(matinee performance)
Eugene O'Neill Theatre, New York City
Left Box B
I had planned on seeing Drowsy Chaperone, but, on a whim, decided to look at the offerings at TKTS - and saw that 2007 Best Musical winner Spring Awakening was there, so Chad and I immediately grabbed tickets.
I had seen the show back in January, back with the complete original cast. I enjoyed it very much, but did find some elements lacking, particularly the performance of Lea Michele as Wendla, and the book (ESPECIALLY the book). After a second viewing, my experience was somewhat different.
Upon reaching the theater, I learned that understudy Phoebe Stole would be performing the role of Wendla. At first I was sad about this, as I wanted Chad to see the original cast, but then I remembered my feelings for Michele's performance. This filled me with hope - and I can gladly say that Strole lived up to these hopes. At times, she sounded a tad nervous, particularly during her opening number, but she warmed up quite nicely after that. She played the role with the perfect innocence required, something I didn't get from Michele. Her chemistry with Jon Groff's Melchior could have been better, but given the fact that she's an understudy, that is somewhat understandable. Overall, a very nice performance by Phoebe Stole, I'm excited I got the opportunity to see her!
As for the book.... it was even worse, honestly. How it won the Tony Award for Best Book is beyond me. Now, I know that the Tony Award also stands for the dramatic structure of the piece, but even that didn't seem particularly strong. While the second act certainly surges forward to the climax, the first act tends to wander a bit, featuring secondary storylines that the audience doesn't really care about, storylines that aren't resolved in the end, or, in fact, are never mentioned again. While this problem comes from the original Wedekind play, there is no reason that this couldn't have been fixed (there were other elements of the original changed - why not aiding character development?). The dialogue itself is confusing, written in the style of the original, but missing its mark. Why didn't the creative team bring in an experienced playwright to write the dialogue (which could have been anachronistic without any issues, due to the way the music was presented in a similar anachronistic way).
I've now seen both of the "front runners" for Best Musical, Grey Gardens and the winner, Spring Awakening (the latter twice). I would be lying if I said I didn't enjoy both of them immensely. That said, I do not see Spring Awakening's victory, not at all. Grey Gardens is an emotional journey, features far better writing, a more appropriate score, a far better book, and is overall a better performance. One thing I will acknowledge, however, is my initial feelings for both shows. When I saw Spring Awakening, I liked it right off the bat, even with its flaws. After the show, I knew right away that I enjoyed the show, and wanted to come back again. Grey Gardens, on the other hand, took a while to set in. Immediately leaving the show, I was rather disappointed, wishing I had seen something else. However, I couldn't stop thinking about the show, until I finally realized how wonderful it was. This difference is most certainly due to the different natures of the show: Spring Awakening attempts to get "in your face", while Grey Gardens is all about subtlety and the nuances.
All that said, its actually easier to find the undeserving Tony Award winners than the deserving ones, but that's a different post entirely.
All in all, a very enjoyable day at the theater. Let this be a lesson for all of you out there: if you don't have a strict limit on the price you want to pay for your ticket, look around! The TKTS booth is your friend (and don't let the often long lines intimidate you! The line for tickets was down the breeze way and back, and we reached the window in no more than 20 minutes)!
6.21.2007
6.08.2007
The Light in the Piazza, 6/7/07
The Colonial Theater, Boston, MA
Seat: Balcony Center
I had seen Piazza in January of 2006, featuring the second cast (Victoria Clark as Margaret, Katie Clarke as Clara, Aaron Lazar as Fabrizio). I enjoyed the show then quite a bit, but wasn't blown away by the show. The performances were quite good, headed by the Tony Award winning Clark, and a very strong (in my opinion) Broadway debut by the young Katie Clarke (I say my opinion because the majority opinion on Broadway message boards were negative, something I didn't quite see).
I'll say this about the national touring production: I was blown away.
I'll start with Clarke, who is the commonality between my two Piazza experiences. Last year, her acting was spot on, really capturing the youthfulness and innocence of Clara, coupled with a very nice voice. However, it was the voice that was a bit of a struggle at times - her break was very apparent, causing her "mixed" voice to waver at times. In all, I saw a great deal of potential in Ms Clarke, and hoped to one day see her again in a show... fast forward to the present, with Ms Clarke (now using her middle name as well, Katie Rose Clarke). Any issues at all with her break have now completely disappeared and her acting has gotten even better (which isn't surprising, as I saw her a month into her run). I thought after first seeing her that she has the potential to be a very solid Broadway star, but now I know it: Ms. Katie Rose Clarke is going to be a star.
Likewise, we have David Burnham as Fabrizio. While Aaron Lazar gave an admirable performance on Broadway, singing the role beautifully, I didn't feel much from an acting standpoint. Burnham, on the other hand, left everything he had on the Colonial stage. Everything I wanted as an audience member from Lazar was given to me by Burnham, and then some. It is truly refreshing to see a passionate performance by a performer who actually pours his heart into the role.
Finally, we come to the role of Margaret. With all due respect to the wonderful Christine Andreas, nothing she could have done on the stage could compare in my mind to the phenomenal Victoria Clark. Clark's performance was stunning, a true star turn in every sense of the word. Every gesture, every word was meaningful, leading to a truly nuanced performance. Her touring counterpart, Ms. Andreas, gave a wonderful performance, don't get me wrong, but completely different. Andreas was more animated on the stage, a much bigger Margaret, which may be due to the size of the venue (the Beaumont Theater at Lincoln Center is large but intimate; this is often not the case in touring venues). In any case, Andreas' Margaret was in no means a weak link in a strong cast, just not quite at the level of Ms. Victoria Clark. As unfair as it may be to compare the two, it is an inevitable comparison, and rather hard to avoid.
Overall, the show is breathtaking, possessing one of the strongest scores I've ever heard. It's particularly telling when it comes to the Italian lyrics: the audience may not understand what the characters are saying, but it just does not matter - it is obvious what they mean in context with the production. Truly wonderful.
If you can see this show in Boston or any of the (unfortunately dwindling!) remaining tour schedule, I strongly urge you to do so. While this show will likely be a hit in regional theaters across America in the coming years, this cast and production should not be missed.
The Boston tour stop (and the 2006-2007 Broadway Across America season) concludes on Saturday, June 9.
Seat: Balcony Center
I had seen Piazza in January of 2006, featuring the second cast (Victoria Clark as Margaret, Katie Clarke as Clara, Aaron Lazar as Fabrizio). I enjoyed the show then quite a bit, but wasn't blown away by the show. The performances were quite good, headed by the Tony Award winning Clark, and a very strong (in my opinion) Broadway debut by the young Katie Clarke (I say my opinion because the majority opinion on Broadway message boards were negative, something I didn't quite see).
I'll say this about the national touring production: I was blown away.
I'll start with Clarke, who is the commonality between my two Piazza experiences. Last year, her acting was spot on, really capturing the youthfulness and innocence of Clara, coupled with a very nice voice. However, it was the voice that was a bit of a struggle at times - her break was very apparent, causing her "mixed" voice to waver at times. In all, I saw a great deal of potential in Ms Clarke, and hoped to one day see her again in a show... fast forward to the present, with Ms Clarke (now using her middle name as well, Katie Rose Clarke). Any issues at all with her break have now completely disappeared and her acting has gotten even better (which isn't surprising, as I saw her a month into her run). I thought after first seeing her that she has the potential to be a very solid Broadway star, but now I know it: Ms. Katie Rose Clarke is going to be a star.
Likewise, we have David Burnham as Fabrizio. While Aaron Lazar gave an admirable performance on Broadway, singing the role beautifully, I didn't feel much from an acting standpoint. Burnham, on the other hand, left everything he had on the Colonial stage. Everything I wanted as an audience member from Lazar was given to me by Burnham, and then some. It is truly refreshing to see a passionate performance by a performer who actually pours his heart into the role.
Finally, we come to the role of Margaret. With all due respect to the wonderful Christine Andreas, nothing she could have done on the stage could compare in my mind to the phenomenal Victoria Clark. Clark's performance was stunning, a true star turn in every sense of the word. Every gesture, every word was meaningful, leading to a truly nuanced performance. Her touring counterpart, Ms. Andreas, gave a wonderful performance, don't get me wrong, but completely different. Andreas was more animated on the stage, a much bigger Margaret, which may be due to the size of the venue (the Beaumont Theater at Lincoln Center is large but intimate; this is often not the case in touring venues). In any case, Andreas' Margaret was in no means a weak link in a strong cast, just not quite at the level of Ms. Victoria Clark. As unfair as it may be to compare the two, it is an inevitable comparison, and rather hard to avoid.
Overall, the show is breathtaking, possessing one of the strongest scores I've ever heard. It's particularly telling when it comes to the Italian lyrics: the audience may not understand what the characters are saying, but it just does not matter - it is obvious what they mean in context with the production. Truly wonderful.
If you can see this show in Boston or any of the (unfortunately dwindling!) remaining tour schedule, I strongly urge you to do so. While this show will likely be a hit in regional theaters across America in the coming years, this cast and production should not be missed.
The Boston tour stop (and the 2006-2007 Broadway Across America season) concludes on Saturday, June 9.
6.02.2007
Parade, 5/30/07
SpeakEasy Stage Company, Boston, MA
Seat: Front Row Center
I am a huge Jason Robert Brown fan, ever since I first heard the opening notes of "I'm Still Hurting" from The Last Five Years. Therefore, every time I see a production of his shows done around me, I jump at the chance to see. When SpeakEasy announced that they were producing the Boston professional premiere of Parade, Brown's epic musical about the Leo Frank murder trial, I instantly bought a ticket... and am immensely happy to have done so.
Rarely, in my years of attending theater, have I seen such an emotional piece. By the end of the first act alone, I was drained. The first act is an incredibly structured piece, moving briskly from exposition, to the murder, to the trial and conviction, all the while showing Frank is indeed human and that the entire trial was a set up. While the second act faltered a bit in its flow, it did not hinder the experience. In all, Parade is a wonderful show, with a top-notch score.
SpeakEasy's production is also top-notch, fitting such a wonderful show. I must begin with my commendation for the ensemble. The music direction perfectly utilized the vocal talents of the ensemble, something that often is lacking in big productions, unfortunately.
Without going into details on the entire cast, I must share the accolades of Brendan McNab (Leo Frank). I had seen Mr. McNab previously in Lyric's 1776 (Dr. Lymon Hall) and See What I Wanna See (The Janitor/A Priest), and was impressed with him in each, but nothing prepared me for his performance in Parade. Throughout the entire performance, I was impressed with McNab's awareness of everything was going on around and inside of him. There was not a moment where I did not see the inner struggle required for the role, something very difficult to master. I believe that people will be talking about McNab's wonderfully nuanced performance for quite a while in the Boston theatre circuit.
The production runs through June 16th, I strongly urge to you go and see it!
On another note, I must say that I am particularly impressed with SpeakEasy's recently announced 2007-2008 season: Zanna Don't!, The Mystery of Edwin Drood, 2007 Tony Nominated "The Little Dog Laughed", Terrance McNally's "Some Men" and the 2006 Tony Award Winner for Best Play "The History Boys". I will most certainly look into subscribing this season!
(In case you were wondering, yes, I have seen lots of theater since my last post, but haven't posted reviews - I'll keep up from now on!)
Seat: Front Row Center
I am a huge Jason Robert Brown fan, ever since I first heard the opening notes of "I'm Still Hurting" from The Last Five Years. Therefore, every time I see a production of his shows done around me, I jump at the chance to see. When SpeakEasy announced that they were producing the Boston professional premiere of Parade, Brown's epic musical about the Leo Frank murder trial, I instantly bought a ticket... and am immensely happy to have done so.
Rarely, in my years of attending theater, have I seen such an emotional piece. By the end of the first act alone, I was drained. The first act is an incredibly structured piece, moving briskly from exposition, to the murder, to the trial and conviction, all the while showing Frank is indeed human and that the entire trial was a set up. While the second act faltered a bit in its flow, it did not hinder the experience. In all, Parade is a wonderful show, with a top-notch score.
SpeakEasy's production is also top-notch, fitting such a wonderful show. I must begin with my commendation for the ensemble. The music direction perfectly utilized the vocal talents of the ensemble, something that often is lacking in big productions, unfortunately.
Without going into details on the entire cast, I must share the accolades of Brendan McNab (Leo Frank). I had seen Mr. McNab previously in Lyric's 1776 (Dr. Lymon Hall) and See What I Wanna See (The Janitor/A Priest), and was impressed with him in each, but nothing prepared me for his performance in Parade. Throughout the entire performance, I was impressed with McNab's awareness of everything was going on around and inside of him. There was not a moment where I did not see the inner struggle required for the role, something very difficult to master. I believe that people will be talking about McNab's wonderfully nuanced performance for quite a while in the Boston theatre circuit.
The production runs through June 16th, I strongly urge to you go and see it!
On another note, I must say that I am particularly impressed with SpeakEasy's recently announced 2007-2008 season: Zanna Don't!, The Mystery of Edwin Drood, 2007 Tony Nominated "The Little Dog Laughed", Terrance McNally's "Some Men" and the 2006 Tony Award Winner for Best Play "The History Boys". I will most certainly look into subscribing this season!
(In case you were wondering, yes, I have seen lots of theater since my last post, but haven't posted reviews - I'll keep up from now on!)
5.03.2007
Color-Blind Casting
So, here's the first of the opinion entries I said I'd write.
Color-Blind casting. A post on swank just made me think about it, and its effect on shows.
Honestly, it doesn't make a bit of difference, in most cases.
When you enter a theater, and submit to sitting there and watching a performance, you are agreeing to suspend your disbelief. What you will be seeing on the stage before you is the truth, regardless of how silly it is in actuality. Sure, a little boy cannot fly to a world of pretend where little boys don't grow up, but do we complain about this in Peter Pan? No. Lions, baboons and warthogs cannot talk and sing, but is this a bone of contention with The Lion King? Absolutely not. So, to use Aida as an example, what difference does it make that the actress playing Aida is white? Or Amneris black?
In the opening number, "Every Story Is A Love Story", we learn that the Egyptians and Nubians don't get along, and are at war:
All that said, color-blind casting isn't always acceptable. If the show has a racial element in its storyline, then color-blind casting is unacceptable. Take, for example, Ragtime. Coalhouse Walker, Jr., an African-American character, has to fight for what he believes in because of the color of his skin. It is clear cut: Willie Conklin does what he does because Coalhouse is black. This is vital - a white man in the role would just be foolish, totally defeating the purpose of the piece.
Color-Blind casting. A post on swank just made me think about it, and its effect on shows.
Honestly, it doesn't make a bit of difference, in most cases.
When you enter a theater, and submit to sitting there and watching a performance, you are agreeing to suspend your disbelief. What you will be seeing on the stage before you is the truth, regardless of how silly it is in actuality. Sure, a little boy cannot fly to a world of pretend where little boys don't grow up, but do we complain about this in Peter Pan? No. Lions, baboons and warthogs cannot talk and sing, but is this a bone of contention with The Lion King? Absolutely not. So, to use Aida as an example, what difference does it make that the actress playing Aida is white? Or Amneris black?
In the opening number, "Every Story Is A Love Story", we learn that the Egyptians and Nubians don't get along, and are at war:
Egypt saw the mighty river as its very heart and soulIts then established that Aida is Nubian, and Amneris is Egyptian. Shouldn't that be enough? The rules of suspension of disbelief sure say it is. So why must there be a visual distinction in the color of skin of the two characters? Sure, such a separation visually divides the two, and could use the audience's existing knowledge of the world as an aid, but its not necessary, not at all. The Egyptians do not hate the Nubians because of the color of their skin; they were against them as they were rivals for the Nile's great power. As long as you know which side a certain character is on (at least, where the character is coming from), it's enough.
Source of life for all her people
That only Egypt could control
Destruction of her southern neighbor justified
Nubia exploited, left with little more than pride
All that said, color-blind casting isn't always acceptable. If the show has a racial element in its storyline, then color-blind casting is unacceptable. Take, for example, Ragtime. Coalhouse Walker, Jr., an African-American character, has to fight for what he believes in because of the color of his skin. It is clear cut: Willie Conklin does what he does because Coalhouse is black. This is vital - a white man in the role would just be foolish, totally defeating the purpose of the piece.
4.27.2007
The Fantasticks, 4/26/07
Trinity Repertory Company, Providence RI
Seat: House Left, mid-way up
The Fantasticks ran off-Broadway for over 40 years, until the 9/11 aftermath closed the show in January, 2002. The question is: how? How can a show, written in the 1950s, run for so long? The reasons are two-fold: first, it's cheap to run. The show features a cast of 8, orchestra of 3, extremely simple set, and basic costumes. Secondly, the show is timeless. It's the simple story of boy falls in love with girl, boy and girl split up, boy and girl make up. The show has a great message of love, which cannot be dated. This combination is a successful one, obviously.
Going in, I had high hopes for this production - I'd never seen anything bad at Trinity, and this production received good reviews. In short, I was not let down! Upon entering the Chace Theatre, the audience is instantly transported to a fantasy world by the truly wonderful set design by the one and only Eugene Lee, which integrated elements from Rocky Point, the former Rhode Island landmark. As the overture begins, the audience is treated to a very fun magic show by Joe Wilson, Jr (El Gallo) and Nate Dendy (The Mute), which set the stage for a truly magical evening (literally: magic and illusion was used quite prominently throughout the show to great effect).
I have only two qualms with the production: the lighting design (at times) and the singing voice of Stephen Thorne. Overall, John Ambrosone's lighting design was fine; nothing spectacular. That said, there were times where faces were lost, once they left the raised platform used for the stage. This, however, is likely an issue with the actors losing the light as they strayed from the raised portion of the stage. There were a few points, though, where I felt the lighting could have gone farther, most notably during "Round and Round", Luisa's dream sequence. The weak link of the cast, unfortunately, was the singing voice of Stephen Thorne (Matt). While his acting was appropriate for the role, his voice left much to be desired in tone, strength, and, at times, pitch. He could carry a tune, and at times did very well with the harmonies (notably during "I Can See It"), but I certainly wish Trinity had cast more of a singer in the role.
In all, The Fantasticks was a highly enjoyable night at the theater, an evening I highly suggest to those able. The production runs through May 6th (recently extended!) at the Chace Theater, 201 Washington Street, Providence, RI.
Seat: House Left, mid-way up
The Fantasticks ran off-Broadway for over 40 years, until the 9/11 aftermath closed the show in January, 2002. The question is: how? How can a show, written in the 1950s, run for so long? The reasons are two-fold: first, it's cheap to run. The show features a cast of 8, orchestra of 3, extremely simple set, and basic costumes. Secondly, the show is timeless. It's the simple story of boy falls in love with girl, boy and girl split up, boy and girl make up. The show has a great message of love, which cannot be dated. This combination is a successful one, obviously.
Going in, I had high hopes for this production - I'd never seen anything bad at Trinity, and this production received good reviews. In short, I was not let down! Upon entering the Chace Theatre, the audience is instantly transported to a fantasy world by the truly wonderful set design by the one and only Eugene Lee, which integrated elements from Rocky Point, the former Rhode Island landmark. As the overture begins, the audience is treated to a very fun magic show by Joe Wilson, Jr (El Gallo) and Nate Dendy (The Mute), which set the stage for a truly magical evening (literally: magic and illusion was used quite prominently throughout the show to great effect).
I have only two qualms with the production: the lighting design (at times) and the singing voice of Stephen Thorne. Overall, John Ambrosone's lighting design was fine; nothing spectacular. That said, there were times where faces were lost, once they left the raised platform used for the stage. This, however, is likely an issue with the actors losing the light as they strayed from the raised portion of the stage. There were a few points, though, where I felt the lighting could have gone farther, most notably during "Round and Round", Luisa's dream sequence. The weak link of the cast, unfortunately, was the singing voice of Stephen Thorne (Matt). While his acting was appropriate for the role, his voice left much to be desired in tone, strength, and, at times, pitch. He could carry a tune, and at times did very well with the harmonies (notably during "I Can See It"), but I certainly wish Trinity had cast more of a singer in the role.
In all, The Fantasticks was a highly enjoyable night at the theater, an evening I highly suggest to those able. The production runs through May 6th (recently extended!) at the Chace Theater, 201 Washington Street, Providence, RI.
4.05.2007
The Last Five Years, 4/5/07
Blue Spruce Theatre, Watertown, MA
Seat: center-of-the-house
All and all, the show was pretty decent. It was their preview performance, so they still haven't worked 100% of the kinks out (there were a few lighting mishaps, a forgotten prop and one botched lyric), but the performers did a fine job with such difficult material.
The black box theater at the Arsenal Center for the Arts holds about 70 seats, so it is uber-intimate. What made it even more intimate was the attendance tonight.... let's just say that the 5-member orchestra outnumbered the audience (and I'm not exaggerating - there were a total of 4 people in the house, plus the director). It was a shame, hopefully as the run progresses, attendance will pick up.
The production runs through April 15, I urge you all to go out and support this all-new theater company, Blue Spruce Theatre!
Seat: center-of-the-house
All and all, the show was pretty decent. It was their preview performance, so they still haven't worked 100% of the kinks out (there were a few lighting mishaps, a forgotten prop and one botched lyric), but the performers did a fine job with such difficult material.
The black box theater at the Arsenal Center for the Arts holds about 70 seats, so it is uber-intimate. What made it even more intimate was the attendance tonight.... let's just say that the 5-member orchestra outnumbered the audience (and I'm not exaggerating - there were a total of 4 people in the house, plus the director). It was a shame, hopefully as the run progresses, attendance will pick up.
The production runs through April 15, I urge you all to go out and support this all-new theater company, Blue Spruce Theatre!
Souvenir, 2/17/07
by Stephen Temperley
The Lyric Stage Company, Boston, MA
Seats: Row F Center, center section
I went in knowing very little of this new play, and even less about this production, the Boston premiere, put on by the Lyric Stage Company. I had one ticket remaining on my student subscription, and was in the city, so I figured I'd catch the show. Little did I know that I'd be in store for a funny, painful, touching and moving night at the theater.
The role of Florence Foster Jenkins is a difficult one. The actress must have the ability to sing various operatic pieces throughout the show, all the while singing incredibly bad. Jenkins saw herself has an operatic superstar, capable of anything vocally.... when, in fact, she couldn't carry a tune in a bucket. Here, Boston-area favorite Leigh Barrett is in fine form, playing the strong-willed heiress to a T, owning the stage in her own way. At the very end of the play, the audience finally gets a chance to hear just what Jenkins heard in her head, being treated to perhaps the most stunning version of "Ave Maria" I have ever heard. I was nearly in tears. A truly splendid performance by an actress I hope to see again real soon.
Rounding out the two-actor cast is Will McGarrahan, playing Jenkins' accompanist, Cosme McMoon. McGarrahan here pulls a John Doyle-esque double-duty: acting and playing an instrument, actually accompanying Barrett throughout the show. In all honesty, I don't know which aspect of McGarrahan's performance was better - his acting, his playing, or his singing. This was the second performance of this play, and it showed at times in McGarrahan's lines, as he stumbled a bit from time to time, but, had I not have been paying close attention, I probably wouldn't have noticed.
In all, a truly magic night of theater at the Lyric, following everything I've seen of the Lyric Stage company. As I write this in April, this production has since completed its run, so I cannot recommend you go see the show, but had I written this in time, I most certainly would have!
The Lyric Stage Company, Boston, MA
Seats: Row F Center, center section
I went in knowing very little of this new play, and even less about this production, the Boston premiere, put on by the Lyric Stage Company. I had one ticket remaining on my student subscription, and was in the city, so I figured I'd catch the show. Little did I know that I'd be in store for a funny, painful, touching and moving night at the theater.
The role of Florence Foster Jenkins is a difficult one. The actress must have the ability to sing various operatic pieces throughout the show, all the while singing incredibly bad. Jenkins saw herself has an operatic superstar, capable of anything vocally.... when, in fact, she couldn't carry a tune in a bucket. Here, Boston-area favorite Leigh Barrett is in fine form, playing the strong-willed heiress to a T, owning the stage in her own way. At the very end of the play, the audience finally gets a chance to hear just what Jenkins heard in her head, being treated to perhaps the most stunning version of "Ave Maria" I have ever heard. I was nearly in tears. A truly splendid performance by an actress I hope to see again real soon.
Rounding out the two-actor cast is Will McGarrahan, playing Jenkins' accompanist, Cosme McMoon. McGarrahan here pulls a John Doyle-esque double-duty: acting and playing an instrument, actually accompanying Barrett throughout the show. In all honesty, I don't know which aspect of McGarrahan's performance was better - his acting, his playing, or his singing. This was the second performance of this play, and it showed at times in McGarrahan's lines, as he stumbled a bit from time to time, but, had I not have been paying close attention, I probably wouldn't have noticed.
In all, a truly magic night of theater at the Lyric, following everything I've seen of the Lyric Stage company. As I write this in April, this production has since completed its run, so I cannot recommend you go see the show, but had I written this in time, I most certainly would have!
Dirty Rotten Scoundrels, 3/15/07
The Opera House, Boston, MA
Seats: Row E, Center Orchestra on the house right aisle
I won't write a whole new review, as, honestly, I have many of the same thoughts as last time, except the following.
Paige Pardy, from the mezzanine, was just average. Nothing spectacular, but nothing bad, either. When sitting in a spot where you can see facial expressions and her dancing prowess, she is truly a scene-stealer, which is absolutely necessary in the role of Jolene, given her amount of stage time. From the second she first opened her mouth (which was immediately, as she chewed her gum quite loudly and with a wide open mouth), she was hilarious. She has this part down, and looks to be having a great time.
Again, I must also mention Laura Marie Duncan. Her performance is even more special up close. Her final riff, while gorgeous last week, was even more stunning this week, as her family was in the audience.
If this tour comes your way, make a point to go and catch it! It's a tremendous show, sidesplittingly funny in every way possible.
Seats: Row E, Center Orchestra on the house right aisle
I won't write a whole new review, as, honestly, I have many of the same thoughts as last time, except the following.
Paige Pardy, from the mezzanine, was just average. Nothing spectacular, but nothing bad, either. When sitting in a spot where you can see facial expressions and her dancing prowess, she is truly a scene-stealer, which is absolutely necessary in the role of Jolene, given her amount of stage time. From the second she first opened her mouth (which was immediately, as she chewed her gum quite loudly and with a wide open mouth), she was hilarious. She has this part down, and looks to be having a great time.
Again, I must also mention Laura Marie Duncan. Her performance is even more special up close. Her final riff, while gorgeous last week, was even more stunning this week, as her family was in the audience.
If this tour comes your way, make a point to go and catch it! It's a tremendous show, sidesplittingly funny in every way possible.
Dirty Rotten Scoundrels, 3/8/07
The Opera House, Boston, MA
Seats: Mezzanine-level, halfway up, house left
I found this show to be an absolute delight, contrary to many reviews I've read. I've read that the music was weak, the book corny, and the performances of a majority of this cast are lacking; honestly, I couldn't disagree more. While the score may not be the best in the world, it fits the show, which makes it work. And, yes, portions of the book are corny.... but I think that's the point. I had no issues with the book; in fact, I enjoyed it immensely.
Tom Hewitt was a treat as Lawrence. This role is a difficult one - the actor must find a balance between high class and low class, over-the-top humor and bland boringness. Hewitt has achieved that balance, truly owning the stage. His voice is in fine form, and his various accents used throughout the show were distinct, yet easy to follow. A wonderful performance.
D.B. Bonds as Freddie was a mixed bag. I'd say that he was too cartoony, but any less cartoony would make the character boring. That said, he created an endearing character, one you certainly pulled for. One thing that struck me about him, however, was his voice, which was fantastic.
Laura Marie Duncan as Christine.... wow. From the first time she opened her mouth, I was in awe. Honestly, she was perfection. Her acting was spot-on, her voice was stunning, and she is gorgeous. This girl is going to be a star.
Honestly, I'm indifferent on Paige Pardy, Kim Shriver and Drew McVety as Jolene, Muriel and Andre, respectively. They weren't bad by any stretch, but nothing by the way of show stealing.
Overall, I enjoyed the show. I don't think the show itself is the strongest of shows, but it was enjoyable. I'll definitely be seeing this again before it leaves town, hopefully closer to the stage!
Seats: Mezzanine-level, halfway up, house left
I found this show to be an absolute delight, contrary to many reviews I've read. I've read that the music was weak, the book corny, and the performances of a majority of this cast are lacking; honestly, I couldn't disagree more. While the score may not be the best in the world, it fits the show, which makes it work. And, yes, portions of the book are corny.... but I think that's the point. I had no issues with the book; in fact, I enjoyed it immensely.
Tom Hewitt was a treat as Lawrence. This role is a difficult one - the actor must find a balance between high class and low class, over-the-top humor and bland boringness. Hewitt has achieved that balance, truly owning the stage. His voice is in fine form, and his various accents used throughout the show were distinct, yet easy to follow. A wonderful performance.
D.B. Bonds as Freddie was a mixed bag. I'd say that he was too cartoony, but any less cartoony would make the character boring. That said, he created an endearing character, one you certainly pulled for. One thing that struck me about him, however, was his voice, which was fantastic.
Laura Marie Duncan as Christine.... wow. From the first time she opened her mouth, I was in awe. Honestly, she was perfection. Her acting was spot-on, her voice was stunning, and she is gorgeous. This girl is going to be a star.
Honestly, I'm indifferent on Paige Pardy, Kim Shriver and Drew McVety as Jolene, Muriel and Andre, respectively. They weren't bad by any stretch, but nothing by the way of show stealing.
Overall, I enjoyed the show. I don't think the show itself is the strongest of shows, but it was enjoyable. I'll definitely be seeing this again before it leaves town, hopefully closer to the stage!
Introduction
Hello, and welcome to The Glow of the Footlights, my new theatre blog. Normally, I go on and on to my friends about various aspects of theatre - my thoughts on performers, shows, productions, etc. Frankly, I know they don't care most of the time. So, I'll put my thoughts here.
I'll be building a new template for this page, because this is boring. But, it'll do for now, until I get some free time.
I must be going now, but I'll wrap this up by saying that I'll be posting some reviews of shows I've seen in the past in the coming days, as I get this blog going. Tonight I'm seeing a production of Jason Robert Brown's The Last Five Years outside of Boston, so I look for a review of that soon.
'Til next time!
I'll be building a new template for this page, because this is boring. But, it'll do for now, until I get some free time.
I must be going now, but I'll wrap this up by saying that I'll be posting some reviews of shows I've seen in the past in the coming days, as I get this blog going. Tonight I'm seeing a production of Jason Robert Brown's The Last Five Years outside of Boston, so I look for a review of that soon.
'Til next time!
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