tag:blogger.com,1999:blog-81897464461375695762024-03-13T13:28:49.310-07:00Trigger CriticPop culture shot from the hipMisha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.comBlogger115125tag:blogger.com,1999:blog-8189746446137569576.post-43578866229378132832015-09-09T10:50:00.003-07:002015-09-09T10:50:40.480-07:00<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-FwqMJBdMVoE/VfBxSAbZ3zI/AAAAAAAABdY/WU_AElK1S_s/s1600/AmericanIdiot-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-FwqMJBdMVoE/VfBxSAbZ3zI/AAAAAAAABdY/WU_AElK1S_s/s320/AmericanIdiot-4.jpg" width="320" /></a></div>
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Congratulations to The Hypocrites for unleashing the angry, reckless and relentless energy of "American Idiot."</div>
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The show, playing at the Den Theatre through Oct. 25, is freed from Broadway musical conventions and, --like "Hedwig and the Angry Inch"-- feels much more like a punk rock concert with a heavy dose of theatrics thrown in than a Broadway musical.</div>
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The book of the show is still problematic, though. Johnny (Luke Linsteadt) is a punk rock rebel without a cause. He wiles away his teenage years in the parking lot of a suburban convenience store, dreaming of escape. He's joined by mates Tunny (Steve Perkins) and Will (Jay W. Cullen) who share the common dream of leaving their hometown.</div>
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Johnny and Tunny soon head out to the big city. The pot and booze-drinking Will gets left behind when he gets his girlfriend Heather (Alex Madda) pregnant. Tunny heads off to war. Johnny fails to make it as a musician, falls in love with a fellow punk rock girl (the stunning <a href="http://www.broadwayworld.com/people/Krystal-Worrell/" style="background: transparent; border: 0px; color: #b22023; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.2s; vertical-align: baseline;">Krystal Worrell</a> as Whatshername) and then is seduced into a life of drugs by drug pusher named St. Jimmy (transgendered actor Malic White; fierce and unapologetically bad ass in the most awesome way).</div>
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And therein lies the crux of the piece: for all their sense that they are unique individuals, their lives ultimately end up being rather cliché-driven. Linsteadt's character plunges into drug addiction and managers to shake it in the course of a scene without very much of a struggle. Cullen's Will is too quick to wallow in alcoholism and self-pity. Perkins' Tunny is too easily seduced by the military. This is a cautionary tale; all three live up to the name "American Idiot" and none are the type of protagonist you really root for as a result.</div>
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Thankfully, the female cast are given their due here. Becca Brown, as Tunny's former bandmate and love "Extraordinary Girl," welcomes the injured soldier home with open arms (and, I might add, plays a mean bass guitar). Madda's Heather (accompanied by a female ensemble of friends) eventually has enough of Will's crap and leaves him. Later, Whatshername has an equally empowering "come to Jesus" moment when she realizes Johnny has chosen drugs over her ("Letterbomb").</div>
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The cast is diverse and certainly talented. Steven Wilson's direction captures the alienation of youth, but the show is missing the noise of social media and the propaganda of the corporate-owned 24-hour news channels that is as much a character of the show as our trio of friends. Also missing is any reference to the generation-defining moment that was 9/11. Wilson is vying for a more timeless take on the material, but the 9/11 reference was the one thing I felt the Broadway production (and subsequent tour) actually did right. In previous productions, the act is what shakes Johnny out of his heroin-induced stupor. Without it, Johnny's path to sobriety is a little bit harder to see.</div>
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<a href="http://www.broadwayworld.com/people/Katie-Spelman/" style="background: transparent; border: 0px; color: #b22023; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.2s; vertical-align: baseline;">Katie Spelman</a>'s choreography is more understated than on Broadway (less jumping, more defined movement and thusly has a more professional impact). Joe Schermoly's set certainly feels like some of the dingy music venues I frequented in my youth. Lighting by <a href="http://www.broadwayworld.com/people/Heather-Gilbert/" style="background: transparent; border: 0px; color: #b22023; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.2s; vertical-align: baseline;">Heather Gilbert</a> succeeds in setting time and mood (a spotlight during "Whatshername" is particularly effective). Mieka van der Ploeg's costume designs -a palate of primarily red, white and black-also fit the tone of the piece quite well.</div>
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The piece feels empty without "Good Riddence," though. The song, traditionally sung as a curtain call, really needs to be licensed with the show. Its lyric succinctly sums up the point that life is not about the destination, but rather the journey: "It's something unpredictable, but in the end is right. I hope you had the time of your life." Should we fail to grasp this concept, we've earned the title of "American Idiot." Without it, the show just doesn't seem to resonnate the way it should.</div>
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Despite the production's faults, this is perhaps the most "punk" version of the show we will ever see. Fans of <a href="http://www.broadwayworld.com/people/Green-Day/" style="background: transparent; border: 0px; color: #b22023; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: all 0.2s; vertical-align: baseline;">Green Day</a> will find it a fitting tribute to the band's alternative roots.</div>
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The Hypocrites' production of AMERICAN IDIOT runs through Oct. 25 at the Den Theatre, 1329 N. Milwaukee. Tickets $28-$35. www.the-hypocrites.com</div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-24701796757140541102014-11-23T11:58:00.000-08:002014-11-23T11:58:12.804-08:00Shuler Hensley steals "Dr. Seuss' How The Grinch Stole Christmas!: The Musical"<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: rgba(0, 0, 0, 0.0470588); font-family: Arial; line-height: 19.5px;">Shuler Hensley as The Grinch in the 2014 Equity Touring Company of Dr. Seuss' HOW THE GRINCH STOLE CHRISTMAS! The Musical, running Nov. 20-29 at The Chicago Theatre.</span><br style="background-color: rgba(0, 0, 0, 0.0470588); font-family: Arial; line-height: 19.5px;" /><span style="background-color: rgba(0, 0, 0, 0.0470588); font-family: Arial; line-height: 19.5px;">© BlueMoon Studios</span></td></tr>
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While being short on appeal for adults, "HOW THE GRINCH STOLE CHRISTMAS!: THE MUSICAL," playing the Chicago Theatre through Nov. 29, is a decidedly kid-friendly holiday show is the perfect vehicle to introduce children to the wondrous magic of live musical theater.</div>
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And that is, perhaps, how things should be.</div>
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<tr><td class="tr-caption" style="text-align: center;">This still makes no bleeping sense to me.</td></tr>
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Those of us old enough to remember a time before cable, video on demand or Blue-Ray, might recall how the holiday season didn't officially begin until the three network stations began airing their roster of holiday classics. "The Year Without a Santa Claus," "A Charlie Brown Christmas," and, yes, even "Rudolph's Shiny New Year" all had fans in my household (there's always one person who finds the holiday-melding "Shiny New Year" to be his/her cup of tea, though I confess I don't know why).</div>
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And while we still argue over our favorites as children, there is one holiday classic for which there is little debate: Chuck Jones' 1966 "Dr. Seuss' How The Grinch Stole Christmas!," narrated by none other than horror movie icon Boris Karloff, is holiday perfection.</div>
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<tr><td class="tr-caption" style="text-align: center;">Horror movie legend Boris Karloff</td></tr>
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Both book and cartoon are still ahead of their time in some respects. Seuss began warning us about the dangers of over-commercializing holidays some 48 years ago. The fact that so many retail employees now have to give up a family holiday (Thanksgiving) to feed our nation's insatiable consumer appetite for "Black Friday" deals would no doubt sicken both Seuss and The Grinch. But I digress.</div>
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It's hard to see a classic 22 minute piece of animation bloated to either a feature length film (as it was in 2000) or a 90-minute, intermissionless children's musical. And yet, in the case of the musical, it's length --though still two sizes bigger than it should be-- still managed to keep the addition of the kiddies for nearly its entire length.</div>
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Much of the credit for keeping things engaging for the younger set surely goes to Shuler Hensley, whose Grinch is less menacing and more mischievous. Hensley knows when to improvise a bit and play to the audience for full comic effect.</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #404040; font-family: Roboto, arial, sans-serif; line-height: 18.2000007629395px; text-align: start;">Aleksa Kurbalija as Max and Ken Land as Old Max<br />© BlueMoon Studios</span></td></tr>
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He's helped along by Ken Lund, who plays the older version of the green one's faithful dog Max and serves as the piece's narrator (and heart and soul, really). "This Time of Year" (a song in which he sings nostolgically with his younger self, played by Aleksa Kurbalija) perfectly captures that moment when an older, wiser self longs to go back to the days when the world was just a little bit more magical.</div>
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The plot doesn't stray too far from its original path. The Grinch is a loner who hates Christmas. The Whos of Whoville do not. And yet, the older Whos are as guilty as the Grinch for losing the true meaning of Christmas as demonstrated in "It's the Thought That Counts." Despite its title, it is very much about running yourself ragged as you shop for things that your kids probably don't really need.</div>
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The Grinch hatches a plot to literally steal Christmas, thinking without all the gifts, decorations, lights and bows that make up the trappings of the holiday that there will be no holiday.</div>
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In the original, the holiday still comes and the Grinch has a change of heart when he hears all of Whoville singing (the iconic songs from the animated show "Welcome, Christmas" and "You're a Mean One, Mr. Grinch" are included alongside new songs here). It's really one child's act of unselfish, unwavering kindness (Cindy-Lou Who, played by Lilyana Cornell and Presley Ryan alternately), who really melt's this musical Grinch's heart. Composer Mel Marvin and lyricist Timothy Mason have written Cindy-Lou a touching ballad "Santa For a Day." Yes, it is perhaps overly-sweet, but sung with such conviction that it can't help but melt the most fridge of hearts.</div>
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<tr><td class="tr-caption" style="text-align: center;">The ensemble. <span style="background-color: white; color: #404040; font-family: Roboto, arial, sans-serif; line-height: 18.2000007629395px; text-align: start;">© BlueMoon Studios</span></td></tr>
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The sets by John Lee Beattyand costumes by Robert Morgan pay stricter homage to the drawings of Seuss than did the cartoon. Fans of the book will really marvel at how the book seems to come to life in set pieces, props and costumes.</div>
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Ultimately, Hensley's devilishly playful take on the iconic role that makes these a holiday special the younger set won't want to miss.</div>
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"Dr. Seuss' How The Grinch Stole Christmas! The Musical" runs through Nov. 29 at the Chicago Theatre, 175 N. State Street. Tickets $35-$125. Call (800) 745-3000.</div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-63683934563425363242014-08-07T12:35:00.003-07:002014-08-07T12:38:22.252-07:00Sneak Peek at 32th Annual Reeling LGBT International Film Festival Feature Films <div class="separator" style="clear: both; text-align: center;">
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The Reeling Film Festival has announced their feature film selections for this year's fest, to be held earlier than in prior years. New dates for the fest are Sept. 18-Sept. 25.<br />
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"Being in November, Reeling was late in the programming year and we found
that many of the films that were appearing in LGBT film festivals over
the summer (when some of the other major LBGT film festivals take place)
were being released (theatrically or via DVD or VOD) in Chicago prior
to our festival," said Reeling founder Brenda Webb." By moving to September, our intention was to keep ahead
of the fall releases of some films."<br />
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Webb also noted that given the traditionally more hospitable September weather in Chicago, festival folks are currently exploring potential outdoor screenings for future festivals. So, it sounds like the September date for the fest is a permanent move. <br />
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Specific showtimes and have not been announced, but here are some early standouts (sight unseen; screeners will be available at a later date): <br />
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<tr><td class="tr-caption" style="text-align: center;">Robby (Michael Welch) and Ricky (Michelle Hendley) <br />
navigate friendship and relationships in "Boy Meets Girl." </td></tr>
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<span style="font-size: large;"><b>Opening Night Feature </b></span><br />
"Boy Meets Girl" <br />
The fest opens with this romantic, coming of age comedy by writer/director Eric Schaeffer ("If Lucy Fell") about Robby (Michael Welch, best known as Mike Newton from the "Twilight" saga), his transgendered best friend Ricky (Michelle Hendley, who was discovered in a nationwide search to cast the role) and the debutant (Alexandra Turshen) who comes between the best friends.<br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-gitomVdatoQ/U-PBYqdEe2I/AAAAAAAABIg/HtxbJt7ZCAw/s1600/Blackbird.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-gitomVdatoQ/U-PBYqdEe2I/AAAAAAAABIg/HtxbJt7ZCAw/s1600/Blackbird.jpg" height="196" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Julian Walker (left) and Academy Award-winner Mo'Nique in "Blackbird"</td></tr>
</tbody></table>
<span style="font-size: large;"><b>Closing Night Feature</b></span><br />
"Blackbird" <br />
Academy Award-winner Mo'Nique's first film since nabbing an Oscar for "Precious,""Blackbird" stars newcomer Julian Walker as choirboy Randy who has a crisis of faith when he begins to have feelings for a boy in drama club. Mo'Nique plays his mom and Isaiah Washington (infamously dismissed from "Gray's Anatomy" for an alleged homophobic slur on set against out co-star T.R. Knight) plays his dad. <br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-l-hUhtjx1LU/U-O3wmCHCqI/AAAAAAAABIE/Om1nyPRH9oQ/s1600/Facetoface+HDR+final+.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-l-hUhtjx1LU/U-O3wmCHCqI/AAAAAAAABIE/Om1nyPRH9oQ/s1600/Facetoface+HDR+final+.jpg" height="160" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zoe (Sharon Hinnendael) and Mal (Jill Evyn) in "Anatomy of a Love Seen"</td></tr>
</tbody></table>
<br />
<b><span style="font-size: large;">Lesbian Centerpiece</span></b><br />
"Anatomy of a Love Seen"<br />
Sharon Hinnendael and Jill Evyn star as a pair of actresses who meet and fall in love on a movie set in this film-within-a-film from writer/director Marina Rice Bader (producer of "Elena Undone). AfterEllen.com praised the relationship study for it's "raw and spontaneous feel." <br />
<br />
<span style="font-size: large;"><b> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-a0xoJ0YcQOk/U-PQmVu7q8I/AAAAAAAABI8/L_t1c6bbnbY/s1600/LILTING_6_Pei-pei_Cheng_&_Ben_Whishaw.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-a0xoJ0YcQOk/U-PQmVu7q8I/AAAAAAAABI8/L_t1c6bbnbY/s1600/LILTING_6_Pei-pei_Cheng_&_Ben_Whishaw.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Cheng Pei-pei (left) and Ben Whishaw star in "Lilting"</span></td></tr>
</tbody></table>
</b></span><br />
<span style="font-size: large;"><b>Gay Centerpiece</b></span><br />
<span style="font-size: large;"><span style="font-size: small;">"Lilting"</span> </span><br />
An official selection of Sundance, Berlin and London Film Festivals, "Lilting" stars Cheng Pei-pei as June, a motherstruggling to come to grips wither her son's untimely death. Ben Whishaw (Q" in the current "Bond" films) plays the deceased son's roommate and lover. Variety called the film "intimate and sensitive almost to a fault." The British drama capture the Cinematography Award: World Cinema Dramatic at Sundance.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-m2k8hJ5izqM/U-PONDuhG5I/AAAAAAAABIw/IaaVD76cN9w/s1600/TOM-A-La-FERME-Xavier-Dolan-@clara-palardy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-m2k8hJ5izqM/U-PONDuhG5I/AAAAAAAABIw/IaaVD76cN9w/s1600/TOM-A-La-FERME-Xavier-Dolan-@clara-palardy.jpg" height="212" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Xavier Dolan directs and stars in "Tom at the Farm"</td></tr>
</tbody></table>
<br />
<span style="font-size: large;"><b>International Centerpiece</b></span><br />
"Tom at the Farm" <br />
The film adaptation of Michel Marc Bouchard's play "Lillies" was a crowd favorite at Reeling several years ago and since "Tom at the Farm" is based on the Quebecois playwright's play"Tom <span lang="fr">à</span> la ferme" and is directed by Xavier Dolan (who was the toast of the 2009 Cannes Film Festival with "I Killed My Mother) who also stars. as the title character, an ad executive who crashes his dead lover's country funeral only to be caught in the family's twisted, secret-filled melodrama. . <br />
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<br />
<br />
<div id="stcpDiv" style="left: -1988px; position: absolute; top: -1999px;">
Michael Welch, Twilight)trans actress Michelle Hendley who was cast in the role after a nationwide search. Hendley plays "Ricky"</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-c-1RV5IkfKQ/U-OkxzWgOaI/AAAAAAAABHo/OM71xHdYGQs/s1600/Drew+Brett_Dan-Irving.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-c-1RV5IkfKQ/U-OkxzWgOaI/AAAAAAAABHo/OM71xHdYGQs/s1600/Drew+Brett_Dan-Irving.png" height="208" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Max Adler (left) and Danny Mooney star in "Saugatuck Cures"</td></tr>
</tbody></table>
<span style="font-size: large;"><b>Of Local Interest</b></span><br />
"Saugatuck Cures" <br />
Matthew Ladensack's comedy was shot in the west Michigan vacation city of Saugatuck (popular with gay and straight Chicagoans alike) and stars Max Adler ("Glee) as a con-artist posing as an ex-gay preacher in order to bulk churchgoers out of money so he can pay for his mom's cancer treatment.<br />
<br />
Dates, times and a full Fest list should be updated sometime this month at reelingfilmfestival.org.<br />
<a href="http://www.imdb.com/name/nm2360581/?ref_=tt_ov_dr" itemprop="url"><span class="itemprop" itemprop="name"><br /></span></a>Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-41479731505072171122014-06-03T10:48:00.000-07:002014-06-05T10:41:47.060-07:00Get to know her name: "Carrie: The Musical" electrifies<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-mqyGcp3EjCc/U44HLkmF34I/AAAAAAAABDs/npBvnt6gMLQ/s1600/Carrie-1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://4.bp.blogspot.com/-mqyGcp3EjCc/U44HLkmF34I/AAAAAAAABDs/npBvnt6gMLQ/s1600/Carrie-1.jpg" height="265" width="400" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: x-small;"><span style="font-family: inherit;"><b>Callie Johnson</b> (center) and the cast of <b>Bailiwick Chicago’s</b> Chicago premiere of <b>CARRIE: The Musical</b> with music by <b>Michael Gore</b>, lyrics by <b>Dean Pitchford</b>, book by <b>Lawrence D. Cohen</b>, based on the novel by <b>Stephen King</b>, directed by <b>Michael Driscoll </b>and music direction by <b>Aaron Benham</b>. Photo by Michael Brosilow.</span></span></td></tr>
</tbody></table>
Cross-posted from Broadwayworld.com<br />
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<div class="MsoNormal">
Forget for a moment that “Carrie: The Musical” is based on
Stephen King’s terrifying debut novel and the subsequent iconic 1976 Brian De
Palma film. And I know it will be exceptionally hard, but also forget that the
show is a much-revised version of the cult-classic, infamous 1988 Broadway flop
(thankfully, the book has exorcised most –if not all-of the demons that initially
made the show a campy, miserable failure). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Carrie: The Musical,” enjoying its Chicago premiere at
Bailiwick Chicago at Victory Gardens through July 12, soars like a phoenix on
the strength of the performances of its leading ladies and a terrific ensemble
cast. If you’re looking for camp, look elsewhere. This is a serious and somber
tragedy t electrifies. As seen with the Bailiwick production, “Carrie” deserves
to be rescued from the pile of shows whose Broadway dreams did not pan out. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Aside from merely being entertaining, any revival (even
revivals of failed musicals) needs to have some cultural, political or social
relevance to the era in which it is being produced. “Carrie” is no different
and she comes bearing quite a message. </div>
<div class="MsoNormal">
<br /></div>
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In 1955’s “Rebel Without a Cause,” it was teens rebelling against
society. In the musical “Carrie” (book by Lawrence D. Cohen who also wrote the
film script; lyrics and music by Academy Award winners Dean Pitchford and
Michael Gore, respectively) teens have become society and now battle each other
with tragic results.</div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-F7oFF_zXBCA/U44Jsiroi6I/AAAAAAAABEA/4kVNxlu9y5E/s1600/Carrie-8.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-F7oFF_zXBCA/U44Jsiroi6I/AAAAAAAABEA/4kVNxlu9y5E/s1600/Carrie-8.jpg" height="213" width="320" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: x-small;"><span style="font-family: inherit;"> <b>Henry McGinniss</b>,<b> Rochelle Therrien </b>as Tommy and Sue (background, left to right) and <b>Callie Johnson</b> as Carrie (front) Photo by Michael Brosilow.</span></span></td></tr>
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As the sounds of police cars, fire trucks and ambulances are
heard, the lone witness and survivor to the carnage from teleknetic rage, Sue (Rochelle
Therrien in a delicate, but emotionally powerful performance) sets the tone with
the first line of dialogue: “You have to understand: we were just kids.” <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sadly, school massacres have almost become commonplace in
America. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, crosses, books and other things get thrown in fits of telekinetic
rage, but nowadays, it’s more likely to be a gun than supernatural powers that
leads to a high school tragedy. Kids, just being kids, and, as Sue notes at the
end, “once you see, you can’t unsee.“<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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Carrie White, it would seem, is not the only one who views
themselves as an outsider. In the energetic opening number “In,” a group of
high schoolers lament “Life just doesn’t begin/until you fit in.”</div>
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<br /></div>
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It’s hardly earth-shattering news, but, yes, teenagers, in
their effort for peer acceptance, will often turn on anyone and everyone who is
different quicker than you can grab your copy of<i style="mso-bidi-font-style: normal;"> Lord of the Flies</i>. </div>
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<br /></div>
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As the tortured Cinderella of the piece, Callie Johnson initially
sings of bringing her fellow classmates down to their knees in the title song,
and yet Johnson manages to illicit our sympathies. The song (and Johnson’s
performance of it) shows us the seed of rage that will be the source of her
powers later on. For the most part, she just wants to fit in like everyone else
and dreams of dancing, laughing more than she does.</div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-abin_Li3qBk/U44IJ1h1azI/AAAAAAAABD0/udVn2l4ZJ9A/s1600/Carrie-9.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://3.bp.blogspot.com/-abin_Li3qBk/U44IJ1h1azI/AAAAAAAABD0/udVn2l4ZJ9A/s1600/Carrie-9.jpg" height="226" width="320" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: x-small;"><span style="font-family: inherit;"> <b>Katherine L. Condit</b> (left) and <b>Callie Johnson</b>. Photo by Michael Brosilow.</span></span></td></tr>
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As Carrie’s mother (and chief antagonist) Margaret,
Katherine L. Condit still physically, mentally and spiritually abuses her
daughter, but the results here are less over-the-top villainy and more the
signs of an over-protective parent. Condit sings such hymns such as “Open Your
Heart” and “When There’s No One” with such sweet conviction </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If there is one cartoonish portrayal, it is that of Carrie’s
chief tormentor, Chris (Samantha Dubina). Though, to be perfectly fair, it’s
not Dubina’s fault. She has to deliver the line“There’s a runt in every litter
and our runt is Carrie White.” and in the song “The World According to Chris”
sings “better to strike then get struck\better to screw than get screwed.” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Michael Driscoll’s direction keeps things moving along with
an energy that pulses from the first number to the last. Brigitte Ditmars’
choreography has the required youthful vitality, particularly in the group
numbers. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stephen H. Carmody’s sterile and industrial set, with
suspended metal lockers and chain link fencing evokes a sense of imprisonment
more than it does high learning. To some teens, that’s the point, though. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second act opens with an ensemble song about the prom
that is both hopeful and energetic; it includes the lyrics “You ain’t seen
nothin’ yet\it’s gonna be a night we’ll never forget.” Given what we know is in
store for these kids, it’s the musical foreshadowing of the horror film
standard of “don’t go in there.”</div>
<div class="MsoNormal">
If you’ve read the book or seen the movie, you know how
things must end. To Johnson’s credit, you heart still breaks for Carrie as
those events play out, though. I found myself wishing Carrie could have her
happy ending this time.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
"Carrie: The Musical" runs through July 12 at the Victory Gardens Richard Christiansen Theater, 2433 N. Lincoln. Tickets, $40. (773) 871-3000. bailiwickchicago.org. </div>
<br />
<br />Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-36079163859506400572014-05-02T12:05:00.001-07:002014-05-02T12:09:05.314-07:00The Wizard of Blehs<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-rcfsMO2hN3E/U2PpKnbDi2I/AAAAAAAABBU/heFUKYNAl00/s1600/12.12_M_Oz_N2736-PhotoBy_Cylla-von-Tiedemann.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-rcfsMO2hN3E/U2PpKnbDi2I/AAAAAAAABBU/heFUKYNAl00/s1600/12.12_M_Oz_N2736-PhotoBy_Cylla-von-Tiedemann.jpg" height="253" width="400" /></a></div>
Cross-posted from Broadwayworld.com<br />
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<a href="http://1.bp.blogspot.com/-oh6p2GDML9A/U2PplHjbkrI/AAAAAAAABBc/RmLHacuY2mg/s1600/Wizard_title_page.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-oh6p2GDML9A/U2PplHjbkrI/AAAAAAAABBc/RmLHacuY2mg/s1600/Wizard_title_page.jpg" height="200" width="143" /></a></div>
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It’s hard to think of anything more “Midwestern” than “The
Wizard of Oz.” Chicagoans have an affinity for the work and rightfully so. L.
Frank Baum wrote <i style="mso-bidi-font-style: normal;">The Wonderful Wizard of
Oz</i> while living here. The original 1902 stage production made its debut on
a Chicago stage. We even have a park named Oz which features sculptures from
the book series. </div>
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<br /></div>
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So, what to say about the latest revamp of the
film-turned-stage musical “The Wizard of Oz” –a production in which the lone
American in the cast is the dog playing Toto and Canadian accents are as thick
as the air in a Kansas during the dust bowl? A show that features five mostly forgettable
new songs written by a pair of Englishmen (music by Andrew Lloyd Weber and
lyrics by Tim Rice) that fails to emulate the music stylings of the great Harold
Arlen who wrote the film’s iconic score or the tone of E.Y. Harburg’s inspiring
lyrics to the extent the new material sticks out like a pair of ruby red
slippers on a sepia-toned Kansas farm?</div>
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Dorothy, you’re right. You’re not in Kansas. You’re in
Toronto after a layover in London’s West End. </div>
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That’s not to say they don’t have farms in Canada (or, for
that matter, England). And yes, there is something universal that many journeys
end with the realization that everything you are looking for can be found at
home. I’m certainly not a flag waving American. My dad’s family hails from the
Great White North. </div>
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The production which opened on Thursday at the Cadillac
Palace Theater felt to me more like a traditional English Panto than it did
with live theater. There was far too much slapstick, buffoonery and sexual innuendo. </div>
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The show’s Dorothy, Danielle Wade, is likeable enough. Her
portrayal is unique enough that you don’t feel she is every impersonating the
film’s original star, Judy Garland. She belts the heck out of “Somewhere Over
the Rainbow” and her longing for something beyond the world she knows feels
earnest. <span style="mso-spacerun: yes;"> </span> </div>
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It’s perhaps no surprise that
she feels very at home in the role, seeing as she won the lead after appearing
on the CBC reality show “Over the Rainbow” that had Canadian gals competing for
the role in an “American Idol” style show. </div>
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</div>
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<a href="http://4.bp.blogspot.com/-gdQ2pKZbGBY/U2PsSfCf-UI/AAAAAAAABBw/yWZVKXH5Zx8/s1600/wizard_TD_44_of_78.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-gdQ2pKZbGBY/U2PsSfCf-UI/AAAAAAAABBw/yWZVKXH5Zx8/s1600/wizard_TD_44_of_78.jpg" height="191" width="200" /></a></div>
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The witches (Robin Evan Willis as Glinda and Jacqueleyn Piro
Donovan as the Wicked Witch of the West) are painted with too broad a comedic
stroke. Gone are the nuturing, motherly Glinda and the frightening Wicked Witch
from the film.</div>
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<br /></div>
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Gone too is the noble Scarecrow. Poor Jamie McKnight has to
play the strawman as an imbecile who can’t even remember why he has embarked on
a quest to see the Wizard.</div>
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<br /></div>
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Worst of the night is
Lee MacDougall’s swishy lion that would make the likes of Paul Lynde look butch. A joke
about the lion being “a friend of Dorothy” –a dated euphemism for “gay” that
references either Judy Garland’s character or, as some scholars have argued,the
late humorist Dorothy Parker—fell flat on Thursday night. The portrayal is neither witty nor camp. What were they thinking? </div>
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<br /></div>
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Simply put, the brains, heart and courage seem to be missing from this tale
from America’s heartland and not even the Wonderful Wizard of Oz (a regal Jay Brazeau
as both the all-powerful Wizard and sideshow huckster Professor Marvel) can
seem to fix it. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<div class="MsoNormal">
“The Wizard of Oz” runs through May 11 at the Cadillac
Palace Theater, 151 W. Randolph. Tickets $18-$105. 800.775-2000 or
www.broadwayinchicago.com.</div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-77922418593720642222014-05-01T09:26:00.002-07:002014-05-01T10:28:40.810-07:00Stroll down Mercury's home-grown, Broadway-calibur "Avenue Q." <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-mcSul20edKY/U2J0VrPC7XI/AAAAAAAABAs/lBdyOSbTaMA/s320/Avenue+Q+-+Mercury+Theater+Chicago+-+Donterrion+Johnson,+Dan+Smeriglio,+Thom+VanErmen,+Stephanie+Herman,+Sean+Patrick+Faw~1.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cast of "Avenue Q." Photo by Brett Bener.</td></tr>
</tbody></table>
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<div class="MsoNormal">
Cross-posted from broadwayworld.com<br />
<br />
A lot has happened since “Avenue Q” defied the odds to beat
out a certain heavily-favored, green skinned witch for the Tony award for best
musical 10 years ago. Technology and social media sites have come and gone
(compact disks have yielded to mp3 players; MySpace and Ask Jeeves are about as
relevant as an AOL email account these days). Stock markets have crashed,
rebounded, crashed again and rebounded.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With his Oscar earlier this year for “Frozen,” “Avenue Q”
co-composer Robert Lopez even claimed his EGOT crown (so named as Mr. Lopez has
successfully won an Emmy, a Grammy, an Oscar and a Tony). It might “suck to be
you” as a certain lyric from “Avenue Q” goes, but it certainly does not suck to
be Mr. Lopez at this moment in time. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Is the puppet nudity and adult humor of this homage to
“Sesame Street” still culturally relevant? You bet your felt covered butt it
is!</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You can thank our anemic economy.<span style="mso-spacerun: yes;"> </span>While “Sesame Street” gently prepared several
generations of preschoolers to navigate the playground, Mercury Theater’s
home-grown, Equity<span style="mso-spacerun: yes;"> </span>production of “Avenue
Q,” remains current as it tackles the difficulties of job hunting, unemployment
and the dating pool for twenty, thirty and forty-somethings. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The emotional heart of the show (book by Jeff Whitty and
music and lyrics by Lopez and Jeff Marx) has always been with Kate Monster, who
dreams of both the perfect boyfriend and opening a “Monster-sorri” school .
Under the direction of L. Walter Stearns, Mercury’s production still thankfully
wears its sweet heart on its sleeve. Much like “Sesame Street,” Stearns has
succeeded in mounting a Brodway-caliber production that manages to feel
somewhat irreverent and good-natured at the same time. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-5Csaa9Lzqng/U2J02W6VGtI/AAAAAAAABA8/KU4neiSAf3M/s1600/Avenue+Q+-+Mercury+Theater+Chicago+-+Leah+Morrow.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-5Csaa9Lzqng/U2J02W6VGtI/AAAAAAAABA8/KU4neiSAf3M/s1600/Avenue+Q+-+Mercury+Theater+Chicago+-+Leah+Morrow.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leah Morrow as Kate Monster. Photo by Brett Bener.</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
</div>
The original puppets by Russ Walko bear an uncanny
resemblance to most of their actor counterparts and you’ll be hard-pressed to
tell puppet from puppeteer.
<br />
<div class="MsoNormal">
As Kate Monster, Leah Morrow is appropriately sweet and
vulnerable. You can almost feel her furry heart break as she sings about the
fine line between being lovers and friends.</div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-dxGGkQcti9A/U2J1X2Tpp7I/AAAAAAAABBE/Ktjcp-ADtdE/s1600/Avenue+Q-+Mercury+Theater+Chicago+-+Jackson+Evans.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="http://1.bp.blogspot.com/-dxGGkQcti9A/U2J1X2Tpp7I/AAAAAAAABBE/Ktjcp-ADtdE/s1600/Avenue+Q-+Mercury+Theater+Chicago+-+Jackson+Evans.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jackson Evans as Princeton. Photo by Brett Bener.</td></tr>
</tbody></table>
<div class="MsoNormal">
As Princeton, Jackson Evans is charming as he stumbles in
both love and finding his life’s purpose. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Adam Fane finds some great comedic moments as the
highly-strung, closeted Republican Rod. Daniel Smeriglio is the perfect foil to
Rod as Rod’s roommate (and unrequited love) Nicky. Smeriglio, along with Stephanie Herman, has some fine comedic moments as The Bad Idea Bears. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As Christmas Eve, the Japanese therapist with no “cry-ents,”
Christine Bunuan deserves a Jeff. Her Christmas Eve is easily my favorite (and
I’ve seen both the Original Broadway cast, the replacement cast and the touring
company productions of the show). Her rendition of “The More you Ruv Someone”
is side-splitting and worth the price of your ticket alone. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Thom Van Ermen draws some of the other biggest laughs of the
night as Trekkie Monster. This shouldn’t come as too much of a surprise; if there is one thing about the show
that is still current, it’s that the Internet is still for porn. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Avenue Q” is a must-see for teens and adults.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Mercury Theater's production of "Avenue Q" runs
through June 29 at the Mercury Theater, 3745 N. Southport. Tickets $20-$59. <a href="http://www.mercurytheaterchicago.com/" target="_blank">www.mercurytheaterchicago.com</a>
or <a href="tel:773.325.1700" target="_blank">773.325.1700</a></div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-58631268299111891892013-12-18T11:33:00.001-08:002013-12-18T11:34:37.175-08:00BBC/BBC America plan big send off to Matt Smith on "Doctor Who" <div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/IlN-SPx1zAg?feature=player_embedded' frameborder='0'></iframe></div>
<br />
<span style="font-family: inherit;">For "Who" fans this Christmas, Santa, crackers, figgy pudding and the lot will be taking a backseat as
"Doctor Who" takes over Christmas. BBC America is planning a full day of programming to honro of actor Matt Smith, who has been playing the 11th incarnation of the title character for four years and departs with this year's Christmas special. </span><br />
<br />
<span style="font-family: inherit;">On tap Dec. 25th is the television premiere of the six-minute
<i>Doctor Who</i> prequel, "The Night of The Doctor" at <span class="aBn" data-term="goog_1576608069" tabindex="0"><span class="aQJ">5:00 p.m.</span></span> followed by an encore of the 50<sup>th</sup> anniversary special,
"The Day of the Doctor<i>."</i> A world premiere retrospective special,
"Farewell to Matt Smith" airs at 7 p.m.,<span class="aBn" data-term="goog_1576608070" tabindex="0"><span class="aQJ"></span></span> followed by the premiere of Smith's last outing (for now --Time Lords always seem to have a way of coming back via cameos with "Doctor Who") of the iconic time traveler in
"The Time of the Doctor" at 8 p.m. </span><br />
<br />
<span style="font-family: inherit;">BBC America caught up with Executive producer and lead writer Steven Moffat, Smith and Jenna Coleman (who plays the Doctor's current time traveling companion Clara) to chat about Smith's impending departure and shared this interview: </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-1dB852FLjoc/UrH3Ftwu33I/AAAAAAAAA5g/9IyHRo5vOKU/s1600/image023.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://2.bp.blogspot.com/-1dB852FLjoc/UrH3Ftwu33I/AAAAAAAAA5g/9IyHRo5vOKU/s320/image023.jpg" width="320" /></a></div>
<br />
<br />
<div class="MsoNormal">
<b>Can you set the scene for this Christmas episode?</b> </div>
<div class="MsoNormal">
STEVEN MOFFAT: It’s his final battle and he’s been fighting it for a
while.<span style="mso-spacerun: yes;"> </span>The Doctor is facing the joint
challenge of a mysterious event in space that has summoned lots of aliens to
one place and helping Clara cook Christmas dinner.<span style="mso-spacerun: yes;"> </span>There are also elements from every series of
Matt’s Doctor, which will come to a head in this special. Things that we’ve laid
down for years are going to be paid off.<span style="mso-spacerun: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>How was the read-through? </b></div>
<div class="MsoNormal">
MOFFAT: It was emotional.<span style="mso-spacerun: yes;"> </span>I
think possibly the beginning of the end is more emotional than the actual end.
It was the same with The Angels Take Manhattan, when Karen and Arthur
left.<span style="mso-spacerun: yes;"> </span>The read-throughs are the moments
that tend to get people because obviously the shoot dissolves into what we hope
will be a tremendously exciting wrap party. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Did you know what you wanted Matt’s last words to be?</b></div>
<div class="MsoNormal">
MOFFAT: I didn’t think I would go that way, but a couple of months
before I wrote it I did say to Mark (Gatiss) that I thought I knew what his
last moment would be, and indeed his last line.<span style="mso-spacerun: yes;">
</span>But if it didn’t fit the scene I wouldn’t crowbar it in.<span style="mso-spacerun: yes;"> </span>I’ve had the vague storyline in place for a
long while.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What episodes or scenes do you think will define Matt’s time
as the Doctor? </b></div>
<div class="MsoNormal">
MOFFAT: I think ‘The Eleventh Hour’ was such an extraordinary
debut.<span style="mso-spacerun: yes;"> </span>Everybody for a year of poor Matt
Smith’s life had been saying, ‘total mistake. He’s far too young.’ Then he came
in and he was brilliant.<span style="mso-spacerun: yes;"> </span>‘Vincent and
The Doctor’ was also such a lovely episode and I was thrilled Richard Curtis
was able to write for the show.<span style="mso-spacerun: yes;"> </span>There’s
the physical comedy that Matt has brought and of course fish fingers and
custard. I think his relationship with his own TARDIS in The Doctor’s Wife was
gorgeous.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<b>What do you think distinguishes Matt from the other Doctors?
</b></div>
<div class="MsoNormal">
MOFFAT: I think he does old Doctor better than anybody else. It’s
not an accident. It’s something he very, very consciously thought about.
Because he was the youngest Doctor, Matt said, ‘he’s only got young skin.
Nothing else is young.’ I think Matt makes you think very believably that he is
this ancient being. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>The Christmas special will introduce the next Doctor, played
by Peter Capaldi.<span style="mso-spacerun: yes;"> </span>What was it about
Peter that you thought was right for the role? </b></div>
<div class="MsoNormal">
MOFFAT: He’s one of the best actors in the country and is very
beloved.<span style="mso-spacerun: yes;"> </span>I was at the BAFTAs shortly
before we were contemplating Peter and heard the cheer he got from the
audience.<span style="mso-spacerun: yes;"> </span>Nobody has a bad thing to say
about him and that’s not a minor issue when it comes to casting a Doctor.
They’ve got to be lovely. And he’s a huge fan of Doctor Who. So we asked and he
was incredibly excited to come and audition. We didn’t tell him that he was the
only person auditioning because that would be oddly pressuring.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Did you deliberately aim to cast an older Doctor? </b></div>
<div class="MsoNormal">
MOFFAT: It wasn’t the reason I cast Peter but I do think if we’d
cast another Doctor as young as Matt - because Matt’s been so good at being The
Young Doctor - I’m not sure what another one would have done. They’d have to
have either been deliberately different or just repeat him.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-2zlcSOZoOo8/UrH3Ir5Js2I/AAAAAAAAA50/pSKw9FRQdz0/s1600/image021.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="http://2.bp.blogspot.com/-2zlcSOZoOo8/UrH3Ir5Js2I/AAAAAAAAA50/pSKw9FRQdz0/s320/image021.jpg" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Can you first tell us a little bit about the Christmas
special? </b></div>
<div class="MsoNormal">
MATT SMITH: The Christmas special for me is a bitter sweet episode
because I’m leaving, but Steven has written a brilliant, adventurous, funny
episode and I’m really thrilled with it.<span style="mso-spacerun: yes;">
</span>It feels wonderfully Christmassy. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What did you want from your last episode?</b></div>
<div class="MsoNormal">
SMITH: I think it’s good for the Doctor to go out with a bang, a
crash and a wallop. I’m pleased it’s really funny and mad.<span style="mso-spacerun: yes;"> </span>When I got to the last 20 pages and it was
quite a hard read for me, but I hope it’s going to be a belter. </div>
<div class="MsoNormal">
We’ve got a great director in Jamie Payne and some really
lovely double hand stuff with me and Jenna.<span style="mso-spacerun: yes;">
</span>Steven’s managed to tie in plot points and narratives that have been
threaded through over years and I think that’s ingenious.
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Emotionally, how did it feel to be doing your final performance?</b></div>
<div class="MsoNormal">
SMITH: It felt very emotional to be doing my final episode. My
mother is mortified, honestly she was at the front of the campaign for me to
stay and wasn’t happy when I said I was going to leave. But, when you’ve got to
go, you’ve got to go. Of course, it’s very sad for me in many ways because
everything is the last time. It’s the last read through, the last time I put on
the bow tie and the last scene in the TARDIS. But the show is about change and
I had lunch with Peter Capaldi shortly after the announcement and I think he’s
just going to be incredible.<span style="mso-spacerun: yes;"> </span>He has the
most brilliant ideas.<span style="mso-spacerun: yes;"> </span>As a fan, I’m
genuinely excited to see what he’s going to do because I think he’s going to do
something extraordinary. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-uFKkFuZvcE0/UrH3IayC-4I/AAAAAAAAA54/Yo6H7ASyd0o/s1600/image010.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-uFKkFuZvcE0/UrH3IayC-4I/AAAAAAAAA54/Yo6H7ASyd0o/s320/image010.jpg" width="320" /></a></div>
<div class="MsoNormal">
<b>So you’re still going to be a fan?</b></div>
<div class="MsoNormal">
SMITH: Yeah, absolutely, I’ll be a fan.<span style="mso-spacerun: yes;"> </span>I’m very grateful to Steven Moffat and that
whole team up in Wales for the past four years and you know I want the show to
go from strength to strength, which it will. It might take me a couple of weeks
to get my head around it. I think it was the same for David and I think it was
the same for Karen, when she watched Jenna come in. I don’t think it’s easy,
but it’s not my show, it’s the fans show, </div>
<div class="MsoNormal">
so I’ll be a fan and then it will be my show. </div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<b>Have you been given anything by the fans as a leaving
present?</b></div>
<div class="MsoNormal">
SMITH: I was doing a promo shoot for the 50th and these two girls
came on set.<span style="mso-spacerun: yes;"> </span>They had made me this book
which must have had 50 or 60 letters in, saying thank you for being Doctor
Who.<span style="mso-spacerun: yes;"> </span>Things like that are amazing. I’ve
said it before, the fans of this show are really spectacular and they’ve made
this an extraordinary journey for me and I’m very, very grateful.<span style="mso-spacerun: yes;"> </span>I don’t think there’s another set of fans
like it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Can we expect some nods to past series with this Christmas
special? Are we referencing old specials?</b></div>
<div class="MsoNormal">
SMITH: With Doctor Who you’re always looking back and forward at
the same time, because you tend to be jumping around.<span style="mso-spacerun: yes;"> </span>I don’t want to give too much away, but
obviously when you look at my tenure over the last four years, there are stories
and plot points and villains in there that are particular to my Doctor and I
think he’s got to face all that.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-zNE6jB2n52U/UrH3JaXtCeI/AAAAAAAAA58/qoYALW0HE2Y/s1600/image028.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-zNE6jB2n52U/UrH3JaXtCeI/AAAAAAAAA58/qoYALW0HE2Y/s320/image028.jpg" width="320" /></a></div>
<div class="MsoNormal">
<b>How did you find the read-through?<span style="mso-spacerun: yes;"> </span>Was it emotional?</b></div>
<div class="MsoNormal">
JENNA COLEMAN: It was a very emotional read-through.<span style="mso-spacerun: yes;"> </span>Just going through the process of saying
goodbye was difficult.<span style="mso-spacerun: yes;"> </span>The script itself
is very emotional, but also joyous.<span style="mso-spacerun: yes;"> </span>But
saying those words and saying goodbye was never going to be easy.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"></span><b>Is there a sense from the start of the episode that we’re
moving towards a regeneration?
</b><br />
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track.<span style="mso-spacerun: yes;"> </span>People watching will know that
it’s Matt’s last episode, but it doesn’t loom over from the start.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<b>We were introduced to Clara as the impossible girl last
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about her family background?</b></div>
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COLEMAN: Absolutely.<span style="mso-spacerun: yes;"> </span>I think
there had to be a sense of mystery last year to make the plot work.<span style="mso-spacerun: yes;"> </span>What’s really interesting is that it does
feel like we’re starting again and we get to see her home life as well as her
life with the Doctor. </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-fnfrRcJIexc/UrH3QCtqHpI/AAAAAAAAA6E/qeRvhRJsf14/s1600/image026.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-fnfrRcJIexc/UrH3QCtqHpI/AAAAAAAAA6E/qeRvhRJsf14/s320/image026.jpg" width="226" /></a></div>
<div class="MsoNormal">
<b>From a few pictures that have been released there are some
of you cooking Christmas dinner.<span style="mso-spacerun: yes;"> </span>Have
you ever done that in real life?</b></div>
<div class="MsoNormal">
COLEMAN: My mum does the Christmas cooking.<span style="mso-spacerun: yes;"> </span>It couldn’t be any other way.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Are you looking forward to filming next year with Peter?</b></div>
<div class="MsoNormal">
COLEMAN: It will be a different show next year.<span style="mso-spacerun: yes;"> </span>We have a bit of a gap before we start
filming the new series, so I have time to get my head around it all.<span style="mso-spacerun: yes;"> </span>Me and Peter will get together before
Christmas to start rehearsing and the scripts will start coming in.<span style="mso-spacerun: yes;"> </span>When I came in I think there was just a week
off in production where Arthur and Karen left, so that would have been a
strange shift. This episode is very much about Matt and the Eleventh Doctor and
Clara and the Eleventh Doctor and their last adventure together.<span style="mso-spacerun: yes;"> </span>I have no idea where we’re going next series!</div>
<div class="MsoNormal">
<br /></div>
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<b>Where will you be watching the special this year?<span style="mso-spacerun: yes;"> </span>Will you be at home?</b></div>
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COLEMAN: Yeah I think so.<span style="mso-spacerun: yes;"> </span>Last
year the whole family got a cottage together where mum still did the Christmas
cooking. <span style="mso-spacerun: yes;"> </span>We’ll definitely all be
together. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What was your reaction when you heard the next Doctor was
Peter Capaldi?</b></div>
<div class="MsoNormal">
COLEMAN: It was kind of that moment ‘of course, makes sense’.<span style="mso-spacerun: yes;"> </span>It’s funny as I don’t think he was one of the
names that was originally being speculated about and it wasn’t until the week
before that his name came up.<span style="mso-spacerun: yes;"> </span>He’s going
to be so different to Matt and take the show in an interesting direction.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>When were you told?</b></div>
<div class="MsoNormal">
COLEMAN: Matt and I were told together during the Royal visit to
Roath Lock studios.<span style="mso-spacerun: yes;"> </span>We could tell
something was going on and we managed to pin the producers down and get it out
of them!<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
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<b>How hard was it to keep the secret?</b></div>
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COLEMAN: I think I’ve learned my lesson in that the best thing to do
is not to tell anybody and then you don’t have your own paranoia that you’ve
let something out.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>What will you miss about working with Matt?</b></div>
<div class="MsoNormal">
COLEMAN: Everything!<span style="mso-spacerun: yes;"> </span>When
you’re reading a scene with him he can turn anything on its head.<span style="mso-spacerun: yes;"> </span>He’s so inventive, clever and very
funny.<span style="mso-spacerun: yes;"> </span>There’s just so much that I’ll
miss about him.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<br />
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-7855348391643766682013-12-11T11:52:00.002-08:002013-12-11T11:54:23.444-08:00About Face Theatre's "We Three Lizas" razzles and dazzles for the holidays<!--[if gte mso 9]><xml>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-x_Clmmcx7NQ/Uqi6ybn1MMI/AAAAAAAAA4w/OPvdT68zI7c/s1600/WeThreeLizas-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-x_Clmmcx7NQ/Uqi6ybn1MMI/AAAAAAAAA4w/OPvdT68zI7c/s320/WeThreeLizas-2.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: Calibri;">From left: Liza is (Mark David Kaplan), Liza Always (Bethany Thomas) and Liza Was (Danielle Plisz) in About Face Theatre’s 2013-14 production of "WeThree Lizas" Photo by Michael Brosilow.</span></span></td></tr>
</tbody></table>
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Cross posted from Broadwayworld.com </div>
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God bless us, everyone<i> (with jazz hands)</i>. <span style="mso-spacerun: yes;"> </span></div>
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Not to apply a post-structuralism lens to the proceedings, but
in a nutshell, About Face Theatre’s “We Three Lizas” applies Queer theory to
(among other things) <i style="mso-bidi-font-style: normal;">A Christmas Carol</i>,
<i style="mso-bidi-font-style: normal;">The Gift of the Magi</i>, holiday TV
variety shows and even the Weird Sisters from “Macbeth. The end result is a
most satisfying Dickensian musical romp that remains accessible to all.</div>
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Substantially re-worked and revamped from the intimate
Garage space at Steppenwolf last year, the show, with book and lyrics by Scott
Bradley (“Carpenters Halloween” and “Alien Queen”) and music.and additional
lyrics by Alan Schmuckler (“The Emperor’s New Clothes”), rightfully deserves to
be an annual holiday tradition. </div>
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Scott Duff is Conrad (nee Conrad Ticklebottom) and he hasn’t
just given up his last name to achieve success in the big city. He’s managed to
claw his way to the top by alienating everyone close to him. Once the maker of
a must-have product, he has refused to alter the look or design and has lost so
much market share, an unseen board of directors has dispatched a hatchet woman
(Sharriese Hamilton) to clean up the books and give him the boot from his own
company.</div>
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His clarion wake-up call comes to him in the form of three bearded
witches Danielle Plisz as Liza Was, Mark David Kaplan as Liza Is and Bethany
Thomas as Liza Always). The witches promise him three gifts if he drinks their
potion. The gifts end up being clarity to his Christmases past, present and
future. Incarnations of Liza act as the ghosts of Christmases. </div>
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Duff beings the proceedings sufficiently Grinch-like and as
the evening wears on slowly begins to show Conrad’s faults and vulnerabilities.
The character is very much broad strokes and caricature (much like your average
Scrooge is), but Duff injects enough humanity to his character that you end up
genuinely caring for him. <span style="mso-spacerun: yes;"> </span></div>
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Dana Tretta is Reggie, Conrad’s much-put-upon right hand
whose talents go unnoticed by both her boss as well as her potential love
interest. Though petite, Tretta packs a boffo set of pipes that are
particularly well suited for “Donna Doesn’t Notice Me.” </div>
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Andrew Swan (“Steamworks: The Musical”) plays Young Conrad
opposite Conrad’s true love Beau (John Francisco). . Their duet “Please Handle
With Care” serves as both a recommendation to not rattle the packages, nor
break hearts. Swan and Francisco’s voices are evenly matched in this touching holiday
song that waxes nostalgically about those times when you may have been poor in
money, but not in spirit. The pair also displays some nimble footwork as
Fosse-style back-up dancers to Liza. </div>
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Patrick Andrews’ choreography offers up enough referential
movement that it borders on homage to both Ms. Minnelli and the many talented choreographers
who have found inspiration through her. </div>
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Of the three Lizas, Plisz (Liza Was) will probably be the
most memorable. She has the moves, mannerisms and –perhaps most importantly—a close
facsimile of Minnelli’s iconic red Halston turtleneck minidress. Plisz captures
all of Liza Was’ youthful exuberance in “I Can’t Believe I’m Me.” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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Bradley’s Liza (or should that be Lizas) finds much in
common with “The Unsinkable Molly Brown.” Who wouldn’t argue that Ms. Minnelli’s
career has featured more ebbs and flows than the tide? Unlike Molly Brown, the
67 year-old daughter of Judy Garland and Vincente Minnelli has certainly had
her share of more than just one Titanic-size disaster (“Arthur 2,” her perchant
for marrying gay men and don’t even get me started on her wardrobe choice of
spandex <span style="mso-spacerun: yes;"> </span>while performing the title song
in the 1940’s-set flop “New York, New York”). Through triumph and tragedy, Ms.
Minnelli has remained “Liza with a Z not Lisa with an S.” It’s that very ability
to persevere amidst career missteps, broken hips and broken marriages that has –in
part—made Ms. Minnelli a gay icon. </div>
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Ms. Minnelli is also a suitable icon for the holidays, too. Life
is hard. People suck. Holidays occasionally disappoint. You can be the butt of
the joke or make certain you are in on it. “We Three Lizas” would seem to urge
us not to take ourselves –or our holiday traditions too seriously. And when
things go wrong (and they most assuredly will), we should all take a cue from
Ms. Minnelli: recognize that a mistake is in a certain way its own gift; one
which we should put a glittery bow on and stick it under the tree. </div>
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“We Three Lizas” runs through Jan. 5 at Stage 773, 1225 W.
Belmont. Tickets, $45 ($20 students). Call 773.327.5252, <a href="http://www.aboutfacttheatre.com/">www.aboutfacttheatre.com</a> or <a href="http://www.stage773.com/">www.stage773.com</a>. </div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-92217915338415535312013-11-05T08:50:00.000-08:002013-11-05T08:51:27.653-08:00"Wicked" still "Popular" a decade later<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-TwJNNsO1aDY/UnkexPPEFAI/AAAAAAAAAzo/qfnhlhrZ24Y/s1600/Alison+Luff+and+Jenn+Gambatese+2013+(Photo+by+Joan+Marcus).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-TwJNNsO1aDY/UnkexPPEFAI/AAAAAAAAAzo/qfnhlhrZ24Y/s320/Alison+Luff+and+Jenn+Gambatese+2013+(Photo+by+Joan+Marcus).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elphaba (Alison Luff, left) and Glinda (nee Galinda, <br />
played by Jenn Gambatese), share a friendly moment in "Wicked"<br />
Photo by Joan Marucs</td></tr>
</tbody></table>
Cross-posted from Broadwayworld.com<br />
<br />
It almost seems inconceivable that it has been more than 10 years
since I first caught "Wicked" in previews in New York. Since that time,
the show was named best musical by Time Magazine, recouped its initial
$14 million investment in 14 months and has broken numerous box-office
records around the world.<br />
<br />
The original Chicago sit-down production (at
the time the first sit-down production of a major Broadway show that the
city had seen in years) ran for three-and-a-half years , played over
1,500 performances and grossed a gravity-defying $200 million in box
office here in Chicago alone.<br />
<br />
This marks the sixth or seventh
time I have seen the show (I've reviewed it twice -including the
original Chicago sit-down production). The Oriental Theater (where the
show is again playing through Dec. 21) is practically a second home to
Elphaba and Glinda (also known respectively as the Wicked Witch of the
West and Glinda the Good).<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-zqbHgpxHiN8/UnkfOxbQ7vI/AAAAAAAAAzw/YYufzqy7sbY/s1600/Alison+Luff_2013+(Photo+by+Joan+Marcus).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://4.bp.blogspot.com/-zqbHgpxHiN8/UnkfOxbQ7vI/AAAAAAAAAzw/YYufzqy7sbY/s320/Alison+Luff_2013+(Photo+by+Joan+Marcus).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Luff, defying gravity eight shows a week. Photo by Joan Marcus</td></tr>
</tbody></table>
The current production's Elphaba,
Alison Luff, appears less comfortable in the character's awkward teen
years, but comes into her own when she embraces the "wickedness" of her
character. I had particular trouble with Luff's choices during a scene
in a ballroom. In previous productions, Elphaba dances alone while the
rest of the dance hall stares and laughs. In prior productions, the
moves -while strange and certainly unique-have embodied a certain grace
and beauty. Luff plays the awkwardness a bit too broad, here. I suppose
it makes some sense (given this is the character's first dance party),
but we are never really afforded the opportunity to see the inner beauty
beneath the awkwardness.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-q6fHsi7uAMA/UnkfnKu6mMI/AAAAAAAAAz4/qwcoI6xOIjY/s1600/Jenn+Gambatese_2013+(Photo+by+Joan+Marcus).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-q6fHsi7uAMA/UnkfnKu6mMI/AAAAAAAAAz4/qwcoI6xOIjY/s320/Jenn+Gambatese_2013+(Photo+by+Joan+Marcus).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gambatese demonstrates Glinda's preferred mode of travel.<br />
Photo by Joan Marcus</td></tr>
</tbody></table>
Jenn Gambatese's transformation from
bubble-head Galinda to bubble-flying witch Glinda feels a bit more real,
somehow. Vocally, she's the best Glinda I've had the pleasure of
hearing (Apologies to Ms. Luff, but Ana Gasteyer still holds the title
of my favorite Elphaba). One gets a full sense of the moral "weight" her character is carrying in "Thank Goodness," when Gambatese sings about the price of getting everything you want. In addition to knowing her way around the
musical's score and dramatic moments, Gambatese's also a great comedian, finding some interesting and unique moments to mine laughter. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-FkHe_rFWVEc/UnkgnR6ImBI/AAAAAAAAA0A/o8wsXskw1RQ/s1600/Curt+Hansen+2013+(Photo+by+Joan+Marcus).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-FkHe_rFWVEc/UnkgnR6ImBI/AAAAAAAAA0A/o8wsXskw1RQ/s320/Curt+Hansen+2013+(Photo+by+Joan+Marcus).jpg" width="215" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Curt Hansen (Fiyero) can melt more than just two witches' hearts.<br />
Photo by Joan Marcus</td></tr>
</tbody></table>
As Fiyero (the
shallow rogue who comes between the two witches) Curt Hansen's movements
at the end of the second act -without spoiling too much for those who
have never taken a trip down "Wicked's " yellow brick road-are more in
line with the character he is revealed to be. It's a nice twist and a
welcome sight to those who have seen the show more than a few times.<br />
<br />
As
Elphaba's wheelchair-bound sister (and the future Wicked Witch of the
East) Jaime Rosenstein's second act transformation is also more in tune
with a collective memory of just who the Wicked Witch of the East is.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-2GMoMqcpkyo/UnkhLM_HzJI/AAAAAAAAA0I/xX0RTPIO1bo/s1600/John+Davidson+2013+(Photo+by+Joan+Marcus.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-2GMoMqcpkyo/UnkhLM_HzJI/AAAAAAAAA0I/xX0RTPIO1bo/s320/John+Davidson+2013+(Photo+by+Joan+Marcus.jpg" width="207" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Never trust a smiling Wizard (John Davidson).<br />
Photo by Joan Marcus</td></tr>
</tbody></table>
The
show's Wizard, John Davidson, is a bit more "used car salesman" that
corn-fed huckster for my tastes. And yet, when he sings of longing to be
a parent, it's with heartfelt sincerity that works particularly well.<br />
<br />
Kim
Zimmer (Reva Shayne on "Guiding Light") does as much as she can with
the thankless role of Madam Morrible, given the character is the least
nuanced of any of the main characters and serves as the only true
villainous person in the show.<br />
<br />
"Wicked" is starting to show its
age, at least in one regard. A comment late in the second act regarding a
"regime change," which caused a collective audience gasp 10 years ago
in the New York preview performance, doesn't hold the power it once did.
Though we are still paying for the Iraq war (and will be doing so for
several years), Americans have moved on -at least politically.<br />
<br />
"Wicked"
still holds much magic, however. "For Good" -the duet between the two
witches, still speaks to that special bond of sisterhood, motherhood and
basically any other 'hood you can think of.<br />
<br />
Additionally, pretty much
anyone should be able to identify with one of the show's central themes:
that we sometimes have to abandon our idols, lovers and friends in
order to reach our own potentials and soar.<br />
<br />
Wicked" runs through
Dec. 21 at the Oriental Theatre, 24 W. Randolph. Tickets $37 to $107.
Call (800) 775-2000. broadwayinchicago.comMisha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-56905627088961338572013-11-05T07:06:00.000-08:002013-11-05T07:06:06.422-08:00Reeling fest presents ex-Columbia student’s Chicago love story <div class="NormalParagraphStyle">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-9Yb1GTcC0kA/UnkBSicACvI/AAAAAAAAAzM/58189HED__M/s1600/inbloom.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-9Yb1GTcC0kA/UnkBSicACvI/AAAAAAAAAzM/58189HED__M/s320/inbloom.jpg" width="320" /></a></td></tr>
<tr align="justify"><td class="tr-caption">Actors Kyle Wigent and Tanner Rittenhouse watch the sunrise<br />
over Lake Michigan in "In Bloom"</td></tr>
</tbody></table>
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Originally posted on Chicago Sun-Times website: http://www.suntimes.com/23464629-761/reeling-fest-presents-ex-columbia-students-chicago-love-story.html</div>
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The joy and pain of first love are front
and center in “In Bloom,” an ambitious and heartfelt drama to be
screened during Reeling, the Chicago Lesbian, Gay, Bi and Transgendered
International Film Festival.</div>
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Set in Chicago, the film
has won critical praise for the first-time writer and director, former
Columbia film student Chris Birkmeier. Critics have likened the actors’
performances to the natural Chicago style of theater performance seen
regularly at Steppenwolf, Lookingglass and others. </div>
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“I
am a huge fan of realistic and honest acting and realistic and honest
filmmaking,” says Birkmeier, humbled by the comparison. “The genesis of
this project was an analysis of the breakdown of a relationship.”</div>
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<br /></div>
<div class="Pioneer 2013-Pioneer.body.copy.RR">
The film follows the
relationship between pot-smoking drug dealer Kurt (Kyle Wigent) and
goal-oriented Paul (Tanner Rittenhouse) as it plays out over the course
of a typical Chicago summer. Local stage actor Adam Fane (“Avenue Q”)
plays Kevin, the man who comes between the two.</div>
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Now 23, Birkmeier began
writing the script when he was 20 and studying at Columbia. It is
loosely based on his own first serious relationship.</div>
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<br /></div>
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“I came out at 19. I met
said person. We had a four-year, on-and-off relationship, and I started
writing to try and put it all in perspective,” he says.</div>
<div class="Pioneer 2013-Pioneer.body.copy.RR">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-_l_9RiSlOXw/UnkC6VAX0jI/AAAAAAAAAzY/EwG5yjH6opM/s1600/bloom2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://2.bp.blogspot.com/-_l_9RiSlOXw/UnkC6VAX0jI/AAAAAAAAAzY/EwG5yjH6opM/s320/bloom2.jpg" width="320" /></a></td></tr>
<tr align="justify"><td class="tr-caption">"In Bloom" director Chris Birkmeier (right) gives <br />
direction to Rittenhouse on set. </td></tr>
</tbody></table>
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Perhaps complicating things
further, co-star Rittenhouse is Birkmeier’s good friend and was around
as most of the real relationship flamed out.</div>
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“It was sometimes painful
for us both to be on the set,” Birkmeier says. “Certainly for me to see
certain scenes played out again before me, but as an actor Tanner went
from being an observer to participant.”</div>
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<div class="Pioneer 2013-Pioneer.body.copy.RR">
Reeling Film Festival
program director Richard Knight Jr. says it wasn’t just the Chicago
setting that made him want to include the movie in this year’s festival.</div>
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“It reminded me of my 20s
in Chicago,” says Knight. “It’s a very interesting look at a typical
relationship that happens to be between two guys. It feels very real and
truthful.”</div>
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The film was shot over a period of 23 days, in and around Chicago. Tthe shoot didn’t always go smoothly.</div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-reb5L_L-Dc0/UnkB5qwxZ-I/AAAAAAAAAzQ/JsbgrefHTrg/s1600/bloom3.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="http://3.bp.blogspot.com/-reb5L_L-Dc0/UnkB5qwxZ-I/AAAAAAAAAzQ/JsbgrefHTrg/s320/bloom3.jpg" width="320" /></a></td></tr>
<tr align="justify"><td class="tr-caption">Kyle Wigent as Kurt (left) and Tanner Rittenhouse (as Paul)<br />
share a quintessential Chicago moment: a conversation under<br />
the L tracks. </td></tr>
</tbody></table>
<div class="Pioneer 2013-Pioneer.body.copy.RR">
“In one scene, Kurt and
Paul are arguing by the L tracks. If you ever have tried to have a
conversation by the L tracks, inevitably a train will come by and you
both stop talking mid-sentence until the train passes,” recalls
Birkmeier, who thought such an interruption would be a nice Chicago
touch. “We did four takes waiting for the train and it never came by. We
had a rat run into the scene. Twice.”</div>
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The final cut of the film contains the scene with the vermin, but even that wasn’t the most difficult shot.</div>
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“I wanted this long
tracking shot of the sun as it comes up over Lake Michigan,” he says.
“The entire crew was using various iPhone apps trying to figure out when
and where the sun was going to be coming up. I wanted to use a dolly
shot, but before we could figure out how to set it up, the sun started
coming up and we had to settle for a static shot. I yelled cut and the
entire crew and I were screaming like kids because we knew we had got
the perfect shot.” </div>
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The main cast and
Birkmeier, who now calls Seattle home, will be reunited at the screening
of the film that Birkmeier calls his love letter to Chicago.</div>
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“It’s a tragic love letter, but a love
letter nonetheless,” he says. “Every subway, alleyway, apartment and
street that was the setting for those four years is, in some ways, a
part of the film.”<br />
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<h1>
More Reeling highlights: a Bavarian king, ‘Victor/Victoria’ and Divine
</h1>
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Originally posted at the Chicago Sun-Times website: http://www.suntimes.com/23464685-761/more-reeling-highlights-a-bavarian-king-victorvictoria-and-divine.html </div>
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<br />
‘G.B.F”</div>
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The opening film of this
year’s Reeling is equal parts “Heathers,” “Mean Girls” and “Clueless.”
Michael J. Willett (“The United States of Tara”) stars as Tanner, who,
after he is outed, becomes caught in a tug-of-war between three rival
cliques of popular girls, all of whom want him for this season’s
must-have high school accessory, the gay best friend. The comedy is both
biting and heartfelt. It features a who's who of up-and-coming young actors including Andrea Bowen ("Desperate Housewives"), Paul Iacono ("The Hard Times of R. J. Berger") and Molly Tarlov ("Awkward"). 7 p.m. Thursday, Music Box Theatre, 3733 N.
Southport. $15-$40</div>
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<br /></div>
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<br />
‘LUDWIG II’ </div>
<div class="Pioneer 2013-Pioneer.body.breakout">
With an estimated budget
of more than $21 million, “Ludwig II” is arguably the most expensive
film to ever appear at Reeling. The 2012 Austrian film (in German with
subtitles) is an epic and lavish biography of one of Bavaria’s
best-known kings including his struggles with his sexuality, his
patronage of composer Richard Wagner and the opulent and expensive
castles he built. It drags a bit in the middle, but history buffs will
find the subject matter enlightening. 9:15 p.m. Thursday, Logan Theatre,
$15-$40<br />
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</div>
<div class="Pioneer 2013-Pioneer.body.breakout">
‘I AM DIVINE’ </div>
<div class="Pioneer 2013-Pioneer.body.breakout">
Jeffrey Schwarz’s 2013
documentary profiles the late actor from his early days as a shy,
overweight kid from Baltimore (born Harris Glenn Milstead) to his
breakthrough as the 300-pound superstar Divine who brought drag into the
mainstream in such cult hits as “Hairspray” and “Pink Flamingos.”
Collaborator John Waters is featured (naturally), but it’s the interview
with Milstead’s mom that really tugs at your heartstrings. 4:45 p.m.
Sunday, Logan Theatre, $12</div>
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<br />
<div class="separator" style="clear: both; text-align: center;">
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<br />
‘REACHING FOR THE MOON’ </div>
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Queerty.com declared this
“one of the biggest lesbian films of the year.” It’s also one of the
best. Miranda Otto (“The Lord of the Rings” trilogy) delivers an elegant
performance as Pulitzer Prize-winning poet Elizabeth Bishop, and
Brazilian TV star Gloria Pires is virtually unrecognizable as the butch
gal who steals Bishop’s heart. 6:45 p.m. Nov. 14, Logan Theatre, $15-$40</div>
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‘SING-ALONG VICTOR/VICTORIA’ </div>
<div class="Pioneer 2013-Pioneer.body.breakout">
Both Reeling and the film
“Victor\Victoria” celebrate their 31st anniversary this year. To
commemorate this, comedian and gay icon Bruce Vilanch hosts a sing-along
of the gender-bending comedy. Locals will be expected to know all the
words to one of the greatest songs ever written about the Windy City,
“Chicago, Illinois” (sung in the film by Lesley Anne Warren, who earned a
best supporting actress Oscar nomination for her performance). 6 p.m.
Monday, Sidetrack: The Video Bar, 3349 N. Halsted, $15</div>
<div class="NormalParagraphStyle">
<br /></div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-27726553107410155532013-10-10T13:22:00.004-07:002013-10-10T13:23:46.514-07:00"Once" is worthwhile, intimate and emotional theater<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-299LpCq1FNw/Ulb_l2X1dBI/AAAAAAAAAvE/DQa5fGzB7no/s1600/OnceTour0002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-299LpCq1FNw/Ulb_l2X1dBI/AAAAAAAAAvE/DQa5fGzB7no/s320/OnceTour0002.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Guy (Stuart Ward and Girl (Dani de Waal) share a moment in "Once."</td></tr>
</tbody></table>
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In the Tony award-winning musical “Once” (playing the Oriental
Theatre through Oct. 27.), Guy (Stuart Ward) begins the show with a failed
relationship behind him (his ex-girlfriend has moved to New York). He works his
way through a song written for her on an empty street corner. The performance
by Ward is so passionate, he broke a guitar string during this particular show.
Disgusted by the lack of a street audience (and perhaps the broken string), he
tosses the guitar into its case and walks away from it. </div>
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<br />
Life –and in particular, life’s disappointments, have a way of
scaring us so much, we become immovable. Guy is very much frozen where he is
at. Crashing in a child-size bedroom in a tiny flat he shares with his widowed “Da”
(a fine-voiced Raymond Bokhour), above the vacuum repair shop where he works
with his father, Guy is unable to move forward or go back. Meanwhile, life
continues to happen around him. <span style="mso-spacerun: yes;"> </span>It is
one of those universal truths and I immediately felt a connection to the stage
version of the character that I did not feel with the film version.</div>
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<br />
It’s one of many moments which demonstrates not only why
this is not merely a Broadway producer’s attempt to capitalize on a known
property by adapting yet another film for the stage (the show is based on the
2007 independent hit of the same name whose best known song, “Falling Slowly,”
won an Oscar) <span style="mso-spacerun: yes;"> </span>but also that playwright
Enda Walsh’s Outer Critics Circle and Tony Awards for best book are so
rightfully deserved. <span style="mso-spacerun: yes;"> </span>It crystallizes
everything about the character in both a verbal and visual way. Walsh uses the
bones of the familiar film scene and manages to breathe new life and meaning to
it.</div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-pHaUEC_p8aY/Ulb_h2onNZI/AAAAAAAAAu8/vCjJU-y5r9U/s1600/OnceTour0011.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-pHaUEC_p8aY/Ulb_h2onNZI/AAAAAAAAAu8/vCjJU-y5r9U/s320/OnceTour0011.jpg" width="320" /></a></div>
“Once” is another must-see in a Chicago theater season that
is turning out to be one that will be remembered and talked about for years.</div>
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Guy is, of course, saved from merely giving up by Girl (Dani
de Waal), a Czech immigrant who was drawn to his passionate street performance
like a siren song and selflessly spends the rest of the show convincing Guy
that his music and lyrics need to be heard. She tells him it was fate the two
should meet. She also has a vacuum cleaner in need of repair. </div>
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<br />
It’s worth noting that deWaal’s performance is more nuanced
than the character was in the film (for one, she is not as cold and matter of
fact). de Waal managed to find a few comedic moments to mine without betraying
her character.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-1GXfQcH9pCc/Ulb_ojbPIDI/AAAAAAAAAvM/EIiYpCgYBMo/s1600/OnceTour0003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://3.bp.blogspot.com/-1GXfQcH9pCc/Ulb_ojbPIDI/AAAAAAAAAvM/EIiYpCgYBMo/s320/OnceTour0003.jpg" width="320" /></a></td></tr>
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Other standouts in the terrific cast include Evan Harrington
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I still keep coming back to Walsh’s script, though. Another
scene later on between Guy and Da is rendered completely profound through an
additional line of dialog written for the stage. Da simply asks Guy “How’s the
heart?” It’s exactly the kind of shorthand used in close knit families. </div>
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<br />
Frankly, most Broadway shows based on hit movies should be
so lucky to have someone like Walsh at the wheel. Walsh has succeeded in taking
a good movie and making it a great piece of extraordinary theater. . It’s a
quiet, intimate musical that despite all the Tony awards has a distinct “un-Broadway”
feel to it in the same way the original independent film felt “un-Hollywood.”
Believe me, that’s a good thing.</div>
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<span style="mso-spacerun: yes;"> </span>“Once” runs through
Oct. 27 at the Oriental Theatre, 24 W. Randolph. Tickets $27-$95. Call
800-775-2000. <a href="http://www.broadwayinchicago.com/">www.broadwayinchicago.com</a>
or <a href="http://www.oncemusical.com/">www.oncemusical.com</a>. </div>
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<br /></div>
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<br /></div>
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=wwwtriggercri-20&o=1&p=8&l=as1&asins=B006ZKAG3U&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-79208729339966204472013-09-24T11:58:00.001-07:002013-09-24T12:03:07.922-07:00Back for a second helping, "To Master the Art" continues to satiate our hunger for good theater<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-u11eYxC8Chg/UkHeaedAF0I/AAAAAAAAAts/Grk5IWm0iFY/s1600/bunyard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-u11eYxC8Chg/UkHeaedAF0I/AAAAAAAAAts/Grk5IWm0iFY/s320/bunyard.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Julia Child (Karen Janes Woditsch) learns the proper way to scramble<br />
an egg from master chef Max Bugnard (Terry Hamilton)</td></tr>
</tbody></table>
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You probably don’t need the sweet, buttery smell of shallots
cooking to know that TimeLine Theatre Company’s production of “To Master the
Art” is the theatrical equivalent of comfort food. It would be nostalgic,
sentimental and absolutely delicious without the onstage cooking.</div>
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<br /></div>
<div class="MsoNormal">
And while the smell of cooking shallots will have you
salivating, it is the performance of Karen Janes Woditsch as famed chef and
author Julia Child that foodies and fans of good theater will savor. </div>
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<br /></div>
<div class="MsoNormal">
Woditsch
gives one of the best performances of this season and the show is not to be
missed. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Though essentially a remounting of TimeLine’s 2010 off-Loop
hit (there have been some minor tweaks to the book by William Brown and Doug
Frew), this is anything but a reheated leftovers. Woditsch gives a performance
that has both aged like a fine wine and marinated like a cut of beef. It’s
sumptious, humorous and ultimately uplifting. <span style="mso-bidi-font-weight: bold;">There is perhaps no greater honor to a master chef who once quipped that
food was “one of the simplest and nicest pleasures.” </span></div>
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<br /></div>
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The play’s plot doesn’t cover much new ground (most of this
was covered in either Child’s autobiography <i style="mso-bidi-font-style: normal;">My
Life in France</i> and/or in the film “Julie & Julia”). Gourmands and fans
of the late chef and author will find all the major highlights of Child’s time
in France are covered here from the development of her sophisticated palate
after a soul and spirit-defining first meal in France (a lunch of oysters, sole
meuni<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">è</span>re
and , because it is after all France, a bottle of white wine), through her humble
determination to be accepted as an equal and not just some American debutante
at the famed Le Cordon Bleu cooking school. </div>
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<br /></div>
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The play also dwells on Child’s
study under master chef Max Bugnard (the superb Terry Hamilton), her fateful
meeting with Simone Beck (Jeannie Affelder, whose Simca gradually warms to both
Child as a person and the nickname of “Simca” that Child bestows on her), the
co-founding with Beck of the cooking school <span style="mso-bidi-font-weight: bold;">L'école des trois gourmandes, the decade spent writing the groundbreaking
726-page tome “Mastering the Art of French Cooking” with her and the struggle
to get the book, which would eventually have an impact on American kitchens
which continues to this very day. </span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-Eo2LfsDcIoU/UkHfOAeYqUI/AAAAAAAAAt0/E9hLh4uZOew/s1600/thekiss.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/-Eo2LfsDcIoU/UkHfOAeYqUI/AAAAAAAAAt0/E9hLh4uZOew/s320/thekiss.jpg" width="320" /></a></div>
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<span style="mso-bidi-font-weight: bold;">Child’s relationship
to her husband Paul (Craig Spidle) is, of course, tested while she struggles to
get her book published and he is interrogated in Washington D.C. at the height
of McCarthyism. The pair is a little too supportive of each other’s life
choices and endeavors. They rarely argue in the show; this seems more playwrights
Brown and Frew’s idolizing of their subject matter than it does with reality
(every happily married couple I know fights over things big and small). </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-weight: bold;">Other notable
performances include Sam Ashdown as Carolina, a fellow culinary student who
dreams of opening a sophisticated barbecue shack and Janet Ulrich Brooks as
both Child’s cooking school nemesis Madame Dorin and her book-publishing
advocate Avis. </span></div>
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<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-yBL25aYdJRU/UkHfdO4f5_I/AAAAAAAAAt8/JNz3EACoKGU/s1600/janie.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://4.bp.blogspot.com/-yBL25aYdJRU/UkHfdO4f5_I/AAAAAAAAAt8/JNz3EACoKGU/s320/janie.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jane (Heidi Kettenring) prepares to say 'au revoir' to the Childs.</td></tr>
</tbody></table>
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<span style="mso-bidi-font-weight: bold;">If there is any edge
to the show it is with the character of Jane Foster (Heidi Kettenring). A
friend who served with the Childs in WWII, Foster was famously indicted by a
Federal grand jury for espionage in 1957 (charges she continued to refute until
her death in 1979). A scene set towards the end as the Childs are preparing to
move back to the states has Foster realizing she will never return stateside. It
allows Kettenring to display her formidable acting chops, but it’s the culinary
equivalent of getting a spoonful of aspic when you had been eating fruit salad. </span></div>
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<br /></div>
<div class="MsoNormal">
“To Master the Art” runs through Oct. 20 at the Broadway
Playhouse at Water Tower Place, 175 E. Chestnut. Tickets, $24-$75. Call (800)
775-2000.</div>
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<br /></div>
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<br /></div>
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Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-18211595783601975992013-09-02T11:38:00.002-07:002013-09-02T11:38:27.316-07:00Preach the Gospel: The Mercury Theater's "The Color Purple" is a triumph!<!--[if gte mso 9]><xml>
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<a href="http://1.bp.blogspot.com/-bSkHhANwj6Q/UiTXF4IpstI/AAAAAAAAAsQ/H702Yh2lTiQ/s1600/Purple+-+Opening+Number.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-bSkHhANwj6Q/UiTXF4IpstI/AAAAAAAAAsQ/H702Yh2lTiQ/s320/Purple+-+Opening+Number.jpg" width="320" /></a></div>
<div class="MsoNormal">
Cross-posted from broadwayworld.com </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You know you are in for some truly great singing when a show begins with a
featured soloist who proceeds to knock it out of the park.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That’s just what happens with Mercury’s intimate and
emotional production of “The Color Purple: The Musical.” Donica Lynn, last seen
in Mercury’s production of “Barnum,” approaches both the Opening Act 1 and “Mysterious
Ways” with all the passion and fire of a Southern Baptist revival. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
You just
might find yourself raising your hand to God and shouting a few well-deserved “amens.”</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fortunately, the praise is not merely reserved for Ms. Lynn,
but the rest of the 16-member cast and director L. Walter Stearns. Though the
Mercury Theater may lack fly space or an orchestra pit, one still has the sense
that this is a big show. In fact, it is as good as either the original Broadway
production or the tour that came through here several years ago. The intimacy
of the space (the Mercury isn’t much bigger than your average summer revival
tent) seems to well-serve the story. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Based on the Pulitzer Prize-winning novel by Alice Walker,
the musical follows the trials and ultimate tribulations of Celia (Trisha
Jeffrey). She is 14 when we first meet her, pregnant with her step-father’s
second child. She is soon separated from her younger sister Nettie (Crystal
Corrine Wood) when Celia is married off to the cruel and abusive Mister
(Keithon Gipson). </div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-i6_LoypjB0Y/UiTXhKk17pI/AAAAAAAAAsg/5v9IceN5DQE/s1600/Purple+-+Mister+(Keithon+Gipson)+Sofia+(Jasondra+Johnson)+Harpo+(Evan+Martin).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-i6_LoypjB0Y/UiTXhKk17pI/AAAAAAAAAsg/5v9IceN5DQE/s320/Purple+-+Mister+(Keithon+Gipson)+Sofia+(Jasondra+Johnson)+Harpo+(Evan+Martin).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jasondra Johnson (center) is perfect as Sofia. <br />
With Evan Tyrone Martin as Harpo (right) and Keithon Gipson as Mister. </td></tr>
</tbody></table>
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Jasondra Johnson’s Sofia is big, loud and proud. Married to
Celie’s stepson Harpo (Evan Tyrone Martin), her unwillingness to let any man
beat her down in the anthem “Hell No,” is one of the show’s highlights. It’s
easy to see how the character might come to represent a beacon of freedom for
Celie. </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-gmRa--4ofvg/UiTZHVml3fI/AAAAAAAAAs0/a_QXFUKXVl4/s1600/Purple+-+Celie+(Trisha+Jeffrey)+and+Shug+(Adrienne+Walker).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-gmRa--4ofvg/UiTZHVml3fI/AAAAAAAAAs0/a_QXFUKXVl4/s320/Purple+-+Celie+(Trisha+Jeffrey)+and+Shug+(Adrienne+Walker).jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">She's the king of the world!<br />
Trisha Jeffrey (Celie) and Adrienne Walker (Shug)</td></tr>
</tbody></table>
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As Shug Avry, the sultry jazz singer and one-time lover of Celie,
Adrienne Walker sizzles in Shug’s show-stopper “Push Da Button.” She and Ms.
Jeffrey also harmonize sweetly in “What About Love.” Ms. Walker plays up more
of the comedy than the sensuality, however. In a musical that has already been
accused of glossing over the lesbianism inherent in the original source
material, it is perhaps a telling choice that Mr. Stearns’ production is geared
more towards those in the pews. </div>
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-NpIDrXJz7xo/UiTXzOKU28I/AAAAAAAAAso/s_YqpfVOPnI/s1600/Purple+-+Darlene+(Sydney+Charles),+Doris+(Carrie+Abernathy),+Jarene+(Brittany+Bradshaw).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-NpIDrXJz7xo/UiTXzOKU28I/AAAAAAAAAso/s_YqpfVOPnI/s320/Purple+-+Darlene+(Sydney+Charles),+Doris+(Carrie+Abernathy),+Jarene+(Brittany+Bradshaw).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The fabulous Church Ladies (Lto R): Sydney Charles (Darlene), <br />
Carrie Louise Abernath (Doris) and Brittany L. Bradshaw (Jarene)</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<div class="MsoNormal">
And speaking of church, I would be remiss if I didn’t give a
shout out to the terrific, scene-stealing, comedic work of Carrie Louise
Abernathy, Brittany L. Bradshaw and Sydney Charles. As a trio of busy-body,
gossiping church ladies, Ms. Abernathy, Bradshaw and Charles mine their moments
on stage for every laugh. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There are things even the finest production cannot seemingly
overcome, however. A second act dream sequence “Africa” still sucks the life
out of the show. Also, age mellows many things, but in its need to bring things
to a satisfying musical conclusion, the show’s book resolves any lingering
resentment Celie might have a little too quickly.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Still, as presented at the Mercury Theater, “The Color
Purple” is a passionate and heartfelt production of one African-American woman’s
ultimate triumph of self-discovery despite the odds stacked against her in a
pre-Civil Rights era south. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“The Color Purple” runs through Oct. 27 at the Mercury
Theater Chicago, 3745 N. Southport. Tickets, $22-$59. Call 773.325.1700.
www.mercurytheaterchicago.com
</div>
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<br /></div>
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<br /></div>
<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm-na.amazon-adsystem.com/e/cm?t=wwwtriggercri-20&o=1&p=8&l=as1&asins=B000C1ZFA2&ref=tf_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe>Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-17554431571327135662013-08-23T13:43:00.000-07:002013-08-23T13:43:04.398-07:00Drury Lane's 'next to normal' is anything but<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-F6RUvlRjpfw/UhfHIPCCk-I/AAAAAAAAArs/0AHsc6ivIWE/s1600/Susie+McMonagle.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-F6RUvlRjpfw/UhfHIPCCk-I/AAAAAAAAArs/0AHsc6ivIWE/s320/Susie+McMonagle.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Susie McMonagle: dust off that Jeff award shelf. </td></tr>
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One would never associate “next to normal” with traditional
summer musical fare. Light-hearted it ain’t. <span style="mso-spacerun: yes;"> </span>The Tony-award winning show is an uncompromising
look at one family’s attempt to cope with the matriarch’s mental illness. The
show also serves as an indictment of a mental health industry that at times
seems more interested in grooming life-long pill-popping consumers than addressing
the underlying causes of some disorders. <span style="mso-spacerun: yes;"> </span></div>
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Musicals such as “Gypsy” have dipped the proverbial toe in
the mental health water (“Rose’s Turn” is essential a nervous breakdown set to
song), but few shows have ever wrote an entire book around the topic of mental
health.</div>
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As a musical, “next to normal” is less “Mama Mia!” and more
“Mother Courage.” This makes the current production of the show at Drury Lane
Theatre in Oakbrook Terrace something of a major risk. </div>
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I mean no disrespect here, but the show’s gritty, sung-through,
rock score and serious subject matter would seem to initially be incongruent
with the typical, older suburban Drury Lane subscriber.</div>
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Whether it is the Pulitzer-prize winning script or the
superbly acted, sung and directed show, the audience at the opening was
incredibly receptive to the show. <span style="mso-spacerun: yes;"> </span></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pRL0ivuJcdg/UhfH9WnO6hI/AAAAAAAAAr0/8V8wKp1rsXU/s1600/Josh+Tolle,+Susie+McMonagle.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-pRL0ivuJcdg/UhfH9WnO6hI/AAAAAAAAAr0/8V8wKp1rsXU/s320/Josh+Tolle,+Susie+McMonagle.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jeff Tolle (Gabe) with McMonagle as Diana</td></tr>
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If this production was a gamble, it has paid off in spades. In
the lead role of Diana, a wife and mother trying to navigate the fine line
between medication and memories, Susie McMonagle is riveting. While the show
was originally a vehicle for Alice Ripley, I actually preferred McMonagle’s
vocal approach to the role. True, Ripley’s voice had more of a razor’s edge
than McMonagle’s that on the onset seems to be more true to the rock score, but
McMonagle’s “folk-singer” style makes her Diana more approachable. If the
statistics regarding mental health and bipolar disorder are to believed (and I
frankly believe they are), we all know someone just like McMonagle’s Diana. </div>
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As her much put-upon yet still
supportive husband Dan, Rod Thomas turns in what has to be the best performance
of his career. Usually cast in comedic roles (you might have seen him in Second
City’s “The People vs. Friar Laurence”), the funny man can not only emote, but
also belt out the demanding score with the best of ‘em. </div>
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As son Gabe, Josh Tolle brings the
needed intensity required of the role. The pacing and acting could not be
better in the scenes where Gabe and Dan both engage in a tug of war in regard
to Diana’s course of mental treatment. Gabe wants to flush the drugs; Dan wants
to keep experimenting until they get it right. Each has their own selfish
reasons for advocating their respective courses with Diana stuck in the middle.
</div>
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Newcomer Callie Johnson (as
daughter Natalie) has some pitch problems early on (a fate suffered by the Ms.
Ripley in the original Broadway run, too). Should those persists, you’re likely
to overlook them thanks to her intense portrait of a teenage girl who can’t
seem to live up to perceived expectations. Her character resonated more with me
than in previous productions. A second act scene between mother and daughter,
set in a hospital, is exceptionally moving. <span style="mso-spacerun: yes;"> </span></div>
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Rounding out the cast are<span style="mso-spacerun: yes;"> </span>Skyler Adams (hilarious as Natalie’s would-be
boyfriend who just won’t quit pursuing her) and Colte Julian (in the dual role
of Dr. Fine and Dr. Madden). Julian finds more meat the Madden than he does in
Fine, but is nonetheless engaging. </div>
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Scott Davis’ monochromatic scenic
design (ok, there are black chairs so I guess it is bichromatic) perfectly captures
the sterility of an average suburban home. Costume designer Sally Dolembo
follows a similar pallet in the first act, slowly introducing pops of color in
the second act as a way of visually capturing subtle changes to Diana’s mental
state.</div>
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Under William Osetek’s direction,
the pacing and flow could not be better. Actors move from fantastical scenes
within Diana’s head to those grounded in reality with aplomb. “next to normal”
is musical perfection; it's a theatrical moment not to be missed. </div>
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Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com1tag:blogger.com,1999:blog-8189746446137569576.post-89867227883472173892013-08-13T11:33:00.000-07:002013-08-13T11:33:08.857-07:00No Poor-Man's Porter, Theo Ubique's "A Cole Porter Songbook" adds the sizzle to the summer<!--[if gte mso 9]><xml>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-MlDR4mWIZGQ/Ugp5NnAtCOI/AAAAAAAAAqg/mGAmRKLy76M/s1600/Cole+Porter003_William+Lucas_+Sierra+Naomi_Jill+Sesso_+Christopher+Logan.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-MlDR4mWIZGQ/Ugp5NnAtCOI/AAAAAAAAAqg/mGAmRKLy76M/s320/Cole+Porter003_William+Lucas_+Sierra+Naomi_Jill+Sesso_+Christopher+Logan.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cast of "A Cole Porter Songbook" clockwise from left:<br />William Lucas, Sierra Naomi, Christopher Logan and Jill Sesso</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
<i>Cross-posted from Broadwayworld.com </i></div>
<div class="MsoNormal">
The summer sun doesn’t have anything on Rogers Park theatre
troupe Theo Ubique Cabaret Theatre. The group’s latest, the musical revue “A
Cole Porter Songbook” puts plenty of sizzle into the summer and has now been
extended through Sept. 15. </div>
<div class="MsoNormal">
To some extent, Cole Porter was way ahead of his time in
terms of lyric and music. The musical vehicles by which those tunes appear,
however, have not aged well and usually feel dated when revived. Freed of the shackles of their dated, musical conventions,
the songs soar.</div>
<div class="MsoNormal">
Rather than assemble a hitlist of familiar Cole Porter songs,
music arranger Aaron Benham has included some lesser known ditties as well (full
disclosure: Mr. Benham and I sang in the same section of CGMC for a few seasons).
<span style="mso-spacerun: yes;"> </span>For every familiar tune such as “Too
Darn Hot” (from the often-revived “Kiss Me Kate”) you get “Come to the
Supermarket in Old Peking” from Cole Porter’s last musical score, the 1958 TV
musical “Aladdin.” <span style="mso-spacerun: yes;"> </span>There is perhaps nothing
more obscure than “Aladdin”; broadcasted just once as part of CBS’ “DuPont Show
of the Month,” the musical is currently not available on VHS or DVD. Granted,
Barbra Streisand did cover it on her 1963 self-titled album, but one could argue
the tune wouldn’t be recognized by anyone other than the most ardent of Babs’
fans.</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-3NaD2yWUC1U/Ugp7aIt0LpI/AAAAAAAAArE/Sl3wQ8l_8qY/s1600/Cole+Porter008_+Jill+Sesso_Sierra+Naomi_Christopher+Logan_William+Lucas.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://2.bp.blogspot.com/-3NaD2yWUC1U/Ugp7aIt0LpI/AAAAAAAAArE/Sl3wQ8l_8qY/s320/Cole+Porter008_+Jill+Sesso_Sierra+Naomi_Christopher+Logan_William+Lucas.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Can the troupe invigorate Porter? Yes, they can-can.</td></tr>
</tbody></table>
<div class="MsoNormal">
Porter was a master of the double-entendre. You still marvel at
what he was able to get away with in songs like “The Physician” and Experiment (both
from 1933’s “Nymph Errant”). There is so much wit and intelligence in lyrics
compared to today’s standard Broadway fare. Benham served as musical director
on Nightblue’s critically-acclaimed production of “Avenue Q” last season and
the difference could not be –to borrow a line from Porter—more night and day. <span style="mso-spacerun: yes;"> </span>There is something to be celebrated in not
stating the obvious. </div>
<div class="MsoNormal">
Musically, the production is something of a revelation. I
have heard many of these songs in countless productions and cabaret settings
and yet under the guidance of director Anzevino and Benham, this is the first
time I recognized how Porter’s use of meter and melody predates the work of
eminant composer Stephen Sondheim. Sondheim’s respect and reverence for Porter
is a bit of a foregone conclusion. <span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Of course, a musical revue is only as good as its performers
and Anzevino had assembled a truly remarkable quartet. </div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
Sierra Naomi has some very big shoes, er pipes to fill
tackling the Ethel Merman standard “Anything Goes” as well as the Roy Rangers
standard “Don’t Fence Me In” (from “Anything Goes” and the film “Hollywood
Canteen,” respectively. In both cases, she manages to own each piece as if it
were written just for her. </div>
<div class="MsoNormal">
Christopher Logan is a charming hoofer and along with
William Lucas (a dashing, boy-next-door type), manages to milk every last laugh
out of “Brush Up Your Shakespeare.” Joined by Jill Sesso in a medley of “Let’d
Do It” and “Let’s Not Talk About Love”<span style="mso-spacerun: yes;">
</span>(1928’s “Paris” and 1941’s “Let’s Face It,” respectively) and later in
the evening in the medley of “Experiment,” and “Let’s Misbehave” (the latter
actually cut from “Paris,” and added to the 1962 revival of “Anything Goes”),
Logan, Lucas and Sesso form a passionate yet tasteful menage a trois that would
have no doubt delighted the late composer. </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-k8g4cyQ4Q-g/Ugp5QHVbbnI/AAAAAAAAAqs/DFELcbMkuTk/s1600/Cole+Porter012_William+Lucas_Jill+Sesso.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://4.bp.blogspot.com/-k8g4cyQ4Q-g/Ugp5QHVbbnI/AAAAAAAAAqs/DFELcbMkuTk/s320/Cole+Porter012_William+Lucas_Jill+Sesso.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jill Sesso (right) and William Lucas are "De-Lovely" indeed. </td></tr>
</tbody></table>
<div class="MsoNormal">
If it were possible for there to be one standout in all this
talent, it is Ms. Sesso. Her work on the previously mentioned medleys as well
as in “I Get a Kick Out of You” (from “Anything Goes”) and “It’s De-Lovely,” (1936’s
“Red, Hot & Blue”) is a sight to be seen. She is an up and coming actress
that is definitely one to watch. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
Anzevino’s direction is minimal, allowing the voices of his
talented cast, the choreography by David Heimann, <span style="mso-spacerun: yes;"> </span>the superb vocal arrangements by Benham <span style="mso-spacerun: yes;"> </span>and the tight-knit three-piece band (Benham
works double duty tinkling the keys) truly to shine. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
It is particularly apparent in the show’s many ensemble
numbers. You are unlikely to hear anything more glorious than the gorgeous
harmonies of “Night and Day” (from 1932’s “Gay Divorce”) and you just may find
yourself once again “So In Love” with the lyrics and melodies of one of the
Golden Age of Broadway’s brightest composers. </div>
<div class="MsoNormal">
“A Cole Porter Songbook” is running through Sept. 15 at the
Theo Ubique Cabaret Theatre at No Exit Café, 6970 N. Glenwood. Tickets,
$29-$59. (800)595—4849. www.theo-u.com.</div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-63572180168072586012013-08-08T12:16:00.000-07:002013-08-08T12:16:12.744-07:00'Flashdance" nearly makes a splash<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bu_4_olOV1I/UgPsaz2TxhI/AAAAAAAAAp8/kgTAltC3ED8/s1600/jillian_mueller_as_alex_owens_photo_by_jeremy_daniel+(1).jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-bu_4_olOV1I/UgPsaz2TxhI/AAAAAAAAAp8/kgTAltC3ED8/s320/jillian_mueller_as_alex_owens_photo_by_jeremy_daniel+(1).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jillian Mueller (as Alex Owens) in an iconic moment from "Flashdance: The Musical"</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<![endif]--><span style="font-family: "Times New Roman","serif";"></span><span style="font-family: "Times New Roman","serif";"><i>Cross-posted from chicago.broadwayworld.com</i> </span><br />
<br />
<span style="font-family: "Times New Roman","serif";">1983's
"Flashdance" was what passed for a movie musical in the 1980's. It
was a series of quick-cut, frantic music videos stretched around a simple (and
implausible) plot involving an 18 year-old steel welder by day and stripper by
night who dreams of attending a prestigious dance academy far beyond both
gritty factories and stripper poles. Though critically lambasted (the late
Sun-Times film critic Roger Ebert has it on his "most hated" films
list), it went on to earn more than $148 million world-wide and spawned a slew
of top 10 hits including "Flashdance...What a Feeling,"
"Maniac" and "Gloria." </span>
<br />
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">And now,
much like 1980s movie musicals such as "Footloose" and "Urban
Cowboy," the 30 year-old film "Flashdance" is being prepped for
new life as a Broadway musical. </span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">Where's a
good arc welder when you need one? The bones of a decent musical are present,
but some cutting and soldering are needed if the show hopes to fair better on
the Great White Way than those two other shows. </span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">Let's say
you are able to suspend disbelief over the original film's plot. At its core,
"Flashdance" isn't a bad idea for a stage musical. A plucky, working
class gal Alex Owens (an endearing yet still ‘edgy” Jillian Mueller) dreams of
reaching for that brass ring, overcoming the systems of class, education,
economics and gender.</span></div>
<div class="Body1">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-kgs3_SRdZjE/UgPshoGp3AI/AAAAAAAAAqQ/Gr_EEPdb0iw/s1600/5_Jillian_Mueller_as_Alex_Owens_Matthew_Hydzik_+as_Nick_Hurl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-kgs3_SRdZjE/UgPshoGp3AI/AAAAAAAAAqQ/Gr_EEPdb0iw/s320/5_Jillian_Mueller_as_Alex_Owens_Matthew_Hydzik_+as_Nick_Hurl.jpg" width="213" /></a></div>
<br />
<div style="text-align: left;">
</div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">Her love
interest is Nick Hurley (Matthew Hydzik , a charming, boy-next-door type), the
grandson of the owner of the factory where Alex works. The pair share decent
chemistry, initially clashing before falling in love. The two romantic scenes
in the show come off awkward,though. Mueller is a relatively petite actress and
is nearly on pointe any time she has to kiss her much taller leading man. </span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">A trio of
Alex’s fellow cabaret dancers Gloria (a Madonna-esque Kelly Felthous), Kiki
(Dequina Moore channeling Grace Jones) and Tess (Haley Hannah) serve as a sort
of Greek chorus, lending their pipes to most of the more well-known songs from
the film. Each is given an individual moment in the spotlight with a solo
number, too. Moore’s version of “Manhunt” sizzles enough that you just might
forget the original. Hannah gyrates and does her best to breathe life into the
over-used “I Love Rock ‘N’ Roll.” Felthous, who has perhaps the second best
voice in the cast (behind Moore) draws the short end of the straw with a
terrible ensemble arrangement of “Gloria.” </span></div>
<div class="Body1">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-I1gVKBgWoKs/UgPsePOhz0I/AAAAAAAAAqI/azZRByl5ZXo/s1600/13_Kelly_Felthous_as_Gloria_Dequina_Moore_as_Kiki_Katie_Webb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://1.bp.blogspot.com/-I1gVKBgWoKs/UgPsePOhz0I/AAAAAAAAAqI/azZRByl5ZXo/s320/13_Kelly_Felthous_as_Gloria_Dequina_Moore_as_Kiki_Katie_Webb.jpg" width="320" /></a></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">“Gloria” notwithstanding,
the score soars when recreating the hit songs from the film soundtrack, but the
16 songs representing the new music and lyrics by Robbie Roth (with additional
lyrics by Robert Cary), while succeeding in capturing the saccharine
nothingness of many a ‘80s pop ballad, are nonetheless instantly forgettable
thanks to some truly clunky and forced rhyming. </span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">Director/choreographer
Sergio Trujillo ("The Jersey Boys" and "Memphis") manages
to both pay homage to the film’s original choreography and put his own
signature onto things. The ensemble dance numbers in particular are energetic
and mesmerizing. The film’s iconic water scene even feels fresh and new. </span></div>
<div class="Body1">
<br /></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">With some
song editing and re-writing, “Flashdance” might just yet leave audiences saying
“oh, what a feeling.” <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";"> </span></div>
<div class="Body1">
<span style="font-family: "Times New Roman","serif";">"Flashdance:
The Musical" through Aug 18 at the Cadillac Palace Theatre, 151 W.
Randolph. Tickets, $18-$85. Call (800) 775-2000. </span><span lang="en-US" style="color: windowtext; font-family: "Times New Roman","serif"; font-size: 10.0pt; mso-ansi-language: #0400; mso-bidi-language: X-NONE; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: #0400;"></span></div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-5376852197186826852013-04-30T09:24:00.003-07:002013-04-30T10:47:11.896-07:002013 Tony Nominations<!--[if gte mso 9]><xml>
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It's my favorite time of the year. When the theater community (OK, theater producers) recognize the best of the theater season.</div>
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<br /></div>
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A number of notable snubs ("Chaplin" has one lone nomination; Alec Baldwin and Bette Midler were not nominated). My predictions for the winner are in <b>bold</b>.</div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-jqvjRadDEgk/UX_PLzC8dDI/AAAAAAAAAlU/AVCrltCMaf4/s1600/lucky-articleLarge.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="http://1.bp.blogspot.com/-jqvjRadDEgk/UX_PLzC8dDI/AAAAAAAAAlU/AVCrltCMaf4/s320/lucky-articleLarge.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Lucky Guy"</td></tr>
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Best Play</div>
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"The
Assembled Parties" by Richard Greenberg</div>
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<b>"Lucky
Guy" by Nora Ephron </b>(The late playwright and screenwriter's last work, duh!)</div>
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"The
Testament of Mary" by Colm Toibin</div>
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"Vanya
and Sonia and Masha and Spike" by Christopher Durang</div>
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<br /></div>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bPdgXQ-0nuA/UX_6GX2-YkI/AAAAAAAAAmM/v15zNzOeFkQ/s1600/matilda.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="160" src="http://1.bp.blogspot.com/-bPdgXQ-0nuA/UX_6GX2-YkI/AAAAAAAAAmM/v15zNzOeFkQ/s320/matilda.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Matilda"</td></tr>
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Best Musical</div>
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"Bring
It On, The Musical"</div>
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"A
Christmas Story, The Musical"</div>
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"Kinky
Boots, The Musical"</div>
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<b>"Matilda,
The Musical"</b></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
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<br /></div>
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<br /></div>
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Best book of
a musical</div>
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"A
Christmas Story, The Musical" Joseph Robinette</div>
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"Kinky
Boots" Harvey Fierstein</div>
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<b>"Matilda,
The Musical" Dennis Kelly</b></div>
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Rodgers +
Hammerstein's Cinderella" Douglas Carter Beane</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Revival
of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Golden
Boy" Producers: Lincoln Center Theater, André Bishop, Bernard Gersten</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Orphans"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"The
Trip to Bountiful"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>"Who’s
Afraid of Virginia Woolf?"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-pvSMyw7Qjd4/UX_6d77I3QI/AAAAAAAAAmU/hWlWJsBDpEM/s1600/pippin.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="184" src="http://3.bp.blogspot.com/-pvSMyw7Qjd4/UX_6d77I3QI/AAAAAAAAAmU/hWlWJsBDpEM/s320/pippin.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Pippin"</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Revival
of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Annie"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
'The Mystery
of Edwin Drood'</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>"Pippin"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Rodgers
+ Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Original Score (Music and/or Lyrics) Written for the Theatre</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"A
Christmas Story, The Musical" Music and Lyrics: Benj Pasek and Justin Paul</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Hands
on a Hardbody" Music: Trey Anastasio and Amanda Green Lyrics: Amanda Green</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>"Kinky
Boots" Music & Lyrics: Cyndi Lauper </b>(Tony voters shouldn't pass up the chance to make history here; Should Lauper win, she will be the first female composer to be nominated solo --previous female composers have shared the nomination)</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
"Matilda
The Musical" Music & Lyrics: Tim Minchin</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actor in a Leading Role in a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Tom Hanks,
"Lucky Guy"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Nathan Lane,
"The Nance"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Tracy Letts,
"Who’s Afraid of Virginia Woolf?"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
David Hyde
Pierce, "Vanya and Sonia and Masha and Spike"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Tom
Sturridge "Orphans"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-gPVqTq4TuYE/UX_5jes5E-I/AAAAAAAAAmE/kZj39L-xePY/s1600/tyson.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-gPVqTq4TuYE/UX_5jes5E-I/AAAAAAAAAmE/kZj39L-xePY/s320/tyson.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cicely Tyson in "The Trip to Bountiful" </td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actress in a Leading Role in a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Laurie
Metcalf, The Other Place</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Amy Morton ,
"Who’s Afraid of Virginia Woolf?"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Kristine
Nielsen, "Vanya and Sonia and Masha and Spike"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Holland
Taylor, "Ann"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Cicely
Tyson, "The Trip to Bountiful"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-J-bR6Q3iM2Q/UX_r_Ki13mI/AAAAAAAAAlk/i3TMbRiWzL4/s1600/cn_image.size.kinky-boots-billy-porter.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-J-bR6Q3iM2Q/UX_r_Ki13mI/AAAAAAAAAlk/i3TMbRiWzL4/s320/cn_image.size.kinky-boots-billy-porter.png" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Billy Porter, "Kinky Boots"</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actor in a Leading Role in a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Bertie
Carvel, "Matilda, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Santino
Fontana, "Rodgers + Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Rob McClure,
"Chaplin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Billy Porter,
"Kinky Boots"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Stark Sands,
"Kinky Boots"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
Best
Performance by an Actress in a Leading Role in a Music
<br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Stephanie J.
Block, "The Mystery of Edwin Drood"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Carolee
Carmello, "Scandalous"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Valisia
LeKae, "Motown The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Patina
Miller, "Pippin"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Laura Osnes,
"Rodgers + Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actor in a Featured Role in a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Danny
Burstein, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Richard
Kind, "The Big Knife"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Billy
Magnussen, "Vanya and Sonia and Masha and Spike"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Tony
Shalhoub, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Courtney B.
Vance, "Lucky Guy"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-iAgqzkgmZNY/UX_vQWqUFeI/AAAAAAAAAl0/YFw8U83IhYo/s1600/jessica-hecht-judith-light-the-assembled-parties.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="263" src="http://4.bp.blogspot.com/-iAgqzkgmZNY/UX_vQWqUFeI/AAAAAAAAAl0/YFw8U83IhYo/s320/jessica-hecht-judith-light-the-assembled-parties.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Judith Light (r) with Jessica Hecht in "The Assembled Parties"</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actress in a Featured Role in a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Carrie Coon,
"Who's Afraid of Virginia Woolf?"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Shalita
Grant, "Vanya and Sonia and Masha and Spike"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Judith Ivey,
"The Heiress"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Judith
Light, "The Assembled Parties"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Condola
Rashad, "The Trip to Bountiful"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actor in a Featured Role in a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Charl Brown,
"Motown, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Keith
Carradine, "Hands on a Hardbody"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Will Chase,
"The Mystery of Edwin Drood"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Gabriel
Ebert, "Matilda The Musical"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Terrence
Mann, "Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-aDNOY57l_Wk/UX_7HfFgGWI/AAAAAAAAAmc/xoUefA9t7co/s1600/1.164755.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="http://4.bp.blogspot.com/-aDNOY57l_Wk/UX_7HfFgGWI/AAAAAAAAAmc/xoUefA9t7co/s320/1.164755.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Annaleigh Ashford, "Kinky Boots"</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Performance by an Actress in a Featured Role in a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Annaleigh
Ashford, "Kinky Boots"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Victoria
Clark, "Rodgers + Hammerstein's Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Andrea
Martin, "Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Keala
Settle, "Hands on a Hardbody"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Lauren Ward,
"Matilda, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Scenic
Design of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>John Lee
Beatty, "The Nance"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Santo
Loquasto, "The Assembled Parties"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
David
Rockwell, "Lucky Guy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Michael
Yeargan, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Scenic
Design of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Rob Howell,
"Matilda, The Musical"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Anna
Louizos, "The Mystery of Edwin Drood"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Scott Pask,
"Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
David
Rockwell, "Kinky Boots"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Costume
Design of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Soutra
Gilmour, "Cyrano de Bergerac"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Ann Roth,
"The Nance"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Albert
Wolsky, "The Heiress"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Catherine
Zuber, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Costume
Design of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Gregg
Barnes, "Kinky Boots</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Rob Howell,
"Matilda, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Dominique
Lemieux, "Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
William Ivey
Long, "Rodgers + Hammerstein's Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Lighting Design of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Jules Fisher
& Peggy Eisenhauer, "Lucky Guy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Donald
Holder, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Jennifer
Tipton, "The Testament of Mary"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Japhy
Weideman, "The Nance"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Lighting Design of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Kenneth
Posner, "Kinky Boots"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Kenneth
Posner, "Pippin"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Kenneth
Posner, "Rodgers + Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Hugh
Vanstone, "Matilda The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Sound
Design of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
John
Gromada, "The Trip to Bountiful"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Mel Mercier,
"The Testament of Mary"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Leon
Rothenberg, "The Nance"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Peter John
Still and Marc Salzberg, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best Sound
Design of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Jonathan
Deans & Garth Helm, "Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Peter
Hylenski, "Motown The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>John
Shivers, "Kinky Boots"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Nevin
Steinberg, "Rodgers + Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Direction of a Play</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Pam
MacKinnon, "Who's Afraid of Virginia Woolf?"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Nicholas
Martin, "Vanya and Sonia and Masha and Spike"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Bartlett
Sher, "Golden Boy"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>George C.
Wolfe, "Lucky Guy"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Direction of a Musical</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Scott Ellis,
"The Mystery of Edwin Drood"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Jerry
Mitchell, "Kinky Boots"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Diane
Paulus, "Pippin"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Matthew
Warchus, "Matilda, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Choreography</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Andy
Blankenbuehler, "Bring It On: The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Peter
Darling, "Matilda, The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Jerry
Mitchell, "Kinky Boots"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Chet Walker,
"Pippin"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Best
Orchestrations</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<b>Chris
Nightingale, "Matilda, The Musical"</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Stephen
Oremus, "Kinky Boots"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Ethan Popp
& Bryan Crook, "Motown The Musical"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Danny Troob,
"Rodgers + Hammerstein’s Cinderella"</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Recipients
of Awards and Honors in Non-competitive Categories</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Special Tony
Award for Lifetime Achievement in the Theatre</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Bernard
Gersten</div>
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Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-66791861067830995432013-04-23T13:06:00.000-07:002013-04-23T13:06:02.732-07:00In case anyone knows what I'll be doing the next day or so...my nose will be buried beneath the pages of this, the final "Sookie Stackhouse" book.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-KJ93HLrqR4s/UXbpfV2sGJI/AAAAAAAAAkk/mH0ie4imI-g/s1600/dead-ever-after-by-charlaine-harris-cover-3_4_r560.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-KJ93HLrqR4s/UXbpfV2sGJI/AAAAAAAAAkk/mH0ie4imI-g/s320/dead-ever-after-by-charlaine-harris-cover-3_4_r560.jpg" width="240" /></a></div>
<br />Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-67322017817289048072013-04-23T10:38:00.001-07:002013-04-23T10:44:29.794-07:00"Big Fish" poised to make a Broadway splash next season<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-efDPcDyzXZI/UXbHOO-sSHI/AAAAAAAAAkI/Nqu_KQpAYZk/s1600/695_BigFish.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="227" src="http://2.bp.blogspot.com/-efDPcDyzXZI/UXbHOO-sSHI/AAAAAAAAAkI/Nqu_KQpAYZk/s320/695_BigFish.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kate Baldwin (left) and Norbert Leo Butz in a scene from "Big Fish."</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-nM29zJWUKcE/UXbHQVPbRvI/AAAAAAAAAkQ/Ga7WbVyTtDo/s1600/BF4-367_BigFish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
by Misha Davenport<br />
(cross-posted from Broadwayworld.com) <br />
<br />
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</xml><![endif]-->Never, ever begin a show with
a hoedown. Much less a hoedown in the belly of a catfish. <span style="mso-tab-count: 1;"> </span><br />
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Perhaps, I’m getting ahead of myself.<br />
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“Big Fish,” is a visually stunning, ambitious and thoroughly
original musical currently enjoying its pre-Broadway tryout at the Oriental
Theatre. It features Tony award-worthy performances by its leading talents
Norbert Leo Butz and Kate Baldwin.<br />
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Based on the novel by Daniel Wallace and the 2003 Tim Burton
film, the show features a book <span style="mso-spacerun: yes;"> </span>by John
August (who also penned the film) and music and lyrics by Andrew Lippa (more on
the latter in a bit).<br />
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Norbert Leo Butz appears well on his way to another Tony
nomination with his performance of patriarch Edward Bloom. A traveling
salesman, Bloom is a world-class spinner of yarns. As played by Butz, he is
less P.T. Barnum and more charming huckster who sees the ordinary world and its
run-of-the-mill events as an opportunity for the magical and fantastic. Sure,
he makes a few edits and stretches the truth along the way, but sometimes the
world needs a little embellishing.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-nM29zJWUKcE/UXbHQVPbRvI/AAAAAAAAAkU/ZiDe9HlE8to/s1600/BF4-367_BigFish.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-nM29zJWUKcE/UXbHQVPbRvI/AAAAAAAAAkU/ZiDe9HlE8to/s320/BF4-367_BigFish.jpg" width="235" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kate Baldwin, singing "I Don't Need a Roof" in "Big Fish"</td></tr>
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His wife Sandra (the lovely Kate Baldwin) is no stranger to
Southern charm herself and for the most part indulges her husband in his tall
tales. The second act ballad “I Don’t Need a Roof” has expressing her profound
love for her husband and Baldwin’s performance is the emotional highlight of
both the show and the score.<br />
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A father’s tall tales are a poor replacement for an absent
father, however. Their son Will (played as a child on alternating days by
Anthony Pierini and Zachary Unger and as an adult by Bobby Steggert) initially
resents his father’s absences at all his baseball and soccer games and soon
grows to resent his father’s tales. As an adult, Will is an award-winning
journalist who has traveled the globe to expose the truth through his
reporting.<br />
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His father’s cancer diagnosis forces the prodigal son to return home
and for dad and son to come to terms with their relationship.<br />
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Essentially a memory play, father and son explore Edward’s
life, albeit from two very different perspectives. Edward wants one more last
chance to tell his stories complete with their exaggerations; his son simply
wants to know the truth.<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-h_fAUJRHGIs/UXbHT0e0jUI/AAAAAAAAAkc/wBzxNTB6VrU/s1600/BF3-303_BigFish.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="210" src="http://4.bp.blogspot.com/-h_fAUJRHGIs/UXbHT0e0jUI/AAAAAAAAAkc/wBzxNTB6VrU/s320/BF3-303_BigFish.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You will believe a man can fly (after being shot out of a cannon).</td></tr>
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Thank goodness for the fanciful, however. Under Susan
Stroman’s expert direction and choreography, Julian Crouch (scenic design) and
Donald Holder (lighting design) are able to conjure up some truly magical
moments of theater: a dark and haunted forest comes alive with bats, witches
and scary trees, the stage overflows with brightly colored daffodils, and a <span style="mso-spacerun: yes;"> </span>trio of elephants (seen from their backsides)
dance in time beneath a big top circus. <span style="mso-spacerun: yes;"> </span>When
the big fish of the title finally makes her appearance late into the show, we’ve
been treated to so many spectacles that the poor fish is horribly upstaged.<br />
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Lippa’s score and lyrics are perhaps the most complex that
we have seen from the composer. There are definite strong points. Including the
previously mentioned “I Don’t Need a Roof,” the score also features a bluesy “I
Know What You Want” (song by Katie Thompson who plays the witch as equal parts
Bonnie Tyler and Bonnie Raitt), “Bigger” (in which Ryan Andes as the giant Karl
effortlessly sings and dances wearing stilts) and “Time Stops” (a splendid duet
between Butz and Baldwin).</div>
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<br />
Much like “The Addams Family”( Lippa’s previous show that enjoyed
a pre-Broadway run here) it’s in need of a new opening number. “The God’s
Honest Truth” is equal parts hoedown and church-ish revival. It fails to set
the magical tone of the rest of the piece.<br />
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Also at odds is the show’s final number “How It Ends.” For a
man who had imagined living such a unique life, his final moments are perhaps a
bit too quiet.<br />
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Still, the show has several months to fix these things. As
it stands, “Big Fish” has enough in place to indicate it should make a big splash
next season on Broadway.<br />
</div>
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“Big Fish” runs
through May 5 at the Oriental Theatre, 24 W. Randolph. Tickets, $33-$100. Call
(800) 775-2000. <a href="http://www.broadwayinchicago.com/">www.BroadwayInChicago.com</a>.
</div>
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Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-60677178365856816002012-11-06T05:48:00.002-08:002012-11-06T05:48:16.400-08:00Election Day! Exercise your civic duty...<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-mGrAKHfLxYI/UJkVDNz09GI/AAAAAAAAAi0/L4aMJzmGzZE/s1600/75975_466390740072474_676443693_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-mGrAKHfLxYI/UJkVDNz09GI/AAAAAAAAAi0/L4aMJzmGzZE/s320/75975_466390740072474_676443693_n.jpg" width="213" /></a></div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-74074097553076307492012-10-18T09:55:00.002-07:002012-10-18T11:13:12.439-07:00No kinks here, "Kinky Boots" is a crowd-pleaser <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-eDkhumAnUmc/UIAsRj3axcI/AAAAAAAAAhs/PDq3S9cwT1g/s1600/Billy_Porter,_Annaleigh_Ashford_and_Stark_Sands_in_Kinky_Boo.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" nea="true" src="http://2.bp.blogspot.com/-eDkhumAnUmc/UIAsRj3axcI/AAAAAAAAAhs/PDq3S9cwT1g/s320/Billy_Porter,_Annaleigh_Ashford_and_Stark_Sands_in_Kinky_Boo.jpg" width="283" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From left: Billy Porter as Lola, Annaleigh Ashford as Lauren and Stark Sands as Charile in "Kinky Boots."<br />
Photo by Sean Williams</td></tr>
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<span style="font-family: inherit;">“Kinky Boots,” the new musical which opened its pre-Broadway tryout last night, is a bona fide, crowd-pleasing hit. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">If you've been waiting for the reviews to come in before buying your tickets, you might want to forgo the heels and put on your flats. You're going to need them to race down to the Bank of America Theater to get tickets. Like "The Producers" before it, Chicago is being treated to a first look at what should be one of the Broadway season's biggest hits, but the show is only here to Nov. 4. The show should quickly become the hottest ticket in town </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">–</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">and quite deservedly. </span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Based on the 2005 sleeper film of the same name, </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">Kinky Boots</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> features a book by Tony winning playwright Harvey Fierstein, a score and lyrics by Grammy-winning pop icon Cyndi Lauper and energetic and well-paced direction and choreography from Tony award-winning director Jerry Mitchell. It's a rousing, heartfelt and sentimental musical that happens to have a drag queen front and center. </span></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">"Kinky Boots" tells the story of Charlie Price (Stark Sands) who, after his father's death, reluctantly leaves his more urban-minded fianc</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">é</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> Nicola (Celina Carvajal) in London to return home to Northhampton to run the family's shoe business. The shoe business is in decline and Charlie is faced with the possibility that he may have to soon sack several of the factory workers, including the feisty Lauren (Annaleigh Ashford). </span><o:p></o:p></span></div>
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<span style="font-family: inherit; mso-hansi-font-family: 'Arial Unicode MS';">After a chance meeting in London with a drag queen with a broken highheel boot (Billy Porter, as Lola), Charlie decides that the niche market of women's shoes for men might just be the thing to save the family business, but he'll have to convince the closed minded blue collar workforce and Lola (whom he wants to design the shoes) that it is a good idea. </span><o:p></o:p></div>
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<span style="mso-hansi-font-family: 'Arial Unicode MS';"><span style="font-family: inherit;">As Lola, Billy Porter is mesmerizing in a performance that will surely earn him a Tony nomination. His Lola is equal parts Tina Turner and Whitney Houston, fierce in his delivery of both line and song. <o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Annaleigh Ashford, best known to Chicago audiences as Glinda in the sit-down production of </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">Wicked</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> nearly stops the show with the hilarious </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">The History of the Wrong Guys</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> (which also happens to be the most Lauper-sounding song in the show. <span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit; mso-hansi-font-family: 'Arial Unicode MS';">Barring some miraculous recovery, the economic climate in the musical should resonate with theatergoers (assuming, of course, economically depressed factory workers can afford to go to live theater; hey, there's always the TKTS ticket booth). </span></span><span style="font-family: inherit; mso-hansi-font-family: 'Arial Unicode MS';">In an age of Bain-style venture capitalism, the very idea that Charlie would choose to return home and save the family business (as opposed to leveraging it to the hilt, driving it into bankruptcy and collecting his golden parachute on the way out) may seem particularly far-fetched. The fact that both musical and film are based on a true story may seem the work of fantasy in a country where CEOs like Charlie are an even smaller niche than those shopping for women's footwear in men's sizes. We could use a few more Charlie Prices, willing to strap on heels and do the right thing, though.</span><o:p></o:p></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">He doesn't do it alone, though. And that's the point. The show celebrates industry, ingenuity, dreams and hard work. It's about sticking together and, as themes explored in the finale "Raise You Up/Just Be" imply, there is more power in raising each other up instead of tearing each other down for some short-term personal gain.<span style="mso-spacerun: yes;"> </span></span></span><br />
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<span style="font-family: inherit;">Fierstein returns to the well once again with the theme of what makes a man, but you can't fault a guy for so thouroughly humanizing Lola. Perhaps moreso than in either "Torchsong Trilogy" or "La Cage aux Folles," Fierstein succeeds in visually showing us something that Ru Paul has been saying for years: we're all born naked, everything after that is drag. The clothes we chose to wear do not define our worth and that goes for drag queens or dock workers. </span><br />
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Mitchell's choreography deserves a shout out particularly for the first-act closer "Everybody Say Yeah" in which factory worker and drag queen alike gyrate on moving convey belts. <br />
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Gregg Barnes</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> costumes capture the blue collar feel of the factory workers as well as the more fantastical outfits worn by Lola and his drag queen backup singers. When the thigh length, red-sequined heels first roll off the assembly line at the end of the first act, they are more than just shoes; it is the visual equivalent of Eliza Doolittle making her debut. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></span><br />
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Perhaps the biggest surprise is Lauper</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">s score. Unlike other recording artists who try their hands at writing a Broadway show and never seem to understand the medium of the Broadway musical, Lauper proves she is equally adept at crafting radio-ready, hook-heavy pop and dance songs the likes we</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">ve never heard in a Broadway show as well as traditional Broadway ballads, duets and ensemble numbers. </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">Sex is in the Heel</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> and </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">Raise You Up/Just Be</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> are infectious pop songs with beats that will get you up and moving. </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">Hold Me In Your Heart</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> and </span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">I</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">m Not My Father</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">s Son,</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">”</span><span style="mso-hansi-font-family: 'Arial Unicode MS';"> are delivered with such honesty, they might have you reaching for the tissues. </span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Still, a few minor things will need to be tweaked before the April Broadway opening. Charlie</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">s quasi-materialistic fiance Nikola is a bit underwritten and the terrific actress Celina Caravajal does her best with what she is given (which is to say,<span style="mso-spacerun: yes;"> </span>not much).<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">Sand</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">s Charlie shifts a bit too quickly from factory savior to boss from hell and his relationship with Ashford</span><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">’</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">s Lauren needs to be further developed as well.</span></span></div>
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<span style="font-family: inherit;"><span style="mso-ascii-font-family: Helvetica; mso-bidi-font-family: 'Times New Roman';">“</span><span style="mso-hansi-font-family: 'Arial Unicode MS';">We're the same, you and me, Charlie boy," Lola tells Charlie at the end of the first act and with that, the show places it's well-designed heels on one of those universal truths: there is so much more that unites us rather than divides us.<span style="mso-spacerun: yes;"> </span>"Kinky Boots" heart is in the right place and its heels are on firm ground. <span style="mso-spacerun: yes;"> </span></span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><span style="mso-hansi-font-family: 'Arial Unicode MS';">"Kinky Boots" runs through Nov. 4 at the Bank of America Theater, 18 W. Monroe. Tickets, $33-$100. Call 800-775-2000. </span><u><a href="http://www.broadwayinchicago.com/"><span style="color: black; mso-hansi-font-family: 'Arial Unicode MS';">www.broadwayinchicago.com</span></a></u><span style="mso-hansi-font-family: 'Arial Unicode MS';">; www.kinkybootsthemusical.com</span><span lang="en-US" style="color: windowtext; font-size: 10pt; mso-ansi-language: #0400; mso-bidi-language: X-NONE; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: #0400;"><o:p></o:p></span></span></div>
<span style="font-family: inherit;"> </span>Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-76115174418852232112012-10-17T08:16:00.000-07:002012-10-17T08:16:45.246-07:00A "Kinky" tease
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-SNNogcSrxfU/UH7KheKJ6xI/AAAAAAAAAhM/jXrzIHW2Zww/s1600/Stark_Sands_and_Billy_Porter_in_Kinky_Boots_-_Photo_by_Sean_Williams.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="221" nea="true" src="http://3.bp.blogspot.com/-SNNogcSrxfU/UH7KheKJ6xI/AAAAAAAAAhM/jXrzIHW2Zww/s320/Stark_Sands_and_Billy_Porter_in_Kinky_Boots_-_Photo_by_Sean_Williams.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stark Sands (left, as Charlie Price) and Billy Porter (as Lola) in "Kinky Boots" <br />
photo by Sean Williams</td></tr>
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"Kinky Boots" officially has it's pre-Broadway opening tonight (it's been in previews for the past couple of weeks). Come back tomorrow for my review, but until then please enjoy the production shot of the charming leads in the show, Stark Sands and Billy Porter. <br />
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And if you haven't seen the show yet, buy your tickets! It's important to support live theater, especially new works. Ticket deals can be had for weekday performances. You can always say you saw it first!Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-17035088842355647882012-10-09T12:21:00.001-07:002012-10-09T13:52:15.910-07:00It's no "1776," I'll give you that
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<tr><td class="tr-caption" style="text-align: center;">The cast of Bailiwick's "Bloody Bloody Andrew Jackson" <br />
photo by Michael Brosilow</td></tr>
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Much like the presidency that it depicts, Bailiwick’s Chicago premiere of the off-Broadway hit musical “Bloody Bloody Andrew Jackson” is a mixed bag. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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For those who thought “Spring Awakening,” “Urinetown” and “American Idiot” played it too safe, “Bloody Bloody Andrew Jackson” may just fit the bill as truly the first punk rock musical. The 100-minute, intermission-less show is a hipster re-envisioning of history; our seventh president is painted with the largest of brushstrokes as a guyliner-wearing, hip-swaggering, Emo rock star in tight jeans.<o:p></o:p></div>
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Loosely sketched, the show is equal parts satire, cartoonish vaudeville act and critique of our political process and dark history. It plays fast and loose with actual history, though (you would no sooner be advised to treat this as a history lesson than you would a marathon of “Hogan’s Heroes” as a lecture on World War II prisoner of war camps). <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Matt Holzfeind as the charismatic President/rockstar<br />
photo by Michael Brosilow</td></tr>
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As the man who literally had the presidency stolen out from under him by a Congress that feared the true will of the people, Matt Holzfeind is a charismatic force of nature; a noble feat considering he is on stage singing, dancing for the major for most of the show.<o:p></o:p></div>
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As Jackson’s long-suffering wife Rachel, Samantha Dubina brings heat and longing to the proceedings. There’s often a quiet nobility to her performance as we watch her cope with a husband struggling to strike a balance between his public and private life. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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Other shout outs in the cast: Judy Lea Steele brings the laughs as the motorized scooter-bound modern narrator, Jill Sesso’s performance of “Ten Little Indians” elevates things almost to the level of Laurie Anderson’s performance art, Patrick Rooney’s guitar virtuosity and rocking vocals on several male solos and the overall band (lead by the Jeff nominated music director James Morehead) who are as much a part of the action as the actors. <o:p></o:p></div>
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Nick Sieben’s scenic design draws the starkest analogy to our current political climate. Occupy Wall Street handbills share wall space with posters that urge you to “Vote Addams, Vote often” and others advertising tickets to Cleveland Indians baseball (the smiling face of the Cleveland Indians mascot is particularly jarring given the atrocities depicted in the play). Sieben also scores extra points for the 24 paper lanterns hung above the stage which represent the 24 states that made up the union when Jackson took office (Arkansas and Michigan would be added during his tenure, but that’s perhaps more factual history than you’ll gleam from the show). <o:p></o:p></div>
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For a company that has in part a history in presenting intelligent gay theater, crass stereotypes were the go-to for cheap laughs, particularly in “The Corrupt Bargain.” Whether this was a choice made by the individual male actors or director Scott Ferguson, it’s a bit of a head scratcher. <span style="mso-spacerun: yes;"> </span>Just what do we think is witty, sardonic or “post-modern” about the embrace of gay stereotypes, gentlemen? <o:p></o:p></div>
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It’s also likely that the play’s unconventional format and 11<sup>th</sup> hour shift to a more serious tone will bewilder some theatergoers. <o:p></o:p></div>
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Bailiwick Chicago’s production of “Bloody Bloody Andrew Jackson” runs through Nov. 11 at the National Pastime Theater, 941 W. Lawrence, 4<sup>th</sup> floor. Tickets, $25-$30. Free performance on election night (Nov. 6) with proof you voted. bailiwickchicago.com<o:p></o:p></div>
Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-23165346849587532542012-10-08T08:37:00.002-07:002012-10-08T13:56:21.372-07:00Nightblue's "Avenue Q" a pleasant surprise<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The cast of Nightblue Performing Arts Company's "Avenue Q"</td></tr>
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Suburban-based Nightblue Performing Arts Company isn't exactly a known commodity in the Chicago theater community, but I suspect that will soon change on the bases of their production of the Tony award-winning musical "Avenue Q." Acting, singing, choreography, production values and orchestration elements were all high, well exceeding the $30 ticket price. The bar has been set high for their next Chicago endeavor, but I'm getting ahead of myself. <br />
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The show is a loving spoof and homage to children's television programs (specifically "Sesame Street," but there are also jokes referencing "The Electric Company" and others). Naive, wide-eyed recently college graduate Princeton (Adam Fane) finds himself on the Avenue after starting at Avenue A and continuing to move down through both streets and alphabet letters until he finds a neighborhood that he can afford. Q is home to an idealistic teaching assistant Kate Monster (Casi Maggio) who dreams of opening a special school for monsters (a Monsterssori), happy-go-lucky intellectual Nicky (Jason Richards Smith), Nicky's uptight, closeted, Republican roommate Rod (Fane), a would-be therapist Christmas Eve (Kate Garassino), her unemployed, ne'er-do-well fiance Brian (Alex Heika), resident porn sexpert Trekkie Monster (Smith) and the down-on-his luck former child star and now superintendent Gary Coleman (yes, that Gary Coleman and played by David Robbins).<br />
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<tr><td class="tr-caption" style="text-align: center;">Adam Fane as Princton in "Avenue Q"</td></tr>
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In the dual role of Princeton and Rod, Fane is equal parts charming, boy next door and repressed, ranging closet case. Fane is able to switch characters quickly and each has their own unique mannerisms, singing voice and speaking voice. <br />
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As Kate Monster, Casi Maggio is the heart of the show. She has a lovely voice that is powerful when it needs to be, yet she is able to capture Kate's vulnerability as well. <br />
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As Nicky and Trekkie Monster, Jason Richards Smith lands all of the comedic moments. His Trekkie is less creepy and more lovable. Despite his computer addiction, you want to just give him a hug. <br />
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As Christmas Eve, Garassino manages to be more than just a racial stereotype for laughs. Her nuanced performance of "The More You Ruv Someone" was both heartfelt and funny.<br />
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Heika has less to do as Brian (the fault of the script and not his acting or vocal talent). Double casting him as one of the Bad Idea Bears was sheer genius as it gave him more opportunity to display his comedic timing. <br />
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Several other things set things apart from usual productions of this show. The most noticeable is the company's decision to create their own puppets as opposed to renting them. With the exception of Lucy the slut, the puppet designs by Noah Ginex bare little resemblance to those used on Broadway (the same puppets people usually rent). As a result, the production is able to forge its own identity. <br />
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The second was director David E Walter's decision to forgo puppets for the Bad Idea Bears (a trio of mischievous minor characters in the show). Actors don teddy bear costumes and we can see their facial expressions (obviously far more expressive than a puppet's). <br />
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The third thing is Mike Mendiola's choreography. While the original Broadway production had some dancing, there is more of it here. Though it is the puppeteer whose feet are moving, rather than separating us from puppet, in some strange way it feels like the puppeteer's feet are an extension of the puppet. <br />
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The end result was a smaller production that almost rivaled its Broadway counterpart. No easy feat for any company, let alone one trying to establish itself in the competitive Chicago market. <br />
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Nightblue Performing Arts Company's "Avenue Q" runs through Oct. 14 at Stage 773, 1225 W. Belmont. Tickets, $27-$30. Call 773-327-5252. nightbluetheater.comMisha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0tag:blogger.com,1999:blog-8189746446137569576.post-27537819469370787322012-10-05T11:39:00.000-07:002012-10-05T11:41:24.252-07:00Q&A with "Bloody Bloody Andrew Jackson" star Matt Holzfeind<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">The cast of Bailiwick's "Bloody Bloody Andrew Jackson" </td></tr>
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<span style="font-family: Calibri;">Step aside John McCain, there’s a new maverick in town. The cast and crew of the Chicago premiere of the off-Broadway hit “Bloody Bloody Andrew Jackson” are here to declare sexy as the fourth branch of government.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">I chatted briefly with Matt Holzfeind, <span style="mso-spacerun: yes;"> </span>the star of the rock musical. Here’s what he had to say: <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: The show has been praised for being unorthodox. Is that justified?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>Matt Holzfeind:</strong> I suppose. It takes a look at an historical figure in a more modern context. As a work of theater, it plays with style and finds a new and surprising way to tell the tale. It’s highly theatrical. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: Why “Bloody Bloody Andrew Jackson”?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> It’s an incredible part in a show that is utterly fascinating. This role calls for me to do a lot of things that I don’t normally get to do in musical theater and I am excited to take on that challenge. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: Do you find it daunting to play an historic figure?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF: </strong>It’s kind of great thing to try. I’ve been in brand new works and productions of existing plays. I’ve played fictional characters and real people. The chance to work on a thing like this was exciting. With characters based on real people, It’s a cool <span style="mso-spacerun: yes;"> </span>to have a template to work from. As actor you draw from your own experiences, but to be able to add your experiences with someone’s real life is just awesome. I’m making an amalgam of my experiences and his.<o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: Sounds like you’ve done a lot of research, then?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> <span style="mso-spacerun: yes;"> </span>More research than I usually do. Mostly because he’s a guy many Americans are familiar with. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: Any books that were particularly useful?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> Jon Meacham’s <i style="mso-bidi-font-style: normal;">American Lion</i>. Of course, it focused mostly on his time as president. I also read up on anything I could find on line. He’s a multifaceted political figure and most people have strong opinions either for or against him. Fortunately, he is portrayed in the show with a lot of artistic license, so I just needed to have a good, general idea about what he was about. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: What is it about him that you identify with?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> He had a very strong bond with family, friends and close advisors. He made sure they were taken care of. He had a loyalty to people that is unique in today’s landscape. I have that a bit in my life. I would fight for family and friends as much as Jackson did for those who were in his inner circle. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: What ways are you different?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> One of of his strengths (and one of his weaknesses) was his assistance on always thinking he was right. It initially kind of made him popular, because he could make decisions and get things done. It also made people feel like he didn’t listen to both sides, though. I try to take everything in. I’m not married to things one way or the other. I’m ok about experiencing things that may ultimately change my perspective or point of view. <o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: The show is giving away tickets on election night with proof that you voted, do you consider yourself political?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> I would say I’m political enough in that I am aware of what is going on. I try and stay informed, but I’m not political from an political activist standpoint. I have an understanding of where we are and what is at stake, depending on who gets elected president.<o:p></o:p></span></div>
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<span style="font-family: Calibri;"><strong>Q: What do you think Jackson would say about the current presidential election?<o:p></o:p></strong></span></div>
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<span style="font-family: Calibri;"><strong>MF:</strong> He hated debt. I mean he really loathed debt and what that meant. If he saw our debt, people in federal government would lose their heads. As the founder of the Democratic party, I also think he’d probably have a problem with the current Democratic party and the political process in general. We are more divided politically than we ever have been.. If he could see today how divided we are, he wouldn’t like it. f<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Bloody Bloody Andrew Jackson” runs through Nov. 10 at the National Pastime Theater, 941 W. Lawrence. Tickets, $15-$30. Free 9 p.m. performance on Election night (Nov. 6) with proof that you voted. bailiwickchicago.com</span></div>
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<iframe frameborder="0" marginheight="0" marginwidth="0" scrolling="no" src="http://rcm.amazon.com/e/cm?t=wwwtriggercri-20&o=1&p=8&l=as1&asins=B003Y01JO4&ref=qf_sp_asin_til&fc1=000000&IS2=1&lt1=_blank&m=amazon&lc1=0000FF&bc1=000000&bg1=FFFFFF&f=ifr" style="height: 240px; width: 120px;"></iframe>Misha Davenporthttp://www.blogger.com/profile/08389331468016869240noreply@blogger.com0