If the bandwagon ain't comfy, I ain't riding it!
- J.Allen-Forrest
Monday, September 17, 2012
Friday, August 17, 2012
Monday, July 23, 2012
The Sun Comes Out, With Some Clouds!
Dark and Edgy, North Shore Music Theatre’s ANNIE gets the tone right!
Recent productions of ANNIE seem to be directed with layers of adorable schmaltz, but not this one.
And the final result is fantastic.
Thanks to James Brennan’s vision, the traditional heart-tugging moments are now created with credibility because the source is anchored in some place real, rather than forced-upon with cringes and cheek-aching smiles.
Heather Buccini’s impressive Pepper establishes the mood right away with her harsh “shut up!,’ and by time we meet the residents of Hooverville, we know we are experiencing an ANNIE going where most ANNIEs fear to tread – to the dark corner of the room, rather than the sunny spot by the window. The acidic tone is both appropriate and correct, filled with cynicism and negativity.
Instead of the traditional fist-pumping kick-butt of yore, Lauren Weintraub’s Annie’s roots are in sadness and despair. She isn’t the unwritten leader because of her spunk; she’s the leader because she is only one with any hope at all. She clings to what little she has because this is her sole purpose that drives her character. Her “Oh boys” are delivered with periods, rather than exclamation points, suggesting even she has a difficult time believing her own muted optimism.
Even the girls’ exuberant “Never Fully Dressed” has the proper balance of joy and underlining despair.
Raymond Jaramillo McLeod’s Warbucks and his impressive frame have the perfect grounding for the character, and as his layers are revealed we literally see the lonely boy hidden underneath for so long.
John Schiappa and Shann Marie Palmer are so good as Rooster and Lily, we almost believe them as the Mudges.
The remaining ensemble is solid and strong, including Jacquelyn Piro Donovan’s Miss Hannigan as a frazzled, shell-shocked train wreck. There were times, however, when she could have reeled herself in just in bit so we could see more of the desperate woman behind the anger and worthy of our empathy.
Even the color palette of the sets and the lights remain less bright and more nebulous when we enter the mansion to prevent caricature and stereotype, as if to say that hope is there, but we have to continue searching for it. The same is true for the beautiful yet shaded costume design.
Sadly, not much has changed in the “real world” since the original production in 1977, and the Great Depression of the 1930s, but as this production declares, the sun will come out, and it will be Tomorrow, some day. A-
Tuesday, May 01, 2012
Monday, January 30, 2012
Top 10 of 2011
10. TARZAN (North Shore Music Theatre).
Take a dude in a loincloth and some clever re-staging, and (gasp!) tell the story while still focusing on the theatrics (instead of the other way around), and we have a show that is ready to be re-launched!
9. FOOTLOOSE (North Shore Music Theatre)
Once the joke of Broadway is now a defiant statement of standing firm for your beliefs, and the messages came through clearly in this re-tweaked production. The Book has always been solid with its incorporation of the movie's songs that match the new ones perfectly, but PLEASE put "I Confess" back in!
8. THE DROWSY CHAPERONE (Speakeasy Stage Company)
Usually known for smaller shows, Speakeasy launched the larger-than-life Drowsy - flawlessly. Will McGarrahan led the parade as Man In Chair with a performance nothing shy of brilliant. The entire cast and crew worked as one creating an evening both entertaining and poignant; fun and intelligent. Though performed on a small stage, none of the talent, costumes, choreography, or set were compromised.
7.NEXT FALL (Speakeasy Stage Company)
A stellar cast drove this recent Tony Nominee (for Best Play) during which the character(s) you wound up siding with might not have been the character(s) you thought you would. Smooth direction allowed the back-and-forth timeline to perfectly punctuate this provocative piece.
6. LEGALLY BLONDE THE MUSICAL (North Shore Music Theatre)
What a pleasant surprise! This is what happens when one removes most of the glitz and glamour to accommodate an arena space -- the audience receives even more glamour and glitz than when we started. This is due in part to the exuberance of the cast, led by Kelly Felthous as our heroine Elle. Also directed with a darker shade of pink, the show is less of a one-note wonder and more of a multi-level production celebrating self-affirmation. And it was a heck of a lot of fun!
"Have yourselves a super day!"
5. LA CAGE AUX FOLLES (Broadway Across Boston/Shubert Theatre)
Truth be told, I initially did not welcome this pared-down revival when I first heard about it in 2010. After all, a dark La Cage mostly void of its glitter? Dudes dressed as women but still looking like dudes?
After seeing the current tour making an appearance at the Shubert Theatre, I retract all of my negative expectations.
Now set in the 1970s, the production has a harder, edgier feel, making it realistic and relatable. Saving the sparkle dust and bugle beads for the club itself, life outside the club is angry but heartfelt, allowing the important points to be evident. Christopher Sieber's flawed Albin strengthens his ZaZa in a phenomenally powerful and poignant performance. The dancing of Les Cagelles is just sick.
Just like the original, the show reminds us that "the best of times is now," and that it is always "now."
4. MY FAIR LADY (North Shore Music Theatre)
Taking its cues -- and lovely leading lady Lisa O'Hare -- from the recent 50th Anniversary Tour, this production proves that if Eliza is more edgy than frail, she has a stronger performance. Charles Shaughnessy's not-so-smarmy Henry Higgins creates a more credible relationship between the two. Maintaining all of the initial eloquence and charm, this production played to sold out audience to introduce NSMT's stellar second season. Chocolates, anyone?
3. ALFRED HITCHCOCK'S THE 39 STEPS (Theatre By The Sea, RI)
Who needs the National Tour to make a pit stop in New England when TBTS provides this professional, top-notch production of this intelligent, sexy farce with four expert actors who know how to work together to pull off the physical demands of this recent Tony winner? Let's hope this beautiful theatre continues to add straight plays to accompany their excellent musical seasons.
2. NEXT TO NORMAL (National Tour/Providence Performing Arts Center)
Finally. A broadway musical that provides a voice for those who need one. Told with dignity and humor; class and finesse, Alice Ripley's Tony-Award winning performance as a woman suffering from bipolar disorder and depression drives this piece, as powerful as promised.
After all, any musical that uses "psychopharmacologist" in a song and its title deserves the Pulitzer Prize!
Equally as devastating is the portrayal of her husband, desperately trying to convince his wife that he will never give up on her - no matter what.
This intense rock musical informs us that for those who suffer from depression and the like, the pain is theirs, and their pain is real.
However, when they feel like "the house is spinning," there is comfort in knowing that there is at least one person out there willing to make it stop - or at least try.
1. THE KING AND I (North Shore Music Theatre)
Taking on the majesty of this show is no easy task, but to create a production so beautiful it makes the audience weep is quite the accomplishment - and that's just during the opening number!
Congratulations to Lorenzo Lamas for his smart and sexy, human and humorous King of Siam. Kate Fisher's sensitive and sensible Anna make them the perfect couple.
Everything and everyone involved in this show are top-notch and professional - the supporting cast, the children, the costumes (hello!), the sets, lights, sound, orchestration, choreography, and of course, the direction. The audience feels like they are with them every step of the way instead of casual observers. Even if the best of productions, some sections might suffer in an arena setting, but careful attention is given so everyone has a great view.
Hats off as well to Bill Hanney and the staff at NSMT for reviving the theatre so that the entire season is in the Top Ten.
Yes, we shall dance!
Take a dude in a loincloth and some clever re-staging, and (gasp!) tell the story while still focusing on the theatrics (instead of the other way around), and we have a show that is ready to be re-launched!
9. FOOTLOOSE (North Shore Music Theatre)
Once the joke of Broadway is now a defiant statement of standing firm for your beliefs, and the messages came through clearly in this re-tweaked production. The Book has always been solid with its incorporation of the movie's songs that match the new ones perfectly, but PLEASE put "I Confess" back in!
8. THE DROWSY CHAPERONE (Speakeasy Stage Company)
Usually known for smaller shows, Speakeasy launched the larger-than-life Drowsy - flawlessly. Will McGarrahan led the parade as Man In Chair with a performance nothing shy of brilliant. The entire cast and crew worked as one creating an evening both entertaining and poignant; fun and intelligent. Though performed on a small stage, none of the talent, costumes, choreography, or set were compromised.
7.NEXT FALL (Speakeasy Stage Company)
A stellar cast drove this recent Tony Nominee (for Best Play) during which the character(s) you wound up siding with might not have been the character(s) you thought you would. Smooth direction allowed the back-and-forth timeline to perfectly punctuate this provocative piece.
6. LEGALLY BLONDE THE MUSICAL (North Shore Music Theatre)
What a pleasant surprise! This is what happens when one removes most of the glitz and glamour to accommodate an arena space -- the audience receives even more glamour and glitz than when we started. This is due in part to the exuberance of the cast, led by Kelly Felthous as our heroine Elle. Also directed with a darker shade of pink, the show is less of a one-note wonder and more of a multi-level production celebrating self-affirmation. And it was a heck of a lot of fun!
"Have yourselves a super day!"
5. LA CAGE AUX FOLLES (Broadway Across Boston/Shubert Theatre)
Truth be told, I initially did not welcome this pared-down revival when I first heard about it in 2010. After all, a dark La Cage mostly void of its glitter? Dudes dressed as women but still looking like dudes?
After seeing the current tour making an appearance at the Shubert Theatre, I retract all of my negative expectations.
Now set in the 1970s, the production has a harder, edgier feel, making it realistic and relatable. Saving the sparkle dust and bugle beads for the club itself, life outside the club is angry but heartfelt, allowing the important points to be evident. Christopher Sieber's flawed Albin strengthens his ZaZa in a phenomenally powerful and poignant performance. The dancing of Les Cagelles is just sick.
Just like the original, the show reminds us that "the best of times is now," and that it is always "now."
4. MY FAIR LADY (North Shore Music Theatre)
Taking its cues -- and lovely leading lady Lisa O'Hare -- from the recent 50th Anniversary Tour, this production proves that if Eliza is more edgy than frail, she has a stronger performance. Charles Shaughnessy's not-so-smarmy Henry Higgins creates a more credible relationship between the two. Maintaining all of the initial eloquence and charm, this production played to sold out audience to introduce NSMT's stellar second season. Chocolates, anyone?
3. ALFRED HITCHCOCK'S THE 39 STEPS (Theatre By The Sea, RI)
Who needs the National Tour to make a pit stop in New England when TBTS provides this professional, top-notch production of this intelligent, sexy farce with four expert actors who know how to work together to pull off the physical demands of this recent Tony winner? Let's hope this beautiful theatre continues to add straight plays to accompany their excellent musical seasons.
2. NEXT TO NORMAL (National Tour/Providence Performing Arts Center)
Finally. A broadway musical that provides a voice for those who need one. Told with dignity and humor; class and finesse, Alice Ripley's Tony-Award winning performance as a woman suffering from bipolar disorder and depression drives this piece, as powerful as promised.
After all, any musical that uses "psychopharmacologist" in a song and its title deserves the Pulitzer Prize!
Equally as devastating is the portrayal of her husband, desperately trying to convince his wife that he will never give up on her - no matter what.
This intense rock musical informs us that for those who suffer from depression and the like, the pain is theirs, and their pain is real.
However, when they feel like "the house is spinning," there is comfort in knowing that there is at least one person out there willing to make it stop - or at least try.
1. THE KING AND I (North Shore Music Theatre)
Taking on the majesty of this show is no easy task, but to create a production so beautiful it makes the audience weep is quite the accomplishment - and that's just during the opening number!
Congratulations to Lorenzo Lamas for his smart and sexy, human and humorous King of Siam. Kate Fisher's sensitive and sensible Anna make them the perfect couple.
Everything and everyone involved in this show are top-notch and professional - the supporting cast, the children, the costumes (hello!), the sets, lights, sound, orchestration, choreography, and of course, the direction. The audience feels like they are with them every step of the way instead of casual observers. Even if the best of productions, some sections might suffer in an arena setting, but careful attention is given so everyone has a great view.
Hats off as well to Bill Hanney and the staff at NSMT for reviving the theatre so that the entire season is in the Top Ten.
Yes, we shall dance!
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