Surprise, I’m back!Yes, I realize it’s been over a month since my last blog entry - June 1stto be exact.And since then I’ve seen four Broadway shows (and one Off-Broadway show) and help put up four full productions at our family’s theatre camp. So I’ve been just a teensy bit busy.
But don’t fret, my dear Pineda-starved blogytes, for the next week or two I’ll be consumed with writing and updating.Last week was my first full week back to NYC following another stress-filled, but far less sweaty, Pineda Summer Conservatory season thanks to our new air conditioning (yeah!).
The first Monday back at my desk job was hellacious - over 1200 unread emails and I was working on five hours of sleep - damn those Sunday night shows and their accompanying late night cast party. So it’s taken me pretty much the entire week to finally get my shit together.
For my first free summer weekend since Pineda Camp hell, Trish and I decided to check out Dogfight at Second Stage.The new off-Broadway musical is based on the indie
film from the early 90s.
I’ll be honest, this show caught me by surprise. I went in with no expectations and found
myself an emotional wreck and nearly in tears by intermission (Trish too). Central to my enjoyment was Lindsey Mendez’s remarkably honest and moving performance as Rose, the “homely” unknowing participant in the dogfight alluded to in the show’s title.Amazing, since I found her character in the recent Godspell revival a tad cloying and vocally a bit gimmicky. Here she’s perfect and gets to show of her clean soprano and easy belt. Oh well, I guess I can chalk Godspell up to bad direction.
The score is folksy-pop a la Jason Robert Brown. There are definitely some great pull-out audition songs that I’m sure we’ll all be tired of hearing by this time next year. But it's a relief to finally hear a score that’s musically interesting as well as lyrically specific - a nice change from the bombastic self-importance of some recent new scores (I’m talking to you, Frank Wildhorn). One “This is the Moment” is quite enough, thank you very much.
The physical production is simple, but appropriate with a sometimes stunning
lighting design.
Chris Gattellis’ choreography/musical staging is spot on. It’s odd, because I definitely have a love-hate opinion on most of his work. Sometimes I find it repetitive and gimmicky (Newsies) and sometimes it’s so perfect and character-driven that I can’t imagine a production without it (Altar Boyz).Here, the latter applies, particularly in the group soldier scenes and the battle scenes in the second act.
And for a musical about horny, young soldiers, there’s only one semi-gratuitous shirtless scene. Good for you, Joe Mantello.
Dogfight
Second Stage Theatre
Saturday, August 11, 2pm performance
How do you follow-up a surprisingly satisfying afternoon at the theatre? With a double-header at the movies, of course.
Not wanting to head back to our tiny Queens apartment just yet, Trish and decided to catch The Dark Knight at the Times Square AMC, but not before stopping at Auntie Anne's to fill Trish's over-sized bag with illicit pretzel dogs and cinnamon sticks. When a popcorn and soda are $20, sometimes you have to resort to smuggling the occasional wiener.
And when the hell did movie prices jump to fourteen bucks!? And that's without 3D or IMAX - just the plain old, regular boring 2D. Trish and I decided to stick it to the man by sneaking into a second movie, Total Recall.I'm a fan of the original and Colin Farrell is super hot, so even with lukewarm reviews, we decided we'd at least get to stare at his pouty face and maybe get some harmless shirt-free ogling time.
Well, it didn't suck AND we got to see a shirtless Colin Farrell, so I'd say it was a win-win all around.
The Last 5 Years Second Stage Saturday, May 4, 2pm
I’ve never seen a staged production of the show, so it was interesting to finally see the material on its feet. And with composer Jason Robert Brown directing, I guess there’s also really no debate regarding the author’s intent. I mean, he created the thing, so how can you argue that he’s “wrong,” right?
I’ve always admired the score but have wondered if the structure - simultaneous reverse timelines - would work onstage or if it was really just a gimmick, an intellectual experiment meant to impress a grad school theatre professor. But I found myself fully engaged and at times, moved by this study of a relationship that blossoms unexpectedly, yet coasts to a sad, inevitable end.
Adam Kantor (Jamie) and Betsy Wolfe (Cathy) are giving heartfelt and vocally impressive performances, especially Wolfe. An actor playing Cathy is at a distinct disadvantage given that her storyline begins as the relationship is already falling apart. She begins the show as a shrill, sniveling mess, while Jamie starts the show off as a charming, lovestruck young man.
Wolfe finds laughs in unlikely places, yet never to the detriment of the material. Her high belt and mix is extraordinarily clean with no trace of break between belt and head. For me the audition scenes, painfully familiar to any NYC actor, were a particular highlight. And judging by the audience’s response, many of us were in attendance.
I don’t mean to undermine Kantor’s contribution to the show, but let’s face it, Brown doesn’t hide the fact that the show is autobiographical. Is there really any wonder why Jamie comes off as the sympathetic one of the pair? I’ll even admit to some near-tears at the end of the “Schmuel Song.”
Now we shall wait for the movie.
Another Second Stage production, Dogfight, just released its original cast album. I have to admit, I’ve been playing the song “Pretty Funny” on repeat for the last couple of days. Heartbreaking. I nearly cried on the subway on the way to work, but pretended to have an extreme allergy attack.
What happened to November? I can't believe Thanksgiving whizzed by and we're now deep into December. Here's a quick and dirty rundown of my last couple of theatre-going experiences. Check back soon for my Thanksgiving posts! Not to worry, nobody lost a finger this year.
Bring It On: The Musical St. James Theatre July 14, 2pm performance
I guess this show didn't leave much of an impression with me considering it's been nearly five months and I never bothered to post about it. Not that I wasn't entertained. It's fun, totally harmless, summer fluff - a High School Musical wannabe with a pop-pastiche score that sort of all runs together, but enjoyable nonetheless.
I'm not sure why they bothered to keep the movie title (other than name recognition) because the characters and story line aren't remotely similar to the movie.
The choreography and acrobatics are impressive, but after the hundredth pyramid I was sort of hoping someone would fall just to change it up a bit.
The cast is super talented and mostly buff, just like real high school students (that's sarcasm, folks). Of course, all your loveable stereotypes are on display: nerdy-fat-girl-who-blossoms-into-cool-chick, preppy-white-girl-fish-out-of-water-at-ghetto-school, sassy-finger-snapping-black-girl-with-homegirl-posse, dorky-but-cute-techie-nerd, dumb-but-loveable-cheerleader-jock-boy, latin-homeboy-with-borderline-offensive-accent, seemingly-innocent-blonde-underclassman-who's-actually-a-scheming-bitch, and - well, you get the idea. I do give props to the production team for including a cross-dressing, gay character even if the character is - you guessed it - a sassy black boy. You go, girl!
In the end, it has a nice message about acceptance and individuality, if you're into that. The creative team does attempt to seem subversive, but in the end, the whole enterprise still has the whiff of Disney-fied cleanliness. It's entertaining, if predictable, and definitely geared to captivate the tween-friendly, Justin Bieber demographic.
And the lyricist gets extra points for somehow finding a way to end a song with the lead character belting the word "biyatch."
Who's Afraid of Virginia Woolf? Booth Theatre October 2, 8PM
Has it really been only seven years since the last Broadway revival of this modern American classic starring husky-voiced Kathleen Turner and quirky clown Bill Irwin? The current production lacks the same star power but to the benefit of the text, which isn't hampered by a movie star persona.
Tracy Letts and Amy Morton give a more naturalistic performance then some of their more famous predecessors. Morton in particular gives a more sympathetic portrayal and consequently changes the usual dynamic between George and Martha. They now seem to be more equally abusive rather than having Martha just dominate George at the outset.
When I saw this play for the first time years ago, I had no idea where the story was heading and by the time act three rolled around (yes, it's three acts long but flies by), wasn't sure if they were all going to kill each other or have an orgy. But that's the beauty of the play and the writing. It's totally over the top, but anyone who's been in a relationship can identify with the manipulation, passive-aggressive behavior and general fucked-up-ness that comes with a bad long-term relationship marred with regret and disappointment. I mean, who hasn't imagined clubbing their loved one to death and then sleeping with the neighbors younger and hotter spouse? What, just me?
Anyway, if you're looking for intense - I mean really intense - psychological drama, check out Virgina Woolf. It makes "Grey's Anatomy" look like an episode of "Friends."
For another funny, yet completely accurate review, check out Bros on Broadway at Theatremania.com, a new feature where "ordinary" guys are asked to see and then write reviews of current Broadway offerings. High-larious!
The Mystery of Edwin Drood Studio 54 October 25, 8PM
I missed this show in its original run on the Broadway, but I've always had a fondness for the score and for that freakish high "E" belted by La Buckley in the finale. I'll leave Seth Rudetsky to explain the a-mah-zingness of it all (from his deconstruction series on Youtube).
Stephanie Block comes thrillingly close to achieving the same goose-bump moment, her jaw dropped so far open to make space for the note that I could nearly see her uterus from my balcony seat. But I digress...
The only production I've seen of Drood was years ago at a high school. And judging from that production, you'd think Drood was a humorless snooze-fest. Granted, I'm not convinced it's a great show, but it's amazing what a top notch cast and a strong directorial viewpoint can do for a solid, if less than dramatically perfect, show.
The success of the current revival relies heavily on its cast of Broadway A-listers and their ability to charm the audience. The show-within-a-show structure - a traveling British Music Hall troupe presenting "The Mystery of Edwin Drood" - allows the cast freedom to improvise and address the audience directly. The constant winking and mugging to the audience, which I usually despise, works perfectly in this context.
The gimmick, of course, is that the audience gets to choose the ending based on a vote. As the murderer, our audience chose Jessie Mueller's deliciously campy and mildly politically incorrect take on Helena Landless, the exotic orphan twin from Ceylon. I'm so glad her career wasn't sunk by that abysmal revival of On a Clear Day... a couple seasons back.
Yes, Chita Rivera's cockney accent disappears almost as soon as she's uttered her first line and her two ballads are now up-tempos given her inability to sustain a note, but who cares? She's Chita friggin' Rivera! A miscast legend is still a legend, says I. And she looks ravishing in a red wig.
Costumes, sets and lighting design are gorgeous. Sound, however, is an issue and the sometimes overly wordy lyrics are often lost beneath a tinny sound design. Nonetheless, unlike my endless night at that high school theatre years ago, this evening of frothy fun flew by (how's that for fancy alliteration?).
Scandalous Neil Simon Theatre October 26, 8PM
Really? Did no one see this coming? Is Kathie Lee Gifford so powerful and intimidating that no one dared say, "You're show sucks!" to her face during the show's years of out-of-town tryouts?
Carolee Carmelo is still a Goddess, but they didn't even give her one good power ballad for the gays to cream over. Seriously, it's Carolee Carmelo, for heavens sake! Make that gorgeous bitch - and I mean this with all the gay love in my blackened heart - belt a high "E". We deserve something in return for this very expensive nap time. Well, okay, I guess you did give us Ed Watts in a loin cloth. But that doesn't make up for the bland score and lyrics, ugly set, lack of character development or snooze of a book. It's not exactly thrilling to have the main character narrate her own story by stating, "First I did this. Then I did this. And then I did this." I'm not exaggerating.
It's not the worse night I've spent at the theatre, but I'd rather hate something with a passion than be utterly bored. I actually found myself staring at the glossy, white, false proscenium thinking, "Ooh, it's so glittery!" while a faux gospel number chugged away on stage - not a good sign.
There's definitely a compelling story here, but perhaps it's in need of a different writer and composer (but keep Carolee!). A Christmas Story Lunt-Fontanne Theatre November 8, 7PM
It's been a while since I've actually fully enjoyed a holiday-themed Broadway show - probably A Christmas Carol way back in the roaring 90s. Remember the 90s? When producers didn't have to announce that it was inappropriate to text during a performance?
Maybe I'm just a sucker for the Holidays, but I started to get misty-eyed during the opening production number. Then again, I weep every time I watch Colin Firth's character propose to Aurelia - sniff, sniff - in Love Actually, so perhaps I'm not the best barometer.
Anyway, the musical closely follows the movie plot (or so I've been told, since I've never actually watched the movie all the way through) but adds some sassy production numbers including a clever chorus line of lamp-shade legs.
The real joy in this production comes from the ensemble of triple threat child actors - except for maybe the one who had to keep glancing sideways because she couldn't remember her choreography. I won't name any names, but it was the one that wasn't white. And yes, I'm jealous of a 10-year-old girl and bitter, nastiness is my coping mechanism.
Where did they find these little freaks anyway? And I mean that with all the love in my heart. Caroline O'Connor is incredible (to me she'll always be that nasty bitch from Moulin Rouge) but she might as well not be on the stage when little Luke Spring starts tapping next to her.
John Bolton and Erin Dilly are a perfect Midwestern couple. But when did Erin Dilly become a "mom" type? Man, I'm getting old. Dan Lauria has the perfect warmth and charm as the narrator when he wasn't stumbling on his lines. Though given it was a first preview, I'll cut him some slack.
Pasek & Paul have created score that has a traditional sound and structure with a hint of contemporary musical theatre a la their recent off-Broadway show, Dogfight. It's a welcome relief from all the revivals and the now omnipresent faux-pop and jukebox scores pandering to tourists and bored housewives. I'm not saying they're all bad, but it's nice to have variety.
The physical production is mostly beautiful but the flimsy fake proscenium screams bus-and-truck tour.
Giant Public Theatre November 21, 1PM
Seating charts lie and sometimes row B is the front row. I know, crazy, right? Okay, now that I've got that off my chest...
At first, I was supremely uncomfortable and self conscious sitting front row center. My knees were literally touching the edge of the stage as I contorted my neck to view the raised playing area. Every so often I'd make eye contact with a cast member and then quickly avert my gaze in embarrassment as if I was some creepy old man watching a playground full of kids at recess. But then I thought, "Fuck it, I paid for my ticket. I'll ogle the cast all I want. And then I'll send them my chiropractor's bill."
With that, I was finally able to relax. And like a demented serial killer, I started to notice tiny details - the frayed netting on Kate Baldwin's wig, Brian D'Arcy James' bushy forearm hair, the trickling sweat on PJ Griffith's brow and neck, the shiny plastic face of the fake Mexican baby. Unfortunately, years of theatre-going combined with dozens of directing and choreographing gigs have spoiled my eyes to the "illusion" of theatre. Oh well, I was still able to appreciate this well-crafted, if flawed work. But from the front row? Never again.
Michael John LaChiusa has crafted his most accessible score to date. In fact, it's downright melodic. Unfortunately, it also suffers from repetition and could use some judicious cutting. Several characters sing more than one song about the same issue or problem.
I admire LaChiusa's ambition as well as the show's scale and scope, but there were times I was sure the show was ending only to have the stage lights come up on another scene. Conversely, the penultimate scene seemed rushed and the finale abrupt. It was as if the creative team arbitrarily determined the show's length in order to avoid paying the orchestra overtime.
The cast is uniformly excellent with the appealing Kate Baldwin (let me suggest her now for the rumored Lincoln Center revival of The King and I) and Katie Thompson as stand outs. As much as I admire the talented Bobby Steggert, he seems to be cast in the same quirky, misunderstood, man-child roles over and over again.
Though wonderfully acted, Michelle Pawk strains uncomfortably with the vocals, consistently singing under pitch at the performance I attended. It worked for the character, but makes me wonder if there might be some vocal damage there.
The physical production evokes dozens of locations beautifully while making the small Newman stage feel expansive.
It's also a treat to hear a full orchestra live, especially given the beautiful Copland-esque orchestral arrangements.
