Nobody Loves You

Posted: August 8, 2013 | Author: | Filed under: Comedy, Musical, Off-Broadway | Tags: , , , , , | Leave a comment

Hey readers. Long time no see. The summer season is so painfully quiet in the theatre world! But I have returned to the blogosphere to review Second Stage Theatre’s production of Nobody Loves You.

If you had asked me how I felt about this show during the first scene or two, man oh man, was I ready to walk out. I sat there thinking, “Oh god, what have I gotten myself into?” Luckily, the show began to redeem itself with its clever one-liners and quirky self-awareness. I gotta say, that’s hard to do – reversing a first impression and bringing me back from the brink is impressive.

Here’s the basic premise: Jeff, a philosophy graduate student, auditions for a reality show dating competition called “Nobody Loves You” to try to get his ex-girlfriend back. Don’t worry, his reasoning makes sense: it’s a musical! He is also ready to prove to his ex (who’s a big fan of the show) and the world how reality TV is manufactured and fake, and no one makes any real connections. You can probably guess how things pan out, but it’s definitely entertaining along the way. If you’re looking for bubblegum fun, this is the place to be.

The tight-knit ensemble cast stays super busy for 90 minutes singing pop tunes and jumping around playing multiple roles. My personal favorite is Heath Calvert as Byron, the charming-as-he-is-dumb host of the competition. Stand-outs also include Leslie Kritzer as Nina, the hilarious, ball-busting Executive Producer, and Rory O’Malley (The Book of Mormon’s Turn It Off star) as super fan Evan, who provides an excellent way to watch the show within a show from the outside in.

Another nice surprise was Aleque Reid as Jenny, the equally-annoyed-as-Jeff backstage assistant to the show. Amidst all of the heightened “reality,” Jenny’s character keeps things grounded. Not to mention she reminded me so much of Elizabeth Mitchell that I went home and fell into a YouTube wormhole watching LOST Juliet clips (spoiler alert in that link, if you still want to watch the series one day).

I did think, however, that the main character was problematic. Jeff just wasn’t likable in my book. I’m stumped as to whether this was due to the actor, the writing, the directing, or a combination. Granted it’s a tough sell to get you on his side; he has to be a Negative Nancy for most of the show, and it opens with him being kind of a jackass. But he could be a lovable jackass, right? Nonetheless, I didn’t care about him, which leads me to my main issue with the show.

Since these characters are all archetypes and spoofs of themselves, not to mention that the show is one major mockery of reality television, it’s hard to care for them on a deeper level. The show is definitely fun and the campiness hilarious, but when it tries to get “real,” the script falters. I don’t watch reality TV; I dislike it almost as much as Jeff does. I prefer the spoofs like Burning Love or Baby Bachelor. In that vein, Nobody Loves You is actually quite a smart commentary on reality shows, and musicalizing it works. But in the end, it is about reality television, so it never really gets beneath the surface. Leaving me to ask: is that the underlying flaw of the show or the point?

Nobody Loves You
Written by Itamar Moses and Gaby Alter, Directed by Michelle Tattenbaum
Second Stage Theatre
Photo Credit: Joan Marcus
Pictured: Heath Calvert (right) and the cast of Nobody Loves You

Here Lies Love

Posted: May 22, 2013 | Author: | Filed under: Musical, Off-Broadway | Tags: , , | Leave a comment

You may have already heard rumblings about the new show currently playing at The Public. Thanks to a dear friend of mine and her poor boyfriend’s food poisoning symptoms (feel better!), I scored tickets to Here Lies Love last Wednesday night. This was the first show I went to see that I consciously knew I’d be writing a blog post afterward, and I’m so glad it was this one.

Go get your tickets now for a fun, unusual, engrossing night at the theatre. Prices are steep (around $90), but you can check out the rush policy here. First though, a heads-up: this is an immersive theatrical experience. You stand for the duration of the piece and move around the room as the space shifts via rolling platforms. There is some optional seating up above on the second level, but if you’re going to spend the money, definitely be on the main floor for the full experience. It’s about 90 minutes with no intermission so just wear comfortable shoes and check your bags. And to those of you who fear the interactive elements of theatre, don’t worry! You will not be forced to go up on stage and perform. The “worst” that can happen is an actor might shake your hand or address you in the crowd. Oh, and you do a line dance à la the electric slide with the rest of the audience. Get pumped.

But I’m getting ahead of myself; let me back up. Here Lies Love tells the story of Imelda Marcos, the former First Lady of the Philippines. We begin in 1946 when she was 17 years old and progress through her courtships, marriage, rise to power, and subsequent fall after the People Power Revolution which culminated in 1986. Now simply add a dose of projections and the music of Fat Boy Slim, and you have an innovative, refreshing new production. Yes, you heard me right, that Fat Boy Slim. Originally released as a concept album in 2010 by FSB and David Byrne (founder of the band Talking Heads), it has been developed into a rock musical directed by the great Alex Timbers (Bloody Bloody Andrew Jackson, Peter and the Starcatcher).

A blend of rock, disco, and techno music fills the house as you enter what could be a club downtown, albeit much tamer than Stefon’s idea of New York’s hottest club. The DJ is on the second level pumping heavy bass, an enormous disco ball hangs from the rafters, and colored lights, strobes, and abstract projections paint the walls. When the show begins, it hits the ground running. The 90-minutes are jam-packed with catchy, melodic songs, inventive choreography, and a cast that has energy coming out of their pores.

One of the greatest, surprising takeaways was how much I learned. Not only was I moved by the story, but I was learning a part of Filipino history about which I’m embarrassed to say I didn’t know much. I went home wanting to learn more and followed up with my own research (thanks Wikipedia). An entertaining history lesson was the last thing I expected (I honestly went to the show that night thinking I was going to see a rock Filipino version of Evita). The projections feature real-life footage of Imelda, President Ferdinand, and Senator Aquino, and as the platforms spin and we’re led around the theatre, we are guided forward through time, seamlessly shifting focus from Imelda to the Filipino people and their struggles.

What ultimately affected me the most was the immersive experience because that’s exactly what we were: fully immersed. We were not just moving around the set like cattle as an unidentified mass. Rather, the audience is serving a purpose, playing either the role of citizens from around the world or the Filipino locals. We are another character in the show; the actors address us directly as they are interviewed by reporters, make political speeches, and ask for our vote. We are just as crucial as the actors on stage in the events of this story. In the program notes, Oskar Eustis (the Artistic Director of The Public Theater) writes, “The goal [was] to create an immersive musical theater piece that is both an amazing environmental event and a powerful narrative.” They have definitely succeeded.

Here Lies Love
Concept and Lyrics by David Byrne, Music by David Byrne and Fatboy Slim, Directed by Alex Timbers
The Public Theater
Photo Credit: Joan Marcus
Pictured: Ruthie Ann Miles and the Cast of Here Lies Love

Pippin

Posted: May 13, 2013 | Author: | Filed under: Broadway, Musical, Revival | Tags: | Leave a comment

It’s hard to put into words how I felt about this production and still be taken seriously. I’m concerned everything I write is going to sound cliché and over-the-top. Even so, I can’t stress this enough: it really is that good. I forgot theatre could be that good. But that’s one reason I keep going back to show after show, ranging from terrible to mediocre to great. One after another, I go to the theatre hoping my mind will be blown. Like me, the audience that night was waiting to see a show that would wake up every single one of their senses.

The energy in the house was electric from the get-go. The opening chords of “Magic to Do” began, and people went crazy. It was like a rock concert. But, you know, at a Stephen Schwartz pop musical. And from those opening moments through the last, the show never falters. It builds and builds until the climactic (or is it anti-climactic?) ending. It continues to outdo itself. There were moments when I felt like I was levitating. Between the orchestrations, cast, choreography, lights, set, and circus acts, it can do no wrong in my mind, and everyone who has seen it knows this to be true (we’re clearly not including Ben Brantley in this scenario).

For those of you who don’t know the show, Pippin first hit New York in the early 1970s, Fosse-ing its way onto Broadway and winning Ben Vereen a Tony for Best Actor as the devilish Leading Player plus a handful of other awards. It is loosely based on the real-life Charlemagne (Charles the Great) and his son Pippin from the Middle Ages. Using the premise of a traveling theatre troupe, it tells the story of a young man named Pippin trying to find his place in the world and looking to achieve ultimate fulfillment. This particular production uses the framework of a Big Top and never lets up on the circus convention. Acrobats, animal cages, tricks, hoops, unicycles, and magic fill the action from start to finish, all leading to the promised unparalleled greatest finale.

If you’re already a fan of the show, it’s a treat experiencing the newly tweaked (for the better) book, and there are also some nice cuts/revisions to the songs. I can’t say enough complimentary things about the cast. If Patina Miller does not win a Tony for her work as the Leading Player, color me dazed and confused. I enjoyed her performance in Sister Act a couple seasons ago, but it’s like this role was made for her. She radiates this intoxicating energy with her strong vocals and tantalizing smile. Not to mention those fantastically toned arms. Speaking of which, this cast is beautiful. Can we talk about that for a second? Very good-looking people in astonishing shape, which is quite necessary considering some of the feats performed. The circus team is fantastic, from their mind-boggling, grab-the-person-next-to-you tricks to the more under-stated moments like Pippin’s brief conversation with a severed head. I was sorry to see that Matthew James Thomas (Pippin) and Rachel Bay Jones (Catherine, his love interest) were not recognized for their work by the Tony committee. I thought their performances were nuanced, hilarious, and beautifully sung. Terrence Mann (Charlemagne), of course, is Broadway royalty, and if you missed Charlotte D’Amboise (Fastrada) as Cassie in the recent revival of A Chorus Line, now’s your chance to see her big “Music and the Mirror” number in the form of “Spread a Little Sunshine.” For show highlights, click here and here.

So yes, as you can see, I could clearly go on and on about Diane Paulus’s brilliant production. All my reviews after this will likely pale in comparison, but seriously: go buy your tickets before Pippin wins many a Tony Award on June 9th. It is not to be missed.

And if you’re still having hesitations, just go to see Andrea Martin’s big scene as Berthe. Trust me, you will not regret it.

Pippin
Written by Stephen Schwartz and Roger O. Hirson, Directed by Diane Paulus
Music Box Theatre, Closing January 4th, 2015
Photo Credit: Joan Marcus
Pictured: Andrea Martin, Patina Miller, Terrence Mann, and the Cast of Pippin

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