Blondie's Top 10

For more information visit www.blondie.net


10. "The Tide Is High"
      (Autoamerican, 1980)
 
      At this point in the band's career, they have already proven that they could cover anything from punk to disco; from rock to ballads. Now it is time to explore Reggae with their low-key, accessible cover of The Paragons's 1967 classic penned by John Holt. What could have been a radical departure from their image only strengthens their musical integrity by including another style to the mix. The tune rode the wave to #1 as the lyrics suggest.

9. "X Offender"
    (Blondie, 1976)

     Blondie has never shied away from irony or controversy, and their naughty debut single establishes just that. The original title needed to be changed for better marketing, and the tune is a delicious combination of mid-1970s punk and 1950s flavor. Debbie sings of a dangerous love with unapologetic confidence. The band is having fun playing Gary Valentine's song, and it's a sure sign of things to come.

8. "Picture This"
    (Parallel Lines, 1978)

    Jimmy Destri's surreal but concrete approach to music is perfectly matched with Chris Stein's  pop/rock sensibility. Debbie Harry's dreamlike verses are balanced nicely with her wake up during the chorus. Becoming both a gentle and intense yearning for simple things like a "telephone number" or "freezing cold weather," this gem cements why its album became the breakthrough it is. It is both a UK hit and fan favorite in the US.

7. "In the Flesh"

    (Blondie, 1976)

     Leave it to Debbie to perform a love ballad with a sneer and make it work! The song is attitude ("Hands off this one sweetie/This boy is mine") meets candid emotion ("I couldn't resist you/I'm not deaf, dumb, and blind"). Debbie and Chris know how to make the title less provocative and more sensual. With quiet beauty and sensitivity this rare slow tune is both "warm and soft" and "close and hot."

6. "One Way or Another"

     (Parallel Lines, 1978)

     Frank Infante's razor-sharp guitar introduction sets the scene, and the song immediately kicks into full gear as Debbie sings with a purpose. Perhaps less singing and more biting is accurate. This tale of obsession has an intense momentum and drive that runs on all cylinders. Debbie deals with topics that female rock stars didn't deal with back in the day -- or today for that matter. She does so with such confidence and attitude that we know right away that it is she who is in control of the situation. A perfect, strong message for women (and men) everywhere. Watch out! She's gonna getcha!

5. "Dreaming"

     (Eat to the Beat, 1979)

     With its pump-and-go rhythm and Clem Burke rocking it on the drums, this is the perfect showcase why the group is a force to be reckoned with. Debbie can effortlessly handle the high notes and then gradually slide down the scale like nobody's business. Burke's intricate percussion solidifies his unique contribution to the band. The first single off their fourth album will continue their popularity. Part new wave and part pop, the song has a flow and ease as suggested by its title. 

4. "Maria"

     (No Exit, 1999)

     Blondie's triumphant comeback proves that not only are they current but they can remain true to their original sound. Jimmy Destri's imagery ("smooth as silk; cool as air"/"won't come in from the rain; she's oceans running down the drain") is his best work. Debbie's vocals are so fluid and seductive, especially when she opens up for the chorus. The band isn't afraid to suggest spirituality, and the results have been heard around the world. Literally. When fans hear this song, it is easy to go insane and out of your mind!

3. "Call Me"

     (American Gigolo Soundtrack, 1980)

     Debbie Harry and Giorgio Moroder's driving tune about, well, a man's certain profession propelled the band to #1. And with good reason. Debbie's intense lyrics are as intimate as they are seductive ("roll me in designer sheets/I'll never get enough"). There is also the right amount of urgency and loneliness ("call me any, anytime/call me for your lover's lover's alibi"). Moroder's crisp, crystal-clear production also assists in the single's success. It isn't any secret what this man does for a living, and it helped at the box office for AMERICAN GIGOLO starring Richard Gere. Nominated for a Grammy for Best Rock Performance by a Duo or Group with Vocals, the song remains one of Blondie's most impressive and long-lasting hits. 

2. "Rapture"

     (Autoamerican, 1980)

     Clearly, Blondie has never paid attention to the phrase "comfort zone," and we fans couldn't be happier. As a result, we have this deliciously dark but intriguingly adventurous opus introducing Mainstream America to the genre of Rap, a new style of music back in the day. Destroying all barriers and walls along the way, writing team Debbie Harry and Chris Stein offer us seductively unique lyrics ("toe to toe/dancing very close/body breathing/almost comatose") which are balanced by producer Mike Chapman's hauntingly sparse musicology. 

     After this introduction to the party, we segue to a most original epic consisting of a Man from Mars, cars, bars, and guitars. It was hardly familiar territory for Top 40 Radio in early 1981, but audiences have embraced "Rapture" all the way to #1. This second release from AUTOAMERICAN permits the impressively diverse Blondie to include "Rap" to their diversely impressive resume. Get up!

1. "Heart of Glass"

     (Parallel Lines, 1978)

     When producer Mike Chapman heard the original "Once I Had A Love" penned by Debbie Harry and Chris Stein, he promised the band that he would take the Reggae-flavored song and turn it into a masterpiece.

     Mission.

     Accomplished.

     From the fun and funky popcorn-like sounds in the introduction, to the cool iciness of the "oo-oo/oh-oh" refrain, "Heart of Glass" strikes gold on every note and every measure.

     Debbie sings of a fallen love with the right amount of distance and irony, and the honesty in the lyrics tells all. ("Once I had a love, and it was divine/soon found out, I was losing my mind/seemed like the real thing, but I was so blind/mucho-mistrust; love's gone behind") 

     Much of the credit goes to Clem Burke's precise percussion. His acute attention to detail justifies that he drums better than the best of them.

     The guitars and keyboards complement each other in such perfect harmony that it's as if they were born to play Disco. When the song hit #1 in the Spring of 1979, they didn't just join the club -- they showed everyone else how it is done. 

     The fourth single from their third album PARALLEL LINES took over the world (following "Picture This," "I'm Gonna Love You Too," and "Hanging on the Telephone"). It was well worth the wait. 

     "Heart of Glass" and the rest of Blondie's catalog demonstrate that their talent and endurance are parallel to none. 

I hope you enjoyed this countdown!

Random Thought 87

Taking a risk might set you up for disappointment.

Doing nothing guarantees it.

Random Thought 86

You can not change other people.
You can only change how you act and react.
Sometimes that means choosing not to act or react.
That's okay.

Random Thought 86

You might not find the solution,

but you will find an answer.

Random Thought 85

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 84

Think of a friend and what you respect about him/her.

Think of what this friend respects about you.

Random Thought 83

Whenever there is storm and drama --

Party!!

Random Thought 82

Borrow a book from the library.

Share your experience with the person who read it before and after you.

Random Thought 81

Listen to the mountains.

FLASHDANCE THE MUSICAL

Flashdance The Musical is currently touring the country in efforts to prep itself for a Broadway bow. Having seen a performance, please allow me to offer my comments that are intended to help rather than hurt.

(The following article contains spoilers.)

Based on the 1983 movie, Flashdance offers a lot for its audiences. There are many good things happening, but perhaps some elements still require a bit of work.

Fortunately, the dancing in the show is quite impressive, as well it should be. It is refreshing to finally have another show that portrays the harsh realties that dancers endure. Having danced across some stages in my time, even I could find myself relating to pretty much all of it.

The show opens with what appears more like an obligatory let's-meet-everyone spectacle, although both the song and staging are impressive to hear and see. Sometimes, however, the introductory expositions seem a bit forced. It's almost as if the book writers and composers were following a pattern of where to place someone telling us who they are and what they do. If these meetings could be re-worked to appear more natural, that would be nice.

Having said that, the show is chock-full of musical numbers, and while I applaud the songwriting team Robert Cary and Robbie Roth for coming up with about twenty original songs, please make sure that they don't cover up the fact that the Book needs work. The songs do fit nicely with the pre-existing ones we know and love from the original source material, "What A Feeling" and "Maniac," and they also complement the 1980s genre. Speaking of which, the pre-show montage of 1980s videos comes across as less endearing and not completely necessary. This is a situation when you can tell us during the production when it takes place rather than show us.

Alex, the lead, is played with sincerity and grit by Sydney Morton, and she isn't the only one following her dream. She is surrounded by friends and co-workers all in the pursuit of Happiness, and the show knows how to drive home the fact that never trying is worse than trying and failing. Perhaps the most inspiring line is spoken by Alex's former dance instructor. She tells her that there are moments in one's life when everything lines up, and we have to take the chance because there comes a time in someone's life when that doesn't happen anymore. It's a sobering concept because it's true, and this character provides the dramatic tension for Alex, who is as frightened as she is defensive.

The show comes alive in the musical numbers, which is fortunate as it is a dance show, specifically during the in-the-club performances of "I Love Rock and Roll" and "Manhunt" (a song also from the film). They work because they are both sharp and sexy. Director Sergio Trujillo moves things along at a brisk pace but almost as if to prevent a lack of applause that seemed to be luke-warm for the most part the night I went. The aforementioned numbers and group numbers generated more enthusiastic responses.

I am also wondering if it would make more sense for the competing club to be a bit more high-scale to offer the character of Gloria more of a drive to work there rather than exchanging one dive for another. At one point she does appear to be disillusioned because her move "up" wasn't that at all. This is because it wasn't what she thought it was going to be, but it might more dramatic for her to be disappointed if this were in fact a classy club. This is why the song "Gloria" doesn't quite work as well as it could have. Please make sure this isn't an attempt to incorporate a song from the decade simply to match the character's name.

Which brings me to Alex, the anchor of all of the dream seekers. As impressive as Morton's singing and dancing are, I actually found myself wanting to see more. She certainly has the credentials to do it, but if she is a club dancer, it's okay to see more of that instead of what felt like abbreviated numbers. If the director is attempting to show bits and pieces of her work and then highlight everything with a finale, then please make the it explosive. Although she dances the heck out the titular number -- and I like seeing her girlfriends profiled in the background singing the song -- I wish it were longer. We do not have to suspend into the unforeseen future to see what type of dancer she becomes because it's okay to make the audition enough. It's a gutsy move to make the climax of a dance show to be a solo performance, but in this case it will work because the show is ultimately about Alex and her dream, and maybe the audition for her is enough. However, just because the character is provided a limited amount of time to audition, this is musical theatre where conventional rules need not apply. The audience has waited over two hours for this moment, and it is okay to extend the number into something that will make us jump out of our seats.

In all, I did find myself enjoying Flashdance, but in order to make it to Broadway, there might be a need for less flash and more dance.

THE WHALE

WOW - go see The Whale at SpeakEasy Stage Company.

It's a beautifully acted, stunning piece of theatre.

A redemption play, if there ever was one. Devastatingly portraying the dangers of not allowing yourself to feel your feelings and how it can eat you alive (literally and figuratively).

The ever-brilliant John Kuntz heads a pitch perfect cast of damaged souls trying to deal with their lives. Maureen Keiller stuns in her reunion scene with her ex-husband.

Georgia Lyman will have you laughing and crying as she cares for her friend/patient and takes us on her journey. Ryan O'Connor brings depth and sincerity to his Elder Thomas, seeking redemption for himself, this shut-in, and his faith. Josephine Elwood truly devastates in the role of the damaged daughter coming to grips with her estranged father and her own "whale".

This is an emotionally intense evening that will ultimately leave you stunned, in awe, and believe it or not, with a sense of hope.

Please, go see this show!

- Jason Allen-Forrest, Guest Critic

www. speakeasystage.com

AVENUE Q

Broadway's Tony-winning hit has become famous for its boisterous bawdiness and let-loose laughter, and the current production at Arts After Hours in Lynn promises both and more!

Director Julia Fiske goes for broke in her unapologetic approach to the material but understands that underneath all of the laughs lies a whole bunch of truths.

The stage is literally set early on with Sean Crosley and Micah Greene with their smart and sexy portrayals of Rod and Kate, respectively. All of the puppeteers maneuver their characters like seasoned professionals. J.Michael Spencer is both hilarious and sincere as Brian, and Paige Clark creates his anchored wife with a beautiful voice.

Andy Porterfield is impressively animated and talented as Nicky and Trekkie. Leeta White is wonderfully funny and sincere as Gary, and Melinda Mogel manipulates her puppets better than the best of them with a winning smile.

Both the set and lighting are professionally detailed, and the music direction is upbeat and never drops its momentum.

As stated earlier, none of this would mean anything if the show weren't grounded in reality, which Avenue Q certainly is. Bills. Life. Being closeted. Getting by day-to-day. Fiske understands this and effortlessly transitions to the tender moments while never slowing the pace. We also completely believe that these neighbors know and love each other.

Kudos to Corey Jackson! The proceeds from the pass-the-hat section actually go to real organizations!

Watching this production is like meeting and visiting friends. Too bad the run is only "for now."

A is for Awesome.


http://www.artsafterhours.com

ALICE IN WONDERLAND

Alice in Wonderland has always been a difficult show to physicalize, but you would never know that after seeing this charming production at Winthrop Playmakers.

Filled with a colorful stage and bright costumes, everyone in the cast is having fun, and that joy is infectious. Director Nathan Fogg knows how to sustain the lively pace while controlling the show's self-induced mania. Jason Hair-Wynn's energetic choreography is vibrant and clever. The musical numbers are uplifting, and it's a perfect way to spend an evening or afternoon with the family.

THE COLOR PURPLE

Every once in a while there is a show that becomes less of a production and more of an experience.

Such is the case with the SpeakEasy production of THE COLOR PURPLE.

For the first time, I am having difficulty finding the correct words to properly describe this extraordinary celebration of life, love, rebirth, and renewal. A thesaurus of superlatives might be a good place to start.

Director Paul Daigneault has outdone himself. To say that the cast have mastered their craft does not do justice to their performances. Everything and everyone in this production have raised the bar. The sound. The sets. The lighting. The musical direction and band. The choreography. The costumes. SpeakEasy redefines the meaning of "excellence".

Lovely Hoffman's portrayal and understanding of Celie is truly one of the most breathtaking performances I have seen. Ever.

SpeakEasy's current masterpiece is nothing shy of a gift to all of us.  A+

ONCE

Like that other song from that other musical, ONCE informs us that everyone comes into our lives for a reason and that we can both learn from each other.

When all the glitz and glamour are removed, we are left with nothing but glamour and glitz. This is because the story of Guy meets Girl who meets Guy is strong enough to support itself. The ensemble plays many crucial moments to this musical which transports the audience to a quaint little town to experience this not-so-chance meeting.

The exquisite set of a local tavern is complemented by the subdued lighting, complete with an arial vision. The mesmerizing movements are matched by the magical music.

ONCE teaches us the Once in a Lifetime should last that long.  A+

Top 10 of 2013!

10. COMPANY (Stagecoach Productions)
      Anchored by a stellar cast, this modernization of the contemporary classic shows how relevant (sometimes even more so) the concept of love and "being alive" still are. The costumes by Susan Cassidy are sexy and sophisticated, and as always, Judy Hayward does the music direction better than the best of them. She can make this complex score sound so effortless. Minimalistic staging allows for maximum movement. Jeff Prescott's Robert is second to none, but who can forget Amy Agostino's "there's a time to leave New York" monologue delivered with quiet grace and understanding? I'd like to propose a toast to Stagecoach!

9. OTHER DESERT CITIES (SpeakEasy Stage Company)
    This production stars Nancy E. Carroll, Anne Gottlieb, and Karen MacDonald. Please. Need we say more? Yes! It also stars Munson Hicks and Christopher M. Smith in this Pulitzer-Prize finalist and Tony nominee for Best Play. When it comes to wanting to feel better about your own family, don't look any further than Broadway to portray dysfunction at its finest. When a daughter returns home to reveal she's writing a tell-all about her family, she is quick to discover that they have some secrets of their own to share! The sharp text by Jon Robin Baitz comes to brilliant life under the direction of Scott Edmiston, who knows how to make action flow so easily. It's a pleasure to see a dialogue-heavy show with so much to say!

8. MISS SAIGON (North Shore Music Theatre)
    Layering (thank you, Jason). That is exactly how Richard Stafford directs this production. Instead of barreling in at full force, he physically and emotionally layers each scene, each number, each choreographed move, and each character arc. The result is a devastatingly powerful portrayal of worlds and lives torn apart by war. And just when you think we were going to be void of a helicopter, there it is - in all its harrowing glory! Clearly, this production belongs to Jennifer Paz who destroys everything and everyone in her path as Kim, but the rest of the cast keeps up with her pace. Francis Jue's Engineer is filled with the right amount of passion, humor, flaw, and hope. By the time we get to his outstanding "American Dream," we realize along with him that his is just a dream. But Stafford never shies away from the fact that war has always been a nightmare.

7. THE KNAVE OF HEARTS (Tufts University Department of Music)
     Based on Louise Sanders's play, this new opera penned by Dr. Vartan Aghababian is full of wit and joy and made its world premiere back in the spring. The self-proclaimed "professional" bakers set the scene for infectious laughs and fun. The voices are impressive, and everyone is invested in the piece. There is nothing more enjoyable than a world premiere!

6. MUCH ADO ABOUT NOTHING (Arts After Hours)
    What could be more enjoyable than a summer afternoon in Lynn Woods watching Shakespeare? Knowing that the team @ Arts After Hours knows how to take it to next level. In addition to hiring a cast dedicated to their craft, the creative team knows how to incorporate both the audience and the environment into the piece, making a multi-level, multi-dimensional experience. Director
Hondo Weiss-Richmond allows the audience to be part of all of the action and takes full advantage of the beautiful surroundings! There is much about everything in the city of Lynn!

5. THE SOUND OF MUSIC (North Shore Music Theatre)
    Director James Brennan knows how to remove the sugar coating to traditional family shows while at the same time accenting the emotional impact, and this isn't any exception! What a beautiful, lavish production especially when taking into consideration how problematic the Book is. Complete with mountains, this production is filled to the hills with talent and life. When Suzanne Ishee sings
"Climb Ev'ry Mountain," we do just that!

4. NEXT TO NORMAL (Marblehead Little Theatre)
    This is a show that refuses to go away, and that is because even though each production can create a different spin, the messages of depression and hope remain the same. This production is directed with a little bit more distance and coldness making the tragedy of the situation that much more severe. I love the lighting design (the tic-tac-toe grid w/lightbulbs) and the boldness to turn on the house lights to make the audience part of the action. There is also more emphasis on the tug of war between
mother-son-father. With an in-your-face, dynamic approach, this piece proves that hardly anyone is safe from "just another day."

3. TRIBES (SpeakEasy Stage Company)
    When it comes to directing acerbic scripts, count on M. Bevin O'Gara to deliver. With her unapologetic in-the-round approach, she shows it like it is. Sometimes in life someone is facing us, and we can see and hear everything they say. Sometimes they are facing away from us, and we have to do the best we can. That is one of the many elements of the play that are transferred so effortlessly to the stage. Not a single weak link in the cast or crew. Nina Raine's brilliant script points out that when a man - who can not hear us - stops talking,
we listen . . . . because he has a lot to say.

2. IN THE HEIGHTS (SpeakEasy Stage Company)
     WEPA! I've said it before, and I'll say it again. Director Paul Daigneault knows how to find the smaller moments within the larger moments, and he excels in this jubilant celebration of community, life, love, and knowing how to find and re-define "family" during crises. In addition to being a sexy, sassy production, Paul's reconstruction to fit into a smaller venue perfectly accents the emotional impacts, especially the relationship between Usnavi and Sonny. Beautiful sets and lighting complement the rich Score and Book. The only thing hotter than this show would be the summer that follows.

1. INTO THE WOODS (Peacock Players)
    Forget everything you've ever known about "Children's" Theatre. Those who are younger than we can teach us quite a bit (as I have recently discovered). In addition to beautiful costumes and lavish sets, all of the performers are totally invested in their roles, even finding new nuances to share. This is certainly the case for Julia Enos as the Witch who digs even deeper to find more authenticity and vulnerability to her character. But the stand-out performance belongs to Alex Giggey who re-defines the Baker is his emotional arc. No one can forget his heart-breaking "No More." The brave concept of adding characters (e.g. the Pigs and Dwarfs et al), only adds to instead of distracts from the dramatic texture of the Book. As Keith Weirich must know, when he directs, children WILL listen!

These Are The Best of Times!

It is very interesting to see just how far La Cage Aux Folles has come since its debut in 1983.

It is equally very sad to see just how little has changed since La Cage Aux Folles opened in 1983.

Director Charles Repole seems sensitive to this and provides a lavish, satisfying productions that pays homage to the original source material but remains relevant to today's climate. Anchored in the original, but taking some cues from the 2010 Revival, La Cage pleases on all levels.

Charles Shaughnessy has found and applied some depth to Georges. Instead of playing him as a one-note butch man, he has allows the character to explore all aspects of his character.

Jonathan Hammond is an emotional Albin who lights up the stage when he lets his husband have it during "I Am What I Am." This particular pundit enjoys Hammond's off-the-cuff portrayal of a spouse wounded because his emotions are both raw and realistic.

Nikko Kimzin tears the stage up as a wild but sensitive Jacob.

Larry Cahn knows how to play M. Dindon as an unlikeable but real character. All disdain for him are authentic instead of superficial. Maureen Brennan provides enough comic relief as his long-suggering wife. She is a true joy to watchj.

Zach Trimmer and Stephanie Martignetti have (finally) found ways to portray Jean-Michel and Anne as full-fleged people instead of caricatures that breeze in and out of the play.

Les Cagelles own the arena when they perform, and their costumes are second to none. Even after all these years, they play and dance their parts with refreshing renewal and credibility.

La Cage @ NSMT is everything you want it to be -- bright and colorful but grounded in reality and emotion.

If the Best of Times is not now, then when?

Top 5 Fleetwood Mac songs penned by Lindsey Buckingham

5. "Monday Morning" (Fleetwood Mac, 1975)

The opening track of the group's eponymous album doesn't waste any time letting the public know there is a new line-up in town with Lindsey's blend of country rock and soothing vocals. It is the perfect mid-1970s answer to the decade's soft rock while still remaining faithful to what the band had established in the latter part of the 1960s. It is a sincere moment for Lindsey as he both showcases but downplays his guitar abilities. He would later explore more experimental work and explode during guitar solos, but this song is a proper introduction.

4. "Never Going Back Again" (Rumours, 1977)

This deceptively simple track from an album you've probably heard once or twice focuses more on his intricate manipulation of the strings and less on stanzas of lyrics. That's okay because it is clear that Lindsey knows what he's doing when it comes to the guitar. When performing live, he allows his fingers to do the talking to emphasize the immediate and intimate nature of the song.
Sometimes, less is more.

3. "Big Love" (Tango In The Night, 1987)

When the group recorded what could be considered RUMOURS II, Lindsey answered the call with his sexy, fun pop smash. It combines the traditional FM bass/drum connection and Lindsey's playfulness in the studio (grunts, anyone?). When pared-down to just him and instrument, he is able to re-create the song for live shows, and it takes on a whole new meaning. Again, his guitar work here is second to none.

2. "Tusk" (Tusk, 1979)

Ironically, one of Lindsey's best has nothing to do with his guitar work, but the bold and famous inclusion of the USC Trojan Marching Band. This song works well because of its gradual build. Whispered vocals progress to a feisty crescendo while incorporating the brass section to match. The song and album were quite daring back in the day, but the risk pays off.

1. "Go Your Own Way" (Rumours, 1977)

Lindsey's gutsy in-your-face declaration of independence is both angry and honest. The straightforward rock-and-roll anthem in the chorus is a stark but complementing contrast to the verse's intricate musicality. The first single of this line-up's second release lets everyone know this isn't the same band from an album ago. Lindsey has arrived, and he is going his own way!


http://lindseybuckingham.com

Random Thought 80

I don't want to do things
that I don't want to do.

Silence Is Worth A Thousand Words

TRIBES @ SPEAKEASY STAGE COMPANY

From the first acerbic piece of dialogue to the final wordless moment, TRIBES is a powerful, moving piece about communication and where one wants to belong in their life.

Director M. Bevin O'Gara is hardly a stranger to contemporary plays with strong choices of words, and her staging of this family dramedy is what anchors the emotional punches.

Set in-the-round, O'Gara is both courageous and unapologetic about how she stages the superior cast. Usually in this configuration the actors are instructed to play to all sides as much as possible. Such is not the case here. The actors carry on with their daily lives as they normally would, and the in-your-face staging allows the audience in on Billy's world, who cannot hear the constant cacophony his family delivers.

As an audience member, we experience what he does--sometimes the characters face us; sometimes not. Just like in real life. We can appreciate (in a good way) his challenges when someone is not facing him and he is unable to lip-read. James Caverly plays the part perfectly. He does not want sympathy and apologizes for nothing. He wishes to be treated like everyone else--the opposite of how his family addresses him. By doing so, they make him feel more like an outsider.

TRIBES makes many bold statements along the way and does not disappoint.

Sometimes what you get is what you hear.

www.speakeasystage.com

Random Thought 79

One cannot read something
if it is not written.

Not Just Another Day by Day in the Boardroom

Godspell @ Winthrop Playmakers

The concept of placing the action in a boardroom is not only clever but the novelty never wears off, thanks to the clever direction of Thea Wigglesworth and the indefatigably talented cast.

The energetic Jason Hair-Wynn is hired to inspire and his effervescence permeates for both cast and audience. It is clear from the onset how relevant the book and score still are and that we all need a jolt of hope in these tempestuous times. The parables as told in the work place achieve multiple levels of symbolism in today's corporate climate. "Turn Back Old Man" is wonderfully seductive and enjoyable while at the same time suggesting such behavior is considered inappropriate for the office. The role plays of sons competing for their father's affections parallel that of co-workers vying for their boss's approval. All of the actors have personality and their improvisations appear to be impressively created as the night goes along. It's all there - the politics, the personalities, the relationships, and the dynamics. The musical numbers are performed earnestly and with hope.

Prepare Ye for a wonderful night of theatre!

For information -- www.winthropplaymakers.com

Top 10 of 2012

10. WAR HORSE. (Broadway Across Boston)
It's all there. The majesty and the eloquence highlight the deceptively simple tale of a boy and his horse against the backdrop of war. The manipulation of the puppets would mean nothing if they had not provided personalities for them as well. Perfect acting and haunting period music highlight this experience that tells us that every journey is worth the trip and the outcome.

9. BOEING-BOEING. (Trinity Repertory Company, RI)
There si nothing wrong with laughing non-stop for two and a half hours, especially during a production performed so precisely and professionally as this one. The two men are at the top of their games as they effortlessly and tirelessly work off each other and work the audience into hysteria. The sexy stewardesses and mundane maid balance out the troupe and perform on an appropriate candy-colored set with an intricate lighting design. Farce is not easy to pull off, but this cast and crew land every laugh smoothly.

8. ANNIE. (North Shore Music Theatre)
Directed from the dark corner of the room rather than the sunny side by the window, this re-invention of the classic musical does fewer tugs at the heart and more jabs in the stomach. By creating less cringe-inducing smiles, the production comes across with more heart and soul because the emotions arrive from somewhere real rather than forcing them upon us. The muted tones add to the somber existence where things don't really get better - they just begin to. Sometimes, that's good enough.

7. MF WITH THAT. (Speakeasy Stage Company)
The warnings declare that this production contains bad language, nudity, drinking, violence, and drug use. You don't have to talk me into it; I already said I'd go! Despite the title, this play contains as much tenderness as any other slice-of-life dramedy on the stage. And because of the language the audience is allowed into the dark souls of the characters where true pain lies hidden under layers upon layers of "protection". Soon everyone is metaphorically exposed on stage and no one is quite whom they appeared to be. I'm not sure if it's scripted, but at the beginning of the piece all five characters stand across the stage as the audience observes them. Admittedly this seems to be an odd way to begin any productions. However, at the conclusion when they return to their initial poses, we see them differently. Very differently. And us as well.

6. SUPERIOR DONUTS. (Lyric Stage Company of Boston)
Nothing inferior about this production which focuses on the caustic relationship between the curmudgeon who owns a donut shop and the exuberant co-worker he takes on. Monologues reveal who the proprietor truly is and whom he wants to be, and he turns the tables when duty calls for it. I will never forget the very final part of this piece. Tracy Letts knows how to write and troubled personalities, and Lyric Stage knows how to make us embrace them.

5. MEMPHIS. (Broadway Across Boston)
From North Shore Music Theatre to Broadway, this jaw-dropping, awe-inspring musical took an already perfect piece and made it even better. The energy and the talent explode off the stage in the story of a man trying to make his mark in the music world and trying to fall in love with woman he desires. Unfortunately still relevant, the tour still makes us feel good with the music and the dance and everything that makes life truly worthwhile. If it's meant to live in you, it will.

4. BILLY ELLIOT. (Broadway Across Boston)
What a rare find it is when a production not only lives up to its hype but also surpasses it. The original movie seemed destined to be a staged musical, but not many people could have expected this. Set against the backdrop of the UK miners' strike in the mid 1980s, Billy finds solace in the polar opposite of the anger and violence through ballet. Instead of allowing this to become a one-trick metaphor, the choreography tells the story through symbolism and parallelism, most notably during "Solidarity" and "Grandma's Song". Obviously the dancing is one-of-a-kind, but the visuals and the care given to character growth complement each other. Instead of boxing, Billy finds ballet. And we have found a musical that is truly electric.

3. NEXT TO NORMAL. (The Acting Loft, NH)
Anchored byt the indestructible Shawn Ciampa and Jennifer Sue Mallard, the intimate New Hampshire premiere re-defines the tempestuous mother-daughter relationship after a family tragedy. The impressive cast and eloquent direction are top-notch, but their performance is the one to watch. And take in. And absorb. Before the audience knows what is happening, we are drowning in a puddle of sadness, but in a good way. The production reminds us that this is how we heal. This is how we begin to move on.

2. RED. (Speakeasy Stage Company)
When two guys paint a canvas simultaneously and it generates applause, someone is doing something right! In this case, the cast and crew of SpeakEasy get it right again in John Logan's Tony-winning play. Thomas Derrah & Karl Baker Olsen play artist/student and teacher/pupil, and it's anyone's guess as to who is truly who is this re-examination of the meaning of Art. Never resorting to trite cliches, this mature performance is directed by David R. Gammons. RED raises more questions about Art and Life imitating each other , but also raises the bar on plays and productions to follow.

1. NEXT TO NORMAL. (SpeakEasy Stage Company)
There is a reason why this piece re-appears on my lists, and there is a reason why it is being performed by regional and community theatres across the country. There is a little bit of Diana in all of us. Kerry A. Dowling takes on the role like it's nobody's business and destroys everything in her path, bringing a unique blend of anxiety and humor to the part. The rest of the cast successfully keeps up with her indefatigable talents. The show is not an easy one to sit through, but well worth it. Paul Daigneault's re-invention forgoes the traditional house set-up and achieves new levels of symbolism through moving panels and just right amount of projected images. The show is a reminder that even though there are days when we miss the mountains - and rightfully so - there will be Light. Someday.

(Shine on, Kevin.)

Random Thought 78

If the bandwagon ain't comfy, I ain't riding it!

- J.Allen-Forrest

Random Thought 77

The only guarantee in life is that there aren't any guarantees.

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-

Random Thought 76

Live and learn. Learn and live.

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!

Random Thought 75

Things happen when I'm in the Water.

Random Thought 74

It's always one minute to something.

Random Thought 73

It is better to think out loud than to not think at all.

Random Thought 72

Sometimes it's easier to make a new door than to unlock an old one. -P.Whitney

Random Thought 71

When a door closes, make a hole in the wall, and make another. - P.Whitney

Random Thought 70

When you're upset, never let it get you down. - P.Whitney

Random Thought 69

When you feel lost, make your own path. - P.Whitney

Random Thought 68

When you feel cornered, don't take it. - P.Whitney

Random Thought 67

A wise man offers advice.
A wiser man takes it.

Random Thought 66

Smile more. Worry less.

Random Thought 65

"Not open yet" is better than "closed."

Random Thought 64

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

ROCK OF AGES

As the opening song says, "it don't get better than this," and it is true. The touring company of ROCK OF AGES is in top-notch form, and the entire evening is nothing but fun, laughs, and good times.

Tony Nominee Constantine Maroulis is the perfect wanna-be rock star with impressive stage presence and acting/vocal ranges. His transition from handsome and humble barback to front man during "Cum on Feel the Noize" cements his star status.

Patrick Lewallen as Lonny/Narrator welcomes the audience immediately and just about steals every scene with his comedic timing and comprehension of the material, which is both over-the-top but credible.

Rebecca Fulkenberry's hearty and deep voice propel her portrayal of Sherrie with both sex appeal and charm.

The on-stage band "Arsenal" also invites the audience upon arrival and lets us in on the fun, and we know we are part of the party. The entire cast is of high quality and caliber.

Not to be overlooked is Jason Lyons's lighting design which impressively re-creates the arena rock concert feel and appeal of the 1980s.

Not of all the songs are played in full, but this keeps both the novelty and movement alive, and it all works.

If you're looking for "nothing but a good time," visit the Bourbon Room and ROCK OF AGES.

GRADE = A

Random Thought 64

You can't kill a guy for trying, but you can try a guy for killing.

Random Thought 63

Work hard at relaxing.

Random Thought 62

Life is meant to be enjoyed; not endured.

Random Thought 61

Think about being pensive.

Random Thought 60

Stop making life worse by aggravating it.

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.