Notwithstanding the difficult economic times, theater is alive and thriving in New York. There are more openings of new shows on Broadway, most notably new plays, than in any year of recent memory. My trip this month to New York focused primarily on off Broadway shows, but upcoming trips to the city in April and May will focus on new Broadway productions.
There are a number of outstanding shows playing (or which recently closed) off-Broadway, as evidenced by three excellent shows I attended. Perhaps most notable is the outstanding new production of "Our Town" conceived and directed by Chicago's David Cromer, who also stars as the Stage Manager. Cromer gets to the essence of Thorton Wilder's conceit and provides a focused and unique production that is shorn of the typical warmth and sentimentality that usually accompanies productions of this work. To those familiar with this show, that may seem counter to the essence of Wilder's work, but the brilliance of this production is that Cromer makes you understand why his stripped down Brechtian approach is much more faithful to Wilder's works than any other production of this show that you may have experienced. This is a show that will leave you thinking and rethinking about it for weeks. If you love theater, you owe it to yourself to see this "Our Town" at the Barrow Street Theater in the Village.
Having seen, and been disappointed by, a Los Angeles production of Martin McDonagh's "The Cripple of Inishmaan" nearly ten years ago at the Geffen Playhouse, I could not imagine the great reviews and sold-out status that accompanied Ireland's Druid Theater Company production of this show at the Atlantic Theater. Call me insufficiently imaginative, because this now closed show was pure theatrical heaven on stage. In the hands of what is perhaps the finest ensemble cast I have seen on stage, this work by the master McDonagh was laugh out loud funny, witty and incredibly moving. There are rumors of a possible Broadway run of this show in the fall, although the intimacy of the Atlantic stage could never be recreated on Broadway. Still, US theatergoers deserve to see more of this show. If it is revived on Broadway, don't miss it. It is not one of McDonagh's weaker works (a conclusion I reached after the woeful Geffen production), rather, it may be his best.
Lynn Nottage's "Ruined" at the Manhattan Theater Club's City Center Stage is without much doubt, the best new American play of the year. This co-production with Chicago's Goodman Theater where the show first premiered, is expertly acted and directed, but the work itself is the rare play which expertly melds political themes with strong, dramatic personal storylines. This depiction of life in a "house of ill repute" in war torn Congo is, at the same time, paradoxically both off-putting (with respect to the indignities suffered by the women characters) and yet incredibly engaging. The cast is outstanding across the board, but special mention is due Saidah Arrika Ekulona as the Mother Courage stand-in Mama Nadi, and the amazing Broadway debut performance of Condola Rashad. Ms. Rashad provides a graceful and genuine performance of a type that is rarely found in an actor of her age. I would be very surprised if this play does not win the Pulitzer in April, and further surprised if it does not transfer to Broadway, where it rightfully belongs.
That is the good news out of my recent New York visit. As for the bad, I felt unhappy and trapped and the inaptly named "Happiness," a world premiere small scale musical at Lincoln Center's Mitzi Newhouse Theater. Despite the many great talents involved (Susan Stroman as director-choreographer, John Weidman on book, and Hunter Foster and Joanna Gleason in the cast), this show is an unengaging turkey.
Although not a disaster of "Happiness" dimensions, I was significantly less than thrilled with the Broadway revival of "Hair" at Broadway's Al Hirschfeld Theater. Watching this show, I could not help but be struck by the nagging feeling that there is simply no good reason to revive this show. Perhaps a great director with a unique vision for this show could provide such a reason, but the uninteresting (except for a precious few moments) direction by Diane Paulus provides no such vision. The critics largely liked this past summer's Central Park staging of this production, and perhaps they will provide similar accolades when this show opens tomorrow. And I would be remiss if I failed to mention that the audience with which I saw this show seemed to be loving every moment. I did not hate it- I just did not particularly like it. At least in this incarnation, the show seems to have lost whatever meaning it once had.
I will continue my New York reports after my April and May visits to the city.
As for Los Angeles theatergoing, not much new since my last report, except to recommend the new drama "Goldfish" now playing at South Coast Rep in Costa Mesa. It is expertly written and acted, and is the best show I have seen thus far this year in the Los Angeles area. I expect this relatively inexpensive to stage show will have a healthy life beyond SCR in regional theaters across the country; it also deserves a successful off-Broadway run, and MTC, Second Stage or Roundabout would be wise to pick this up for one of their off-Broadway stages.
Monday, March 30, 2009
Saturday, March 07, 2009
Early March Update
Over two months into 2009, and not much worthwhile to report on the theater scene, which thus far in '09 has been limited to Los Angeles for me. The most recent play I have seen - "A Skull in Connemara" at Theatre Tribe in NoHo was well done, but weakened by sub-par acting in a few lesser characters.
Although not without some serious flaws, on first viewing I enjoyed most of Deaf West's "Pippin" at the Taper, which had a few brilliant scenes. Then I saw this production a second time, and nearly everything clicked. While still not as good as Deaf West's "Big River," I thoroughly enjoyed this very creative take that updates an otherwise dated show.
The direction and acting of "Time Stands Still" at the Geffen is top-notch, but the play itself is one of the weaker efforts by a very good playwright (Donald Margulies). I thought "Battle Hymn" [insde] the Ford was creative, unique and well produced, but had a few cringe-inducing scenes that need to be excised if this play wants to find a life elsewhere.
The supposedly Broadway-bound "Minsky's" at the Ahmanson was not horrible, but simply mediocre. "Fata Morgana" at the Pacific Resident Theater did not work for me, and suffered from some very bad acting. Two shows that I would put on my "painful sit" list were "Taking Over" at the Taper and "Stormy Weather" at the Pasadena Playhouse.
Hopefully things will improve on my first trip of the year to New York next weekend. I hope I have some good things to report from that trip; I suspect I will. Until then....
Although not without some serious flaws, on first viewing I enjoyed most of Deaf West's "Pippin" at the Taper, which had a few brilliant scenes. Then I saw this production a second time, and nearly everything clicked. While still not as good as Deaf West's "Big River," I thoroughly enjoyed this very creative take that updates an otherwise dated show.
The direction and acting of "Time Stands Still" at the Geffen is top-notch, but the play itself is one of the weaker efforts by a very good playwright (Donald Margulies). I thought "Battle Hymn" [insde] the Ford was creative, unique and well produced, but had a few cringe-inducing scenes that need to be excised if this play wants to find a life elsewhere.
The supposedly Broadway-bound "Minsky's" at the Ahmanson was not horrible, but simply mediocre. "Fata Morgana" at the Pacific Resident Theater did not work for me, and suffered from some very bad acting. Two shows that I would put on my "painful sit" list were "Taking Over" at the Taper and "Stormy Weather" at the Pasadena Playhouse.
Hopefully things will improve on my first trip of the year to New York next weekend. I hope I have some good things to report from that trip; I suspect I will. Until then....
Saturday, December 20, 2008
2008 Top 10 Theater Productions
1. Memphis (LA/ La Jolla Playhouse ) ****
2. South Pacific (NY/ Lincoln Center) ****
3. Wig Out (NY/ Vineyard Thater) ***1/2
4. Next To Normal (NY/ Second Stage) ***1/2
5. 33 Variations (LA/ LaJolla Playhouse) ***1/2
6. 1001 (LA/ Boston Court) ***1/2
7. Shipwrecked (LA/ Geffen) ***1/2
8. American Tales (LA/ Antaeus) ***1/2
9. Road Show (NY/ Public)***1/2
10. Ragtime (LA/ MTLA) ***1/2
Honorable Mention: Lost Plays of Tennessee Williams (LA)
Remarkable Returns to Shows First Viewed In Prior Years: August: Osage County (NY); Passing Strange (NY); Spring Awakening (LA/ Natl Tour)
Number of shows attended: 83
Top 10 breakdown: 4 new musicals, 4 new plays, 2 musical revivals
2008's Top 10 Acting Performances
1. Chad Kimball (Memphis)
2. Kelli O'Hara (South Pacific)
3. Clifton Oliver (Wig Out)
4. Aaron Tveit (Next To Normal)
5. Paulo Szot(South Pacific)
6. Tonya Pinkins (And Her Hair Went With Her)
7. Gregory Itzin (Shipwrecked)
8. Montego Glover (Memphis)
9. Daniel Blinkoff (American Tales)
10. Jayne Atkinson (33 Variations)
The Worst in Theater:2008
"Joan Rivers Project" - this Geffen Playhouse show needed more reconstructive surgery than Joan herself
"Gypsy" with Patti Lupone on Broadway, which seemed more like a one (irritating) woman show than an integrated production; the largely rave reviews were completely at odds with what I experienced suffering through this limp revival that paled in comparison to the Sam Mendes revival a few years back
"Sunday In The Park with George," the London import on Broadway - loved the computer graphics, everything else in the show left me cold
"Vanities" the new musical based on the play that played Pasadena Playhouse...it should have stayed in play form; as a musical it was a painful mess
"House of Blue Leaves" - the only thing good I can say about this revival that opened the refurbished Taper, was that I liked the new theater restrooms I visited prior to curtain; it was downhill from there
"Dividing the Estate" on Broadway was an acting and directorial nightmare; the largely good reviews it received stunned me
"Bloody, Bloody Andrew Jackson" was, to put it mildly, bloody, bloody awful
2. South Pacific (NY/ Lincoln Center) ****
3. Wig Out (NY/ Vineyard Thater) ***1/2
4. Next To Normal (NY/ Second Stage) ***1/2
5. 33 Variations (LA/ LaJolla Playhouse) ***1/2
6. 1001 (LA/ Boston Court) ***1/2
7. Shipwrecked (LA/ Geffen) ***1/2
8. American Tales (LA/ Antaeus) ***1/2
9. Road Show (NY/ Public)***1/2
10. Ragtime (LA/ MTLA) ***1/2
Honorable Mention: Lost Plays of Tennessee Williams (LA)
Remarkable Returns to Shows First Viewed In Prior Years: August: Osage County (NY); Passing Strange (NY); Spring Awakening (LA/ Natl Tour)
Number of shows attended: 83
Top 10 breakdown: 4 new musicals, 4 new plays, 2 musical revivals
2008's Top 10 Acting Performances
1. Chad Kimball (Memphis)
2. Kelli O'Hara (South Pacific)
3. Clifton Oliver (Wig Out)
4. Aaron Tveit (Next To Normal)
5. Paulo Szot(South Pacific)
6. Tonya Pinkins (And Her Hair Went With Her)
7. Gregory Itzin (Shipwrecked)
8. Montego Glover (Memphis)
9. Daniel Blinkoff (American Tales)
10. Jayne Atkinson (33 Variations)
The Worst in Theater:2008
"Joan Rivers Project" - this Geffen Playhouse show needed more reconstructive surgery than Joan herself
"Gypsy" with Patti Lupone on Broadway, which seemed more like a one (irritating) woman show than an integrated production; the largely rave reviews were completely at odds with what I experienced suffering through this limp revival that paled in comparison to the Sam Mendes revival a few years back
"Sunday In The Park with George," the London import on Broadway - loved the computer graphics, everything else in the show left me cold
"Vanities" the new musical based on the play that played Pasadena Playhouse...it should have stayed in play form; as a musical it was a painful mess
"House of Blue Leaves" - the only thing good I can say about this revival that opened the refurbished Taper, was that I liked the new theater restrooms I visited prior to curtain; it was downhill from there
"Dividing the Estate" on Broadway was an acting and directorial nightmare; the largely good reviews it received stunned me
"Bloody, Bloody Andrew Jackson" was, to put it mildly, bloody, bloody awful
Sunday, September 14, 2008
September 2008: Memphis Rocks
Since my last posting in July, there had not been any theater worthy of note. That changed last week when I travelled down I-5 to La Jolla Playhouse to see an outstanding production of the new musical "Memphis." The story of a 50's era white DJ in Memphis, TN who introduces black music to a segregated society, is not very original in theme. At times, the show's so-so book seems like a little bit of a series of other recent popular works (you can see traces of "Hairspray," "Dreamgirls," "Jersey Boys," and the movie "Talk To Me"). But no matter. Given the outstanding lead performances (especially by Chad Kimball) and a tuneful and toe tapping score, combined with fluid and exciting musical direction and staging (kudos to director Christopher Ashley), and you end up with what may be the most enjoyable new musical in several years.
"Memphis" runs through the end of September, and opens a few months hence in Seattle. If this show does not make it to Broadway, and have a successful run there, I will be very surprised.
Consumer alert: one show, supposedly going to Broadway, that you would be wise to miss is "Vanities" at the Pasadena Playhouse. Sitting through this misguided mess was one of of the most painful experiences I have had outside of a dental office. Save your time and money and pass this show, or else do yourself a favor and see "Memphis" before it closes.
"Memphis" runs through the end of September, and opens a few months hence in Seattle. If this show does not make it to Broadway, and have a successful run there, I will be very surprised.
Consumer alert: one show, supposedly going to Broadway, that you would be wise to miss is "Vanities" at the Pasadena Playhouse. Sitting through this misguided mess was one of of the most painful experiences I have had outside of a dental office. Save your time and money and pass this show, or else do yourself a favor and see "Memphis" before it closes.
Sunday, July 06, 2008
July 2008 Update/ South Pacific is Sheer Perfection
The highlight of the year thus far in theater is now playing in New York at Lincoln Center in the form of the outstanding Broadway revival of "South Pacific," starring the radiant Kelli O'Hara as Nellie Forbrush and the perfectly cast Paulo Szot as Emile de Becque. Every detail of this production, from the casting, to the sets, to the glorious sounding orchestra is sheer perfection on stage. In stark contrast to the overacted revival of "Gypsy" with Patti LuPone that I saw earlier in the year, "South Pacific" is quiet and subtle, allowing the rich emotions embedded in the work to flourish. "South Pacific" was a big winner at last month's Tony Awards, and deserved every accolade it received. and then some.
Speaking of the Tony Awards, Kelli O'Hare deserved to win (but did not) over the scenery-chewing performance of Ms. LuPone. That was not the biggest injustice wrought by the Tony's this year, however. The biggest slight has to be awarding the Best Musical Tony to the mediocre-at-best "In The Heights" over the year's unquestionable (IMHO) best musical, "Passing Strange." I saw "Passing Strange" again during my last NY trip, and the show is even better on Broadway than at the Public, and hold up well on second viewing. I fear "Passing Strange" will soon close, while "Heights" will have the longer run that "Passing Strange" should have had.
My NY trip included two other theatrical disappointments- a terribly cast and cold "Sunday In The Park With George" at Studio 54, and a well cast but unevenly written "Saved" at Playwrights Horizons.
As for the Los Angeles theater scene, I recommend "American Tales" by Antaeus at the Deaf West Theater, "Shipwrecked" at the Geffen and "The Lost Plays of Tennessee Williams" at the Coast Playhouse. While these recommended productions are not perfect works, they each prove to be intriguing and inspiring productions. Although the "American Tales" production may be lacking outstanding singing talent (the fine actors in the show have minimal singing credentials), the show itself is creative, unique, smart and engaging. I would love to see this show at some future date on the Taper or at Lincoln Center's Mitzi Newhouse stage. "Shipwrecked" is an engaging love letter to theater and story telling, and "The Lost Plays" provide a chance to see some lesser Willimas works that are nonetheless beautiful in their own way. While it has not been a stellar year thus far on local LA stages, these three shows are current stand-outs that are well worth a visit.
My next posting will likely have reports on plays in San Diego and Chicago.
Speaking of the Tony Awards, Kelli O'Hare deserved to win (but did not) over the scenery-chewing performance of Ms. LuPone. That was not the biggest injustice wrought by the Tony's this year, however. The biggest slight has to be awarding the Best Musical Tony to the mediocre-at-best "In The Heights" over the year's unquestionable (IMHO) best musical, "Passing Strange." I saw "Passing Strange" again during my last NY trip, and the show is even better on Broadway than at the Public, and hold up well on second viewing. I fear "Passing Strange" will soon close, while "Heights" will have the longer run that "Passing Strange" should have had.
My NY trip included two other theatrical disappointments- a terribly cast and cold "Sunday In The Park With George" at Studio 54, and a well cast but unevenly written "Saved" at Playwrights Horizons.
As for the Los Angeles theater scene, I recommend "American Tales" by Antaeus at the Deaf West Theater, "Shipwrecked" at the Geffen and "The Lost Plays of Tennessee Williams" at the Coast Playhouse. While these recommended productions are not perfect works, they each prove to be intriguing and inspiring productions. Although the "American Tales" production may be lacking outstanding singing talent (the fine actors in the show have minimal singing credentials), the show itself is creative, unique, smart and engaging. I would love to see this show at some future date on the Taper or at Lincoln Center's Mitzi Newhouse stage. "Shipwrecked" is an engaging love letter to theater and story telling, and "The Lost Plays" provide a chance to see some lesser Willimas works that are nonetheless beautiful in their own way. While it has not been a stellar year thus far on local LA stages, these three shows are current stand-outs that are well worth a visit.
My next posting will likely have reports on plays in San Diego and Chicago.
Sunday, May 11, 2008
May 2008 Update
I have not posted an update since the end of 2007 because (in addition to being consumed by my work on the Obama '08 campaign) there was not much new theater worth mentioning in the first five months of 2008. A January trip to New York included another visit to "August: Osage County" (which was again great) and an interesting, if flawed musical premiere, "Next To Normal" at Second Stage. An April trip to New York yielded a disappointing "Gypsy," (Patti LuPone = unmitigated scenery chewing), an overwrought "Macbeth," and interesting but cold new musical entitled "Adding Machine."
Don't even get me started on theatrical drought that Los Angeles was proving to be in '08. At least until early May. The drought ended with a moving and well cast reading of "Goldfish," a new play by John Kolvenbach that was featured as part of South Coast Rep's 2008 Pacific Playwrights Festival. It has been announced as one of next season's plays at SCR, one which I will definitely see again. The next day I was fortunate to catch La Jolla Playhouse's outstanding production of Moises Kaufman's new play "33 Variations," which featured an amazing performance by Jayne Atkinson as an ailing Beethoven scholar. If this play makes it to Broadway (and it deserves to), I think it would be a success both commercially and critically. (Note: my immense respect for the works of Richard Greenberg will prevent me from telling you what I thought about his odd new play entitled "The Injured Party" at South Coast Rep.)
Today, I saw yet another fine work at the Theatre @ Boston Court in Pasadena in the form of "1001" by Jason Grote. I was totally entranced by this unique and challenging work that at first confuses and then slowly reveals itself and its timely and probing themes. I left the theater wanting to see the show again, which I hope to do before it closes on June 8. As this is the only show recommended in this post that is still playing in Los Angeles, I recommend this show above all others I have seen that are playing in LA at this time.
I will be back to New York in a few weeks to see "South Pacific," "Sunday In The Park With George," "Saved," and "Passing Strange" (again). My report will follow that trip, which I hope will provide further candidates for my Recommendation list on the right side of this blog.
Don't even get me started on theatrical drought that Los Angeles was proving to be in '08. At least until early May. The drought ended with a moving and well cast reading of "Goldfish," a new play by John Kolvenbach that was featured as part of South Coast Rep's 2008 Pacific Playwrights Festival. It has been announced as one of next season's plays at SCR, one which I will definitely see again. The next day I was fortunate to catch La Jolla Playhouse's outstanding production of Moises Kaufman's new play "33 Variations," which featured an amazing performance by Jayne Atkinson as an ailing Beethoven scholar. If this play makes it to Broadway (and it deserves to), I think it would be a success both commercially and critically. (Note: my immense respect for the works of Richard Greenberg will prevent me from telling you what I thought about his odd new play entitled "The Injured Party" at South Coast Rep.)
Today, I saw yet another fine work at the Theatre @ Boston Court in Pasadena in the form of "1001" by Jason Grote. I was totally entranced by this unique and challenging work that at first confuses and then slowly reveals itself and its timely and probing themes. I left the theater wanting to see the show again, which I hope to do before it closes on June 8. As this is the only show recommended in this post that is still playing in Los Angeles, I recommend this show above all others I have seen that are playing in LA at this time.
I will be back to New York in a few weeks to see "South Pacific," "Sunday In The Park With George," "Saved," and "Passing Strange" (again). My report will follow that trip, which I hope will provide further candidates for my Recommendation list on the right side of this blog.
Sunday, December 23, 2007
2007 Top 10 Theater Productions
1. August: Osage County (NY/ Broadway) ****
2. 110 In The Shade (NY/ Broadway) ****
3. Quality of Life (LA/ Geffen Playhouse) ****
4. Sleeping Beauty Wakes (LA/ Kirk Douglas) ****
5. Passing Strange (NY/ Public Theater) ***1/2
6. Argonautika (SF/ Berkeley Rep) ***1/2
7. Durango (LA/ East-West Players) ***1/2
8. The Seafarer (NY/ Broadway) ***1/2
9. Coast of Utopia: Shipwreck (NY/ Lincoln Center)***1/2
10. Clay (LA/ Kirk Douglas) ***1/2
Honorable Mentions
Black Watch (LA/ UCLA Live); Dying City (NY/ Lincoln Center); Eurydice (NY/ Second Stage); Fat Pig (LA/ Geffen Playhouse); Frost/ Nixon (NY/ Broadway); And Neither Have I Wings To Fly (LA); The Piano Teacher (LA/ South Coast Rep)
Remarkable Returns to Shows First Viewed In Prior Years
Spring Awakening (NY/ Broadway)
Dear Friends and Theater Blog Readers:
2007 is unquestionably the year that the dramatic play returned to preeminence both on Broadway and off. While 3 of this year's top 10 shows were musicals, and they were quite good, it is this year's plays that provided the most exciting moments among the 85 productions I attended in 2007.
At the apex is the most exciting and well written American drama since "Angels in America" in the form of Chicago's Steppenwolf Theater production of "August: Osage County." The writing, acting, staging and direction are pure perfection. When you watch this 3.5 hour show, the time flies by as you are sucked into the drama wondering where it will next turn. If you are in New York within the next few months and have time to do only one thing, do yourself a favor and see this funny, touching show. My hats off to the producers who decided to take a chance on this wonderful production.
But "August" is not the only new play this year that has me excited about the current state of theatrical dramas. Jane Anderson's thought provoking and touching "Quality of Life" received a dream cast production at the Geffen Playhouse. Mary Zimmerman's beautiful modern take on Greek mythology again scored in "Argonautika," which began in Chicago, and stopped in Berkeley on its way to DC in '08.
Los Angeles was fortunate to have East West's moving and sensitive production of emerging superstar playwright Julia Cho's "Durango," as well as the Kirk Douglas' Chicago import (Chicago again - sense a trend?) "Clay" which defies classification (is it a play, a one-person show, a musical - or all of the above?). Not easily forgotten is "Coast of Utopia: Shipwreck," the second part of Tom Stoppard's Russian historical trilogy, whose brilliance greatly outshined the final part of the trilogy ("Salvage") as well as Stoppard's disappointing new Broadway play ("Rock 'n Roll"). The year's dramatic highlights also included Conor McPherson's very funny and perfectly cast new play "The Seafarer."
As for musicals, nothing new and worthy of note appeared on Broadway in 2007. However, Roundabout's revival of "110 In The Shade" anchored by Audra McDonald's incredible performance was nothing short of revelatory. Away from Broadway, the Public's "Passing Strange" (which is headed to Broadway in early 2008) breathed new life into the musical form, in much the same way as "Spring Awakening" did last year. The Deaf West/ Kirk Douglas premiere of the original signed/sung (a la "Big River") "Sleeping Beauty Wakes" contained some of the most touching theatrical moments for me this year. All three shows were "small" musicals which worked in ways that the year's big, lavishly staged new musicals did not even approach. They each had tons of heart, which is so much more effective than expensive sets and costumes.
Before closing, I wanted to alert you to some new changes on this Blog. In addition to the recent redesign, I have added a "Recommended Shows Now Playing" section on the right that I promise to continuously update so that you can access "up to the moment" recommendations for theater in LA & NY. Furthermore in response to requests, I have added movie and book recommendations to the blog which can also be found on the right margin. These too will be continuously updated.
Feel free to e-mail or leave me any comments you wish on this blog. Special thanks to my partner Eric and step-son Bryan who accompanied me to many shows throughout the year without complaint, and without snoring even when they happened to be sleeping through a scene or two. Best wishes for a great holiday and new year.
-Randy
2007's Top 10 Acting Performances
1. Audra McDonald (110 In The Shade)
2. James Norton (The Seafarer)
3. Amy Morton (August: Osage County)
4. Deanna Dunagan (August: Osage County)
5. JoBeth Williams (Quality of Life )
6. Daniel Breaker (Passing Strange)
7. Matt Sax (Clay )
8. Laurie Metcalf (The Quality of Life)
9. Frank Langella (Frost/Nixon)
10. Linda Gehringer (The Piano Teacher)
2007's Biggest Disappointments
"Coram Boy" - the only thing more puzzling than this play itself was the wrong-headed thinking of the producers' who imported this multimillion dollar disaster from London's National Theater. What were they thinking and/or smoking?
"Damn Yankees" at Reprise!, which featured Jason Alexander's revisionist and enormously silly tinkering. The most notable aspect of this mess was the change the baseball team featured from the Washington Senators to the Los Angeles Dodgers - not exactly a bold and daring move. Note to Jason- in the future, please don't.
"History Boys," made last year's Best 10 List for the NY production imported from London's National Theater, but the Ahmanson's poorly cast and acted home-grown production proved that home-grown is not a guarantee of quality, but can be quite rancid.
"King Lear" by the Royal Shakespeare Company had Ian McKellen entirely disrobe at one point, illustrating that this emperor, and this production to which some people paid over $2000 aticket, had no clothes.
"A Little Night Music" South Coast Reps' messy, poorly sung production of this Sondheim classic proves yet again that the play's not the thing - it's the production.
"LoveMusik" was a Kurt Weill jukebox musical that didn't sound good in concept; it did not sound good in the theater either.
"No Strings" was another Reprise! fiasco which should have been called "No Talent" because that is what was everyone involved with this show had.
"Third" at the Geffen Playhouse was a complete mess. This time the problem was with both the play and the production. A painful sit.
2. 110 In The Shade (NY/ Broadway) ****
3. Quality of Life (LA/ Geffen Playhouse) ****
4. Sleeping Beauty Wakes (LA/ Kirk Douglas) ****
5. Passing Strange (NY/ Public Theater) ***1/2
6. Argonautika (SF/ Berkeley Rep) ***1/2
7. Durango (LA/ East-West Players) ***1/2
8. The Seafarer (NY/ Broadway) ***1/2
9. Coast of Utopia: Shipwreck (NY/ Lincoln Center)***1/2
10. Clay (LA/ Kirk Douglas) ***1/2
Honorable Mentions
Black Watch (LA/ UCLA Live); Dying City (NY/ Lincoln Center); Eurydice (NY/ Second Stage); Fat Pig (LA/ Geffen Playhouse); Frost/ Nixon (NY/ Broadway); And Neither Have I Wings To Fly (LA); The Piano Teacher (LA/ South Coast Rep)
Remarkable Returns to Shows First Viewed In Prior Years
Spring Awakening (NY/ Broadway)
Dear Friends and Theater Blog Readers:
2007 is unquestionably the year that the dramatic play returned to preeminence both on Broadway and off. While 3 of this year's top 10 shows were musicals, and they were quite good, it is this year's plays that provided the most exciting moments among the 85 productions I attended in 2007.
At the apex is the most exciting and well written American drama since "Angels in America" in the form of Chicago's Steppenwolf Theater production of "August: Osage County." The writing, acting, staging and direction are pure perfection. When you watch this 3.5 hour show, the time flies by as you are sucked into the drama wondering where it will next turn. If you are in New York within the next few months and have time to do only one thing, do yourself a favor and see this funny, touching show. My hats off to the producers who decided to take a chance on this wonderful production.
But "August" is not the only new play this year that has me excited about the current state of theatrical dramas. Jane Anderson's thought provoking and touching "Quality of Life" received a dream cast production at the Geffen Playhouse. Mary Zimmerman's beautiful modern take on Greek mythology again scored in "Argonautika," which began in Chicago, and stopped in Berkeley on its way to DC in '08.
Los Angeles was fortunate to have East West's moving and sensitive production of emerging superstar playwright Julia Cho's "Durango," as well as the Kirk Douglas' Chicago import (Chicago again - sense a trend?) "Clay" which defies classification (is it a play, a one-person show, a musical - or all of the above?). Not easily forgotten is "Coast of Utopia: Shipwreck," the second part of Tom Stoppard's Russian historical trilogy, whose brilliance greatly outshined the final part of the trilogy ("Salvage") as well as Stoppard's disappointing new Broadway play ("Rock 'n Roll"). The year's dramatic highlights also included Conor McPherson's very funny and perfectly cast new play "The Seafarer."
As for musicals, nothing new and worthy of note appeared on Broadway in 2007. However, Roundabout's revival of "110 In The Shade" anchored by Audra McDonald's incredible performance was nothing short of revelatory. Away from Broadway, the Public's "Passing Strange" (which is headed to Broadway in early 2008) breathed new life into the musical form, in much the same way as "Spring Awakening" did last year. The Deaf West/ Kirk Douglas premiere of the original signed/sung (a la "Big River") "Sleeping Beauty Wakes" contained some of the most touching theatrical moments for me this year. All three shows were "small" musicals which worked in ways that the year's big, lavishly staged new musicals did not even approach. They each had tons of heart, which is so much more effective than expensive sets and costumes.
Before closing, I wanted to alert you to some new changes on this Blog. In addition to the recent redesign, I have added a "Recommended Shows Now Playing" section on the right that I promise to continuously update so that you can access "up to the moment" recommendations for theater in LA & NY. Furthermore in response to requests, I have added movie and book recommendations to the blog which can also be found on the right margin. These too will be continuously updated.
Feel free to e-mail or leave me any comments you wish on this blog. Special thanks to my partner Eric and step-son Bryan who accompanied me to many shows throughout the year without complaint, and without snoring even when they happened to be sleeping through a scene or two. Best wishes for a great holiday and new year.
-Randy
2007's Top 10 Acting Performances
1. Audra McDonald (110 In The Shade)
2. James Norton (The Seafarer)
3. Amy Morton (August: Osage County)
4. Deanna Dunagan (August: Osage County)
5. JoBeth Williams (Quality of Life )
6. Daniel Breaker (Passing Strange)
7. Matt Sax (Clay )
8. Laurie Metcalf (The Quality of Life)
9. Frank Langella (Frost/Nixon)
10. Linda Gehringer (The Piano Teacher)
2007's Biggest Disappointments
"Coram Boy" - the only thing more puzzling than this play itself was the wrong-headed thinking of the producers' who imported this multimillion dollar disaster from London's National Theater. What were they thinking and/or smoking?
"Damn Yankees" at Reprise!, which featured Jason Alexander's revisionist and enormously silly tinkering. The most notable aspect of this mess was the change the baseball team featured from the Washington Senators to the Los Angeles Dodgers - not exactly a bold and daring move. Note to Jason- in the future, please don't.
"History Boys," made last year's Best 10 List for the NY production imported from London's National Theater, but the Ahmanson's poorly cast and acted home-grown production proved that home-grown is not a guarantee of quality, but can be quite rancid.
"King Lear" by the Royal Shakespeare Company had Ian McKellen entirely disrobe at one point, illustrating that this emperor, and this production to which some people paid over $2000 aticket, had no clothes.
"A Little Night Music" South Coast Reps' messy, poorly sung production of this Sondheim classic proves yet again that the play's not the thing - it's the production.
"LoveMusik" was a Kurt Weill jukebox musical that didn't sound good in concept; it did not sound good in the theater either.
"No Strings" was another Reprise! fiasco which should have been called "No Talent" because that is what was everyone involved with this show had.
"Third" at the Geffen Playhouse was a complete mess. This time the problem was with both the play and the production. A painful sit.
Wednesday, November 07, 2007
New York Fall '07 Report/ See "Quality of Life"
I just returned from New York and am happy to report that new plays (as opposed to musicals) are alive and well on Broadway. If you are in New York anytime soon, DO NOT MISS Tracy Letts' outstanding new play "AUGUST: OSAGE COUNTY." This dark family drama is funny, smart, engaging, and the acting ensemble from Chicago's Steppenwolf theater provides a master class in acting. I do not recall being more excited about a new American play since "Angels in America." I will be shocked if this play does not win the Pulitzer and Best Play Tony Award next year. If you are in New York and can only see one show this season - without question, this is the one to see.
I also enjoyed Connor McPherson's engaging new drama "THE SEAFARER." Irish actor Jim Norton gives an amazing performance amidst many strong performances from the talented cast. ""THE SEAFARER" has much more humor than McPherson's prior works, but retains the depth that permeates his writing.
By contrast, I was disappointed in Tom Stoppard's new play "ROCK 'N ROLL," which suffers from the bombastic and unemotional direction by Trevor Nunn. It is not a bad play or production, but the other two plays mentioned above are head and shoulders in quality above this one.
New musicals in New York this season? Let's not go there. I did not even use my ticket to "YOUNG FRANKENSTEIN," because those whose opinions I trust have trashed the show, and the snippets from the show I have seen are painfully bad. Two off-broadway musicals I did see ("MAKE ME A SONG" and "THE GLORIOUS ONES") were lifeless and disappointing.
As for Los Angeles right now, my highest recommendation goes to "QUALITY OF LIFE" at the Geffen Playhouse which is a moving and well written play that is performed by a dream cast. If you have not seen this show, try to catch it before it disappears in a few weeks.
Finally, a quick word on the Broadway-bound new musical "A CATERED AFFAIR" now playing at the Old Globe in San Diego. This show seems to be splitting opinion among its viewers, but count me in the group that found the show to be an uninvolving and cold show which finds merit only in the wonderful performance given by Faith Prince. The New York crowd is hoping this is the musical that will emerge as the best of the season when it hits New York in the spring. IMHO, I don't think so.
I also enjoyed Connor McPherson's engaging new drama "THE SEAFARER." Irish actor Jim Norton gives an amazing performance amidst many strong performances from the talented cast. ""THE SEAFARER" has much more humor than McPherson's prior works, but retains the depth that permeates his writing.
By contrast, I was disappointed in Tom Stoppard's new play "ROCK 'N ROLL," which suffers from the bombastic and unemotional direction by Trevor Nunn. It is not a bad play or production, but the other two plays mentioned above are head and shoulders in quality above this one.
New musicals in New York this season? Let's not go there. I did not even use my ticket to "YOUNG FRANKENSTEIN," because those whose opinions I trust have trashed the show, and the snippets from the show I have seen are painfully bad. Two off-broadway musicals I did see ("MAKE ME A SONG" and "THE GLORIOUS ONES") were lifeless and disappointing.
As for Los Angeles right now, my highest recommendation goes to "QUALITY OF LIFE" at the Geffen Playhouse which is a moving and well written play that is performed by a dream cast. If you have not seen this show, try to catch it before it disappears in a few weeks.
Finally, a quick word on the Broadway-bound new musical "A CATERED AFFAIR" now playing at the Old Globe in San Diego. This show seems to be splitting opinion among its viewers, but count me in the group that found the show to be an uninvolving and cold show which finds merit only in the wonderful performance given by Faith Prince. The New York crowd is hoping this is the musical that will emerge as the best of the season when it hits New York in the spring. IMHO, I don't think so.
Sunday, September 30, 2007
Oct '07/ Four Great Shows on Los Angeles Stages
After a very dry summer for quality theater offerings in Los Angeles, I am happy to report that there a number of outstanding shows are now playing on our local stages, each of which I highly recommend
Now playing at the Kirk Douglas Theater in Culver City is "CLAY," a one person hip hop musical that began its theatrical life in Chicago. "Clay" is written and performed by the enormously talented Matt Sax, who gives a multi-faceted performance that harbors well for his future as a performer. One person shows commonly leave me cold and disappointed because the form usually lacks a sense of real theatricality. Such is not the case here, as Matt Sax creates a fully realized musical play - he simply plays all of the roles. It takes some time for this show to get moving, but I am convinced that is intentional. By the end of the show you are left both musically and emotionally rewarded. Unless you have a total aversion to the hip-hop musical form, I highly recommend that you catch this show now, before it and its talented writer/performer leave town with this exceptional work. You can catch "CLAY" through October 14.
Fresh and unconventional theater is also to be found at UCLA Freud Playhouse until October 14 in the form of the National Theatre of Scotland's offering of "BLACK WATCH," which is part of the new season of UCLA Live Peformance Series. Prior to seeing this show, I have never seen a depiction of war on stage that has worked for me as theater, so I did not expect much from this show. Instead, this play about the Scottish Black Watch military crew's actions in Iraq offers an insightful and probing look at violence, the military mentality and the folly that is the current war in Iraq. This is a loud and very physical show, but those attributes help establish the right mood and setting for this work. The cast imported from the UK is solid, with a particularly exciting performance by Emun Elliot as Fraz. Catch this show before it travels to its next stop in New York City.
More traditional in form, the West Coast premier of another Chicago-originated play entited "AND NEITHER HAVE I WINGS TO FLY" is now playing through November at the Road Theatre Company in NoHo's Lankershim Arts Center. I saw and fell in love with this wonderful play a few years back at the Victory Gardens Theater in Chicago. I believe there were hopes that this play would be taken to Broadway (or at least off-Broadaway) from Chicago, but much to my dismay, that never came to fruition. No matter. This is a fine play that is as good as or better than any drama currently playing in New York. I am also happy to report that the Road Theatre production is top-notch, and brings this stirring drama to life. A special treat is to see the playwright, Ann Noble, playing the lead role of Eveline; she infuses her poetic language with a multi-layered nuanced performance. The setting is a family home in County Dublin, Ireland in the 1950's, and by the end of the evening you will feel as though you are a part of the family depicted in the show. The sets, direction and acting are all of the highest quality and do justice to this solid drama. A few years back, the Road Theater presented an outstanding production of another play by Ms. Noble entitled "The Pagans." It is heartening to reoprt that this play and production is even better,
But that is not all folks. There are even more riches to be found in our local theaters right now. The East West Players production of Julia Cho's "DURANGO," can be seen at this Company's Little Tokyo theater through October 14. Like, "And Neither Have I Wings To Fly", this show provides a family drama that is touching, sincere and presented in a sensitive production that touches the mind and heart. A family road trip provides the setting for reflection, revelation of secrets and conflict that ring true. I was impressed with Ms. Cho's "Piano Teacher" earlier this year at South Coast Rep, but "Durango" is a work of even greater depth. Playing the sons that try to live up to the lofty demands of their Korean-born father, actors Jin Suh and Ryan Cusino give outstanding performaces that capture a brothers' relationship with each other, and with their father, that is painful and real.
I cannot remember any recent time in which there was much high quaity theater playing simultaneously in the LA area. I would recommend any of the above four shows without reservation. Lest you think that my ability to provide negative criticism has fallen by the wayside, I can also tell you that unless you are a masochist, you would do well to avoid the Geffen Playhouse's miscast and insipid "THIRD" by Wendy Wasserstein, and South Coast Rep's lame, limp and misdirected production of "A LITTLE NIGHT MUSIC." But these theatrical misfires cannot dim the brilliance of the above mentioned shows that deserve your time and attention, both of which will be highly rewarded.
Now playing at the Kirk Douglas Theater in Culver City is "CLAY," a one person hip hop musical that began its theatrical life in Chicago. "Clay" is written and performed by the enormously talented Matt Sax, who gives a multi-faceted performance that harbors well for his future as a performer. One person shows commonly leave me cold and disappointed because the form usually lacks a sense of real theatricality. Such is not the case here, as Matt Sax creates a fully realized musical play - he simply plays all of the roles. It takes some time for this show to get moving, but I am convinced that is intentional. By the end of the show you are left both musically and emotionally rewarded. Unless you have a total aversion to the hip-hop musical form, I highly recommend that you catch this show now, before it and its talented writer/performer leave town with this exceptional work. You can catch "CLAY" through October 14.
Fresh and unconventional theater is also to be found at UCLA Freud Playhouse until October 14 in the form of the National Theatre of Scotland's offering of "BLACK WATCH," which is part of the new season of UCLA Live Peformance Series. Prior to seeing this show, I have never seen a depiction of war on stage that has worked for me as theater, so I did not expect much from this show. Instead, this play about the Scottish Black Watch military crew's actions in Iraq offers an insightful and probing look at violence, the military mentality and the folly that is the current war in Iraq. This is a loud and very physical show, but those attributes help establish the right mood and setting for this work. The cast imported from the UK is solid, with a particularly exciting performance by Emun Elliot as Fraz. Catch this show before it travels to its next stop in New York City.
More traditional in form, the West Coast premier of another Chicago-originated play entited "AND NEITHER HAVE I WINGS TO FLY" is now playing through November at the Road Theatre Company in NoHo's Lankershim Arts Center. I saw and fell in love with this wonderful play a few years back at the Victory Gardens Theater in Chicago. I believe there were hopes that this play would be taken to Broadway (or at least off-Broadaway) from Chicago, but much to my dismay, that never came to fruition. No matter. This is a fine play that is as good as or better than any drama currently playing in New York. I am also happy to report that the Road Theatre production is top-notch, and brings this stirring drama to life. A special treat is to see the playwright, Ann Noble, playing the lead role of Eveline; she infuses her poetic language with a multi-layered nuanced performance. The setting is a family home in County Dublin, Ireland in the 1950's, and by the end of the evening you will feel as though you are a part of the family depicted in the show. The sets, direction and acting are all of the highest quality and do justice to this solid drama. A few years back, the Road Theater presented an outstanding production of another play by Ms. Noble entitled "The Pagans." It is heartening to reoprt that this play and production is even better,
But that is not all folks. There are even more riches to be found in our local theaters right now. The East West Players production of Julia Cho's "DURANGO," can be seen at this Company's Little Tokyo theater through October 14. Like, "And Neither Have I Wings To Fly", this show provides a family drama that is touching, sincere and presented in a sensitive production that touches the mind and heart. A family road trip provides the setting for reflection, revelation of secrets and conflict that ring true. I was impressed with Ms. Cho's "Piano Teacher" earlier this year at South Coast Rep, but "Durango" is a work of even greater depth. Playing the sons that try to live up to the lofty demands of their Korean-born father, actors Jin Suh and Ryan Cusino give outstanding performaces that capture a brothers' relationship with each other, and with their father, that is painful and real.
I cannot remember any recent time in which there was much high quaity theater playing simultaneously in the LA area. I would recommend any of the above four shows without reservation. Lest you think that my ability to provide negative criticism has fallen by the wayside, I can also tell you that unless you are a masochist, you would do well to avoid the Geffen Playhouse's miscast and insipid "THIRD" by Wendy Wasserstein, and South Coast Rep's lame, limp and misdirected production of "A LITTLE NIGHT MUSIC." But these theatrical misfires cannot dim the brilliance of the above mentioned shows that deserve your time and attention, both of which will be highly rewarded.
Friday, December 22, 2006
Top 10 Theater Productions of 2006
1. Sweeney Todd (NY/ Broadway) ****
2. Coast of Utopia: Voyage (NY/ Lincoln Center) ****
3. Shining City (NY/ Manhattan Theatre Club) ****
4. Rabbit Hole (NY/ Manhattan Theatre Club) ***1/2
5. All My Sons (LA/ Geffen Playhouse) ***1/2
6. Spring Awakening (NY/ Atlantic Theater) ***1/2
7. Awake and Sing (NY/ Lincoln Center) ***1/2
8. History Boys (NY/ Broadway) ***1/2
9. Lieutenant of Inishmore (NY/ Broadway)***1/2
10. Joe Turner's Come and Gone (LA/ Fountain Theater) ***1/2
Honorable Mentions
Blue Door (LA/ South Coast Rep); Eurydice (LA/ Circle X); Fences (LA/ Pasadena Playhouse); Man of No Importance (LA/ Musical Theater Guild); Jitney (LA); Super Vision (LA/ Redcat); Urinetown (LA/Interact)
Remarkable Returns to Shows First Viewed In Prior Years
Drowsy Chaperone (NY/ Broadway); Doubt (LA/Ahmanson)
Dear Theater Fans:
2006 was a very good year for theater in New York, but the same cannot be said for Los Angeles theater. This year's Top 10 list is dominated by Broadway productions, both new shows and revivals, with more Broadway shows landing in my top 10 this year than in any year in recent memory. By contrast, only two Los Angeles productions made this year's top 10, and both of those were revivals of modern classic dramas. If this year's list seems more geographically limited than in the past, the explanation is that my theatergoing was limited in 2006 to shows in New York and Los Angeles - no trips to London, Chicago or DC for me this year.
Two superlative productions on Broadway towered over all other shows I viewed in 2006, one a musical revival ("Sweeney Todd"), the other the first part of a new (to the US) Tom Stoppard trilogy ("Coast of Utopia: Voyage"). British director John Doyle's conceit of having the actors double as the on-stage orchestra worked perfectly for "Sweeney," and the entire show was an amazing conceptual revisioning of an often performed Sondheim show. It was mesmerizing from beginning to end. The same can be said for "Voyage" in which the dazzling production (headed by director Jack O'Brien) was outdone by the even more dazzling writing by Stoppard. I cannot wait to see parts 2 & 3 of this eight-hour-plus epic in 2007.
In addition to "Voyage," this year saw an abnormally high number of great dramatic plays, both new and revivals. In the new column were "Shining City," expertly directed by Robert Falls and starring Broadway's best current male actor - Brian O'Byrne; "Rabbit Hole" with a brave performance by Cynthia Nixon and seemless direction by Daniel Sullivan; Nicholas Hytner's UK National Theater import "History Boys"; and the audacious and very funny "Lieutenant of Inishmore."
As for dramatic play revivals, Arthur Miller's "All My Sons" at the Geffen Theater, led by an oustanding performance from Laurie Metcalf, provided a production of a play I have seen many times, but seemed like a different play than all of the prior productions. The Fountain Theater's production of August Wilson's "Joe Turner's Come and Gone" was a moving and apt tribute to the master playwright who sadly passed away in 2006. And Bartlett Sher, director of last year's #1 show, once again displayed his directorial skills with his illuminating revival of Odet's "Awake and Sing," centered by a bravura performance from Zoe Wannamaker.
The sole new musical to make this year's list is "Spring Awakening," which I saw off-Broadway before its recent move to a much larger Broadway house. This is a fresh, vibrant rock musical that while not perfect, is a refreshing departure from just about every new musical to hit Broadway in the past several years. If you are in New York, do yourself a favor and see this show which provides hope that the future of musical theater will not be populated only with revivals and new shows that parody the form.
I attended 87 productions in 2006, up just 4 from last year. I am keeping with the blog format for this year's list, and hope you find it convenient. For those who have visited this site over the past year, my updates to this blog have been admittedly scattered. I will try to do better in 2007. Before closing this year's theater letter, I wanted to mention how thrilled and pleased I was with the new screen adaptation of the stage musical "Dreamgirls." Although I liked that show on stage, the material works even better as a movie. And Jennifer Hudson's performance - in a word, incredible. Run and see "Dreamgirls" in the midst of what I hope is a great holiday and new year.
2005's Top 10 Acting Performances
1. Christine Ebersole (Grey Gardens)
2. Cynthia Nixon (Rabbit Hole)
3. Zoe Wanamaker (Awake and Sing)
4. Ian McDiarmid (Faith Healer)
5. Adolphus Ward (Joe Turner's Come and Gone)
6. Jennifer Ehle (Coast of Utopia: Voyage)
7. Laurence Fishburne (Fences)
8. Laurie Metcalf (All My Sons)
9. Mary Louise Wilson (Grey Gardens)
10. Frances de la Tour (History Boys)
2006's Biggest Disappointments
"The Cherry Orchard" starring Annette Benning at the Mark Taper Forum was an impossible ticket to score due to her presence. You could have had my ticket, and I would have preferred to have slept at home rather than in my seat at the Taper.
"Company" has its fans, but I thought this Broadway revival was the worst of the many productions I have seen of this show. John Doyle's actors as orchestra concept felt like an out of place gimmick that caused this production to feel removed and chilly. Note to Mr. Doyle: that chill was perfect for "Sweeney Todd," but made for Company that I would rather not have visited.
"Light In The Piazza," in the form of the current national touring company was beyond disturbing to me. A horribly miscast Christine Andreas in the lead role of Margaret turned my #1 show of last year into a mediocre event that reveals just how critical Victoria Clark's performance was to this show.
"Little Dog Laughed" may have left many people laughing off and on Broadway, but I was not one of them. A trite, overworn plot with trite, overworn sitcom-ish jokes about gay people does not a funny evening make, IMHO.
"Vertical Hour," in its world premiere Broadway engagement, left me wishing I was horizontal so that I could catch up on my sleep without being intermittently woken by some fine acting by the talented Bill Nighy. Julianne Moore was beyond awful, and I kept wanting to go on stage to rescue her from this mess of a play by one of my favorite playwrights, David Hare.
"Wedding Singer" proves that just when you think Broadway musicals cannot get any more trite and unimaginatively derivative, they do.
"Zhivago" at La Jolla Playhouse was said to be Broadway bound. Yeah, right, like the Titanic was bound for New York. In addition, [reread comment above for "Wedding Singer," starting with the word "proves"].
2. Coast of Utopia: Voyage (NY/ Lincoln Center) ****
3. Shining City (NY/ Manhattan Theatre Club) ****
4. Rabbit Hole (NY/ Manhattan Theatre Club) ***1/2
5. All My Sons (LA/ Geffen Playhouse) ***1/2
6. Spring Awakening (NY/ Atlantic Theater) ***1/2
7. Awake and Sing (NY/ Lincoln Center) ***1/2
8. History Boys (NY/ Broadway) ***1/2
9. Lieutenant of Inishmore (NY/ Broadway)***1/2
10. Joe Turner's Come and Gone (LA/ Fountain Theater) ***1/2
Honorable Mentions
Blue Door (LA/ South Coast Rep); Eurydice (LA/ Circle X); Fences (LA/ Pasadena Playhouse); Man of No Importance (LA/ Musical Theater Guild); Jitney (LA); Super Vision (LA/ Redcat); Urinetown (LA/Interact)
Remarkable Returns to Shows First Viewed In Prior Years
Drowsy Chaperone (NY/ Broadway); Doubt (LA/Ahmanson)
Dear Theater Fans:
2006 was a very good year for theater in New York, but the same cannot be said for Los Angeles theater. This year's Top 10 list is dominated by Broadway productions, both new shows and revivals, with more Broadway shows landing in my top 10 this year than in any year in recent memory. By contrast, only two Los Angeles productions made this year's top 10, and both of those were revivals of modern classic dramas. If this year's list seems more geographically limited than in the past, the explanation is that my theatergoing was limited in 2006 to shows in New York and Los Angeles - no trips to London, Chicago or DC for me this year.
Two superlative productions on Broadway towered over all other shows I viewed in 2006, one a musical revival ("Sweeney Todd"), the other the first part of a new (to the US) Tom Stoppard trilogy ("Coast of Utopia: Voyage"). British director John Doyle's conceit of having the actors double as the on-stage orchestra worked perfectly for "Sweeney," and the entire show was an amazing conceptual revisioning of an often performed Sondheim show. It was mesmerizing from beginning to end. The same can be said for "Voyage" in which the dazzling production (headed by director Jack O'Brien) was outdone by the even more dazzling writing by Stoppard. I cannot wait to see parts 2 & 3 of this eight-hour-plus epic in 2007.
In addition to "Voyage," this year saw an abnormally high number of great dramatic plays, both new and revivals. In the new column were "Shining City," expertly directed by Robert Falls and starring Broadway's best current male actor - Brian O'Byrne; "Rabbit Hole" with a brave performance by Cynthia Nixon and seemless direction by Daniel Sullivan; Nicholas Hytner's UK National Theater import "History Boys"; and the audacious and very funny "Lieutenant of Inishmore."
As for dramatic play revivals, Arthur Miller's "All My Sons" at the Geffen Theater, led by an oustanding performance from Laurie Metcalf, provided a production of a play I have seen many times, but seemed like a different play than all of the prior productions. The Fountain Theater's production of August Wilson's "Joe Turner's Come and Gone" was a moving and apt tribute to the master playwright who sadly passed away in 2006. And Bartlett Sher, director of last year's #1 show, once again displayed his directorial skills with his illuminating revival of Odet's "Awake and Sing," centered by a bravura performance from Zoe Wannamaker.
The sole new musical to make this year's list is "Spring Awakening," which I saw off-Broadway before its recent move to a much larger Broadway house. This is a fresh, vibrant rock musical that while not perfect, is a refreshing departure from just about every new musical to hit Broadway in the past several years. If you are in New York, do yourself a favor and see this show which provides hope that the future of musical theater will not be populated only with revivals and new shows that parody the form.
I attended 87 productions in 2006, up just 4 from last year. I am keeping with the blog format for this year's list, and hope you find it convenient. For those who have visited this site over the past year, my updates to this blog have been admittedly scattered. I will try to do better in 2007. Before closing this year's theater letter, I wanted to mention how thrilled and pleased I was with the new screen adaptation of the stage musical "Dreamgirls." Although I liked that show on stage, the material works even better as a movie. And Jennifer Hudson's performance - in a word, incredible. Run and see "Dreamgirls" in the midst of what I hope is a great holiday and new year.
2005's Top 10 Acting Performances
1. Christine Ebersole (Grey Gardens)
2. Cynthia Nixon (Rabbit Hole)
3. Zoe Wanamaker (Awake and Sing)
4. Ian McDiarmid (Faith Healer)
5. Adolphus Ward (Joe Turner's Come and Gone)
6. Jennifer Ehle (Coast of Utopia: Voyage)
7. Laurence Fishburne (Fences)
8. Laurie Metcalf (All My Sons)
9. Mary Louise Wilson (Grey Gardens)
10. Frances de la Tour (History Boys)
2006's Biggest Disappointments
"The Cherry Orchard" starring Annette Benning at the Mark Taper Forum was an impossible ticket to score due to her presence. You could have had my ticket, and I would have preferred to have slept at home rather than in my seat at the Taper.
"Company" has its fans, but I thought this Broadway revival was the worst of the many productions I have seen of this show. John Doyle's actors as orchestra concept felt like an out of place gimmick that caused this production to feel removed and chilly. Note to Mr. Doyle: that chill was perfect for "Sweeney Todd," but made for Company that I would rather not have visited.
"Light In The Piazza," in the form of the current national touring company was beyond disturbing to me. A horribly miscast Christine Andreas in the lead role of Margaret turned my #1 show of last year into a mediocre event that reveals just how critical Victoria Clark's performance was to this show.
"Little Dog Laughed" may have left many people laughing off and on Broadway, but I was not one of them. A trite, overworn plot with trite, overworn sitcom-ish jokes about gay people does not a funny evening make, IMHO.
"Vertical Hour," in its world premiere Broadway engagement, left me wishing I was horizontal so that I could catch up on my sleep without being intermittently woken by some fine acting by the talented Bill Nighy. Julianne Moore was beyond awful, and I kept wanting to go on stage to rescue her from this mess of a play by one of my favorite playwrights, David Hare.
"Wedding Singer" proves that just when you think Broadway musicals cannot get any more trite and unimaginatively derivative, they do.
"Zhivago" at La Jolla Playhouse was said to be Broadway bound. Yeah, right, like the Titanic was bound for New York. In addition, [reread comment above for "Wedding Singer," starting with the word "proves"].
Sunday, August 20, 2006
August 2006 NY & LA Theater Recommendations
New York Theater Recommendations:
There are two musicals and two plays currently on Broadway that I would recommend. As for musicals, if you have not seen it, be sure to catch the amazing "SWEENEY TODD" production before it closes in September. The director's unique and refreshing concept for this revival comes to life with a multi-talented, hard-working cast that plays their own instruments. This show should have received the Best Musical Revival Tony Award in June, but was robbed by the much inferior "Pajama Game."
The other "don't miss" musical on Broadway is "THE DROWSY CHAPERONE," which should have won the Best Musical Tony Award, but lost it to the fun, but inferior, "Jersey Boys." "Chaperone" is one of the wittiest and entertaining new musicals of the past decade. I have seen the show 4 times, and each time I see it, my appreciation for this work grows.
As for plays, I highly recommend "THE LIEUTENANT OF INISHMORE." If you appreciate dark humor, this is the show for you. It is funny, smart and well written. "THE HISTORY BOYS" (playing through October), is also a London import well worth catching, although I enjoyed this show more for the outstanding production than the sometimes facile writing.
Coming this fall to Broadway are two new musical I caught during their off-Broadway runs: "GREY GARDENS" and "SPRING AWAKENING." Though neither are perfect shows (at least not off-Broadway), both have much to offer. The performances of Christine Ebersole and Mary Louise Wilson lift "Gardens" beyond its limitations (which are particuarly evident in a weak first act) as written, and "Spring Awakening" is the freshest and most exciting rock musical since "Rent."
Los Angeles Theater:
I wish there was much to recommend in the Los Angeles area right now, but sadly that is not the case. Hopefully, things will improve in the fall. Do catch the Kander & Ebb musical "CURTAINS" in its pre-Broadway run at the Ahmanson. It is a flawed show, but much of the score is quite nice, and its cast includes many of Broadway's finest musical theater talents. David Hyde Pierce is particularly strong in the lead role, and deserves the standing ovations that I suspect he receives at every performance. Before it leaves town, you should also see "TICK, TICK BOOM" at the Coronet Theater. It is a memorable production of a show that nevertheless plays like a Jonathan Larson (creator of "Rent") song cycle with a patched together book. Despite that, it is an energetic show with a good cast, with an especially winnning performace by Tami Tappan Damiano.
There are two musicals and two plays currently on Broadway that I would recommend. As for musicals, if you have not seen it, be sure to catch the amazing "SWEENEY TODD" production before it closes in September. The director's unique and refreshing concept for this revival comes to life with a multi-talented, hard-working cast that plays their own instruments. This show should have received the Best Musical Revival Tony Award in June, but was robbed by the much inferior "Pajama Game."
The other "don't miss" musical on Broadway is "THE DROWSY CHAPERONE," which should have won the Best Musical Tony Award, but lost it to the fun, but inferior, "Jersey Boys." "Chaperone" is one of the wittiest and entertaining new musicals of the past decade. I have seen the show 4 times, and each time I see it, my appreciation for this work grows.
As for plays, I highly recommend "THE LIEUTENANT OF INISHMORE." If you appreciate dark humor, this is the show for you. It is funny, smart and well written. "THE HISTORY BOYS" (playing through October), is also a London import well worth catching, although I enjoyed this show more for the outstanding production than the sometimes facile writing.
Coming this fall to Broadway are two new musical I caught during their off-Broadway runs: "GREY GARDENS" and "SPRING AWAKENING." Though neither are perfect shows (at least not off-Broadway), both have much to offer. The performances of Christine Ebersole and Mary Louise Wilson lift "Gardens" beyond its limitations (which are particuarly evident in a weak first act) as written, and "Spring Awakening" is the freshest and most exciting rock musical since "Rent."
Los Angeles Theater:
I wish there was much to recommend in the Los Angeles area right now, but sadly that is not the case. Hopefully, things will improve in the fall. Do catch the Kander & Ebb musical "CURTAINS" in its pre-Broadway run at the Ahmanson. It is a flawed show, but much of the score is quite nice, and its cast includes many of Broadway's finest musical theater talents. David Hyde Pierce is particularly strong in the lead role, and deserves the standing ovations that I suspect he receives at every performance. Before it leaves town, you should also see "TICK, TICK BOOM" at the Coronet Theater. It is a memorable production of a show that nevertheless plays like a Jonathan Larson (creator of "Rent") song cycle with a patched together book. Despite that, it is an energetic show with a good cast, with an especially winnning performace by Tami Tappan Damiano.
Sunday, February 05, 2006
A Dull "Earnest"; "Hedda" Has a Future; "Two And Only" Amuses
Now playing at the Ahmanson theater is Sir Peter Hall's stiff and arch production of Oscar Wilde's "The Importance of Being Earnest." Sir Peter should be banned from the Ahmanson because he has once again brought to that venue an entertaining script with his bland and boring direction. Lynne Redgrave chews up the scenery when she is on stage, but does it in a way that is out of synch with the other actors, none of whom have anything close to the panache called for to make this show work. A major disappointment.
By contrast, a major surprise just closed at South Coast Rep in Orange County- Jeff Whitty's funny and moving take on the place where fictional characters go to thrive or perish. Well served by nimble direction of Bill Rauch, and an able group of comedic actors, I thoroughly enjoyed this show well beyond what I expected from the gimmicky plot description. This show deserves a long and happy life beyond SCR, and provided a nice way fro LA area theater to start the new year.
I was also surprised by how much I enjoyed "Jay Johnson: The Two and Only" at the Brentwood Theater at the VA grounds in Brentwood. Although the show lags a bit when Jay is not performing his considerable ventriloquism skills, Jay is one supremely talented ventriloquist who creates funny and original characters. The showplays through mid-Februarybefore heading for Broadway, so try to catch it if you can.
Other recent shows I have seen that left me bored and/or disappointed were "Permanent Collection" at the Kirk Douglas, and "Book of Liz" at the Blank Theater. The first took itself too seriously, the second was just too silly for my taste.
By contrast, a major surprise just closed at South Coast Rep in Orange County- Jeff Whitty's funny and moving take on the place where fictional characters go to thrive or perish. Well served by nimble direction of Bill Rauch, and an able group of comedic actors, I thoroughly enjoyed this show well beyond what I expected from the gimmicky plot description. This show deserves a long and happy life beyond SCR, and provided a nice way fro LA area theater to start the new year.
I was also surprised by how much I enjoyed "Jay Johnson: The Two and Only" at the Brentwood Theater at the VA grounds in Brentwood. Although the show lags a bit when Jay is not performing his considerable ventriloquism skills, Jay is one supremely talented ventriloquist who creates funny and original characters. The showplays through mid-Februarybefore heading for Broadway, so try to catch it if you can.
Other recent shows I have seen that left me bored and/or disappointed were "Permanent Collection" at the Kirk Douglas, and "Book of Liz" at the Blank Theater. The first took itself too seriously, the second was just too silly for my taste.
Sunday, December 18, 2005
10 Best Theater Productions of 2005
The Top 10 Theater Productions of 2005
1. The Light in The Piazza (dir/ Bartlett Sher) (NY) ****
2. Billy Elliott (dir/ Stephen Daldry) (London) ****
3. Pillowman (dir/ John Crowley) (NY) ***1/2
4. Dessa Rose (dir/ Graciela Daniele) (NY) ***1/2
5. Yellowman (dir/ Shirley Jo Finney) (LA) ***1/2
6. Altar Boyz (dir/ Stafford Arima) (NY) ***1/2
7. Urinetown (dir/ Eric Schaffer) (DC) ***1/2
8. Long Bridge Over Deep Waters (dir/Bill Rauch)(LA) ***1/2
9. The Drowsy Chaperone (dir/ Casey Nicholaw) (LA)***1/2
10. Mary Stuart (dir/ Phyllida Lloyd) (London) ***1/2
Dear Theater Fans:
If 2004 stood out as a year of outstanding new dramas, 2005 was remarkable for providing an unusually large number of outstanding new musicals, an occurrence that is exceedingly rare in this day and age.
The show that towers above all others in 2005 is an exquisite production of an intelligent, moving and beautiful show - Lincoln Center's The Light In The Piazza. Perhaps no show can truly be perfect, but this one comes closer to absolute perfection than any musical in recent memory. Victoria Clark's headlining performance is transcendent and should not be missed if you are in the New York area.
A close second to Piazza is yet another new musical, Billy Elliott, which is currently playing in London. The creators turned a successful film into an even more successful stage musical which tugs at the heartstrings in ways that feel entirely genuine. The show rests on the young shoulders of its title character, and the young performer I saw in London (Leon Cooke) carried the production to exciting heights. One can only hope that the producers bring this one to America soon, and that they are able to cast a young powerhouse in the lead role.
Other new musicals that made this year's top 10 include Dessa Rose, Altar Boyz, and US premiere (at the Ahmanson in LA) of the witty and entertaining The Drowsy Chaperone. All three shows offered something unique in a genre in which that quality is all too often lacking. Unique is also the right word for the re-invention of Urinetown that was accomplished at DC's Signature Theater.
The UK's National Theater production of Pillowman on Broadway took the highest play honors for 2005. The cast, headed by the outstanding Billy Crudup, was amazing in this chilling and challenging show. Together with last year's Doubt, Broadway had two of the finest new plays in many years running simultaneously. Also making the top 10 were the Los Angeles productions of Yellowman at the Fountain Theater, and Cornerstone's creative and engaging Long Bridge Over Deep Waters. London's Donmar Wharehouse expertly cast production of Mary Stuart rounded out this year's list.
I attended only 83 productions in 2005, down considerably from last year's 113 and a testament to my attempt to emphasize quality over quantity in my theatergoing activities. To those who have been receiving these year end reports for years, I hope you like the new "blog" format. I try to update this blog every month or two, in the event you want to check out my current rantings and ravings on shows I have seen.
Honorable Mentions
All Shook Up (NY); Apollo Part 1: Lesbensrum (Kirk Douglas); Golda's Balcony (Geffen); Measure for Measure (Old Globe of London at UCLA Live); Theater For A New Ear (UCLA Live)
Remarkable Returns to Shows First Viewed In Prior Years
Big River (Ahmanson); Doubt (NY)
2005's Top 10 Acting Performances
1. Victoria Clark (The Light In The Piazza)
2. Bob Martin (Drowsy Chaperone)
3. Mark Rylance (Measure for Measure)
4. Billy Crudup (Pillowman)
5. Harriet Walter (Mary Stuart)
6. Chris Butley (Yellowman)
7. Tovah Feldshuh (Golda's Balcony)
8. La Chanze (Dessa Rose)
9. Michael Stuhlberg (Pillowman)
10. Kelly O'Hare (The Light In The Piazza)
2005's 10 Biggest Disappointments
Thom Pain (based on nothing) which deserves a truth in advertising award for its title, as it was truly based on nothing, had nothing to say and was a major pain to endure; the NY Times rave for this off-Broadway witless drek remains beyond my grasp.
Happy End, which left me quite happy at its end; it was from the beginning to the end that left me considerably less than happy at this Pacific Resident Theater production.
We Will Rock You, a Las Vegas production whose tackiness made even the ultra-tasteless Vegas look classy and restrained by comparison.
Doubt at the Pasadena Playhouse, which was so bad that one would surely "doubt" that this was the same show that is currently playing on Broadway (directed by Doug Hughes, and the #1 show on last years' list) and is one of the finest Broadway dramas of the decade.
Hillbilly Antigone at the Lookinglass Theater in Chicago sounded like a dreadful title - the show was even more dreadful.
Nine Parts of Desire by the Geffen Playhouse left me only with the desire to bolt from the theater at the first opportunity.
Dead End was precisely that at the Ahmanson. A snooze-o-rama of the highest degree.
Open Window a Deaf West production at the Pasadena Playhouse was a major disappointment from the people who created Big River. This was one window that would have best been left closed to audiences.
Woman In White the new Andrew Lloyd Webber show that I caught in London failed to meet my extremely low expectations; its silly set projections that replace stage scenery still have me dizzy.
Grand Tour from the Colony Theater revived a failed Jerry Herman musical, apparently just to prove that this was one show that was best left forever undiscovered.
Sunday, November 20, 2005
Surprise: "Drowsy" Its Not; "Measure" Is A Joy; and "Cat" Stinks
The rather ho-hum fall Los Angeles theater scene gets a jot of much needed energy with the newly arrived "The Drowsy Chaperone" at the Ahmanson Theater. It would not be fair to tell much of what happens in this show. Part of the fun is figuring that out for yourself, so mumis the word here. In an age when irony has all too often become the mainstay of new musicals, this is one funny show that gets by on being unique and sincere in contrast to the ironic focus of shows like "The Producers" and "Spamlot," shows which lack, and are limited by their lack, of an emotional core.
Bob Martin (also co-credited with the show's book) is beyond perfection as the Man In the Chair. He is the emotional core of the show, and he play the role to laughs and tears. The other standout in the cast is Sutton Foster as Janet. She again proves that she is a Broadway star who can sell a song like almost no other.
Quibbles? Okay, a few. I thought Troy Britton Johnston is particularly weak as Janet's love interest, and he cannot hold a candle to Ms. Foster's star presence. Also, the ending seems a bit rushed and loses some impact as a result. But these quibbles are minor. This is one funny, heartfelt and enjoyable show. It is being billed as a "love letter" to the theater. That phrase is often used to compensate for the mustiness of a dated show. Not so here; "Drowsy Chaperone" is a genuine love letter of the highest order. I am not a fan of fluffy, old-fashioned musicals that lack a decent plot and real emotion. This show made me understand why so many people beg to differ with me on this topic.
Also playing for a few more performnces at UCLA's Freud Playhouse is London's Globe Theater production of "Measure for Measure." I must confess that this has never been one of my favorite Shakespeare shows. The last production I saw was Sir Peter Hall's soporific production which played at the Ahmanson some years back. If I had let these views result in missing this show, I would have been much the worse for that decision. This "Measure" is expertly performed in "original practices" (yes, all female roles are played by men), and several of the performances are downright sublime. Chief among those great performances are outgoing Artistic Director Mark Rylance's Duke, and Colin Hurley's comedic Lucio. Never I have seen "Measure" done with such comic flair> This comedic take on the show leads one to forget whatever flaws this show may have. This show is playing at UCLA only until November 26; if you are reading this before then, call for tickets now.
Both shows reported on above subverted my expectations in what both would yield, and did so in a very positive way. I love it when that happens.
Now comes the bad news, arriving in the form of "Cat On A Hot Tin Roof" at the Geffen Playhouse, starring John Goodman (as Big Daddy) and Brenda Fricker (as his maternal counterpart). Almost nothing is right about this production, except for the set and the sharply remodeled theater in which the production is housed. The direction is all over the map, and as a result, this version of the classic does not know what it want to be. Goodman, who seems a natural for Big Daddy, is so one note in his performance that he has no impact. Fricker seems lost, and the actors playing Brick and Maggie seem like they are out of a community theater production. Don't even start me on the bad and inconsistent accents that eminate from the stage. My expectations were again subverted, but this time for the worse.
Bob Martin (also co-credited with the show's book) is beyond perfection as the Man In the Chair. He is the emotional core of the show, and he play the role to laughs and tears. The other standout in the cast is Sutton Foster as Janet. She again proves that she is a Broadway star who can sell a song like almost no other.
Quibbles? Okay, a few. I thought Troy Britton Johnston is particularly weak as Janet's love interest, and he cannot hold a candle to Ms. Foster's star presence. Also, the ending seems a bit rushed and loses some impact as a result. But these quibbles are minor. This is one funny, heartfelt and enjoyable show. It is being billed as a "love letter" to the theater. That phrase is often used to compensate for the mustiness of a dated show. Not so here; "Drowsy Chaperone" is a genuine love letter of the highest order. I am not a fan of fluffy, old-fashioned musicals that lack a decent plot and real emotion. This show made me understand why so many people beg to differ with me on this topic.
Also playing for a few more performnces at UCLA's Freud Playhouse is London's Globe Theater production of "Measure for Measure." I must confess that this has never been one of my favorite Shakespeare shows. The last production I saw was Sir Peter Hall's soporific production which played at the Ahmanson some years back. If I had let these views result in missing this show, I would have been much the worse for that decision. This "Measure" is expertly performed in "original practices" (yes, all female roles are played by men), and several of the performances are downright sublime. Chief among those great performances are outgoing Artistic Director Mark Rylance's Duke, and Colin Hurley's comedic Lucio. Never I have seen "Measure" done with such comic flair> This comedic take on the show leads one to forget whatever flaws this show may have. This show is playing at UCLA only until November 26; if you are reading this before then, call for tickets now.
Both shows reported on above subverted my expectations in what both would yield, and did so in a very positive way. I love it when that happens.
Now comes the bad news, arriving in the form of "Cat On A Hot Tin Roof" at the Geffen Playhouse, starring John Goodman (as Big Daddy) and Brenda Fricker (as his maternal counterpart). Almost nothing is right about this production, except for the set and the sharply remodeled theater in which the production is housed. The direction is all over the map, and as a result, this version of the classic does not know what it want to be. Goodman, who seems a natural for Big Daddy, is so one note in his performance that he has no impact. Fricker seems lost, and the actors playing Brick and Maggie seem like they are out of a community theater production. Don't even start me on the bad and inconsistent accents that eminate from the stage. My expectations were again subverted, but this time for the worse.
Wednesday, July 13, 2005
New York Spring/Summer 2005 Theater Report
I cannot recall a year in recent memory when there was as many solid new musicals and plays as is the case in New York this year. Be assured that if you are in New York any time soon, there is a good variety of outstanding shows from which to choose. In the event you need some assistance, note the following.
There are three "don't miss," superlative new shows now playing on Broadway, two plays and one musical. The plays are the Tony and Pulitzer Prize winning "Doubt" and the Royal National Theater production of "Pillowman." Both shows have ostensibly dark central elements (child sexual molestation and general child torture, respectively), but "Pillowman" is by far the darker, more disturbing and more challenging show. But unless you cannot handle a film like "The Silence of the Lambs," don't let that scare you off from seeing this unique, well acted, well directed, psychologically probing show. It provides a thrill ride in the form of a theater seat. Billy Crudup, Michael Stuhlbarg and Jeff Goldblum give especailly noteworthy performances.
If you cannot handle a film like "The Silence of the Lambs," then you may want to skip "Pillowman," but by all means catch the amazing production of "Doubt" at the Walter Kerr Theater. An extremely well written play, this production elicts earth shattering performances frm Cherry Jones and Brian O'Byrne that should not be missed by anyone who treasures great acting. "Doubt" has already turned a profit, and is playing to sold out audiences. Bravo!
The don't miss musical - "The Light In The Piazza" now playing at Lincon Center is perhaps the most beautifully staged musical I have seen. This show entirely transports viewers to Italy in the early 1950's with the captivating story of an American mother and daughter's travels in Florence and Rome. The book is filled with nuances rarely seen in musicals today and the score is ravishing in its beauty. The acting and singing is top notch by all, but the central and Tony winning performance of Victoria Clark left this viewer in awe. I cannot imagine this wonderful show ever being done as good as or better than what you will find on stage at Lincoln Center right now.
The above "don't miss" shows are a tad on the heavier side. For a refreshing and light sorbet-of-a-show, catch "Altar Boys" a Christian boy band satire that provides catchy lyrics, solid musical performances and many laughs. I have seen it twice and would not hestitate to head back to this Altar for another round.
In the category of nice shows that have their merits, but suffer from being highly overrated are this year's Tony winning best musical "Spamalot," and the mildly charming "25th Annual Putnam County Spelling Bee." Most viewers will enjoy both shows, but trust me, a better time is being had by the viewers of the other four shows listed above. In the same category as these two shows, although not really overrated since it was not highly rated at tjhe outset, is "Dirty Rotten Scoundrels."
Having said all of this, all of the shows listed above are better than most of what New York theater has had to offer in the recent past. Most years, New York offers one or two excellent new shows (if that), mixed in with mediocre to painfully poor productions. This year is an exception and theatergoers in New York are the lucky beneficiaries of this good fortune.
Ratings: "Doubt" ****
"Pillowman" ****
"The Light In The Piazza" ****
"Altar Boys" ***1/2
"Spamalot" ***
"25th Annual Putnam County Spellin Bee" ***
"Dirty Rotten Scoundrels" ***
Up next post ......a note from a Chicago "Dollhouse" and a Pasadena "Purlie"
There are three "don't miss," superlative new shows now playing on Broadway, two plays and one musical. The plays are the Tony and Pulitzer Prize winning "Doubt" and the Royal National Theater production of "Pillowman." Both shows have ostensibly dark central elements (child sexual molestation and general child torture, respectively), but "Pillowman" is by far the darker, more disturbing and more challenging show. But unless you cannot handle a film like "The Silence of the Lambs," don't let that scare you off from seeing this unique, well acted, well directed, psychologically probing show. It provides a thrill ride in the form of a theater seat. Billy Crudup, Michael Stuhlbarg and Jeff Goldblum give especailly noteworthy performances.
If you cannot handle a film like "The Silence of the Lambs," then you may want to skip "Pillowman," but by all means catch the amazing production of "Doubt" at the Walter Kerr Theater. An extremely well written play, this production elicts earth shattering performances frm Cherry Jones and Brian O'Byrne that should not be missed by anyone who treasures great acting. "Doubt" has already turned a profit, and is playing to sold out audiences. Bravo!
The don't miss musical - "The Light In The Piazza" now playing at Lincon Center is perhaps the most beautifully staged musical I have seen. This show entirely transports viewers to Italy in the early 1950's with the captivating story of an American mother and daughter's travels in Florence and Rome. The book is filled with nuances rarely seen in musicals today and the score is ravishing in its beauty. The acting and singing is top notch by all, but the central and Tony winning performance of Victoria Clark left this viewer in awe. I cannot imagine this wonderful show ever being done as good as or better than what you will find on stage at Lincoln Center right now.
The above "don't miss" shows are a tad on the heavier side. For a refreshing and light sorbet-of-a-show, catch "Altar Boys" a Christian boy band satire that provides catchy lyrics, solid musical performances and many laughs. I have seen it twice and would not hestitate to head back to this Altar for another round.
In the category of nice shows that have their merits, but suffer from being highly overrated are this year's Tony winning best musical "Spamalot," and the mildly charming "25th Annual Putnam County Spelling Bee." Most viewers will enjoy both shows, but trust me, a better time is being had by the viewers of the other four shows listed above. In the same category as these two shows, although not really overrated since it was not highly rated at tjhe outset, is "Dirty Rotten Scoundrels."
Having said all of this, all of the shows listed above are better than most of what New York theater has had to offer in the recent past. Most years, New York offers one or two excellent new shows (if that), mixed in with mediocre to painfully poor productions. This year is an exception and theatergoers in New York are the lucky beneficiaries of this good fortune.
Ratings: "Doubt" ****
"Pillowman" ****
"The Light In The Piazza" ****
"Altar Boys" ***1/2
"Spamalot" ***
"25th Annual Putnam County Spellin Bee" ***
"Dirty Rotten Scoundrels" ***
Up next post ......a note from a Chicago "Dollhouse" and a Pasadena "Purlie"
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