Christiane Noll’s “Back to Before” (The View)

Broadway Bound! :)

If asked, I would have a hard time coming up with a musical I think is as soundly-structured and plainly perfect as Ragtime. So, the fact that my wonderful fiancee (a man who clearly pays attention) got us tickets to see the acclaimed new revival on Broadway when we’re in NYC next weekend excites me greatly.

Oh, the wonder….

I am over the moon. For realz.

(Update: Ragtime will be closing on Broadway on 1/3, the day after we see it. Sad news, but I’m glad I’ll get to see it nonetheless.)

2009: A theatrical year in review

I saw a heck of a lot of theatre in 2009. 

My resolution had been to see a play a month, and I far exceeded that – 41 shows in 12 months.

Whew!

I’ll start with the bad…

*Banana Shpeel (the last show I saw in 2009) was a clunky trainwreck, whether or nto Cirque du Soliel’s name is above the title.  If I hadn’t had free tickets, I’d have wanted my money back.  Prior to seeing Banana Shpeel, I’d have said the worst thing I’d seen all year was The Hypocrite’s Frankenstein, but the jankiness of the Shpeel made me appreciate that – at the very least – Frankenstein had a plot. I still think it was an uber-pretentious show, but it was NOT the worst piece of theatre I saw in 2009. That honor goes, hands-down, to Banana Shpeel.  Don’t see it. Do anything else with your money.

*Also in 2009, I  learned that (don’t hate me, Chicago theatre scene..) I really don’t care for short play festivals. Though I have great appreciation for directors, writers, and actors who can make a complete play in less than 10 minutes onstage, I have never been to a short play festival that didn’t contain a big chunk of filler.  I think in 2010 and beyond, I’ll just stop pretending I enjoy evenings like this.

*Oh yeah, and… there was the show Eric and I left at intermission for being banal, cliche-filled and badly-written.  But, you know, it was bound to happen sometime.

But, there was so much good…

 

*The Elaborate Entrance of Chad Deity (Victory Gardens Theatre/Teatro Vista) would probably win my “best show of the year” award, if I was bothering with that.  This incredibly smart and wickedly funny satire of media and wrestling and race made me laugh and think, and Desmin Borges gave a powerful and astonishing performance in the lead role of Mace.

*The Broadway in Chicago offerings I saw this year – Xanadu, Spring Awakening, Legally Blonde, Cats, and The Addams Family – were all shows I enjoyed tremendously. I’m so looking forward to seeing the tour of The 39 steps when it rolls around next year. While we’re on that note (of not-really-Chicago-theatre) while in Vegas in May I saw both Cirque du Soliel’s Mystere and the resident Vegas production of Jersey Boys, both of which were simply wonderful.

*The Marriott Theatre’s production of Hairspray was a jubilant joyride. Bob and I loved it so much we saw it twice. Aside from one major casting mistake, the ensemble was flawless and E. Faye Butler gave me chills BOTH times I heard her sing “I know where I’ve been.”

*The House Theatre’s The Rose and the Rime was one of the most beautifully staged shows I’ve ever seen. So clever.

*The Strange Tree Group’s production of The Dastardly Ficus still stays with me as the loveliest piece of morbid theatre I can remember – and kudos to the three brilliant performers: Carol Enoch, Scott Cupper, and the amazing (and still quoted in my house) Nancy Friedrich… “But I love cake!”

*The Theatre Mir production of The Arab-Israeli Cookbook was also awesome, and I left the theatre so incredibly hungry since all the food was cooked onstage. It’s not every show that makes you laugh, cry, and literally jump out of your seat.  (Bombs’ll do that.)

*The two most chilling shows I saw this year were Redtwist’s The Pillowman and Hubris Productions’ Bent.  Both should be held up as examples of how to create an atmosphere where, though you don’t know what’s going to happen, you know it won’t be good.

Regrets?

Not really.

Though I am going to hang up the “See a show a month” resolution for 2010. Not because of not wanting to see theatre anymore, but simply… because between working full-time, going to grad school, and planning my April wedding, I don’t know that I’ll always have time, and really don’t want to feel obligated when I’ll already be under pressure. I’m sure I’ll still see theatre (I already have a date with Bob for a January musical!) but just not quite at such a breakneck pace.

It’s been fun, though.

Cirque du Soliel’s Banana Shpeel….

Banana Shpeel is bad.

My Cirque-adoring heart aches as I type that, but it is.

For a show that started with so much promise – Broadway Stars Michael Longoria and Annaleigh Ashford in a new Broadway-bound Modern-Vaudeville musical created by Cirque du Soliel! – The final result is really confusing, weak and disappointing.

It all began when, shortly after a (solid) performance on ”America’s Got Talent,” it was briskly announced that Longoria and Ashford, along with their romantic plot line, was being cut from the show because there was too much plot going on.

Let me say this:  

Having seen the show, I would have appreciated some plot. 

There are only fragments of what I assume at one point was a plot, which leaves a disjointed series of acts, strung together under the guise of auditions for Schmelky’s Spectacular.

Though, while acts are auditioning, the show is actually happening (I think? I mean, dancers in sparkly costumes were performing production numbers?) so.. yeah, I’m not really sure what was going on.

When Dan saw the show, he said “Less Shpeel, More Cirque,” and I couldn’t agree more.

The clown scenes (of which there seemed to be hundreds, all of which were unfortunate) dragged on endlessly, and weren’t that funny.  This isn’t  all the fault of the performers, who are obviously talented and doing the best they can, particularly the two main clowns.  Being dragged down by lame material, including a painfully unfunny dinner scene, isn’t their fault.  Who knows? Maybe they’re as confused as I was as to what’s going on?

There’s a chorus of ten dancers who show up a few times to do big routines in clever costumes.  Though they’re all obviously talented dancers, the choreography is sloppy at times.  More than once I noticed a dancer or two completely not in synch with the other dancers, and overall the dancing doesn’t look polished. Again, maybe the poor dancers are just trying to figure out what song is next?

The only things that got serious applause from the audience were four acts I would describe as typically Cirque.  The first is a young man who juggles hats, and he’s a blast to watch.  The second is a couple.  He throws her around in the air.  It’s very impressive – though they took a tumble during our performance.  The third is a flexible young woman who twirls things on her hands and feet. (They might be placemats? I’m not sure.) And the fourth, and most impressive, is a beautiful young man who contorts himself while swinging around and holding himself on a spinning pole. These three acts are undoubtedly the highlights of the evening, and the only remnants of anything Cirque.

[Note: I'd even like to be able to call some of these hard-working performers by name, but the audience is not given programs. If you want to find out who's in the show, you can pay $10 for a souvenier program that features photos of actors who are no longer in the show - Michael Longoria and Annaleigh Ashford - in scenes that don't exist in the show.]

The show has gone through many changes – and is apparently still changing.  Bob saw the show a few weeks ago and said what we saw last night was way different ( including songs in new places and new acts.) 

For example, the first act ends really strangely.  It’s a big “Magic” routine, with disappearing girls, and the entire cast swarms the stage suddenly, and for some reason one of the clowns is in a tiger suit, and there’s a big song that keeps saying something like “Schmelky, You can’t do it alone.” 

In the back of my head, I was thinking “What can’t he do alone? I don’t understand. This is like a finale.”

Then Bob leaned over and said “This used to be the finale.”

Also, there’s a whole elaborate set-up to a scene from “Romeo and Juliet” even though the set piece says “Hamlet” that is a whole lot of lead-up so an old man clown can walk out and say “A whore, a whore.. My kingdom for a whore..s.”

Yep. That’s the entire joke.

And there’s also an audience volunteer, who might be a plant? She’s in the press photos, and Bob says she’s the same girl he saw get pulled onstage last time.  If it’s true, it doesn’t make sense why it can’t be an audience volunteer – as she just gets led around for a while. Odd.

If the producers of this show want it to not bomb on Broadway, serious revisions need to be done. Perhaps stopping for a moment to figure out what the point of the show is would be a good start. Is it a musical? Is it a Cirque variety show? If it’s a musical, it needs a ton of work. If it’s a Cirque variety show, it needs more than four acts.

Banana Shpeel is, in a word, a disaster.

It’ll be interesting to see if it even makes it to Broadway. And, if it does, what the heck show it is by then.

Save your money.

Or, for the price of one ticket to this show, you could see about 5 storefront shows in Chicago. 

Go See Redtwist’s The Pillowman instead.  While there are no musical numbers, it’s a heck of a lot more engaging.

It’s Turkey Lurkey Time!

(from the 1968 Tony Awards.)

I feel like it’s my obligation to post this during the holidays at least once.

Musicals = Joy.

Shpeel-Prepped.

My theatrical 2009 will end on Thursday evening, when I see the final show I’ll be seeing this year. (For those who missed it, on the sidebar is a menu of all the shows I’ve seen this year – This is the second year one of my new years resolutions has been to see a show a month.)

I’m seeing Banana Shpeel, the new supposedly Broadway-Bound offering from Cirque du Soliel.

I use the word “supposedly” because… people hate this show.

I’m not kidding.

From legit reviews to just folks talkin’, word on the street is that Banana Shpeel is a bomb.  It’s a show that’s had it’s issues from the start. For a while, Broadway actors Michael Longoria and Annaleigh Ashford were to star in the show, and their faces were pimped everywhere to promote the show. They even performed a number on America’s Got Talent. But then suddenly, one day, they were cut from the show.  Not just the actors – their characters, their storylines.  Huh. That’s probably not a good sign, right?

Here’s a brief spackle of some reviews:

“At one point—well, at several points, really—the two clowns who serve as the de facto hosts of Cirque du Soleil’s new proscenium-style show scream at each other to “Shut up!” “You shut up!” “Shut your face!” “Shut your hole!” If your experience is anything like ours, you’ll wish they’d each heed the other’s advice.” – Kris Vire, Time Out Chicago.

“For more than two decades, the inimitable artists of the Cirque du Soleil have beckoned us with the possibility of transformation. The flaps of a tent — or the doors from a Las Vegas casino — have opened, and we’ve been welcomed inside some profound manifestation of the creative imagination. Sure, the realms have varied. But there has always been art and heart. The key word there is “heart.” At “Banana Shpeel,” the cold, chaotic, clipped and cacophonous new show that the Cirque has bowed at the Chicago Theatre, you feel yourself slipping long before you get to any mat of welcome.” – Chris Jones, Chicago Tribune.

“Delete the clowns (or pare them back to the barest minimum of stage time). Begin the show with a big song-and-dance number. Hold onto the handful of eye-popping circus specialty acts. And compress everything else into a 90-minute show with no intermission. Only then (and it would still be a big “maybe”) might Cirque du Soleil’s new proscenium-style show, “Banana Shpeel” — which debuted Wednesday at the Chicago Theatre prior to a planned New York run — have a modicum of coherence and momentum. As it is now, this big-budget show, which plugs itself as “a new twist on vaudeville,” could very well give all that was delicious about the classic variety show format of days gone by (with such starry talents as Buster Keaton, Fanny Brice, Burt Williams and Eddie Cantor) a bad name.” – Hedy Weiss, Chicago SunTimes.

“I’m not quite sure what David Shiner and company did during those months in Montreal developing this show. The Cirque acts have no relationship with the underdeveloped crackpot clown scenes (at times, the ringleader clown guy would come out after a stunning Cirque performance and say “Wasn’t that AMAZING!” — and then introduce some lame, unrelated shtick). The entire affair felt slapped together. There was some attempt at a through-line with the clowns fruitlessly attempting to cast a Shakespeare routine, but no one around me seemed to know or care what was going on during these scenes.” – Robert Bullen, ChicagoTheatreAddict

“If I want to see poop, spit and penis jokes I can watch cartoons and Comedy Central. Kids in my local high school could and have done similar shows better. It’s a typical format, one we used in children’s theater. Put a bunch of skits together, make some ugly costumes, and put on a show for your parents. The parents laugh because they gave birth to you and they have to. I didn’t give birth to any of these guys, thank God, so I don’t have to laugh. And I didn’t. I am amazed and inspired by every Cirque performance I see. I go to every one in a several hundred mile radius of where I live. This inspired me to want to go have a drink afterward.” – Rebecca W, Comment left on ChicagoTheatreAddict

So yeah.

I’m a huge fan of Cirque du Soliel – “Mystere” in Las Vegas was one of the greatest things I’ve ever seen onstage, and I cannot wait to see “Zumanity” in Vegas in February. And I always appreciate people stretching outside their comfort zone, but …

We’re having a pre-show drink. Sounds like we might need it.

The David Bowie Christmas Special 1977 (Network Edit) @ New Millennium Theatre Co.

Maybe it’s not a cool thing to admit, but when I walk into a theatre space to see a show and see a set made of silver tarps half-hazardly taped to some flats and decorated with tinsel, my first instinct is to think – Oh boy. BUT, it’s a testament to New Milennium Theatre Company that their current production is so entertaining that a little thing like a sloppy set doesn’t hinder it one bit.

Imagine this.  It’s 1977, and David Bowie has put together a Christmas special for NBC. He’s invited his wacky friends – Annie Lennox, Mick Jagger, Marianne Faithfull, and Iggy Pop – to celebrate the holiday with him. Typically Bowie, it’s a bizarre special, and it’s titled The David Bowie Hepzikat Funky Velvet Flarney Solstice Spectacular Live…From Space.  Of course, NBC executives found it a little.. odd.. and it was never aired. So, thanks to production notes and rehearsal tapes, New Millennium’s production puts the whole thing together for your viewing pleasure, as it was meant to be.  The concept is clever, and the execution tremendously entertaining. It’s a campy late night show full of celebrity impersonations, familiar songs, and holiday cheer. What more can you ask?

Sam Quinn plays the role of Bowie himself, and is pretty much dead-on in his impersonation – especially when he’s singing. He’s an approachable, likable, Bowie, happily hosting a Solstice special and trying to keep things from falling apart. It’s a rare show that uses Mick Jagger as a straight man, but Jared Dennis is appropriately hapless. Harper Horan is pure intensity as Annie Lennox, trying to infuse the happenings with political statements. The duet she does with herself (“Baby it’s cold outside”) is a brilliant bit. Melissa Nelson and Michael Sherwin stumble around in a drug-induced stupor as one would expect of Marianne Faithfull and Iggy Pop.  Nelson, in particular, is a blast to watch in ensemble scenes, sitting by herself on the floor giggling. When NBC forced Paul Linde and Charo into the cast, Sean Harklerode and Rebecca Resman appear with pitch-perfect slap-happiness to promote their new series. (Harklerode also does double-duty as Bing Crosby. Yes, “White Christmas” is sung and yes, there’s a joke about Bing beating his kids. Like it’s not practically required.) Matt Russell appears as Bizarro Bowie, and his various attempts to be weirder than the ACTUAL David Bowie are a hoot. (And I left the theatre with confetti on my hat because of him.) All these actors are obviously having a great time bringing this thoroughly silly show to life.

However, it’s Kyle Greer as Freddie Mercury (past, present, and future – aww) that runs away with the show. Greer is over-the-top, and a heck of a singer. When he and Bowie duet on “Under Pressure,” it’s pretty damn perfect.  From his first appearance, clad in a black catsuit, he’s a showstealer. \

It’s not earth-shaking theatre, and it’s not great art.

But it’s entertaining as hell.  And clever to boot.

That’s all I need sometimes.

(The following paragraph was blatantly stolen from the NMT website – for your information)

The David Bowie Hepzikat Velvet Flarney Solstice Spectacular…Live From Space! or David Bowie’s Christmas Special 1977 (Network Edit) runs Friday and Saturday nights at 11:00 pm, November 13 through December 19 at National Pastime Theater, 4139 N. Broadway in Chicago. Advance tickets are $15 and can be purchased at www.nmtchicago.org or reserved by calling 312-458-9083.   $10 student and industry tickets available and half price tickets are available through Goldstar.com and through HotTix.

Addams Family OPENS in Chicago!

I saw The Addams Family a few weeks ago in previews, and reviewed it thus.

Last night, I attended the official opening night performance of The Addams Family at the Ford Center for the Perfoming Arts here in Chicago.  Though Bob and I were on the lookout for celebrity sightings, we didn’t see any big names, but oh well. 

I pretty much stand by my earlier review. The show has been tweaked a bit since previews (a section of Morticia’s second-act “Second Banana” dance has been cut, there are a few revised lyrics, etc.) and could still use a few more tweaks, but it’s highly enjoyable and will do well thanks to the all-encompassing appeal of it’s characters, and the anchoring performance of Nathan Lane. When I saw it in previews, the whole cast seemed to be playing it a bit safe, but now they’re throwing themselves into the material with a liveliness that was slightly lacking earlier. Krysta Rodriguez, as Wednesday, just gets better and better (damn, this girl has a voice!) and Carolee Carmello literally stops the first act with her big number.

It won’t be in Chicago for long. Check it out if you have the chance.

Candango!

Tonight, I get to attend official opening night of The Addams Family musical.

You know… life IS really good sometimes.

The Pillowman @ Redtwist Theatre

I feel that a part of my theatrical education has been completed now that I’ve seen – for the first time - a production of The Pillowman. Though I’ve certainly been hearing about it for years, and even know some friends who’ve done versions of the play, and knew Jeff Goldblum was in the original Broadway cast, it wasn’t until yesterday’s 3pm matinee at Redtwist I’d never read or seen this thrilling piece of theatre. 

I’d also never set foot in Redtwist theatre before, and I feel like I may have been missing out.  This is an exciting company.

The story is this: Katurian, a writer, is being interrogated by two policemen – Tupolski and Ariel – regarding the similarities between the short stories he’s written and the deaths of small children. Katurian maintains his innocence, though the policemen are quite clear he’s going to be executed soon, and so he fights for the preservation of his stories.  In the next room, the policemen are detaining Katurian’s brother, Michal. Over the course of 2.5 hours, your perceptions of what happened are twisted several times and gruesome but surprising details emerge. McDonagh keeps his writing brisk and conversational, and there’s never an overwrought moment or a dull section.

Cheers to director Kimberly Senior and the Redtwist theatre folks for choosing to bring a piece this bold to their stage, for delivering such a fantastic production, and for utilizing their small space in such an intense way. The main portion of the play happens in an interrogation room, and Senior’s staging puts the action literally within reach of the audience. (I had to move my feet to make sure I didn’t kick an actor in the head during a moment of brawling on the floor.) Framing the play are story-scenes, and those happen in two areas to either side of the room, which keeps you wondering whats going to happen next and where it’s coming from.

Also, applause must be given to this hard-working cast.  Andrew Jessop might be a tad too young to play Katurian, but his performance is riveting and emotional. Though you’re never 100% sure if he did or didn’t do it until the very end, he’s charsmatic and you care about him. As Michael, probably the show’s most challenging role, Peter Oyloe resembles James Franco and turns in an astonishing performance.  Both of these actors are worth keeping an eye on.  Tom Hickey and Johnny Garcia are the good cop and bad cop in charge of Katurian’s investigation, and both are clearly having a great time playing their roles.  Hickey in particular is a scene-stealer, especially in the second act when he weaves his own story about a deaf Chinese boy and an oncoming train.

I must also point out the excellent work of Christoper Kriz, credited with Original Music and Sound Design.  Kriz keeps an eerie drone underscoring the entire show, whether it’s just a water drip or a soft hum coming from somewhere undetermined, and the effect is very unsettling.

If you’ve never seen The Pillowman, you’re missing out.  Redtwist’s production is excellent, and I’d go see it again.

(Also FYI – Redtwist will be presenting Misery in June/July 2010. Yes, the Stephen King Misery. I’m absolutely there.)