there. The ensemble sounds like the most
bored group of teenagers in history. "American Idol" did not exist in the
1950s, so it is puzzling why everyone is holding onto their notes as if
their lives depended on it, especially in bleak "Those Magic Changes" and
the horrible "Mooning." Nothing on this soundtrack remotely resembles the
sound of the decade, and it is a shame because Kathleen Marshall is better
than this. But, good for them because at $75 for the cheap seats, much
money will be made on this unfortunate revival. D.
THE LITTLE MERMAID
While quality, original productions like In The Heights and Passing Strange struggle to find their voices on Broadway, the Disney Machine continues to pump out recycled versions of already successful, enjoyable cartoons. The latest to take the plunge is Mermaid, which had the promises of being a good Broadway musical - once upon a time.
But, alas, me maties, alas.
First of all, Tritan and Ursala should not be written as brother and sister. Ick.
Second of all, ten new songs written for the stage is nice, but - 1. none of the songs further the story, and 2. none of the new songs blend in with the existing ones.
Also, does EVERYONE need to have a song? The only one spared a tune of his own is poor Flounder, and as humorous as Scuttle is, "Human Stuff" and "Positoovity" make the action ebb rather than flow. The Mersisters' 50s-flavored "She's In Love" sounds like a Grease drop-out, and "Sweet Child" by Flotsam & Jetsam is sour.
King Triton comes across as more evil than care-giving, but let's talk about Ursala. Sherie Renee Scott is terribly talented but terribly miscast as Ursala. She would have fared better as an Ariel. Her opening number "I Want the Good the Times Back" is less villianous and more vaudeville, and "Poor Unfortunate Souls" lacks all the delicious menacing flavor it should have.
Sebastian is void of the rugged characterizations associated with the part, and Prince Eric sings the obligatory handsome-leading-man-torch song with a gorgeous voice. However, it might have been more interesting had he been offered an other verse of "Part of Your World" to provide an ironic touch.
To be fair, Sierra Boggess make a delightful Ariel, and her hopeful poignancy makes "Part of Your World" worthy of a Tony nomination. Okay, so she gives up her voice, but it's a shame that the title character of a musical swims on 2 full songs
out of 29.
So, The Little Mermaid, tanks, drowns, plunges, and ebbs. Let's sit back and wait for Enchanted-The Musical. D-.
SUNDAY IN THE PARK WITH GEORGE
There is really not much to say here, except that Daniel Evans is a wonderful George and Jenna Russell is a terrific Dot. The chemistry between them is impressive, and the orchestrations are excellent.
The process of combining chaos and control while creating art comes through loud and clear. This is an enjoyable listening of an intelligent revival. A
Lin-Manuel Miranda is not only both a friendly & powerful storyteller, but he knows how to write music and lyrics that are contemporary & urban and relevant & powerful. He instantly invites us in to the rich, lush spirit of the community which is perfectly captured here with its sexy hip-hop and Latin influences. In addition to Lin-Manuel, standout performances include Robin De Jesus, Mandy Gonzalez, Karen Olivio, Carlos Gomez, and (of course) Olga Merediz as the neighborhood's Matriarch. The arc of the stories are clear and the overall arc is
deep and moving. A+
XANADU
The season's big surprise hit is accredited to Book writer Douglas Carter Beane, who not only had a ball creating the script, but allows us in on the fun and never leaves us out. Beane takes the material just seriously enough to establish credibility while teetering on the sublime but never going over the top.
As far as the CD is concerned, credit is given to Music Director Eric Stern who has known all along that the strength of the material lies in the songs. Though the orchestra is stripped to about five musicians, and the cast exists of twelve performers, listeners are not void of talent or quality.
Kerry Butler is adorable as Kira, the muse who comes to rescue Sonny, portrayed to perfection by Cheyenne Jackson. This Broadway stud proves that he can not only sing, dance, and act, but can rollerskate as well! Tony Roberts adds sweet affection to "Whenever You're Away From Me," as Danny and is quite enjoyable when playing Zeus.
The Muses justify an argument for a Tony category for Best Ensemble, buy it's Mary Testa & Jackie Hoffman who stop the show with their hilarious rendition of "Evil Woman."
The place where "nobody dared to go" is now the place where everyone is going! A
YOUNG FRANKENSTEIN
Mel Brooks has devoted much time and attention to his lyrics and music to make sure that we have the best possible time that we can, and this is clear on the CD. What is not clear, however, is a sense of time and place. As impressive as this score sounds, at no point does it offer the listener the comedic gloom that is the set-up.
The first big and surprising disappointment is Roger Bart as Dr. Frankenstein who never establishes a cohesive character. Sutton Foster, known for blowing the ceiling off a theatre with a whisper, barely musters much of anything as Inga. She is shockingly subdued and bland.
Faring better are Megan Mulally & Andrea Martin who both have created interesting characters and maintain humorous vocal qualities throughout. Shuler Hensley is surprisingly unfunny as he mumbles his way through Act Two's "Puttin' On The Ritz," but by the sounds of it, Susan Stroman has just secured another nomination for choreography.
Perhaps this show is better seen than heard. Well, that remains to be seen. C-
GREASE
Aside from having cheap, carnival-flavored orchestrations, this latest
revival lacks both identity and character. Max Crumm makes an affable
Danny, but Laura Osnes offers him nothing to work with except a shrill
soprano. The bass line in "Greased Lightning" is imprssive; "Freddy, My
Love" is nice, but the fun stops there. The ensemble sounds like the most
bored group of teenagers in history. "American Idol" did not exist in the
1950s, so it is puzzling why everyone is holding onto their notes as if
their lives depended on it, especially in bleak "Those Magic Changes" and
the horrible "Mooning." Nothing on this soundtrack remotely resembles the
sound of the decade, and it is a shame because Kathleen Marshall is better
than this. But, good for them because at $75 for the cheap seats, much
money will be made on this unfortunate revival. D.
THE LITTLE MERMAID
While quality, original productions like In The Heights and Passing Strange struggle to find their voices on Broadway, the Disney Machine continues to pump out recycled versions of already successful, enjoyable cartoons. The latest to take the plunge is Mermaid, which had the promises of being a good Broadway musical - once upon a time.
But, alas, me maties, alas.
First of all, Tritan and Ursala should not be written as brother and sister. Ick.
Second of all, ten new songs written for the stage is nice, but - 1. none of the songs further the story, and 2. none of the new songs blend in with the existing ones.
Also, does EVERYONE need to have a song? The only one spared a tune of his own is poor Flounder, and as humorous as Scuttle is, "Human Stuff" and "Positoovity" make the action ebb rather than flow. The Mersisters' 50s-flavored "She's In Love" sounds like a Grease drop-out, and "Sweet Child" by Flotsam & Jetsam is sour.
King Triton comes across as more evil than care-giving, but let's talk about Ursala. Sherie Renee Scott is terribly talented but terribly miscast as Ursala. She would have fared better as an Ariel. Her opening number "I Want the Good the Times Back" is less villianous and more vaudeville, and "Poor Unfortunate Souls" lacks all the delicious menacing flavor it should have.
Sebastian is void of the rugged characterizations associated with the part, and Prince Eric sings the obligatory handsome-leading-man-torch song with a gorgeous voice. However, it might have been more interesting had he been offered an other verse of "Part of Your World" to provide an ironic touch.
To be fair, Sierra Boggess make a delightful Ariel, and her hopeful poignancy makes "Part of Your World" worthy of a Tony nomination. Okay, so she gives up her voice, but it's a shame that the title character of a musical swims on 2 full songs
out of 29.
So, The Little Mermaid, tanks, drowns, plunges, and ebbs. Let's sit back and wait for Enchanted-The Musical. D-.
SUNDAY IN THE PARK WITH GEORGE
There is really not much to say here, except that Daniel Evans is a wonderful George and Jenna Russell is a terrific Dot. The chemistry between them is impressive, and the orchestrations are excellent.
The process of combining chaos and control while creating art comes through loud and clear. This is an enjoyable listening of an intelligent revival. A
Monday, August 27, 2007
Three Musketeers Keep You En Guarde!
What a pleasure it was to experience the most recent musical at North Shore Music Theatre. The New England premiere of The Three Musketeers is a nice throwback to the epic musical. It may remind one of Les Miserables with respect to its vision and physicality.
From the very beginning, the audience knows that this is a contemporary version of the classic tale but is authentic and true to the original story. While the original, complex text is streamlined for a modern musical, it never feels insulting or simplified, which may be the ultimate irony. While this production is quite enjoyable, it doesn't quite fit in with what is "hot" right now, so Broadway might have to wait. It will be worth it.
The first of two technical aspects of note are the costumes which are as exquistive as they are authentic. One might find themselves taking in the beauty of these original masterpieces before realizing a show is going. The other is the lighting. Very rarely can specific time of day be captured, but the staff has taken full advantage of this small space to offer the audience a most realistic sense of time and space.
D'Artagnan is handsome and in the moment, and we get a good sense of his personal story arc and growth. The Musketeers have terrific chemistry among each other, and their vocal harmonies alone are a reason to see the show. Milady stands out as with her outstanding voice and character. Even when her mic failed on her, we could not tell!
The Three Musketeers proves that chilvalry is alive and well! A-.
From the very beginning, the audience knows that this is a contemporary version of the classic tale but is authentic and true to the original story. While the original, complex text is streamlined for a modern musical, it never feels insulting or simplified, which may be the ultimate irony. While this production is quite enjoyable, it doesn't quite fit in with what is "hot" right now, so Broadway might have to wait. It will be worth it.
The first of two technical aspects of note are the costumes which are as exquistive as they are authentic. One might find themselves taking in the beauty of these original masterpieces before realizing a show is going. The other is the lighting. Very rarely can specific time of day be captured, but the staff has taken full advantage of this small space to offer the audience a most realistic sense of time and space.
D'Artagnan is handsome and in the moment, and we get a good sense of his personal story arc and growth. The Musketeers have terrific chemistry among each other, and their vocal harmonies alone are a reason to see the show. Milady stands out as with her outstanding voice and character. Even when her mic failed on her, we could not tell!
The Three Musketeers proves that chilvalry is alive and well! A-.
Monday, July 09, 2007
High School Musical Is A Bad Transfer!
Some students transfer well from one high school to another.
Some do not.
Some movies transfer well from film to stage.
Some do not.
High School Musical (HSM) at the North Shore Music Theatre is the most horrible transfer yet, arguably the worst musical in history. The Book is about as exciting as Homeroom on a Monday morning offering no interesting characters or plot structure. The Score is as inspiring and exciting as Detention. For a musical with the word "musical" in the tile, there are barely any songs, but one can hardly tell because they are so lifeless, and they drift in and out of the inane dialogue before anyone notices.
To be fair, this pundit has not been in high school since 1985, but one can recognize good material from bad. HSM is an insult to Princesses, Brains, Basket Cases, Criminals, and Jocks everywhere, creating one obnoxious, offense stereotype after another. How gross is it that brother and sister are going for the leads in "Juliet & Romeo?" Ick.
Director/Choreographer Barry Ivan made no attempt at providing any life to this disasterpiece, as evidenced by the unenthusiastic and young sold-out crowd. Even the presumably talented cast barely mustered the energy to go throught the motions. Cast and crowd alike were bored.
This pundit did not return to witness Act II. Nothing he did was so bad that he deserved to be punished like that. Maybe the second half was a bit better; it could not possibly be worse.
Let's hope High School Musical drops out of the musical scene before it causes any more damage. F
Some do not.
Some movies transfer well from film to stage.
Some do not.
High School Musical (HSM) at the North Shore Music Theatre is the most horrible transfer yet, arguably the worst musical in history. The Book is about as exciting as Homeroom on a Monday morning offering no interesting characters or plot structure. The Score is as inspiring and exciting as Detention. For a musical with the word "musical" in the tile, there are barely any songs, but one can hardly tell because they are so lifeless, and they drift in and out of the inane dialogue before anyone notices.
To be fair, this pundit has not been in high school since 1985, but one can recognize good material from bad. HSM is an insult to Princesses, Brains, Basket Cases, Criminals, and Jocks everywhere, creating one obnoxious, offense stereotype after another. How gross is it that brother and sister are going for the leads in "Juliet & Romeo?" Ick.
Director/Choreographer Barry Ivan made no attempt at providing any life to this disasterpiece, as evidenced by the unenthusiastic and young sold-out crowd. Even the presumably talented cast barely mustered the energy to go throught the motions. Cast and crowd alike were bored.
This pundit did not return to witness Act II. Nothing he did was so bad that he deserved to be punished like that. Maybe the second half was a bit better; it could not possibly be worse.
Let's hope High School Musical drops out of the musical scene before it causes any more damage. F
Wednesday, April 18, 2007
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