A Dirty Rotten Good Time!!

What a difference new house and a new director make! North Shore Music
Theatre's current production of DIRTY ROTTEN SCOUNDRELS breathes new life
into a book that during the national tour appeared bland and
underwhelming. To be unfair, the score by David Yazbek resembled a
watered-down of his previous THE FULL MONTY. To be fair, the DRS tunes
sounded both professional and efficient at best.

Under the attentive direction of Mark Martino, both the story and humor
spring to vibrant life, and musical director Steven Freeman makes the
songs catchy and full of wit and wisdom.

Thanks, of course, also have to go to the outstanding leads Brent Barrett,
D.B. Bonds, and Brynn O'Malley, who play so well off each other one would
swear they'd been performing this production for years.

The same can be said for the featured roles performed by Jennifer Cody,
Lynne Winterstellar, and John Scherer, who are not only hilarious in their
own rights, but because they are clearly having a great time, the audience
is right there with them.

Not to be overlooked is Denis Jones's vivid and sharp choreography, and the ensemble is
a pure joy to experience.

The entire cast and crew know how give us what we want, and that's a
fun-filled afternoon or evening at a theatre who deserves future
productions such as this one.

GRADE - A.

JOSEPH @ NSMT

JOSEPH has always been more of a crowd-pleaser and less of a critic's darling, and this entertaining - if not slightly off-balanced - production could prove to be more of the same.

Arguably, the show has always belonged to the Brothers, but few directors acknowledge this. The exception is Jayme McDaniel, who is no stranger to the material. The production comes to vibrant life whenever his solid, strong unit is on stage either as siblings or as members of the ensemble. Their energy is infectious as they are provided dance breaks which feel fun instead of forced. Individual numbers "One More Angel," "Those Canaan Days," and "Benjamin Calypso" are genuinely entertaining.

Anthony Federov is a good-looking Joseph with a powerful voice, and he fares better when he is not over-pronouncing everything. The same can be said for Jennifer Paz, the gorgeous Narrator with a refreshing persona. Her delivery could be softened in some areas to be more effective.

According to his bio, McDaniel has staged the show before, and in some areas it seems that he has merely transplanted his previous production to this stage and forgot to transfer it to an arena setting. An example is when Joseph meets the Pharaoh, and there are men and women lined up on either side. The "let's face this side of the theatre now" approach during the dance is obvious.

The production is at its best when it strays from literal interpretation as when the Brothers sing "The dreams of our dear brother are..." ala "Cool" from WEST SIDE STORY. The Narrator is thoroughly enjoying her cocktail provided for her during the calypso number. However, seeing the Pharaoh portrayed as "The King" and watching a 1960s send-up of "Go, Go, Go Joseph" remind the audience just how stale and dated the show is.

Still, if you are looking for carefree family fare (except for the girls' costumes during "Potiphar") this JOSEPH will certainly do. B-

Random Though 59

Even the straw that broke the camel's back is just a straw. - J.Marlowe

Random Thought 58

I love life in the fast lane, but now it's time to look for the rest area!

GIN & IT

Review coming soon of GIN & IT playing at the Performance Space 122 in New York!

It is a performance piece about the Alfred Hitchcock movie ROPE.

It's hard to describe but awesome to watch.

Catch it now--you will NOT be disappointed!

BROADWAY ON CD

Coming soon!!

Reviews for

FINIAN'S RAINBOW

MEMPHIS

A LITTLE NIGHT MUSIC

AMERICAN IDIOT

BROADWAY ON CD

GLORY DAYS
music and lyrics by Nick Blaemire
book by James Gardiner
Ghostlight Records


So much can happen in one night.

Such is the concept behind GLORY DAYS, which debuted and closed in one night in 2008. Listening to the CD, it is easy to appreciate why the producers were excited about launching the production on the Great White Way - the musical is the perfect antidote to the exhausting parade of both movies-turned-musicals and over-the-top visual extravaganzas.

Unfortunately, it is also easy to understand how a cavernous theatre could swallow the intimate production, portrayed with refreshing reality by its four actors - Steven Booth, Andrew C. Hall, Adam Halpin, and Jesse JP Johnson.

The score - penned with heartbreaking honesty by Nick Blaemire - introduces us to four best buddies who reunite after their freshman year in college. We hear them struggle as they resist or accept change and face maturating and accepting life as it is and not how they wish it to be.

Fortunately, this slice-of-life avoids stilted and forced dialogue as many musicals before it have suffered; the friends' verbal exchanges are credible and accessible.

Hopefully, this charming musical will be re-discovered so it can enjoy more than one night of glory. B

Random Thought 57

I can't change people, and I can't change that.

Random Thought 56

Today is all we can deal with.

Light Shines on This Grey Garden!

GREY GARDENS @ The Lyric Stage, Boston MA

Director Spiro Veloudos has proven again how much can be accomplished in such an intimate space. He provided an up-close and personal look into the lives of Big & Little Edie while showing us how vast and empty their estate and lives were. Leigh Barrett was outstanding in the challenging leading roles, and the rest of the cast kept up with her. The production flowed effortlessly with grace and ease. It was humorous and tragic but never became corny or trite. A marvelous production of an extraordinary musical.

Grade: A

JERRY SPRINGER: THE OPERA

During Act One of JERRY SPRINGER: THE OPERA, this pundit recalled Carol
Burnett talking about the "Mama's Family" skits from her
variety show. She has admitted that not one joke was written into any of
their sketches. For the most part, the same can be said for Speakeasy's
most bold and daring production to date. It truly is one of the most
over-the-top and hilarious shows one could ever see, but not as uproarious
as one might expect...thankfully.

Expert director Paul Daigneault has always been capable of discovering the
moments within the larger moment, and he makes no exception here. With
assistance from a stellar book and score, he paces the show with proper
ebb and flow so the audience is not bombarded with intense mania.

Yes, the audience erupts into manic laughter, but not at what the "guests"
are saying, but in the juxtaposition of it all: the highest form of art
showcasing the lowest form of entertainment. There is much humor in
hearing gorgeous, classically-trained singers shooting out naughty
language.

However, it is not long before Daigneault unveils the point of the entire show. Underneath the damaged goods lie an abundance of yearning and longing. What television has exposed as "trailer trash" and "losers," JERRY SPRINGER: THE OPERA reveals as humans and everyday-people searching for a place in life. And, if they find love or
self-love along the way, that's a bonus. This is apparent in the numbers
"I Wanna Sing Something Beautiful" and "I Just Wanna Dance" performed with
heart-breaking reality by Kerry A. Dowling and Joelle Lurie, respectively.
Ariana Valdes anchors the first act in a performance both tragic and funny
as Baby Jane.

To their credits, the entire ensemble is outstanding and bring to their parts their own vulnerabilities.

Yes, it is Act Two that has many people worked up into a lather, and
possibly rightfully so due to Religious references. This show is not intended for those who are easily offended or hyper-sensitive (but I went away). However, Timothy John Smith, arguably the show's strongest performer, allows us in, and we all learn a
little bit more about ourselves and each other than we had expected.


Grade: A

Random Thought 55

I don't have issues; I'm just multi-layered!

Random Thought 54

Sometimes its DOES have to be this hard!

Random Thought 53

Water is stronger than flames.

Dirty Duncing

The current tour of “Dirty Dancing: The Classic Story On Stage,” or what not to do when re-creating one medium to another.

There is a difference between a “transfer” and a “transplant.” The former is when a piece of art is adapted from movie to stage, and there is some effort involved. What works in a movie does not necessarily work on stage. This is Basic Theatre 101.

The latter is when the movie is literally dumped onto a stage. Virtually word for word. Step by agonizing step. And it does not work.

Eleanor Bergstein wrote a very good script for the movie with several lines both iconic and significant, and, no, the one about putting Baby in a corner does not top the list.

Baby’s introduction “…it never occurred me to mind” spoke volumes in the movie, but on stage, Amanda Leigh Cobb (Baby) sounded like she was introducing herself at the beginning of “A Chorus Line.” “My name is Baby, and I was born in…” She was also defending herself against the relentless, vociferous music with its hammering bass line. She fared well as an actress, but was not directed to fully complete her transformation. Merely applying make-up and dressing differently do not equate finding oneself and commencing the growing-up process.

With Josef Brown as Johnny, we went from the ruggedness of Patrick Swayze to Brown’s pretty-boy musculature. Not necessarily an insult since he is a good dancer, but it would have been more satisfying to see him perform original choreography rather than mirroring that of the film’s. And if the actor hails from Australia, fine. Let Johnny originate from Australia. That would have been more acceptable than listening to a dude raised on the streets of New York but sports an Aussie accent, Mate.

Brita Lazenga as Penny was one heck of a dancer with rubber bones and legs that extended to the ceiling, and her material at least allowed her to execute some dramatic texture, but, alas, she was underutilized in Act Two.

The more frosting, the less there is cake. The complicated and complex set obviously masked the fact that the material was below standards. Just because someone was on a bridge in the movie does not mean we needed to see the tautological movements of the hydraulics, which were less exciting and more exhausting. Projected images were an insult to the audience: we got it. They were at a camp. We didn’t need to see movies of cabins and the lake. As if the projected images of the dancers (while they were dancing) were not distracting enough, it did not help that ten couples performed ten different dances, so the audience had no idea where to look. Even Baby and Johnny withdrew into the discombobulating mess. For the record, the dancers were quite good, or at least they appeared to be.

The final confrontation between Baby and her father lacked immediacy and urgency because instead of arguing at the table, Dr. H. needed to go to his chair, as in the movie. He and the chair rotated on the turntable. And Baby followed him. And she ambled on the turntable. By the time they argued, we forgot why.

All this for a chair.

The projected images of the water behind him were completely distracting and not required.

And the log needed to descend from Stage Right. Completely and languidly. And finally Baby and Johnny arrived. It would have been more fluid had the log entered on one side, while the actors entered on the other. This is called a Transition. A Transition is a change from one scene to the next, and this production suffered agonizingly sluggish ones.

Lisa’s comical Hawaiian song was cute in the movie because we caught the second half of it and were spared the first half. In this production, she dragged out the entire unfunny song. We were embarrassed for her.

The projected images of the field and water while Baby was learning the lift were unattractive.

Even the climactic blink-and-you’ll-miss-it lift was, well, anticlimactic. This was due to the fact that the paint-by-numbers finale was unnecessarily laborious.

The production clocked in at just about three hours, and this pundit felt and heard every second.

22 years ago, the phrase “Dirty Dancing” was impressively metaphoric for both Baby’s maturation process and one’s exploration of the forbidden. Both concepts were defenestrated last night. And defenestrated quite well. The only thing dirty about last night’s performance was the fact that a buck was spent to make a buck, and the producers are expecting audiences to spend $150 to applaud familiarity.

Grade: D-

Random Thought 52

Do NOT invite yourself to your problems!

Random Thought 51

There are two types of people...

1: those who want to do everything

2: those who think they have to do everything.

NSMT MAKES CONTACT -- ALMOST

Welcome to the abstract, surreal world of CONTACT, originally done by Susan Stroman. Director/Choreographer Tome Cousin does a great job of re-creating and re-staging Stroman's choreography; the ensemble is a pleasure to watch.

Part 1 was effective and fun with the sexy servant, fun-loving Girl-On-Swing, and silly Aristocrat. Kudos to them for putting a swing on the NSMT stage, and kudos to Sean Ewing for his impressive acrobatics.

Part 2 was saved by Sally Mae Dunn as "wife" whose acting and dancing abilities effectively carried the act. Unfortunately, Cousin decided to focus on finding some humor in the situation to lighten the mood. The scene would have been stronger if he had focused on the dramatic texture and emotional devastion it had required. No one should laugh during that scene. But the dancing was fantastic.

Part 3 fared better thanks to handsome Jarrod Emick whose emotional arc reached everyone in the audience. Cousin did some nice effects with movement and lighting. Examples include the "Walk/Don't Walk" and "Simply Irresistable" segments. If he could have brought the scene to a stronger emotional level, the sharp, snappy dancing would have created more of an impact.
With her sick extensions, Naomi Hubert as Girl In The Yellow Dress was nothing shy of phenomenal.

Yes, go see CONTACT for the dancing and the emotions it evokes. ALL of the characters were attempting to make contact with someone, and this musical is a reminder that throughout the ages we are all reaching out to someone, and this is what good theatre should do.

Grade: B

Not Quite Springtime for Hitler

First-time director was last seen @ NSMT's disastrous production of
CABARET, and he clearly learned nothing. Rule #1 in an arena theatre --
please address all patrons. Although we were located in Section B seeing
the sides of everyone, my heart went out to our fellow audience members
who were forced to see everyone's backsides for over two laborious hours.
This was an ambitious project with a daunting legacy for him to tackle,
and it should have been handed over to someone more experienced.

Max was amiable enough but lacked the intensity to sustain this character.
By the middle of Act Two, it was clear that he had run out of steam. Leo
fared better, maintaining a solid and consistent character throughout.

Ulla had a good character and a nice singing voice but lacked oompf. When
she announced that she would "belt," she needed to do so.

Franz, Robert, and Carmen were a joy to watch and made "Keep it Gay"
everything it should be.
As a matter of fact, Franz was arguably the best part of the production.

And, yes, those cartoonish lockers were ugly and blocked everyone's view
in Section D. There are other ways to create the illusion of chorus girls
popping out of them. The joke about the unattractive girl was thrown away.

The color choices for the office were hideous, and one wondered why Ulla
didn't paint it all white as is scripted.

The costumes were sufficient but unoriginal.

Kudos to the old ladies who brought life and enthusiasm to "Along Came
Bialy." That number looked and worked nicely.

The biggest disappointment of the evening was, sadly, "Springtime for
Hitler." Although everyone made the most of a tiny stage and addressed
everyone in Section F and ignored everyone else, the number overall felt
tired and underwhelming. The climactic swastika looked more like a plus
sign, and without acknowledgement to the audience what this was supposed
to look like, that image was missed. The Tenor had trouble keeping up with
the song, and his voice disappeared several times.

Overall, there were some elements that made the evening enjoyable, but it
seemed amateurish and not up to the level this musical requires. C-

Random Thought 50

You will not be happy with what you will receive unless you are happy with what you now have.

Random Thought 49

Don't do anything; then you won't have to worry about anything!

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

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-.

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

Random Thought 48

Erase your blackboard!

Top 10 Musicals of 2006

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.

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.

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-.

Happy National Novel Writing Month!

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)

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-.

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-.

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

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!!

Who Knew That Signing the Declaration of Independence Could Be So Much Fun?

Go see the Lyrics Stage's production of 1776! A

The Pillowman Is Nightmarish Fun!

Go see NewRep's production of The Pillowman! A

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-.

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!!

Random Thought 47

There's a full moon.

That explains a few things.

Random Thought 46

The beach is beautiful anytime of the day, anytime of the year.

Random Thought 45

I have better things to worry about than people who need something better worry about.

Random Thought 44

Nothing can prepare you for the first day of school.

Pluto Lives!

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.

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-

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!"

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+

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

Random Thought 42

Stop interrupting my job by making me work!

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+

Random Thought 40

If it's in, we're in it! - Us

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+

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

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

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

Tony Alert!

05/16 -- Tony Nominations Announced!

Random Thought 39

"Before" is not "Now."

Random Thought 38

Better bored than tortured.

Random Thought 37

Better a chamleon than a conformist.

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!

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.

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!

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+

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-

Random Thought 36

Orientation is always disorienting.

Random Thought 35

Sometimes life is sweeter the second time around.

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

Random Thought 34

Fashion Before Comfort!

Random Thought 33

If you can't do, don't do it!

Random Thought 32

Shut up, and do it!

Random Thought 31

If you want a straight answer, ask a gay man.

Random Thought 29

It's good to find comfort with one's discomforts.

Random Thought 30

It's good to be secure with one's insecurities.

Random Thought 28

What I lack in self-esteem, I make up in self-respect.

Random Thought 27

I make no promises.

Random Thought 26

Writing a book is a novel idea.

Random Thought 25

Something has to be "good" before it can be "better."

Random Thought 24

Sometimes good enough isn't good enough.

Random Thought 23

If you got it--flaunt it!
If you don't--fake it!

Random Thought 22

This is the human race....lower your standards.

Random Thought 20

I want it all, and I want it all now, and I'm not gonna stop until I get it all!

Then one I have it all, I'm gonna get some more!

Random Thought 21

A half-relationship is a good start.

Random Thought 19

If you're gonna do, overdo it! - Al Ragone

Random Thought 18

I am now as old as you was! - Karen Hinds

Random Thought 17

If you don't make a deal out of it,
then a big deal won't be made out of it.

Part Four

Boring days of snow-filled skies
Deceiving mouths of truthful lies
Paisley clothes and cardboard boxes
Keying in and charms and lockses
Innocence, kite-flying, broken glass
Icicles, paper cups, and purple brass
Signs on windows with reflecting sights
Passing by with blinking lights

Forget the present, and live for now
Riding horses that look like cows
Technical handprints that think of me
Spray the ceiling with what will be
Let that flow, and take the plunge
Unbelievable soaking sponge
It’s wild, and I can’t believe it’s like that
But they don’t mind; the good-looking hat

Glad either way; we’d all fit in
Isn’t it wild? It feels like a sin
Thank the Lord for all the ways
Thank the Lord; He knows we pray
No kidding, and we like it this way
It’ll be like that if you live every day
Smoke-filled walls that rage with fire
Letters are scattered all over the wire

It’s so cute; the way you think
Fragrant grass that looks so pink
Singing songs of inspiration
Writing words that become creation
Relax and look, but don’t be worried
Snow-filled skies full of flurries
Flowing glass that shines the sky
Holding hands that make us fly

Clouds and stars and pieces of moon
Store some in your velvet spoon
Plastic worries in your wallet
Say the word so I can call it
Rosy bottles filled with sand
Hold them close, and rule the land
Painted silver reminds me of
The day that we discovered love.


Copyright 1988 Scott C. Forrest

Random Thought 16

Keep your mouth shut and your nose clean!

Spent Days

by Paul McCarthy


When a day is done

One less tomorrow to spend

And more yesterdays




Copyright 2005 Paul McCarthy

Random Thought 15

Trust your gut instincts--you'll be right.

Random Thought 14

Don't live each day as if it were you last;
live it as if it were your first.

Random Thought 13

Something has to be good before it can be better.

Random Thought 12

Something is better than nothing.

Random Thought 11

Don't tell people how to run their lives, and they won't tell you how to run your life, and all will be right with the world!

Random Thought 10

Readers need writers, and writers need readers.

Random Thought 9

Do it now before you wished you had!

Random Thought 8

If you're not going to own the room, don't enter it! - Andrea Fusco

JOURNEY -- not just raised on radio!

Devoting the first set to the pre-Escape days was both a bold and intelligent move on the band's part. After all, this is a 30year Anniversary Show, so this was a better choice than peppering the concert with songs from the past. It was good for long-time fans to hear songs they thought they never would. It was great for the everyone to be introduced to how it all began. When Steve and the boys returned for the second set, they proved that they know how to rock and party! This was truly one of the most professional and enjoyable concerts that there has been in a long, long time. Steve was a fantastic, energetic frontman, and all of the guys were genuinely having fun. It was great to see Steve blending in well with his bandmates, celebrating new songs as well as the long-standing favorites. Three hours later, Journey fans would not stop believing!! A+

Random Thought 7

You're not paranoid; you're experienced!

Random Thought 6

Even if someone is joking, they still said it.