Side By Side By Side: Musings on Company – January 9, 2022

Birthdays are often a time of reflection as well as celebration – another year passes and you assess the things you’ve accomplished (or not) and contemplate the things you hope (wish?) to accomplish. The people you’ve interacted with and how you fit into their lives, and how they fit into yours. It’s not often that I have an opportunity to see a show on my own birthday (which is today), but through the generosity of cast member Claybourne Elder (who has his own remarkable story of being gifted the opportunity to see a Broadway show and paying it forward), I was able to see Company, the latest revival of Stephen Sondheim’s landmark musical about the relationships between a single person and their married friends, currently playing at the Bernard B. Jacobs Theatre.

The story centers around Bobbi, a single woman celebrating her 35^th birthday and her married friends, discussing the pros (and cons) relationships and marriage, with Bobbi seemingly happy to be single, yet yearning for more.  The show is a non-linear, self-contained series of snapshots of Bobbi’s interactions with her married friends, along with some commentary from a few of the men she’s dated. The lessons learned and imparted highlight the need for connection, to allow yourself to be vulnerable and to choose to live and not just observe – lessons that are useful and necessary in this pandemic era.

The overall set design is amazing, with the set pieces moving across the stage as separate boxes with doors on two sides, both symbolizing the safety of isolation and the chance for connection. The cast is astounding, many of whom I’ve seen in other musicals – from Patti LuPone (who, interestingly enough was in a show the last time I saw a show on my birthday ten years[!] ago) to Christopher Sieber, and Matt Doyle. The standout performance of the afternoon was Katrina Lenk as the central character of Bobbi, who displayed all the emotions of a woman who longs for companionship but (seemingly) doesn’t want the complications that go with it. The lyrics to many of the songs have been updated and changed in light of the gender switch of the main character (and also for some of the more dated references that were relevant and acceptable in 1970, but not so much in 2022).

It’s fitting that I was able to see Company on my birthday, and the fact that this production has at its center a female character assessing (and reassessing) her life and the relationships she has with her (married) friends and the impact it has on the direction in her life.

Thoughts of a Colored Man – October 28, 2021

681 days.

By far the longest stretch of time between seeing shows (on or off Broadway) due to the global pandemic that was (and still is) COVID unequivocally brought a hiatus (an intermission, as it were) to in-person gatherings and interactions since March 2020. Much has happened in the past eighteen months with the shift to remote learning, virtual meetings and physical distancing, and the gradual road to the resumption to the way things were before. 

Thoughts of a Colored Man is a new play written by Keenan Scott II that delves into the lives of seven black men throughout the course of a day in contemporary Brooklyn. The play is structured through interwoven scenes among the men, with introspective monologues expounding their viewpoints on life, love and the circumstances in which they find themselves. The set design is sparce yet vibrant, with the use of lighting to heighten the atmosphere. The cast – Dyllon Burnside, Bryan Terrell Clark, Da’Vinchi, Luke James, Forrest McClendon, Esau Pritchett, and Tristan Mack Wilds – is astounding, showcasing several different facets of humanity, to the point that they are not named characters but emotions – Lust, Happiness, Love, Passion, Depression, Anger and Wisdom, all of whom display their designated emotions with clarity and celerity. There is an abstractness to the play that at times, it almost seemed as if the play is not so much about seven different men from different social and economic backgrounds, but is really a one man expressing the thoughts and emotions throughout his lifetime in a metaphoric plane of existence.

I’m very glad that Thoughts of a Colored Man was my first live theatrical show after nearly an eighteen-month hiatus. Poignant, humorous and authentic – it’s an important play that needs to be seen by everyone, regardless of race, gender or political affiliation, that gives a vibrant voice to perspective that is not often heard in the media.   

A Musical About Star Wars – December 7, 2019

I love Star Wars. I love musicals. The thought of a Star Wars musical seemed absurd – how could a stage adaptation ever measure against such an iconic film saga? It could never work. Thankfully, A Musical About Star Wars is absurd in that it’s a hilarious homage to the films and its fandom (casual and hardcore), currently playing off Broadway at St. Luke’s Theatre. These were the last of my tickets obtained through the TDF table at the BC/EFA Flea Market, and with it was the perfect show to see leading up to the upcoming release of Star Wars – Episode IX: The Rise of Skywalker, the final film in the Skywalker Saga.

The overall structure is very much akin to that of the Reduced Shakespeare Company’s many shows in that it’s a company of three actors (though in this case it’s two men and one woman) condensing a lengthy topic – the entirety of the Star Wars canon, including the infamous Holiday Special and the Expanded Universe – within 90 minutes. The songs are fantastic, especially the Hamilton inspired retelling of the Prequel trilogy. There were plenty of costume changes throughout (prompted by the famous Wilhelm scream), all of which were brilliant, plus intermittent breakage of the fourth wall and pop culture references galore. The cast of three were spectacular – the trio I saw were Scott Richard Foster, Amy Hillner Larsen and Dylan Hartwell – balancing the silliness with moments of seriousness, in their explanation of how Star Wars’ impact on their lives.

As a longtime Star Wars fan, I thoroughly enjoyed the show, which had me laughing from the start, though I do wonder how (if?) the show will change after Episode IX’s release. If you love Star Wars, you’ll love this show, and if (for some reason) you don’t like Star Wars, you’ll still love this show.

The Height of the Storm – November 12, 2019

The perception of reality is in the eye of the beholder – the truths one holds and remembers to be true has a profound effect on a person’s interactions with those around them and their surroundings. The Height of the Storm is a complex play in which test these boundaries with a shifting puzzle to solve written by French playwright Florian Zeller and translated by Christopher Hampton. The play is a transfer from the West End for a limited run from now through November 24, 2019, playing at the Samuel J. Friedman Theatre. Tickets were obtained the usual way (via the TDF table at the BC/EFA Flea Market) and I was intrigued by the premise of the play, and its stellar cast, all of whom transferred from the West End.

The 90-minute play revolves around Andre and Anne, a long married couple and their interactions with their two adult daughters, Madeline and Elise, with the daughters doing their best to help their parents cope with widowhood in an empty house, though it’s not always clear as to which parent has passed and which parent is still among the living. Shocking revelations are uncovered, shattering the carefully crafted beliefs within this family – or do they? The shifting perspectives and passage of time leaves the state of the family in a grey area of mystery, though by the play’s end, it’s (somewhat) clear as to who is among the living and who is not.

 

The scenic design is of one set – a kitchen with the other rooms in slight forced perspective, exuding a sense of claustrophobia in which the characters interact with one another; the lighting design accentuate the shifting perspective, with shadow and light as vital clues to the puzzle. The cast is stellar, led by Jonathan Pryce and Eileen Atkins as Andre and Anne, both of whom gave haunting performances full of rage, grief and a touch of madness.

The stage door was sparse, most likely due to the fact that that evening was unusually cold and windy for mid-November, though the few that waited in the cold were greeting by the two leads and had the opportunity to chat with them before they were ushered into the respective cars. Without giving away the twist (?) The Height of the Storm is a mind bogging tale which has the audience wondering what is real and what imagined and provides more questions than answers, leading (forcing?) the audience to pay close attention to what is going on in an attempt to make sense of it all. It’s ultimately haunting and all too real all at the same time, playing with the perception of reality and time.

Unstoppable: Thoughts on Tootsie – November 8, 2019

Gender equality has always been an important issue in all aspects of society – from equal rights to equal pay, with women striving to have their voices heard and abilities (and achievements) acknowledged, both in the real world and the fictional world of film, television and theatre. Tootsie is among the many in the latter category, based on the 80’s film of the same name, currently playing at the Marquis theatre. I remember the film being a great comedy at the time, though some of its humor has not aged well in this “Me Too” Era, and I was curious to see how the musical adaptation would handle the transition from film to stage. Tickets were acquired the usual way for this time of year (thanks to the TDF ticket raffle table at the BC/EFA Flea Market).

The plot of the show revolves around Michael Dorsey, an actor with a reputation of being difficult, despite his actual talent – his dedication to his craft has led him to be unemployable. He hatches a scheme to audition as a woman (though the impetus to this decision isn’t clearly stated), and as Dorothy Michaels, he lands a supporting role in a new Broadway musical. Complications arise when he falls for the leading lady and also finds himself (herself?) the object of a male co-star’s affection, coupled with a condescending director and a clingy ex-girlfriend.

The musical adaptation is different from the film in many ways, as the musical within a musical was not the job Michael (as Dorothy) gets – in the film it’s a soap opera – but many of the film’s elements are present, with the dated references / subplots more suitable for the present social climate. The show as a whole is an homage to a traditional musical comedy, with a fantastic score by David Yazbek. The overall scenic design has hints of the 80s in this look and set design. The cast is great, with Santino Fontana doing an amazing job toggling between his two personas, with his vocal inflections and overall mannerisms in a Tony Award worthy performance. Other standouts were Sarah Stiles as Sandy, Michael’s ex-girlfriend, whose comic timing was impeccable, and also understudy Brittany Coleman as Julie, the co-star he falls for, whose vulnerability shone through without it looking like weakness.

The stage door was not too crowded (as it was an unusually chilly evening for November) but some of the cast came out to sign playbills/posters and pose for photos. I had my doubts about Tootsie when it was first announced as a musical, as it seems to me that in the last decade or so, almost every well-known film from the 80s and 90s were being adapted to the stage, which made me anxious about the state of “new” musicals. Granted, I’m aware that it’s a business and that the familiar brings in a potential built-in fan base, but it made me wonder about the state of original musicals. The show was enjoyable, a throwback to the classic American musical, with a message about gender equality that is mostly harmless and fun.

The Imbible – A Spirited History of Drinking – November 2, 2019

The invention of alcohol (in all its forms) has been an important component throughout human history, as I learned in The Imbible – A Spirited History of Drinking, and its evolution from a necessary beverage for everyone (including children) to a social drink for adults (and a rite of passage for teenagers/new adults). I first learned about this show through the YouTube series “Broadway Bartender” and was fascinated by the idea of a musical about the history of drinking. The tickets were acquired through the TDF Pik-a-TKS table at the BC/EFA Flea Market and was excited and curious about the concept of the show.

The Imbible plays off-Broadway in “the Green Room” at the New World Stages and includes three complementary drinks – the drinks served at the performance I attended were a Shandy (IPA beer mixed with ginger ale), a Whisky Sour and a Gin and Tonic. The show blended history, science and (presumably public domain) songs sung a cappella by bartender/narrator Chris O’Neill, accompanied by backwaiters Emily Ott, Matthew Boyd and Nicole Pietrangelo. The show was equally entertaining and educational and had a Reduced Shakespeare Company vibe to it – the cast of four also bantered with one another, clothed in various ad-hoc historical costumes with equally ad-hoc props, and invited and reacted to audience participation, not to mention taking a large topic (the history of drinking) and distilling it (pun intended) into a roughly two-hour show.

Considering the subject material, The Imbible is for theatergoers of legal drinking age (which is 21+ in the US, though it’s curious that the show did not explicitly touch upon that criteria), and is a great crash course in learning about the relationship and impact of alcohol on humanity and its scientific evolution from a chemical solution to mixed drinks.

Did I mention that there are three complementary (full sized) drinks?

I’ll drink to that.

A Show About Death: Musings on Beetlejuice – October 31, 2019

Halloween is a holiday that celebrates the macabre, with children (and adults) of all ages out and about in costumes in search of candy and to cause all sorts of mischief. Beetlejuice is the ideal musical (based on the film of the same name) that encapsulates the core aspects surrounding that holiday, and is also the most logical musical to see on Halloween night. Over the years an inadvertent tradition arose of going to see a Broadway show (usually a musical) on Halloween night – it’s always fun to see theatergoers in costumes in the audience and the atmosphere is oftentimes more animated than usual. This is my second time seeing Beetlejuice currently playing at the Winter Garden Theatre (I had seen it early in its preview period) but writing about its Halloween performance seemed appropriate. The fun started before show, as Alex Brightman came out to hand theatergoers candy, and chatted with those who arrived early (the lesson here is to arrive at the theatre a bit earlier than show time – you never know who you might see…)

The musical is largely based on the film, which revolves around the titular character causing overall mischief for the recently deceased Adam and Barbara Maitland and the Deetz family, who move into the Maitland home. The musical mostly follows the film’s plot with some additional exposition for Lydia, still mourning her dead mother. The stage adaptation takes advantage of poking at the fourth wall, setting up the context that it’s “a show about death” and has a balance of approaching the subject of death and the aftermath (both for the living and the recently deceased) with humor and pathos.

The overall scenic design is astounding to the point that the entire theatre is immersed in misty, spooky lights adding to the ambiance of the show, with the set design showing the Maitland house as almost an oversized model (perhaps a nod to an aspect of the film wherein Adam has a scale model of the town in which he lives). The score is fantastic, a collection of songs that have an 80s vibe, with subtle nods to the film score (by Danny Elfman) and also includes the iconic songs “Day-O (The Banana Boat Song)” and “Jump in the Line” which also featured in the film. The cast is astounding, especially Alex Brightman as the titular “ghost with the most” (who in my opinion should have won the Tony) playing the role with such elastic glee that you’d almost think he was an animated character; another standout was understudy Presley Ryan as Lydia Deetz, who expertly balanced the emotions of an angst-ridden teenager and a lost child who just wants to be seen and to be able to openly mourn the loss of her mother.

 

As it was Halloween night, the stage door was a (lovely) swarm of costumed theatergoers so I skipped that circus and just enjoyed the rest of the evening, seeing theatergoers and passersby in costume. Also, there was a special edition of the playbill just for the month of October. All in all, Beetlejuice is a fun musical with a great cast, memorable music and stays true to the essence of that iconic film.

It’s Complicated: Thoughts on Betrayal – September 28, 2019

Betrayal is a complex play about relationships written by Harold Pinter, currently playing at the Jacobs Theatre for a limited run through December 8, 2019. I had heard positive reviews about this play and was intrigued by its premise, so I trotted down to the TKTS booth to obtain my ticket. Of course, another draw is its stellar (British) cast – Charlie Cox, Zawe Ashton and Tom Hiddleston, the latter making his Broadway debut.

The play revolves around married couple Robert and Emma, and Jerry, Robert’s best friend – Jerry (who is also married) and Emma embark on an affair over the course of seven years without either spouse the wiser (though it turns out not to be the case for one of the spouses). The play unfolds in reverse, which makes the tenuous interactions between the three all the more intriguing, as the audience is aware of certain truths as time rewinds.

The set design is sparse to the point that it’s almost nonexistent aside from some chairs, a table and other relevant props, which works brilliantly as to not to distract the audience of the equally sparse yet highly effective dialogue. Brief exchanges with considerable pauses in between are characteristic of Pinter plays, which ratchets up the tension to the point where a flurry of volatile emotion is expected to explode at any moment. Yet it doesn’t – the anger, resentment and disappointment smolders, and that makes it all the more painful. Before the play began the ushers advised the audience to silence their phones and other electrical devices (as they usually do) and explained that the play was very quiet. And so it was – aside from sprinkling of incidental music and a soulful (mournful?) rendition of the Depeche Mode song “Enjoy the Silence”, its lyrics commentating on the situation between the three. All three actors were phenomenal in their respective roles – all three were onstage for the entirety of the 90-minute play, even when the scene involved two of the three characters, a ghostly specter (and inadvertent spectator) as the topic of conversation involved the absent (but not really) character.

The stage door scene was relatively sparse, which was surprising given the caliber (and overall fame) of actors on stage; while I did attend a matinee, there are more times than not a crowd of audience members wanting to meet the actors. Perhaps one note of confusion was the fact some theatregoers (a handful I had come across at least) did not know the location of the stage door. The stage door for the Jacobs Theatre was not (as for most theaters) next door to the entrance; it shares its stage door with two other theatres – the Golden, which is next door to the Jacobs and the Majestic, which is on the other side of the block on W 44th Street. As this was my first (of perhaps many) trips to see Betrayal, I was not aware of whether or not the cast would emerge to sign playbills; though I was fortunate to meet Charlie Cox at the stage door, as Zawe Ashton and Tom Hiddleston were not able to stop to greet the few people waiting (for reasons unknown).

While it’s a short play with brevity as its benchmark, Betrayal has a lot to say in the silences between the words spoken aloud – that the events unfold (for the most part) in reverse makes the audience pay attention to every word said and every gesture taken (as well as the things not said or done). It’s one of those plays that one would need to see several times before truly understanding the entire picture.

Everything Old Is New Again: Max von Essen at Birdland Jazz Club – August 19, 2019

Nostalgia is a powerful thing – it seems just about every movie or television franchise is being revived or revamped for the newer generation who may not have experienced the hype (good or bad) surrounding its original run or even seen them (though these days it’s streamed online). Same goes for songs, many of which are re-recorded by different artists, who may (or may not) provide their own spin on the songs. On the other hand, there are those singers who remain true to the song’s original intent and lend their voices to reviving that sound from yesteryear to the modern era. Max von Essen is in the latter category, bringing back elegance and style with his first solo album “Call Me Old Fashioned: The Broadway Standard”.

I’ve been acquainted with Max von Essen for several years, having first encountered him in Dance of the Vampires (which should have been a greater success, but that’s a discussion / digression for another post), and have seen him in Les Miserables, and Evita. A gifted musical theater actor, he has a natural charm about him and an affinity for the Standards (songs from the early to mid-20^th Century), which has resulted in this first solo album (the first of many, one can hope). While the album was released earlier this year in April, it was only this week he was able to celebrate its release (having been on the US national tour in Falsettos for most of the Spring/Summer); the event was held at Birdland Jazz Club on August 19, 2019.

The evening consisted of Max singing songs from the album, accompanied by Billy Stritch, who also features on several tracks, coupled with anecdotes of how he discovered these songs and its influence on his life and career. Among my favorite songs (well, they’re all my favorites, obviously) is the gentle and romantic interpretation of “On This Night of a Thousand Stars” from Evita, a contrast to the soaring, borderline melodramatic aria as it (usually) exists within the musical. Another highlight of the evening was a rendition of “Empty Chairs at Empty Tables” (not on the album, but hopefully on the next one…?) prefaced with his history with Les Miserables; he told the tale of his opportunity to cover the role of Marius (twice!) towards the end of the show’s original run and the first revival of the show a few years later, and never getting to play the role (though he was a fantastic Enjolras in the latter production).

Needless to say, the event (and the album) was a joy to experience, and it’s probably safe to say that Max is among the next generation to keep the songs of George and Ira Gershwin, Harold Arlen, Lerner and Lowe (to name but a few) alive and introduce them to generations to come.

Hello!: Thoughts on The Book of Mormon – March 31, 2019

Religion has always been a sensitive (sometimes controversial) topic of discussion throughout history – everyone has their own personal perspective about it, which has (in my opinion) been a contributing factor to nearly all the conflicts in the world at any given point in time and space from an interpersonal to a global scale. Everyone has the right to believe in any of the multitude of religious teachings (organized or not) and should be able to do so without fear. There is a solemnity to each religion’s rituals and scripture, which makes it all the more interesting when its tales are adapted for musical theatre. There are several musicals that handle the topic of religion well, such as Jesus Christ Superstar, Godspell and Joseph and the Amazing Technicolor Dreamcoat (to name but a few). Then there’s The Book of Mormon, which takes a more comedic (almost borderline vulgar yet not overtly offensive) route. I obtained this ticket through a mutual friend who had gotten the ticket but had been unable to go. While the show was not too high on my “must see” shows, despite the rave critical and audience reviews over the past 8 years, I was interested to see if the show lived up to all its hype.

The Book of Mormon tells the tale of a pair of Mormon missionaries sent to spread their teachings to a remote village in Uganda and is met with apathy from the locals, who are dealing with disease, famine and oppression. The pair, Elder Price and Elder Cunningham, eventually find a way to get through to the villagers, while at the same time, test (and renew) their own faith in their mission.

Given that the show was created by Matt Stone and Trey Parker, best known for creating the animated series South Park, there’s an expectation of vulgarity and borderline offensive stereotypes sprinkled throughout the narrative – and the show has it in spades. While their type of humor is not the kind I gravitate towards, I liked the narrative structure; the songs were catchy and the overall scenic design was great; though my only criticism is that the body mics and overall sound (at least from the mezzanine) was turned up too loud, muffling much of the dialogue to the point that I couldn’t make out some of what was said – maybe this was a quirk of being in the mezzanine, or it might have been unique to the performance I attended. The cast was hilarious – many of whom were making their Broadway debut.

The stage door scene was surprisingly almost nonexistent, thought that might have been due to the (slightly) inclement weather – it had been raining most of the day, and there was a gentle rain after the show ended (and there was no marquee overhang above the stage door). A few of the cast came out to sign playbills and pose for photos for the handful of audience members who stayed.

Overall The Book of Mormon was a fun show and not as offensive as I would have thought it would be (given the reputation of its primary creative team), but it’s not a show I’d see again, even thought I’d recommend it to others.