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Post by mamaleh on Oct 8, 2016 7:38:16 GMT -5
Caught another British import, LOVE LOVE LOVE, by the author of KING CHARLES III, Michael Bartlett. It stars Richard Armitage, an actor who many of us (including me) feel resembles HJ to a degree. This comedy-drama is his NY stage debut and it is an auspicious one. He's very funny (and damn cute) in the first of the three short acts, in which he is supposed to be a 19-year-old Oxford student. At 45, that's a pretty neat trick to pull off, and he does a fairly convincing job, abetted by a wig and a young-guy slouch and other body language. Amy Ryan, probably one of the best current actresses (AUGUST: OSAGE COUNTY, "Birdman" movie) is less physically convincing as a fellow student, who, like Armitage's character, seeks freedom and adventure. but her acting is superb. The story continues through their bumpy marriage as their philosophies shape the lives, for better or worse, of their teenage and eventually adult children. It's a wry look at '60s values, fidelity, parenting and responsibility. It's not a great play but certainly one that held my attention. Zoe Kazan and Ben Rosenfield co-star. Playing Off-Broadway at Roundabout's Pels theater.
Ellen
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jo
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Post by jo on Oct 8, 2016 9:58:02 GMT -5
I have heard about THE ENCOUNTER -- what an unusual theatrical piece!
Jo
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Post by mamaleh on Oct 23, 2016 15:10:09 GMT -5
Caught a revival of A TASTE OF HONEY Off-Broadway at the Pearl. I've seen only bits and pieces of the early sixties movie version and that was many years ago, so I didn't remember much about it. Thoroughly enjoyed this production. Although it's a somber piece about a teenager and her not-very-loving mother facing a hardscrabble life in a poor neighborhood in Manchester, there were numerous moments of humor and even music. The performers were unknown to me and absolutely perfect in their roles. Ends October 30; highly recommended.
Ellen
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Post by mamaleh on Oct 25, 2016 10:36:03 GMT -5
I attended the City Center gala performance of SUNDAY IN THE PARK WITH GEORGE last night. It totally sold out in minutes, so a couple more performances were added for this week. This was a benefit for City Center honoring a major donor. The big draw was Jake Gyllenhaal as George, the role Mandy Patinkin made famous. He was in quite fine voice, although with very limited rehearsal time and only a few performances, he and most of the ensemble cast comprised of B'way stalwarts relied on the books they carried around with them, a usual sight at City Center very limited-run productions. Still, I wish JG did not have to consistently bury his face in the book while singing "Putting It Together." It took a lot away from the song and made it more of a recitation rather than a nuanced acting performance. Annaleigh Ashford, as Dot and later her aged daughter Marie, was a little more successful in making eye contact with the packed audience. This show is not my favorite Sondheim, but it does have its moments and for many it's a cult show.
Late edit: I've learned that JG's vocal coach was Liz Caplan. Since he sounded somewhat better than he did at LITTLE SHOP OF HORRORS in the summer of 2015--and he sounded fine then--I got to thinking: I wish Caplan had been HJ's vocal coach for LES MIZ rather than Joan Lader. Just my personal musing.
Ellen
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Post by mamaleh on Oct 31, 2016 1:10:26 GMT -5
Hubby and I did SRO for the heralded new revival of THE FRONT PAGE this afternoon. It's truly an all-star cast, with top-notch performances including those by John Slattery, John Goodman, Robert Morse, Dann Florek, Jefferson Mays, Holland Taylor, Lewis J. Stadlen, Joey Slotnick, Danny Mastrogiorgio, Sherie Rene Scott and especially Nathan Lane. Double drama at today's performance: Someone took very ill during the third act, which was halted for 20 minutes until an ambulance arrived to take the afflicted audience member to the hospital. When the action resumed, Nathan Lane's character was on the phone and said, "It feels like I've been standing here for an hour," which got an uproarious response. Not sure if it was an ad-lib or in the text, but it was very effective. The play is in three acts of about 55 minutes each, give or take a few. But it goes by as quickly as the rapid-fire dialogue, much of it very un-PC and of its time, the late 1920s. One quibble: Micah Stock, who was so wonderfully funny in IT'S ONLY A PLAY, was given a super-exaggerated German accent, making a good bit of his dialogue undecipherable.
Ellen
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Post by jo on Oct 31, 2016 2:25:26 GMT -5
Thanks, Ellen -- I am living vicariously through your almost-picturesque descriptions of various performances and the gist of the plays. I do have Sunday in the Park on DVD - er...I think it is still on my file of " Will watch sometime in the future"  Check the IMDB Page of GREATEST SHOWMAN ON EARTH -- guess who is the Supervising Vocal Producer  LIZ CAPLAN! Maybe she will oversee the studio recording? www.imdb.com/title/tt1485796/fullcredits?ref_=tt_cl_sm#castJo |
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Post by jo on Oct 31, 2016 2:30:25 GMT -5
When I checked Liz Caplan's list of students on her site -- guess what I found  No mention on when she gave vocal lesssons to Hugh. But Liz Caplan was one of the vocal coaches for the film adaptation of LES MISERABLES, per IMDB listing -- www.imdb.com/title/tt1707386/fullcredits?ref_=tt_cl_sm#castShe was one of several vocal coaches. Among those listed was Joan Lader. I am not sure if all the vocal coaches travelled to England for the film shoot. What I recall was that Russell Crowe brought along his vocal coach Roberta Duchak and, if I remember right, Hugh took some coaching from her on set. I don't think Lader travelled to England for the duration of that shoot, as she is probably a very busy vocal coach. Jo |
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Post by jo on Oct 31, 2016 3:12:54 GMT -5
Joan Lader lists her teaching skills as both a vocal coach and a vocal therapist. Maybe this is why Hugh prefers to be with her as his vocal mentor, given that he has had an injury in the past (e.g., vocal haemorrhage). Or maybe he takes lessons from both? Is that possible? In fairness to Joan, maybe it was her training which allowed Hugh to explore his higher range ( he is a high baritone). Since the Valjean role was rewritten up from its original baritone role in the 1980 Paris production to the tenor range when Colm Wilkinson was cast in 1985 ( for the original London debut of the musical), maybe it gave Hugh the confidence to try out for it because he can sing on the upper limit of his baritone range? Transposing it back to the baritone range would not have been practical as that would amount to rewriting the score affecting Valjean to suit the new range...and could delay the project unnecessarily ( they had to meet a certain release deadline and even the pre-prod/filming/post schedule was on a very tight leash...as well as working with a very tight budget for a large scale production - only $ 65 million). While it is true that Hooper has said that he does not think he would have accepted the director's job had there been no Hugh Jackman ( who could sing high baritone)... the producers could have hired another director who might have found another candidate for the Valjean role. That would have been catastrophic for me Because the other side of the coin ( and maybe more importantly) is to find someone who is also a great film actor ( besides looking the part!)! Jo |
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Post by mamaleh on Oct 31, 2016 9:16:30 GMT -5
Could be. But...
I've read on various theater board threads many members' opinion that Liz Caplan is the best vocal teacher out there. So I wouldn't be unhappy if HJ received the lion's share of his training from her. Maybe all the annoying negative comments I sometimes read on those board about HJ's singing might disappear. But who knows? I'm just second guessing.
Ellen
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Post by jo on Oct 31, 2016 9:59:54 GMT -5
We'll see how it goes for GREATEST SHOWMAN. I wonder if she will also be coaching the talents as Supervising Vocal Producer, maybe as they do the studio recording ( which is happening right now)?
Jo
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Post by jo on Oct 31, 2016 10:37:39 GMT -5
If you are referring to Les Miserables, how refreshing to read this opinion on the movie version vs stage versions by an actual musical performer, posted on IMDB --
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Post by mamaleh on Oct 31, 2016 10:41:56 GMT -5
Now I remember reading that. It's always good to find positive statements instead of those on the negative side. Thanks, Jo.
Ellen
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Post by mamaleh on Nov 3, 2016 0:05:50 GMT -5
SPAMILTON is a very funny parody of not just HAMILTON but musicals of the past half century, from WEST SIDE STORY and THE UNSINKABLE MOLLY BROWN to Sondheim, Lloyd-Weber, ALADDIN and much more. The five key players are joined by a "king/queen" who sings a fun parody of "You'll Be Back" from HAMILTON and a guest female performer (today it was the very talented Christine Pedi) who dons the cloak of the beggar woman from SWEENEY TODD and then doffs it to do her Bernadette Peters or Liza Minnelli shtick. The main players--four men and one woman--are dressed as HAMILTON characters and perform some very witty numbers making fun of the show, its meteoric rise in the public consciousness and the ubiquity of Lin-Manuel Miranda in the media, especially The New York Times and on every conceivable magazine cover. The ribbing is slightly sharp but essentially good-natured, and the performers are amazing. If you make the ten-cent lottery as I did (yes, just ten cents) the show is virtually free because it appears as though the two-drink minimum at The Triad is not required of those seated in the small balcony's last row, at least that's what I experienced today. The view from there is perfect, by the way. And you needn't have seen HAMILTON to appreciate this largely affectionate parody.
Ellen
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Post by mamaleh on Nov 7, 2016 15:10:42 GMT -5
I was not very familiar with the comedy of Nick Kroll and John Mulaney but decided to rush OH, HELLO to see what all the fuss--including the humongous rush lines--were all about. The two comedic actors assume the guises of elderly roommates in a rent-controlled, multi-bedroom Upper West Side apartment whose rent is about to spiral from $75 a month to $2,300. The plot, such as it is (it's really a conduit for some mostly funny observations and ethnic jokes), has the two gentlemen putting together a play that will bring in the bucks necessary to keep their apartment. Every show features either a celebrity guest appearance or some shtick with an audience member. At yesterday's matinee "Donald Trump" showed up. While I'm so sick of all these politician impressions, I must say this was the most authentic sounding and looking Trump I've ever seen. His ad-libbing had the stars stifling laughter throughout.
It's a pleasant enough two hours counting the BC/EFA fundraising currently going on, but while I was amused, I didn't find it fall-down funny as did many of the people seated around me. Still, my side Row H orchestra seat was worth the rush price, $37. If you do rush, get to the box office at least one hour before curtain.
Ellen
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Post by mamaleh on Nov 17, 2016 10:34:43 GMT -5
Caught up with Liev Schreiber's LES LIAISONS DANGEREUSES at the Booth Theater yesterday thanks to a very hefty last-minute discount. The current production, brought over from London's Donmar Warehouse, co-stars the exquisite Janet McTeer, who made a brilliant, scathing marquise. Liev took over from Dominic West, who played the lecherous Valmont in London. (He was The Man in THE RIVER in the original English production.) This transfer has received some so-so notices, but I found it spellbinding and beautifully acted. The time whooshed by, even at close to three hours' length. A swordfight scene is very nicely executed--you can tell Liev has trained in such scenes. Funny moment during Act II: The imperious Valmont is issuing orders to his footman, during which a telephone is heard ringing loud and clear from the wings. Then, in the same tome, and without missing a beat, Valmont adds one more task, "Answer the phone." The footman rushes off to do so. The audience erupted in laughter, but because the ad-lib was delivered in character, the anachronism didn't really take us out of the play. Good going, Liev! After the show, he was very sweet and accommodating with everyone, posing for photos and pecking the cheeks of the ladies so requesting.
MORE THAN ALL THE WORLD is a musical version of Christopher Marlowe's play about King Edward II and his tumultuous reign during British medieval times. Edward is not liked by either his father, wife or the barons because he is openly gay and wants nothing more than to live quietly with the love of his life, a handsome courtier named Piers Gaveston. Intrigue abounds as the rejected queen allies with the barons to instigate a so-to-civil civil war. The show is chockablock (nearly three hours' running time) with power ballads composed by lead performer Erik Ransom (as King Edward) and sung by a very capable cast decked out in eye-popping, mostly black glam-rock finery, complete with lots of sequins and eye sparkle. Imagine Bowie meets CHICAGO meets KINKY BOOTS. Currently in a limited run Off-Off Broadway at Theater for a New City, but I would not be surprised if it moved to an open-ended Off-Broadway venue.
Ellen
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Post by jo on Nov 18, 2016 3:37:35 GMT -5
Thanks. Glad to know you caught up with the revival of Les Liaisons Dangereuses ( ha - I spelled that without looking ) - did you have a moment with Liev at the stagedoor? People are still secretly hoping that he might turn up as the surprise last villain in LOGAN There's still unfinished business between his Victor Creed and brother Jimmy Howlett ( aka Logan aka Wolverine)! Jo |
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Post by mamaleh on Nov 18, 2016 10:38:29 GMT -5
We did chat for a moment but didn't think of asking him about a surprise appearance. We had a photo taken together, and we joked about the loud phone call from backstage and his response.
I'd seen him at stage doors over the years, but he never seemed so relaxed and accommodating before. Nice to see.
Ellen
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Post by mamaleh on Nov 21, 2016 13:39:12 GMT -5
RIDE THE CYCLONE at the Lortel Theater in the Village is an original, quirky semi-rock musical whose theme might be viewed as cliched but the execution is by turns thoughtful, funny and ultimately serious and heartfelt. We've all seen shows or movies or read stories about people thrust into the afterlife contemplating what they did in life and how worthwhile their lives were. In this show, members of a high school choir in Saskatchewan are tossed to their deaths while riding a faultily maintained roller coaster. The robotic fortune teller attraction next to the coaster tells them there is a way back--but just for one of them, and that pathway is cryptic. They will have to figure out for themselves who deserves to "go back." Of course, certain types are represented: the know-it-all perky preppie girl, her "best friend" whom the former uses badly, the foreign kid who wants to be "awesome," the gay teen and a boy with disabilities who has always wanted to be a rock star. Plus one other: a Jane Doe whom nobody can identify. Despite the premise, the story rarely turns maudlin and in fact boasts some very funny scenes and uptempo numbers as each teen proclaims, through clever songs, why he or she is the most deserving. The only person in the cast I recognized was Taylor Louderman as the perky girl, having seen her as Wendy in that not-so-hot NBC live musical presentation of PETER PAN. The cast is very talented, and aspects of the staging are spectacular, including one character's stunning spin through the heavens. Not a bad choice if you're looking for a quick 95 minutes of offbeat entertainment.
Ellen
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Post by mamaleh on Nov 30, 2016 22:09:52 GMT -5
A BRONX TALE is GOODFELLAS by way of JERSEY BOYS, with dashes of WEST SIDE STORY and even TUESDAYS WITH MORRIE thrown in. It's a new musical based on Chazz Palminteri's monologue-turned-movie about growing up in the '50s and '60s as a kid torn between two strong but opposing male influences: his loving father, who wants his son Colagero to lead a clean, productive life; and the unofficial king (well, kingpin gangster) of Belmont Avenue in the Bronx. There's some memorable music by Alan Menken (LITTLE SHOP, BEAUTY/BEAST, NEWSIES) with clever, snappy lyrics worthy of street corner doo-wopp by Glenn Slater (SCHOOL OF ROCK). One song, "Look to Your Heart," reminded me of a similarly titled/themed song from ROCKY, "Fight With Your Heart." Rousing numbers such as the opener, "Belmont Avenue," as well as "Roll 'Em," "Ain't It the Truth" and "Hurt Someone" give the very talented ensemble a chance to shine by way of energetic, muscular moves choreographed by Sergio Trujillo (ON YOUR FEET!, JERSEY BOYS, ALL SHOOK UP).
The cast is wonderful. The child who plays Colagero at age nine is a real charmer, and his young adult self is nicely embodied by Bobby Conte Thornton. But for my money, the best of the bunch is the guy who stole BULLETS OVER BROADWAY, Nick Cordero, as the hood with a heart of quasi-gold, at least where his mentee Colagero is concerned. He puts over his Sinatra-like numbers with cool ease and always commands the stage. I wouldn't be surprised if he garners another Tony nomination for A BRONX TALE.
I rushed the show for $39. The side-orchestra seats are labeled partial view, but you basically miss only some entrances and exits. I was able to move to the center for Act II. I think this show, which opens tomorrow night, will prove to be a hit.
Ellen
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Post by mamaleh on Dec 9, 2016 15:29:04 GMT -5
A TASTE OF THINGS TO COME is a small, pleasant Off-Broadway musical that takes four suburban women, close friends, from the staid Eisenhower era to the swinging--and liberated--'60s. The songs are cute if not especially memorable, and the '60s costumes are, well, way out. It closes this Sunday.
Ellen
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Post by mamaleh on Dec 25, 2016 17:09:09 GMT -5
TINY BEAUTIFUL THINGS Off-Broadway is a fairly maudlin exercise of self-help "dramatized" for the stage. Nia Vardolos plays a reluctant advice columnist who answers people's desperate what-do-I-do? pleas. A handful of actors portray the letter writers and Ms. Vardolos' answers comprise the bulk of the dialogue. There's a very emotional segment about the unbearable grief suffered by a father who has lost his barely adult son. The scene, during which the audience naturally reacts with compassion--after all, who hasn't experienced loss?--is probably the high, and low, point of the evening. Where can you go after such gut-wrenching drama? Maybe that's the problem. This likely worked better in the book, which I never read. I don't think it needed a stage version.
Won the lottery (finally!) for Off-Broadway's OTHELLO with Daniel Craig and David Oyelowo. This is a rough-and-tumble, muscular, visceral production with bodies rolling along the floor and pummeling each other in fights. I have a feeling a physical therapist is on daily call at the theater. Craig makes a dastardly repugnant villain Iago, sworn to bring down all his enemies for the sport of it, especially his general-in-command, Othello, played by Oyelowo (SELMA, THE BUTLER). Oyelowo maybe goes over the top a bit at the climax, but his Othello is nonetheless very powerful. I've heard that celebs regularly attend; it was so on Friday when I spied Mark Strong (so good in the last VIEW FROM THE BRIDGE revival), critic Elizabeth Vincentelli, Frances McDormand and her hubby director Joel Coen and Rachel Weisz, who likely has made earlier trips to NY Theatre Workshop to see hubby Daniel emote. Rachel Brosnahan (HOUSE OF CARDS, MANHATTAN) is a fine, vulnerable Desdemona. Prep warning: The first scene is done in total darkness, so if you're not familiar with the text (I had to reacquaint myself), you may not know who is speaking and what the context is. Even so, this is a don't-miss production.
Ellen
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Post by jo on Dec 25, 2016 23:07:49 GMT -5
I have read somewhere that OTHELLO will be transferring to Broadway...not sure if it will be on time for the coming TONYs.
There is still no word though to confirm that Daniel is coming back to his Bond role, which could or could not affect the timing of the transfer if the next Bond (Bond 25) will have to film in 2017?
Jo
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Post by mamaleh on Dec 29, 2016 12:33:51 GMT -5
Was reluctantly going to bypass the Atlantic Theater Company's THE BAND'S VISIT because I'd annoyingly missed the very small window of $25 tickets and put my trust into its someday transferring to Broadway. But reading every day how wonderful this musical is, I decided to bite the bullet and not just hope for a swift transfer that might not occur. I got a cancellation line ticket last night and am very glad I did. As a fan of the 2007 movie, a little gem about an Egyptian police band heading for a cultural festival who inadvertently travels to the wrong tiny Israeli town, I was curious to see how the story would be musicalized. Happy to report all the humanity, fun and honest emotion remain and are even improved by the addition of great songs by David Yazbeck (THE FULL MONTY, WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN) that reflect Middle Eastern sensibilities. Tony Shalhoub stars as the captain of the Egyptian band, a lonely widower who strikes up a friendship with an equally lonely woman, the owner of the sleepy town's only cafe. Their interaction is at the heart of this small, one-act chamber musical. I didn't want it to end, but maybe adding a second act would have somehow detracted from the point of how even transitory meetings can broaden one's perspective and even enrich our lives.
As with OTHELLO, celebs are flocking to this one. I'd heard composer Marc Shaiman (HAIRSPRAY, the coming CHARLIE AND THE CHOCOLATE FACTORY) was in attendance the previous evening. In the audience last night were Andrea Martin, stage stalwart Debra Monk, Michael McKean (best known as Lenny from LAVERNE & SHIRLEY) and his wife Annette O'Toole (SMILE).
I'd love to see this show again, but as it's ending January 8 after a final extension, I'm going to have to wait until it transfers (I hope) to Broadway.
Definitely recommended.
Ellen
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Post by mamaleh on Jan 21, 2017 21:48:27 GMT -5
YEN at the Lortel downtown is a scathing play set in a lower-class section of London, where two teen brothers live unsupervised in a filthy apartment. Their mother, who visits infrequently when it suits her agenda, would rather not jeopardize her living arrangements with her latest boyfriend. Lucas Hedges of MANCHESTER BY THE SEA plays the older teen. Both he and his brother have grave emotional problems, which result in a harrowing event. Slightly overlong, but it packs a very effective wallop.
IN TRANSIT was a 180 from YEN. It's the first a cappella musical I have ever seen. The intricate vocal arrangements are amazing; the absence of an orchestra is not felt at all. It's not what I would call a great musical--it's a little too full of urban cliches for that--but it's colorful, bursting with energy and performed beautifully by Justin Guarini, Erin Mackey (CHAPLIN), Margot Seiber (ROCKY), James Snyder (IF/THEN) and the rest of the cast as they play out the ups and downs of busy millennials struggling with careers and personal relationships. Moderately recommended.
Caught one of the final performances at Lincoln Center of THE BABYLON LINE, a wry comedy starring Josh Radnor of HOW I MET YOUR MOTHER. Radnor plays a failed novelist reduced to teaching a continuing ed class in creative writing to Long Island suburbanites, most of whom are taking the class because French Cooking was filled. One enrollee, however, is different. That woman presents a challenge to the flustered teacher in more ways than one, and therein lies the source of the conflict and much of the comedy. I really enjoyed this play.
Ellen
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Post by njr on Jan 22, 2017 12:12:54 GMT -5
Ellen,
I don't usually read this thread, but I'm sure you must have discussed HAMILTON. Was it as good as it was said to be?
Nancy
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