Scene: October '12
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FlyWhat? From the show website: Based on the experiences of the Tuskegee Airmen, Fly is the powerful story of four African-American military pioneers who proved themselves as officers and pilots during World War II.
The play follows these courageous heroes hailing from Chicago, Harlem, rural Iowa and the Caribbean as they train to fly combat aircraft. In spite of the overt racism they encounter, the men form a lasting brotherhood and fly with distinction, paving the way for the desegregation of the American military and the later Civil Rights Movement. The production inventively combines live action, video footage and the inspirational “Tap Griot,” a dancing storyteller who expresses the anger, fear and triumph that the officers cannot. Co-author Ricardo Khan directs the Washington premiere of this patriotic tribute to the Tuskegee Airmen. When? October '12 Where? Ford's Theatre Washington, DC Why? I really enjoy seeing shows at Ford's, and I like that they have been maintaining a historical theme in many of their productions. Sometimes it's the combination of the venue and the subject matter as a whole that appeals~that's the case here. Well? This is one of those shows that successfully combines the ingredients necessary to produce a great show~great cast + inventive staging + fascinating story = wonderful night of theatre! The moving story of the famed Tuskegee Airmen is told here with warmth and humor, thrilling dance and a bit of song; but most importantly, it's told with deep respect for its characters. The use of the massive geometric screens to give the audience the sense of soaring above the clouds were well-balanced by the minimal props on stage, and the simple chairs that served as seating but also the cockpits during flight. We get to know the stories of this group of four of the airmen, and we care about what happens to them in a deeper way than just reading words on a page of a history book. It will always take my breath away to realize how powerful a few chairs, a bit of scenery and some talented actors can be in telling us a story that can change us. |
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A Couple of Blaguards
What? From the show website: "A Couple of Blaguards, a two-man show by literary greats Frank and Malachy McCourt (Angela’s Ashes, A Monk Swimming), is a bubbling stew of their well-known humor with a dash of poignancy to sharpen the flavor. Flavored with incidental music from the great Irish tradition, Blaguards follows the trials of the young McCourts in poverty-stricken Limerick, Ireland, through their journey to the U.S. and Brooklyn, New York – where the young men learn to apply the day-to-day lessons from their hardscrabble Irish past. A story of immigration, triumph over hardship, and the love among family, A Couple of Blaguards is a theatrical event that will find a place in the heart of every audience member."
When? October '12 Where? The Keegan Theatre, Washington DC Why? Hard to say no to some good Irish entertainment. I had heard of this show but didn't know much about it. I've had a couple of great experiences at The Keegan this past year, and am more than happy to go back! Well? If you're in the mood for some classic Irish humor and wit, mixed with some hard truths about growing up dirt-poor in Limerick, Ireland~all relayed by the charming brothers McCourt (as portrayed by the immensely like-able and talented actors, Timothy Hayes Lynch (Frank) and Robert Leembruggen (Malachy))~then go spend a couple of hours at The Keegan Theatre with this show. The stories flow back and forth between the brothers and across time and ocean; and pivotal figures from their lives are brought to life with a shawl as a wig, or a lampshade as a proper lady's hat. There's a sprinkling of Irish tunes throughout; and by the end, I felt as if I was leaving a friend's house after an evening of visiting over a drink or two or three or four or.... |
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Black WatchWhat? From the show website: "Since its very first performances, Black Watch has received standing ovations and enjoyed sold-out performances everywhere it has appeared, nationally and internationally.
Hurtling from a pool room in Fife to an armoured wagon in Iraq, Black Watch is based on interviews conducted by Gregory Burke with former soldiers who served in Iraq. Viewed through the eyes of those on the ground, Black Watch reveals what it means to be part of the legendary Scottish regiment, what it means to be part of the war on terror and what it means to make the journey home again. John Tiffany’s production makes powerful and inventive use of movement, music and song to create a visceral, complex and urgent piece of theatre that is as relevant in 2010 as ever. Black Watch has played to tens of thousands of people across three continents and has garnered 22 awards. Most recently, the production won four Laurence Olivier Awards and the National Theatre of Scotland won its first US award with the New York Drama Circle naming Black Watch Best Foreign Play. When? October '12 Where? The Shakespeare Theatre Company, Washington DC Why? I live for unique theatre, and this counts as that for sure. See my blog post about the preview I attended for this show! Well? This is a powerful evening of theatre (and be forewarned, it's not an exaggeration to say that nearly every line contains the "f" word and other raw language~appropriate to the story, but could be jarring if you're not prepared for it; also the Scottish accents are very thick and sometimes a bit tough to follow). The unvarnished experience of an elite fighting brigade in Iraq is not one of happy endings. It's a story of pride of country and loyalty to one's mates...and of the psychological scars borne by those who fight and survive. The battlefield is created by a versatile pool table that doubles as a convoy wagon, some chairs and an industrial, multi-level set that allows for shifting entrances and exits; with the action punctuated by explosions of sound and light, and several television screens that were often playing soccer footage, in poignant contrast to the action taking place on stage. I loved the use of the stark, controlled yet chaotic and unexpected choreography in several of the scenes. Particularly at the end, the drill-style marching with soldiers falling to the ground to be picked up and restored to the group, was an effective and symbolic way to convey the themes of the story: bravery, duty, camaraderie, death and carrying on in the face of it. At the end of the final, wordless, choreographed scene, the lights went out and all you could hear in the theatre was the sound of the actors breathing. I'm really glad to have experienced this show. It truly underscores the importance of theatre to the telling of human experience. |
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One Night With Janis Joplin
What? From the show website: "With a voice like whiskey and a laugh like pure joy, Janis Joplin took the music scene by storm. Simultaneously rough and vulnerable, Joplin was dubbed the Queen of Rock ‘n’ Roll, proving music wasn't just a man's world anymore. Packed with classics (“Piece of My Heart,” “Summertime,” “Mercedes Benz”) the show also shines the spotlight on trailblazers who influenced Janis like Bessie Smith, Etta James and Aretha Franklin. Now, in a new musical event featuring more than a dozen singers and band members, playwright-director Randy Johnson creates "a compelling portrait of an artist" (Culturemob) through the words, inspiration and music of one of America’s greatest rock ‘n’ roll originals.”
When? October '12 Where? Arena Stage, Washington DC Why? Frankly, despite being a devoted fan of all things 60s, Janis Joplin has never held much appeal for me, but this show really sounds engaging. I've also had a lot of success when I've challenged myself to take a chance on a show that may not have sounded like a first choice. And the decision was made when tickets were available via Goldstar. Well? My first glimpse of the intimate set immediately put my mood in just the right place...a rug-covered stage bordered in small table lamps, and an armchair to the side (for moments of conversational patter from "Janis" during the show) fronted a multi-level platform for the band and a large partitioned screen above that showed images and became opaque to show shadowy figures of actors portraying the musical influences that inspired Janis Joplin (Odetta, Bessie Smith, Aretha Franklin). The show was a great opportunity to understand and appreciate the life and music of Joplin; I feel as if I "get" the enormous impact she's had on music, and opening doors for women to be more of a musical force than they were able to be in the girl groups of the 50s and 60s. Several times during the show, we hear about how critical it was for Janis Joplin to never be anything other than completely true to herself and her instincts about music and life, and there's no question that she used her all-too-brief time in this world to change the musical landscape in a unique way. There is more exposition than I expected, and I liked it. I was glad to hear more about Janis' life and how she arrived at the heights she achieved. The weaving of songs and recollections was well done, I thought. And while I enjoyed the show, and was truly blown away by the voice of Sabrina Elayne Carten ("Blues Singer"), I am really disappointed to not have seen the lead actor in the role of Janis, and particularly because I do not remember every hearing an announcement or seeing an insert in the program stating the substitution. Alison Cusano (the alternate for the role) has an impressive voice, but her portrayal of Janis, the person, seemed a bit forced. I'd be interested to see Mary Bridget Davies as a comparison. Update: I spoke with Arena Stage about the situation with the role of "Janis;" turns out that I had missed the statement (not particularly noticeable unless you were really looking) at the bottom of the show's description that indicated that two actresses are sharing the role (Mary Bridget Davies and Alison Cusano). Each was performing certain specified performances during the week. The very nice gentleman in the Arena customer service office and I had a good chat about the delicate situation of marketing a show in a situation where you have a shared lead. Here, Mary Bridget Davies has gotten most of the press, and is known for her portrayal of Janis in another show, "Love, Janis;" so it is more difficult to balance the expectations. There's a danger in announcing who's playing the role at a given performance with a show like this; i.e., you risk breaking the "fourth wall" where it's particularly important for the audience to feel as if they are having the experience of seeing Janis Joplin in concert. If I go see the show with MBD in the role, I'll certainly report back about how it compared! |
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A Chorus LineWhat? From the show website: "A Chorus Line is "One Singular Sensation" that garnered virtually every award imaginable, including the Tony Award for Best Musical and the Pulitzer Prize. This groundbreaking musical, set during an audition for an upcoming Broadway show, shines a light on the hopes, fears and dreams of performers vying for a chance to do what they all know they were born to do. A Chorus Line is an enthralling and emotional metaphor for what drives each of us to achieve our dreams. .”
When? October '12 Where? Paper Mill Playhouse, Millburn, NJ Why? I am slightly mortified that I have never seen this show in a full-scale production; only the film and high school productions. I didn't really need much more motivation than seeing it done at Paper Mill Playhouse ("Newsies" got its start there). I've wanted to go there for a while, and it's so accessible from NYC, so it was a perfect match! Well? It is impossible not to be affected by the emotion and heart of this show. Whether or not you're an artist/performer, we've all had those experiences where we are being judged on factors that seem beyond our control, and want something so badly that it hurts just to think about not getting it. The story provides a real insight into the tough life a working (or hopefully working) "gypsy" (ensemble dancers that move from show to show) must endure to do what they love. I think this is part of why I enjoy going to stage doors after shows; to say thank you to these hard-working performers. There are some amazing voices in this cast, and Rachelle Rak was wonderful as Sheila, the older, jaded, cynical dancer who fights back in the only way she knows how, with aggression and sexuality. But my favorite by far (and the audience reaction seemed to support mine) was the actor playing Paul, the fragile, vulnerable dancer who started as a teenage drag performer. Jordan Fife Hunt, the understudy for the role, was heartbreaking and touching. His performance elicited the most emotion from me, and his ability to stand alone on a stage and make you hang on his every word, was impressive. If you're interested in the history of "A Chorus Line," here's a link to the audience guide prepared by Paper Mill. 
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Marry Me a LittleWhat? From the show website: "Two single New Yorkers, left alone in their studio apartments on a Saturday night, play out their secret romantic fantasies, never knowing that they're just a floor away from each other and the end of their lonely dreams. Weaving several unknown songs by the undisputed master of contemporary Broadway, this funny and charming musical touts "a treasure trove of rare musical delights," (San Francisco Chronicle), including songs originally written for FOLLIES, A LITTLE NIGHT MUSIC, COMPANY, and other Sondheim favorites.”
When? October '12 Where? Keen Company, NYC Why? Unheard Sondheim songs?? Sign me up. Well? Incredibly charming production! Jason Tam and Lauren Molina are each supremely talented and have great chemistry; with each other and with the music. I saw, and enjoyed, Jason in "Lysistrata Jones" last winter. But the gem in this small jewel box of a show is Lauren Molina. Her voice is powerful, lovely and commanding. I could not look away from her, and this is saying a great deal considering the very intimate stage and trading off of Jason and Lauren's songs and stories. I am continually impressed by the creative staging of shows on small stages; the stages may be small, but the shows can be so big; in talent, in story, in impact. This was one of those "big" shows that was perfectly staged in a small space. And I will now make certain to see any show that features Lauren Molina. |
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Glengarry Glen RossWhat? From the show website:
"ALWAYS BE CLOSING. The stakes are high at a fly by night Chicago real estate office: 1st prize-- a new Cadillac, 2nd prize-- a set of steak knives, 3rd prize-- you’re fired! Glengarry slices to the core of the American dream and exposes the depths people will go to stay on top of the game. There is no room for losers in this office, and only "closers" will get the good Glengarry sales leads. They're learning first hand that in business, someone always has to pay." When? October '12 Where? Gerald Schoenfeld Theatre Why? Al Pacino in a play I've always wanted to see. No brainer. Well? I decided to see this before I even knew that Richard Schiff ("The West Wing") would be in the cast. He turned out to be my favorite part of this production. Not to take away from the fact that Al Pacino is one of the most charismatic stage performers I've seen; he packs a huge punch in that small body. This was the very first performance of the show, and I think it's fair to say that you could tell that it needs some smoothing out. That said, the cast has amazing chemistry; particularly Bobby Cannavale and Al Pacino. But Richard Schiff was the most human. I found it fascinating that as with "A Chorus Line," I was being told a story of human vulnerability and yearning for success and validation, just in a wildly different setting. |
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The HeiressWhat? From the show website: "Jessica Chastain (Academy Award® nominee for The Help) makes her Broadway debut alongside David Strathairn (Academy Award® nominee for Good Night, and Good Luck), Dan Stevens (Matthew Crawley on Downton Abbey) and Judith Ivey (two-time Tony Award® winner), in the Tony Award®-winning play, THE HEIRESS. Written byRuth and Augustus Goetz and directed by Tony Award® nominated playwright and director Moisés Kaufman, this compelling drama will run for an 18-week limited engagement.
THE HEIRESS is the story of Catherine Sloper, the shy and sheltered daughter of a prominent New Yorker. Caught between the demands of an emotionally distant father and the attentions of a passionate young suitor, Catherine must navigate the terrain of love and regret, desire and duty, a chance for happiness and the burden of fortune…as only an heiress can." When? October '12 Where? The Walter Kerr Theatre Why? This is completely a cast-driven decision, but the story sounds intriguing! Well? I loved pretty much everything about this show. The set and costumes are gorgeous. The cast is stellar. The story, though uncomplicated, is compelling. It would be difficult to single out one performance that made the show successful...David Strathairn was cold and cruel in all the right ways; Jessica Chastain communicates the soul of her character with just a shiver or halting step; Dan Stevens is endearing despite what we may know (or not know) of his motives; Judith Ivey is marvelously charming and provides the required humorous relief. Even Virginia Krull as the maid (I loved her in "Rapture, Blister, Burn") is an everywoman who handles the charged air of the house with a wry perspective. It's hard to imagine better casting. And best of all, the ending was not a sure bet...I was kept guessing until the lights went out and footsteps echoed. |
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AnnieWhat? From the show website: "LEAPIN' LIZARDS! It's an all-new production of one of the most acclaimed musicals of the past 35 years! With equal measures of pluck and positivity, little orphan ANNIE charms everyone's hearts, despite a next-to-nothing start in 1930s New York City. And now, alongside her signature pal dog, Sandy, she's set her sights on making us grin from ear to ear as she inspires a whole new millennium.
Winner of 7 Tony Awards® including Best Musical, ANNIE - with Music by Charles Strouse, Lyrics by Martin Charnin, and Book by Thomas Meehan - makes its triumphant return to Broadway in a brand new production from Tony, Drama Desk and Pulitzer Prize-winning Director James Lapine and an A-list creative team." When? October '12 Where? The Palace Theatre Why? I have not seen this show since 1981 in DC and it has always represented classic musical theatre to me, so I am thrilled to see this revival on a New York stage. Well? Not surprisingly, it was an endearing evening at "Annie." It is such fun to see/hear these songs I've loved for a long time performed by this wonderfully charming and talented cast. Taylor Richardson, the "Annie" understudy, played the role that night and knocked that "hard life" right out of the theatre! She was just perfect. I am sure Lilla Crawford is also wonderful; but I'd be hard-pressed to articulate what more I would have wanted from an actress in this part. Taylor's voice was beautiful and her comedic timing spot on. Although nothing really compares with the thrill of hearing Anthony Warlow (Warbucks) sing...what an incredible voice! And the crown jewel in the cast is Katie Finneran (Tony-winner for "Promises, Promises") who plays off the group of small-actresses-with-big-talent playing the orphans with just the right tone. With respect to the orphans, the star without equal is the tiniest one, Emily Rosenfeld (Molly). She brought down the house every time she was on stage. |
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The Mystery of Edwin DroodWhat? From the show website: "You choose the murderer in The Mystery of Edwin Drood, the whodunit smash based on the unfinished novel by Charles Dickens and adapted by Tony Award®–winning writer/composer Rupert Holmes (Curtains). Scott Ellis (She Loves Me) directs this rollicking musical in its first-ever return to Broadway since winning the Tony “Triple Crown” (Best Musical, Best Book, and Best Score)!
Who killed Edwin Drood? It’s a question that has stumped audiences for years—now it’s your turn to answer one of Broadway’s most baffling mysteries.Take a trip back in time to a Victorian music hall where a rowdy ensemble of actors mounts a staging of Charles Dickens’ unfinished novel. Everyone on stage is a suspect in the murder of young Edwin Drood—and it’s up to you to choose the killer! Is it John Jasper, Edwin’s protective but slightly maniacal uncle? Rosa Bud, his reluctant betrothed? The debauched Princess Puffer? Each performance ends differently, depending on what the audience decides!" When? October '12 Where? Studio 54 Why? I made the decision to subscribe to the Roundabout Theatre Company season this time around. I like the assortment of venues and the variety of shows. This one has a fabulous cast (Chita Rivera, Will Chase from "Smash," Stephanie J. Block) and such a fun premise. Well? It would be impossible to not have a great time at this show! Charles Dickens' unfinished story makes for the beloved audience participation feature of this revival of the Tony-winning musical. And a beautifully designed production makes it fabulous to look at, as well as a pleasure to hear. The cast, to a person, throws themselves into each note, line and bit, wringing humor from just a wink or a nod. Stephanie J. Block and Will Chase as the pivotal nephew/uncle characters are fantastic; and the other standout is Jessie Mueller as Helena, the mysterious newcomer and friend (?) to Rosa (the wonderful Betsy Wolfe). But really, can you go wrong with Chita Rivera as Princess Puffer, the proprietess of iniquity :), who was deemed the murderer for our performance? As I write this, still recovering from my travel weekend, I am mortified to think that this amazing woman is doing this show 8 times a week and I need extra sleep after just watching her perform. I am still smiling from the ribald fun and frolic of "Droooooood." :) |
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Fun HomeWhat? From the show website: "From Jeanine Tesori, four-time Tony Award®-nominated composer of Caroline, or Change; Shrek the Musical; andThoroughly Modern Millie, and Lisa Kron, Tony-nominated author of Well and 2.5 Minute Ride, comes an original new musical about fathers, daughters, cartoons, caskets, and love. Based on Alison Bechdel’s acclaimed graphic novel and set in the family business, Bechdel Funeral Home, FUN HOME charts Alison's quest to come to terms with her father's life and death by painstakingly reconstructing their shared but unspoken bond. Surprising, funny, ultimately deeply moving, FUN HOME is an exciting world-premiere musical from some of New York’s brightest theatrical talents.."
When? October '12 Where? The Public Theater Why? Alison Bechdel is an artist and storyteller with whom I'm familiar already; I don't always love her work, but it's incredibly honest and human, and generally pretty darn funny. The Public Theater is exactly the kind of place where I'd want to be introduced to this new musical! Well? I feel incredibly fortunate to have seen this performance. Although the audience was advised of the "workshop" nature of the show at this stage in its development, I wouldn't change a thing about the experience I had. Alison Bechdel's ability to relate the pain and confusion of her growing up through a story of love that wants fulfillment, whether from family or lovers, is unique. The show requires a very special cast, and they found one. From the touching vulnerability of each of the three actresses playing Alison as a child, a young adult and grown up, to the fearlessness of the actors playing her father, mother, siblings and romantic figures, there was talent and strength overflowing. My favorites were Beth Malone as grown-up narrator-Alison and Sydney Lucas, who held that entire audience and the story in the palm of her diminutive hand as child-Alison. Sadly, the older women sitting next to me were detrimentally unaware of the subject matter of the show they were attending, and felt compelled to audibly express their disgust for the sensitive subject matter of a tragically closeted gay father and his struggling gay daughter. That said, little Sydney Lucas was responsible for their also audible praise. A lesson for all: do go to see shows that may make you uncomfortable; but please read up on them before you go, and keep your dismay to yourself. You never know when you might be sitting next to someone for whom this story is painfully personal. |
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Checkers
What? From the show website: "It’s 1952. A young Richard Nixon is campaigning as his party’s candidate for Vice-President, his wife Pat proudly at his side, when an accusation of financial impropriety almost ends his promising career. In a momentous speech, he takes charge of his fate, and changes the character of American politics forever. CHECKERS is a revelatory look at Nixon’s drive, history and most surprisingly, his marriage to Pat – all of which are explored with insight, blistering wit and unexpected tenderness. A gripping new play from Douglas McGrath, author of such noted films as INFAMOUS and EMMA. Directed by Terry Kinney (REASONS TO BE PRETTY, AFTER ASHLEY)."
When? October '12 Where? The Vineyard Theatre Why? As a child growing up in Washington, DC, the Watergate era was a consuming period in the city, and Nixon was a fascinating figure. I think being raised in the heart of the political scene has made political history a draw for me when the stories are told on the stage. Well? Absolutely fascinating study of the events leading up to the famous Nixon speech and its subsequent impact. The most intriguing part of the story is definitely the relationship between Dick and Pat Nixon; I was surprised at the insight I felt I gained into Pat's role, and her feelings about Dick's political life; she was deeply hurt and scarred by the public's reaction and her loss of privacy. Also interesting was the look at the behind-the-scenes machinations within the party and amongst Eisenhower and his team with respect to Nixon's place on the ticket. Anthony LaPaglia is masterful as Nixon; and Kathryn Erbe is just wonderful as Pat. Erbe was relatable and raw and vulnerable in the role. Another standout was Lewis Stadlen as Nixon's campaign manager, Murray Chotiner. The staging at The Vineyard was excellent; I loved the symbolism of having those seemingly controlling Nixon's fate (including Eisenhower & his cronies) often playing their parts of the scenes from a level up above the stage, looking down on an increasingly agitated Nixon. |
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Modern Terrorism
What? From the show website: "In the spirit of Dr. Strangelove comes Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them, a provocative satire about a rogue group of 21st Century terrorists and their darkly comic misadventures. As a young bomber develops feelings for his beautiful, secretive conspirator, he is torn between his duty and his heart. When his hipster neighbor accidentally gets caught up in the plans, circumstances spiral out of control. This world premiere is the winner of the 2012 Laurents/Hatcher Foundation Award."
When? October '12 Where? Second Stage Theatre Why? Serendipitous offering of comp tickets in the aftermath of Sandy, while I was stranded in NYC. I was aware of the play, but hadn't been able to fit it in to my schedule until now. Well? I'm so happy to have had the chance to see it! I would almost describe this dark comedy as a sort of "Book of Mormon" treatment of terrorists and those who inadvertently get caught up in their orbit. There are four characters whom we meet in person (and an unseen landlord who meets an untimely end it would seem): the young Muslim woman whose anguish and rage drives her to avenge the killing of her husband after an American missile aiming for insurgents hit the wedding celebration instead; an arguably fanatical Muslim radical from Somalia who desperately wants to reach the fame of Bin Laden; the young, poignantly gentle Star Wars aficionado who has agreed to be the suicide bomber; and the hapless, perpetually stoned neighbor who stumbles into the middle of the plot with harrowing, but sometimes hilarious consequences. From crotch bombs to plans gone awry to love and friendship, the story takes the audience on a unique emotional journey that can be painful, but is ultimately incredibly entertaining. |
