Pig Iron’s Twelfth Night
Posted: February 14, 2014 Filed under: Comedy, Play, Shakespeare | Tags: abronsartcenter, markrylance, pigiron, review, shakespeare, twelfthnight 2 Comments
Yes! I have gone to see yet another production of Twelfth Night. And each one is more inventive than the last. It’s such a pleasure to still be continuously surprised by a piece I know so well and that another version can still be filled with new jokes, new deliveries, and new character interpretations. This was the first time I got to see a show by Philadelphia-based Pig Iron Theatre Company, and if you’re able to get downtown to the Abrons Art Center before it closes on February 23rd, I do recommend it for a jolly good time.
It’s super inventive, the actors are charming, and it is particularly fun to see it done in such a non-traditional way after viewing the Broadway production a few months ago. One of the highlights is definitely the set which is a character in itself. A half of a half-pipe (a quarter-pipe?) dominates stage right (of which the actors take full comic advantage) with a balcony above and a cellar beneath where the band hangs out drinking with Sir Toby Belch and Andrew Aguecheek. The Balkan brass band, by the way, is great, and they are well integrated into the story, not just hiding in the cellar but often becoming the focus of the action, bringing their own brand of humor to further enhance scenes.
It was a joy to see new interpretations of well-loved characters. From the opening moments, the deliciously melodramatic and lovesick Duke Orisno (Dito van Reigersberg) had me rolling with laughter. The same goes for the lanky Sir Toby (James Sugg) whose physical comedy knows no bounds, and it’s so much fun to watch Olivia (Birgit Huppuch) lose control as she quickly falls head over heels for Cesario, who is actually Viola disguised as a man (Kristen Sieh). Something that really struck me was Viola’s reaction to seeing Olivia for the first time once her veil is lifted. It shed new light on that moment and that scene for me, this idea of Viola seeing her competition for the Duke’s love for the first time and having to listen to Olivia shun him over and over. This was played out much more emotionally than I’ve ever seen it portrayed, and I appreciated the depth found in the scene.
Now I’ll be honest, the show didn’t completely blow my mind across the board. Several parts are slow, and the ending didn’t thrill me. It lacked the weight I think is needed for the end of Twelfth Night. I feel like the audience missed the tragedy of Malvolio’s story. He continued to be made a mockery through his final moments. And there is a heaviness that lies in the last scene with the abrupt ending to Toby and Andrew’s friendship that I felt was missing. I also prefer productions that push the subtext a little more of the Duke being drawn to Cesario over the course of the play. This was something I particularly loved about Mark Rylance’s production. But true, it is up to director interpretation how to best handle the sudden shift the Duke has when he proposes to Viola in the end. I personally prefer hints throughout in order to build to that ridiculous moment.
But all that aside, if you want to see an incredibly creative, fun production of this Shakespeare romp (and can’t afford Broadway), definitely get down to Grand Street for a grand ol’ time.
Twelfth Night, Or What You Will
Written by William Shakespeare, Directed by Dan Rothenberg
Abrons Arts Center through February 23rd
Photo Credit: Josh Koenig
Pictured: James Sugg and members of the Balkan brass band
What’s It All About? Bacharach Reimagined
Posted: February 11, 2014 Filed under: Musical, Off-Broadway | Tags: alfie, bacharach, burtbacharach, concert, kyleriabko, nytw, review, whatsitallabout, whatsnewpussycat Leave a comment
I’m so mad at myself for waiting so long to see this show. Mostly because it means I wasn’t able to tell you about it until now. And time is short, folks. This piece, after receiving multiple extensions, is closing this coming Sunday at New York Theatre Workshop. Get to it. There are still a few days left to check out this stellar Bacharach concert.
Yup, it’s a concert. Do not expect a story or book! This is simply wonderful song after wonderful song presented in a unique, engrossing way. I imagine people could be disappointed if they expected plot, but in my mind, it’s all about feeling the music.
Kyle Riabko, who is 26 and so talented, has taken the work of Burt Bacharach and arranged it for modern audiences. He has extracted these songs from the 50s and 60s, added his own style, and managed to do so without harming the essence of the music. Listen to him sing a few tunes here. Burt Bacharach is one of those artists where you don’t actually realize how many songs of his you know. When you listen to the canon, like in this show, you’re constantly thinking, “Oh yeah, I know this. This is Burt Bacharach, too?” All of his major hits are covered in this production plus songs I’d never heard before and loved just as much.
The music is performed by an incredibly gifted group of musicians and vocalists. These seven jump around playing multiple instruments and singing their hearts out. There is a sense of comfort and clarity in the room as they jam together, and their relationships with one another emanate out into the house. Plus they sound amazing. New York Theatre Workshop, you’re going to do a cast recording, right? I mean, I’m not really giving you a choice. You must release an album. I will help you promote it. Call me.
I’m also in love with not just the sound of the show but the design. The stage picture is beautiful. The entire theatre has been transformed, covered wall to wall in carpets, and lamps scattered across the stage. I know, carpets don’t sound super fancy, but I walked in and caught my breath at the beauty of the space. There’s also a mini-tower of instruments upstage center, à la this guy at the Seattle Rock ‘n’ Roll Museum, that the performers climb on, occasionally grabbing a new guitar to play. The lighting design is stunning. The choreography is simple and not overdone. Oh, and there is also some awesome limited onstage seating on super comfy couches. It was like chilling in someone’s living room. But that someone is super, super cool. And they have a band.
What’s great about this show is it knows exactly what it is and what it wants to accomplish. It’s not pretending to be anything else. No one is pushing or showing off. It’s simply a chance for you to experience 90 minutes packed with familiar songs shared in a new way and look around to see everyone else bobbing their heads and tapping their feet right alongside you. That may just be what it’s all about, Alfie.
What’s It All About? Bacharach Reimagined
Music by Burt Bacharach, Lyrics by Hal David, Arranged by Kyle Riabko, Directed by Steven Hoggett
New York Theatre Workshop through February 16th
Photo Credit: Joan Marcus
Pictured: Kyle Riabko
The Bridges of Madison County
Posted: February 4, 2014 Filed under: Becca Doodle - Meh, Broadway, Drama, Musical | Tags: bridgesofmadisoncounty, fallingintoyou, francesca, hunterfoster, iowa, jasonrobertbrown, kelliohara, moonlighting, review, robertkincaid, stevenpasquale, thebridgesofmadisoncounty 3 Comments
A few short weeks ago I wrote a post about the upcoming production of The Bridges of Madison County. It has since arrived on Broadway and is set to open on February 20th (check out photos here). So, how did it measure up to expectations? Honestly, it’s quite the mix.
Here’s the basic premise. It’s 1965 in Madison County, Iowa. We open on a housewife named Francesca (Kelli O’Hara), who lives with her husband Bud (Hunter Foster) and their two kids. Hubbie and the kids are heading out of town for a few days for some cattle steer contest thing that makes absolutely no sense to an East Coast girl like me. Fran is still adjusting to Iowan life. She’s originally from Italy and looks pretty darn bored with her daily chores in this flat town. Enter Robert Kincaid (Steven Pasquale)! He’s the dreamy, traveling photographer who pulls into town right when Fran’s family hits the road. Most everyone coming to this show knows that these two are destined to fall in love from the second he asks for directions to one of the covered bridges…of Madison County. And oddly enough, it’s these two we root for despite the fact that it’s an extramarital affair. Bud isn’t a bad guy by any means, but we still want this for Francesca.
The first act is like a beautiful, slow crescendo. It’s full of folksy tunes and soaring, lush ballads. It is also funnier than I expected. It’s hard to believe Steven Pasquale has never done a Broadway musical before, but finally audiences are getting a chance to hear his pipes, which of course sound amazing alongside the glory that is Kelli O’Hara (everything she touches is gold). The story relies on a strong bond between the two leads, and there is great chemistry between O’Hara and Pasquale. Over the course of Act I, the string on the violin is pulled tighter and tighter as the sexual tension builds between them. The ensemble isn’t used as effectively. They’re either under-utilized or one-dimensional. I like the snooping yet caring neighbor (Cass Morgan) for comedy purposes and also having a real face to the husband and kids out at the cattle event, but everything else somewhat fades to the background. Even the supporting characters feel like filler, because we are really just waiting for Robert and Francesca to be together.
It starts out so strong. All through the first half I was curious, longing for the next song, eager for the upcoming moment. That eagerness slowly faded during Act II. In fact, it turned into a distant memory. To sport a 90s reference, like the Energizer bunny, the show keeps going and going and going (running time is 2 hours and 35 minutes). The second act falls off track and turns into the same idea set to music over and over again. Want to hear another song about love? Here’s one. How about one about loss? Hit it! Oooh, love AND loss? That’s new! Bring it on. I know it sounds harsh, but I was disappointed to be disappointed.
I think it’s mainly a storytelling issue. After Robert and Francesca get together, there isn’t much left to cover or to fill the time. There is the fact that Fran is left with a decision to make: does she stay with her family or run off with Rob to take lots of pictures of bridges? The thing is, her decision is made sometime in Act II and then there is still another 20 minutes of material. All of a sudden we find ourselves in a montage time leap, jumping years into the future. I wonder if this happens in the movie/book as well. The plot problem reminds me of the “Moonlighting” curse which people like to bring up for every TV show known to man with a will-they-or-won’t-they couple. You know the drill: once a couple gets together, people assume the show will fall apart and lose viewers. I personally don’t think a relationship has to kill a show. Now, if the sexual tension was all the show had going for it, then there were problems to begin with. A couple can get together, but the writing has to keep up!
Musically, the two duets between Francesca and Robert are the big highlights: Falling Into You and One Second and a Million Miles. They also each have an 11 o’clock number, but by that point it’s all so repetitive we care less and less. Granted, it might just be me (and the people who were griping around me). I’m curious to see what the reviews will be and if changes are made during the preview period. I hear there are folks coming out of this show sobbing. So who knows? I like to think I’m a romantic and I always love to root for the couple, but the story left something to be desired after these crazy kids got together.
The Bridges of Madison County
Written by Jason Robert Brown and Marsha Norman, Directed by Barlett Sher
Gerald Schoenfeld Theatre, opening night February 20th
Photo Credit: Joan Marcus
Pictured: Kelli O’Hara and Steven Pasquale
Spotlight on TV: The Newsroom
Posted: January 31, 2014 Filed under: Spotlight on TV | Tags: 30rock, aaronsorkin, ACN, emilymortimer, hbo, jeffdaniels, mackenziemchale, newsroom, review, sorkinisms, spotlightontv, thenewsroom, thomasnewman, walkandtalk, willmcavoy, youbetteryoubet 1 Comment
You mean to tell me you’re not watching The Newsroom yet? After two brilliant seasons and only one more to go this fall, there’s never been a better time to binge-watch all 19 glorious episodes.
I, too, was once like you. I’d heard about it and put it on “the list,” but I kept putting it off and making excuses. I’d get to it eventually. It took my dear friend Shannon buying me the first season in order for me (and my roommate soon after) to fall down the rabbit hole. I have since made it my responsibility to spread the good word and insist that my friends watch the series. And you know what, even when people have mixed feelings, I’m still encouraged. Mixed feelings are good: they lead to conversation and analysis and heated debate.
So. One of my favorite things to do is make lists, and I would like to make one for you here (don’t worry, there are no spoilers):
Reasons to Watch The Newsroom
1) The Writing
Let’s be serious; Aaron Sorkin is the main reason to watch this show. Known for his whip-smart characters, quick dialogue, and walk-and-talks, Sorkin continues to bring it episode after episode. Sure, he can be sentimental from time to time which is not everyone’s bag, but I’m all for it. Random link alert: check out his great cameo on 30 Rock.
2) The Quick Wit and Sense of Humor
The dialogue is sometimes so fast that you have to rewind to catch all the jokes packed into a one-minute scene. The combination of witty and intelligent humor never fails to amaze me.
3) Real News Stories
The primary premise of The Newsroom is that there is a fictional news channel called ACN, and we get a behind-the-scenes look at how they go about reporting the news. But what’s fascinating is that it’s real news from the not-so-distant past. An episode will focus on a major event from 2011 for example, but we get to see how this station would have reported the story to America. It’s a news channel attempting to focus on the truth rather than the ratings and then witnessing the consequences of that choice. The first season is packed with exciting reveals of which event is being reported.
4) Emily Mortimer
If you’ve talked to me about this show, you already know that I’m on a huge Emily Mortimer kick. I’ve always known about her, but I didn’t know she could shine like this. I so badly want to link to her scenes from the show, but I’m too afraid of spoilers. And it’s actually probably not as enjoyable unless you get to know these characters from the start. Emily’s work as MacKenzie McHale is exquisite and incredibly nuanced, and I cannot stop watching her. Or dressing up as her for Halloween.
5) The Structure
The show jumps around in time, particularly in the second season, and it keeps you on your toes and forces you to pay close attention. Many fans complained about the second season saying they didn’t like the change in format. What can I say? I loved it. I love that Sorkin switched it up and tried something new.
6) Musical Theatre References
Nuff said.
7) Jeff Daniels
There’s a reason this guy won an Emmy this year. His performance as Will McAvoy is fantastic, subtle, hilarious, and all things at once. I love that he can play this role with such conviction and also do this.
8) The Characters
The character development on this show is delicious. The people we get to know are 3-dimensional and brilliant. They’re extremely smart and simultaneously deeply flawed. I’ll take character-driven storytelling any day.
9) The Soundtrack
There are some great tunes and throw-backs to look out for.
10) The Opening Credits
Speaking of the tunes, let’s hear it for Thomas Newman and the great Season 1 opening theme.
11) The Entire Cast
Yes, I highlighted Emily and Jeff above, but I honestly could do that with any of the actors on the show. The main ensemble includes Alison Pill, John Gallagher Jr., Thomas Sadoski, Dev Patel, Sam Waterston, and Olivia Munn. And then you get recurring folks like Jane Fonda and Chris Messina (swoon) or guest stars like Marcia Gay Harden and Hamish Linklater. You as an audience member are in excellent hands all around.
So go – watch the first 8 minutes on YouTube, find someone with an HBO GO account, and give it a try. And remember my rule: you have to watch four episodes to give any show a fair chance. Okay, you have my blessing. Enjoy.
Six by Sondheim
Posted: January 21, 2014 Filed under: Movie, Musical, Spotlight on TV | Tags: alittlenightmusic, beingalive, company, deanjones, documentary, follies, hbo, jameslapine, merrilywerollalong, review, sixbysondheim, sondheim, stephensondheim, sundayintheparkwithgeorge, westsidestory 1 Comment
Early in December, a documentary called Six by Sondheim aired on HBO about the life and career of Stephen Sondheim. I watched it the other week thanks to my friend’s HBO GO login information. You know who you are. Thaaaanks!
What’s cool about this documentary is that most of it is made up of interviews with Sondheim himself. He’s never shied away from speaking to the media so the filmmakers were able to collect interviews spanning his career. These interviews are then presented through the framework of six Sondheim songs, the six songs that arguably best encapsulate his career. Within this structure, we move through his writing history as he shares anecdotes, stories about Oscar Hammerstein, what inspires him, his working habits, and from where these six songs stem. The songs are also performed throughout the documentary: “Something’s Coming” from West Side Story, “Opening Doors” from Merrily We Roll Along, “Send in the Clowns” from A Little Night Music, “I’m Still Here” from Follies, “Being Alive” from Company, and “Sunday” from Sunday in the Park with George.
Sondheim says some pretty wonderful things about composing, acting, and art as a whole. Several of the numbers are presented as mini-performances within the documentary, produced and performed by Broadway folks. A few felt a little over-produced in my opinion. The songs that were most effective were the ones with footage of the original companies (West Side Story, Company, and Sunday in the Park with George). For example, “Being Alive” from Company was a video of the very first Bobby, played by Dean Jones, in the studio recording the cast album. Now I know this song very, very well and have listened to it hundreds of times, but I sat there on my couch and just started crying. I love that a song can affect me in such a way even after all these years of listening to it.
So for the Sondheim fans out there, I do recommend a viewing. On second thought, even if you’re not a fan (seriously, what’s that about?), maybe this will be a good way for you to learn more about where he’s coming from with his writing. If anything, you’ll get a fascinating inside look at the man himself.
Six by Sondheim
Directed by James Lapine
Aired on HBO on December 9, 2013
Becca on Broadway 