The Three Witches' - er - I mean, Ethan Hawke's Macbeth

Macbeth
Lincoln Center
Wednesday, Nov 6, 8PM

With Trish hanging in RVA for the next couple of months, I had to find myself a new show buddy. Since most of my friends are certified musical theatre queens (me included), I resorted to a straight date with newly employed hetero friend, Chris Grimm. Sadly, our first "date" didn't amount to much, mainly due to a languid and uneven production. The evening seemed endless and after three hours, I was hoping to be the next victim of Ethan's dagger.

The sleek and stylish physical production, in cool shades of black and gray with the occasional splash of symbolic red, seemed a bit too chic for its own good, though it made for some visually stunning stage pictures. The couture costumes, especially for Lady Macbeth, seemed lifted straight out of a Vogue spread - gorgeous, but perhaps not entirely appropriate. Lighting and projections were suitably eerie and often spectacularly cinematic.

Unfortunately, the all-too-often bare (though gorgeously lit) stage led to some fairly stilted blocking with actors peppered around the huge Beaumont stage talking at each other with not much else to do. The lack of action created lots of tennis-match style ensemble work.

The only performers able to successfully navigate the director's sabotage were the three witches. Played by men in rotting-robed drag, John Glover, Byron Jennings, and Malcolm Gets make the strongest stage impression. Slipping in and out of character to play minor roles throughout the evening, the audience is led to believe that the events on stage are just part of some mystical destiny (occult symbolism is literally imbedded into the stage floor).

As for Ethan, when I could hear or understand him, was - well - adequate. His hoarse, unsupported voice and mushy diction thwarted his attempt at lending any strength or gravitas to his characterization. And with a strong and gorgeous Lady (Ann-Marie Duff) at his side, Hawke's Macbeth just comes off as a wimpy, spoiled man-child. Hawke did improve in bearing and strength (still raspy and hoarse, though) by the last hour of the play, but it was too little too late.

The rest of the supporting cast is strong, but all seemed to be in different productions of the same play. Acting styles were wildly inconsistent across the board.

This production would make a gorgeous glossy coffee table book.

Food, Fun & "Fancy Free" - Memorial Day Weekend Staycation

Staycation: Day 1 (Friday, 5/24)

What better way to inaugurate the official beginning of summer than with a Brazilian buffet and Audra McDonald (not together, of course - though the thought of it does get me all hot and bothered - not sure my heart could take the fanboy excitement combined with the cholesterol).  Trish has raved about Villa Brazil for months since her friend, Mara, introduced her to it's carnivorous pleasures.

The restaurant is in our Astoria nabe, but torrential rains (and my laziness) combined with unseasonably cool temperatures forced us to drive the 15 blocks rather than walk.  Mara enthusiastically agreed to join us even though she had just supped with Trish the day before.  Like us, she never passes up an opportunity to stuff her face with grilled meat.

We dropped our umbrellas in the foyer and faster than you can rip the tape off a Brazilian bikini wax, Mara had dragged me to the back of the restaurant where a buffet of South American delights awaited my watering mouth.  I have no idea what anything was (nothing is labeled), but it was all delicioso.  Especially the churrascaria-style meats (pictured above) that the grillman cuts and piles on your plate to order.  I can feel my arteries hardening at the sheer memory of those scrumptious, bloody cuts of sirloin, skirt and rib.

We followed up our animal flesh bacchanal with a trip to, where else, the Entenmann's Bakery Outlet.  It's only two blocks from the restaurant, so we trudged through the wind and rain for $1 pound cakes and english muffin packs.

Trish and I ended our evening in a post-feast haze, watching The Goddess, Audra McDonald, on Live from Lincoln Center.  We were privileged to be in the audience during the live taping, but I wanted to re-live that night from the comfort of my couch and with the added luxury of close-ups.

The gorgeous lobby of the Koch Theatre

Staycation: Day 2 (Saturday, 5/25)

With dreams of Audra wafting through my brain, I slept in until almost noon.  But once up, there was no time for more lounging.  I'd already wasted half of staycation day 2 in my jammies.  With just enough time for the three "sh"'s (shit, shower and shave), Trish and I were off to Lincoln Center for New York City Ballet's "Tribute to Broadway."

Today's matinee program included ballets based on or taken from classic Broadway shows.  First up - "Fancy Free," the Jerome Robbins ballet that inspired Leonard Bernstein to write On The Town.  Gotta' love a man in a tight white uniform, right?  And since Fleet Week was canceled this year, today's show was my only opportunity to openly ogle sailors in NYC this spring.

Second on the program was Christopher Wheeldon's "Carousel" (not to be confused with Agnes de Mille's "Dream Ballet" created for the original Broadway production).  The Wheeldon ballet is a loose interpretation of the musical's Billy/Julie relationship employing excerpts (including the thrilling "Carousel Waltz") from the iconic Rodgers & Hammerstein score.  This piece was new to me, and I appreciated the intricate pattern work and liberal use of - for lack of a better term - the "peel-off" effect.  I also made a mental note of how Wheeldon created a human carousel with his dancers and a few poles.  I'll definitely be stealing this moment...er, I mean recreating the moment "in homage"...the next time I'm called to choreograph the show.

Intermish photo shoot - aren't we lovely?  That's rhetorical.

Trish and I took advantage of the extended intermission to stretch and do some minor back re-alignment.  Our cheapo fourth ring seats, though front row, were way off to one side so we had to sit in an abnormally twisted position in order to see the stage without resorting to some serious Cirque du Soleil neck contorsion.

Act 2 was comprised entirely of Robbins' "West Side Story Suite."  It's sort of the Cliffs Notes version of West Side Story.  I'd never seen a performance of the suite, so I didn't realize the scenes (except "Something's Coming") were literally exerpted from the original staging - including the singing.

I know there are some kick-ass dancer/singers out there, but yikes.  The singing in "America" was barely at the level of a competent high school production.  To be fair, it is a ballet company, but I just couldn't get past Anita's thin, underpowered vocals.  Chita and Rita have forever spoiled me.  Thankfully, a professional singer (on mic stage right) sung the role of Tony during "Something's Coming."

Staring at emaciated dancers for two hours can really work up the appetite.  So after the final curtain call Trish and I headed to Aldea, a Michelin-starred, Iberian restaurant in Union Square.  Normally, this type of fancy-shmancy place is out of my price range.  But the advantage of a staycation is not having to shell out for flights or hotel rooms.  Instead, I was able to divert the extra cash to fund my favorite pastime - gorging until I throw up!

Aldea's small, sleekly furnished dining room has a clear view of the open kitchen in back. The modern design afforded us an unobstructed view of hunky celebrity chef, George Mendes. Talk about wetting - I mean whetting - your, um, appetite.  Yowza.

We decided to forgo restraint in favor of the gluttonous 9 (!) course chef's tasting menu.  You can check out all the gory details to the left (I have no idea what that brown smudge is, but I'd venture to guess it's probably my drool).  Jealous yet?  If not, let me list the "Petiscos" for you:

- Mojito sandwich with coconut water (like a little lemon-mint macaron)
- Potato chip w/ goat cheese and beet purée
- Raw oyster on half shell
- Asparagus soup w/ fresh peas (my favorite)
- Bacalao croquet
- Beet-soaked mini hard-boiled egg

...and the "Pre Dessert":
- Vanilla curd cream with mango granita and mint sorbet topped with vanilla wafer balls

...and yet a tenth, post-dessert bonus "Petit Four" course:
- Almond financier
- Lychee strawberry gelee pâtes de fruits
- Ginger clusters

Is it any wonder the meal took over two and a half hours to serve?

I was so mesmerized by the volume and variety of dishes and the gorgeous plating that I forgot to take pictures.  I finally regained my composure by the dessert course, at least enough to make Trish take this aerial shot (left) of the dessert plate.  Beautiful AND tasty - just like me.

In an effort to burn off a few calories, after dinner we decided to walk uptown to the next subway stop instead of jumping on at Union Square.  As we reached 23rd street we noticed some brightly colored tents and strung carnival lights.  With no other plans for the evening, we decided to investigate.  Nearing the site, the hypnotic smell of beer and fried food wafted passed us and we knew we were heading into dangerous territory - an outdoor food festival.

Just past Eataly, on a tiny triangle of asphalt just west of Madison Square Park, the festive tents of Madison Square Eats were buzzing with a mix of Flatiron yuppies and excited tourists.  I stood wide-eyed, mesmerized by the stands of artisanal street foods.  Though still obscenely full from our 9 course dinner, I was tempted to sneak down a side alley, purge and re-fill.  Instead, Trish and made a plan to return later in the week for dinner.

Not wanting to leave the festival empty handed, we stopped by Macaron Parlour's stand for a sample pack featuring some of their more unusual flavors (including salted caramel, smore and - wait for it - candied bacon with maple cream cheese frosting and - wait for it again - cheetos infused white chocolate ganache!).  We managed to make it all the way home to Astoria before ripping the box open and devouring all 12 of the the colorful, chewy bundles of cream-filled goodness.

Memorial Day Staycation continues...

For the Love of Audra! Audra McDonald at Avery Fisher

This guy

Who’s got two thumbs and squealed like a 12-year-old girl at a Justin Bieber concert upon hearing the announcer utter the five most thrilling words in the English language:  “Please welcome Ms. Audra McDonald”? 

This guy.

Yup, if you haven’t figured it out by now, I have an unholy obsession with all things Audra.  When it was announced she was giving a concert at Avery Fisher, I went online immediately - well, after weeping uncontrollably with joy - to purchase tickets.  I haven’t missed a single one of her New York appearances (Broadway or concert) since she first won my heart as spunky Carrie Pipperidge in Lincoln Center's 1994 Carousel revival.

I know, I'm just a cult affiliation and scraggly beard short of "stalker" status.

Trish nearly gave me a coronary, though, when she called my office ten minutes to five (the concert started at 7 PM) explaining she was still in Jersey and was going to hop in her car right then and drive straight to Lincoln Center.  I wished her luck, hung up the phone, ripped open a bag of cheddar and sour cream Ruffles and started binge eating. 

Not that Trish’s situation had any bearing on my attendance.  Hell no.  But I was experiencing sympathy stress just imagining what it would be like stuck in the Lincoln Tunnel knowing Audra was emoting to my empty seat. 

These thoughts only fueled my paranoia.  There was no way I was going to be late.  I left my midtown office immediately so I'd have a reasonable two hours to make the 15 block trek uptown to Lincoln Center.  You can never be too cautious when it comes to Audra.

When I exited the subway at Lincoln Center I texted Trish for an update.  She was still stuck at the Lincoln Tunnel.  I did what any sensible super-fan would do and headed straight to the box office, left Trish's ticket and headed to my seat.  Nothing is more important than family, except Audra.  Trish would have to fend for herself. 

Because the concert was being taped live for PBS broadcast, the usher gestapo was out in full force exclaiming, “No late entry.  You cannot leave the theatre once the performance has started.  There is no intermission.”  These weren’t your typical grumpy, elderly ushers.  Oh no, for a live Audra taping you get burly, secret service types in tuxes with white, curly phone-cord earpieces.

Since the concert was also a benefit for Lincoln Center, the audience skewed into two very distinct demographics.  Seated up front with their stretched-faced wives were the wealthy elite, all tuxedos and bored expressions.  Sure, they had an idea who Audra was - "that black woman from the TV show" - but they weren't true fans.  Meanwhile, the more youthful, skinny-legged-pant-wearing, theatre nerd contingent was scattered about, delegated to the rear orchestra and balconies. 

At 7 PM on the dot, the house lights went down and the concert began.  Huh?  Lincoln Center?  Gala event?  Wealthy New Yorkers?  On time?

Trish’s unused seat mocked me with its empty stare, but once Audra uttered her first sung phrase, “I happen to like New York…” everything else became irrelevant.  By the end of Audra’s second number (her now signature version of Jason Robert Brown's “Stars and the Moon”) I resigned myself to the fact that Trish was going to miss the concert, leaving me with a super convenient place to lay out my coat and bag.

Then as if on cue, the back doors swung open during our applause and a horde of latecomers came streaming through.  According to Trish, there were so many rich, privileged old people screaming and complaining about not being permitted late entry, the house managers had no choice but to let them in.

Regarding Audra’s performance, well, what can I say?  She was, as usual, magnificent and looked gorgeous in a teal gown.  Here's the NY Times' rave.  My only disappointment was that she didn't perform much new material.  Tonight's program was largely a repeat of her 2011 Carnegie Hall concert which also happens to be the material included in her upcoming new release "Go Back Home."  Even so, Trish and I were in tears as soon as Audra started in on the 9/11-themed "I'll Be Here."  And I have a feeling in about six months casting directors all over the country will want to shoot themselves after Audra's rendition of Goldrich & Heisler's "Baltimore" makes the song an audition staple.

Unfortunately, the sound in the theatre was pitiful.  You'd think the nation's premier performing arts venue would have some idea about setting sound levels for a solo singer and orchestra, but apparently not.  There was loud microphone feedback during a couple of very dramatic musical moments.  And for most of the concert, it sounded like Audra was singing into the mouth of a very large cave - all muffled and echo-y.

Oh well, Audra is still Audra.  Hopefully, they'll be able to do some magic in the editing room before the "Live from Lincoln Center" telecast.  I'm setting my DVR right now.

This week the chat rooms are buzzing with South Pacific talk. Who knew a PBS airing would create so much net discussion. I caught Paulo and Kelli early in the run, so it was a pleasure seeing them again with the aid of the camera close-up. Beside the obvious larger girth around Paulo’s middle (they couldn’t get him a new white dinner jacket that closed comfortably for National TV?!), both were as wonderful as I had remembered. My random thoughts on the broadcast:

• Ables Sayre certainly acts the role of Bloody Mary marvelously, but I still miss the more robust, creamy sound of a legit singer.
• The Seabees dancing still strikes me - for lack of a better word - as sort of gay. And some of them are pushing the butch act a bit too hard.
• Happy to see they didn’t edit out the naked ass scene.
• Andrew Samonsky’s Lt. Cable was painful to watch. His strange audible breathing, odd line readings and forced John Whayne-ish physicality was just plain weird. And all the hard “r” sounds in his singing negated his obviously pretty singing voice. I missed Morrison, even though his singing wasn’t so hot either.

De-virginized at Lincoln Center

Get your minds out of the gutter! Last night was a first for me - my first live full-length ballet, Susan Stroman’s Double Feature. There was some suitable pre-show drama at the box office. Upon asking for the two tickets I had purchased for us (Trish and me), I was handed a single ticket. In a panic I checked my printed confirmation, and sure enough I had forgotten to change the "number of seats" box to "2". Luckily for us (not so much for the box office) there were plenty of unsold seats and he was able to exchange the ticket for a pair next to each other. Moral of story: always check your confirmations!

For me, it was a great introduction to ballet. Clear storytelling and characterizations and as far as I could tell, great dancing. I will not admit to being an expert on dance technique, but I was impressed. It’s nice to see what Stro, who I know only as a musical theatre director/choreographer, could do with a company of dancers rather than the measly little ensembles that pass for choruses in Broadway shows now (no cut on Broadway talent, just the skimping on cast sizes).

A bit melodramatic, though probably keeping with the period and style, the first act’s (“The Blue Necklace”) quasi-Cinderella-like plot didn’t hold many surprises, but did get to feature a remarkable solo by Damian Woetzel and some nice pairing with Ashley Bouder. The second act, “Makin’ Whoopee!” demonstrated Stro’s gift for stage pictures. The image of (seemingly) hundreds of brides-to-be in white wedding dresses (many in drag) chasing Jimmie (Tom Gold) brought sustained laughter from the audience - me included. Gold’s combination of graceful technique and Chaplin-esque angularity perfectly suited the style. I’m not sure if hardcore ballet lovers would consider this piece a true ballet, but it definitely has encouraged me to try some of NYCB other offerings (as I'm sure it did for other newbies).

FYI - we were able to move down to the front of the balcony because there were so many empty seats. I have a feeling that this may be a result of snobbery on the part of ballet fans and indifference from musical theater fans. I think Double Feature is probably the perfect combination of both worlds. Highly recommended.

I'd Like a Big Slice of Jonathan Cake

For those of you suffering from attention deficit disorder, I will give today's review of Lincoln Center's Cymbeline in easily digestible sound bytes. These were the notes a jotted down directly after the performance while they were still fresh in my mind. Probably way more entertaining than a full, written out review anyway. Enjoy!

Beautiful, stylish production - great lighting

Cake - hot and endowed, AND could act

Plimpton - strong and moving, needs a better headshot

Cerveris - fake and unconvincing, insincere emotion

Cullum - appropriately impotent

Cloten - great comic idiot

Really weird ghost sequence

Last scene way too long

3 hours flew by

Phylicia Rashad weird tight-jawed Connecticut house wife accent

Why did Cerveris use a British accent? Other Americans didn't

The Glorious Ones - sort of late (performance of 12/27/07)

Ahrens & Flaherty’s newest work, The Glorious Ones playing at Lincoln Center’s intimate Mitzi E. Newhouse Theater, has an identity crisis. It’s equal parts PBS documentary, serious dramatic music theater, Marx Brothers’ episode and history lesson. So many different themes and ideas are thrown at the audience that no single one takes the dramatic lead. That’s not to say that the ensemble cast doesn’t provide full, rich performances and that the score isn’t dotted with the trademark melodic beauty and poetic lyric writing that we’ve come to expect from A & F. In fact, “I Was Here” and “Armando’s Sack” will surely be added to the growing canon of musical theater standards created by this team. What is lacking is a consistent point of view.

Each troupe members’ introduction is quick and underdeveloped. Because of this, you don’t really invest in these characters until a good 40 minutes into the show when the youthful Isabella comes along to stir things up with the older generation. The characters finally get to react to the power play about to occur in the troupe as the older generation refuses to adapt to the new ideas and tastes of a younger generation. The audience finally gets some insight into what motivates each character as lines are drawn, sides are taken and egos are stroked. This is when the show finally gets balls. But it’s almost too little, too late. This conflict should be the main thrust of the show. Without this conflict, it’s just a chapter in a “history of drama” text book.

Though it is made clear that commedia dell'arte is the precursor to modern comedy, its use in the show seems quaint and almost corny to a modern day sensibility. Interesting to watch and easily admired for the obvious skill required, some of the shtick comes off as just plain old-fashioned and may be distancing to some.

I can understand the hoopla surrounding Mark Kudisch as a performer. He does have a charm and sexiness about him and I have never seen him less than fully committed onstage. But his voice always sounds “fake” to me. Like he makes himself sound more legit than he actually is. Not that he doesn’t give a star turn as the lead player, Flaminio, but sometimes I think people hear a big, trained-sounding voice and automatically think “that’s awesome.” He’s got the acting chops and the personality, but his singing voice always seems to hang on the flat side and his top is really pinched and nasal. The rest of the cast is uniformly excellent. Ana Maria Andricain was on for Columbina and was quite natural and comfortable in the role. Also noteworthy were Julyana Soelistyo’s lovable Armanda and the physical comedy of John Kassir as Dottore.

Of course, I’ll always take a lesser A & F work over the best of the crop of recent musical theater writing teams any day. What might be lacking in thematic and dramatic arc is more than made up for with A & F’s obvious song writing skill and dedication to craft. Glorious Ones is intelligent, well-crafted, and often entertaining, but needs streamlining and focus.