A Christmas Story
Posted: December 24, 2013 Filed under: Comedy, Musical, Off-Broadway | Tags: achristmasstory, bbgun, danlauria, leglamp, madisonsquaregarden, pasekandpaul, ralphie, review, tour, youllshootyoureyeout Leave a comment
Part of me feels like I should watch A Christmas Story the movie before reviewing A Christmas Story: The Musical. Yup, it’s true – I have never seen this iconic Christmas film. And not because I’m Jewish I might add; we used to watch It’s a Wonderful Life every Christmas (we’ve since moved on to Love Actually). And even though A Christmas Story was always on TV, I never wanted to start in the middle. So now I have finally seen it – set to song and dance!
For those of you that don’t know, A Christmas Story came to Broadway last season, nabbed a few Tony nominations (Best Musical, Book, and Score), and has been touring around the country. It is now in the middle of a sit-down (a longer tour stop) at the Madison Square Garden theatre. And let me digress for a second here: Madison Square Garden is inSANE. I had never been inside (well, except maybe once as a kid), but it was like an amusement park. Our bags were checked, our persons frisked, we went up escalators galore, and encountered the enormous box office where they asked if I was picking up tickets for the musical or the Rangers game. The theatre itself has something like 5,000 seats! To top it off, they were selling cotton candy, crackerjacks, and popcorn as if we were at a baseball game. This place is quite the attraction.
But anyway, back on topic, Becca. On the whole, A Christmas Story is a jolly evening at the theatre. While not a perfect show, it’s definitely solid – directed by John Rando (Tony winner for Urinetown), with smart musical numbers, a talented cast, and a cutesy book. The kids in the audience were having a blast, and you can hear everyone enjoying lines or scenes before they even happen because they already know the story. Matt and I, however, were in the minority. We didn’t know what was in The Old Man’s special delivery crate marked Fragile or whether Ralphie would get the BB-gun for Christmas, so it was fun to see a new story.
The strongest part of the show is the score. As I mentioned in my Dogfight post last week, Pasek and Paul are where it’s at. These guys know how to write. Some highlights include: the opening, “It All Comes Down to Christmas”; The Old Man’s big song and dance number, “A Major Award,” featuring none other than a leg lamp kick line; and “You’ll Shoot Your Eye Out,” the big speakeasy tap number in Act II, which was featured on the Tony Awards last summer. And starring in that number as Miss Shields is Caroline O’Connor, all you Moulin Rouge fans out there! Not to mention the ridiculously talented tapping child, Luke Spring.
While the book is endearing, the musical is maybe 15 minutes too long, and there were a few things that let me down. I wanted Mother (Erin Dilly) to get an opportunity to let loose. The writers very much embrace the times here (the 1940s), and her two songs are the beautiful ballads about being a mother. But The Old Man (John Bolton) gets to go nuts with his award song. Also, Matt and I couldn’t figure out his character. One moment he seems pretty dumb, the next he’s cussing up a storm (albeit it’s fake cursing; is it like that in the movie?), then he’s got this mean streak that scares the kids. Nonetheless, it was a very funny performance by Bolton.
Mainly, what didn’t work for me was the narration led by Dan Lauria. This convention slowed things down. I’ve been told there is also a narrator figure in the film. Is it a voiceover? Perhaps it works better, but here he wanders around the stage like Ralphie’s odd shadow, interrupting the action to tell us things we already know. The role doesn’t particularly add to the material until the very end when he is able to articulate something young Ralphie cannot.
I do wish I could have seen this when it was on Broadway in a more intimate house. Never thought I would call Broadway intimate, but man, the theatre is so large I felt miles away from the performers. But I would venture to say that if you’re a fan of the film, you’ll be a fan of the musical. If anything, you can always count on the handful of heartwarming moments that bring a tear to the eye. And ain’t that what Christmas musicals are for?
A Christmas Story: The Musical
Written by Benj Pasek, Justin Paul, and Joseph Robinette, Directed by John Rando
Madison Square Garden the Theater through December 29th
Photo Credit: Carol Rosegg
Pictured: Noah Baird, Erin Dilly, John Bolton and Jake Lucas
You Should Be Listening To: Dogfight
Posted: December 17, 2013 Filed under: Drama, Musical, Off-Broadway, You Should Be Listening To... | Tags: benjpasek, dereklena, dogfight, firstdatelastnight, justinpaul, lindsaymendez, pasekandpaul, secondstage, wicked, youshouldbelisteningto Leave a comment
In the summer of 2012 there was a musical called Dogfight at Second Stage. Based on the movie starring Lili Taylor and River Phoenix, the show didn’t completely work as a whole, but there was plenty to be positive about. With great performances by Lindsay Mendez and Derek Klena (now co-starring as Elphaba and Fiyero in Wicked), Dogfight also featured a new and delightful score by Pasek and Paul. Haven’t heard of them? You will soon.
This young composing team out of University of Michigan has already been making quite a mark. I unfortunately missed their Broadway debut last year with A Christmas Story, for which they received a Tony nomination for Best Score, but luckily, it is back for the holiday season at Madison Square Garden (review coming soon!). Their songs were also featured on Smash (albeit I never made it past episode 3, wah wah). Or perhaps I once forced you to listen to the gorgeousness that is this song. Did you click? You’d best click.
Although Dogfight didn’t make the biggest splash Off-Broadway, the album, released last May, definitely got some well-deserved buzz. Do yourself a favor, look up the show on Spotify, and enjoy the beautiful melodies and tight harmonies. The song on repeat for me? First Date/Last Night. I also love Mendez’s pipes on Before It’s Over. Other catchy tunes include Some Kinda Time, Hometown Hero’s Ticker Tape Parade, Pretty Funny, and Dogfight featuring Tony nominee Annaleigh Ashford who is currently bringing in the laughs at Kinky Boots.
I look forward to hearing what Pasek and Paul write next.
Dogfight
Written by Benj Pasek, Justin Paul, and Peter Duchan, Directed by Joe Mantello
Second Stage Theatre
Photo Credit: Joan Marcus
Pictured: Lindsay Mendez and Derek Klena
Little Miss Sunshine
Posted: December 6, 2013 Filed under: Comedy, Musical, Off-Broadway | Tags: intothewoods, jameslapine, littlemisssunshine, roryo'malley, secondstage, stephaniejblock, williamfinn, willswenson Leave a comment
Well, what a charming little show Little Miss Sunshine is. The evening was such a pleasant surprise. I’d heard mixed things (mostly negative), but it was a treat, plain and simple.
True, the show already has a lot going for it since it’s based on the excellent movie hit of 2006. I only saw it once in theatres, but it’s remained one of my favorites. The movie made an impression because it had a new, touching, funny screenplay with a talented cast, and now you can encounter that same great combination on stage.
You’ve got Stephanie J. Block, Will Swenson, and Rory O’Malley to name a few of the performers. Then there is music by William Finn whose work you might have heard if you’re a fan of Falsettos, The 25th Annual Putnam County Spelling Bee, or A New Brain, and the book and direction is by James Lapine. You know you’re in good hands if you have Lapine taking care of you (Into the Woods, Sunday in the Park with George). I don’t remember the last time I saw a musical with this strong of a book. Again, this may simply be because they’re working with gold. I’m not sure how many lines are taken directly from the screenplay (I think another movie viewing is in order), but the musical definitely sticks to the plot.
Why turn this particular movie into a stage show? Because it’s just so damn fun to watch them figure out the van. If you recall, the bright yellow VW bus is a key character in the movie, as the family spends many an hour riding, driving, and pushing it from New Mexico to California. In this production the bus is six chairs on wheels and boy, do they make it work. The bus transforms throughout the piece. It’s incredibly clever, and the choreography is sharp and clean. In fact, the whole show is. It’s well put together with an extremely talented cast playing well-developed characters. The supporting characters are also hilarious (I wish Wesley Taylor had more to do!).
Now it’s not perfect. The score isn’t to die for; I didn’t fall in love with it the way I did when I saw Spelling Bee on Broadway. I didn’t leave humming the songs, and a few could pack a little more punch. I wanted more from the son’s big number, and the bathroom encounter between Frank (O’Malley) and his ex left much to be desired. The opening moments of the show were also odd. It just kind of…started. It was as if it picked up in the middle of a song, and I thought I had missed something. Nonetheless, the harmonies are beautiful, and the music certainly fits the style of the piece.
Overall, it’s quirky, fun, and adorable, just like the film. It was nice to see the story again with a new twist. And you have to go simply to see that pageant at the end. After being disappointed by the musicals thus far this season, Little Miss Sunshine is a breath of a fresh air.
Little Miss Sunshine
Written by James Lapine and William Finn, Directed by James Lapine
Second Stage Theatre through December 15th
Photo Credit: Joan Marcus
Pictured: Stephanie J. Block, Will Swenson, and the Cast of Little Miss Sunshine
Analog.Ue
Posted: December 5, 2013 Filed under: Off-Broadway, Play | Tags: analog.ue, analogue, danielkitson, monologist, recorder, reeltoreel, review, stanns Leave a comment
Up until the current production of Analog.Ue at St. Ann’s Warehouse, I had never heard of Daniel Kitson. He’s known as an English stand-up comedian as well as a playwright and monologist. At the heart, Kitson is a storyteller. After seeing his show, I departed a fan of his stories but not so much of this particular rendition.
Would you like some context? So a light comes up on a table far upstage covered in old-school tape recorders, reel-to-reel players, etc. The particular story being shared with us is entirely pre-recorded, and Kitson slowly but surely brings forward each player, hooks it up to a central circuit board, and plays the next section of the story. He often switches back and forth between a couple players, but primarily he moves on to the next piece of the story with a new piece of equipment.
In these one-to-two-minute increments, we learn about Thomas, an 80-year-old man, who has decided to record his life story at the encouragement of his wife of 40 years. He gets settled in his garage with plenty of snacks and surrounded by dozens of recorders. Meanwhile, this narrative is also spliced with tales of a young woman named Trudy. It’s years later and she happens to own one of Thomas’s tapes and has spent years trying to find the man whose voice she has listened to since childhood. While the story is appealing in itself, it takes a while to get going. The running time is approximately 75 minutes, fluctuating due to the technical problems that may crop up. In fact, it was during the technical difficulties that I was most amused. Kitson’s anecdotes and interjections to fill the pauses were quite amusing and made light of the reality.
It’s a very interesting idea, but the actual execution didn’t hold my interest. Sitting in a dark room with minimal physical activity and lighting makes it difficult to stay present (and awake). With only auditory stimulation, you might be asking yourself: couldn’t this be a podcast? Let’s check in with my theatre companions for that evening. Allison (my bro’s gf) wasn’t too pleased. She has seen Kitson’s work before and was disappointed he didn’t talk to us. His storytelling is his MO, and we didn’t get to see it. Jeff (my bro), on the other hand, kept arguing the point that this is the only way the story can be told! Maybe you should go and decide for yourself. Personally I don’t think it’s enough. While it is an intriguing experiment in technology and audio devices, I found myself counting how many recorders were left on the table.
Analog.Ue
Written by Daniel Kitson
St. Ann’s Warehouse through December 21st
Bad Jews
Posted: November 18, 2013 Filed under: Comedy, Off-Broadway, Play | Tags: badjews, chai, review, roundabout, shiksa Leave a comment
First, let me say that I did not care for this show. Second, I should also say right off the bat that I am most definitely in the minority. Bad Jews has received rave reviews and audiences love it. My theatre buddy that evening (and fellow Jew) was my brother’s girlfriend, Allison (of Accessories by ASH), and she loved the show, too.
So what’s wrong with me you ask? Well, let’s back up a bit. We start in a fancy New York City studio with Jonah and his first cousin, Daphna (actually named Diana, but she’s super Jewish so she’s Daphna now, don’t bring it up) after their grandfather’s funeral. They are soon to be joined by Jonah’s brother, Liam, who arrives late (missing the funeral) with his Shiksa girlfriend, Melody. Tensions are immediately high, yes due to the death in the family, but primarily because Daphna is “that cousin” who gets in your face about everything. She and Liam can’t stand each other. Jonah would prefer to stay out of the drama as much as possible. As the fighting enters into the wee hours of the morning, these four characters brawl over their feelings toward Judaism, marrying outside the faith, how to best honor their grandfather, and above all who should receive Poppy’s Chai necklace that he’s had since the Holocaust.
Now I went into this play thinking I was going to see a slapstick comedy about Jews. The play does have some good laughs (there is one bit with Molly Ranson as Melody and I could hardly breathe), but this is no farce. There are serious issues being covered, and very intense words are shared. Thoughtful questions are raised and interesting perspectives put out there, but the way in which they are approached is what put me off. I want to hear these arguments but not from these people. For example, the second Liam is introduced he is a jackass through and through with no redeeming qualities. Why do we start with him there? There isn’t anywhere for him to go if he’s already so terrible.
It’s hard to watch people fight for close to two hours. It’s hard to watch unlikable people tear each other down with cruel words. Some of what these characters say is exactly that: cruel. They are bullies, pure and simple. There are two monologues in particular that are full of hateful words directed at another person in the room. Luckily there comes a point when someone steps in, but I as an audience member didn’t see why we had to watch it. Charles Isherwood calls it savage humor, and apparently it’s just not my style. I only felt a consistent sense of unease.
Maybe the discomfort I felt during the show is part of the playwright’s intention; perhaps he wants to ruffle some feathers. But instead, I felt like Jonah – stuck in the middle and not wanting to get involved.
Bad Jews
Written by Joshua Harmon, Directed by Daniel Aukin
The Laura Pels Theatre through December 29th
Photo Credit: Joan Marcus
Pictured: Tracee Chimo, Philip Ettinger, and Michael Zegen
Becca on Broadway 