theatre review PHAEDRA BACKWARDS, McCarter Theatre, November 6

The world premiere of Marina Carr's new play Phaedra Backwards recently ended its run at the McCarter Theatre and we caught one of the final performances.   An updated and somewhat modernized retelling of the Phaedra myth, the play is one that still needs a little work to fully realize the goal it is trying to achieve.

Directed by McCarter Artistic Director Emily Mann, the play has a dreamlike feel to it, using film projections as both remembrances of the past as well as showing plot elements that aren't exactly able to be staged, like ones involving the characters in the ocean.  These scenes work perfectly for the way that Carr has reimagined the tale as one that starts at the end, then goes back and forth to the beginning and shows us how Phaedra got to where she ended up, with the film images serving as a way into Phaedra's memories.  The simple stage that includes only a table, some chairs, a chaise lounge and a stone ledge also works well with the story.

Stephanie Roth Haberle and Julio Monge

However, if you didn't know the myth or read some of the notes in the playbill you might be a little lost.  This is one area where Carr needs to provide more details.  For example, the myth's main thrust revolves around two main plot points.  The first, Phaedra's sexual longings for her stepson is very important but the play only shows the tension and heat between the two of them but you never get a sense that Phaedra or the stepson are interested in each other, it just seems that one or the other is putting on an act to make others jealous.  The second revolves around the character of the Minotaur, who is Phaedra's half brother and was killed by her husband and her sister.  However, after he is dead, the Minotaur comes after Phaedra and her family even though she was one of the only people who tried to protect him.  While I understand the Minotaur is a creature that acts impulsively, the earlier tender scenes between him and Phaedra are at complete odds with what transpires due to the way parts of the play are underwritten.

Phaedra stars Stephanie Roth Haberle in the lead role, and she excels in the part.   Her character runs the gamut of emotions and she is giving one of the best performances I've seen this year. The majority of the rest of the cast is almost at her level though some of the characters, like the plot, are a little underwritten, which might explain why some of the actors didn't seem as entrenched in their parts as Haberle is.

The play also includes one somewhat uncomfortable scene where we see how Phaedra's mother Pasiphae plans to mate with the white bull (which is how the Minotaur was conceived.)  It  is completely unnecessary and is more there for shock value.   Also, the scenes between Phaedra and her husband as well as her mother and her father, only show the downside to their marriages, not any of the happy times which you kinda need to see to better understand why they are even with these people.  Again, the play in its current truncated 90 minute running time, needs to add some of these missing elements as well as eliminate some of the unnecessary ones in order to be a better play.

I understand that Carr is trying to show how the Phaedra myth is relevant today, and the theme that ghosts of one's past can force someone to do somewhat unnatural things is definitely something that doesn't just happen in myths.  However, having Phaedra, her husband and stepson in modern clothes while the characters of her mother and siblings are in "mythology" dress doesn't really show me how the myth is relevant today.

So, while I enjoyed the staging, direction and most of the acting, Phaedra Backwards didn't really connect with me.

Scenes from the play -

Behind the scenes discusssion -



theatre review SEMINAR, Broadway, November 3

Seminar is the latest play by Theresa Rebeck and while Rebeck has written many plays this is actually only her second one to make it to Broadway.  Starring Alan Rickman, Lily Rabe, Hamish Linklater, Jerry O'Connell and Hettienne Park, Seminar is currently in previews and opens on November 20th.

Rickman is Leonard, a former writer of some merit who has moved on to editing and conducting private 10 week writing seminars for aspiring writers at $5,000 a person.  He states that he tells the truth, so if you don't want to hear it, or can't deal with it, then this class isn't for you.   Though if he is really just telling the truth or simply belittling the students as a way to get back at what has transpired in his life are debatable.  All four of the students Leonard is "instructing" are writers of some merit, or at least they think they are, and over the course of the 100 minutes of the play all five of them, including Leonard, will learn something about themselves and each other as well as the truth about their writing abilities.

Hamish Linklater, Alan Rickman, Jerry O'Connell,
Lily Rabe and Hettienne Park

Told mostly in a series of short scenes, Seminar is a well crafted play that gives the five actors many moments to shine, with some great monologues as well, especially for Rickman and Rabe.  It is also a comedy with several very funny lines but also some touching moments too.  I liked how you didn't exactly know the relationships the characters had to each other until about half way through the play and you also didn't quite know how the seminar came to be and exactly who the character of Leonard was until well into the evening.  It is nice to not be hit over the head with all the relevant data in the first five minutes but instead to let the dialogue flow naturally with the facts coming out how they would in normal conversation.  And while this might seem like another example of the often told story of "teacher with issues who inspires his students while also learning from them" it doesn't exactly follow that plot and Rebeck is very wise to keep the mushy or inspirational moments to a bare minimum.  It is simply a good play, with good characters and dialogue and one, like Proof, Doubt, God of Carnage and Red that I believe, will have a healthy life in regional theaters for the next few years.

Hamish Linklater and Lily Rabe

As far as the cast goes, of course Rickman is giving an excellent performance.  His line readings can inspire pain and hate but he also has a wicked comic delivery.  He also inspires with just a few words and the simplest of phrases.  At times he is channeling the dark side of the character of "Severus Snape" he played in the Harry Potter films  but there are also moments of pain, jealousy and fear that he expertly conveys.  The rest of the cast are all perfect.  Rabe is giving another excellent performance and by playing the rich and mostly frumpy wallflower isn't playing the same types of parts she has played before.  She is a complete natural on the stage and makes her characters always seem so real, honest and believable.  Linklater, O'Connell and Park are all making their Broadway debuts.  While Linklater has performed in several Off Broadway and Public Theatre/Shakespeare in the Park productions, he is probably most recognized for co-starring in the tv show The New Adventures of Old Christine.  Likewise, Jerry O'Connell is most known for the many tv shows and movies like Stand by Me and Jerry Maguire that he has appeared in.  So it is nice to say that both are giving completely polished performances even only a week into previews.  For O'Connell, this also appears to be his professional legit debut as well, which you would never guess from the extremely strong performance he is giving.  While Park doesn't have quite as much to do as the rest of the cast, she also is giving a nuanced, layered performance.

Jerry O'Connell and Alan Rickman 

Director Sam Gold moves the evening along briskly, but also allows the piece to breath at the appropriate moments, especially when Rickman is reading something one of the students has written and the silence in the room is almost crackling with anticipation of exactly what comments he will make.  The set design and costumes are by David Zinn.  The set beautifully displays the apartments of two of the characters, which are as vastly different as their inhabitants.  Costumes are character perfect, I especially liked the many colored pants that O'Donnell wore and appreciated that since the play is set over many weeks that each character had several different outfits to wear, all completely specific to what you would imagine their characters would wear, and so we didn't see them in the same one over and over again like some productions sometimes do.

Jerry O'Connell, Hettienne Park and Lily Rabe

Rickman is obviously the draw here, getting a nice round of applause at his entrance as well as at the curtain call, which is completely deserved but also completely expected for a professional with his vast career.  However, I believe it is Rabe and Linklater, and even O'Connell, that people will remember most for their extremely nuanced and polished performances of well crafted characters by Rebeck.

One word of caution- there is plenty of profanity and a bit of female nudity in the play.

Recommended.

Official Site for Seminar

Playbill.com behind the scenes interviews:

Another behind the scenes video compilation:

50,000 PAGEVIEWS!

Just wanted to say "thanks" to everyone for checking out my blog.  I just hit 50,000 pageviews in almost exactly 7 months since my official launch! 

I've had a great time writing my reviews and posts of theatre, movies and cds and I've had people from all over the world check out my blog.




Here are some stats:

the top 10 countries the people who are reading my blog come from and the # of pageviews by country:

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theatre review OTHER DESERT CITIES, Broadway, October 23

Jon Robin Baitz's new play Other Desert Cities, which opens on Broadway on November 3rd, started life last Winter off Broadway at Lincoln Center.  The show was a huge hit with a virtual sold out run so it is no wonder that with a slightly different cast it has made the move to Broadway.

Telling the story of a daughter and son visiting their parents in Palm Springs for the holidays, it is a play with many explosive moments, family secrets revealed and powerhouse acting by the five member cast.  Other Desert Cities stars Stockard Channing and Stacy Keach as the parents with Rachel Griffiths and Thomas Sadowski as the children and Judith Light as their aunt, Channing's sister.  Channing, Keach and Sadowski are all repeating the roles they played off Broadway earlier this year.

Daughter Brooke (Griffiths) who was a once promising novelist, has returned home with news about her new book which is set to be published very soon.  While her family is over joyed at this news as Brooke has had a lot of mental issues she has dealt with over the past several years that got in the way of her writing another book after her first one.  Those issues included hospitalization for a bout of depression stemming from the death of her brother thirty years ago.  However, once the family learns that the new book is about them and the very tragic event of the brother's death it also threatens to not only dredge up the events of the past but also possibly reveal many facts about their lives which is something that none of them are prepared for.  The issue that Brooke's memories of this event are very different from her parents is an impasse that none of them can get past, or can they?

Stockard Channing

All five members of the cast are giving simply amazing performances.  Channing and Keach as Lyman and Polly Wyeth are just as good, strong and possibly even better then they were last Winter.  Sadowski has also grown somewhat into the role, seeming less whiny and needy now then he was before.  But it is Griffiths and Light that are even better then their predecessors, Elizabeth Marvel and Linda Lavin.  This is Griffith's Broadway debut and I have to believe their will be a Tony nomination in her future for her performance.  Griffith is more even mannered with the appropriate build up to the explosive moments and less all hot or all cold then Marvel was, which adds to the realism of the play.  As much as I loved Lavin as the alcoholic aunt, Light is better in the fact that she is warmer but still just as biting, which makes the character more likable and more realistic.  Griffiths and Light also seem more believable as the daughter and sister of Channing then Marvel and Lavin were since they all three are tall and thin.

Rachel Griffiths and Stacey Keach

Director Joe Mantello has effectively restaged the play for the proscenium stage, compared to the thrust stage of the Mitzi Newhouse, where this played last Winter.  He has wisely staged much of the action toward the front of the stage but still effectively uses the back space as well. Mantello is one of the best directors working today and this play and his direction of it could earn him another Tony award for his directing efforts.

Some criticized the play last Winter as being a little too melodramatic or tv movie of the week like, as Baitz has spent a lot of time in tv lately with creating the tv show Brothers and Sisters, where Griffiths played a regular.  But I think this play is on the same par, or even better then a play like August: Osage County which was so melodramatic and soap operaish that it seemed to have every family issue possible squeezed into it.  So I had no problem taking the family journey that Baitz has written and actually enjoyed it even more the second time even though I knew what twists and surprises were ahead of me. The way Baitz combines realistic humor into the drama to make it an even more effective piece of theater is why I believe this is the front runner for the best Play Tony this year.

Griffiths, Sadowski, Light, Keach and Channing and the impressive set

While I first was concerned that the larger theatre and stage space of the Booth Theatre compared to the off Broadway run might detract from the connection to the characters and the play, I have to say the larger space gave more room for the piece to breathe.  And while I did miss the feeling of literally sitting in the living room of this family, the set design by John Lee Beatty has been retailored for the larger space and makes it actually more of a realistic Palm Springs house then the stage of the Mitzi Newhouse did, which at times seemed a bit cramped.  The large palm trees outside the windows and the very realistic lighting design by Kenneth Posner, who creates lovely stage pictures from a scorching Palm Springs hot and bright morning to an evening with the palm trees lite from landscape lights and the reflection of the water from the pool on the trees and windows, was simply gorgeous.  Costume designs by David Zinn are also gorgeous, and completely tied to the characters.

This is a limited run, scheduled to end on January 8th, but with the packed house at today's performance and the A list cast, I have to believe that this will get extended and still be running by the time the Tony's are awarded next June.  Expect this to be nominated for and possibly win several Tonys next June.

Lincoln Center Website

Clips from the original Off Broadway production-

cabaret review Leslie Uggams Uptown/Downtown - NJPAC October 22

Leslie Uggams might be a name that is not that well known to younger theatre audiences today but she has had a vast and amazing career in theatre, tv and film which included winning a Tony when she was only 24.

We've seen Uggams perform three times before, twice in theatre productions - as the lead role in Call Me Madam at the Paper Mill Playhouse, co-starring with James Earl Jones on Broadway in On Golden Pond and many years ago she performed in a concert with Ben Vereen we had the pleasure to see.  Last night we saw her perform her cabaret show "Uptown/Downtown" at the NJPAC's Chase Room.  This show tracks Uggams' early years from living and performing in "Uptown" Manhattan to coming "Downtown" to Broadway.  The evening was a slightly abbreviated version of a two act production of this show that she has performed in a few theatres around the country.  After seeing her perform the hour and 10 minute version of the show I'm hoping I get a chance to see the two act longer version one day soon.

At 68 her voice is still exceptionally strong and clear with very little loss of the luster or the ability to hold notes for an extended period.  She might move a little slower than she did in the past, but the voice isn't tarnished at all.  She also brings an amazing amount of joy and love to the material that flows out to the audience. 

Uggams talked about her early years winning a talent contest that got her to appear as a regular at the Apollo Theatre in Harlem. "On The Sunny Side of the Street" was the song that won that contest for her and her performance of it last night was a rocking, jazzy one. There were three performers that Uggams got to appear with at the Apollo and the various other theatres she sang at in her early days and she has interesting stories and lovely songs she sings in homage to them.  Those individuals include Louis Armstrong, Ella Fitzgerald and Dinah Washington.  She channelled all three of these performers in the songs of theirs she sang and her performance of Fitzgerald's hit song "A Tisket A Tasket" was a big hit last night.

A couple other highlights from the evening- a spine tingling, slowed down version of "Up On the Roof" sung with only guitar accompaniment by Steve Bargonetti which was almost immediately followed by a jazzy, slightly sped up version of "Hello Young Lovers" from The King and I with only a solo drum arrangement from Buddy Williams.

Uggams also performed the two big solo songs her character had in Hallelujah Baby! - the show she won her Tony for.  Her rendition of "My Own Corner" from that show sounded pretty much like the one from the original cast recording. An amazing feat considering she recorded that over 40 years ago. That song is such a good song, starting out quiet and building to a powerful finish and Uggams' original cast recording performance of it is one of the standard show tunes they play regularly on the Sirius/XM Broadway channel.   Uggams mentioned that that show was originally offered to Lena Horne and after Horne turned it down the creators decided to look for an unknown to play the lead role.  So Horne's decision to turn the part down was what basically put Uggams on the map.   Uggams mentioned that her association with Horne has now come full circle as she has been working on a Horne bio musical, Stormy Weather and she ended her show last night with two Horne songs including an amazing version of "Stormy Weather" makes me hope that her Horne musical has a future life that hopefully includes Broadway.

Uggams was backed by a quintet led by Don Rebic.  All five men were having as much fun as the audience was.  A recording that features many songs performed in the show is scheduled to be released in February.  I'm very much looking forward to getting my hands on a copy of that recording.

recent movie review - Cyrus

Both John C. Reilly and Jonah Hill are mostly known for their frat party humour in films like Step Brothers and Superbad. So having both of them star in the movie Cyrus you would think you're in for another sophmoric laugh fest, but Cyrus is actually a somewhat serious film, which might explain why it didn't do very well at the box office, only grossing $10 million. I'm guessing that moviegoers went in thinking they were going to get one type of movie but ended up with another, which isn't very good for positive word of mouth. However, Cyrus is actually an extremely well made film with a smart script and Reilly and Hill give well mannered performances.

The film, which also stars Marisa Tomei, tells the story of John Kilpatrick (Reilly) who is divorced and depressed. His ex-wife (Catherine Keener) who still feels somewhat responsible for him, pushes him to go to a party where he meets Molly (Tomei.)  The two of them hit it off and before they know it are in a somewhat serious relationship. And while both of them have their baggage, Tomei's baggage is pretty big. Her son Cyrus (Hill) who is his early 20's, lives at home and Cyrus and Molly have a very close co-dependent relationship, and Cyrus is very jealous of anything that gets between him and his mother.

While you can imagine where the story will go, the script has some nice elements to it and all three of the leads give extremely good performances. Tomei and Reilly have many serious credits on their resumes, so it is Hill who really gets to show what he is capable of, and I'm sure this role will get him many more serious acting jobs in the future.  The film is directed and written by brothers Jay and Mark Duplass

Reilly and Hill

But don't mistake what I've said so far and think that this movie is all serious as there are several laugh out loud moments. The film is more on the low budget independent movie front instead of a big budget Hollywood comedy, so I'm sure that might also explain why it didn't do better at the box office.

So if you're a fan of Hill and interested in seeing what he is capable of doing outside of Superbad, or if you're just looking for a different kind of movie then check out Cyrus.

classic movie review Beauty and the Beast 3D

There most likely isn't anyone out there who hasn't seen or at least heard of the Disney animated classic Beauty and the Beast.  The first animated movie nominated for a Best Picture Oscar, winning two Academy Awards, grossing close to $400 million at the box office and spawning the hugely successful Broadway musical, Beauty and the Beast is obviously a very important property to the Disney company.  It is hard to believe that in just a few weeks it will be 20 years since it was first released.

With the increased focus on 3D films over the past few years, it is no surprise that Disney has gone back into their film vaults to convert some of their most successful properties to 3D.  The first two films to get the 3D conversion are Beauty and the Beast and The Lion King.  And while The Lion King received a wide commercial theatrical 3D release for a few weeks before both films were released on blu ray and blu ray 3D, at first Beauty and the Beast was only deemed a blu ray release of the new 3D version and a few 3D screenings in select cities.  But with the success that the 3D release of Lion King generated, Disney has now announced that Beauty and the Beast and a few other classic Disney titles will also get theatrical 3D releases.  Beauty in 3D hits theaters on January 13th.  So it is a little strange that I've been able to enjoy the new 3D version of this movie in the comfort of my living room several months before the same 3D version will be in theaters.

The ballroom scene looks especially amazing in 3D.

So, how does the converted 3D version look?  Actually, it looks pretty good.  The traditional flat cell animation (as compared to digital animation) provides a fairly consistent palate to work from.  There are numerous scenes with multiple layers of cells that when separated in the 3D process create a rich and deep viewing experience.  And while the flat cell animation is not able to provide the more rounded 3D effects to certain objects and faces that digital animation provides, there were many times when items like Mrs. Pott's spout or arm was closer to the viewer then the rest of her body.  Large production numbers like "Be Our Guest" and "Belle" also benefited from the multiple cell planes and multiple characters and objects to create a lush, rich and deep 3D effect.  The scene in the ballroom during the title song when the camera goes by the huge chandelier is pretty spectacular in 3D.  Now, there were several times when the original animation was on the flat and very basic side, so those moments just weren't suitable to have much done to them to make them 3D.  Fortunately those moments are few.

poster for the theatrical 3D release

A couple of other comments.  It is amazing how lean a story Beauty and the Beast is.  There pretty much isn't any moment or line of dialogue that isn't relevant to the overall story, so the film moves along at a very brisk pace.  I guess it has been a very long time since I've seen the movie, so I'm more used to the book of the stage musical which has a lot more for the Beast to do.  I will say that the stage version does have some really great new songs that add much more to the character of the Beast, and in the film version having him just sing a little bit of one song seems very strange now after the experience of him having a couple of solos in the stage version.  One last note, the 3D version is of the original 1991 animated movie, not the expanded version from 2002 that included the song "Human Again."

After enjoying this movie in 3D, I'm looking forward to watching The Lion King in 3D in the comfort of my living room next, so be on the lookout for that review coming soon.

broadway birthday Mamma Mia opened on Broadway 10 years ago today

Mamma Mia! opened on Broadway 10 years ago today.  After a hugely successful London production which was followed by a Toronto run and a pre-Broadway tour, the show arrived at the Winter Garden theatre and started previews on October 5th, 2001, just a few weeks after the September 11th terrorist attacks. I guess the feel good nature of this show was what New York needed at that moment and still does as it just became the 10th longest running show in Broadway history last month and has now played over 4,100 performances.

The plot of Mamma Mia! is fairly simple, a young girl in Greece is engaged to be married but doesn't know exactly whom her father is.  She knows her mother dated three different guys around the time she was conceived, so she invites all three of them to the wedding, without her Mother's knowledge, in hopes to find out who her father is and hopefully rekindle his feelings for her mother.  Hilarity and dancing ensue, to the thumping beat of over 20 Abba songs, before the happy conclusion.

Now I never saw the show on Broadway but did see it in London before it came to New York and I never got what all of the excitement was about this show.  To me it just felt like a lot of familiar pop songs shoe horned into a very basic plot.  I mean, lead- ins to songs like "didn't they used to call you 'dancing queen'?" or "Chiguitita tell me what's wrong?" when there is no one named Chiquitita in the cast are just two examples of how to get two of Abba's biggest songs (Dancing Queen and Chiquitita) incorporated into the story.  But I guess the upbeat plot, the feel good nature and the fact that you pretty much know more than half of the songs in the show already are what has propelled this show to the hit that it is.  And it isn't just a hit in New York or London (where it is also still running) but it has also spawned productions in sixteen languages in just about every country around the world, even in places like Osaka and Moscow.

Phyllida Lloyd directed the musical as well as the 2008 film adaptation.  And I do like the film adaptation, maybe because of the use of actual Greek locations for some of the film as well as Meryl Streep's take on Donna, the mother of the bride.  Streep can pretty much do anything and she proves it here.  The movie also features Amanda Seyfried as the daughter Sophie with Pierce Brosnan, Colin Firth and Stellan Skarsgård as the three potential fathers, Christine Baranski and Julie Walters as Streep's two best friends and Dominic Cooper as Sophie's fiance.  The movie was a huge hit as well.  So while I might not seem much of a fan of the musical I am of the movie.

So Happy 10th Birthday Mamma Mia!, get your dancing queen on and party it up tonight!

Broadway 10th Anniversary video -

Movie Trailer -

theatre review THE SUBMISSION, Off Broadway, October 16

The Submission is a fairly well written and exceedingly well acted and directed new play by Jeff Talbott.  Exploring the issues of race, racial stereotypes and bigotry, it tells the story of a white male playwright who has written a play about a black woman and her son under the pseudonym Shaleeha G'ntamob.  You see, after having several of his earlier plays go nowhere, he believes the only way his new play will be taken seriously and get produced is if it people believed it was written by a black woman.  He thinks a play dealing with racial issues in the African American world written by a white guy who's name is Danny won't even noticed.  So, once his play gets accepted to be produced by the Humanitarian Festival he decides to hire a black actress to pretend to be the author of the play.  He thinks that once the play opens he can reveal who the true author is and bask in the glory of his success.  Of course, pretty much nothing goes as planned.

Jonathan Groff and Rutina Wesley

Jonathan Groff and Rutina Wesley are the author and actress.  Groff is best known for his Tony nominated performance in Broadway's Spring Awakening and also guest starred on several episodes of Glee and Wesley has played Tara for four seasons on the hit HBO show True Blood.  They are both more than up to the tasks of this play and are completely riveting in the several confrontations the two of them have.

Eddie Kaye Thomas and Will Rogers play the boyfriend and best friend of Groff's character.  They are perfectly fine in what they are asked to do, which isn't much.  It is too bad as they provide a nice balance to the high energy of Groff and Wesley, so a little more of them might have better balanced out the play.

Jonathan Groff, Eddie Kay Thomas and Will Rogers

One of the on-going themes of the play is that since Groff's character Danny is gay that he can understand what black people have gone through since he has experienced the same feelings of prejudice and in being in the minority.  Of course, Wesley's character Emilie takes issue with this, since being gay and being black are two completely different things.  Danny does make many good points about the correlation between the two, but Emilie makes just as many against it.  That is the sign of a good playwright, someone who knows how to show both sides of a point of view.

However the fact that Danny is somewhat racist himself and uses some terms and phrases that aren't exactly politically correct adds a whole other element to the play about the genuineness of someone writing a play about a minority that he himself may have issues with.  Add in other comments he makes about actors and actresses of color being honored with Oscars or Tonys for small parts just because they are black and you can see some of the many topics this play attempts to deal with.  Some of these topics and issues are dealt with and handled better than others especially the main point the play makes, that a good play or other work of art about a minority doesn't necessarily have to be written by someone of that race, which is a valid one.  But the contra point that by being a part of that race it makes you better able to understand the issues that those individuals are faced with is also valid.

Wesley

The play is well directed and staged by Walter Bobbie, best known for directing the Broadway revival of Chicago.  Bobbie does a very good job of staging the many confrontations in the play expertly choosing not to deliver them all as high pitched screaming  matches.  He effectively works with the one set by David Zinn, that more then expertly becomes a Starbucks, an apartment and hotel rooms.  I loved how the chalk boards at Starbucks kept changing throughout the play to show the passage of time.  Several scenes that are phone calls between two of the characters are nicely staged and effectively use the single set.

Thomas and Groff

While The Submission is a good play that attempts to deal with modern issues of race there were a few issues I had with it.   Wesley's character is pretty much never defined.  We know nothing about her but she seems to have to accept the part of speaking for her entire race several times, which would make more sense if we understood her history.  The supporting characters are given little to do and the ending seems to need more clarification as it doesn't pack the emotional wallop that a few scenes before it did.  There are also several phrases used throughout the play that seem more like a playwright trying to be hip and less like the way people actually speak.  With just a little more work and editing, and a better ending, I think this play could become one that really speaks to the modern issues of race and bigotry.

The MCC Theatre Company's production of The Submission at the Lucille Lortel Theatre runs through October 24th.

MCC Theatre Site

Interviews with the cast, writer and director -

theatre review IT SHOULDA BEEN YOU, George Street Playhouse, October 9

I can't recall the last time that the three major New Jersey Theatre companies have all started their seasons with new musical productions that all could ultimately end up on Broadway or at least Off Broadway.  McCarter Theatre opened their season with Ten Cents a Dance, which has been speculated as a possible Roundabout Theatre production this season which was followed by Newsies at Papermill which has a clear shot at opening on Broadway next Spring.

Now comes It Shoulda Been You at the George Street Playhouse.  With an A list comical cast, a plot with some original and unseen twists and turns, a very funny script and a nice score, I can honestly see this doing good business at one of the smaller Broadway houses.

Led by the comic duo of Tyne Daly and Harriet Harris and directed by four time Emmy Winner David Hyde Pierce, It Shoulda Been You tells the story of one day in two family's lives.  It is the wedding day of their children, the bride is Jewish, the groom isn't, the two mothers clearly don't get along and then there is the bride's former boyfriend who just found out about the wedding and shows up to possibly derail the whole event.



Kline, Daly, Harris and McGillin

 Now while that plot seems like something you might have seen many times before, let me just say that It Shoulda Been You throws in plenty of twists, a couple of which you clearly don't see coming and there is plenty of warmth and love behind the comedy.  Those elements elevate it to make it more than just your typical wedding day comedy.

Lisa Howard is the older, heavier and less pretty of Daly's two daughters.  Of course it isn't her wedding day but her younger and prettier sister's.  Howard is the star of this production and gets the most to do and she is more than capable of handling the duties.  She has a great voice and gets some nice songs to sing. It is nice to see Howard, who had a decent size part in the original Broadway cast of The 25th Annual Putnam County Spelling Bee, taking center stage here and showing she is more than capable of starring in a musical.

Daly and Harris are the two mothers and they are simply perfect.  Daly rings every possible bit of angst and guilt out of the Jewish mother character and she delivers the comical lines spot on.  She also gets a couple of nice songs and her voice is warm and clear, even better than when we saw her in cabaret last Spring.  She also looks fantastic.  Harris is pure comical genius.  Her face, voice, body language and a bottle of gin combine to deliver a whirling dervish of a character.  Like Daly, she also gets some nice songs to sing and delivers them perfectly.

Hibbert, Howard, Duren, Hershberg, Holbrook and Hydzik

David Josefsberg is the ex boyfriend of the bride.  Like Howard, it is nice to see Josefsberg get a big part to play after seeing him in the original ensemble casts of Altar Boyz Off Broadway, in a small part in The Wedding Singer on Broadway and in the ensemble of The Toxic Avenger at George Street a few seasons back.  He has a nice stage presence, a good singing voice and perfectly plays the comic and drama parts of the script required of him.

Edward Hibbert is the wedding planner, and as can be expected he delivers every moment in the high end comic fashion he is known for.  The rest of the ensemble cast include Richard Kline as Daly's husband and Howard McGillin as Harris'.   While they are reduced more to secondary characters, Kline has some great lines to deliver.  It is too bad that McGillin isn't given much to do, as he has the biggest Broadway pedigree of this cast, having starred in the Broadway productions of The Mystery of Edwin Drood, Anything Goes, The Secret Garden, She Loves Me, Kiss of the Spider Woman and holding the title of having played the most performances as the Phantom in The Phantom of the Opera.  So, the fact that he is only given a few lines in one song to sing solo is one drawback of the evening.  However, if he was given a solo song to sing it might have slowed down the high paced antics of the show.

The bride is Jessica Hershberg and the groom is Matthew Hydzik, with Curtis Holbrook as the best man and Carla Duren as the maid of honor. They all hold their own against the rest of the more seasoned pros in the cast and, with the exception of Hershberg, their characters aren't as well defined as the rest, but they all have some moments to shine, especially in the second act.

The show has a book and lyrics by Brian Hargrove and a score by Barbara Anselmi, with a few songs having lyrics by a couple of other individuals.  They've created a score with plenty of character songs, songs that move the action forward as well as some beautfiul and introspective inner monologue pieces.  There is a simple yet elegant set direction by Anna Louizos that creates various rooms and locations in a 5 star New York hotel and costumes by Willian Ivey Long that include beautiful wedding attire including killer dresses for Daly and Harris.

Hyde Pierce has clearly gotten a lot of his friends together for his musical theatre directing debut, with Harris and Hibbert having starred on Fraiser with him, and Hibbert and choreographer Noah Racey having been in Curtains on Broadway with him.   He moves the evening along at a fast pace, even at some moments approaching farce and is more than capable of directing the cast in both the high end comic scenes as well as the more dramatic ones.  Hyde Pierce introduced the show last night and was in the audience taking notes, so I'm sure there might be some changes made before it officially opens on Friday.  However, with the thunderous audience reaction both during the show, after several of the songs and at the curtain call, I don't think there is much that needs to be tweaked.

While It Shoulda Have Been You might at first appear to have a basic story that has been done many times before, it really is a very modern story with up to date issues.  It also has many laugh out loud lines and scenes and has an extremely gifted cast led by the powerhouse duo of Tyne Daly and Harriet Harris and a truly star making turn for Lisa Howard.  With an effective score that gives everyone plenty to do and beautiful sets and costumes I can't imagine that this show won't have a life after the George Street.  And even with all of those great things going for it what really stands out in this musical is the heart at it's center and that is what makes this into a show that I have to believe could end up in New York City this season.

The show runs through November 6th.

Official George Street Playhouse Site

recent movie review - Win Win

In this age of remakes and sequels it is nice to find a movie that is almost 100% original.  Win Win is that movie.  It perfectly combines elements from many genres to become a genre of it's own.  And the fact that it doesn't always go in the direction you think it will and doesn't tie up all of the lose ends in a perfect bow by the time the credits roll, made me like it even more.

Paul Giamatti is Mike Flaherty, a New Jersey lawyer who volunteers as the wrestling coach for the local high school.  When he finds his law business isn't paying his bills and with a wife (Amy Ryan) and two small children at home, he stumbles across a way to bring in some extra money each month, even though it is very suspect and pretty much illegal.   Add in a teenage runaway who used to wrestle and who has other demons in his past who Giamatti becomes somewhat of a surrogate father to and you end up with a film that is part legal drama, part sports film, part coming of age movie, part family drama and when you add it all up Win Win ends up being a big "win win" in my book.

Giamatti and Shaffer

Giamatti once again makes a role completely realistic, honest and genuine.   Ryan also has many great moments in the film and together she and Giamatti are natural, tender and touching as a couple who have to deal with things they aren't exactly ready for.  The movie was released earlier this year so I'm kinda thinking both of them, and the film, might find themselves with Oscar Nominations in just a few months.

Alex Shaffer is the teenage runaway and Shaffer actually won the New Jersey State Wrestling Championship last year which makes him more than adequate to play the part.  The fact that this is also his film debut is a bit of a shock as he gives a sincere and natural portrayal of a somewhat troubled and lost youth.  The film also stars Bobby Cannavale and Jeffrey Tambor as Giamatti's former high school wrestling buddy and the assistant coach with Nina Arianda as Giamatti's secretary.  All three of them provide some nice comic moments in the film with Cannavale a stand out.  In fact, though the movie is more on the dramatic side there are several laugh out loud moments.

Giammati and Ryan

Writer / director Thomas McCarthy has provided an entertaining and heartfelt experience.  I don't want to say much more about this movie as the less you know going in the more I think you'll enjoy it.  Just know that fully fleshed out characters, realistic dialogue and a first rate ensemble cast combine to push this movie over the finish line with gusto.

Highly recommended

cd review- Olivia Newton John, Portraits: A Tribute to Great Women of Song

Olivia Newton John was one of the biggest pop stars of the 70's and 80's.  She has had numerous hit songs, from her early hits "Have You Never Been Mellow" and "I Honestly Love You" to the hugely successful "Physical."  She starred in one of the biggest movie musicals of that time, Grease, as well as in one of the biggest movie musical flops, Xanadu.  And, even though Xanadu tanked at the box office, the soundtrack of that film spawned many hit singles including "Magic" and "Suddenly."

She has recorded many albums over the years and originated many songs.  So, the fact that Olivia made a cover album performing songs associated with other famous performers is somewhat of an oddity. This recording, Portraits: A Tribute to Great Women of Song, which was just released in the US, is actually a rerelease of her Aussie cd Indigo from 2004 which was produced by famous music producer Phil Ramone.  Offering a wide diversity of song styles, each of the songs on the album has a personal connection to Olivia from the song she sang at a talent contest to the one that taught her how to play the guitar.  And while the album is ballad heavy, the songs have different arrangements that let them stand apart from each other resulting in a varied collection of song styles.

Olivia is in very good voice throughout the recording.  As her voice has aged she has lost a bit of her high range but gained more depth on the lower notes.

The cd starts off with an extremely well paced cover of Astrud Gilberto's "How Insensitive" which is followed by the Doris Day hit "Love Me or Leave Me" which, while it has a somewhat undercooked arrangement including a strange organ part still finds Olivia in good form.  A sultry "Cry Me a River" made famous by Julie London is next, one of my personal favorites on this recording and that is followed by the Dionne Warwick hit "Anyone Who Had a Heart" which has a groovy arrangement.   Olivia knocks that one out of the park, no wonder that was the song that won her a talent contest.

Pete Seeger's "Where Have All the Flowers Gone?" probably made most famous by Peter, Paul and Mary as well as by Joan Baez, has a beautiful and quiet guitar driven arrangement that is a perfect compliment to the message driven lyrics.  Olivia provides a beautiful and soft spoken delivery as well.  This is the song she learned to play the guitar with.  "How Glad I Am," made famous by Nancy Wilson, is probably the least known song on the recording but Olivia delivers it in a sexy and playful way.  The Minnie Riperton hit "Lovin' You" takes you back to the sounds of the 70's.  Even though Olivia fortunately doesn't attempt the most likely out of her range high pitched moments of that song, it is still a nice version.

Olivia's take on the Karen Carpenter classic "Rainy Days and Mondays" is probably the highlight of the recording and Olivia truly connects with the lyrics, even partially speaking some of them, and the arrangement never overshadows the lyrics and Olivia's delivery of them.  "Send in the Clowns," one of the two show tunes on the album, is another highlight, though from the somewhat understated approach Olivia gives to this song I'm not sure if she clearly grasps the meaning of the lyrics. 

"Summertime" is both a lullaby and a sexy, sultry romantic song delivered in a breathless style.  It has a nice arrangement as well.   The cd ends with "Alfie" and while it can't quite touch Dionne Warwick's classic version of the song, it has a lovely arrangement and Olivia delivers the lyrics in a beautiful way.

While Portraits may not deliver on every song it is still an enjoyable recording that includes some great songs in great lush arrangements sung by one of the greatest pop stars of the past 40 years.

Recommended

cd review Liz Callaway and Ann Hampton Callaway - "Boom! Live at Birdland"

There are some Broadway performers who are better in a musical production or on a recording than in live concert performances.  Either they don't have the appropriate "patter" between songs, or don't find a good way to present their songs to connect to a paying audience to hold their attention for a 60 to 90 minute show.   Two of the best musical theatre performers who know how to "do" live performances are sisters and Tony nominees Liz Callaway and Ann Hampton Callaway.  Their second duo cd, "Boom," a live recording of their concert of the same name, has just been released, and it is a winner.

Now technically Ann is more of a jazz performer than a musical theater one, but she did receive a Tony nom for her Broadway debut in Swing.   Liz was in the original Broadway casts of Sondheim's Merrily We Roll Along, Baby and Miss Saigon as well as played many performances on Broadway as Grizabella in Cats.  She got her Tony nomination for Baby.  The Callaway sisters were born in the Chicago suburbs but both ended up in New York City in the early 80's and have each found success individually in the worlds of Broadway, Jazz, cabaret and concert performances.  Ann is also a successful song writer having written songs for many recording artists including Barbra Streisand as well as the theme song for the tv show The Nanny.

Liz Callaway and Ann Hampton Callaway

"Boom" presents songs of the 60's and 70's and the personal stories that Ann and Liz tell in this recorded concert about their upbringing and how these songs connected to them are great.  Liz has actually been down this road before, releasing a recording, "The Beat Goes On" that includes songs from that same period including a few that are repeated on this cd.

Ann and Liz's voices, while very different, combine perfectly on the numerous songs they perform.   Beautiful vocal arrangements highlight the differences in their voices while providing the appropriate blending necessary to provide a rich sound.  I like how many times one sister will provide back-up vocals for the other that in no way outshines the sister soloing.  The three piece band lead by musical director Alex Rybeck on piano provides a lush musical accompaniment that sounds much larger and full than just a piano, drums and bass.

The 22 tracks on the recording include many medleys and duets but also allow each sister a couple of solo moments to stand alone.  Some of the great songs on the cd include the Beatle's "Come Together" and "Yesterday," the Streisand hit "The Way We Were," "You've Lost That Lovin' Feeling" and several medleys including one that includes a rousing version of "Joy to the World."  A snazzy, slowed down arrangement of "These Boots are Made For Walking" that perfectly captures the strength of each sister's chops as well as the natural humor they each have is a personal favorite.  This is followed by a simply stunning and heartbreaking arrangement of Carly Simon's "That's the Way I've Always Heard It Should Be" that allows for some beautiful Callaway Sister harmonies.

Solo highlights on the cd include lovely versions of "(There's) Always Something There to Remind Me," a pairing of Jimmy Webb songs "Didn't We/MacArthur Park" and a gorgeous blending of "I Know a Place" and "Downtown" for Liz and striking renditions of  "A Case of You," and "Blowin' in the Wind" for Ann.

An excellent medley of Stevie Wonder songs ends the set before a beautiful encore of the Carole King hit "You've Got a Friend," which is a perfect end to the personal story of two sisters who are clearly the best of friends.

All in all, this is a superb recording for anyone who grew up to the music of the 60's and 70's as well as anyone who is a fan of the music from those decades.

Highly recommended

Ann and Liz at Barnes and Noble - performance promoting the release of "Boom!" -

theatre review - NEWSIES, Papermill Playhouse, September 24

Turning a hit movie into a Broadway musical isn't anything new, but making a Broadway calibre show out of a flop movie musical isn't exactly something that you'd think a producer would put their money behind or where any creative talent would waste their efforts.  However, Disney Theatricals and The Paper Mill Playhouse have combined to present the stage musical Newsies based on the flop 1992 movie of the same name.  It officially opens tonight, we saw it yesterday and boy, do Disney and Papermill have a huge hit on their hands.

The film, inspired by the real life Newsboy Strike of 1899 and featuring music by multi Oscar winner Alan Menken and lyrics by Jack Feldman was a $15 million dollar movie that grossed less than $3 million at the box office.  But years of cable tv runs of the film and video and dvd sales along with the fact that Christian Bale played the lead in the film has turned the movie into somewhat of a cult classic.  The score has several rousing anthems, all of which have been brought to the stage and even expanded and Menken and Feldman have also written several new songs to fill out the score.

Lindsay and Jordan

Set in 1899, the musical tells the story of the gang of mostly orphan newsboys who deliver the news to New York City.  These "newsies" stage a protest when publisher Joseph Pulitzer raises the price they must pay for their supply of papers only to boost his own profits.  Led by Jack Kelly (Jeremy Jordan) who is inspired by the ongoing trolley worker's strike and their ability to organize themselves, along with Davey (Ben Fankhauser), the older of two brothers who are selling papers due to their father being out of work.  However, they quickly find trying to get a group of kids to go against the adult run city is harder then they thought.

The musical has a new book by four-time Tony Award winner Harvey Fierstein who expanded on the screenplay by Bob Tzudiker & Noni White.  Fierstein's theatrical touches are prominent throughout the show and his sense of warmth and humour, as well as smart, realistic dialogue turn the story into something more relevant and by doing so, completely allows the show to connect with an audience in the live theatre setting.   He was definitely a good choice to turn the movie into something more.   He has also wisely turned the reporter character from the film into a young female newspaper reporter who is now a romantic interest for Jack.  There are also some new twists in the plot that are welcome additions.

Director Jeff Calhoun has assembled a first rate cast.  Jordan has "Broadway star" written all over him, he completely embodies the character of Jack, has the appropriate thick "New Yawk" accent, gritty look and feel, but is also natural as the perfect leader of the boys and foil to Pulitzer.  He also has an amazing and powerful singing voice. Both Calhoun and Jordan are moving on to the Broadway production of Bonnie and Clyde after Newsies where Jordan will be starring as "Clyde."  I expect big things from Jordan.

Kara Lindsay is Katherine, the new character of the female reporter added for the stage version and Lindsay has the looks and pipes to carry off the young fast talking, feisty reporter who's trying to prove herself in a world of men.  Like Jordan, she is also an excellent singer.  Lindsay was the lead in the tour of the musical version of Little House on the Prairie that started at Paper Mill a couple of years back.  She was perfect in that musical as well, but is actually given a better score to sing in this production.

Keenan-Bolger and Jordan (center) and the
rest of the "Newsies"

John Dosset is Pulitzer, and while he is only given a little to do in both acts Dosset does a fine job in playing the villain of the piece.  He also has a really strong singing voice.  While most of the "newsies" aren't as easily singled out, Andrew Keenan-Bolger is "Crutchie" and he and Jack have a special bond.  Keenan-Bolger plays the part of the kid with the bum leg perfectly and you can easily see why Jack feels like he needs to protect him.  "Santa Fe" one of the best remembered songs from the movie, opens the musical in a somewhat quieter version then the movie, and Jordan and Keenan-Bolger do a nice job in dueting on the song.  It is a song about dreams and moving on to someplace better, and having the two of them sing the song perfectly captures the special bond that the two have as well as how Jack feels he needs to protect Crutchie, even though Crutchie can handle himself perfectly well.

Ben Fankhauser and RJ Fattori as brothers Davey and Les are completely believable as brothers who turn to hawking newspapers while their father is out of work.  They look and act like they come from a slightly more well off place then the rest of the "newsies" but have no problem in connecting with Jack.  While Fanhauser is given more of the "straight man" part to play, not just against Jordan as the born leader, but also against Fattori, who gets some nice laughs in his part, he also has a nice sense of intelligence, education and truth that is a nice balance with the street smart Jack. 

Jordan inspring the "newsies" to stand together

Now while most of the new songs aren't quite as good as the ones from the film, Menken and Feldman have written one song for Katherine that is a gem.  An excellent theatre song that not only is character based but also drives the plot forward and has some excellent rhymes.   The song also gets a reprise in act two

The choreography by Christopher Gattelli, is rousing and is original yet in the style of the film and the cast delivers on what is required of them.  Gattelli cleverly uses newspapers as a dance prop in one number and the energetic "King of New York" tap number in act two was a huge crowd favorite. Ryan Steele, who plays "Specs" has the perfect combination of ballet and athletics that the choreography requires, and he is given many chances to show off his abilities.   The rest of the boys are on par with Steele, and the joy they bring to all of the dance numbers is infectious.

Calhoun keeps the show moving at a fast speed, and the sets by Tobin Ost are fantastic.  Check out the photo below as well as the video clips at the bottom of my review.  A three tiered steel set of stairs that is almost constantly moving around the stage, it is perfectly paired with projections by Sven Ortel to become the tenement where Jack lives, the backstage of a theatre where Jack spends his time painting backdrops and even the Brooklyn Bridge. 

Costumes by Jess Goldstein are also first rate.  The brown and dark tweeds for the "newsies" the pin stripped suits for the more wealthy businessmen, the colorful costumes for Katherine and Jack's theatre friend Medda and even red hued clothes for the Brooklyn "newsies" perfectly establish the time, place and feel of the show.

All in all, Newsies is a rousing turn of the century story of David vs Goliath, with an excellent cast featuring a star making performance in the lead, a smart book, huge sets, perfect period costumes, energetic choreography and clear direction.  With the Disney corporation behind this production can Broadway be far behind?  I clearly hope so.  

The Paper Mill production runs through October 16.

Paper Mill Playhouse Official Site

Performance on "The View"-

Behind the Scenes Playbill clip -

Jeremy Jordan in rehearsal sings "Santa Fe" -

"Santa Fe" from the movie -