Wednesday, November 18, 2009

Ragtime................again!

My name is Fausto and I’m a Rag-aholic.

I’m almost embarrassed to admit that on a lark, I went and saw Ragtime again last night. Yes, it’s been less than a week since my last viewing. I don’t know what came over me. I guess after reading all those (mainly) glowing reviews, I just had to get on the “Rag” again (I’ll be here all week, folks - cue rim shot).

In all honesty, I was curious to see if positive reviews would affect the performance, having seen a recent preview for comparison. Well, one thing is for certain, the reviews didn’t seem to generate much box office heat. When I stopped by TKTS at 6 PM for a 7 PM performance, I pretty much assumed the pickings would be slim. Me: “What do you have available for tonight’s performance of Ragtime?” TKTS dude: “Eighth row center orchestra.” Really? Obviously, God wanted me to see last night’s performance, so I bought the ticket. I assumed the seat was probably just a random single house seat released at the last minute. But as the house lights went down, half my row was empty and there were empty pairs sprinkled all over the orchestra section. Yikes. Listen up, people, go and see Ragtime instead of crap like Mamma Mia!

I don’t know if I was suffering from heightened expectation or just over familiarity, having just seen and loved a performance just days prior, but I was slightly underwhelmed the second time around. I actually think I might have been sitting slightly too close to the stage. Many of the stage pictures that seemed spectacular and magical from the front of the mezzanine seemed less focused and clear from the front of the orchestra. Maybe it’s a Seurat thing. You need to step back to appreciate the big picture.

Anyhoo, the opening number looked much better from the orchestra section, though still - in my opinion - not quite up to par with the original staging. From our bird’s eye view in the mezzanine, the opening blocking resembled a well-rehearsed game of follow-the-leader. From the front, the crossing lines and contrary movement created the excitement and tension I found missing on our earlier visit.

The performances were pretty much consistent with what I reported last week. The development of Tateh and Mother’s relationship continues to be the most interesting new dimension to this Ragtime. Unfortunately, Stephanie Umoh’s stiff and bland performance was even more evident from the front of the house. And that “collapse” after “…buried you in the ground” is still painfully stilted and forced. Girlfriend is gorgeous and can belt crazy high, but her acting - yikes.

What was most interesting about last night’s performance was the audience’s reactions. Last week there was literally whooping and clapping before the end of just about every song. Not so last night. In fact, the audience seemed downright tame in comparison. My guess would be that more “real people” (i.e. non-theater folks) made up the bulk of last night’s audience. Since last week was a preview, I’d venture that many “insiders” and theatre geeks (like me!) were there to get the skinny on this new production. And theatre people, well, they can be a bit much. Anyway, I hereby promise not to buy a ticket to Ragtime until at least 2010.

Saturday, November 14, 2009

Play-full Saturday

Usually I don’t have the energy or the concentration level (I am a child of the 80s) to sit through two plays in one day. But today’s picks both happened to be 90 minute, intermission-less one acts. So I thought, what the hell. It’ll be like sitting through one 3-hour play with a 4-hour intermission. First on the agenda, the off-Broadway production of The Understudy.

Mark-Paul Gosselaar has certainly come a long way from Saved By the Bell. For a dude who’s never acted onstage before, he’s surprisingly natural and confident. It also doesn’t hurt that he looks hot in a tight T-shirt and jeans. Rebeck’s written a tight, accessible modern-day farce. Justin Kirk and Julie White are expectedly excellent, but seem to be in a casting rut. Both are portraying characters we’ve seen them play many times before. And though I thought White’s performance in Little Dog Laughed was sensational, some of her shtick here seems a bit over-the-top for the intimate Laura Pels Theatre.

Intense doesn’t begin to describe Mamet’s Oleanna, the second half of our theatre double header. I sometimes find Mamet-speak a bit too contrived, and to some extent, that was the case here. I’m not filing for my MENSA card anytime soon, but it took me the first fifteen minutes of the play for my brain to wrap around those rhythms. I mean, I’ve never really heard anyone speak that way, let alone a self professed “stupid” student. Others around us were not as patient as I and obviously not open to giving the play a chance. Their audible sighs and impatient watch gazing spoke volumes.

Overheard behind me as we were leaving the theatre (for full effect, speak out loud with an exaggerated Jersey accent): “I hated everything about it - the acting, the set. Terrible.” Usually, I’m pretty respectful of people’s opinions. But this lady was hemming and hawing within the first five minutes. It was obvious her party had purchased tickets to see movie stars, Bill Pullman and Julia Stiles, and didn’t even consider whether the play would actually appeal to them. Mamet is not Disney. If you don’t want to think, go see Mamma Mia! (I seem to be on a MM bashing tirade lately, huh? For the record, I enjoyed the movie.)

Actually, I was happily surprised at the quality of Pullman and Stiles’s (good name for a steakhouse) work. Stiles especially, since I’d seen her in Shakespeare in the Park years ago and was, well, let’s just say that I was not impressed. The play raised some interesting questions about power, manipulation and sexual politics, but it’s definitely not something I’ll ever need to see again - except maybe with some stunt casting. How about Brangelina? Or maybe Travolta and Fanning (good name for a Western wear outlet). It’s a great academic piece and the play's final confrontation, as played here, is worth sitting through the somewhat slow-paced opening.

I’d also love to plug GoSushi on 52nd (I think) and 8th. It’s cheap and yummy and they give huge portions. It’s also great for people watching, especially the gay hipsters smoking outside next door at Vinyl - another Hell’s Kitchen favorite of mine. And while you’re in the Gay-borhood, stop by the totally over-priced, but fun Delphinium Home store on 45th and 8th. You can always find some kitschy, clever stuff that you can then go online and order for much cheaper. I’m totally getting one of the bamboo Umbra bath mats - which, by the way, was actually the same price in the store as online. Go figure.

Friday, November 13, 2009

Ragtime

Having been recently inundated with enjoyable but mediocre Broadway fare - Memphis, Finian’s, et al - it was almost shocking to watch the visually stunning and dramatically engaging revival of Ragtime. I’ve always been partial to the score, filled with bombastic anthems (ironically the main complaint of the haters) and dense choral music. But the current revival successfully brings the show down to a human level without losing its grand scale. In its original run at the cavernous Hilton Theatre, all hope of character nuance was lost due to the sheer distance most of the audience sat from the stage. Facial expressions? Fuggedaboudit. The cast were merely shmata-clad ants scurrying across that massive stage. The gorgeous music and sheer scope of the piece held the audience’s interest. At the smaller Neil Simon, we can finally fully appreciate the score, performances and amazingly clear, streamlined book whittled from the dense original novel.

I ain’t gonna’ lie. I do miss the original Graziela Daniele staging of the opening number, but Marcia Milgrom Dodge’s new staging and direction have other stunning moments, namely the first tear-jerking moment in Act 1 - the culmination of "New Music" - and the wall of silhouettes in the slum scene. I excuse some other “over” directed moments (those pointless red wheels in the Henry Ford section and the way-too-literal ice skating couples in "Gliding") because overall, the production is just so damn good. Step away from the props, Marcia, leave them for Stro.

The new cast members match or surpass the iconic performances of the originals, the exception being Sarah Umoh as Sarah. While her performance is solid, she’s no Audra. Get thee to a vocal coach! There is never a need to belt every single note. And that collapse after “…buried my heard in the ground” - a bit much. I do, however, love Christiane Noll’s portrayal of Mother. Though perhaps lacking the chocolate-y thick power belt of Mazzie, her characterization is complex and moving. Watching her fall out of love with Father and in love with Tateh is equal parts heartbreak and joy. Bobbie Steggert as Younger Brother is, excuse the cliché, revelatory. I admit, the character didn’t register much for me in the original production. But here, his portrait of a troubled young man unraveling is sad and disturbing. He is now the emotional impetus that propels the rest of the story lines along. Quentin Earl Darrington is a more human and likable Coalhouse. To me, he comes off warm and approachable, unlike Stokes’ regal, almost pompous portrayal. Sure, he has a couple of flat notes, but he has a warmth and natural roundness to his sound that Stokes lacks. To me, it always sounds like Stokes is thinking about how great he sounds.

Other pluses - a full orchestra (there’s a friggin’ harp in the pit and the orchestra actually tunes before the curtain goes up) and 40 (!!) cast members. Who knows when Broadway economics will allow that to happen again?

My dream replacement cast would be Carolee Carmello as Mother and the now way-too-old John Cullum as Father. And I don’t care how old she looks, bring back Audra!
"I'd rather be nine people's favorite thing thana hundred people's ninth favorite thing."

Jeff Bowen, Lyrics "[Title of Show]"