Old Hats

Posted: May 28, 2013 | Author: | Filed under: Comedy, Off-Broadway, Play | Tags: , , , | Leave a comment

I could not have started with a bigger grin on my face at the top of this show. As the curtain was drawn, it was like the corners of my mouth were drawn with it, pulled up as high as they could go, and I didn’t stop smiling for the entirety of the performance. I wrote in my previous blog post that Here Lies Love hits the ground running. Well, these two actors literally hit the ground running, and it is instant comedy. Thanks to a few friends absolutely insisting that this show was not to be missed, I made it a priority, and I’m happy to report that you should too, if only to have the opportunity to see these two men share a craft that’s more and more difficult to find in mainstream theatre.

Old Hats stars the immensely talented Bill Irwin and David Shiner and is now extended through June 9th (Playbill has a $60 offer if you’re looking to save a little money. Sign up if you don’t have an account). I was immediately captivated by them. They have the audience in the palms of their hands from the first moment, and it is miraculous to witness. This piece is like a master class in comedy, watching two genius clowns do an incredible dance. Not a word is spoken, but hundreds of stories are told. Yeah, yeah, I know how cliché that sounds. Deal with it. From a businessman to a hobo to a magician and his assistant, they transform from sketch to sketch, and it’s like seeing your favorite cartoons brought to life before your eyes.

A kick-ass band led by Nellie McKay accompanies the sketches and is featured between them. I really want this girl’s job. She has a Regina Spektor-type vibe to her voice, and the jazzy blues keep your toes tapping from scene to scene. There are moments when the music is so in sync with the sketches that it’s as if the actors are creating the sounds with their bodies. Speaking of which, I want to give a shout-out to the sound and lighting team. They have a ridiculously hard job. Those cues are crucial for the comedy to work and the punch“lines” to land.

I cannot stress enough what a pleasure it is to watch these two play off each other. Whether it’s a simple magic trick or bringing a person to life out of a rag and beer bottle, they are a wonder to watch. The sketches are a mix of classic clowning we already know and love and modern age clowning involving projections and iPads. I should also mention that the audience interaction is priceless. Unlike the plants used in One Man, Two Guvnors (as funny as that was), Bill and David are working with fresh, clueless audience members every night (they’re definitely not plants; my friend was pulled up on stage when she went). They were handled with such care that I never felt uncomfortable for the participants or feared they would be embarrassed, and it set up the building blocks for enormously funny comedy, especially in the second act.

There is so much more I want to say about individual bits and scenes, but I don’t want to give anything else away! I guess you’ll just have to check it out for yourselves. I’ll leave you with this: a copious amount of spaghetti is always funny. Always.

Old Hats
Created by Bill Irwin and David Shiner, Directed by Tina Landau
Signature Theatre Company
Photo Credit: Joan Marcus
Pictured: Bill Irwin and David Shiner

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

The Assembled Parties

Posted: May 15, 2013 | Author: | Filed under: Broadway, Play | Tags: | Leave a comment

The Assembled Parties is a new play written by Richard Greenberg currently playing at the Samuel Friedman Theatre. It follows the lives of a wealthy Jewish family living in a 14-room apartment right off Central Park. Act I takes place Christmas Day in 1980, and Act II is exactly 20 years later. We learn about the whole family, but the primary focus is on Julie (Jessica Hecht), her sister-in-law, Faye (Judith Light), and her son’s best friend, Jeff (Jeremy Shamos).

I came to the theatre that night with very high expectations. The reviews were all extremely positive, it received three Tony nominations, and as always, I was excited to see a new play. But the evening was lukewarm for me. For two and a half hours, I kept waiting for something to happen. After a first act full of exposition and character setup, I was sure that shit would finally hit the fan (as shit is wont to do), particularly in the second act of a modern-day family drama. August: Osage County anyone? [coming soon to a movie theatre near you]. Instead, it was a steady simmer all night. Don’t get me wrong, I was invested in the characters, and the majority of the acting was first-rate, but the takeaway still left me feeling unfulfilled.

It wasn’t until the final moments of the piece that I realized I was watching a contemporary Chekhov piece. The last image specifically struck me because it mirrors the last image of Three Sisters to a tee. For those of you who don’t know Anton Chekhov’s work, he is most famous for plays such as The Seagull, Three Sisters, and Uncle Vanya. Why did this play remind me of Russian plays from the late 1800s you ask? Because it’s a group of people sitting around a living room (or one of the other 13 rooms) talking about their lives. They are frustrated with the present and longing for a better future. Chekhov’s plays did not focus on “action,” nor does Greenberg’s play.

The actors in the three major roles were excellent, as expected. Judith Light, nominated for her performance, is, as always, a wonder. Her delivery is consistently dead-on, with dialogue packed with one-lined zingers (“Republican Jews? That’s like saying a skinny fat person.”). Jeremy I love. I only found out about him last season in his Tony-nominated performance in Clybourne Park. His work is subtle, simple, and ever-present. Jessica Hecht, of whom I am typically not a fan, was wonderful. Since her days as Susan on Friends, she has always made me feel uneasy, but I cannot say enough good things about her in this role. She was perfectly cast and extremely generous on stage. I’m surprised she was not recognized by the Tony committee.

I have been trying to develop a closing thought for a while now, but I find myself coming up blank. This sense of being unsettled is very similar to how I felt leaving the show that night. I suppose the question is: would I recommend this play? I think I would if you’re interested in seeing good acting. There are some wonderful charming moments, and it’s always a pleasure to see good actors do what they do best.

The Assembled Parties
Written by Richard Greenberg, Directed by Lynne Meadow
Manhattan Theatre Club
Photo Credit: Sara Krulwich
Pictured: Judith Light, Jessica Hecht, and the Cast of The Assembled Parties

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

Oh. Hey there.

Posted: May 11, 2013 | Author: | Filed under: Miscellaneous | Tags: | Leave a comment

Greetings, blogging world. Where to begin? A brief introduction? My name is Becca. I love theater so I go see it a lot. I like sharing my opinions and was encouraged by several people to share them more publicly. So here I am. On a blog. Like so many before me.

I’m hesitant to say we should call my future posts “reviews,” but after I see a show, I’ll tell you what I think of it. How does that sound? If I hate it, that doesn’t necessarily mean you are going to hate it and that you should skip it. Maybe you’ll see something I didn’t. Or you know, maybe I was right.

I’m still trying to come up with a clever quick-glance rating of “how good” something is, like the standard 4 out of 5 stars or thumbs-up versus thumbs-down. Thoughts, inter-webs? When Seth MacFarlane played Ryan Lochte on SNL Weekend Update and reviewed the upcoming fall season, he gave things “swims.” I could give shows six swims. Out of three.

See ya soon. Oh! And follow me!

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