Revising Classics - Bourne's "Sleeping Beauty," "Magic Flute" and "Side Show"

A trio of shows I saw this past weekend in Los Angeles were each, to a greater or lesser degree, revisions to classic works of ballet, opera and musical theater.  One succeeding in establishing itself as a modern hallmark production, the other two were a mixed bag.

First, the unmitigated success was Matthew Bourne's dance theater take on Tchaikovsky's classic "Sleeping Beauty" ballet/score. This was a witty, fresh, well-conceived and well-danced riff on the original ballet from the choreographer who gave us a similarly invigorating "Swan Lake" more than a decade ago.  I must confess that prior to seeing this show I have been disappointed in Bourne's post-Swan Lake projects.  As a result, I was pleasantly surprised to find Bourne returning to his cheeky and inventive brilliance in this well danced and engaging "Sleeping Beauty."  It is only playing through Dec. 1 at the Ahmanson theater, so act fast if you want to catch it.

I was very taken with the first act of LA Opera's "The Magic Flute" now playing in rep at the Dorothy Chandler Pavillion.  Reconceived as a silent animated film, the inventiveness of the first act convinced me that this new take on Mozart's fine opera was a great match of concept to source material.   But then Act 2 happened, and exposed the flaws in the concept.   The latter half of the show felt dull, flat, earth-bound and cold in sharp contrast to a first act that soared.  It was almost as though the creators had run out of good ideas by the second act, having exhausted their creative output.  Nevertheless, this work is so bold and unique that it is well worth seeing.  Just lower your expectations at intermission.

Finally, one could fairly take exception to calling the 1997 stage musical "Side Show" a classic of any sort.  After all the show closed on Broadway after less than 100 performances and has not been seen in any major production since then.  However, the largely terrific Russell/Krieger score has had a healthy life beyond the original production, and among musical theater buffs this show has reputation that exceeds the reception of the original production.  I was fortunate to catch the original Broadway production before it met its untimely demise, and it is among the musicals that have had the longest lasting impact on me.  Thus, I approached this La Jolla Playhouse/Kennedy Center co-production revival with keen interest, hoping that this revision would fix the tone and book inadequacies of the original.  The results were mixed.  The cast is inferior to the original, but the songs cut from the original deserved to be cut.  However, the added songs (which are surprisingly large in number, but low in quality) do nothing to improve the show, but just make it feel unnecessarily padded.  There is definite improvement in the second act over the original second act, but the first act fails to engage the emotions in the way the original was able to do.  I suspect "Side Show" will have a continuing life much like Sondheim's "Merrily We Roll Along," a flawed original that many people attempt to shape into a winning show that always falls just short of the mark.  That won't stop people from trying to perfect these shows, nor should it.

McKellen, Stewart, Atkins & Gambon/ British Actors Show How It's Done in New York

Often the play is the thing.  But a handful of British acting greats now gracing several stages in New York prove that when you are dealing with some of the finest actors now alive, the actors can be the thing as well.

Two New York stages, one on Broadway and one off-Broadway, are currently hosting four of the finest British actors of our time.  At the Cort Theater on Broadway, Ian McKellen and Patrick Stewart are starring in Beckett's classic "Waiting For Godot" in rep with Pinter's "No Man's Land."  Both plays are widely regarding as being among the finest plays of the 20th Century.  Having noted that, I will confess that Pinter in general, and "No Man's Land" in particular, are not among my favorites.  "Godot" for me is hit and miss thing, as I have seen productions I have found outstanding, and others that I have found beyond painful to watch.  No matter, in the hands of McKellen and Stewart, whose on stage chemistry is among the finest I have ever witnessed, both plays are given their due and then some.  The performances these two actors are giving in both shows are nothing short of a mesmerizing master class in acting.  And without taking anything away from Stewart, I must say that McKellen's work in both plays, but especially in "Godot," is sublimely astonishing.  I saw both shows in one day, and was left agog with the range, humor and subtlety displayed by both actors.  Do yourself a favor and see them both, but if you can only see one, go with Godot.

Another Beckett play, albeit one that is began as a radio play and is rarely performed, is now on stage at off-Broadway's 59E59 Theater.  Eileen Atkins and Michael Gambon are starring in "All That Fall" as an old, grumpy, stubborn married couple in a small Irish town, and both are giving McKellen and Stewart a run for their money in the acting game.  To watch these two perform in a small off-Broadway house is a treat beyond measure, and I was fortunate enough to have front row seats which placed me within 10 feet of these acting greats.  Watching them up close was thrilling.  And to take nothing away from Gambon, it is Atkins who has the meatier role and she makes the most of it.  Ms. Atkins is able to find humanity and humor in a role that would seem nagging and bitter in lesser hands.  I have to believe that Mr.Beckett would be especially pleased to see what the fine cast over at 59E59 is doing to bring his somewhat obscure work to life in any way he could probably never have imagined.

Does acting get any better than what is noted above?  I doubt it.

Fall '13 Theater Highlights: "Menagerie, "Julius Caesar," "Fun Home" and "Szechwan" Lead the Pack

Perhaps the most striking aspect of this fall's theater season to date is the number of outstanding productions that have opened in New York, with a few Los Angeles highlights as well.

As for New York, there are a handful of truly exceptional productions that have opened this fall, supplemented by host of other lesser, but still very fine works.

"The Glass Menagerie" revival on Broadway starring Cherry Jones is that rare thing - a revival of a great classic work that is so fresh and inciteful in its perspective that it makes an often seen play feel like new.  Credit for this stunning piece of theater has to be shared among the outstanding director (John Tiffany), the design team, and the pitch perfect cast led by Ms. Jones and supplemented by Zachary Quinto, Celia Keenan-Bolger and Brian J. Smith.  I have seen this production twice, and each time it held me spellbound for the course of its 2 and one half hour length which just flies by.  This is a "Glass Menagerie" for the ages.

Over at St. Ann's Warehouse, the Donmar Warehouse production of the female prison set  "Julius Caesar" is a stunning take on Shakespeare's classic tale of power, corruption and deception.  Never have I seen this (or almost any Shakespeare work) done with such clarity, precision and urgency.  The entire cast shines, but Harriet Walter deserves special note as the complex and conflicted Brutus.

The Public is presenting the fall's finest new musical and the best Brecht production I have seen.  Not to be missed is the touching new musical "Fun Home" adapted from Alison Bechdel's graphic novel memior.  This is a musical you need to lean into, not one that blasts away at you, and its power and emotional pull is heightened by its subtlety.  The score is beautiful and the cast and direction are terrific.  If musical theater is to survive, in my view this is the type of show on which that survival depends.

I hestitated seeing "The Good Person of Szechwan" at the Public, notwithstanding the fine reviews this production received in its prior off-Broadway offering.  This was due primarily to the fact that I have never seen a Brecht production that really worked for me.  Imagine my surprise at finding this show succeeding on all fronts. The engine that makes it all work is unquestionably the incedible performance given by Taylor Mac in the lead role.  Mr. Mac provides the heart and soul that I often find lacking in most mountings of Brecht works.  This production has heart, soul and intelligence.  

The four shows listed above are all shows that I woud consider "don't miss" recommendations.  Two other fall shows that I would place in that category, but for the fact that they have already closed, were "Mr. Burns, A Post-Electric Play" at Playwrights Horizons and (switching gears to Los Angeles), Phillip Glass and Robert Wilson's stunning, perspective altering "Einstein On The Beach" at LA Opera.

While not quite rising the the heights of the above mentioned shows, there are many more very good shows that have opened this fall.  "Bad Jews" at Roundabout's Laura Pels Theater is a funny, biting look at the wounds inflicted by family members.  Nearly the same description could be used to describe the fine remounting of "Hopey, Changey Thing," the first part of the four part Apple Family Plays at the Public.  Although I am generally left wanting by most musical revues, I thoroughly enjoyed the extremely well staged and performed  Cotton Club revue, "After Midnight."

I also enjoyed, to a lesser extent, "Betrayal" with Daniel Craig and Rachel Weisz, "Domesticated" at Lincoln Center with Laurie Metcalf and Jeff Goldblum, and "Luce" at LCT3. 

In Los Angeles, the one show now playing that I would  recommend is the well acted and staged "Lost Girls" at Rogue Machine Theater.  As for shows that I recommend you miss, please see my prior post on this blog and my most recent twitter feeds (@KenderTheater).