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

2016 in Review: The Shows Must Go On

Hi everyone,

I'm down and out with another cold, but I thought I better muster some energy to get out my 2016 reviews before springtime. In my next few posts, I'll share my memories about some of the best of last year's live entertainment.

Let's start at the theatre! I tend to forget how much I love going to the theatre until I'm there, and then I'm addicted, as you can tell by the length of this post.

I started off the year at the Kennedy Center, seeing Matilda The Musical, based on Roald Dahl's classic children's book about a girl living with horrible self-involved parents. She spends her time lost in books, feeding her imagination. I loved seeing this story through a child's eyes and how the production reflected that with cartoonish characters and colorful sets. I haven't read this book and didn't know what to expect. This show is a fun, heart-warming surprise.

I saw Kinky Boots, also at the Kennedy Center, mainly to hear Cyndi Lauper's musical score. Based on the 2005 British film about a shoe factory owner's switch from making classic men's shoes to footwear for drag queens in order to save the family business, Kinky Boots gives me the same heart-warming feeling as Matilda. Cyndi's great music aside, I love this show's message of resilience and acceptance of all people. By the last show-stopping number, performed by the great J. Harrison Ghee in the lead role of Lola, we were all cheering, ready to try on our own pair of kinky boots.

The title, Urinetown, The Musical, does not appeal to me. After reading the synopsis and learning that it won Tonys for best musical, book, and score, however, I gave it a chance. Suffering from a severe water shortage, city officials ban the use of private toilets, forcing unlikely citizens to take a stand and start a revolution. This hilarious satire, which pokes fun at everything from politics and capitalism to musical comedies themselves, has surprising twists and turns that keep the laughter going.

New to me, the 10-year-old Constellation Theatre Company put on this great show with imaginative direction, sets, choreography, and musical arrangements. Like Matilda and Kinky Boots, this cast offered some exaggerated and memorable performances. Voted Best Theatre Company in 2016 by City Paper and The Washington Post, I look forward to seeing more shows here.

When it was announced that Shuffle Along, or the Making of the Musical Sensation of 1921 and All that Followed, was closing by the end of July after its short run on Broadway at the Music Box Theatre, my friend and I made an emergency trip to New York to see it. It was worth it! This adaptation tells the true story of the making of the popular 1921 black musical that launched the careers of Josephine Baker, Paul Robeson, and others. It delves into the interesting lives of its creators and the challenges that ended their successful partnership. Shuffle Along is also a jubilant celebration of tap dancing, with massive musical numbers and inventive choreography by the always-amazing Savion Glover that shook the building with its beats. I wish this show had lasted longer so that more people could learn the fascinating history of this show and revel in this exciting production.

I made another trek to see Jelly's Last Jam, all the way to Virginia's Signature Theatre. My dad bought these tickets but then couldn't attend, so my friend and I were stuck with perfect seats for this musical biography of 1920s jazz pianist Jelly Roll Morton. A pioneer of Ragtime music and the self-proclaimed inventor of jazz, Jelly Roll Morton had a healthy ego, but his fantastic music made up for his exaggerated claims. With a wonderful cast, Signature Theatre's revival of this Tony-winning musical is an immersive experience with seating arranged with tables for a night club setting and some performers, at times, dancing right next to us. As with Shuffle Along, we left the theatre wanting to hear more music and learn more about the fascinating historical figures who created it.

2016 wasn't all about musicals for me. I also saw three brilliant plays at Studio Theatre, thanks to their encouraging $20 deals for neighborhood patrons. First, I saw Constellations, which I had heard about when it was on Broadway, starring Rachel Weisz and Jake Gyllenhaal. This intimate performance is set in a circular space with audience members surrounding it, only a few steps away from the two performers. Marianne and Roland offer glimpses into their relationship through a series of scenes that are sometimes repeated from different perspectives and usually presented out of chronological order. From these vignettes, we learn how they fell in and out of love, the joys and challenges of their relationship, and their present-day circumstances. Somehow it all works with keen direction and impressive performances by Lily Balatincz and Tom Patterson, who – without the help of props – convincingly transitioned from moment to moment, sharing a range of emotions that we all felt.

Next, I saw Moment. This riveting family drama set in Dublin unravels when the reappearance of a long-absent son visiting his mother and sister sparks tragic memories, repressed emotions, and shocking revelations about the cause of the rift. Moment, wonderfully written by Deirdre Kinahan and directed by Ethan McSweeny, leaves an impression on everyone who sees it. Despite its surprising plot twists, the story is universally relatable, exploring the complicated consequences of past mistakes and murky layers to earning forgiveness.

The Object Lesson, created and performed by Geoff Sobelle, offered some much-needed comic relief. Set in a warehouse full of boxes and furniture, audience members were invited to sit on any available couch, chair, or box that allowed for it. This one-man show is a combination of storytelling and stand-up, as Geoff Sobelle discusses his relationship with things and how they affect his relationships with people. Reenacting scenes from life or speaking directly to the audience, he uses inventive techniques to revisit some of life's key moments, including starting out in college, beginning and ending personal relationships, building a career and family, and dealing with old age.

Both funny and poignant, each experience involves various objects that people tend to collect through life, and Geoff Sobelle contemplates the memories attached to them. Sometimes, finding these objects involves climbing up and over boxes (some of which were stacked to the ceiling) or audience members, who were pushed into scenes for some improvisational fun. (We were even offered snacks – French bread and goat cheese – when he mentioned and found them during one of his stories.) This immersive performance was unlike any I'd experienced before. Studio Theatre never lets me down.

All of these performances provided unique experiences, one of the hallmarks of live theatre. You never know what you're going to get, but it can be exhilarating and unforgettable.

Treat yourself to some tickets and see for yourself. I'll probably see you there!

Best,


Image copyright credits: Matilda the Musical: Joan Marcus; Kinky Boots: Matthew Murphy; Urinetown: Daniel Schwartz; Shuffle Along: Julieta Cervantes; Jelly's Last Jam: Margot Schulman; Constellations: Igor Dmitry; Moment and The Object Lesson: Allie Dearie

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

Theatre

Hi everyone,

At the end of October, I took the train up to New York for a three-day Broadway Extravaganza. I saw four fantastic shows!

(Illustration Friday: November 14, 2014)

• The River, at Circle in the Square, is a drama about a guy with relationship issues and his love for fishing. In the scene here, our man (Hugh Jackman/B.J.) is surprised by his girlfriend's (Laura Donnelly/Mini) beginner's luck. 

• Cabaret, at Studio 54, is an iconic musical set in 1930s Berlin about a cabaret singer and her relationship with an American as the Nazis begin to gain power. In this scene, the cabaret's emcee, played by Alan Cumming/Simon introduces some of the cabaret's dancers (Ashes and Lily), including its main attraction Sally Bowles (Michelle Williams/Mini). 

• Set to some amazing music by Sting, The Last Ship at the Neil Simon Theatre is a new musical about a man (Michael Esper) who, after 15 years, returns to his hometown  – a working-class shipbuilding community in Northern England, where he faces his first love Meg (Rachel Tucker) and unresolved issues with his father. As Father O'Brien (Fred Applegate), the town's beloved minister, brings the community together to give the dying industry a proper send off by building one last ship, memories arise and old wounds begin to heal. Here, the foreman Jackie White (Jimmy Nail/B.J.) directs his workers (Comet, Gordon, and Simon) as they build the massive ship with Father O'Brien (Norman), Meg (Lily), and her son Tom (Colin Kelly Sordelet/Tyrone) watching the feat.     

• On the Town, at Lyric Theatre, is the classic musical about three Navy sailors (Tony Yazbeck, Jay Armstrong Johnson, and Clyde Alves) on 24-hour leave in New York City. In this scene, the boys (Comet, Gordon, and B.J.) get off the boat at 6 a.m. to start their day, just as a construction worker (Philip Boykin/Norman) arrives for work.

I've been slow drawing and blogging these days, but I hope to post reviews of these shows here sometime soon. In the meantime, get your tickets now because these shows are all worth seeing! Cabaret now stars Emma Stone in the role of Sally Bowles! The Last Ship, my favorite of the four, now has Sting himself in the role of Jackie White for a limited time through January 10th! What are you waiting for? Treat yourself and go!

Best,

Catching Some Stars

Hi everyone,

Whenever I go to the theatre, I leave wondering why I don't go more often. Theatre amazes me: some brave actors get on stage and tell you a story in the moment from only a few feet away! The cast and crew of each production transport you into their world for just a couple hours and leave you with the gift of a unique exhilarating experience.

I've seen two great shows recently that I can actually share with you before they close on February 16. (Look at me being all timely!) Catch these if you can!

Photo © Don Ipock, courtesy of Arena Stage

The Tallest Tree in the Forest. This play by Daniel Beaty explores the life of singer/actor Paul Robeson, whose increasing activism led to a life of difficult choices and constant struggle. Once considered the most popular African-American in the world, Paul Robeson is probably best known as the guy who sings "Ol' Man River" in the film adaptation of Show Boat. This play reveals the deeply thoughtful man behind that booming voice, who always spoke his mind and stood for what he believed.

Daniel Beaty's performance is a tour de force; he sings 14 songs and portrays more than 40 characters in this world-premiere production at Arena Stage! In the playbill, he explains what inspired him to create such an ambitious play honoring Paul Robeson: "When I found out the breadth of all he had done, I was both astonished and very upset that I had not learned about this giant figure. I feel like he epitomizes the artist activist. I wanted to find the right space and the right vehicle to bring him back to the social discourse, but to do it in a way that is as challenging and as complex and layered as he was." Carried by Daniel Beaty's powerful performance on a minimal set with few props and innovative staging, this one-man-show sheds light the key moments of Paul Robeson's life that informed his character. The Tallest Tree in the Forest captures the extraordinary life of a complicated man who should be remembered not only for his talent but for his heart.

And now for something completely different....(with some surprising similarities).

Photo © Jenny Anderson, courtesy of The Kennedy Center

Peter and the Starcatcher. Written by Rick Elice and based on the novel by Dave Barry and Ridley Pearson, Peter and the Starcatcher is a prequel to Peter Pan that explains how he became the boy who never grew up in a fantastical place called Neverland. When this play first started, I wondered what I was in for. Relying mainly on a decorative backdrop and a only a few essential props, your imagination is tested to envision this story, just as it should be for the tale of Peter Pan! If you believe...with some swift maneuvering of a string of white triangular flags, for example, you really can see the crocodile's threatening jaws and pointy teeth. Some rapid swishing of rope lines perfectly represents the waves of the sea, and as the ship creaks and cast members lean, you too feel the sway of the ship. It's clear why Peter and the Starcatcher is the winner of five Tonys, most of which recognize these kinds of technical strokes of genius (i.e., lighting, sound, scenic design). With only a dozen people in this talented cast, like The Tallest Tree in the Forest, many are tasked with multiple roles - this time culminating in more than 100 characters!  Actors easily transition from portraying a pirate ship crew member gambling on the deck to an inanimate wall or swinging door. The exciting inventiveness of this production is impressive and only adds to the charm of the show. And, with quick, clever dialogue and plenty of jokes, this Peter Pan story isn't just for the kids.

Currently playing at The Kennedy Center, Peter and the Starcatcher is on tour across the country. See it to learn the "real story" behind the myths and legends tied to Peter Pan and his eternal nemesis Captain Hook. Trust me, the captain's reaction to losing his hand is worth the price of the ticket. (It's not the crocodile's fault!)

For more information about The Tallest Tree in the Forest at Arena Stage, click here! For more information about Peter and the Starcatcher at The Kennedy Center, click here!

Treat yourself to a night out at the theatre and enjoy!