Borrow a book from the library.
Share your experience with the person who read it before and after you.
Wednesday, July 09, 2014
Tuesday, July 08, 2014
Random Thought 84
Think of a friend and what you respect about him/her.
Think of what this friend respects about you.
Think of what this friend respects about you.
Friday, June 06, 2014
Tuesday, June 03, 2014
Random Thought 82
Borrow a book from the library.
Share your experience with the person who read it before and after you.
Share your experience with the person who read it before and after you.
Monday, June 02, 2014
Wednesday, March 19, 2014
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 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.
Friday, March 14, 2014
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
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
Thursday, March 13, 2014
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
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
Monday, February 24, 2014
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.
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.
Thursday, January 16, 2014
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+
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+
Monday, January 13, 2014
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+
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+
Monday, December 16, 2013
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!
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!
Monday, October 07, 2013
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?
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?
Thursday, October 03, 2013
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.
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
Tuesday, October 01, 2013
Wednesday, September 25, 2013
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
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
Thursday, September 19, 2013
Wednesday, September 18, 2013
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
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
Tuesday, August 20, 2013
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.)
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.)
Monday, September 17, 2012
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