The following posts represent some opinions and reviews of current theatre in NYC. With a focus on mostly things musical and other events related to entertainment from the perspective of a humble, mid-west, transplanted, new york bear. Hope they are viewed as enlightening and enjoyable and serve as a guide to navigating the waters of theatre in NYC.
Cartman arrrives on Broadway!
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Trey Parker, Matt Stone & Robbie Lopez
Directed by: Trey Parker & Casey Nicholaw
Choreo: Casey Nicholaw
Eugene O’Neil Theatre
24 February 2011
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The crowd of eager theatre-goers at the Eugene O’Neil Theatre JUMPED to their feet tonight at the conclusion of one of the season’s most anticipated Musicals. Yes… “those South Park boyz” CAN write a musical and, yes…The Book of Mormon is a force to be reckoned with!
Yes, there are tons of pop-culture references, yes, there are tons of musical theatre references (the BEST one is actually the climax of the show) and YES it does walk “a Fine, Fine Line” between what is actually tasteful and what is borderline insanity… but the overall effect of the piece is definitely worth all the gags and punch lines. They have set the story in a war-torn, AIDS-ridden, uber-impoverished village in Africa, and have given the people there a glimmer of hope through the telling of the stories of Joseph Smith and Jesus. The show-stopping numbers of Act I are a fantastic journey into a world that can only be told through Musical Theatre and best surprise of the night is that the mostly male ensemble deliver Killer Vocals throughout the piece. No click-track needed here (a certain Mega-Million dollar show should take note).
The end of Act I and the opening of Act II could be strengthened a bit, and of course, there will be a better continuity with the running of the show over the next few weeks, but what I was most impressed with tonight was the clarity of the storytelling that was taking place. I think we all were ready for a two-and-a-half-hour long send-off of the Mormon faith, but that’s not what is happening here. Sure, there are some funny parts mentioned about Mormon-ism, but none that aren’t apparent in Mr. Smith’s already far-fetched book. Mr. Parker & Mr. Stone have chosen to let the book speak for itself in terms of kooky, off-the-wall “facts” that make up the Mormon faith and instead have focused on real world interpretations of the actual “Book of Mormon” to enlighten us with the story that they have chosen to tell.
I say, YES, this is a fantastic evening of entertainment with great songs, dance numbers, and (by God) good old-fashioned theatre. Looking forward to the subtle changes that are to come in the next few weeks and to see this show on Opening. Hassadinga Ibowa!
Exit the King
Exit the King
at broadway’s Barrymore Theatre
10 June 2009 @ 2pm
a play by Eugene Ionesco
as adapted by Geoffrey Rush and Neil Armfield
directed by Neil Armfield
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I happened to be one of the priviliged few in this season of great theatre and performances in NYC to have been witness to such a theatrical masterpiece as Geoffrey Rush’s performance as King Berenger in Eugene Ionesco’s absurdist drama “Exit the King.”
From the moment that he walked onto the stage he began a journey into the soul of “everyman” and showed us a man dealing with his uncontrollable life and how one deals with the fact that at some point… we will all perish.
The company of actors made up of Susan Sarandon, Lauren Ambrose, Andrea Martin, William Sadler, and Brian Hutchison were equally thrilling in this ensemble piece. Most of the cast remains onstage the entire time, allowing us to witness, through characters, the different pieces that are within us all and how they relate to the important people that we choose to populate our “kingdom” with.
The scenic elements were very ethereal, a few hung tapestries, bare bulbs, and exposed supports all led the audience on a journey into an experience of viewing actuality in all of its physical value. The lone musician in the pit who played a variety of instruments, simultaneously, was equally an asset to the production adding musical sound to the emotionally invigorating moments of the piece.
Only a few more performances of this masterpiece are left to be seen.
Jessica Phillips blows Dianna out of the Thearapist’s Chair in "Next to Normal."
Jessica Phillips
gave a breakthrough performance in the role of Dianna in the Broadway Musical “Next to Normal” on
Tuesday, 9 June 2009 at the Booth theatre in NYC.
Tuesday, 9 June 2009 at the Booth theatre in NYC.
On the first performance post-Tony awards, the Tony Award winning Leading Actress, Alice Ripley, was absent from the performance causing the understudy, Phillips, to be put on for the 7:00pm curtain. Of course, there were many patrons who were upset by not being able to see Ripley, but those that stuck around to see this amazing show were very audibly impressed with what the newcomer had to offer to the role. After a brilliantly sung, “I miss the Mountains” there was an applause that delayed to performance from moving onto the next scene. The final curtain call was greeted with thunderous applause and everyone leaping to their feet the instant the first bow was begun. Incidentally, it was the first night for first-replacement Kyle Dean Massey to be put on in the role of Gabe.
Phillips had perfect vocal control throughout this VERY vocally demanding production and managed to fulfill the composer’s requests with the greatest of ease. It was as if this role had been written for her. Her physical interpretation of the role, although a bit different from Ripley’s, was filled out with subtle nuances and many levels which are inherent in a character so bold as Yorkey and Kitt’s Dianna.As a complete fan of this show (this was the 9th performace that I’ve seen of it), I can honestly say that it was refreshing to see a new approach to such a brilliant character and will be well pleased to see where this young actress will progress in the next few years.
She’s one to watch!!!
5 Actors You Should Know
100 Saints
You Should Know
Sunday, 9 September 2007, 7:30 pm
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Playwright : Kate Fodor
Director : Ethan McSweeny
Playwrights Horizons
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Director : Ethan McSweeny
Playwrights Horizons
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Well, I’ve finally seen a brilliant production at the Playwrights Horizons space on 42nd and 9th. Watching this cast interact and work through this piece is absolutely one of the most enjoyable experiences that I have had at a Non-Musical in NYC. All five of the actors are brilliantly cast and really do take on their respective lives to be played out through the script. A great scenic design which is at the same time simplistic and suggestive has been carried out by Rachel Hauck. The centerpiece of the stage is a metallic tree which figures in the turning point of the play but has implications throughout the rest of the piece. I would definitely suggest this to anyone who has any interest in theatre, it’s winner…. congratulations cast and crew!
Shakespeare in the Park
A Midsummer Night’s Dream
Tuesday, 13 August 2007, 8pm
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William Shakespeare
Director : Daniel Sullivan
The Public Theatre in Central Park
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The Delacorte Theatre is really one of Manhattan’s most wonderful assests. A night of classic theatre in the middle of Central Park is truly a great way to experience a bit of summer in this city.
This production seemed to be set in the Victorian era, and utilized quite a bit of “slight-of-hand” magic to tell the story. The fairies were clad in dark (and glittering) costumes and the ensemble of faires was comprised of children which gave an eerie “Black Plague” feel to their scenes. One just couldn’t shake the image of the children breaking into “Ring around the Rosie, Pocket full of Posies…”
The standout performances were both from Martha Plimpton (Helena) and Jay O. Sanders (Nick Bottom). Both actors had impeccable comic timing and created completely believable and sympathetic characters within the world of the play that director, Daniel Sullivan had created. Another actor to note from this production is “…Spelling Bee’s” Jesse Tyler Ferguson (Francis Flute) whose onstage portrayal of Thisbe (from the play within the play) was really something to behold.
If you have never been exposed to one of the Public Theatre’s productions of “Shakespeare in the Park,” this is an excellent one to go see first. The magic, costumes, acting, and of course the fact that it is a comedy make this production very accessible to a contemporary audience.
OMIGOD YOU GUYS!!!!
Legally Blonde: the Musical
Sunday, 12 August 2007, 7pm
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Director/Choreographer:
Jerry Mitchell
Book:
Heather Hach
Music & Lyrics:
Nell Benjamin &
Laurence O’Keefe
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Well, what can I say? Coming from an ex-theme park kid, how can this show possibly go wrong? It has it all; great music, great movement, super-speedy transitions between scenes, a story with Heart (which seems to be so lost these days), and an Amazing Cast. I credit a good portion of this show’s success to the Director/Choreographer. He has stayed completely focussed on telling the story, without getting lost. Laura Bell Bundy shows expert skill at creating a truly loveable character while at the same time singing and dancing her way through an extremely difficult and taxing show (from a performer’s standpoint).
As for the unfortunate circumstances surrounding the Tony awards; truly, someone, somewhere had it in for this show. It really is one of the most “FUN” shows on Broadway at the present time, which is, of course, one of main reasons people buy tickets to the Theatre; to have fun.
Admittedly, I really like this show. This was my 6th time attending this particular musical, and as luck would have it, I finally was able to see an Understudy. Andy Karl was on for Michael Rupert (Prof. Callahan) and really did a great job of it. The ensemble seemed to be sporting a few new faces as well, which was nice, although…. the tall blonde guy is apparently out of the show… too bad….
TheatreBear 