tag:blogger.com,1999:blog-384520022024-03-18T03:39:04.266-04:00Show ShowdownSandra Mardenfeldhttp://www.blogger.com/profile/16126427786620880116noreply@blogger.comBlogger2704125tag:blogger.com,1999:blog-38452002.post-68671420080476377872024-03-03T14:30:00.009-05:002024-03-03T14:33:47.223-05:00Bliss Street Releases Cast Album <p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p class="gmail-p1" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial; font-size: 14pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJiqbZAFfzfv3MXYESxznMp5gVB53kzycBJjxStmWGlyxgh18qXphqMcaKljtMbO5fB074qSW_IVenhaLHeGJ4i-2EBXCOtiYbuRUo39sq7mTwuz85ZaqzAqdepaYF4T8v4M6xSU9zX0RwMh6Cp4ItyAH-0DJMfoMrQXWugidPRfaice9e7eieQ/s1536/Bliss%20Cast.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Bliss Street cast" border="0" data-original-height="794" data-original-width="1536" height="165" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimJiqbZAFfzfv3MXYESxznMp5gVB53kzycBJjxStmWGlyxgh18qXphqMcaKljtMbO5fB074qSW_IVenhaLHeGJ4i-2EBXCOtiYbuRUo39sq7mTwuz85ZaqzAqdepaYF4T8v4M6xSU9zX0RwMh6Cp4ItyAH-0DJMfoMrQXWugidPRfaice9e7eieQ/w320-h165/Bliss%20Cast.jpg" title="Bliss Street cast" width="320" /></a></div><p class="gmail-p1" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial; font-size: 14pt;"> </span></p><p class="gmail-p1" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 0.0001pt;"><span style="font-family: Arial; font-size: 14pt;">While theater is an art form with a shelf life </span><span style="background-color: white; font-family: Arial; font-size: 18.6667px;">— </span><span style="font-family: Arial; font-size: 14pt;">sometimes a show outlives its closing. Such is the story with <i>Bliss Street, </i>an Off-Broadway show at Theater for the New City that played from April 27 to May 14, 2023, which just released its cast recording last week. </span><span style="font-family: Arial; font-size: 14pt;">The
production looked at the New York 70’s rock and roll scene and celebrated Paul
Sub’s Coventry, a 5,000 square-foot music venue once located on Bliss Street in
Queens, and hosted such bands as Kiss, The Ramones, Blondie and the New York
Dolls.</span></p><p class="gmail-p2" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 12pt;"><span style="font-family: Arial; font-size: 14pt;"><br />
Using Abra Bigham’s book based on Rich
Brotman and Charlie Sub's concept, the show interwove Paul’s club experience with
his son Charlie’s, who grew up immersed within the music scene. Charlie also wrote
the words and lyrics for <i>Bliss Street</i>. The original show included
virtual scenery by Carlos Almonte of MotionBlur, offering the audience a
glimpse of how Charlie remembered that world. </span></p><p class="gmail-p2" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 12pt;"><span style="font-family: Arial; font-size: 14pt;">His band, Charlie Sub & Sound
Dogs, is featured on the album, “Bliss Street: The New Era.” The release offers
songs from the show that embrace the vibe of glam rock, mixing it with a
contemporary feel. </span></p><p class="gmail-p2" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 12pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE14TVtgDXzDUaHEaAKzTUixiOrOdS0MCuP-Qv2buHeJkQbxPY6s5oHGIdN2xeM9pS2wcyJiyNVneaEZW3xxr5lc48rrzIFQaF-tiT36OlnfY1_eol9BZR1f0vJExyUfOQMAcaYl3NVvX5yoZW8mV69bTHxKtQjVdtRN7kjgP0VLOZADe8J2PKqA/s1290/Bliss%20show%20at%20ethyls.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Bliss Street show at Ethyl's" border="0" data-original-height="860" data-original-width="1290" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE14TVtgDXzDUaHEaAKzTUixiOrOdS0MCuP-Qv2buHeJkQbxPY6s5oHGIdN2xeM9pS2wcyJiyNVneaEZW3xxr5lc48rrzIFQaF-tiT36OlnfY1_eol9BZR1f0vJExyUfOQMAcaYl3NVvX5yoZW8mV69bTHxKtQjVdtRN7kjgP0VLOZADe8J2PKqA/w320-h213/Bliss%20show%20at%20ethyls.jpg" title="Bliss Street show at Ethyl's" width="320" /></a></div><p></p><p class="gmail-p2" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 12pt;"><span style="font-family: Arial; font-size: 14pt;">The raucous music is feisty and
fun but sometimes the beat seems stronger than the lyrics like in the number, “Built
This House.” Still, there is much here to enjoy, such as “Coventry Tonight”
with its simple piano intro and sweet duet recalling the venue’s significance.</span></p><p class="gmail-p2" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "Times New Roman"; font-size: 10pt; margin: 0in 0in 12pt;"><span style="font-family: Arial; font-size: 14pt;">Besides the album</span><span style="font-family: Arial; font-size: 14pt;">, Charlie keeps <i>Bliss Street</i> alive at Ethyl’s, his venue
in Manhattan, which hosts a monthly show featuring <i>Bliss Street</i> music. You can hear the <a href="https://www.youtube.com/@BlissStreetOriginal" target="_blank">music of Bliss Street on the official YouTube channel</a>.</span></p><p>
</p><p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><br /></p>Sandra Mardenfeldhttp://www.blogger.com/profile/16126427786620880116noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-67781836546548224352024-03-01T20:41:00.001-05:002024-03-01T20:46:44.854-05:00This Is Not a Time of Peace<p> </p><p><span style="font-size: medium;">In Deb Margolin's new play, <i>This Is Not a Time of Peace</i>, directed by Jerry Heymann, Alina's father, Hillel, has become unstuck in time. He "travels" in memory (metaphorically? metaphysically? hallucinatorily?) between 2004, when he is an old man in assisted living, and 1950, when he was hounded by Joseph McCarthy for being a communist and eventually blacklisted. Whether he actually was a communist is deliberately unclear. Also unclear is whether his perception of his 1950 reality is accurate. </span></p><p><span style="font-size: medium;">Alina tries to keep up with Hillel as he switches time periods, attempting to understand him and his history and also to discern the true story. Did the president really offer Hillel a seat in the cabinet? Which president? If Hillel was brought up before HUAC, why does there seem to be no record?</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvR-s_jGyvxfafGLB9Um-fNNJaQltZ7cyhWcWdrLcG0vyVf7EdTJL419VZO_oOhh9d2SSRc8dO_z8wnNyNd1ukiRM8Zo9d86PNDwOGncRNDie_WvXwFfQr83SENmLpfr3O5ajukXS_lDycBNdvsYyiELnR5l7Wmc4CZbv-5qVvBT8SDUxzRVOiA/s5000/20.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3333" data-original-width="5000" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYvR-s_jGyvxfafGLB9Um-fNNJaQltZ7cyhWcWdrLcG0vyVf7EdTJL419VZO_oOhh9d2SSRc8dO_z8wnNyNd1ukiRM8Zo9d86PNDwOGncRNDie_WvXwFfQr83SENmLpfr3O5ajukXS_lDycBNdvsYyiELnR5l7Wmc4CZbv-5qVvBT8SDUxzRVOiA/s320/20.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span face="Roboto, Arial, sans-serif" style="background-color: white; color: #5f6368; font-size: 17.5px; letter-spacing: 0.25px; text-align: start;">Charlotte Cohn as Alina<br /><i>Photo by Steven Pisano</i></span></td></tr></tbody></table><br /><p><span style="font-size: medium;">Alina has ambiguity in her own life as well. She feels detached from her amiable husband because she feels that he doesn't "see her," which, truly, he doesn't. She is also having an affair with a hunk who insists on having feelings for her, despite her attempts to limit their interactions to the physical. She has a daughter who doesn't appear in the play and seems to barely exist for her.</span></p><p><span style="font-size: medium;">The title, <i>This Is Not a Time of Peace</i>, echos Joseph McCarthy's comment that, although the war was over, it was not <i>really </i>over: "This is not a period of peace." One of the main points of the play is that this comment remains apt, and maybe always has been. The 21st century has been calm in some places at some points, but everything is on the edge and on the verge. Global warming is referred to, and current politics underline the play. The sad truth is, not only is this not a time of peace, but due to human limitations, it never will be. And Alina recognizes that she is not exactly perfect herself, cheating on her husband and living a very human, messy life.</span></p><p><span style="font-size: medium;">Unfortunately, these ideas and story lines don't cohere as much as they might, and the play is both too long <i>and</i> lacking clarity. The parallels between time periods end up more pedantic than felt. Certainly less of Joseph McCarthy and more of Alina's reality would provide a better balance. And the open monologue, which seems to go on forever, does not justify its length in terms of content or writing. Also, it was annoying that Alina does this long monologue in short lingerie, which is distracting and pointless.</span></p><p><span style="font-size: medium;">For me, Charlotte Cohn was not effective as Alina. She has received rave reviews from other critics, and I suppose it's possible I just saw an off night. But the performance I saw lacked a certain level of humanity and warmth and ended up being a barrage of words. The rest of the cast--Simon Feil, Richard Hollis, Ken King, Frank Licato, Steven
Rattazzi, and Roger Hendricks Simon--were quite effective, and there were moments with actual scenes that reached a level of emotion that I wish had existed throughout the play.</span></p><p><span style="font-size: medium;">After all this, Alina's final monologue, considerably shorter than her opening monologue, is a lovely, moving, delicately written coda that left me wishing that the whole play had been at that level, in that voice.</span></p><p><i><span style="font-size: medium;">Wendy Caster</span></i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-79281573429146740832024-02-23T15:02:00.001-05:002024-02-24T17:27:32.458-05:00I Love You So Much I Could Die<p><span style="font-family: inherit; font-size: medium;">The title <i>I Love You So Much I Could Die</i> hints at a deeply emotional, even fervid, show. </span></p><p><span style="font-family: inherit; font-size: medium;">Nope.</span></p><p><span style="font-family: inherit; font-size: medium;"><br /></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Y0zxwNGrzy4IYcIzujmleG6K5YHoGJF1_lf9-rausfVCY_LeaUhnL6iWcsG_nfHB3JsI9Qzws6xJjbeXvJFVd6KIOet71PMwjFeX94JJwiByKrwJmZEDBQ5Mud-IWuQXFBB-OJ1P2fgGkh13B-ZGWfrggtkpp-h7VxRjhs13uXFnDAMK5Bq3PQ/s1052/Screenshot_20240223-145604_Google~3.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1052" data-original-width="728" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Y0zxwNGrzy4IYcIzujmleG6K5YHoGJF1_lf9-rausfVCY_LeaUhnL6iWcsG_nfHB3JsI9Qzws6xJjbeXvJFVd6KIOet71PMwjFeX94JJwiByKrwJmZEDBQ5Mud-IWuQXFBB-OJ1P2fgGkh13B-ZGWfrggtkpp-h7VxRjhs13uXFnDAMK5Bq3PQ/w138-h200/Screenshot_20240223-145604_Google~3.jpg" width="138" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"></td></tr></tbody></table><br /><p><span style="font-size: medium;"><span>For reasons that remain obscure to me, </span><i>I Love You So Much I Could Die</i><span> extends a great deal of effort to eliminate emotion, connection, and communication from its characteristics. The show consists of monologues interspersed with songs. The words are intoned by a generic male computer voice. The singing is performed by the author, Mona Pirnot, sitting at a desk with her back to the audience. There is little in the way of visual expression. I ended up watching the cursor on Pirnot's computer move in tandem with the sentences of the monologues, j</span><span>ust to have something to do</span><span>. </span></span></p><p><span style="font-size: medium;">In my eyes, theatre is about communication. I even have reservations about one-person shows, because I want dialogue and human interactions. <i>I Love You So Much I Could Die</i> pretty much removes any reason to be in a theatre. </span></p><p><i><span style="font-size: medium;">Wendy Caster</span></i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-68099614036567747562024-02-14T15:38:00.003-05:002024-02-14T15:38:22.710-05:00Titanic: The Musical<p>Last weekend, the Program in Vocal Performance at NYU Steinhardt presented a musically gorgeous production of <i>Titanic: The Musical</i>. The NYU Broadway Orchestra, led by Ted Sperling and featuring over 30 musicians, performed the original Jonathan Tunick orchestrations with emotion, clarity, and verve. The large cast featured fabulous singer after fabulous singer. It was an aurally glorious experience.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO8kaMXgLUTItxSlKZ1Ug5csfjQVHLr9_OWzwDNS38FUPpzkRnp_t6bfZvaac40oPlUPH_AzspoOcAyCjreWb89yspDje-BhiOHS9oO0IMqM1fDe2eGYNCJSRZhG-5iaRRiKGRWpfMglDkfypVYWwYRGc6CrfTHnQFw41pgSLveARwSrJD3p_Vg/s3510/20240214_153419.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3510" data-original-width="2579" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXO8kaMXgLUTItxSlKZ1Ug5csfjQVHLr9_OWzwDNS38FUPpzkRnp_t6bfZvaac40oPlUPH_AzspoOcAyCjreWb89yspDje-BhiOHS9oO0IMqM1fDe2eGYNCJSRZhG-5iaRRiKGRWpfMglDkfypVYWwYRGc6CrfTHnQFw41pgSLveARwSrJD3p_Vg/w147-h200/20240214_153419.jpg" width="147" /></a></div><p>I already have my ticket for the Encores! version of <i>Titanic</i> later this year. It will likely offer a more consistent level of acting and better costumes and lighting. But it will not be better sung or played.</p><p><i>Wendy Caster</i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-369901703240214342024-01-15T21:39:00.007-05:002024-01-15T21:40:45.688-05:00Here's to the Ladies Review on Talkin' Broadway<div><span style="font-size: medium;">I reviewed <i>Here's to the Ladies</i> over at <i>Talkin' Broadway:</i></span></div><div><i><br /></i></div><div><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjHJcBVzVG3mDhkVCci1_Ai_BNqpdjPCOcWHCaVTk26EP4pj2OInYZolXVzk41xfV8pvKbtmzbQuAovwuuURs0ZWle95SdkHvLR34czZD9buQtxwMxMrqlbIeXfklJtq-4W0RDG4CBhIvDva0lFiN_FkeIS6eXXe-vmTfiV-skHf2D_xWQEvfMplQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="250" data-original-width="170" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEjHJcBVzVG3mDhkVCci1_Ai_BNqpdjPCOcWHCaVTk26EP4pj2OInYZolXVzk41xfV8pvKbtmzbQuAovwuuURs0ZWle95SdkHvLR34czZD9buQtxwMxMrqlbIeXfklJtq-4W0RDG4CBhIvDva0lFiN_FkeIS6eXXe-vmTfiV-skHf2D_xWQEvfMplQ" width="163" /></a></div><br /><br /></i></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: arial; font-size: medium;"><i>Eddie Shapiro's three books of long-form interviews with musical theatre performers provide a unique, entertaining look at the reality of being a working (or work-hunting) musical actor, mostly on Broadway but also Off-Broadway and regionally. His first, Nothing Like a Dame, focuses mostly on big stars/legends, such as Angela Lansbury, Patti LuPone, and Bebe Neuwirth. His second, Wonderful Guy, focuses on a range of male actors such as Ben Vereen, Norm Lewis, and Jonathan Groff. And now he presents Here's to the Ladies: Conversations with More of the Great Women of Musical Theater, including Kelli O'Hara, Charlotte D'Amboise, and Judy Kuhn. All three books are wonderful.</i></span></blockquote><p><i><b><a href="https://www.talkinbroadway.com/page/rialto/past/2024/ladies.html"><span style="font-size: medium;">read more</span></a></b></i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-23991360132603281522023-12-22T10:28:00.009-05:002023-12-22T10:38:23.368-05:00A Christmas Carol<p><span style="font-family: Cambria; font-size: 14pt;">The redemption tale of
Ebenezer Scrooge, and how he discards his miserly ways after a few spectral
visitations has enchanted audiences since Charles Dickens published the novella
in 1843. Just a year later, stage versions appeared in London and the story
became a holiday favorite.</span></p><div>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">Pinpointing the first solo
theatrical endeavor is difficult. Dickens, who often did dramatized readings of
his writings, did perform “A Christmas Carol,” using gestures and character
voices to enhance his presentation. Several actors have developed their own
one-man adaptations, notably Patrick Stewart (of “Star Trek” fame) starting in
1988 and beyond (including New York productions in 1991, 1992, 1994 and 2001),
and Tony winner Jefferson Mays in 2022.</span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsELUTJTFzXpl4WEu_XM8t3QoLvseIKaRJEYJu2EB7M8qBLk5nfyAJYka4imD6ydL2EHOYJ6hNmK7QQrHvINFxeRmdHpk-4yVqFoCJWfM4GSFVag7muja05VXOHMCX7LYsrnNJWBixoHGSoJAaYaC14B93SaIddPdw3iIqAKxlg_DNjLmdf3m83g/s2502/A%20Christmas%20Carol%20performed%20by%20Guy%20Masterson%20Full%20PNG.png" style="margin-left: auto; margin-right: auto;"><img alt="A Christmas Carol starring Guy Masterson" border="0" data-original-height="1652" data-original-width="1600" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsELUTJTFzXpl4WEu_XM8t3QoLvseIKaRJEYJu2EB7M8qBLk5nfyAJYka4imD6ydL2EHOYJ6hNmK7QQrHvINFxeRmdHpk-4yVqFoCJWfM4GSFVag7muja05VXOHMCX7LYsrnNJWBixoHGSoJAaYaC14B93SaIddPdw3iIqAKxlg_DNjLmdf3m83g/w400-h264/A%20Christmas%20Carol%20performed%20by%20Guy%20Masterson%20Full%20PNG.png" title="Ebenezer Scrooge of A Christmas Carol" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Guy Masterson in "A Christmas Carol"</td></tr></tbody></table><br /><p></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">Olivier Award winner Guy
Masterson joins this elite club with “A Christmas Carol,” currently playing at
the SoHo Playhouse. Like those before him, he tackles presenting a disparate
catalog of characters including Scrooge, his partner Jacob Marley and Tiny Tim.
The lean production relies on his ability to embody these personas, with a sparse
set consisting of a chair and a suspended hook holding a raincoat that also
serves as a dressing gown, a dancing guest and a ghost’s garment.</span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">Masterson swirls in and out
of each character easily, narrowing his eyes and hunching his shoulders as
Scrooge and lighting up his cherubic face when becoming the jolly Fezziwig.
When he recounts the Cratchit family’s Christmas eve feast of stuffed Goose,
roasted potatoes and pudding, it sounds tantalizing enough that you actually
want to try goose.</span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">Even stage mishaps fail to
disrupt Masterson’s showmanship. During the night of the first preview, when
lighting cues were missed and the sync between the booming ghost voice and the
human one was off, he simply called, “Everything OK, Georgie,” to the booth
before pivoting seamlessly back into character.</span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">Adapted and directed by Nick
Hennegan of the Maverick Theatre Company, this simple version of “A Christmas
Carol” allows the audience to concentrate on Dicken’s text as Masterson
recounts the story through his extraordinary baritone voice and sweeping
movements. The black stage, simple lighting and occasional fog never upstage the
purity of the tale’s words. </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;"> </span></p>
<p class="MsoNormal" style="font-family: Cambria; font-size: 12pt; margin: 0in 0in 0.0001pt;"><span style="font-size: 14pt;">“A Christmas Carol” runs from
Dec. 20 to 30, 2023. SoHo Playhouse is located at 15 Vandam St. in New York
City. Running time: 80 minutes. For more information see
<a href="https://www.sohoplayhouse.com">https://www.sohoplayhouse.com</a></span></p></div>Sandra Mardenfeldhttp://www.blogger.com/profile/16126427786620880116noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-35474807008383978742023-12-07T00:16:00.000-05:002023-12-07T00:16:41.550-05:00Three More Reasons to Love New York<p><i>New York Magazine</i>'s annual "Reasons to Love New York" issue came out at just the right time for this review. After three successive evenings experiencing amazing talent and creativity in New York theatres, I was already in a "reasons to love New York" mood. Particularly impressive is that none of these three shows was on Broadway or featured big stars or cost a ton of money to see. To switch to a sports metaphor, New York has an extraordinarily deep bench of superb artists, which is a huge reason to love New York and feel grateful to live here. <i>New York Magazine </i>included 37 reasons, so I'll continue from there.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUQsrLDVH6P-M_zHeCu3UbMZEgnfRzZkUd9DSw7M6ZY0sbsoUPzWx5cqxUZ42_N0krd8a9tqaOZ9nTT0GCiXIwExRaQMOTaTmoiIDGj0HKnLjOOcPPQxK2ZHz7UCc_lL8VqSRe8tjhYPoe8MpIShoBwUhnSsI-cK0W09SpbgyfILFduN6rEtx0Hw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="713" data-original-width="570" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUQsrLDVH6P-M_zHeCu3UbMZEgnfRzZkUd9DSw7M6ZY0sbsoUPzWx5cqxUZ42_N0krd8a9tqaOZ9nTT0GCiXIwExRaQMOTaTmoiIDGj0HKnLjOOcPPQxK2ZHz7UCc_lL8VqSRe8tjhYPoe8MpIShoBwUhnSsI-cK0W09SpbgyfILFduN6rEtx0Hw=w160-h200" width="160" /></a></div><br /><b>Reason 38 to Love New York: The Broadway Close Up Series at Merkin Hall.</b> This particular edition of Broadway Close Up, titled "The Writers' Room," focused on Broadway composers and lyricists who had gone through the BMI Musical Theatre Workshop. The excellent host, Sean Hartley, interviewed composer Tom Kitt (<i>Next to Normal</i>), lyricist-composer-actor Amanda Green (<i>High Fidelity</i>), and lyricist Kristen Anderson-Lopez and composer Robert Lopez (together: <i>Frozen;</i> Robert without Kristen, <i>Avenue Q</i>; Kristen without Robert: <i>In Transit</i>). The interviews were interspersed with wonderful renditions of some of the songs being discussed. The truly amazing cast included Kate Baldwin, Kelli Barrett, Kevin Csolak, Jenn
Damiano, Stephanie D’Abruzzo, Jay Armstrong Johnson, Rick Lyon, Solea
Pfeiffer, Ciara Renee, Benjamin Levi Ross, and Margo
Seibert. Musical director Cynthia Meng provided accompaniment in a
fabulous array of styles.<p></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiKdmA8FtH1uIEiJpWo3dY9hFXkAMprJN4YdhMikCtRd6HPV4DUoDNIY3sXh-_dlzCM_H941Nw3tU96MI9iRVeeqgnoJd4L_CtZF2dfUBc5qKdTZBx2JSjCqCdjBYyfZLLfQDqNuRH4FG_ZeW7zMIUQUWQBcCAfj7th-wmne7DxrOO9roKlANm7dg" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="225" data-original-width="168" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiKdmA8FtH1uIEiJpWo3dY9hFXkAMprJN4YdhMikCtRd6HPV4DUoDNIY3sXh-_dlzCM_H941Nw3tU96MI9iRVeeqgnoJd4L_CtZF2dfUBc5qKdTZBx2JSjCqCdjBYyfZLLfQDqNuRH4FG_ZeW7zMIUQUWQBcCAfj7th-wmne7DxrOO9roKlANm7dg" width="179" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Amanda Green</td></tr></tbody></table><br />This evening was an extraordinary delight. The panelists' stories were fascinating, funny, and enlightening--and inspiring. But performances were the highlights, and the evening was practically <i>all</i> highlights. Kate Baldwin performed "I MIss the Mountains" gorgeously, with a full sense of characterization. Ciara Renee sang the heck out of "Let It Go." Amanda Green killed with "How Long?" from her upcoming musical <i>Female Troubles: A Period Piece</i>. </p><p>The final song was "Our Time" from <i>Merrily We Roll Along; </i>Sondheim was not affiliated with the BMI Workshop, but he was a great mentor to many people, and, really, you don't need an excuse to sing "Our Time" from <i>Merrily We Roll Along</i>. To add riches to riches, "Our Time" was sung unmiked, and it's the perfect song for that treatment with its gentle, heartfelt optimism.</p><p>But, but, no one beat Kermit the Frog's guest appearance singing the wonderful "Off to Denver" from Robert Lopez and Jeff Marx's <i>Kermit, Prince of Denmark. </i>Many thanks to Rick Lyon for bringing us Kermit.</p><p>And many thanks to Broadway Close Up for bringing us "The Writers' Room."</p><p><b>Reason 39 to Love New York: The Orchestra Now.</b> The Orchestra Now is part of the graduate music program at Bard College. The orchestra periodically performs "Sight & Sound" concerts at the Metropolitan Museum of Art that complement ongoing exhibits at the museum. The charming conductor Leon Botstein introduces each piece, explaining how it fits in with its time period and with the art exhibit. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiK0G8m3XdGZ6tywopNwSOx1cS4lHHUBRNcVHpX69uWOX7d5NdZfKM5xjUcAsedbI0sRYvdjEvvoqU-k0IuBqNEZ4-x7DQ5Nwo-mvH_uQ1Y6SyR8v0c-errBrGCQbaxkJkpfgyXDxTXtZIEVgYI-sOGOPQnKTuSq0zu8rZhGYGAW8Nphwv-VK1FlQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1026" data-original-width="1052" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiK0G8m3XdGZ6tywopNwSOx1cS4lHHUBRNcVHpX69uWOX7d5NdZfKM5xjUcAsedbI0sRYvdjEvvoqU-k0IuBqNEZ4-x7DQ5Nwo-mvH_uQ1Y6SyR8v0c-errBrGCQbaxkJkpfgyXDxTXtZIEVgYI-sOGOPQnKTuSq0zu8rZhGYGAW8Nphwv-VK1FlQ" width="246" /></a></div><br />The most recent "Sight & Sound" was "Copland, Culture & Politics in the 1930s." Keyed in with "Art for the Millions" at the museum, the concert included "Statements" and "Billy the Kid." Botstein's explanations and anecdotes were fascinating and frequently funny. The orchestra was terrific, with a clean, full sound and top-notch soloists. With an upcoming generation of musicians of this caliber, the major orchestras of the world have much to look forward to.<p><b>Reason 40 to Love New York: The York Theatre Company</b>. The York Theatre's apt tagline is "Where Musicals Come to Life." The York presents old musicals (in the invaluable Mufti Series and in full productions) and new musicals (workshops and full productions). Among the York's best-known shows are the brilliant <i>The Musical of Musicals: The Musical!, </i>as well as <i>Souvenir</i> and <i>Jolson & Company. </i>The creators and performers at the York are among the best.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiEozEPsIAKWt2fX-mkV29SE7mKoNEWMSg201Zb6-hkHUUnk15-uybIbxtlWIwv8whkUP2eu_RR-iyquUdxW6IO0X7TeH_EHc7P0p8Hw085B_mQ0BA8tokiu8fNg371RgTsPiHNqTkktQwHC-bs7tc5_wtUU9UFJXMTF4C9sdKtMh98UlyiquE0tw" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="2025" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiEozEPsIAKWt2fX-mkV29SE7mKoNEWMSg201Zb6-hkHUUnk15-uybIbxtlWIwv8whkUP2eu_RR-iyquUdxW6IO0X7TeH_EHc7P0p8Hw085B_mQ0BA8tokiu8fNg371RgTsPiHNqTkktQwHC-bs7tc5_wtUU9UFJXMTF4C9sdKtMh98UlyiquE0tw" width="237" /></a></div><br />That being said, I have to admit that I did not like the York's current show, <i>The Jerusalem Syndrome.</i> The story of people visiting Jerusalem who come to think they're biblical characters, <i>The Jerusalem Syndrome</i> is based on a real syndrome affecting 200 or so people a year. <p></p><p>It's an odd time to do a musical comedy based in Jerusalem, a fact that is acknowledged a number of times in the program. The York chose to continue with the musical, "ultimately deciding that the show's message of hope and peace is needed now more than ever." It was the York's right to make that decision, and I respect that.</p><p>But the problem with the show is not (just?) the political timing but also that it is written in a style that is dated and shallow for the topic at hand. In fact, <i>The Jerusalem Syndrome</i> frequently feels like it was written in the 1960s, rather than in the 21st century, with its shtick and silliness. I'm not against shtick and silliness per se--I loved <i>Disaster!</i>--but there is a time and a place, and this isn't either.</p><p>But even here, there is a fabulous, large cast to enjoy. Dana Costello does a faux secret agent bit, sidling along a wall and then rolling on the floor, that had the audience laughing and then laughing again. She made an excellent God. Farah Alvin, as an ignored wife who comes to believe she is Sarah, gives a moving, well-sung performance. Josh Lamon as Dr. Zion explains the Jerusalem Syndrome in a patter song that he mines for all its humor while nailing all its meaning--and enunciating every word. The rest of the cast, also no slouches, includes<span style="color: #222222; font-family: Tahoma, sans-serif; font-size: xx-small;"><span style="background-color: white;"> </span></span>Alan H. Green, Danielle Lee
James, John Jellison, Garrett Long, Karen
Murphy, Jeffrey Schecter, Chandler Sinks, Jennifer Smith, Pablo Francisco Torres (subbing for James D. Gish), Curtis
Wiley, Lenny Wolpe, and Laura Woyasz. </p><p style="text-align: center;">***</p><p style="text-align: left;">And when people bemoan the cost of theatre tickets, remember that two people could have seen all three of these for less than the price of <i>one</i> ticket to <i>Merrily We Roll Along.</i></p><p style="text-align: left;"><i>Wendy Caster</i></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal"><o:p></o:p></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-18381472420955321022023-11-14T16:01:00.002-05:002023-11-14T16:02:38.887-05:00Broadway Close Up: Party at the Princes'<p>Last night, Broadway Close Up presented yet another lovely night of talented people singing wonderful songs. The evening was devoted to shows that Hal Prince produced and/or directed, which includes <i>Cabaret, Company, Follies, Lovemusik, Merrily We Roll Along, The Pajama Game, Phantom of the Opera, She Loves Me, </i>and <i>West Side Story.</i> (Those are just the shows represented last night; Prince's full resume also includes <i>A Little Night Music, Sweeney Todd, Fiorello, A Fiddler on the Roof, </i>and<i> Parade</i>; the man received 21 Tonys!)</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgmqLIYJqVK42BCqsQavcBBcT68Ko8FXp-FKlFKpsvYPvG_aN726dAQz0TUE76-kyoxXSRKBUZRfXTtPnel1_p8kpWQ_X49uaiC_YVwrz1O_-3NNeFCMHkmP9gatpkiOLq67O-b_d4IISkRoUOrqFPZXlhJ6MRBtkp_og_wV17jVfJD_9JUdIYA/s545/Screenshot%202023-11-14%203.46.35%20PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="545" data-original-width="477" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgmqLIYJqVK42BCqsQavcBBcT68Ko8FXp-FKlFKpsvYPvG_aN726dAQz0TUE76-kyoxXSRKBUZRfXTtPnel1_p8kpWQ_X49uaiC_YVwrz1O_-3NNeFCMHkmP9gatpkiOLq67O-b_d4IISkRoUOrqFPZXlhJ6MRBtkp_og_wV17jVfJD_9JUdIYA/w175-h200/Screenshot%202023-11-14%203.46.35%20PM.png" width="175" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kate Baldwin<br /><i>From https://www.kate-baldwin.com/</i></td></tr></tbody></table><br /><p>Hosted and written by Sean Hartley, who also performed a bit (and nicely), <i>A Party at the Princes'</i> featured a living room-esque area with food and drink, to which the performers retired after singing. It was fun to watch them watching their friends and peers and nonpeers, and the show ended with all of them and the audience singing "Cabaret," which was great fun.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3ZNMEDfLY0GOs4ht96xTdaZ07rFvhTm42cYQXtiagKmx80DNc1ZLInBKXgYpZFajf5u-WzBoiCfF0958Fh4DykyUIwdfasu6i2hXT87sHJxFA3WM1BiHTGtZMoNeVUOWzwKp06k96zPI_lHa086V-uhLT8GAN64mn_DN-DczNNB2WX0-hFHMaA/s716/Screenshot%202023-11-14%203.55.12%20PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="479" data-original-width="716" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv3ZNMEDfLY0GOs4ht96xTdaZ07rFvhTm42cYQXtiagKmx80DNc1ZLInBKXgYpZFajf5u-WzBoiCfF0958Fh4DykyUIwdfasu6i2hXT87sHJxFA3WM1BiHTGtZMoNeVUOWzwKp06k96zPI_lHa086V-uhLT8GAN64mn_DN-DczNNB2WX0-hFHMaA/s320/Screenshot%202023-11-14%203.55.12%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Allison Blackwell<br /><i>From https://www.allisonblackwell.com/</i></td></tr></tbody></table><br /><p>Highlights of the evening included Nikki Renee Daniels singing "Maybe This Time" (<i>Cabaret</i>), Alysha Umphress singing "Married" (<i>Cabaret),</i> Isabel Keating singing "Broadway Baby" (<i>Follies</i>), the fabulous Kate Baldwin singing "Could I Leave You?" (also<i> Follies), </i>Sally Wilfert singing "Now You Know" (<i>Merrily We Roll Along</i>), Allison Blackwell singing "Speak Low" (<i>Lovemusik)</i>, and Charlotte Maltby and Jason Robinson both spoofing and honoring <i>Phantom of the Opera. </i>New to me was the beautiful "Dear One" from <i>Kiss of the Spiderwoman</i>, sang by Gabrielle Stravelli, Kirsten Scott, Sean Hartley, and Jason Robinson.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErf9tbsKesAbk-N5RtFWD2tPgMhGLE8ZrM31Jo8Cgf0Hv2Hv2WQHEzczmnDFdya3jH8XPlXkeRCBLexTyqEAVxaNJWZeePhBtEl7_IXFG3F610E39uSEhYBX1fksVVnfS9gEopKrqKDF1R9H-qRxSOJ5s5zQk4GaYFLKfcC1Tz0cEW_RLXM_-Gg/s397/Screenshot%202023-11-14%203.48.11%20PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="299" data-original-width="397" height="151" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjErf9tbsKesAbk-N5RtFWD2tPgMhGLE8ZrM31Jo8Cgf0Hv2Hv2WQHEzczmnDFdya3jH8XPlXkeRCBLexTyqEAVxaNJWZeePhBtEl7_IXFG3F610E39uSEhYBX1fksVVnfS9gEopKrqKDF1R9H-qRxSOJ5s5zQk4GaYFLKfcC1Tz0cEW_RLXM_-Gg/w200-h151/Screenshot%202023-11-14%203.48.11%20PM.png" width="200" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="text-align: start;">Sally Wilfert</span><br style="text-align: start;" /><span style="text-align: start;"><i>Photo c/o Boneau/Bryan-Brown</i></span></td></tr></tbody></table><br /><p>Someone else in the audience might have had different highlights--and one could make the case that every song was a highlight! </p><p>Special kudos must go to Evan Rees, the music director and pianist, and the lighting designer (whose name I could not find in the program). With their support, the performances had a fullness and depth not always seen when songs from musical are sang out of context.</p><p>The last show of this series of Broadway Close Up is <i>The Writers' Room. </i>I'm quite looking forward to it. Here is the description from the Broadway Close Up website:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="text-align: left;"><a href="https://www.kaufmanmusiccenter.org/mch/series/broadway-close-up/" style="background-color: white; border: 0px rgb(183, 27, 53); color: #b71b35; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; vertical-align: baseline;" target="_blank"><span style="font-size: xx-small;">BROADWAY CLOSE UP</span></a></p><p style="text-align: left;"><span style="font-size: xx-small;"><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">Hosted by </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Sean Hartley</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> and featuring Tony nominees </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Stephanie D’Abruzzo </strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">and </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Kate Baldwin</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">, </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Jenn Damiano</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> (original cast, </span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">Next to Normal</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">), Outer Critics Circle Award winner </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Jay Armstrong Johnson</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">, </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Rick Lyon</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> (original cast of </span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">Avenue Q</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">) </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Ben Levi Ross</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> and Drama Desk Award winner </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Margo Seibert </strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">(original cast, </span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">In Transit</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">). Music directed by </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Cynthia Meng</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">.</span></span></p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="text-align: left;"><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;"><span style="font-size: xx-small;">HOW THE BMI LEHMAN ENGEL MUSICAL THEATRE WORKSHOP CHANGED BROADWAY</span></strong></p><p style="text-align: left;"><span style="font-size: xx-small;"><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">The prestigious BMI Lehman Engel Musical Theatre Workshop is renowned for fostering generations of musical theater writers who have transformed Broadway, but no year was more pivotal than 1997. Hear behind-the-scenes stories about what happened when this phenomenal group of writers was in the room together, and how they went on to write smash hit musicals that have garnered numerous Tonys, Oscars, Grammys and a Pulitzer Prize and shaped our culture: </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Bobby Lopez & Kristen Anderson-Lopez</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> (</span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">Avenue Q, The Book of Mormon, Frozen</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">), </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Brian Yorkey & Tom Kitt </strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">(</span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">Next to Normal, If/Then</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">) and </span><strong style="background-color: white; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px;">Amanda Green</strong><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;"> (</span><em style="background-color: white; border: 0px; color: #292829; font-family: mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;">Hands on a Hardbody, Mr. Saturday Night</em><span face="mr-eaves-xl-modern, Calibri, "Gill Sans", Arial, sans-serif" style="background-color: white; color: #292829; letter-spacing: 0.666667px;">). They’ll share their experiences, perform songs and give you a sneak peek at what they’re working on now.</span></span></p></blockquote><p>Click <a href="https://www.kaufmanmusiccenter.org/mch/event/the-writers-room/" target="_blank">here</a> for more info.</p><p><i>Wendy Caster</i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-68914401665574338072023-11-07T17:49:00.006-05:002023-11-07T17:52:20.944-05:00The FrogsThe time is the present. The place is Ancient Greece. The fabulous lyrics and music are by the one-and-only Sondheim. The hysterical book is based on Aristophanes' <i>The Frogs,</i> as loosely adapted by Burt Shevelove and then loosely-er adapted and readapted by Nathan Lane. The brilliant cast includes Lane as the Host, along with Douglas Sills, Kevin Chamberlin, Peter Bartlett, Dylan Baker, Chuck Cooper, Marc Kudisch, Jordan Donica, and Candice Corbin. The chorus is the magnificent MasterVoices. The fabulous choreography is by Lainie Sakakura. The wonderful evening is conducted and directed by the invaluable Ted Sperling. Once again, the MasterVoices hits a grand slam home run.<div><br /></div><div>The basic story of <i>The Frogs</i> is simple: the demi-god Dionysus, despairing of the state of the world (same as it ever was), goes to Hades to bring back George Bernard Shaw, believing that Shaw's writing can open up people's eyes and inspire them to save the world. As it happens, Shaw has to debate Shakespeare, and Dionysus decides that Shaw's brilliant logic lacks the power of Shakespeare's poetry. Shakespeare agrees to go back to earth, and the final song exhorts the audience to "shake your ass" and do something to make the world better.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1tyN5dmObrJRI5Szd6RRlZ-1TcqVxurdSEGgKvACMh_URtMh_wamFd3tzUSsSaV1SvX2ThlNSSumb_TZ0lve9Yq9GDVVhAAQI4Ag1lEmLksARb8KEjMveCTj5HWehLMpjG6QodXrOhBdyS77Y482NztbOSwxw2rK6qwyE0WvDTeBl8Y5T9P1oQw/s3300/_69A5567_TheFrogs.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2357" data-original-width="3300" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1tyN5dmObrJRI5Szd6RRlZ-1TcqVxurdSEGgKvACMh_URtMh_wamFd3tzUSsSaV1SvX2ThlNSSumb_TZ0lve9Yq9GDVVhAAQI4Ag1lEmLksARb8KEjMveCTj5HWehLMpjG6QodXrOhBdyS77Y482NztbOSwxw2rK6qwyE0WvDTeBl8Y5T9P1oQw/s320/_69A5567_TheFrogs.JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Photo: Erin Baiano</i></td></tr></tbody></table><br /><div><br /></div><div>Can art inspire people to save the world? I don't know. But art <i>itself</i> makes the world a better place. What is more glorious than watching some 150 people work <i>together</i> to make something ephemeral and beautiful? Seeing shows reminds me that people can be generous, loving, and cooperative. Seeing shows almost makes up for reading the news.</div><div><br /></div><div>One thing: when this show is done again, forget Shaw and Shakespeare. The artist the show should bring back is Sondheim.</div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja2X5szhSlErSyjQnQ2npmPbAk1_QVPuspDFF6QcRa-nj-BjZxwCcDWfvx2W4Ai-jJSa4ZZPoNzCJVHuXdM7eUEvenX7jYPQs7eF3xviFMxQXjucgJdIBkgaCr-Mr3LsSG6bjj-OScwGKd5ops4gyeOsBeFyN0T0SJ9qJ3nPw41GVDgCFagb158g/s3300/_69A8299_TheFrogs%20(1).JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2200" data-original-width="3300" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja2X5szhSlErSyjQnQ2npmPbAk1_QVPuspDFF6QcRa-nj-BjZxwCcDWfvx2W4Ai-jJSa4ZZPoNzCJVHuXdM7eUEvenX7jYPQs7eF3xviFMxQXjucgJdIBkgaCr-Mr3LsSG6bjj-OScwGKd5ops4gyeOsBeFyN0T0SJ9qJ3nPw41GVDgCFagb158g/s320/_69A8299_TheFrogs%20(1).JPG" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><i>Photo: Erin Baiano</i></td></tr></tbody></table><br /><div><br /></div><div><i>Wendy Caster</i></div>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-83013726127258226522023-10-30T23:11:00.005-04:002023-10-30T23:11:57.896-04:00Jukebox: The Musical<p>Over the years, the Broadway Close-Up series has featured selections from musicals-in-development, including discussions with their creators; salutes to established composers and writers of musicals, including interviews and scenes from their shows; evenings of songs grouped by theme; and tributes to the greats (see, for example, the upcoming <i><a href="https://www.kaufmanmusiccenter.org/mch/event/party-at-the-princes/" target="_blank">Party at the Princes'</a></i>). And now Broadway Close-Up has presented its first original jukebox musical. Or perhaps it should be "original" jukebox musical. But, then again, how original can a jukebox musical ever be?</p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDv39y73hh1yDeqOqd8qB3YS8v71uk_KqpoXQ6FEffScR1sHGYuTCUzkKqq9pmDszswTjjEnRgVeW0BQEC29HmV-e_Hj-7GPzM3bxElTg0xh-N6QbSnA0zN5vGClgENCPGdo-h_AMaVMy5XHRUUwslTFjgXy5QAEuDzun1HAP3_A6ilrR3yXX8HA" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="1200" data-original-width="1200" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDv39y73hh1yDeqOqd8qB3YS8v71uk_KqpoXQ6FEffScR1sHGYuTCUzkKqq9pmDszswTjjEnRgVeW0BQEC29HmV-e_Hj-7GPzM3bxElTg0xh-N6QbSnA0zN5vGClgENCPGdo-h_AMaVMy5XHRUUwslTFjgXy5QAEuDzun1HAP3_A6ilrR3yXX8HA" width="240" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Sean Hartley</td></tr></tbody></table><br />The one-night-only <i>Jukebox</i>: <i>The Musical</i> satirized jukebox musicals by being a jukebox musical devoted to, well, jukeboxes. Written, assembled, and narrated by Sean Hartley, producer of the Broadway Close-Up series, it was wry, silly, and a great deal of fun. The paper-thin plot concerned two inventors trying to develop the first viable jukebox; descriptions of some of the failures were exactly as goofy as they needed to be.</p><p>The show featured an excellent cast, A.J. Shively, Allison Blackwell, Nick Cearley, Elena Ricardo, and Gabrielle Stravelli, all of whom had ample opportunity to strut their stuff. </p><p style="text-align: center;"><b>***</b></p><p>The problem with reviewing one-night-only shows is, of course, that's it's always too late to recommend them. I can, however, suggest that you check out the two remaining evenings in the Broadway Close-Up series:</p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><div class="event" style="background-color: white; border: 0px; color: #292829; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; font-style: inherit; font-weight: inherit; letter-spacing: 0.5pt; margin: 0px 0px 1.5em; padding: 0px; text-align: left; vertical-align: baseline;"><span style="font-family: inherit;"><a href="https://www.kaufmanmusiccenter.org/mch/event/party-at-the-princes" style="border: 0px rgb(183, 27, 53); color: #b71b35; font-style: inherit; font-weight: inherit; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; vertical-align: baseline;">Party at the Princes’</a>: <span style="letter-spacing: 0.666667px;">November 13, 2023</span></span></p></div></blockquote><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><div class="event" style="background-color: white; border: 0px; color: #292829; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; font-style: inherit; font-weight: inherit; letter-spacing: 0.5pt; margin: 0px 0px 1.5em; padding: 0px; text-align: left; vertical-align: baseline;"><span style="font-family: inherit;"><a href="https://www.kaufmanmusiccenter.org/mch/event/the-writers-room" style="border: 0px rgb(183, 27, 53); color: #b71b35; font-style: inherit; font-weight: inherit; margin: 0px; outline: none; padding: 0px; text-decoration-line: none; vertical-align: baseline;">The Writers’ Room</a>: <span style="letter-spacing: 0.666667px;">December 4, 2023</span></span></p></div></blockquote><div class="event" style="background-color: white; border: 0px; color: #292829; letter-spacing: 0.666667px; margin: 0px; padding: 0px; vertical-align: baseline;"><p style="border: 0px; font-weight: inherit; letter-spacing: 0.5pt; margin: 0px 0px 1.5em; padding: 0px; vertical-align: baseline;"><span style="letter-spacing: 0.666667px;"><i><span style="font-family: inherit;">Wendy Caster</span></i></span></p></div><p><br /></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-23358374560713641832023-10-19T22:54:00.003-04:002023-10-19T22:56:34.043-04:00Partnership<p>The fabulous Mint Theater Company is presenting <i>Partnership</i>, the third in their "Meet Miss [Elizabeth] Baker" series. The first, <i>The Price of Thomas Scott</i> (review <a href="http://showshowdown.blogspot.com/2019/02/the-price-of-thomas-scott.html" target="_blank">here</a>), from 1913, movingly explores the clash between profit and principle. The second, <i>Chains</i> (review <a href="http://showshowdown.blogspot.com/2022/06/chains.html" target="_blank">here</a>), from 1910, vividly depicts how having a job can choke the joy out of life; it is sadly still timely. Both of these, while a little flabby, were effective, sometimes excellent, pieces of theatre, well-presented by the Mint. Unfortunately, the third play, <i>Partnership</i>, from 1917, falls short of the first two in both writing and presentation. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgDa2q3U1-4YT5qLYQ_atlHTnFTLKT36SGhwfLZgIl3BzcQep5yKxxNL32pFvWBS-3l9FNt4AeMNK4rO4RJ3JjzkD1pU2PoGVX3rqeFNI08dXUCqS9pNISbQI4wgDIwjuW8i0xcVJ1NvTWnmQE3uY3KrYPeHUbm0Fznbe2KPQQU9JIfZ0ks7SNI2w" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="315" data-original-width="249" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgDa2q3U1-4YT5qLYQ_atlHTnFTLKT36SGhwfLZgIl3BzcQep5yKxxNL32pFvWBS-3l9FNt4AeMNK4rO4RJ3JjzkD1pU2PoGVX3rqeFNI08dXUCqS9pNISbQI4wgDIwjuW8i0xcVJ1NvTWnmQE3uY3KrYPeHUbm0Fznbe2KPQQU9JIfZ0ks7SNI2w" width="190" /></a></div><br />Kate has a small dress shop. Now that Lady Smith-Carr-Smith is a customer--and plans to recommend the shop to a duchess--success seems guaranteed. Kate would like to acquire the shop next door to combine with her own. However, rumor has it that George Pillatt, described as "a pig" and "cold as a tadpole," has taken the shop. To Kate's surprise, Pillatt suggests that they become partners in business, and in life. Kate says yes.<p></p><p>It's not clear why Kate would say yes. She knows that she is an "eligible" young woman. She doesn't need someone to support her. And she never even suggests to Pillatt that they be business partners only. </p><p>Yes, women in the early 20th-century frequently made non-romantic marriages. I just don't see why Kate would. And, as you could probably predict, Kate promptly falls in love with someone else. Nothing that happens afterward is remotely surprising or particularly compelling. The play might come across better with a more lively production, but it is a surprisingly lackluster night at the Mint.</p><p><i>Wendy Caster</i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-28137158973782720552023-10-02T15:08:00.001-04:002023-10-02T15:09:09.826-04:00Purlie Victorious: A Non-Confederate Romp Through the Cotton PatchIt's difficult to decide where to begin discussing the wonders of <i>Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch.</i> The incredibly funny, smart, musical writing; the extraordinary acting; the smooth, perfectly paced direction; the handsome, practical scenery and lighting; and the attractive, character-enhancing costumes all mesh into one brilliant unit. Discussing them individually feels inappropriate and reductive.<div><br /></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnrxei-Fw689HvsGTQwJu27vHFzaVAjIOJGG9pyaJSTcMtMzTTVeZaccr8cpsFkObZHdOC_QIBy6vXDIf1gYBZeBSb7fg20I0Qy2p0AZRIEn-TUrdMIWpCgxYBJbpa1__wZ77fu4377jG5ZSya2OTkZr7dvvgFInlpTBgHQmyKj8pONHZ1iCc1w/s371/Screenshot%202023-10-02%203.01.41%20PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="217" data-original-width="371" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihnrxei-Fw689HvsGTQwJu27vHFzaVAjIOJGG9pyaJSTcMtMzTTVeZaccr8cpsFkObZHdOC_QIBy6vXDIf1gYBZeBSb7fg20I0Qy2p0AZRIEn-TUrdMIWpCgxYBJbpa1__wZ77fu4377jG5ZSya2OTkZr7dvvgFInlpTBgHQmyKj8pONHZ1iCc1w/s320/Screenshot%202023-10-02%203.01.41%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Leslie Odom, Jr.</td></tr></tbody></table><br />The website describes the play as " the rousing, laugh-filled comedy by . . . Ossie Davis that tells the story of a Black preacher’s machinations to reclaim his inheritance and win back his church." True. But it's also a story of getting by, overcoming mistreatment, fighting for the truth (sometimes by lying), humanity, and love.<br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglGqmoMAV4kXDJcajWspn7v0ObpkQo6V9RChBv2dS5x66WVoKcQl81GOENlwwGT7VoTQZxtQxXTVziOqdaI6DgZSTtMZ5FOhxb2yGpJHckZYKduVVPqcWjWuCrUXMiVrCdDSQoUUN791ByTthEnf9Wtv8CKr8Bwq5A6JyJocu8NuX7h2L3qm-abQ/s359/Screenshot%202023-10-02%203.02.06%20PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="215" data-original-width="359" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglGqmoMAV4kXDJcajWspn7v0ObpkQo6V9RChBv2dS5x66WVoKcQl81GOENlwwGT7VoTQZxtQxXTVziOqdaI6DgZSTtMZ5FOhxb2yGpJHckZYKduVVPqcWjWuCrUXMiVrCdDSQoUUN791ByTthEnf9Wtv8CKr8Bwq5A6JyJocu8NuX7h2L3qm-abQ/s320/Screenshot%202023-10-02%203.02.06%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Kara Young</td></tr></tbody></table><div><br /><div style="text-align: center;"><br /></div>Starring Leslie Odom Jr. (remarkable), Vanessa Bell Calloway, Billy Eugene Jones, Noah Pyzik, Noah Robbins, Jay O. Sanders, Heather Alicia Simms, Bill Timoney, and Kara Young (a wonder). Directed by Kenny Leon. Set by Derek McLane. Costumes by Emilio Sosa. Lighting by Adam Honoré. Sound by Peter Fitzgerald. Hair, wig and makeup by J. Jared Janas. Fight direction by Thomas Schall. Original music b, Guy Davis. Executive producers, Maia Kayla Glasman and Brandon J. Schwartz; production stage manager, Kamra A. Jacobs.<br /><br />The list of producers over the title suggests the need to reinforce the stage any time <i>Purlie Victorious</i> wins an award. For this show, it did indeed take a village: Jeffrey Richards, Hunter Arnold, Leslie Odom, Jr., Louise Gund, Bob Boyett, Willette and Manny Klausner, Salman Moudhy Al-Rashin, Creative Partners Productions, Irene Gandy, Kayla Greenspan, Mark and David Golub Productions, Kenny Leon, John Gore Organization, Morwin Schmookler, Van Kaplan, Ken Greiner, Patrick W. Jones, Nicolette Robinson, National Black Theatre, Alan Alda, LaTanya Richardson Jackson, Samuel L. Jackson, Phylicia Rashad, Nnamdi Asomugha, Kerry Washington.</div><div><br /></div><div>It's a funny, heart-warming (and occasionally heart-breaking), impressive evening in the theatre. A true delight.<br /><div><br /></div><div><i>Wendy Caster</i></div></div>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-39029999336235531232023-09-16T19:37:00.000-04:002023-09-16T19:37:00.358-04:00alt-HamletWhat do you get if you stir together abortion rights, cancel culture, and Hamlet, throw in hints of Becket and Brecht, and add sharp writing, excellent acting, and fabulous make-up and costumes? The impressive <i>alt-Hamlet</i>, beautifully written and directed by Suzanne Willett, which is at the Players Theatre on MacDougal St through September 24th.<div><br /></div><div><div>It's a heady mix, often funny, always insightful, frequently confusing, sometimes stunning. (It's also a little flabby, being maybe 15 minutes too long, but, oh, well.) It is very hard to describe!</div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMP40UlN9z-fAdybxgspGmFQTQE-Ks6K7_sQwy8qvhzvFKWMRa40YsD9Bqp9wCDfHEmRLDIPH_kP37DNnrsA5_eZySnGCBKPjPcYRXW4AsIjzYO49hp4vZEPXZZFUy7arp-lznqbxv9SrU8adhDtUjKa6WGM1QIDS0VJ7eloWTJVJ5R7OXu0EiNg/s2406/altHamlet13_findthelight.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1723" data-original-width="2406" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMP40UlN9z-fAdybxgspGmFQTQE-Ks6K7_sQwy8qvhzvFKWMRa40YsD9Bqp9wCDfHEmRLDIPH_kP37DNnrsA5_eZySnGCBKPjPcYRXW4AsIjzYO49hp4vZEPXZZFUy7arp-lznqbxv9SrU8adhDtUjKa6WGM1QIDS0VJ7eloWTJVJ5R7OXu0EiNg/s320/altHamlet13_findthelight.jpg" width="320" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Davon Howard, Yuliya Donovan</div><div style="text-align: center;"><i>Photo: Find the Light</i></div></td></tr></tbody></table><div><div><br /></div><div><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4Kl_9QnA2CQOdk_HWZyeYbrHdniPwBnbdb6vbI3nxCTSXhw5cTDCClc38Ye_QU9gbzC4_jer4uJJKawKHa6AgUlxPooddyVKS8qGaq4EjlQlA4BalimGkCkmtaBP3sh65QJPj01kj7wG1mPyURfupcPkx6BjXlikk5uiSdP8LMcfCsB_V3cExA/s900/unnamed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="900" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4Kl_9QnA2CQOdk_HWZyeYbrHdniPwBnbdb6vbI3nxCTSXhw5cTDCClc38Ye_QU9gbzC4_jer4uJJKawKHa6AgUlxPooddyVKS8qGaq4EjlQlA4BalimGkCkmtaBP3sh65QJPj01kj7wG1mPyURfupcPkx6BjXlikk5uiSdP8LMcfCsB_V3cExA/s320/unnamed.jpg" width="320" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Alessandro Caronna</div><div style="text-align: center;"><i>Photo: Find the Light</i></div></td></tr></tbody></table><br /><div>Here'<span style="font-family: inherit;">s what the website says:</span></div><span style="font-family: inherit;"><br /></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: inherit;"><i>Two Berkeley sisters come to realize the economics of being a woman.</i></span></blockquote><span style="font-family: inherit;"><i><br /></i></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: inherit;"><i>A ghost, Gloria B.--the mother of Susan and Bella--tells her daughters to avenge her murder by uncovering their father’s guilt. Susan, a newly converted economics major, feigns madness by obsessively interpreting events through economics. Her sister, Bella, does the same via psychology. As the sisters gradually uncover the depth of their father’s duplicity, they spiral down into a cancel culture contest with deadly consequences. It’s a comedy.</i></span></blockquote><p>But this description leaves out so, so much. More useful is this note from the script: "This is a carnivalesque/grotesque style of performance. Nothing should be sacred." The father is a demented ring master, his new wife a giant spider. Pregnancy is represented by balloons, abortion by excruciating popping thereof. One character is obsessed with representation via social media. And that still leaves out so much.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWlcBImJLfoFFm_ZSxEj0t49CgZ0wrOmJ5Ckcp8DofahSarEAk-H370eqPzOZ9bsG29BN8Wwpt9g3iAdUl33-TXHwPxs6EOkeFT6Gm2k5N8M8WyMqV-8RQTKJ1zPluTEMnyU1GK0bcTDJVW0TJX4fYmd-NSESHAoQVBZyWXkQN89cBy2GIow92g/s900/unnamed%20(1).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="900" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrWlcBImJLfoFFm_ZSxEj0t49CgZ0wrOmJ5Ckcp8DofahSarEAk-H370eqPzOZ9bsG29BN8Wwpt9g3iAdUl33-TXHwPxs6EOkeFT6Gm2k5N8M8WyMqV-8RQTKJ1zPluTEMnyU1GK0bcTDJVW0TJX4fYmd-NSESHAoQVBZyWXkQN89cBy2GIow92g/s320/unnamed%20(1).jpg" width="320" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Leah Barker, Miranda Renée</div><div style="text-align: center;"><i>Photo: Find the Light</i></div></td></tr></tbody></table><p><br /></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDsGvkQiYmafRMVZBFmtO6z07-h8M2WUzdlBsNczwqhP8mCoFZcfOKafkVXFDfoIiDNa7HRsBrZ0W6J0bO2thO60EI6U1EtWPwzcgaGE36I22nnoU2utzNzTUPjg8jZ1ma2ns3O8R6Tw1D32IgZdlnmFzDRtKLCdO067vdo5AjccG85z-pLWXXQ/s3600/altHamlet3_findthelight.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2400" data-original-width="3600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDsGvkQiYmafRMVZBFmtO6z07-h8M2WUzdlBsNczwqhP8mCoFZcfOKafkVXFDfoIiDNa7HRsBrZ0W6J0bO2thO60EI6U1EtWPwzcgaGE36I22nnoU2utzNzTUPjg8jZ1ma2ns3O8R6Tw1D32IgZdlnmFzDRtKLCdO067vdo5AjccG85z-pLWXXQ/s320/altHamlet3_findthelight.jpg" width="320" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: center;">Emily Ann Banks</div><div style="text-align: center;"><i>Photo: Find the Light</i></div></td></tr></tbody></table><br />Here's the thing: this is a rich and fascinating theatrical experience that doesn't feel required to explain itself and that dares to teeter over into too-too-much-ness. Watching it, I vacillated between thinking that this was Off-Off-Broadway pretentiousness and being sure it was brilliant. I was sometimes bored. I was frequently thrilled. There is great skill here, and great commitment. </p><p>I left astonished yet again at the amazing things one can see in a nondescript theatre in a nondescript building, put together by people who give their time and effort and intelligence and talent for little outer reward (but, I hope, great inner reward). It's an incredible accomplishment.</p><p><i>Wendy Caster</i></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwwrLhv_8C13Qi1VippSHylEzXvc7JGaBo2qLxu07oe6fozVBJNjkz6aZdxbyuSBSJESyl6uIFbkHtzFN77Y_bEbMwBhIqrE5Kk5YvFIy4EPqOXgMThLumwFjchxCjGAzodAzQWhv0VUvw6eRwFMoKMozj2iXC3mcYANcjgDxQr54ZFfrsslkSMA/s221/cast.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="116" data-original-width="221" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwwrLhv_8C13Qi1VippSHylEzXvc7JGaBo2qLxu07oe6fozVBJNjkz6aZdxbyuSBSJESyl6uIFbkHtzFN77Y_bEbMwBhIqrE5Kk5YvFIy4EPqOXgMThLumwFjchxCjGAzodAzQWhv0VUvw6eRwFMoKMozj2iXC3mcYANcjgDxQr54ZFfrsslkSMA/w320-h168/cast.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFIz2lU9mZ9PqNX5geAHX6lAoGz5VUwKDCmiydIHJDYLWG5Q17QYFXhfPwoyMapq7hQuKF9jCk1xSFwQ2Sv57naIpUh4Diw5xCJWOZ7cnEkSHJo5cO1y2ONzDUooSMxZFJxtc65-0vMhxUoy6IWhjB7_8oa_ZPD0yBfjE8ep7SBFS7fNk03wyhQ/s229/voice%20over.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="67" data-original-width="229" height="94" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFIz2lU9mZ9PqNX5geAHX6lAoGz5VUwKDCmiydIHJDYLWG5Q17QYFXhfPwoyMapq7hQuKF9jCk1xSFwQ2Sv57naIpUh4Diw5xCJWOZ7cnEkSHJo5cO1y2ONzDUooSMxZFJxtc65-0vMhxUoy6IWhjB7_8oa_ZPD0yBfjE8ep7SBFS7fNk03wyhQ/w320-h94/voice%20over.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC0piefpNIlCv9nzKhbppgSpEPTWWik3DB20tYr2n9PLmTLjTg4iNVQ6E4BAffSXOfvZiDeAtl89aZp3_afo7So08r5LMI1Rr0FcHhtonT0DF5wU5OwsIQwL6Ek9G0yB-UHs4BQ7hZkr2oAx-snXUBD6tFlv8X2bSmYs9W34nNaM6X1AT5_uSNoQ/s234/crew.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="186" data-original-width="234" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC0piefpNIlCv9nzKhbppgSpEPTWWik3DB20tYr2n9PLmTLjTg4iNVQ6E4BAffSXOfvZiDeAtl89aZp3_afo7So08r5LMI1Rr0FcHhtonT0DF5wU5OwsIQwL6Ek9G0yB-UHs4BQ7hZkr2oAx-snXUBD6tFlv8X2bSmYs9W34nNaM6X1AT5_uSNoQ/w320-h254/crew.jpg" width="320" /></a></div><br /><p><br /></p></div></div>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-25388583301606599362023-08-28T22:11:00.001-04:002023-08-28T22:14:23.312-04:00How to Steal an Election<p>In this sad time of theatres' laying off staff, shortening seasons, and disappearing altogether, there is at least one bright spot: the York Theatre Company's Musicals in Mufti are back!!</p><p>Musicals in Mufti are somewhat informal (actors get only four days of rehearsal, they carry scripts during performances, costumes tend to be simple, etc) but always worthwhile. Sometimes they bring back familiar titles: eg, <i>Tenderloin, Subways Are for Sleeping, I Love My Wife, I'm Getting My Act Together and Taking It on the Road, The Baker's Wife.</i> Sometimes they reconsider iffy but interesting shows: <i>Cyrano, Roadside, Big, Minnie's Boys. </i>And sometimes they provide rare looks at the odd and/or historical: <i>Keen, Theda Bara and the Frontier Rabbi</i>. Sometimes the original creators are involved; Comden and Green rewrote a bit of <i>Billion Dollar Baby</i>, a show they had created 53 years earlier! And the performers are often amazing, whether early in their careers (Kristin Chenoweth) or well-know (Tyne Daly).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCZyFEMb68lo2CaxFSqIkTm0hnAyRqqU5S49sxFEKxS1-R-m9F_jpH71P2xCY3dFbAI08IYAI16JHx4dHcv1FzdqXRVgB71lPRIgbHFSV4ij1z_YsRY8zZO6asZQYV2e9FWXUH1dkbebSJ4-9nelncmgarX_AF9Zy6_Fnec8OA6TxMcnCF1tIb6Q/s463/Screenshot%202023-08-28%205.48.17%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="463" data-original-width="354" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCZyFEMb68lo2CaxFSqIkTm0hnAyRqqU5S49sxFEKxS1-R-m9F_jpH71P2xCY3dFbAI08IYAI16JHx4dHcv1FzdqXRVgB71lPRIgbHFSV4ij1z_YsRY8zZO6asZQYV2e9FWXUH1dkbebSJ4-9nelncmgarX_AF9Zy6_Fnec8OA6TxMcnCF1tIb6Q/w306-h400/Screenshot%202023-08-28%205.48.17%20PM.png" width="306" /></a></div><br /><p>I would categorize the current Musical in Mufti, <i>How to Steal an Election, </i>as odd and historical. The cast is astonishing. A satirical revue in which Calvin Coolidge (the charming Jason Graae) explains politics to disaffected young people in the late 1960s, its humor is hit and miss, and its point of view a bit inconsistent. Some of the songs are funny, a few are beautiful, and some aren't either. Is it a great show? No. Am I glad I saw it? Yes: partially just to have seen it; partially to enjoy the high points; partially to watch/listen to that amazing cast; and partially to just be at a Musical in Mufti again after so many years. </p><p>Years ago, when I saw Kristin Chenoweth in <i>Billion Dollar Baby, </i>I knew the second she opened her mouth that she was a star, as did the rest of the audience. You could feel the excitement. A similar moment happened last night when Alex Joseph Grayson started singing. Electricity zinged through the audience, and his applause was long and loud. Gorgeous voice, gorgeous man. For his sake and ours, I hope he works for many, many years in many, many shows. (Some of you may already know his work; he was recently in <i>Parade</i> on Broadway. But he was new to me, and a real revelation.)</p><p>While Grayson was extraordinarily extraordinary, the rest of the cast was also wonderful, with beautiful voices, good comic acting, and even some dandy tap dancing: Courtney Arango, Kelly Berman, Emma Degerstedt, Drew Tanabe.</p><p><i>How to Steal an Election </i>is on through next weekend; it closes Sept 3rd. The rest of the season consists of <i>The Lieutenant</i> (opening Sept 10th), <i>Golden Rainbow</i> (Sept 24th), and <i>When We Get There</i> (Oct 8th). The York's website is <a href="https://yorktheatre.org/" target="_blank">here</a>.</p><p><i>Wendy Caster</i></p><blockquote style="background-color: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: small;" type="cite"><div dir="ltr"><div class="gmail_quote"><div lang="EN-US" link="blue" style="overflow-wrap: break-word;" vlink="purple"><div id="m_-4684365128119478764m_-8422820226816464761mail-editor-reference-message-container"><p class="MsoNormal" style="margin: 0px;"></p></div></div></div></div></blockquote>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-49252149351918817032023-08-16T12:25:00.005-04:002023-08-16T18:38:49.512-04:00Sweeney Todd: The Demon Barber of Fleet Street<p>If I were forced to name one favorite show, it might well be <i>Sweeney Todd</i>. (Actually, it would be <i>Sweeney-Night Music-Follies</i>, but that's cheating.) <i>Sweeney</i>'s size, wit, pathos, beauty, and lushness add up to an evening of riches. It can also be enjoyably frightening.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj84a-LXz_uk6j9xivJW9Rkh1DFCPWLg0A5_UrmifSix0XCjYYE2-aNvM8_02onLshV7II5C6PA0js2gBOGzrqbhC__J9adU66sc9qYsOA8DKzdmXaqUntyD90pSJ_6U9o1vJd4ducIQ2GhRWyBcV9kZ9EdISLGCMQf6SqvRfeVhtTo_ydJXNjrkw/s340/Screenshot%202023-08-16%2012.22.04%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="339" data-original-width="340" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj84a-LXz_uk6j9xivJW9Rkh1DFCPWLg0A5_UrmifSix0XCjYYE2-aNvM8_02onLshV7II5C6PA0js2gBOGzrqbhC__J9adU66sc9qYsOA8DKzdmXaqUntyD90pSJ_6U9o1vJd4ducIQ2GhRWyBcV9kZ9EdISLGCMQf6SqvRfeVhtTo_ydJXNjrkw/s320/Screenshot%202023-08-16%2012.22.04%20PM.png" width="320" /></a></div><p>The current <i>Sweeney</i>, starring Josh Groban and Annaleigh Ashford, leans heavily on the wit and humor (and, unfortunately, shtick), leaving it less emotional and devastating. However, it is beautifully sung and often quite funny, and its (relatively) large orchestra is a gift. </p><p>I have in the past discussed with friends whether Sweeney and Mrs. Lovett ever had sex. Most of my friends said no. I thought they did, although not necessarily <i>good</i> sex. In this production, they are definitely lovers, and they enjoy each other. Whereas most of the Sweeneys I've seen have sung "A LIttle Priest" with humor, they have still been somewhat stiff, definitely damaged. Groban's Sweeney is loose, giggly, and even flirty, and it's nice to see Sweeney having fun for once. While the production's emphasis on humor undercuts its power, having Sweeney <i>like</i> Mrs. Lovett makes her betrayal hit particularly hard.</p><p>Josh Groban lacks the gravitas to totally pull off Sweeney, but his voice is gorgeous. Annaleigh Ashford carries her shtick too far into the story, undercutting the show's impact, but she is frequently wonderful.</p><p>The direction is messy. Sometimes it is impossible to find what you should be focusing on. And, ironically enough, despite the production's humorous bent, it misses some of the best jokes in the show. Also, the choreography is a total minus for the show and completely unnecessary.</p><p>Overall, though, this <i>Sweeney</i> is well worth seeing. While not the best version I've seen, it is <i>solid</i>. And, oh, that music!</p><p><i>Wendy Caster </i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0New York, NY, USA40.7127753 -74.005972812.402541463821152 -109.1622228 69.023009136178842 -38.849722799999995tag:blogger.com,1999:blog-38452002.post-21932982814953900412023-08-14T15:43:00.001-04:002023-08-14T15:45:15.885-04:00Orpheus Descending<div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Tennessee Williams’s play </span><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Orpheus Descending</span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"> (recently at the Theatre for a New Audience) was the first of his works to be produced. While it is not one of his masterpieces, it is still rich, sad, funny, fascinating, and compellingly overwrought. </span></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">As described on TFANA’s website, the play “tells the story of the passion of two outcasts—Lady Torrance, a storekeeper’s wife and daughter of a murdered Sicilian bootlegger, and Val, a wandering guitar player—and their attempt to escape from a Southern Hell.”</span></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: medium;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: medium;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFtDj-XcBx4415ErPNBAZxyLozQ8iK98wgb6bhu0JTdeTIjeidhClkokOy2ktJfx4RtgtUXAoiPZS22DIu0WZH8vLTKgkxdLXVRTLPI7Min1DXfeTl-7gB6qPletrgHB6kaR6st0YkcmnptQcP4-dHEJHP4Xu0BB2O6GTLFaPoYjELQqaY1g1Vw/s780/Screenshot%202023-08-14%203.26.40%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="780" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEFtDj-XcBx4415ErPNBAZxyLozQ8iK98wgb6bhu0JTdeTIjeidhClkokOy2ktJfx4RtgtUXAoiPZS22DIu0WZH8vLTKgkxdLXVRTLPI7Min1DXfeTl-7gB6qPletrgHB6kaR6st0YkcmnptQcP4-dHEJHP4Xu0BB2O6GTLFaPoYjELQqaY1g1Vw/s320/Screenshot%202023-08-14%203.26.40%20PM.png" width="320" /></a></div></span><span style="font-family: inherit; white-space-collapse: preserve;"><div style="font-size: x-large; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: large; white-space-collapse: preserve;"><br /></span></div>Lady (the excellent Maggie Siff) and Val (Pico Alexander) must negotiate dealings with a wide variety of townspeople: Maggie’s husband, deathly ill but still quite powerful and mean; Carol Cutere, a needy young woman with little chance of ever getting her needs met; Vee Talbott (the wonderful Ana Reeder), who turns her religious visions into paintings; and her husband, the sheriff, who operates in a much more concrete–and dangerous–manner. There are also the town gossips, Maggie’s husband’s nurse, and others. </span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><span style="font-family: inherit; font-size: large; white-space-collapse: preserve;"><br /></span></div><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: left;"><div style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Lady and Val exist in a different world than the rest of the town, and they inevitably get involved, despite the dangers of doing so. They talk and actually listen to each other, they understand each other, and they are deeply drawn to each other physically. Most importantly, they find hope in each other.</span></span></div></div><span id="docs-internal-guid-f1973cca-7fff-624f-5272-51eacea1b9d5"><span style="font-family: inherit;"><br /><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;">Erica Schmidt’s direction of the TFANA production left much to be desired in terms of clarify and use of space. The cast was uneven. Maggie Siff had the presence and skill necessary to ground the play in the underpinning of reality that it needs. Pico Alexander lacked the animal magnetism required by his role, which threw off the balance of the play. </span><span style="white-space-collapse: preserve;">But all in all, the TFANA production was vibrant and alive.</span></p></span></span><span id="docs-internal-guid-d0c09255-7fff-e055-cf07-3e1430771345"><span style="font-family: inherit; font-size: medium;"><br /></span><p dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><span style="font-family: inherit;">Wendy Caster</span></span></p><div><span face="Arial, sans-serif" style="font-size: 11pt; font-style: italic; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space-collapse: preserve;"><br /></span></div></span>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-3911227660140157862023-08-10T15:19:00.001-04:002023-08-10T15:19:22.428-04:00Once Upon a One More Time<p><i>Once Upon a One More Time</i> is not a show I would usually see. The only thing I know about Britney Spears is that she's in the news a lot and has had some tough times. And I don't care much about fairy tales. And I relate to princesses <i>not at all</i>.</p><p><i>But</i> my old friend Linda's son is in the show. Many years ago, Linda and I used to sneak into shows together; we'd travel an hour and a half each way to see a 50-minute second act! We saw entire shows when we had the money, but that was not often. We were kids.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4CR3zRcnjIoLstXBbyIXFKrSfCgM7m7QIVC7v9ZHIBP6H9QQTiG2thM9nMGk_qjBV6DIBoQD_Lipnray53Q362Zg3iam_OkMT2H2mJr--tlJp2evAFL0Whvh6oZctB1YwzRTf7LqecVSKrmde43ltSIm_4ahJpugWO5A-g0sFROGuBYZIqoKtA/s554/Screenshot%202023-08-10%203.13.05%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="554" data-original-width="548" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4CR3zRcnjIoLstXBbyIXFKrSfCgM7m7QIVC7v9ZHIBP6H9QQTiG2thM9nMGk_qjBV6DIBoQD_Lipnray53Q362Zg3iam_OkMT2H2mJr--tlJp2evAFL0Whvh6oZctB1YwzRTf7LqecVSKrmde43ltSIm_4ahJpugWO5A-g0sFROGuBYZIqoKtA/s320/Screenshot%202023-08-10%203.13.05%20PM.png" width="317" /></a></div><p>The thing is, Broadway was complete magic to us. The people on stage were otherworldly--certainly not regular humans. Broadway was a place for joy and pain and catharsis and wonder and breath-taking talent. My view of Broadway has gotten a bit less shiny over the years, but there is still part of me that is gob-smacked by Broadway talent. So if Linda's son is in a show, I'm going! </p><p>He's Joshua Daniel Johnson, and he's a particularly fabulous part of a particularly fabulous ensemble. He and they are wonderful, energetic, radiant. And they work their butts off! I'm in awe. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl84GGIcgY1ozvr199SKP7v6Jfn3m5UlmZ3lf2Jg3ZPP5UHxlnRLaQ4Rc1IdORzRt8bzztnVRy6cO1MByK5bDk3ZyNcjicvyDNIIXz0S72rL9OjairR_8PpZWrscVnKDFwe3l_UUMY8OKOH_gS0YTRxdWgnw8Zs1TGKTQBsGg50wtH2rlOPAfauQ/s554/Screenshot%202023-08-10%203.13.29%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="554" data-original-width="548" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl84GGIcgY1ozvr199SKP7v6Jfn3m5UlmZ3lf2Jg3ZPP5UHxlnRLaQ4Rc1IdORzRt8bzztnVRy6cO1MByK5bDk3ZyNcjicvyDNIIXz0S72rL9OjairR_8PpZWrscVnKDFwe3l_UUMY8OKOH_gS0YTRxdWgnw8Zs1TGKTQBsGg50wtH2rlOPAfauQ/s320/Screenshot%202023-08-10%203.13.29%20PM.png" width="317" /></a></div><p>The show itself is fun, full of wild choreography and great singing. Spears' songs are great to listen to, and the entire cast is top-notch. </p><p>It's too bad that the book, while full of funny lines and good ideas, doesn't engage the audience emotionally (or at least this audience). It's hard to care about Cinderella, Prince Charming, and Snow White (despite the hard work and excellence of the performers) when they are written as stick figures. </p><p><i>Once Upon a One More Time </i>is an excellent concert, however, and I had a great time.</p><p><i>Wendy Caster</i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com2tag:blogger.com,1999:blog-38452002.post-50116589564569690532023-06-02T20:58:00.012-04:002023-06-05T11:33:40.679-04:00Tony Predictions, Because Why Not?<p><span style="font-family: Cambria; font-size: 16px;">Well, it is that time of year again. The 76th Tony Awards will recognize theatrical achievements on Broadway for the 2022-23 season. Who will win? Below are Show Showdown's guesses.</span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IBhFe3l7oD0" width="320" youtube-src-id="IBhFe3l7oD0"></iframe></div><div class="separator" style="clear: both; text-align: center;">Clip from <i>New York, New York</i></div><br /><p></p><div class="Ar Au Ao" id=":72q"><div aria-controls=":75f" aria-label="Message Body" aria-multiline="true" aria-owns=":75f" class="Am Al editable LW-avf tS-tW tS-tY" g_editable="true" hidefocus="true" id=":72m" role="textbox" spellcheck="false" style="direction: ltr; min-height: 240px;" tabindex="1"><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b style="font-size: 11pt;"><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Book of a
Musical</span></u></b></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> <i>Kimberly Akimbo</i><b><u></u></b></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Wow, one I’d
finally bet on: <i>Kimberly Akimbo</i>,
David Lindsay-Abaire.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Ditto (I
submitted my predictions last … so you might see this a few times).<br />
<br />
<b><u>Best Original Score (Music and/or
Lyrics) Written for the Theatre</u></b><br />
<b>Liz:</b> <i>Kimberly Akimbo</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: <i>Kimberly Akimbo</i>, Music: Jeanine Tesori,
Lyrics: David Lindsay-Abaire</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Ditto<br />
<br />
<b><u>Best Performance by an Actor in a
Leading Role in a Play</u></b><br />
<b>Liz:</b> Wendell Pierce, Arthur
Miller's <i>Death of a Salesman</i>. Pierce was revelatory as Willy Loman and richly deserving of the award. I
thought Stephen McKinley Henderson was also brilliant in <i>Between Riverside and
Crazy</i>, and I’d be delighted if he took this, but I suspect it’ll go to Pierce. </span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Tough, tough,
tough category to guess. I guess this is kinda cheating, but I predict the two
men from <i>Topdog/Underdog</i>. I just hope
that Sean Hayes doesn’t win; his winning would seem just too #TonysTooWhite</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">The fate of Willy
Loman and his family is always wrenching, but particularly so in this version …
and Wendell Pierce’s take on the iconic role ups the ante. <br />
<br />
<b><u>Best Performance by an Actress in a
Leading Role in a Play</u></b><br />
<b>Liz:</b> Jodie Comer, <i>Prima Facie</i>. I confess I’ve seen none of these, so this is a shot in the dark, but Comer
apparently gives a mesmerizing, scenery-chewing, shape-shifting, mountain-moving,
buckets-of-sweat-spill-your-guts-out performance, which is just total Tony bait. </span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> This category
should have five nominees! That being said, I think Jodie Comer, <i>Prima Facie</i>,
has got it. Her performance is astonishing, and the role is full of the
dramatic opportunities that nab trophies. If Comer wasn’t in the list, I think
Jessica Chastain, <i>A Doll's House</i>,
would have been the winner. Truly, this category sums up the weirdness of
awards: four nominees instead of five for no real reason, and comparing apples,
oranges, kumquats and motorcycles.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Let’s make this
lucky number seven for Audra McDonald.<br />
<br />
<b><u>Best Performance by an Actor in a
Leading Role in a Musical</u></b><br />
<b>Liz:</b> J. Harrison Ghee, <i>Some Like It Hot. </i>Ghee’s performance as a trans jazz musician who discovers their true self as
Daphne was by equal turns hilarious, graceful, beautiful to watch, and deeply moving.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Everyone but
Borle would be a legit winner here (I thought he was miscast and not all that
interesting). I predict J. Harrison Ghee, <i>Some
Like It Hot</i>, because their performance is lovely and something new.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">J. Harrison
Ghee, <i>Some Like It Hot. </i>This was my favorite show of the season and part of that is because of Ghee
who brings joy to this role and glorious tapping.</span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/30F1MyJThyE" width="320" youtube-src-id="30F1MyJThyE"></iframe></div><div class="separator" style="clear: both; text-align: center;"><i>Some Like It Hot</i></div><br /><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br /><b><u>Best Performance by an Actress in
a Leading Role in a Musical</u></b><i><br />
</i><b>Liz:</b> Victoria Clark, <i>Kimberly Akimbo. </i>Diamond could take this instead, but she never quite nails the southern accent;
Clark makes what could have been a cliché of a character into a deeply nuanced,
believable, lovable one.<i></i></span><p></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Victoria Clark, <i>Kimberly Akimbo</i>, is a shoo-in.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Ditto. I have
adored Victoria Clark since <i>The Light in
the Piazza</i> and my admiration for her intensified after reading this <i>New York Times</i> article: <a href="https://www.nytimes.com/2023/05/10/theater/kimberly-akimbo-victoria-clark.html" style="color: #0563c1;">https://www.nytimes.com/2023/05/10/theater/kimberly-akimbo-victoria-clark.html</a><br />
<br />
<b><u>Best Performance by an Actor in a
Featured Role in a Play</u></b><br />
<b>Liz:</b> Brandon Uranowitz, <i>Leopoldstadt. </i>Uranowitz was memorable in a very crowded cast of characters. That said, I’d be
pleased if any of the nominees ended up winning this category.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> I’m going with
Jordan E. Cooper, <i>Ain't No Mo'</i>.
Fabulous performances!</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">David Zayas, <i>Cost of Living. </i>I just loved this show … and he was
wonderful — steadfast and moving.</span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Performance
by an Actress in a Featured Role in a Play<br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Katy
Sullivan, <i>Cost of Living. </i>This is total wishful thinking, but in both the original production and the Broadway one, Sullivan was funny and raw in the role of
a paraplegic woman struggling to adjust to her new disabilities, and a life
without her ex-husband. <b><u></u></b></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Katy Sullivan, <i>Cost of Living</i>. Though, once again, how
can anyone possibly compare these performances?</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Katy Sullivan, <i>Cost of Living</i>. Who didn’t gasp during
that bathtub scene? What a compelling and brave moment.<br />
<br />
<b><u>Best Performance by an Actor in a
Featured Role in a Musical</u></b><br />
<b>Liz</b>: Alex Newell, <i>Shucked. </i></span><span style="font-family: Cambria; font-size: 12pt;">Newell stopped the show mid-act when I saw it, and apparently
continues to do so every damn time with her barn-raiser of a solo number. </span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Kevin Del
Aguila, <i>Some Like It Hot</i>, is a total
crowd pleaser.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Gotta go with
Wendy on this one. You have to love Osgood Fielding III … if only Elon Musk was so open-minded and jovial.<br />
<br />
<b><u>Best Performance by an Actress in a
Featured Role in a Musical</u></b><br />
<b>Liz:</b> Bonnie Milligan, <i>Kimberly Akimbo<br />
<br />
</i><b>Wendy</b>: Bonnie Milligan, <i>Kimberly Akimbo</i>, is a crowd
pleaser.<br />
<br />
<b>Sandra</b>: I feel like <i>Sweeney</i> deserves some acknowledgment
this season and Ruthie Ann Miles is its best shot, bringing a seething fury and
sadness to the beggar woman.</span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/wkrM7YNQCGo" width="320" youtube-src-id="wkrM7YNQCGo"></iframe><br /><i>Kimberly Akimbo</i></div><br /><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
<br />
<b><u>Best Scenic Design of a Play</u></b><br />
<b>Liz:</b> I had some other guess here, but I totally just changed it because I too think Wendy had the better guess. What she says: </span></div><div aria-controls=":75f" aria-label="Message Body" aria-multiline="true" aria-owns=":75f" class="Am Al editable LW-avf tS-tW tS-tY" g_editable="true" hidefocus="true" id=":72m" role="textbox" spellcheck="false" style="direction: ltr; min-height: 240px;" tabindex="1"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
<b>Wendy:</b> Tim Hatley & Andrzej
Goulding, <i>Life of Pi</i></span><p></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">I’m with Wendy.
Look what they did with a boat …</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Scenic
Design of a Musical<br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Beowulf
Boritt, <i>New York, New York. New York, New York</i> is not as genuinely terrible as most of the reviews
imply…but then, the scenic design really did stand out as a particular strength.<b><u></u></b></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Beowulf Boritt,
<i>New York, New York</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Beowulf Boritt, <i>New York, New York. </i>I loved the subtle sketching of a city neighborhood that no longer exists —
with its balconies overlooking everyone’s business.<br />
<br />
<b><u>Best Costume Design of a Play</u></b><br />
<b>Liz</b>: Emilio Sosa, <i>Ain't No Mo'. </i>For Peaches’ glorious getups alone….</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Emilio Sosa, <i>Ain't No Mo'</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Ditto<br />
<br />
<b><u>Best Costume Design of a Musical</u></b><br />
<b>Liz:</b> Gregg Barnes, <i>Some Like It Hot. </i>I would happily wear the same pair of jeans and ratty t-shirt every day of my
life if I could, and yet I coveted every damn outfit worn in this show.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Gregg Barnes, <i>Some Like It Hot</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Ditto</span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OdSSfa1Oz5w" width="320" youtube-src-id="OdSSfa1Oz5w"></iframe></div><div class="separator" style="clear: both; text-align: center;"><i>& Juliet</i></div><br /><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
<br />
<b><u>Best Lighting Design of a Play</u></b><br />
<b>Liz</b>: Bradley King, <i>Fat Ham</i><br />
<br />
<b>Wendy</b>: Jon Clark, <i>A Doll's House</i></span><p></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> </span><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Tim Lutkin, <i>Life of Pi</i></span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
<br />
</span><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Lighting Design of a Musical</span></u></b><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
</span><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Natasha Katz. </span><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">No
idea who will win, so I’m guessing Katz because she’s nominated twice. For
which show? Dunno.</span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Ken Billington, <i>New York, New York</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Natasha Katz, <i>Some Like It Hot</i></span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
<br />
</span><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Sound Design of a Play</span></u></b><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
</span><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Ben & Max Ringham. See "lighting design" above. </span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Ben & Max
Ringham, <i>A Doll's House</i>. Rarely has sound design had such a significant role in the ambience, meaning,
and success of a play.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Carolyn Downing, <i>Life of Pi</i></span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
<br />
</span><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Sound Design of a Musical</span></u></b><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"><br />
</span><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> Gareth Owen, <i>& Juliet<br />
</i><br />
<b>Wendy:</b> Scott Lehrer & Alex
Neumann, <i>Into the Woods</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: I’m with Wendy
with this one.</span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/aiMkz7Cb68A" width="320" youtube-src-id="aiMkz7Cb68A"></iframe></div><div class="separator" style="clear: both; text-align: center;"><i>Shucked </i>Broadway Recording of "Corn."</div><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
<br />
<b><u>Best Direction of a Play</u></b><br />
<b>Liz:</b> Saheem Ali, <i>Fat Ham</i></span><p></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Aargh! How to
choose? I’m going with Stevie Walker-Webb, <i>Ain't
No Mo',</i> for his breathtakingly energetic, theatrical directing.<br />
<br />
<b>Sandra: </b></span><span style="border: 1pt none windowtext; font-family: Cambria; font-size: 12pt; line-height: 107%; padding: 0in;">Patrick Marber<i>, Leopoldstadt</i></span><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
<br />
<u>Best Direction of a Musical<br />
</u>Liz</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Lear deBessonet, <i>Into the
Woods. </i>I was never a huge fan of this particular show, but deBessonet’s bubbly, joyous
production was thoroughly delightful. <b></b></span></p>
<p class="MsoNormal" style="line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria;"><span style="font-size: 16px;"><b>Wendy: </b>Lear deBessonet, Into the Woods<b>.</b></span></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Casey Nicholaw, <i>Some Like It
Hot. </i>That chase scene alone deserves a
Tony.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Choreography</span></u></b><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Casey
Nicholaw, <i>Some Like It Hot. </i>Call me a sucker for an old-fashioned tap-heavy musical, but come on, now. </span><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"></span></u></b></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Another tough
category. Casey Nicholaw, <i>Some Like It Hot</i>.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Casey Nicholaw, <i>Some Like It
Hot. </i>I haven’t seen such exciting tap since <i>42nd
Street--</i>and did I mention that chase scene?</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best
Orchestrations<br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: No clue, truly.
May the best orchestrator win.<b><u></u></b></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Wendy</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: Jason Howland, <i>Shucked</i>. Total guess!</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Bill Sherman and Dominic
Fallacaro, <i>& Juliet. </i>Because I just want them to win
something.</span><span style="font-family: "Times New Roman"; font-size: 10pt; line-height: 107%;"></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Play<br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: <i>Leopoldstad</i>t. Stoppard’s legacy and the fact that this show keeps getting described
as “probably his very last” will result, I think, in a symbolic win. That’ll be
fine with me, but then, so would it be if any other show nominated wins for
best play instead. </span></p><p class="MsoNormal" style="line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria;"><span style="font-size: 16px;"><b>Wendy:</b> I adore Stoppard, and I think he's going to win, but I'd love it to be <i>Fat Ham.</i></span></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">What Liz said.<u></u></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Musical<br />
</span></u></b><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">: <i>Some Like It Hot. </i>Big, splashy, sweetly subversive, lotsa tap dance.</span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><b>Wendy: </b>I predict <i>Kimberly Akimbo.</i></span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> <i>Some Like It Hot. </i>Really fun, exuberant, well-staged musical.<br />
<br />
<b><u>Best Revival of a Play</u></b><br />
<b>Liz:</b> <i>The Sign in Sidney Brustein's Window. </i>I really loved this production and this play, even as I suspect I’m wrong and
it won’t win. </span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><b>Wendy: </b><i>Topdog/Underdog</i>, but I wouldn't bet a lot of money on it.</span></p>
<p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><i><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">The Piano Lesson<br />
<br />
</span></i><b><u><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Best Revival of a Musical</span></u></b><i><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><br />
</span></i><b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Liz:</span></b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"> <i>Parade. </i>I’m really not a big fan of this show, even as I recognize that the
production is solid. I would be delighted if <i>Into the Woods</i> upset the cart, but that’s no longer running and <i>Parade</i> is. </span></p><p class="MsoNormal" style="font-family: Calibri; font-size: 11pt; line-height: 107%; margin: 0in 0in 8pt;"><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;"><b>Wendy</b><i>: Into the Woods.</i> I have more faith in people's memories, but, hey, I could be wrong.</span></p>
<b><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Sandra: </span></b><i><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">Parade. </span></i><span style="font-family: Cambria; font-size: 12pt; line-height: 107%;">A moving production that
offers context about the true story</span><br clear="all" /><div><br /></div><div><i><span style="font-size: xx-small;">All video clips from YouTube</span></i></div></div></div>Sandra Mardenfeldhttp://www.blogger.com/profile/16126427786620880116noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-33034188292337342532023-05-18T17:26:00.002-04:002023-05-18T17:26:50.447-04:00Blanche: The Life and Times of Tennessee Williams's Greatest Creation (book review)<p>I reviewed <i>Blanche: The Life and Times of Tennessee Williams's Greatest Creation </i>at Talkin' Broadway:</p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><i>Blanche: The Life and Times of Tennessee Williams's Greatest Creation</i>, by Nancy Schoenberger, is an odd little book. Saying that it runs some 193 pages of actual content is generous, as that includes a number of white pages, a faux obituary of Blanche DuBois, and four pages of sonnets, created by Schoenberger, that purport to be what Blanche's long-dead young husband might have written (!!!). Trimmed of its repetitions, the book could have made a fairly interesting long essay in The New Yorker or The New York Review of Books.</blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><i><a href="https://www.talkinbroadway.com/page/rialto/past/2023/blanche.html" target="_blank">continue reading</a></i> </p></blockquote><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnOex_yGzIO_oS_OMi4HnsI5NALug-p0uJlGe9j9WuHwEXWpNgJFGOyhMgOEBNc2E-CcZFBlUZ8jCNcU5nClgEJLGBmGY21SHl5jlWWP-UDr8RcrTky3XSSicJzJpIAVykZl5NfuUBfA8TYUp3ld3ZyHAaF1CHMyigMxkw1oYD2g356W2Pvg/s450/ann%20marg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="338" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEnOex_yGzIO_oS_OMi4HnsI5NALug-p0uJlGe9j9WuHwEXWpNgJFGOyhMgOEBNc2E-CcZFBlUZ8jCNcU5nClgEJLGBmGY21SHl5jlWWP-UDr8RcrTky3XSSicJzJpIAVykZl5NfuUBfA8TYUp3ld3ZyHAaF1CHMyigMxkw1oYD2g356W2Pvg/s320/ann%20marg.jpg" width="240" /></a></div><br /> <i>Wendy Caster</i><p></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-79264248691588782812023-05-16T13:41:00.002-04:002023-05-16T13:45:59.811-04:00Assassins<p>The Gallery Players production of <i>Assassins</i> is unfortunately not up to its usual standards. I admire the ambition of attempting <i>Assassins</i>, with its non-plot, odd politics, long swaths of spoken scenes, and challenging score. But: Some of the performers didn't sing well enough or act well enough. A few were completely miscast. The band lacked cohesion, and the sound design didn't help it or the performers. The sound effects didn't work: the noises of a bottle-making factory sounded more like someone snoring, and the gunshots were too low and distant to discomfort the audience as they should. Some of the costumes didn't work; in particular, John Wilkes Booth's suit seemed more appropriate for a comedian than a dashing serious actor. The lighting was occasionally murky.</p><p>Weirdly enough, however, I would not dissuade you from going. Despite its many flaws, the production was ultimately disturbing in the right way.</p><p><i>Wendy Caster</i></p><p><i><br /></i></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtggNZxjP0oYg5spmox74EQsbXwFeNkql0wEZF3hTt2nsB6ochaFBvdCLOqxcHJhIR78gOhZKOMvw4BjYtvjJDmZBMP8RcZ513e5GipdkZsT25tzcphIyekXb7b3P3xupUKQrtMrI52JoIcejeTVG6ArPg5AjIuGA7mqlYRyF0Y6UD847_EKY/s600/assassins%20poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtggNZxjP0oYg5spmox74EQsbXwFeNkql0wEZF3hTt2nsB6ochaFBvdCLOqxcHJhIR78gOhZKOMvw4BjYtvjJDmZBMP8RcZ513e5GipdkZsT25tzcphIyekXb7b3P3xupUKQrtMrI52JoIcejeTVG6ArPg5AjIuGA7mqlYRyF0Y6UD847_EKY/s320/assassins%20poster.png" width="213" /></a></div><br /><i><br /></i><p></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-10266545182986876742023-05-05T16:47:00.002-04:002023-05-05T16:47:28.450-04:00Some Numerical Thoughts on the Tonys<p>Entertainment awards are silly and they're also endlessly fascinating. Part of the allure is the fashion, pomp, and party atmosphere. A bigger part, for me, is the speeches--at least, those speeches that show some personality, humor, and emotion. Add exciting numbers from nominated musicals, and a good time is had by most.</p><p>However, what drives me the most crazy, personally, about the Tonys comes down to numbers. For example, with four nominees, someone could win with only 31% of the vote, with the other three nominees receiving an average of 23% each. With five nominees, the winner might only have 24% of the vote, with the other four nominees averaging 19% each. (At least the Tonys have nothing as silly as the 10 nominees for best picture, in which the winner could have as little as 20% of the vote, with the other nominees averaging 8.9% each.)</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZEfEp4AInkL0Ghr34vFcspJXtXzXAkRYpHQhmdNIGrDfzDxwB7unOD-pbWpYgfH39KW_sJ6dp1E-3ofyeDYX830Tmt9YJm_vt7hswLJf28VkLXzd3hfsotrZLeeY-lgGdfNUW30vJ19iqJs5HGiUQtSp3Q6YUeFLXsLGtWhILt6G-qYUWXA/s794/Screenshot%202023-05-05%204.44.55%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="396" data-original-width="794" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZEfEp4AInkL0Ghr34vFcspJXtXzXAkRYpHQhmdNIGrDfzDxwB7unOD-pbWpYgfH39KW_sJ6dp1E-3ofyeDYX830Tmt9YJm_vt7hswLJf28VkLXzd3hfsotrZLeeY-lgGdfNUW30vJ19iqJs5HGiUQtSp3Q6YUeFLXsLGtWhILt6G-qYUWXA/s320/Screenshot%202023-05-05%204.44.55%20PM.png" width="320" /></a></div><br /><p>While the examples I have given are extreme, the point still stands that someone can win a "best" award without even getting a majority of the vote.</p><p>Then we get to the odd rules set by the Tonys. For example, if a category has nine or more potential nominees, there will be five nominations (barring any ties). But if it has fewer, there will be four nominations. What has that got to do with the quality of the productions or performances? In cases where there are four nominees, is there a lessening in quality for the potential fifth because he/she/it/they had fewer competitors? If another show opened at the last minute, bringing the total to nine in various categories, would that fifth potential nominee suddenly improve?</p><p>In the other direction, are there always four or five performances/productions that definitely deserve to be nominated? There have been many times where the fourth nominee definitely came across as filler. And that's not even mentioning painful years such as 1995 when <i>Sunset Boulevard </i>won a slew of awards with only one competitor or none! Does that make <i>Sunset Boulevard'</i>s<i> </i>Tonys worth less? I guess it depends on how you feel about <i>Sunset Boulevard.</i> (IMHO, worse shows have won, but not many.)</p><p>The final numberical issue is the total number of nominations for a particular show. Yes, <i>Some Like It Hot </i>is an amiable and enjoyable musical, but ads screaming "13 nominations!" suggest the show is brilliant. Four of the noms are design nominations, and, yes, it is a beautifully designed show. But that doesn't make it a great show. Another four are performance nominations. And, yes, it is a beautifully performed show. But that doesn't make it a great show either. It's a nice show. I would have certainly voted for it had it been against <i>Sunset Boulevard</i>! But great, no.</p><p>So, the numbers work against the significance of the Tony Award.</p><p>I'll still be watching on June 11th.</p><p><i>Wendy Caster</i></p><p><br /> </p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-61332379808224965442023-05-05T16:32:00.002-04:002023-05-05T16:32:59.339-04:00Iolanthe<div class="separator">Once again, MasterVoices has provided an evening of charm, joy, and fabulous music. In this case, it was Gilbert and Sullivan's <i>Iolanthe, </i>not one of their best, but still great fun. (There are fairies, there are humans, there are misunderstandings, stuff happens.) </div><p><br /></p><p><span style="-webkit-text-stroke-width: 0px; color: black; display: inline !important; float: none; font-family: Arial; font-size: medium; font-style: normal; font-variant-caps: normal; font-variant-ligatures: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="-webkit-text-stroke-width: 0px; font-family: Arial; letter-spacing: normal; margin-left: auto; margin-right: auto; orphans: 2; text-decoration-color: initial; text-decoration-style: initial; text-decoration-thickness: initial; text-transform: none; widows: 2; word-spacing: 0px;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8c1Y1dE2tFa8Nk__iEqgvaGMEEf49uqHA9HQ4RX0xVMDYH8pCSygc8_D2zl4jypLoZBhGDZGN3FBTRpWfgmcnfwzlLNRpeMGXVRN4K_8x6WPpL2pWybuQWfiBfd9QF5yyiKAm4fuDcjyIQ1eOBlIIykf-qYnHwV32L1zU8ZIth5-pttouBKA/s546/Screenshot%202023-05-05%204.05.37%20PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8c1Y1dE2tFa8Nk__iEqgvaGMEEf49uqHA9HQ4RX0xVMDYH8pCSygc8_D2zl4jypLoZBhGDZGN3FBTRpWfgmcnfwzlLNRpeMGXVRN4K_8x6WPpL2pWybuQWfiBfd9QF5yyiKAm4fuDcjyIQ1eOBlIIykf-qYnHwV32L1zU8ZIth5-pttouBKA/s320/Screenshot%202023-05-05%204.05.37%20PM.png" style="cursor: move;" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ashley Fabian<br /><i>Photo: Toby Tenenbaum</i></td></tr></tbody></table><p><br /></p><p>The cast was amazing: Christine Ebersole (glorious), David Garrison, Santino Fontana (having a grand time in a supremely silly wig and demonstrating a gorgeous legit voice), Jason Daniely, Ashley Fabian (combining excellent comic chops with truly stunning singing), Phillip Boykin (adorable, with a bass that vibrated Carnegie Hall), Shereen Ahmed, Schyler Vargas, Nicole Eve Goldstein, Kaitlyn LeBaron, Emy Zener, and Tiler Peck. </p><p><br /></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqxQLnPkXaA71IsMUiDpGs2r19zJn5vifoQMPK1vqG0bKXKEf_6hp8_2vQpEzQg-JcIMAkwNMm-FoAfikSS1DjFnFn7NJLLXeGwievBWSR2XkF9BXrYOKHQxfeguHXCxWL51_K2JC2DOeac9F-7uAFgsSl0nGedzcf8IbWcV6elTLnx-nf_XE/s546/Screenshot%202023-05-05%204.11.12%20PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqxQLnPkXaA71IsMUiDpGs2r19zJn5vifoQMPK1vqG0bKXKEf_6hp8_2vQpEzQg-JcIMAkwNMm-FoAfikSS1DjFnFn7NJLLXeGwievBWSR2XkF9BXrYOKHQxfeguHXCxWL51_K2JC2DOeac9F-7uAFgsSl0nGedzcf8IbWcV6elTLnx-nf_XE/s320/Screenshot%202023-05-05%204.11.12%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Christine Ebersole, Shereen Ahmed<br /><i>Photo: Toby Tenenbaum<br /><br /></i></td></tr></tbody></table><p>And then there are the MasterVoices singers and the MasterVoices Orchestra, doing their usual fine work, led by the incomparable Ted Sperling.</p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoV8kU_yNijno9PkXWIJrUhBelx_FVSez-SH1KFTRCJVjL7o0dUHQnZMWpPd_Tqa6vxi9sBrE3Zm5Wtja_-ok066IGeSkt9dZI7Q_exq1rLbvVj-gD-7jGLMEo1zOhIPU5yZNohrUJN1EZmjZgdUBEntUlo8XtqZgXz4fEnXJQYO_3wcJzfkY/s542/Screenshot%202023-05-05%204.26.22%20PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="364" data-original-width="542" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoV8kU_yNijno9PkXWIJrUhBelx_FVSez-SH1KFTRCJVjL7o0dUHQnZMWpPd_Tqa6vxi9sBrE3Zm5Wtja_-ok066IGeSkt9dZI7Q_exq1rLbvVj-gD-7jGLMEo1zOhIPU5yZNohrUJN1EZmjZgdUBEntUlo8XtqZgXz4fEnXJQYO_3wcJzfkY/s320/Screenshot%202023-05-05%204.26.22%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ted Sperling<br /><i>Photo: Toby Tenenbaum</i></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div>And, although this performance was a staged reading, it was given an extra dimension by Tracy Christensen's beautiful and clever costumes. Also, the supertitles were clear, informative, and witty.<p></p><p><br /></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivklvsAk4xU80RmygMH7w9GHPGC3-A7Kc7QIzftMHH55R580IOe9TBAt79vdANhXSSE3DqpWJouJMOvlzrdPtxyO6KGZr8qVPTeUz7KvWFW3tDThYUsx9YU1ZBfFl506Sy5akFJm_QA_vbWiD10ZIU544NawviwsMjcOSIatZGiWlEBB4O7zc/s546/Screenshot%202023-05-05%204.09.35%20PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivklvsAk4xU80RmygMH7w9GHPGC3-A7Kc7QIzftMHH55R580IOe9TBAt79vdANhXSSE3DqpWJouJMOvlzrdPtxyO6KGZr8qVPTeUz7KvWFW3tDThYUsx9YU1ZBfFl506Sy5akFJm_QA_vbWiD10ZIU544NawviwsMjcOSIatZGiWlEBB4O7zc/s320/Screenshot%202023-05-05%204.09.35%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Santino Fontana, David Garrison<br /><i>Photo: Toby Tenenbaum</i><br /><br /></td></tr></tbody></table><br />As always, reviewing MasterVoices is frustrating, because their one-night performances are always gone by the time I write about them, and I can't urge you to go, go, go. However, I can give you a link to their website so that you can catch the next wonderful show: <a href="https://www.mastervoices.org/">MasterVoices</a>.<div><br /><p></p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsh1yl5YZB0M0vmHO7BXlK4SugAN4T7mRZf1x2zegBwYvzvi_aUtM3emGB3_ms3FPwqUZag7m7KlAMwugmzAP7T8hsFoaIlMGxLwwW_jjLI-UrIjTZMCRT2YwUohDq2t_VdfCJDGa8jCdlKB4LtX3L3p0zgZdXk4-AxetiCdrGx8ZxN15hXv4/s546/Screenshot%202023-05-05%204.06.03%20PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="546" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsh1yl5YZB0M0vmHO7BXlK4SugAN4T7mRZf1x2zegBwYvzvi_aUtM3emGB3_ms3FPwqUZag7m7KlAMwugmzAP7T8hsFoaIlMGxLwwW_jjLI-UrIjTZMCRT2YwUohDq2t_VdfCJDGa8jCdlKB4LtX3L3p0zgZdXk4-AxetiCdrGx8ZxN15hXv4/s320/Screenshot%202023-05-05%204.06.03%20PM.png" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Phillip Boykin<br /><i>Photo: Toby Tenenbaum</i></td></tr></tbody></table><br /><p><i>Wendy Caster</i></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br />Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-53072922015530859992023-04-27T20:56:00.000-04:002023-04-27T20:56:09.359-04:00The Knight of the Burning Pestle<p>The rollicking, deeply silly, remarkably funny production of the <i>The Knight of the Burning Pestle</i> currently at the Lucille Lortel Theatre, brought to us by Red Bull Theater and Fiasco Theater, has moments so seemingly contemporary that one has to wonder how much of Francis's Beaumont's 400-year-old play remains. The answer is, quite a lot. And it's wonderful.</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDZdgrN14dCXGHXTWUurL6J5w54V-HqkGam18_Irs1ukzE3G6yXosdxnrsib1Kjfd1R0xwdn1QUPDpT6YwriIrViJu1fKri4grSL_gahfMv40hWn_nYiXFKz0wEFlyWKh3RxUOjjlygrJnVEWyoLq3eCt48IogaF8mQ78n7-WvxSipS8YQJsY/s4200/KnightPestle051a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2504" data-original-width="4200" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDZdgrN14dCXGHXTWUurL6J5w54V-HqkGam18_Irs1ukzE3G6yXosdxnrsib1Kjfd1R0xwdn1QUPDpT6YwriIrViJu1fKri4grSL_gahfMv40hWn_nYiXFKz0wEFlyWKh3RxUOjjlygrJnVEWyoLq3eCt48IogaF8mQ78n7-WvxSipS8YQJsY/s320/KnightPestle051a.jpg" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The cast of <i>The Knight of the Burning Pestle<br />Photo: Carol Rosegg</i></td></tr></tbody></table><p>Considered to be the first whole play of its sort--that is, a parody (satirical) crossed with a pastiche (loving). While the main object of the parody--chivalric romance--is no longer a popular genre, <i>The Knight</i> also parodies theatre, actors, and audiences, all of which, I am happy to say, are still with us. While not exactly like any of the following, <i>The Knight</i> shares at least some DNA with, to name a few, <i>Pyramus and Thisbe</i> (the play within the play in <i>A Midsummer Night's Dream</i>), <i>Noises Off,</i> <i>Story Theatre</i> (and story theatre), and various farces.</p><p><i>The Knight of the Burning Pestle</i> presents us with two plays. In the outer play, a grocer complains to a company of actors that his profession is not well-represented in theatre. With the help of a fair of amount of bribery, and the logic/illogic of his wife, the grocer gets the company of actors to agree to add a Knight Errant to their play (<i>The London Merchant</i>). This character is<i> </i>to be performed by the grocer's assistant (who refers to the character as a Grocer Errant). As the original actors try to act their original play, the grocer and his wife object, interject, and correct, making very amusing pains of themselves.</p><p>The fabulous cast carries off these shenanigans with great energy and aplomb, and they surely must enjoy getting to play, for example, a horse, an idiot suitor, an aggressively happy man who sings rather than talks, a ghost, a mother who plays favorites, and so on. The cast includes Jessie Austrian, Royer Bockus, Tina Chilip, Paul L. Coffey, Devin E. Haqq, Teresa Avia Lim, Darius Pierce, Ben Steinfeld, Paco Tolson, and Tatiana Wechsler.</p><p>The direction, by Noah Brody and Emily Young, is endlessly creative and filled with the love of theatre, seamlessly merging modern and Jacobean tropes. </p><p>Fiasco Theater has committed to practicing sustainability in their shows, and parameters were set to limit waste in all aspects of design. This frugality in no way restrained the creativity of the designers: scenery, Christopher Swader & Justin Swader; costumes, Yvonne Miranda; lighting, Reza Behjat; props, Samantha Shoffner.</p><blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p style="text-align: left;"><i>By Wendy Caster</i></p></blockquote>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-22279390221184948842023-04-11T14:03:00.007-04:002023-04-11T14:05:13.885-04:00Smart<p> I review <i>Smart</i> over at Talkin' Broadway: </p><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p style="text-align: left;"><i style="background-color: whitesmoke; color: #2b2b2b; font-family: Verdana, Geneva, sans-serif;"><span style="font-size: xx-small;">Elaine is committed to taking care of her mother, but it's far from easy. Ruth had a stroke, and she frequently has difficulty speaking, occasionally has difficulty moving around, and receives regular "visits" from her long-dead husband. Elaine tries to find caregivers, but Ruth is convinced that they steal from her, so she chases them away.</span></i></p></blockquote><p><a href="https://www.talkinbroadway.com/page/ob/04_11_23.html">Click here to read more.</a></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjsEINlr6Ltw0vyL3xlLk_zZZbeKHaFgiv9h8Jye7S49JIjWucDc2-0_JQSWx37w001WN8KPLPavoZV_3i-1YdPbp0d8ACbKSNS9CAVLMQED8E6PKCAv4jmTkbSZitysrimLcawtjGybaq6rvNpmA56J18b_imc8o5MnMPLF_DG9fFh7GGVub8" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="561" data-original-width="359" height="421" src="https://blogger.googleusercontent.com/img/a/AVvXsEjsEINlr6Ltw0vyL3xlLk_zZZbeKHaFgiv9h8Jye7S49JIjWucDc2-0_JQSWx37w001WN8KPLPavoZV_3i-1YdPbp0d8ACbKSNS9CAVLMQED8E6PKCAv4jmTkbSZitysrimLcawtjGybaq6rvNpmA56J18b_imc8o5MnMPLF_DG9fFh7GGVub8=w270-h421" width="270" /></a></div><br /><br /><p></p><p><br /></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0tag:blogger.com,1999:blog-38452002.post-21704675758494842322023-03-30T21:45:00.004-04:002023-03-30T21:46:05.855-04:00Vanities<p>The York Theatre Company's production
of <i>Vanities</i>, running through April 22, has many strong points. The main strength is the cast.</p><p>The story of three friends
from roughly age 18 (in 1963) to roughly age 45 (in 1990), <i>Vanities</i> features terrific
performances by Jade Jones, Amy Keum, and Hayley Podschun. They have good
chemistry and provide full, textured characters. Most importantly, they all
have truly beautiful voices.</p><p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIiqUlxKYruwrnttkxNo89FkvgR64A8_WbvvJmU3UvjQQuic9AqkGXSKNMTiJgzjnSYgZcBdXkNKHzF9cYg5J-CDjHrNMFvg3e2JCiQ9wBzDebfXttcWYL3k2Vl781s3xkA3q3NONZsfNjwl06ya5tT8cM9uTafGEjSEFMO1tp8enfolYzVGY" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="333" data-original-width="500" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIiqUlxKYruwrnttkxNo89FkvgR64A8_WbvvJmU3UvjQQuic9AqkGXSKNMTiJgzjnSYgZcBdXkNKHzF9cYg5J-CDjHrNMFvg3e2JCiQ9wBzDebfXttcWYL3k2Vl781s3xkA3q3NONZsfNjwl06ya5tT8cM9uTafGEjSEFMO1tp8enfolYzVGY" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jade Jones<br /><i>Photo: Carol Rosegg</i></td></tr></tbody></table><br />The direction by Will Pomerantz, music direction by
Deborah Abramson, and choreography by Shannon Lewis are also effective.
The scenic design by James Morgan is elegant in its simplicity. The
costume design by Barbara Erin Delo succeeds for two of the performers (but does
no favors for the third). The band is small in number but not in sound: Deborah Abramson, conductor and keyboards; Jessie Linden, drums/percussion; Jim Donica, electric and acoustic bass; Matt SanGiovanni, electric and acoustic guitar and banjo; and Greg Thymius, flute, clarinet, and soprano, alto, and tenor sax.<p></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgeltx4stgpK5pKsKYEPz0D4usuEvzkVMVchA77SzZxaUzaZk6FxbtJDMYCm5WUR-lEwHQq0w6VkBQzp_CIOTvnlSiLs3BXr1qiGUBkrW4lUm49_1EqJ0_CQSO5JKiy5cauxJ8kmlGK4c1XLYFgfobqdGJ3UU8T7MkMSpKA8y3mkumyq1N752E" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="500" data-original-width="362" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEgeltx4stgpK5pKsKYEPz0D4usuEvzkVMVchA77SzZxaUzaZk6FxbtJDMYCm5WUR-lEwHQq0w6VkBQzp_CIOTvnlSiLs3BXr1qiGUBkrW4lUm49_1EqJ0_CQSO5JKiy5cauxJ8kmlGK4c1XLYFgfobqdGJ3UU8T7MkMSpKA8y3mkumyq1N752E" width="174" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Amy Keum <br /><i>Photo: Carol Rosegg</i></td></tr></tbody></table><p></p><p class="MsoNormal">
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<p class="MsoNormal">I was unimpressed by the show itself, unfortunately. First, I must specify that I believe that <i>anyone</i> should be allowed to write about <i>anyone</i>,
across gender, race, and age. For example, Ibsen, John Sayles, and James
Baldwin have all written believable compelling women characters. </p><p class="MsoNormal"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh585_-eHzuS9sPEpuirlnjrnuoZdK5SeV04Be7i-Vg3PS2z5dPAnO7s6B5yeXXbyEoiJcrqbssAGxOwRdncT3BYAyYAcXH92cfYg2AK3ResSxx64yLAFwm5x6YrqCw588ouhh5H6c2DWEk28X4GWvAMJ0mwyFj2EXhFYHY24c7zvyTZrjX7O0" style="margin-left: auto; margin-right: auto;"><img alt="" data-original-height="500" data-original-width="361" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEh585_-eHzuS9sPEpuirlnjrnuoZdK5SeV04Be7i-Vg3PS2z5dPAnO7s6B5yeXXbyEoiJcrqbssAGxOwRdncT3BYAyYAcXH92cfYg2AK3ResSxx64yLAFwm5x6YrqCw588ouhh5H6c2DWEk28X4GWvAMJ0mwyFj2EXhFYHY24c7zvyTZrjX7O0" width="173" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hayley Podschun<br /><i>Photo: Carol Rosegg</i></td></tr></tbody></table><p></p><p class="MsoNormal">However, <i>Vanities</i> clearly was written by
people who have never been--and don't understand--women. Throughout the show, the writers (book,
Jack Heifner; music and lyrics, David Kirshenbaum) make mistake after mistake.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">First, while the writers clearly want to depict real women in <i>Vanities,</i> they seem to believe that shallow depictions of cheerleaders
from the past reflected actual human cheerleaders. As a result, the characters are thinly written, and their discussions are too often cutesy. When, for example, the women talk in 1963 about whether or not to have sex, the topics of birth control (not legal for single women in 1963) and abortion (not legal for anyone) are not mentioned. Potential pregnancy was not a joke in the early 1960s, and only cartoon cheerleaders wouldn't be concerned.</p>Throughout the show, there is way too much dialogue that relies on cheap, non-character-driven humor and makes the women look like idiots. For example, <br />
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNormal"><span style="font-family: inherit;"><i>INTERCOM: Students, I am sad to announce the President has
been shot.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>JOANNE: The president of the student council has been shot?</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>KATHY And MARY: Oh my God.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>INTERCOM: The President was gunned down in Dallas.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>JOANNE: Dallas? I just saw him in algebra.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>INTERCOM: If this report is true, classes will be dismissed
for the rest of the day.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>KATHY: What about the pep rally?</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>INTERCOM: In any case, the football game will take place as
planned this evening.</i></span></p><p class="MsoNormal"><span style="font-family: inherit;"><i>ALL: Oh–THANK GOD.</i></span></p></blockquote><p class="MsoNormal"><o:p></o:p></p>
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<p class="MsoNormal">For old-fashioned musical comedy characters, I guess this is okay. But for real women, which, again, seems to be the
show's goal, it's unrealistic and insulting. <o:p></o:p></p><p class="MsoNormal">In another example, one of the characters says, "When I found out that George Eliot was a woman, I got all confused." Really?</p>
<p class="MsoNormal">Also, the show focuses way too much on men. Yes, many women are very concerned, even obsessed, about men, particularly in their late teens and 20s. But that's not all they're concerned about.</p><p class="MsoNormal"><b>[Spoiler] </b>The show is ostensibly about the women's friendships, but only on the most surface level. In fact, the biggest plot point is when one woman sleeps with the other's husband. Why? Because the
writers couldn't imagine anything else for female friends to fight about! Also, it's highly unlikely that the cheated-on woman would <i>ever</i> forgive
her friend, but it's particularly unlikely that she would forgive her so
easily. <b>[End of spoiler]</b></p><p class="MsoNormal"><b><o:p></o:p></b></p>
Many writing books and teachers say, "Write what you know." That's limited advice that would nip the genres of sci fi and historical fiction in the bud. But it might have been a good idea for Heifner and Kirshenbaum. <br />
<p class="MsoNormal">One last point: I am a big fan of inclusive casting, but when much of the show is about appearances, it can be awkward. Particularly when they are young, the characters in <i>Vanities</i> judge
other people, harshly, by their looks. The show is called <i>Vanities</i>, after all. Having
one of these characters be a large Black woman denies the reality (such as it is) of the show. If the
other two women were capable of being best friends with a large Black woman--in
1963 in Texas!--they wouldn't be who the show claims they are. </p><p class="MsoNormal">On the other hand, Jade
Jones is a wonderful performer, and I imagine it's not a coincidence that there were many more people of color in the audience than usual, which is great. And I'm certainly glad to have seen Jones. I can't wait until there are enough good juicy roles to go around for people of every type and background.<o:p></o:p></p>
<p class="MsoNormal"><i>Wendy Caster</i></p>Wendy Casterhttp://www.blogger.com/profile/02736636055295848483noreply@blogger.com0