You Should Be Listening To: Serial
Posted: November 26, 2014 Filed under: Miscellaneous, You Should Be Listening To... | Tags: adnan, adnansyed, bestbuy, haeminlee, happythanksgiving, jay, mailchimp, podcast, sarahkoenig, serial, serialpodcast, subscribe, thanksgiving, thisamericanlife, youshouldbelisteningto Leave a comment
Looking for your next show to binge-watch? How about a binge-listen?
We’re venturing into new territory here on Becca on Broadway: the land of podcasts. I’m pretty new to the experience, having only been introduced in September, but now I cannot get enough. Today we focus on one in particular.
If you’re a regular podcast listener, then you likely already know alllll about Serial, which is currently the top station. It’s a spinoff of This American Life, the popular public radio show hosted by Ira Glass. Each episode of TAL has a theme and is typically split into three acts as we hear different peoples’ stories (it was also a television series on Showtime back in 2006). Serial began in September, coincidentally right after I started subscribing to the podcast world. Sarah Koenig, a journalist and producer of TAL, is the host and executive producer. The primary difference between the two podcasts is that Serial focuses on one nonfiction story over the course of the whole season, each episode diving deeper and deeper into the details. There have been nine so far, ranging from 30-45 minutes each (it’s still TBD how many episodes there will be).
This first season is about a murder case from 1999. A Baltimore high schooler named Hae Min Lee was strangled, and her ex-boyfriend, Adnan Syed, was arrested, convicted, and sentenced to life in prison not long after her body was found. Fifteen years later, Adnan is an inmate at a Maryland correctional facility. But when we start to look into the case against him, it’s not the most clear-cut. Between the conflicting testimonies, confusing phone records, and lack of follow-through on examining the evidence, how sure are we that Adnan was rightfully convicted of this crime?
Not to say that’s all the podcast is about. Sarah Koenig isn’t just trying to prove Adnan’s innocence. He very well may be guilty (many listeners firmly believe he is), but either way, Sarah ultimately wants to get to the bottom of it. So she starts from scratch and is now reviewing the case piece by piece all these years later. This leads to many new mysteries as she interviews friends, family, and witnesses from the winter of 1999 – kids who are now grown adults. We also get to know Adnan, as Sarah has weekly phone conversations with him in prison.
Honestly, no matter what I say it won’t begin to cover how compelling this story is. I don’t know how they do it, but every episode is better than the last. Listeners are incredibly invested in this case, and it’s actually easy to forget sometimes that it’s real life. These are not characters in a movie. This isn’t a mystery novel. This is a tragedy that really happened which took one girl’s life and forever shaped her classmates’ futures. Episodes cover all kinds of emotions. I’ve had friends text me about crying on the subway as they listen. I’m pretty sure I often look stunned, with my mouth hanging open, as I listen on my commute.
Along with the captivating evidence reveals, testimonies, and recordings from the trials, Sarah is also a fantastic host. She’s riveting and relatable. We are going along on this journey with her, and she is just as stumped as we are. Her delivery is calming and smart, and she asks all the right questions (although the parody that’s going around right now is hilarious and a pretty spot-on impression of her intonation). While we’re on the topic actually, for you fans out there, I also suggest checking out these great charts (thanks for sharing, Dina!).
Want more reasons to listen? The theme music. The editing. The pacing. And the MailChimp ad at the beginning which somehow we’ve all grown to love and look forward to every Thursday morning.
So here is your assignment:
1) Install the Podcast app on your phone.
2) Subscribe to Serial.
3) Download the episodes.
4) Start with Episode 1: The Alibi (note: you definitely want to start at the beginning.).
They’re off this week due to Thanksgiving so it’s the perfect time to start catching up. Go with my blessing, friends. Give thanks, and binge!
A Note on Previews, Plus Violet Take Two!
Posted: August 19, 2014 Filed under: Broadway, Miscellaneous, Musical, Revival | Tags: broadway, closing, colindonnell, preview, previews, review, suttonfoster, violet Leave a comment
Matt has a rule that he doesn’t see a show in previews until at least the third week. I, as of late, have been trying to adopt this habit. This is not to say previews aren’t worth seeing or that they’re “bad” performances by any means, but more often than not, the show is simply not ready. It likely still needs more time to polish technical cues, and as they say in the theatre business, the show isn’t “frozen” yet.
For those of you who don’t know how previews work, basically, during those three or four weeks before opening night, the show is still malleable. Cuts are made, lines added, blocking shifted, light cues changed. Many of these shifts are based on how things are going in front of the audiences – the creative team and performers get an idea of which moments aren’t working, what isn’t reading, what can be taken further, etc. So everyone is also rehearsing during the day before the performances each night and constantly adapting to all of these changes. It’s an exhausting and frenzied time. There is so much else going on during a preview period aside from the story being told.
Back in April, Matt and I broke his rule when we got comp tickets to Violet, because come on, we weren’t going to pass up free seats! We saw the seventh preview I believe, and while I liked it (and gave it a fairly good review), it still lacked…something. It felt unfinished, the actors weren’t as connected as they could be, they hadn’t quite found their rhythm – all symptoms of early previews of a musical and of course, things I would never hold against a production.
Something I don’t often get to do is then go back and see a show later on in its run. To be able to return and see the developments and changes is always a rush. In this case, I couldn’t have asked for better circumstances. Four months of eight shows a week (and four Tony nominations) later, I took Brigitte to see the closing performance of Violet last Sunday for her birthday, and I am so happy to have witnessed it. So happy that I’m writing a second mini-review!
I loved this production. Truly. Back in April, I said in my review that I didn’t think the stripped down, minimalist approach fully served the show. Now I couldn’t disagree with myself more. It was incredibly effective and put the emphasis on the characters and the heart of the story. The connections between people were real and specific. I noticed so much more detail this time around – like the way Flick was treated in the opening scenes even when he was not the focus. There were sharp, striking flashes of choreography in “On My Way” and “Luck of the Draw,” moments which may have been there back in previews, but they didn’t read the way they did last week. Props to director Leigh Silverman and everyone else for such tight, precise storytelling.
I also had said there was no depth to the character of Monty and that I didn’t buy the love triangle. Again, now this couldn’t be further from the truth. Colin Donnell brought so much to the role, and you could actually see Monty changing, or at least wanting to change and be better. And I definitely believed this odd triangle of people and the twists and turns of their relationships, thanks to the nuance that developed over the course of the run.
The show was extra emotional since it was the last performance, and everyone was giving it their all. There were extra riffs, milked moments of laughter, and super long applause breaks between numbers. It was quite the ride, and I’m so thrilled I was able to go back on the Violet bus for a second time.
Violet
Music by Jeanine Tesori, Book and Lyrics by Brian Crawley, Directed by Leigh Silverman
American Airlines Theatre, Closed August 10th
Photo Credit: Joan Marcus
Pictured: Sutton Foster and Alexander Gemignani
You Ain’t Never Had a Friend Like Me
Posted: August 12, 2014 Filed under: Miscellaneous, Movie | Tags: aladdin, bangarang, carpediem, deadpoetssociety, ferngully, genie, hook, inmemoriam, jumanji, ohcaptainmycaptain, peterpan, rip, robinwilliams, thecrazyones 4 Comments
Robin Williams had one of those careers where you forget just how many momentous films he was in.
Of course, there are always the immediate ones that come to mind, a list that I’m sure varies from person to person. For me, it’s Aladdin, Hook, and Good Will Hunting. But then I scroll through his IMDB filmography, and I’m suddenly going down memory lane as I remember and realize how much my childhood was influenced and filled by his talent, humor, and presence. From watching FernGully on repeat, to Mork and Mindy, to Jumanji scaring the bejesus out of me with those enormous plastic spiders, to the iconic Mrs. Doubtfire, Robin was a constant in my young life.
And as I continue to sift through IMDB, I recall Dead Poets Society. Patch Adams. The Birdcage. Awakenings. One Hour Photo. And then there are the ones I have yet to see like What Dreams May Come, Toys, and Good Morning Vietnam (I know, I know. Maybe now I’ll finally get around to it). And that list doesn’t even touch half of the films he made – films which influenced audiences all around the world.
I don’t know how many of you watched his recent CBS show, The Crazy Ones (obviously not that many being that it didn’t get picked up for a second season). Nonetheless, I watched all of it and believe it was canceled prematurely. It was quirky and weird and maybe a little too out there, but it was hilarious and knew exactly what it wanted to be. Kind of like Robin.
I couldn’t fall asleep last night because I fell down the wormhole of watching clips and kept crying. As much as I’ve been saddened by some of the great actors we’ve lost in the last few years, this hits closer to home, as I imagine it might for many of the folks in my generation. We grew up with Mr. Williams. He shaped us. He taught us comedy, improvisation, voices, joy, and how to do an impression of a hot dog.
After I saw the news last night, I called my mom and said that I can’t believe we’re getting to a point where the generation of actors I grew up watching is dying. But we shouldn’t be there yet. Robin, you left us too soon. We will miss you and will continue to watch your films for years to come. Whenever we’re looking to be uplifted. Whenever we want to be inspired. And most importantly, whenever we’re in need of a laugh.
Bangarang, Peter.
National Suicide Prevention Lifeline
1-800-273-8255
A Disclaimer on Reviews
Posted: July 29, 2014 Filed under: Miscellaneous | Tags: benbrantley, broadway, charlesisherwood, critics, opinion, review, reviews, subjective 4 Comments
I’ve been thinking a lot about reviews and critics recently. It remains fascinating to me how people can have such different opinions about things, and I’m not just referring to theatre. I’m talking about movies, TV, books, any form of art really. I mean, this isn’t news. Art is subjective. We know this. People are going to see it through their own eyes, approaching it with their own history of experiences, relating to it in their own way. If art weren’t subjective, it would be a whole lot less interesting, not to mention a lot less universal.
I find that in the theatre world, we tend to surround ourselves with those who have a similar aesthetic in the same way that our friendships naturally evolve. You know how you’re friends with people your friends are friends with? But even within that shared aesthetic, you’re still likely to have massive differences of opinions. My pal Matt loves the musical Ghost. I hate it with a fiery passion (sorry Matt, you know how I love to dig at that show). Jenn adores certain actors whom I would rather not see again. Brigitte loves the movie “Runaway Bride.” But despite these differences in opinion, I would still take their advice any day on what shows to see.
Honestly, it’s amazing to me that critics have a job, that the concept even exists. When opinions are so varied, how is it that one individual can make a living saying what he or she thinks? This isn’t a Yelp situation where a musical receives a certain star rating because 600 people went to see it and then commented about their favorite parts. So much of a production’s sales can depend on what the New York Times prints the night of its opening. Is the fate of a show in the hands of Ben Brantley and Charles Isherwood alone?
There are times I’m reading a Brantley review and it’s like he took the words right out of my mouth, but other times when I think, “Did we even see the same show?” I thought Aladdin was a major miss – it got great reviews. Matt and I did not care for last season’s Cinderella – same thing. ROCKY we loved. In fact, when it was in previews, I didn’t hear a negative thing about it in the general Broadway buzz. But then the reviews came out negative to mixed. I admit – I began to worry people would start to not trust my reviews, but it’s not really about trust, is it? It comes down to opinion and opinion alone. Not everyone will see eye to eye with me. The best I can do is share what I see and what I know, and from there it’s up to you.
Tony Committee Ruling
Posted: June 14, 2014 Filed under: Between Two Boroughs, Broadway, Miscellaneous, Tony Awards | Tags: petition, sound, sounddesign, tony, tonyawards, tonycommittee 3 Comments
If you haven’t yet heard (no pun intended), on Wednesday the Tony Committee eliminated the Best Sound Design of a Play and Best Sound Design of a Musical categories from next year’s award season. As you might imagine, there has been a huge backlash from the theatre community, culminating quite quickly in this petition to reinstate the categories. Now I know there is already a lot out there in terms of angry responses in the form of articles, blog posts, and social media alike, but if you’ll allow me to add a few flames to the fire…
Over the years I’m finding the Tony Awards have become more and more like a secret club that only certain people are worthy enough to be included. There has been so much concern over getting better ratings in recent years that it has consistently become more about that than celebrating theatre. To begin with, as I mentioned in my last post, you have LL Cool J rapping a Meredith Wilson song instead of dedicating time to a number from the Tony-winning score of The Bridges of Madison County (re: Steven Pasquale’s tweet). Jason Robert Brown certainly let people know his thoughts on the matter in his thank you speech. Or we get a song from Sting’s The Last Ship or J-Hud doing Finding Neverland (neither of which has even made it to Broadway yet) instead of giving ROCKY the proper time needed to do a full number. I’ve read in a few places that the ceremony has turned into a commercial for next season rather than a look-back at what was accomplished this year.
Then you’ve got all of the awards that aren’t considered “mainstream” enough to be aired along with the rest of the broadcast. You know, like the designers. Cause who needs lights, costumes, and sound? I remember a few years back when even more awards were added to this unaired portion, categories like Best Score, Book of a Musical, Choreography, etc. And what have we been getting in place of that? They even cut the In Memoriam segment this year from the main broadcast! I mean, come on.
And now back to the sound design issue. Every year friends and I talk about categories that should be added to the awards season: casting directors, stage managers, musical directors, book of a play, best replacement, etc. We look for opportunities to honor more people. And now we’re taking things away? Sound only started getting recognized in 2008! This article touches on some of the reasoning behind the committee’s decision. I understand that it might be difficult to assess sound design, especially when often the goal is to not even notice the design at all when watching a production. “Members believe that sound design is more of a technical craft, rather than a theatrical art form.” It’s funny; I just had an intense debate with my brother Jeff last weekend about what is art versus what is entertainment. This seems like a similar debate: technical craft versus art. What deserves to be honored? What makes a design one and not the other?
When this ruling was announced, my friend Jenn (the brilliant director of a little play called The Understudy) and I immediately started discussing just how integral our sound designer (the fantastic Ien DeNio) was to our show. Sure it’s a technical skill, but her work was a vital part of the artistic process as well. For example, there were these three enormous set changes in the play, and it was a last-minute decision during tech (per Ien’s suggestion) to add sound. She had a very specific idea in mind for what would work, and because she had been a part of the artistic contribution from the beginning, we trusted her to take the idea and run with it. This addition of sound ended up filling in the spaces and further enhancing the world we had built together with the entire creative team.
In honor of the sound designers out there (and all of the others who have yet to be recognized in the main ceremony, if at all), please consider signing this petition to reinstate these awards. Okay, I’m stepping off my Broadway soapbox now. Thanks for listening.
What do you think about the committee’s decision?
Becca on Broadway 