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Post by carouselkathy on May 8, 2014 18:48:06 GMT -5
Kelly is one of my favorites, so I'm disappointed that the show is closing. I doubt that she would tour with it (She didn't with PIAZZA or SOUTH PACIFIC), but I look forward to seeing her again someday.
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Post by foxie on May 8, 2014 21:16:02 GMT -5
My fav also
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jo
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Post by jo on May 20, 2014 18:32:57 GMT -5
www.hollywoodreporter.com/race/tonys-bridges-madison-county-closing-705169A rather gloomy look at the future of traditional musicals. Kelli is also interviewed re the unfortunate reception ( by audiences in terms of poor box office sales... and the TONY nominating committee's decision not to consider it for the fifth slot for Best Musical) for BRIDGES OF MADISON COUNTRY. Btw, according to the long article by The Hollywood Reporter, Kelli is going to star in THE KING AND I at Lincoln Center this coming season.
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Post by mamaleh on May 30, 2014 10:37:23 GMT -5
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Post by njr on May 30, 2014 21:35:58 GMT -5
The way Bryan is looking at it makes me think that he doesn't think it looks very much like himself either!  Nancy |
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Post by mamaleh on Aug 27, 2014 10:18:41 GMT -5
A roundup of summer theater: CLONED! at the New York Musical Theater Festival (NYMF) last month was hilarious. I hope it gets a commercial Off-Broadway run.
PUMP BOYS AND DINETTES was revived for a few days at Encores!. It's a little nothing of a show with pleasant, country-flavored tunes, but no plot to speak of. Hunter Foster seemingly ad-libbed some funny, updated lines.
ATOMIC: This was a vibrant show for fans of the TV show "Manhattan" (I'm one) and all others curious to see a rock-musical treatment of the building of the atomic bomb. Real-life scientists Leo Szilard (played by Jeremy Kushnier) and J. Robert Oppenheimer (Euan Morton, his huge talents wasted in a small role), among other top minds wrestle with their superiors and their consciences as they realize the gravity of what they're working on. The lighting effects were almost another character, and the score reminded me, in a good way, of that of RENT.
DROP DEAD PERFECT featured Ridiculous Theatrical Company alum Everett Quinton in one of his best cross-dressed roles: an aging Southern doyenne caring for her bougainvillaeas while secretly lusting for the young, mysterious hunk who comes to her door. I laughed quite often.
PIECE OF MY HEART is a so-so bio-musical of Bert Berns, the largely unknown writer of such songs as "Twist and Shout," "I Want Candy," "Hang On, Sloopy" and of course, "Piece of My Heart." The musical numbers are pretty satisfying and the performances by Leslie Kritzer and especially Zak Resnick are fine, but the book is often downright risible.
HERE LIES LOVE is the hit downtown musical about Imelda Marcos and her rise from poverty to power amid turmoil in the Philippines. It's kinetic--everyone walks along with the actors as stagehands move tables to introduce the next scene or song--but while I enjoyed the often spectacular score, I'm not as huge a fan of this show as many are. Too many overwhelming gimmicks. Still, you could do a lot worse.
SEX WITH STRANGERS features Billy Magnussen, the hottie from VANYA AND SONIA (etc.) and Anna Gunn in an interesting play about the tricky road to real relationships in an era when social media can change who you are--or perhaps more insidious, how you are perceived. Good performances in this two-hander. Incidentally, it was directed by David ("Friends") Schwimmer.
POOR BEHAVIOR is Theresa Rebeck's latest dark-tinged comedy about two couples with secrets who meet for a country getaway one weekend. Some implausible situations prevented me from enjoying it more than I did. It's got some really funny lines, but overall, it's not a must-see.
THIS IS OUR YOUTH is a revival of a comedy-drama from '97 that pretty much launched Mark Ruffalo's stage career. It concerns the often humorous but sometimes serious angst of young adults on the Upper West Side in the early '80s. Michael Cera stars and is fairly good as a gangly 20-ish loser who has long hero-worshipped his drug-dealing slacker friend, played amazingly adroitly by Kieran Culkin. I was quite surprised at how natural and authentic Culkin is on stage. Tavi Gevinson is the lone female of the trio. She's not quite there yet, but I think she will improve as she gets more performances under her belt. Lots of laughs as well as poignant moments. Recommended.
Ellen
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Post by birchie on Aug 27, 2014 13:26:17 GMT -5
Thanks Ellen, always good to get insight into current shows. I hadn't heard of some of them but they sound like shows that may show up on a regional theater stage one day so I'll keep my eye out.
Sue
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Post by foxie on Aug 28, 2014 7:14:56 GMT -5
Thanks Ellen see u at the Flea?
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Post by mamaleh on Aug 28, 2014 19:12:15 GMT -5
Hi, Carol. Annoyingly, I have a wedding to attend later in the day, so for the first time I can't stay at the B'way Flea Market very long---probably just the first couple of hours. I'll have to make a whirlwind tour of the tables!
Ellen
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Post by foxie on Aug 28, 2014 19:16:18 GMT -5
That's too bad hope I will see u!
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Post by mamaleh on Sept 7, 2014 12:23:21 GMT -5
Me too, Carol.
I recently caught the latest Neil LaBute play, down at the Lortel. It's a very funny satire on Hollywood shenanigans, insecure drama queens, airhead/blowhard actors and trophy wives. Title is THE MONEY SHOT. Fred Weller steals the show as probably the dumbest actor to ever question that Belgium is in Europe. Callie Thorne from RESCUE ME plays the feisty, brainy lesbian lover of the drama-queen actress (Elizabeth Reaser). Great fun.
Ellen
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Post by mamaleh on Sept 11, 2014 8:28:36 GMT -5
Thanks to Broadway 2-for-1 Week, I caught ALADDIN a few days ago. You can tell it's a Disney production, with splash, color and pizzazz all over the place as well as kid-friendly comic business. That's not necessarily a bad thing, especially if you're in the mood for amazing sets and costumes. Disney does "spectacle" well, and ALADDIN fills that bill. You can see every dollar they spent up there. Of course, James Monroe Iglehart steals the show. His biggest number, "Friend Like Me," is even bigger and more spectacular than was what presented on the Tonys. But therein lies the problem: his star radiates much more brightly than that of the two putative leads. Adam Jacobs (Aladdin) and Courtney Reed (Jasmine) are OK but they pale somewhat by comparison with Iglehart. I liked the enthusiasm of Aladdin's trip of cohorts, and the evil Jafar (understudy Merwin Foard was on, but as befitting a former Javert, he was in excellent voice and convincingly menacing) stole a scene or two himself. But overall, the show is more style than substance. Still, you could do worse if you're in the mood for eye candy. One caveat: watch out for kids talking, kicking seats, and fussing with snack wrappers. It's Disney, after all.
Ellen
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Post by mamaleh on Sept 17, 2014 8:39:53 GMT -5
Reluctantly revisited PIECE OF MY HEART because of the confluence of two things: hubby wanted to see it, plus a very deep discount re-emerged. The musical numbers are still fine, but given the ridiculous dialogue and song lead-ins, the show is more a "piece" of something other than a major organ. Still, there's talk of moving it to Broadway. Good luck--they'll need it.
Learning that Isabel Keating, TBFO's erstwhile Judy Garland, was going on for Stockard Channing this past weekend in the all-star revival of Terrence McNally's IT'S ONLY A PLAY, I bought a last-minute standing room ticket. I tweeted about her fabulous, funny performance as a fading movie star, and she graciously retweeted my tweet. (That's a sentence I never thought I'd write during the 2003-2004 season.) The play is a fun satire about the frenetic goings-on in the producer's bedroom/coatroom on a play's opening night. It has lots of laughs, but also some deadly speeches that bring the proceedings to the proverbial grinding halt, most notably uttered by Matthew Broderick, who plays the luckless author of the play within the play. Trimming those long monologues should help, though. Nathan Lane, as the playwright's old friend and neurotic sitcom star, is the hilarious linchpin of the starry group that also consists of F. Murray Abraham as an acerbic critic with a secret, Megan Mullally as a fledgling producer who misquotes everything, and Rupert Grint (of the Harry Potter films) as a wild-eyed, eccentric wunderkind director pining for a failure and who just might get his wish. (There's a great visual joke about one of his real-life film costars that gets a big laugh, deservedly so.) Micah Stock, who was in McNally's other ode to the theater, AND AWAY WE GO, almost steals scenes from Lane as the coatroom attendant; his timing and delivery are that good. The limited-run show is pretty much sold out (and extremely pricey!), so let me recommend $37 standing room. It's high for standing room, but well worth it considering premium tix are going for $300. (!!)
PAGEANT was among the Off-B'way shows participating in 20at20 ($20 tickets sold 20 minutes before curtain), so I decided to give it a try. The all-male cast portray beauty queens vying for the title of Miss Glamouresse. There are some laughs, especially during the talent portion of the evening, but basically it's one 85-minute joke stretched too thinly, resembling a Hasty Pudding show. Sample of the humor: the guy who helps the very muscled "ladies" get ready backstage is named Dick Tucker. John Bolton (CURTAINS, A CHRISTMAS STORY) is appropriately oily as the smarmy emcee. Audience members are chosen at random to serve as judges, so the winner may vary from night to night.
Does a filmed play count? Last night I saw the NT Live broadcast of the Young Vic's A STREETCAR NAMED DESIRE, currently running in London. Gillian Anderson was amazing; I have never seen her so visceral and vivid. I mostly associate her with roles in which she's so modulated she's practically comatose, but she pulls out all the stops as tragic heroine Blanche DuBois. Ben Foster (ORPHANS), whom you may remember as Angel from XM:TLS, has beefed up considerably to play brutish Stanley Kowalski; he's almost unrecognizable and very effective. If this transfers to NY, I predict Tony noms for both leads.
Ellen
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Post by foxie on Sept 17, 2014 14:08:36 GMT -5
I can't imagine Mathew being serious he is certainly one of my favs and I crack up when he opens his mouth!Diane and I r going to tkts Sunday I would love to see that or the Blythe Danner one I have always adored her!we shall see hope we see u!
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Post by birchie on Sept 19, 2014 10:22:46 GMT -5
<snip> Does a filmed play count? Last night I saw the NT Live broadcast of the Young Vic's A STREETCAR NAMED DESIRE, currently running in London. Gillian Anderson was amazing; I have never seen her so visceral and vivid. I mostly associate her with roles in which she's so modulated she's practically comatose, but she pulls out all the stops as tragic heroine Blanche DuBois. Ben Foster (ORPHANS), whom you may remember as Angel from XM:TLS, has beefed up considerably to play brutish Stanley Kowalski; he's almost unrecognizable and very effective. If this transfers to NY, I predict Tony noms for both leads. Ellen As always, your theater reviews & comment are great to read Ellen! Glad you included the filmed one too. I was thinking of seeing it. It's interesting that so many plays are being filmed to be viewed in theaters now. Even the RSC has gotten into the act via Fathom Events and National Theater Live (Streetcar) seems to be doing well since they started a couple years ago. I think Of Mice & Men is coming in Nov but I'm not a James Franco fan so I may not see it. This is getting to be more common now, especially for British productions. If they put more Broadway shows in the movie theaters I'd be thrilled!!!! Thanks for including it  Sue |
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Post by mamaleh on Sept 19, 2014 11:15:17 GMT -5
Thanks, Sue.
Anderson's not everyone's cup of tea, but I was mesmerized by her Blanche.
Like you, Sue, I applaud the filming of live theater, making it accessible to so many people who can't get to the live production. It's about time!
I'm likely going to see OF MICE AND MEN; not because of Franco but because Chris O'Dowd got truly glowing reviews. I didn't make it to the Longacre before the play's run ended in late July, so this will be another chance.
How I wish this had been done for THE BOY FROM OZ, A STEADY RAIN and BACK ON BROADWAY. Imagine the exposure it would have given to millions who know Hugh only or primarily as Wolverine.
Ellen
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Post by birchie on Sept 20, 2014 13:22:08 GMT -5
<snip> How I wish this had been done for THE BOY FROM OZ, A STEADY RAIN and BACK ON BROADWAY. Imagine the exposure it would have given to millions who know Hugh only or primarily as Wolverine. Ellen I've been thinking the same thing! I hope something he does in the future will go this route, especially if it's a musical or another one man show type event like BOB! It seems to be gaining in popularity with more shows and events being shown all the time. I get both the Fathom Events and the National Theater Live newsletters. I think the first FE I went to was in 2009 or 2010 and, if I recall correctly, there were only about 4 events in theaters that year, at least in my area. Now it's become an ongoing thing so, fingers crossed, we may see Hugh on stage/in a theater some day! Sue |
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jo
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Post by jo on Sept 20, 2014 16:14:50 GMT -5
I think there is more pioneering on the other side of the pond when it comes to their "outreach" program ( compared to the other side of the Atlantic where filming a play has to deal with substantive union issues, especially for musicals). Can you imagine if Trevor Nunn had not been able to swing the filming of OKLAHOMA! ? On an aside, I read that the filming of OKLAHOMA! cost around $ 4 million dollars ( in 1998 dollars), so it can really be fairly expensive especially for musicals. I guess the second-best thing to do is to film an actual performance as that would be a little less expensive.
Even classical programs like operas and classical theatre are now benefiting from this new tack on spreading the creative gifts. I think the New York MET has already done this ...and in London they have also filmed classical theatre shows.
Can you imagine how this kind of program can be quite a boon for countries located very far from the source of live theatre? But it can be hard attracting good-sized audiences here especially as the general public is more keen to see movies.
Of course there would be the release or re-release of some of the movies or filmed shows.
Ellen - did you ever see the original movie of STREETCAR NAMED DESIRE ( Marlon Brando and Vivien Leigh) which of course became the broader template for subsequent stage or movie productions? Vivien's portrayal was really mesmerizing! The original play with the role of Blanche DuBois created by Jessica Tandy did not reach too many people, hence the greater popularity of the film adaptation ( Vivien originally played the role on the London stage, though). Brando was in both the original Broadway staging and the film adaptation - and this continues to be the role he is best remembered for. I have seen only one Tennesse Williams play on Broadway - one of the revivals of A GLASS MENAGERIE ( the one with Jessica Lange and Christian Slater) but of course had access to some of the film adaptations of his plays ( Streetcar, Cat on a Hot Tin Roof, Night of the Iguana, and Suddenly Last Summer).
I have tried to collect some of these film classics ( one of my favorites is Sunset Boulevard and even found one of Student Prince) - and have quite a few now.
Fortunately for Jackman fans, he is in both film and stage. And while Oklahoma! ( does Les Miserables count, too?) was the only one filmed from the stage, his filmography is widely available. Back on Broadway is the least likely to be filmed because it seems he is intending that to be the show which he may want to revive or show for the first time in quite a few places - so practical reasons are not favoring its filming. But A STEADY RAIN ( had they not supposedly set up film adaptation plans for it, which did not prosper) would have been an excellent candidate! Maybe THE RIVER, too?
Jo
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Post by mamaleh on Sept 20, 2014 17:03:24 GMT -5
We can always hope, Jo. Yes, of course I've seen the Brando-Leigh-Hunter-Malden STREETCAR; many times, in fact. Interesting, though--for all the shock value it raised back in 1951, its script seems downright purified compared to the text of the original play.
Ellen
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jo
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Post by jo on Sept 20, 2014 17:11:33 GMT -5
Film adaptations tend to be "purified" compared to the original stage productions  Except perhaps for the more grim/more realistic film portrayal from the Victor Hugo novel of Les Miserables ( the stage musical was more "purified"). Jo |
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jo
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Post by jo on Sept 20, 2014 17:30:22 GMT -5
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Post by mamaleh on Sept 20, 2014 21:49:30 GMT -5
Not sure I'd list CAT first, but to each his own.
Ellen
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Post by foxie on Sept 22, 2014 18:46:51 GMT -5
Saw "you Can't Take it With You" what a great play one of the funniest I have ever seen what a blast!
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Post by mamaleh on Oct 6, 2014 12:10:28 GMT -5
I'm going later this week, Carol. My inaugural Today Tix order. Curious to see how the process works. Recent theatre: The title MONEY GRUBBIN' WHORES gained my attention, as I'm sure the producers hoped. The Off-Broadway comedy takes place in the basement of a New Jersey pizzeria where a couple about to divorce agree to forgo lawyers and instead each have a close friend mediate for them amid the piles of pizza boxes and six packs of beer. The archetypical "Jersey guy" has the back of his Irish plumber pal, who's despondent and angry that his Israeli wife wants out; in his rage he labels all women the title of the play. She brings her "cousin" Moshe, who may have a trick or two up his sleeve. The comedy works best in the earlier scenes. Later, the tone shifts to serious issues, just in time for a commentary on how to instill happiness into a marriage. Semi-recommended, only at a deep discount. Ewan McGregor, Maggie Gyllenhaal and Cynthia Nixon are starring in a revival of THE REAL THING at the Roundabout's American Airlines Theater on 42nd St. I'd never seen an earlier production, so I can't make any comparisons, but I thought McGregor displayed charm and solid stage presence as a playwright in pursuit of love, the "real thing" variety. Nixon seemed bland and wan. Gyllenhaal was sparkly if so stoop-shouldered that she reminded me of an invertebrate. It's one of the more accessible Tom Stoppard plays. He's not to everyone's taste, but I was amused during most of it and appreciated the mostly fine performances. I had a thoroughly enjoyable time at MTC's THE COUNTRY HOUSE. The characters seemed like real people, with all their shades of grey. I got a kick out of Daniel Sunjata's being the object of lust of three generations of women, including the Williamstown actress-matriarch played nicely by Blythe Danner. While the ending had a tonal shift that slightly threw me, it was poignant and very effectively acted by Danner and especially Eric Lange and Sarah Steele, the two latter actors making their B'way debuts. Lovely writing and lots of laughs. Recommended. Ellen |
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Post by foxie on Oct 6, 2014 18:51:11 GMT -5
The Country House was my second choice that day I love Blythe Denner. But I can't wait to see what u think of "You .cant take it with u"It got great reviews. Jen is coming the weekend dec13 we hope to see a couple of shows one being Hugh maybe I can see it then!
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