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| Jamie LaVerdiere, Nicholas Mongiardo-Cooper, David Bryant Johnson, Robert Cuccioli, Curtis Wiley, Christopher M. Williams Photo: Carol Rosegg |
Thursday, October 22, 2015
Rothschild & Sons
Have you noticed that whenever someone announces a "re-imagining" of a musical, the show gets smaller? Why does no show ever get bigger? Why does no one add more instruments? Why doesn't Dames at Sea have a chorus on Broadway?
Of course, I'm being disingenuous here. We all know the answer: money. Shows with smaller casts and orchestras--i.e., less expensive shows--have a better chance of being produced in New York and elsewhere.
Tuesday, October 20, 2015
Honeycomb Trilogy: Advance Man, Blast Radius, Sovereign
On one hand, Mac Rogers' Honeycomb Trilogy is a highly entertaining sci-fi epic, covering over 20 years and an extraterrestrial invasion or two. It has everything you could ask for: a fascinating alien race, a believable version of earth, characters with strong desires and stronger personalities, danger, and suspense. It's also funnier than many comedies I've seen. On the other hand, Honeycomb Trilogy is a smart and thoughtful examination of family, free will, the power and powerlessness of love, the arrogance of people who decide to change the world, the importance of that arrogance, and many other important and thought-provoking topics. In its own way, it's a masterpiece. What Mac Rogers has done is extraordinary: he has nested philosophy in frivolity and the result kicks ass.
The current Gideon production at the Gym at Judson Church is splendid. Jordana Williams directs masterfully, succeeding on the macro and micro levels and everything in between. Her attention to detail is lovely, and her ability to keep the machinery of the trilogy (6 acts; 29 performers; 3 sets) moving is impressive. Kudos as well to her assistant directors (Audrey Marshall, Mikell Kober, Sara Thigpen) and stage managers (Victoria Barclay, Nikki Castle, Devan Hibbard). If "it takes a village" for most shows, this one took a small city, I'm sure.
And, oh, that cast. Brilliant performance after brilliant performance after brilliant performance. Each actor inhabits his or her role fully; even the smallest role becomes a rich presence, a person you know incredibly well. A lot of this is in Rogers' writing, of course, but the actors, guided by Williams, bring his world vividly alive. Becky Byers and Hanna Cheek play Ronnie at different times of her life; both are fierce, funny, and frightening as a small and difficult woman who becomes a great leader by sheer personality and conviction. David Rosenblatt and Stephen Heskett play Abbie at different times of his life; together they skillfully show us how a shy and sweet boy can turn into a dangerous man. Kristen Vaughan plays Amelia, Ronnie and Abbie's mother, who is (to say the least) pushed out of her comfort zone as the rules of society change or disappear; Vaughan is superb, as always. Sean Williams gives a wily performance as Ronnie and Abbie's father, an astronaut and maybe a hero, who may or may not ever be completely sincere. Jason Howard is extraordinary, as always, as the astronaut who returns from space drastically changed. Brian Silliman oozes cheerful sleaze as a venture capitalist thrilled to be in the presence of people who have actually been to Mars. The rest of the amazing cast comprises Rebecca Comtois, Neimah Djourabchi, Shaun Bennet Fauntleroy, Matt Golden, Felicia J. Hudson, Erin Jerozal, Ana Maria Jomolca, Yeauxlanda Kay, Daryl Lathon, Carlos Martin, Joe Mathers, Lori E. Parquet, Amy Lee Pearsall, Seth Shelden, Nancy Sirianni, Alisha Spielmann, Adam Swiderski, C.L.Weatherstone, and Cotton Wright. Each contributes significantly.
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| Advance Man Sean Williams, Kristen Vaughan Photo: Deborah Alexander |
And, oh, that cast. Brilliant performance after brilliant performance after brilliant performance. Each actor inhabits his or her role fully; even the smallest role becomes a rich presence, a person you know incredibly well. A lot of this is in Rogers' writing, of course, but the actors, guided by Williams, bring his world vividly alive. Becky Byers and Hanna Cheek play Ronnie at different times of her life; both are fierce, funny, and frightening as a small and difficult woman who becomes a great leader by sheer personality and conviction. David Rosenblatt and Stephen Heskett play Abbie at different times of his life; together they skillfully show us how a shy and sweet boy can turn into a dangerous man. Kristen Vaughan plays Amelia, Ronnie and Abbie's mother, who is (to say the least) pushed out of her comfort zone as the rules of society change or disappear; Vaughan is superb, as always. Sean Williams gives a wily performance as Ronnie and Abbie's father, an astronaut and maybe a hero, who may or may not ever be completely sincere. Jason Howard is extraordinary, as always, as the astronaut who returns from space drastically changed. Brian Silliman oozes cheerful sleaze as a venture capitalist thrilled to be in the presence of people who have actually been to Mars. The rest of the amazing cast comprises Rebecca Comtois, Neimah Djourabchi, Shaun Bennet Fauntleroy, Matt Golden, Felicia J. Hudson, Erin Jerozal, Ana Maria Jomolca, Yeauxlanda Kay, Daryl Lathon, Carlos Martin, Joe Mathers, Lori E. Parquet, Amy Lee Pearsall, Seth Shelden, Nancy Sirianni, Alisha Spielmann, Adam Swiderski, C.L.Weatherstone, and Cotton Wright. Each contributes significantly.
Thursday, October 15, 2015
Honeycomb Trilogy Returns: Don't Miss It
We don't usually publish press releases at Show Showdown, but I want to make sure everyone is aware that The Honeycomb Trilogy is back. I recommend it very highly! (And if my plug is not enough, see the reviews below.)
Tickets are available here: https://web.ovationtix.com/trs/cal/34104.
Marathon tickets are available here: https://web.ovationtix.com/trs/store/34104/packages.
****
Gideon Productions will present the much-anticipated return of Mac Rogers’ three-part science fiction epic, The Honeycomb Trilogy, directed by Jordana Williams and running in rep October 13-November 14 at The Gym at Judson (243 Thompson Street between West 3rd Street and Washington Square South). Tickets ($25) are available online at www.gideonth.com or by calling 866-811-4111.
THE HONEYCOMB TRILOGY is back by popular demand. A Critic’s Pick in The New York Times, Time Out New York and Backstage and winner of the Best Premiere Production honor from the New York Innovative Theater Awards, this decade-spanning science fiction epic follows one American family through an extraterrestrial invasion and occupation of earth. As son Abbie allies with the conquerors and daughter Ronnie leads the human resistance, THE HONEYCOMB TRILOGY explores culture, terrorism, sexuality, loyalty, justice, and forgiveness over the course of three action-packed, emotionally-charged stories. The entire saga takes place in the same house, as it – much like the world around it - is ravaged by war and rebuilt by hand over the course of twenty years. The three parts of the trilogy (Advance Man, Blast Radius, and Sovereign) will be presented individually on Tuesday, Thursday, and Friday nights. On Saturdays and Sundays audiences can binge-watch the entire trilogy.
Tickets are available here: https://web.ovationtix.com/trs/cal/34104.
Marathon tickets are available here: https://web.ovationtix.com/trs/store/34104/packages.
****
GIDEON PRODUCTIONS PRESENTS
THE HONEYCOMB TRILOGY
WRITTEN BY MAC ROGERS; DIRECTED BY JORDANA WILLIAMS
OCTOBER 13 – NOVEMBER 14 @ THE GYM AT JUDSON
Gideon Productions will present the much-anticipated return of Mac Rogers’ three-part science fiction epic, The Honeycomb Trilogy, directed by Jordana Williams and running in rep October 13-November 14 at The Gym at Judson (243 Thompson Street between West 3rd Street and Washington Square South). Tickets ($25) are available online at www.gideonth.com or by calling 866-811-4111.
THE HONEYCOMB TRILOGY is back by popular demand. A Critic’s Pick in The New York Times, Time Out New York and Backstage and winner of the Best Premiere Production honor from the New York Innovative Theater Awards, this decade-spanning science fiction epic follows one American family through an extraterrestrial invasion and occupation of earth. As son Abbie allies with the conquerors and daughter Ronnie leads the human resistance, THE HONEYCOMB TRILOGY explores culture, terrorism, sexuality, loyalty, justice, and forgiveness over the course of three action-packed, emotionally-charged stories. The entire saga takes place in the same house, as it – much like the world around it - is ravaged by war and rebuilt by hand over the course of twenty years. The three parts of the trilogy (Advance Man, Blast Radius, and Sovereign) will be presented individually on Tuesday, Thursday, and Friday nights. On Saturdays and Sundays audiences can binge-watch the entire trilogy.
Eclipsed
We at Show Showdown seem to be in a Public Theater frenzy right now, but their season has just begun, it's very promising thus far, and I love the Public something fierce, so I'm happy to keep spreading the love. Especially since I just saw Eclipsed, Danai Gurira's moving, informative, brilliantly feminist play, in the appropriately intimate LuEsther Hall. Eclipsed was superbly acted by a cast of five women under the skillful direction of Liesl Tommy. I am glad to have seen it and haven't stopped thinking about it since I did.
War-is-hell stories tend to focus on men: men going to war, men bonding and dying in war, men returning home broken from war. But Eclipsed, which tells its story unflinchingly and without condescension, emotional sog, or melodrama, examines women's roles in wartime. The play takes place during the second of back-to-back civils war in Liberia (the first began in 1989 and lasted through 1996; the second started in '99 and lasted until 2003).
War-is-hell stories tend to focus on men: men going to war, men bonding and dying in war, men returning home broken from war. But Eclipsed, which tells its story unflinchingly and without condescension, emotional sog, or melodrama, examines women's roles in wartime. The play takes place during the second of back-to-back civils war in Liberia (the first began in 1989 and lasted through 1996; the second started in '99 and lasted until 2003).
Wednesday, October 14, 2015
Barbecue
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| Constance Shulman, Arden Myrin Photo: Joan Marcus |
I am only posting about it here to say this: Go see Barbecue. It is funny, surprising, insightful, and thought-provoking. (It is also about 20 minutes too long, and it occasionally goes for cheap humor. However, its strengths truly tower over its weaknesses.)
(member ticket; 2nd row)
Razzle Dazzle: The Battle for Broadway (book review)
It's difficult to review Michael Riedel's Razzle Dazzle because it's difficult to figure out exactly what he's trying to accomplish. In the author's note, he writes that the book is about the struggle by the Shuberts and the Nederlanders to save Broadway in the 1970s. In the first chapter, where nonfiction generally sets the stage for the rest of the book, he focuses on "ice," or the money box office treasurers made in the 1960s by selling tickets, above list price, to brokers. The book then dips into the history of the Shuberts and Nederlanders, the takeover of the Shuberts by Bernard Jacobs and Gerald Schoenfeld, the rivalry between Nine and Dreamgirls, Michael Bennett's prodigious drug use, the effect of AIDS on Broadway, David Merrick's tricks, the development of A Chorus Line, the English invasion of Broadway, the Disneyification of Broadway, and so on.
In other hands, this breadth of content could be a selling point. But the chronology is random and awkward, and Riedel does not handle the transitions with a sure hand. Even worse, Razzle Dazzle lacks an overall theme. Nor does it have the sort of insight that can make reading nonfiction worthwhile.
Instead, the book is a haphazard collection of gossip that Riedel has collected over the years and in various interviews, with his signature focus on the petty, the nasty, and the mean. As I was reading it, I kept thinking, "Was everyone on Broadway really this juvenile, this stupid, this unforgiving, this narrow-minded?" And I kept reminding myself, "It's Riedel. This is what he likes to write about." And I also kept wondering, as I often do when I read his column or watch his TV show, "Does this guy even like theatre?"
Instead, the book is a haphazard collection of gossip that Riedel has collected over the years and in various interviews, with his signature focus on the petty, the nasty, and the mean. As I was reading it, I kept thinking, "Was everyone on Broadway really this juvenile, this stupid, this unforgiving, this narrow-minded?" And I kept reminding myself, "It's Riedel. This is what he likes to write about." And I also kept wondering, as I often do when I read his column or watch his TV show, "Does this guy even like theatre?"
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