Cycle

(Photo: Sara Costello)

Turns out that all you need isn't love, it's vaudeville. Or at least guardian angels who are really into vaudeville. It's the talented ensemble that pulls this collection of caricatures into a fully fleshed show, but Rose Courtney's end-product, Cycle, would be a sweet ride for any company. All the humor is outsized and gushing, and the work is so warm, so desperately appealing, that it's impossible not to like (once the initial confusion wears off). Also, the show mocks the industry pretty accurately, from casting to scene work to singing, so if you're involved with theater and need a laugh, this show might be a nice way to affirm those stereotypes. This is vaudeville, so the whole show does come across as a little loose--almost haphazard at times--but that just means you might want to bring along a helmet. The ride itself is worth it.

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Jenufa

As the title character in Leos Janacek's stark and somber opera Jenufa, Karita Matilla skillfully scales Janacek's angular melodies and seems to emote as if from the depths of her soul. She's ideal in the role, and her portrayal would be enough to make this run at the Met an event. With the legendary Anja Silja, dramatically intense and also ideal as Jenufa's stepmother, it's an emotionally wrenching, passionately sung don't-miss.

Journey's End

**** 1/2
Moral of the story: war kills hot guys. And if there's anything more tragic than that then I don't know what it is. This intense, heartbreaking, 1928 WW1 drama was superbly acted/directed and before I realized what was happening I was completely wrapped up in the lives of these soldiers. Set in an underground bunker (the most dimly lit production on Broadway) this story focused in on one military maneuver and the repercussions of this one event. As addressed in the play, when one imagines WW1 one thinks of a lot of guns and fires and running etc, however the reality of it is that it was a lot of sitting around and waiting. And of course whiskey and conversation. I was very glad I got to see this production and I highly recommend it. HGA! HGA!

Also blogged by: [Christopher] [Aaron] [Patrick]

Meet Me In St. Louis

Photo: Carol Rosegg

Despite some terrific, enduring songs and the clang clang clang of that trolley, I'm not convinced that the 1944 MGM movie musical is such great source material for the stage: I couldn't stand it with big production values on Broadway back in 1989, and I liked (the first act of) this small-scale revival even less. With only three instruments to make music and only a tiny playing area for the performers, the focus is squarely on the story and the characters. Unfortunately, the antiquated, twee story is not this musical's strong suit, and it's personality rather than character that we really need to be charmed by the longings of the Smith girls as they await the Worlds Fair at the turn of the century.

La Traviata

photo: Ken Howard

****

The Met

Why is it that every time I go to the Opera someone dies? So far I've witnessed murder, suicide and tonight was all about a slow sexy death by tuberculosis. Hot! Still a novice in the whole Opera scene, I'll refrain from delivering one of my brilliantly succinct capsule reviews (ha). I will say however that just like my previous 2 visits to The Met, I was captivated with the hugeness of the event. This production in particular had probably the most gorgeous scenic design I have ever witnessed. I've you've never been to The Met, it's probably something that you, as a New Yorker, need to experience.

Little Dog Laughed

****
Broadway

Due to the fact that producers are practically handing out tickets at Port Authority, I got a chance to revisit this snappy gay comedy a few days before it closes. It's still a lot of fun and was successful in thawing out the frozen matinee crowd that had just slogged in from the first blizzard of the year. Why is it closing so early? I don't think it's necessarily because it's a gay play, but maybe because it's a play about coming out, an issue that I think the general New York post-millennium theatergoing public is pretty much beyond- though it should be stated that Beane's dialogue is as fresh and modern as anything on Broadway right now. Anyway, Little Dog Laughed is really all about Julie White who, as the high-strung ambitious talent agent, is giving the funniest female performance on Broadway since Katie Finneran in Noises Off. It'll be tough competition in June (Seldes, Landsbury, Redgrave, Pinkins, etc.) but I am addicted to the notion that she will win the Best Actress Tony. HGA!

Also blogged by: [Patrick] [Aaron] [Christopher]