Domesticated
Posted: November 1, 2013 Filed under: Off-Broadway, Play | Tags: brucenorris, domesticated, gender, goldblum, linctix, review Leave a comment
There are few things I enjoy as much as seeing a good new play and then talking about it the entire commute home. And I don’t mean just talking about what we liked or didn’t like, or the design, or even the acting. I mean, talking about the play – diving deeper into the ideas it touched on. I love when the conversation continues after the lights come back up.
The playwright Bruce Norris wowed me (plus a few Tony voters) with Clybourne Park a couple seasons ago, so when I heard he had a new play at the Mitzi E. Newhouse up at Lincoln Center, I bee-lined for Linctix to buy myself a ticket. Not to mention it’s directed by Anna D. Shapiro (August: Osage County) and starring Jeff Goldblum and Laurie Metcalf. It’s called Domesticated, and I do recommend checking it out.
Now I don’t want to give much away because I think the play raises some very interesting questions, and they’ll sound a whole lot smarter in the context of the play than me trying to paraphrase them here. I will say that it is a piece about gender, politics, (gender politics?), betrayal, morality, and the concept of men versus women, in all respects really.
A politician, Bill (Goldblum), is introduced. He is at a press conference confessing to a crime, resigning from his post, and his wife Judy (Metcalf) is at his side. The Good Wife, anyone? Bill is surrounded by women in his life. After that first speech of his, he is primarily silent for the remainder of the first act. It’s fantastic to watch. He is talked over and practically trampled by these women (his wife, his daughter, his lawyer, etc.). But boy does he start to talk in Act 2.
What’s incredibly impressive about the “men versus women” conversation that Norris brings up is that in one moment I found myself fully on Judy’s side, but at the same time, I was eagerly awaiting Bill’s rebuttal. This (male) playwright manages to represent both sides/genders quite effectively. Bill can be incredibly misogynistic and sexist at times, but then in the next moment, I actually find myself sympathizing with his character. But then he opens his mouth again. It helps that Goldblum’s trademark way of speaking keeps things lighter and more casual than they might typically be.
As the plot unfolds and we watch Bill’s fall from power, there are some nice surprises along the way, great laughs, smooth set changes, clever plays on media and marriage, and a really strong ensemble to tell the story. Overall, I would say that if you enjoy going to the theatre to think, I highly recommend Domesticated. And after that? I would love to hear your thoughts.
Domesticated
Written by Bruce Norris, Directed by Anna D. Shapiro
Lincoln Center Theater through January 5th
Photo Credit: Joan Marcus
Pictured: Jeff Goldblum
The Vaudevillians, starring Jinkx Monsoon
Posted: October 1, 2013 Filed under: Comedy, Musical | Tags: dragrace, jinkx, jinkxmonsoon, lauriebeechman, majorscales, review, rupaul, vaudevillians Leave a comment
Thanks to my fellow show guru, I was told to run, not walk, to see The Vaudevillians at the Laurie Beechman. What started as a one-night show has since been extended through November. Jinkx Monsoon, of recent RuPaul’s Drag Race fame, stars in the production. I should note right now: I have never watched Drag Race, I had no idea Jinkx was on it (much less the Season 5 winner), but whether you’re a fan or not, her show is definitely worth checking out if you can.
Now this isn’t a drag show, but the star is in drag and she is hi-lar-ious. Jinkx Monsoon plays Ms. Kitty Witless alongside her husband and collaborator, Mr. Dan Von Dandy (played by Major Scales). You ready for the premise? I don’t think you’re ready. Together Kitty and Dan used to have a popular vaudeville show in the 1920s, but during a tour through Antarctica (!), they were caught in an avalanche and frozen alive. Decades later, thanks to global warming, they have thawed out and made it to NYC to continue singing some of their most popular hits. The problem is, their songs were never copyrighted so it turns out their best numbers have been stolen by popular artists of today. This brilliantly simple idea allows these two to sing pretty much whatever they want with a new twist. You’ll hear the original vaudevillian versions of hits like “Toxic,” “Girls Just Want to Have Fun,” and “I Will Survive” – the 11 o’clock number from A Doll’s House 2: Electric Boogaloo (haven’t you heard of the sequel to Ibsen’s classic?). That song alone is worth the price of admission.
There are some dips in momentum, most noticeably when Kitty is off taking a break leaving Dandy to take the stage by his lonesome. But it’s quickly forgiven anytime Kitty comes out into the audience to chat with the boys or has yet another fight with her hubby (frozen in ice for that many years didn’t do too much for their marriage).
Bottom line is, if you like fun, over-the-top cabarets, chock-full of mugging, then The Vaudevillians is for you. Get your tickets here.
The Vaudevillians, starring Jinkx Monsoon
The Laurie Beechman Theatre through November 19th
Photo Credit: Wilson Models
Pictured: Richard Andriessen and Jerick Hoffer
Big Fish
Posted: September 30, 2013 Filed under: Broadway, Musical | Tags: bigfish, norbertleobutz, review Leave a comment
So here’s the thing about Big Fish. There are some truly beautiful, magical moments in the show. But it’s Too. Damn. Long. The effective moments end up buried in the length and overshadowed by it. I want to sit down with the creative team and say: I know it’s like getting rid of your children, but you have to cut these songs down. That extra 20-30 minutes can make or break a show. Note: they are still in previews, so I’m curious to see how it changes come the October 6th opening.
Running approximately 2 hours and 40 minutes, the show, for the most part, follows the plot of the film (I never read the book). Big Fish is about Edward Bloom, a traveling salesman with a big imagination, and his relationship with his son, Will. Edward raised his son with the most fantastical stories about his past, and Will, now grown with a kid of his own on the way, feels like he doesn’t actually know his father. Who is the real man behind all the stories? Who is his dad if all his tales are lies? I saw the movie once or twice when it was first released in 2003, and it has stuck with me over the years. Yes, maybe that’s because Ewan McGregor was beautiful in it, but regardless, I have always remembered it striking a chord.
It cannot be denied that the production is well-cast. I see Norbert Leo Butz (Edward) in everything he does, and I’m a big fan of Kate Baldwin (his wife, Sandra). She has a voice that simply soars, and I wish they gave her more to do in the show. Norbert, on the other hand, doesn’t get a break. He is in practically every scene, singing countless songs, and covering the ages of 18 to 58. It’s a marathon, no question. Bobby Steggert is also great as Will, but I wanted more depth in the writing of his character.
There is some lovely work happening at the Neil Simon theatre. The design is beautiful, the staging clever, and the lighting magical. I was so excited in the first 20 minutes. It was eye candy, funny, and there was a step number near the beginning! But they need to pick and choose the stories, trim down the setup, and even cut full numbers in some cases. This would help the flow and keep up the momentum, and then more focus could come back to the emotional relationships.
Like Will, who feels he can’t connect to his father because his life is so over-the-top, I had a similar experience trying to connect to the show. What it comes down to is this: I think this story is about a father and a son. Yes, there are all of these amazing, fantastical stories that monopolize most of the plot, but ultimately it is about the father/son relationship. This is the part that I don’t think the production highlights as effectively as it could. We primarily see Edward interact with his son when he’s a young boy, but in his few scenes with adult Will, they just have the same fight over and over. Where’s the duet? Sing a song! Build that tension for real (not with a completely out of place Western number in Act II), and the end will be all the more heartbreaking.
Big Fish
Written by Andrew Lippa and John August, Directed by Susan Stroman
Neil Simon Theatre through December 29th
Photo Credit: Paul Kolnik
Pictured: Kate Baldwin and Norbert Leo Butz
Love’s Labour’s Lost
Posted: August 17, 2013 Filed under: Comedy, Musical, Off-Broadway, Shakespeare | Tags: bloodybloodyandrewjackson, delacorte, josswhedon, loveslabourslost, review, shakespeare, shakespeareinthepark Leave a comment
It’s an odd thing. Sometimes it looks like everything’s been done just right: a talented cast, creative director, nice set, beautiful park, some laughs. And yet I walked away from Love’s Labour‘s Lost feeling unaffected. I sat there wishing I was laughing as hard as the people around me, but instead I felt like a bystander, observing from the outside of the Delacorte.
The very simple plot (I’m serious, there’s nothing to it) follows three men and their king who all take an oath to give up life’s pleasures and withdraw from society for three years in order to dedicate their time to their studies. In this contemporary adaptation, these men make this promise at their five-year college reunion, and in addition to rejecting women, they give up beer, bongs, porn, the list goes on. Of course, then four women from their pasts arrive, and we know this oath isn’t going to last too long, thereby making us doubt the weight of their oaths made later to love and stay committed to these women.
That’s it. That’s the plot. The women disappear for like, half of the show. There are random other characters who pop up for a few minutes here and there purely for comic relief.
So what left me feeling so untouched you ask? I’m honestly still in the process of figuring out a concrete answer. This is the second of two Shakespeare in the Park productions this summer, and it is very much a modern adaptation. It’s been turned into a musical, with a new score and adapted book by Michael Friedman and Alex Timbers. Purists, be warned: the original Shakespeare text has been left in the dust. When it does crop up (rarely), it is brief before the songs take over again or more contemporary exchanges take its place.
I don’t mind modern versions of Shakespeare plays; in fact, I encourage them and love to see new approaches. But I did have a hard time with how little original text was used. I kept wondering why they even bothered to keep it. As a result, the jokes felt thin to me. They were easy laughs because it’s funny to juxtapose Shakespeare against a profanity or colloquial phrase. He said the f-word! Such a novelty! But why not only have a couple moments like that and then work to find what’s funny in the original material? Why are extravagant, flamboyant costumes necessary to get laughs? Shakespeare gives us all that we need. I don’t know, maybe I am a purist, but I think if you’re going to change the play to that degree then leave it behind entirely, instead of just referencing it when it’s convenient.
Some will argue that this production makes Shakespeare relatable for a modern audience, but I don’t think all of the hoopla is necessary. People continue to attend Shakespeare in the Park, not only because it’s free, but because Shakespeare remains relatable and entertaining even today. As I exited the park, I found myself thinking about Joss Whedon’s recent film, Much Ado About Nothing. This was a fully contemporary approach to Shakespeare, but the text remains, the comedy reads, and an audience packed with Avengers, Buffy, and Firefly fans connected to it and found themselves enjoying (and understanding) a Shakespeare play thanks to this medium.
This production left me thinking: are any of these choices justified? Most of the “bits” felt random because they knew they would get laughs. The songs make up the majority of the play, but they felt put on and not fully earned by these characters. I like this composer; I’m a big fan of Bloody Bloody Andrew Jackson (the same creative team). But except for “Love’s a Gun” (sung by the always-amazing Rebecca Naomi Jones) and a couple of other fun numbers, the music didn’t add to my experience.
Please don’t get me wrong; this is a wonderfully talented cast including Daniel Breaker, Colin Donnell, Jeff Hiller, and Rachel Dratch, not to mention director Alex Timbers whom we all know I love (see my Here Lies Love review). But this comedy felt mapped out. There are some genuinely funny and surprising moments. I just wish the rest of it had been as genuine.
Love’s Labour’s Lost
Written by William Shakespeare, Song by Michael Friedman, Book Adapted and Directed by Alex Timbers
Delacorte Theater, Shakespeare in the Park 2013
Photo Credit: Joan Marcus
Pictured: Bryce Pinkham, Colin Donnell, and Lucas Near-Verbrugghe
Nobody Loves You
Posted: August 8, 2013 Filed under: Comedy, Musical, Off-Broadway | Tags: elizabethmitchell, mormon, nobodylovesyou, realitytv, review, secondstage 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
Becca on Broadway 