David Byrne's American Utopia

Hi everyone,

In December, I took a luxurious weekend trip to New York City, mainly to attend the Rainforest Foundation Fund's charity concert at Beacon Theatre. (I'll have more on that experience in my next post.)

When in New York City at Christmas time, go see the tree at Rockefeller Center. 

But since that concert took place on Monday, December 9, I decided to spend a couple extra days in the city and picked two other shows to see before the big event.

Dear Evan Hansen, the 2017 Tony Award winner for best musical, was on my mind since I missed seeing its original cast production on Broadway and its recent tour stop at the Kennedy Center. I bought a ticket to see the matinee performance on Sunday, December 8. It's a great, emotional show that's well worth seeing, whether you like musicals or not. The story is important and relevant, the songs are poignant, the cast is wonderful, and the resolution is satisfying. But I didn't think this through: a musical about high school bullying, suicide, and the craziness of this social media age didn't match the rockstar extravaganza I had paired it with. Still, don't let the scary words in my description stop you from seeing Dear Evan Hansen. It's real, relatable, moving, and unforgettable.

This is Broadway, David Byrne style.

I was hoping to kick off my New York weekend by seeing To Kill a Mockingbird on Broadway (which wouldn't have matched well with my rockstar extravaganza either). But I couldn't find a good seat, gave up, and began browsing for something else.

David Byrne's American Utopia intrigued me because I've always liked that guy. Even though I don't follow his career closely, I've always liked his voice and music, and I jumped at the chance to attend a local book signing years ago for his book, How Music Works. I had that same feeling about this event: David Byrne's on Broadway? I think I need to see that. David Byrne is interesting like David Bowie in that you never know what he's going to do next: it could be weird, it could be wonderful, or it could (most likely) be both.

What convinced me to buy this ticket was the fantastic soundtrack, which is available for free listening on the show's website. The synopsis doesn't really explain what the show is about; rather, David Byrne encourages you to come and see what you think for yourself. I was browsing through other show options while bouncing in my chair to American Utopia's music, which is so full, unique, and complete with David Byrne's distinct musicality, lyrics, and voice. By the time the soundtrack was over, I was already sold and couldn't wait for this experience.

It's almost showtime. 
Named after David Byrne's 2018 album, American Utopia, this Broadway stint is a stop on the show's international tour. Moving it to Broadway called for a more intimate experience than arenas can provide, so more content with a storyline was developed and the songs connect to whatever he talks about on stage.

David Byrne does two shows on Saturdays, one at 5:30 and one at 9 p.m. While I prefer early shows, I picked the later one in case anything delayed my arrival. The ticket noted to arrive an hour ahead of time to enjoy the bar area and beat the line to be seated. The bar did not excite me, but getting to my seat did, so I arrived as instructed.

To my surprise, the bar area was lined with David Byrne memorabilia from his personal collection, including several concert and special event posters. One that stuck out to me was a poster for an art installation he provided that toured in various middle America museums. It involved a piano that visitors could play to trigger sounds and movements in different areas of the room. See? He does what he wants.

The Hudson Theatre is old and beautiful with cream ornate carvings on the walls. Entering the performance space felt like stepping into fresh air because birds were singing, and the show's custom-made white curtain, by illustrator/author Maira Kalman, brightened the room with its colorful hand drawings of people, animals, trees, and other objects.

I don't know what it means, but I like it. 

Over the loud speaker, David Byrne made the pre-show announcement discouraging the use of cell phones, flash photography, and recording: "It's pretty distracting to the performers, and we think you'd enjoy the show more if you didn't watch it through your phone." People cheered at that because it's the truth.

Let's get this party started. 
The sparse stage was surrounded by a sparkly silver fringe curtains on three sides. David Byrne, wearing a plain grey suit and no shoes, sat at a table, examining a plastic model of the human brain. (Oh, this is why they were selling little model brains in the lobby.) He starts the show talking about how babies are born with brains that have millions of connections that are never fully used. As we get older, these connections and capabilities weaken or disappear. He then launches into the first song, called "Here," which explains the brains different areas and functions. As the song builds, new musicians show up on stage – all like him, in bare feet and wearing plain grey suits – dancing, singing, and carrying and playing their instruments.

Photo: Catalina Kulczar

All together, including David Byrne, there were sometimes 12 singers/musicians on stage, including several percussionists, a few guitarists, a keyboardist, and a couple singers/dancers. (At one point, they sang acapela and sounded just as vibrant without their instruments in hand.)

At the end of this first song, the crowd roared so loudly that David Byrne said, "Wow, Saturday night, huh?" When we cheered again after the next song, he said, "Thank you! Thank you! There's more..." It's fun to see shows like this with an audience full of fans. We were all happy to be there and knew it would be special because it came from this artist we all admire.

It's oh so arty. 
Seeing this performance was like watching modern art. The lights would create stark graphics, shining spotlights only on select performers or creating boxes of light on the stage in which a performer would stand.

After one song, the performers froze in their poses, creating interesting shapes and shadows. Sometimes, the musicians were shadows behind the fringe curtain with only their arms, hands, and instruments fully visible as they played through the curtain's silver strands on all three sides of the stage. (Sometimes, a single hand would stick out one of the side curtains, holding a guitar for David Byrne to take. It would reappear after the song for him to return it.) During one song with arms and instruments sticking through the curtains, David Byrne with his guitar, a drummer, and two dancers were occupying different spotlights on the stage. During another song, "Everyday is a Miracle," the lights somehow created giant shadows of those on stage. Each song created some kind of memorable image or moment.

Photo: Catalina Kulczar

I was not familiar with American Utopia's music, but I loved it anyway. I appreciated David Byrne's introductions to some songs too. For example, he described one song as a song about a guy who is not excited about having everyone coming over to his house. And, to introduce the story behind another song, he explained that, in the '70s when he was still figuring things out, he thought, "to help with that, I should watch more TV." I can relate to these things.

The music itself was fantastic: it was new to me but also familiar because of David Byrne's unique sound and writing style. It's full of wonderful instrumentation, melodies, harmonies, and interesting lyrics. All of the voices and pronunciation were clear and precise, which may also be thanks to the theatre's great acoustics.

Photo: Andrew Whitton

David Byrne told us that some people don't believe that so much sound can be created on stage by these musicians every night; they assume that some of it is recorded and played back during each performance. (How pessimistic!) He dispels this theory by demonstrating how each musician builds on each other. One by one, they came out playing their instruments, layering each sound or beat on top of the last one until they were all playing together in full force.

Another rousing number  involved a huddled group of six drummers on one side of the stage and a smaller group of three guitarists in another area. All the musicians get their moments to shine in this ensemble.

Does this capture your imagination? 
My favorite moment was when a song ended abruptly and David Byrne walked off the stage through a door-shaped light shining on the right-side curtain. The theater was dark, except for this door, and all of the other musicians faced right, silently watching the door as it got smaller and smaller and smaller. A bit later, David Byrne reappears, having crouched down to fit through the small door of light to come back out on stage. Once he was through it, he casually straightened out and walked around, talking about his next topic without addressing what he just did. American Utopia is in constant motion with full, fantastic music and memorable imagery.

During a song called, "I Dance Like This," the stage lights flicker on, showing all the performers lying sporadically on the stage with their instruments. David Byrne is the first to sit up and stand as he sings the first verse. Everyone follows suit, one by one, until they are all standing in time to dance through the chorus with simple consistent movements. (The lyrics explain, I dance like this / It feels so damn good / If I could dance better / You know that I would.)

At one point after a later chorus, the song abruptly paused, but the performers continued with their dance moves in silence. After a few seconds, the chorus started up again, this time with a strobe light flashing to the music. When the chorus ends, so does the song. Everything is silent again and only David Byrne is on stage in a single spotlight, showing his last dance pose with one change – two thumbs up.

Photo: Matthew Murphy

At the other end of the spectrum were heavier songs, like "Bullet," which describes someone getting shot. David Byrne stood in the center of the stage as the song started, and someone moved a light bulb next to him. It was on a stand with wheels so that the light bulb was next to his head. As he sang the song, the musicians played while pacing slowly in unison in a wide circle around him. As the song came to a close, they paced off stage in a single line, and – with David Byrne still singing at center stage – the last musician pulled the the light behind them, rolling it to the edge of stage left, where it stopped and shut off at the end of the song.

Another moving moment was when the group covered Janelle Monae's protest song, "Hell You Talmbout," which calls attention to police brutality and pays tribute to many of its recent victims. (This is the song she broke into after her speech at the Women's March on Washington in 2017.)

David Byrne also talked about the importance of voting, noting that participation in local voting averages around 20% by people who are the median age of 57. (This was clarified when a light spotlighted the small section of the audience that 20% would cover. Once the light was on these people, they screamed, and David Byrne pointed out how happy they were to be deciding the futures for the rest of us. He said we have to do better than this and mentioned his efforts to get people registered to vote, including how we can easily do it too. We all have to vote, he said; local elections matter.

Don't let this short mention of politics dissuade you from seeing this show! American Utopia is about life and humanity in general. Voting happens to be part of that and one of the many topics covered throughout the performance.

Photo: Matthew Murphy

And, don't worry, he didn't forget what we all wanted. Talking Heads classics "Once in a Lifetime" and "Burning Down the House" are included! He even threw in his arm chop dance moves at some point, which made some of us joyfully squeal.

We all got it. 
In the end, David Byrne pondered that what humans like most is to watch other humans, and that's what he wanted this show to be about: them and us,  human connections. He provided a hopeful quote from writer James Baldwin, someone who suffered lifelong discrimination and oppression, "I still believe that we can do with this country something that has not been done before."

David Byrne agreed that, despite all that has happened and is happening around us, the world is full of possibilities; its still a work in progress. He returned to the topic of newborn baby brains that have millions of connections. Maybe, he said, the connections that were lost somehow get reestablished and are now on the outside, between us and other people.

Photo: Catalina Kulczar

With that, he left us all with something to think about, and I exited the theatre feeling exhilarated, hopeful, and lucky. This show was weird, wonderful, and so David Byrne.

American Utopia is at the Hudson Theatre on Broadway until February 16. Catch it live while you can! And, if you can't, we're all in luck: I just read that Spike Lee is going to create a film version of it. Score!

Theatre Trips: An American in Paris and Meteor Shower

Hi everyone,

For Melissa's Kitties, I always intended to incorporate more posts about the plays, concerts, and other fun things I do throughout the year. I meant to start doing this in January after I saw An American in Paris, here in D.C., and Meteor Shower in New York City. But the day after I returned from New York, I came down with a cold that made me lose track of the time. I'm still catching up, so here's some old, interesting news from the theatre world.

An American in Paris

This new An American in Paris musical, which I attended at the Kennedy Center on January 6, is inspired by the 1951 classic film, starring Gene Kelly and Leslie Caron. It tells the story of an ex-GI who stays in Paris after World War II to follow his dream of being a painter. He falls in love with a French girl, but their relationship has complications.

If you've seen the movie as often as I have, you'd notice that this stage version is different. For example, some of the characters have different personalities than they do in the movie. (What bothered me most, of course, was that Jerry Mulligan isn't as friendly as Gene Kelly's version.) The French girl, Lise, is not a sales girl in a local shop but a ballet dancer, working toward her big break. (I consider this an improvement.) All the guys fight over her in this story. Also, some of the songs, all written by George and Ira Gershwin, are missing or different from those in the film.

These changes are okay because this stage musical is based on its own new book by Craig Lucas. This story has a more realistic tone that matches the post-war era. It stands on its own, but it pays homage to the film with nice choreography by Christopher Wheeldon and impressive moving sets that seem to dance across the stage to the music. (It reminded me of how things moved in the historic 17-minute ballet at the end of the film.) In its own way, this version of An American in Paris still captures the art, excitement, and romance of the city and the promise of new beginnings. Find An American in Paris on tour for a nostalgic journey through the City of Lights. 

Meteor Shower
I heard about Meteor Shower when it was first announced that 1) Steve Martin wrote this new play, and 2) the cast includes Amy Schumer (making her Broadway debut), Keegan-Michael Key (from Comedy Central's Key & Peele), and Laura Benanti (a Broadway star most recently made famous for her great impression of Melania Trump on The Late Show with Stephen Colbert). I had to see it! My theatre buddy and I planned an emergency road trip to New York for the show at Booth Theatre on January 13, a week before it closed.

The story, which takes place in 1993, is about a California couple, Corky (Amy Schumer) and Norm (Jeremy Shamos), who are expecting another, more sophisticated couple over for dinner. Before they arrive, the other couple, Laura (Laura Benanti) and Gerald (Keegan Michael Key) decide to play tricks on their friends by telling them lies about their own past, like how Laura was a really fat child and Gerald had bad parents. The witty conversations that follow throughout the evening spark plenty of laughter because of the wonderful writing and performances. Also, a meteor shower happens and someone gets hit, but don't worry, it's hilarious.

Jokes and sprinkled throughout Meteor Shower in gestures, looks, reactions, and quips – all of which I could tell came from the mind of Steve Martin. Here are just a few examples:

• While they are preparing for their guests to arrive, Corky and Norm catch themselves saying snide remarks to each other during their conversations. Each time, they stop and run to face one another and hold hands. As if fresh from relationship therapy, they calmly tell each things like, "I understand that you probably didn't know you hurt me. I'm asking you to be more careful with my feelings." and "I love you and I know you love me." Once satisfied with their exchange, they nod to confirm forgiveness, scramble back to whatever they were doing, and resume their conversation. 

• Keegan-Michael Key made me laugh the most: When he first shows up, he yells his responses to any questions and dominates everyone's personal space. 

• Between scenes, Laura Benanti and Amy Schumer take turns doing a short dance, like a shuffle or tap routine, while classical music plays and the set rotates from the interior side of the home to the backyard side. It's unexpected silliness. (I imagined Steve Martin thinking this up: How are we going to fill the break? Let's just have Laura Benanti do the Charleston on the side for 30 seconds.)

At first, what's happening in this play is unclear. It becomes clearer when you realize that some scenes are repeated from different perspectives while other scenes share earlier conversations. But nothing is completely clear until the end when it's revealed that Laura and Gerald are the subconscious selves of Corky and Norm. Now, if only I could remember everything that was said and done in the last 80 minutes, I'd be set. Since none of us can see it right now, armed with this new context, here's hoping we can all find it in writing somewhere. Look for Meteor Shower if it tours. Steve Martin has given us a funny thinker.







Posters: An American in Paris © Allied Touring; Meteor Shower © DKC/O&M

2015 in Review: See You at the Theatre!

Hi everyone,

I saw some wonderful shows last year, which I meant to recap in December, but life got in the way. Better late than never and before spring hits, indulge me as I revisit 2015 in theatre, dance, and music in my next few blog posts.

2015 started off with a quick trip to New York to see Sting's The Last Ship on January 10th. (I wrote about The Last Ship in last year's theatre round-up.) The Last Ship didn't last long on Broadway, and while Sting was nominated for a Tony for his amazing score, he didn't win it, and I'm still baffled by it all. The Last Ship was my favorite show of 2014, and I felt lucky to have seen it twice, even if the second time was in the middle of a New York winter. Here's a rundown of the other shows I saw in 2015.

Choir Boy, Studio Theatre, Washington, D.C. (February 28, 2015)
I bought a ticket to this play solely based on its writer, Tarell Alvin McCraney. I had seen his trilogy The Brother/Sister Plays: The Brothers Size, In the Red and Brown Water, and Marcus; Or the Secret of Sweet, years before, and they made a lasting impression on me. Now, I can add this one to that list. Choir Boy depicts life in all-Black boys boarding school as seem through some of its choir members. At a year-end ceremony, Pharus (Jelani Alladin) is prepared to be named the lead for the school's popular gospel choir. When publicly humiliated at the event, his lifestyle and confidence are shaken, and the incident ripples through the school, affecting everyone from his friends to the headmaster. Tarell Alvin McCraney's plays are always refreshing and surprising. I love his modern take on age-old issues and how music is always an integral part of the tapestry – making his stories relatable and educational for everyone.

Blithe Spirit, National Theatre, Washington, D.C. (March 29, 2015)

I always see Noel Coward's classic comedy Blithe Spirit, which first premiered in 1941, advertised in the paper. It's always being performed somewhere nearby, no matter how small the company. I wanted to see this version because of Angela Lansbury, who was touring with it nationally on a very limited run. Blithe Spirit is about London socialites, writer Charles Condomine (Charles Edwards) and his second wife Ruth (Charlotte Parry), who hire a medium Mrs. Arcati (Angela Lansbury) to conduct a seance in their home – an experience meant to be research for Charles's next book. Mrs. Arcati's event evokes the ghost of Charles's first wife Elvira (Melissa Woodbridge), who decides to haunt Ruth, the only one of the party who cannot see her. While this story seemed a bit dated to me, it was fun and suitable for the whole family. Some slapstick moments and Mrs. Arcati's eccentricities livened up the story, and I loved whenever the set, possessed by Elvira, took on a life of its own. Everyone in the cast was great, including Angela Lansbury, who was wonderful to watch. You may have missed her in Blithe Spirit this time, but later in the year, I saw her on PBS offering another amazing stage performance alongside James Earle Jones in Driving Miss Daisy. There no excuse to miss that thrilling experience, so get a snack, click here to watch, and enjoy....

The Curious Incident of the Dog in the Night-Time, Ethel Barrymore Theatre, New York, New York (April 5, 2015)

The Curious Incident of the Dog in the Night-Time is based on a novel by Mark Haddon, which I read and loved, even though I didn't remember much from it. (This is the reason why I started writing book reviews.) I wanted to see this play because I couldn't imagine how they would present this story on stage: It's told through the eyes of an autistic boy (Tim Wright) who discovers his neighbor's dead dog and sets off to solve the mystery of what happened. The audience is introduced to the people in his life as he sees them – his parents, his teachers, his neighbor – and how he handles the world to get through his days. This show was spectacular in its creativity and inventiveness. I attended this with two friends, and none of us really knew what to expect. We left the theatre dazzled by the set, impressed by the flow of the story, and eager to read the book. In fact, after I read this book again, I may need to see this play again, which won the 2015 Tony for Best Play. They got that one right. Be sure to see The Curious Incident of the Dog in the Night-Time when it begins touring the United States in October.

The Tale of the Allergist's Wife, Theater J, Washington, D.C. (June 11, 2015)
When I was invited to see this play, I didn't know anything about it, but I recognized the title. It was a night of surprises, since my friend and I saw it in Theater J, a local theatre that I didn't know existed. The Tale of the Allergist's Wife is a witty play that offers a look at the upper class in the New York's Upper West Side. Marjorie Taub (Susan Rome), a well-off doctor's wife, spends her days attending cultural events in an effort to become a better, more interesting person, but struggles with the idea that she may never become that. After a recent public outburst, Marjorie retreats to her apartment to deal with her midlife crisis, which is interrupted by the reappearance of her childhood friend Lee (Lise Bruneau). Lee, a seemingly sophisticated world traveler, lifts Marjorie's spirits but disrupts her life. The Tale of the Allergist's Wife premiered in 2000, and for this production, playwright Charles Busch updated references in the story to keep it modern. The result was a clever, funny whirlwind of a show about colorful characters vividly portrayed by a great cast.

Once, Kennedy Center, Washington, D.C., (August 6, 2015)

I remember seeing and liking Once, the 2007 film on which this musical is based. I even had the film's soundtrack on CD. Yet, when I saw commercials on TV for Once at the Kennedy Center, I didn't feel excited about it. The story involves an Irish vacuum cleaner repair man (Stuart Ward) who spends his spare time writing and singing songs on his guitar. After a chance meeting, he is encouraged by a young Czech woman named Ivanka (Dani de Waal) to pursue his music. As his confidence grows, so does their unique love for each other, until they must face a turning point in his budding music career. Once is an intimate, touching story. Since it lacks much excitement, I was surprised that it won eight Tony awards for its Broadway production a few years back. (At the Kennedy Center, my friend and I thought it might be better experienced in a smaller venue or viewed from closer seats than the balcony.) I'm sure that the moving, crowd-pleasing music written by Glen Hansard and Marketa Irglova had something to do with it. Even as we made it to our seats, audience members were joining the cast on stage, where they had begun playing Irish tunes in the bar setting. Once is a lovely production that is faithful to the film and leaves you inspired and humming its songs all the way home. Here's information about Once, the musical, on tour.

Oliver, Arena Stage, Washington, D.C., November 8, 2015

Although I'd seen the 1968 musical film adaptation of Oliver several times growing up, I've never read Charles Dickens' Oliver Twist nor seen the classic on stage. Arena Stage's version follows orphan Oliver's life on London's streets and dreams for a family, though I felt that they rushed through some of the emotional moments and made some odd updates to the story. I assumed this version took place in present day; though the cast seemed dressed with Dickensian flair, they also used cell phones. A part of me wished they had stuck to the original 1800s time period and kept it true to the story, but Arena Stage is a forward-thinking kind of place. I loved the set, which included crisscrossed metal bridges that the cast ran and sang on above the stage. I was also impressed with the young boys in the orphanage who sang "Food, Glorious Food" while tossing dinner plates around without dropping any. The reason to see Oliver is the music, written by Lionel Bart. I didn't realize how many of these songs are etched in my memory until they started singing them. I think they're there for good.

Bright Star, Kennedy Center, Washington, D.C., December 10, 2015

Bright Star, a new musical by Steve Martin and Edie Brickell, premiered in D.C. before heading to Broadway. Set in the South, the story introduces Alice Murphy (Carmen Cusack), a straight-laced, successful literary editor. When an eager new writer (A.J. Shively) returns home from serving in World War II, he enters Alice's office and awakens in her haunting memories. Longing for a child she lost 20 years earlier, she embarks on a journey to face her past and a life that might have been. This inspiring show has everything you could want in theatre: an inspirational story with universal themes of love, loss, and family with a healthy mix of drama, humor, and great music. I loved the story's strong characters and unexpected turns. The set included a mobile cabin, which doubled as a prop and platform for the musical's bluegrass band. A toy train ran along tracks above the stage, representing trips out of town and taking part in one of the show's most dramatic moments. Among the great cast, Carmen Cusack in the starring role stood out for me with her unique, powerful voice showcasing Edie Brickell's wonderful lyrics and melodies. Catch Bright Star when it hits Broadway this week; previews start February 25th.

With 2016 well underway, you can still catch some of these inspiring shows. Keep an eye out for them and treat yourself to a trip to the theatre.

Broadway Extravaganza 2014

Hi everyone,

Last fall, I planned a solo Broadway Extravaganza Weekend. At first, I was only going to New York to see Cabaret on my birthday, but when I moved the trip to October, all the stars aligned and descended on Broadway. So, I couldn't help tacking on three more shows. This whirlwind of entertainment brought out my love for theatre in full force. (The 2015 Tony Award nominations were announced this week, so I'm very timely, just seven months after the fact.) Here's the rundown.


The River, Royal Court Theatre Production, Circle on the Square, October 31, 2014

I fell pretty hard for Hugh Jackman after seeing him in his Tony-winning performance as Peter Allen in The Boy From Oz in 2004. Who knew Wolverine could be charming, sing, and dance? I next saw him on Broadway in 2009 in A Steady Rain, a gritty drama costarring Daniel Craig. When I read that Hugh Jackman planned to return to Broadway in another drama last year, I bought my ticket without reading much about the plot.

The River, a new one-act play by Jez Butterworth, is about a guy who loves to fish and his two girlfriends. It takes place in the man's cabin, close to where the fishing is good. After the play was over, I heard a few people exclaim how amazing it was, but most of the people around me were bewildered. As we exited the theatre, a lady in front of me turned around and asked anyone who would listen, "Who was the woman with the scratched out face? What did it mean? Do you know?"

This play seemed purposefully confusing to spark this kind of conversation afterward. For example, Hugh Jackman's character (The Man) started one scene with Cush Jumbo (The Woman), who then walked into the bedroom off stage. Then, Laura Donnelly (The Other Woman) came out of the supposed bedroom, continuing the conversation but within a different context. They were actually talking about something else at a different time. Although nothing was ever quite clear, the play was cleverly written and entertaining. During the show, I kept making up scenarios that explained what it all meant. Maybe the first woman represents a new relationship and the other one represents a past one. Maybe he killed one of them, and her scenes are memories. I kept waiting for something sinister to happen that never did.

Cush Jumbo and Hugh Jackman 

The acting in this play made it worth it. Only Hugh Jackman could keep our full attention while talking about fish and fishing or sustaining a lengthy scene alone, preparing a fish dinner in silence – gutting the fish, cutting up veggies, putting everything in a pan and in an oven. (We didn't get to eat it.) I wondered if I'd be bored if an unknown actor was doing the same thing, but this play's other two cast members were unknown to me and yet equally fantastic.  

Someone responded to the frustrated lady's questions with what she thought everything meant, clearing it up for us with an explanation that never occurred to me: Hugh Jackman's character is a sleazy, shallow guy with commitment issues. Have I mentioned that Hugh Jackman is a really great actor?


Cabaret, Roundabout Theatre Company, Studio 54, November 1, 2014

I've seen Bob Fosse's 1972 movie version of Cabaret, starring Liza Minnelli and Joel Grey, so many times that I've hesitated seeing it live on stage, directed and performed by other people. This production, however, excited me with director Sam Mendes, co-director and choreographer Rob Marshall, and stars Alan Cumming and Michelle Williams. (This revival was a close copy of the 1998 Broadway production, which also starred Alan Cumming as the Kit Kat Club's emcee.)

Cabaret is based on a book by Christopher Isherwood about the Nazis' rise to power in Berlin in 1931. The story involves Kit Kat Club cabaret singer Sally Bowles (Michelle Williams) and her relationship with a young writer (Bill Heck). In a side story, their landlady and her Jewish beau share a doomed romance. The actors who played these roles, Linda Emond and Danny Berstein, were the only cast members to earn Tony nominations last year, and they deserved them! The best thing about Cabaret, though, is the musical numbers and atmospheric staging that made this show a true cabaret-going experience. I sat in the balcony, where each two seats shared a connected table and lamp that had a red shade with fringe. Ushers, dressed as waiters, walked around offering food and drinks. If you were rich enough for floor seats, you could sit at tables, as if you were really in the Kit Kat Club. Twenty minutes before the show started, dancers roamed on to the stage, stretching, posing, and chatting with audience members. We were all in it!

Michelle Williams and Alan Cumming

Reprising his role, Alan Cumming seems born to play the role of emcee. Before I saw this show, I kept unintentionally hearing that Michelle Williams was just so-so as Sally Bowles. It's not true! First, if you're comparing her to Liza Minnelli, like I did at first, forget it because they're completely different people. If you're putting Michelle Williams's Sally Bowles next to Alan Cumming's over-the-top character that was already dubbed as the reason to see this thing before it even opened, that's not fair. Though I had to get used to Sally Bowles being British and the writer being American (instead of the other way around as it is in the movie version), I thought Michelle Williams had an interesting presence in this mix of characters as well as a great singing voice. (Soon after I saw Cabaret, Emma Stone and Sienna Miller took over the role of Sally Bowles respectively before it closed in March.)

Any story about Nazis is depressing, but the Kit Kat Club will cheer you up with its nightly performances and fantastic live band. You'll get your chance to come to the cabaret when this show tours in 2016. Find more information here.


The Last Ship, Neil Simon Theatre, November 1, 2014, and January 10, 2015

Of all the shows that I saw during this Broadway Extravaganza weekend, The Last Ship was the one I thought about the least. Sting spent at least five years working on developing this musical, a story written by Tony winners John Logan and Brian Yorkey (Red) and based in Sting's hometown and on its working-class citizens. I knew I had to see The Last Ship, and that I'd have a good time, but I didn't expect how much I'd absolutely love everything about it and how delirious and emotional I'd feel by its end.

The story, which takes place in the ship-building town of Wallsend, begins with Gideon (Michael Esper) skipping town to escape his abusive father (Jamie Jackson) and the fate of taking over his job in the shipyards. He leaves behind his girlfriend Meg (Rachel Tucker) but promises to return for her once he's settled. Fifteen years later, he returns when he hears of his father's death, discovers that the shipyards are on the verge of closing down, and finds his girlfriend in new life with another man (Aaron Lazar) and teenage son (Collin Kelly-Sordelet). Encouraged by the town's likable priest Father O'Brien (Fred Applegate), the shipbuilders decide to build one last ship for pride's sake. Although Gideon fought against that way of life, he finds purpose in helping them, gains a sense of community he's missed, and struggles to come to terms with his past.

Sting released an album inspired by The Last Ship, and all of the songs are from this story's characters' points of view. I loved how this show incorporated those songs so seamlessly. The cast members sang them in character, making them entirely their own. (Lucky for us, an original Broadway cast recording is available!) The lyrics swiftly move the story along, and it was exciting to hear them make sense in this context. The show included some new songs I'd never heard before as well as some of Sting's old songs, including "Island of Souls," "All This Time," "Ghost Story," and "When We Dance." (For this show, the lyrics were changed only slightly to fit into the story and they work!) It's true that I love nearly all of Sting's music, but I think these latest songs that he wrote for The Last Ship are his best yet.

Ship-buider solidarity in the rain...  Photo © unknown

The set and staging was impressive and seemed expensive. The stage was wooden but one side of it looked like a dock, and a large basin of water extended off and along the front of the stage to represent the sea. The backdrop included stone with stained glass windows for a church setting, rusted steel with ladders to represent the ship, and metal staircases and balconies on either side for different entrances and exits. Lighting added to the atmosphere, portrayed ocean waves or sunlight flooding the church. The shipbuilders had real equipment too, working on scaffolding and with welding machines. It rained onstage at one point and, at another, the workers literally pulled the ship together, making the stage floor rise up into shape.

Rachel Tucker and Aaron Lazar

I loved that this story involved working-class people. The scenes were mostly either in a bar or in a shipyard, and everybody yelled at each other in a get-over-yourself sort of way. The choreography was unique with tough-guy moves because shipbuilders aren't dancer. (Think of West Side Story!) The cast was fantastic, including my standout favorites Rachel Tucker as Gideon's girlfriend Meg and Fred Applegate as Father O'Brien.

I saw The Last Ship a second time in early January after it was announced that Sting would take over the role of shipyard foreman Jackie White from his friend Jimmy Nail through the end of the show's short run on January 24th. Aside from attracting more theatergoers and singing the songs with his unmistakeable voice, Sting's involvement didn't make much difference to me because he was acting in character. I was so invested in the story, which was solidly written with so many fully realized characters, that I lost him in the crowd sometimes. Being the fanatical Sting fan I am, I'm pretty sure that means that they had a good thing going here. I cried at the end of both performances!

Sting! (with Fred Applegate in the background)

I was sure that The Last Ship was going to win a bunch of Tonys this year, including Best Musical, but I think it closed too soon (due to lack of ticket sales) to get everyone's attention. It received two Tony nominations for Sting (best original score) and Rob Mathes (best orchestrations). I'm sad that The Last Ship has already closed on Broadway, but I'm sure this won't be the end of it. I eagerly await its return to the stage in whatever form it may take.


On The Town, Lyric Theatre, November 2, 2014

I was still so delirious about The Last Ship that I watched On the Town the following day in a blur. On the Town is one of my favorite Gene Kelly movie musicals, which I know by heart. Like the movie musical, this Broadway revival is G-rated and family friendly. On the Town originally hit Broadway in 1944, but the story is universal. It follows three sailors on 24-hour leave in New York City. They soon fall for three lovely ladies, take them on the town, and have an adventure in the big city. This funny, entertaining show, written by the great Betty Comden and Aldolph Green with wonderful music by Leonard Bernstein, is a classic that I'd never seen on stage.

What I love about this production is that the abstract sets reminded me of the backdrops of my favorite old Warner Brothers cartoons, as did some of the exaggerated performances. Jackie Hoffman as music instructor Madam Dilly and Jackie Hoffman as Lucy Schmeeler, for example, offered some broad, slapstick comedy, making us laugh just the way they walked or reacted to situations. The highlight of this show, of course, was Leonard Bernstein's score and Jerome Robbins inspired dancing (choreographed by Joshua Bergasse). The beautiful Pas de Deux performed by stars Tony Yazbeck as Gabey and Megan Fairchild as Ivy too everyone's breath away.

It was wonderful to see this show with so many others of all ages in the audience, all of us sharing a laugh and mesmerizing moments. I think this show is going to last. This production of On the Town is nominated for four Tony Awards in the musical category: leading actor (for Tony Yasbeck), best director, best choreography, and best revival. Visit the show's official website to learn more and plan a trip to see it.

You can catch the Tonys on Sunday, June 7, 2015, on CBS. Here's a full list of this year's nominees.

Best,


Production photo credits: The River – © Sarah Krulwich/New York Times; Cabaret – © Joan Marcus; The Last Ship – first two photo © unknown, photo with Sting © Photo Art; On the Town – © Joan Marcus

Finding Neverland and The Real Thing

Hi everyone,

I made two special trips last year to catch some new shows. They were well worth it, so here's the rundown. 

Finding Neverland, American Repertory Theater, Cambridge, Massachusetts, September 12, 2014

Finding Neverland, a new musical based on the 2004 film of the same name, follows author J.M. Barrie (played by Jeremy Jordan) as he becomes inspired by his friendship with Silvia Llewelyn Davies and her four sons to write his next play, Peter Pan. It took me about a half an hour to realize that I was comparing everything in this musical to the movie, one of my all-time favorites starring my favorite actor in the lead role. So, try not to do that when you see this production because it's a very different experience. 

For me, the best thing about Finding Neverland, the musical, is how it showcases the creative process at work. During the musical number called "Circus in my Mind," for example, Mr. Barrie fails to repress his own dark thoughts, out of which comes the character Captain Hook. Inventive choreography by Mia Michaels represents both reality and whimsical fantasy to show the duality and spirit of the writer's task. Directed by Diane Paulus, this show offered a talented cast and creative staging that captured the imagination. 

True, Johnny Depp is not here, but you should see this version of Finding Neverland anyway. The show moved to Broadway this year with stars Matthew Morrison and Kelsey Grammer, and it's still magical.

The Real Thing, Roundabout Theatre Company, American Airlines Theatre, New York, New York, October 17, 2014

I couldn't miss my chance to see one of my favorite actors in person last year when Ewan McGregor made his Broadway debut in Tom Stoppard's 1982 play The Real Thing. He was amazing (and made me weak in the knees), but so were his costars Cynthia Nixon, Josh Hamilton, and Maggie Gyllenhaal (who is a scene stealer with her own brand of awesomeness). Tom Stoppard's clever dialogue was so quickly delivered sometimes that I left the theatre wanting to read through and think about this play a bit longer. That's a sign of a good piece of work, right? 

Aside from the stellar cast, I liked how music was incorporated into this story. Both acts began with the characters singing a song, and the first act ended with Ewan McGregor using a record player, the sound of which began normally but then amplified on speakers to close out the scene. I was also impressed by this show's innovative set. With an added bookshelf or two, some lighting changes, and new sounds, it successfully transported us among different homes and train rides out of town.

This story revolves around the relationships of two married couples, Charlotte and Henry (played by Cynthia Nixon and Ewan McGregor) and Annie and Max (played by Maggie Gyllenhaal and Josh Hamilton). At the start, it's revealed that Annie and Max are having an affair. They divorce their spouses, marry each other, and create a new life together. Two years later, however, Henry begins to wonder whether Annie is being faithful and if their happy ending is really all they expected. Love is complicated!  

This revival of The Real Thing had a limited 4-month engagement on Broadway. Here's information about it to give you a taste. 

Best,