Hansel And Gretel

photo: Ken Howard

The Met's new, 1930's-set production of Hansel And Gretel (imported from the Welsh National Opera) is extraordinarily grim and more than a little perverse: it never strays far from the kitchen. Even the haunted woods of the story are reimagined as a dining room, where Hansel and Gretel dream of being rescued not by a chorus of angels but by chefs. Driving home the theme of hunger with sledgehammer delicacy, the production feels severe and joyless: it even denies us a gingerbread house, instead substituting a single cake on a mechanical trolley. Does the Met really believe that this gruesome production (which also features Mom toying with a suicidal overdose before flushing her pills down the kitchen drain) will become a holiday staple for families? I can't imagine that anyone under the age of twenty will appreciate that the Witch resembles Julia Child (the production's one bit of mischievous levity) and I can't imagine that children will know what to make of Gretel sticking her fingers in batter and painting a Hitler moustache on Hansel. I can't imagine what any reasonable adult is meant to make of it either.

November

Photo/David Hume Kennerly

The one nice thing about blogging theater is that I don't have to wait until the press embargo lifts to warn you all about certain shows, such as this piece of "happy horseshit," the occasionally funny but completely pointless David Mamet comedy, November. Without anything to talk about beyond the basic bashing of the theatrical-stand-in-for-Bush ("Why do they all hate me?" "Because you have fucked up every single thing you've touched."), Mamet relies heavily on an exaggerated circumstance -- President Charles Smith sets out to extort $200M from the National Association of Turkey By-Products Manufacturers by threatening to pardon all the turkeys -- for a plot, and then piles on absurdities through a series of one-sided phone calls that turn away from actual human interaction and into The Nathan Lane Show. Funny, perhaps, but you don't need Joe Mantello or David Mamet for that.

[Read on]

Here We Go Again!

Aaron won our little showdown, coming from behind for a final tally of 265! Way to go, Mr. Riccio.

I'm sure I speak for all three of us when I say how much fun it has been to blog the race in 2007 and how exciting it has been to see a wide variety of theatre this past year.

All three of us are ready to have another go at it and race in 2008. We want to keep the blog essentially as it is - focused on our concise posts about shows and free of advertising - but we think there might be room for some changes. For instance, you'll soon see a box in the sidebar where each of us will spotlight some recommendations. And you might be seeing an irregular feature or two during the year.

We do wonder why we get more email than we get comments. It's a mystery, considering how many thousands of readers come here in a week, Who's reading us nearly every morning in San Diego? I look at the blog stats, and I see you! Hi!

Once again, the rules of the race are as David laid them down this time last year.
It has to be blogged (promptly) to count.
A show can only count once in the calendar year. (Damn. That includes Passing Strange doesn't it!)
Concerts don't count. (But Kiki & Herb do!)

And we're off!

Aaron's End of Year Wrap-Up

Go ahead. Tell me what I missed. (I know, I know, August.)

Patrick's Year-End Review

1 The Year's Fifteen Best
2 Twenty-Five Outstanding Performances
3 Twelve Fresh Faces

David's BEST/WORST of 2007!!

CLICK HERE!