New Harry Potter and the Half-Blood Prince trailer is making its way around the Web...
Awesome!
Wednesday, October 29, 2008
Tuesday, October 28, 2008
600 Words + 600 Friends = [tos]some Video for 9pft
There is so much craziness in my life between now and the end of November that once I get past it I might well refer to this month as "The Zombie Month" until the end of my days.
But I just needed to share this with you because it is so incredibly [tos]some:
For a complete list of everyone in order of appearance, please visit:
http://www.supertossers.com/9pft.htm
But I just needed to share this with you because it is so incredibly [tos]some:
For a complete list of everyone in order of appearance, please visit:
http://www.supertossers.com/9pft.htm
Sunday, October 05, 2008
No Day But [tos]day
A couple of weeks ago I spent virtually the entire weekend sitting at my computer doing an analysis for work. Basically, this particular weekend sucked the life out of me and I’ve only just now barely recovered, although I'm still reeling from my 8-year-old asking me why I have to work all the time.Last week, while sitting in my temporary cubicle at the office, the colleagues for whom I prepared this analysis presented me with a gift bag that, among other things, included a $100 Amex gift card that I was instructed to use on myself.
So, what does that mean? It means that I am going to see [title of show] today. It means that today, the vampires will come just a little bit closer to death.
Saturday, October 04, 2008
NYU Brings Tesori's Violet To Light
Have you ever heard the cast recording for a show and fallen in love with it without ever having seen the fully-realized production or read the script? I think there is something very special about a musical that captures your devotion purely based on the music. Some of my most passionate musical love affairs have started this way: Hair and Merrily We Roll Along immediately come to mind. As do some lesser known gems like Iconis’ The Black Suits and Tesori's Violet.
Even though I have had to limit my intake of theatre in 2008, I did have the opportunity to see all four of these productions professionally staged. And good ol’ Thespis did me a favor, too, and smiled on the price tag: I saw all shows for the total ticket price of $60. Yes, boys and girls, you can see quality theatre on a budget!
Basically, if you take these four shows and throw in Bare and a couple plays you’ve got my fantasy directing roster in your hands. Despite (or perhaps because of) my deep affinity for these shows, I have somehow managed to avoid reviewing any of them. Fearful, I suppose, that my own personal vision might cloud my judgment.
This aforementioned avoidance, however, ends here.
Last weekend I had the opportunity to take in the NYU Steinhardt School’s production of Jeanine Tesori and Brian Crawley’s obscure Off-Broadway success Violet. Directed by NYU faculty wunderkind John Simpkins, this production is well-paced, deftly performed and visually exhilarating.
Based on Doris Betts’ novel, The Ugliest Pilgrim, this seldom-produced musical tells the tale of Violet’s journey to visit a faith healer in Oklahoma who she hopes will rid her of the disfiguring scar that she accidentally received from her father’s wayward axe. Along the way, she meets two soldiers who help her to understand the power of forgiveness, acceptance and the beauty we all hold within.
Set during the onset of the Civil Rights Movement, the story offers plenty of opportunity for poignant parallels between Violet’s isolation and that felt by African Americans during a volatile time in our country’s history. Violet also explores religious fanaticism and how the business of the church preys upon the faithful. In both instances, however, the book touches upon these moments all too topically and sometimes borders on the cliché. The dialogue in Violet serves primarily as a way to get from one song to another, which is where most of the storytelling is done.
Most theatre aficionados know Jeanine Tesori as the composer of Thoroughly Modern Millie or Caroline, or Change. These days, Ms. Tesori is working on bringing Dreamworks’ Shrek to the boards. However, it is through Violet’s Southern influenced score that I first got turned on to Tesori. The rousing “On My Way” is a cabaret favorite and the melodic “Lay Down Your Head” was recorded by the incomparable Audra McDonald on her solo album How Glory Goes. The music in this production is rich in gospel, country and blues flavors and, for me, that is music that is comfort food for the soul.
It is no secret that NYU breeds Broadway talent of the finest stock and the cast assembled by Mr. Simpkins only proves that fact. The ensemble of actors, which is comprised of Steinhardt Vocal Performance majors and Masters candidates, masterfully executes the rangy score under the musical direction of Stan Tucker, who also conducts.
In the title role, senior Caitlyn Caughell turns in a stunning performance. An Oklahoma native, she expertly slips into Violet’s country drawl and, despite the fact the scar is invisible to the audience’s eye, Ms Caughell makes you feel the pain of a scar that runs miles deep. The real treat, however, is when she sings and her voice fills the room. Whether sassy, robust or sweet, Ms. Caughell navigates each song with great skill and a big heart, particularly when she implores her father to look at her disfigured face in the aptly-titled “Look At Me”.
As the soldiers that accompany Violet on her journey, senior Gregory Williams (Flick) and junior Rich Krakowski (Monty) are as we want our leading men to be: strong yet gentle. Mr. Williams’ agile tenor voice brings down the house with “Let It Sing” and he delivers a moving performance in what I believe to be the most underwritten character in the play. Mr. Krakowski shines in “You’re Different” and when he implores Violet in “Promise Me, Violet” there is no question in your mind why she does.
The solid performance of senior Ryan Speakman as Violet’s father, the effervescence of junior Natalie Hinds as Young Vi and the sultry song stylings of junior Melanie Field as the Music Hall Singer/Mabel highlight what truly is a strong ensemble of actors with no weak link among them.
Simpkins’ direction and Jennifer Werner’s choreography guide the actors fluidly from scene to scene on a set that easily adapts to multiple locations. With the help of a few period style signs, some moveable furniture pieces and a woodshed, we easily "travel on" with Violet and her entourage. Most notable is the revolving wooden structure that serves as a mountain, a choir loft and a night club. I’ve seen several of Simpkins’ productions and once again he deftly uses levels, angles and multifunctional set pieces to conquer the challenge of musicals with multiple locales.
Violet is a gem that has been lovingly unearthed by NYU. And while she may be the wallflower when you’re looking at your dance card, taking Violet for a whirl at Frederick Loewe Theatre may just surprise you.
Even though I have had to limit my intake of theatre in 2008, I did have the opportunity to see all four of these productions professionally staged. And good ol’ Thespis did me a favor, too, and smiled on the price tag: I saw all shows for the total ticket price of $60. Yes, boys and girls, you can see quality theatre on a budget!
Basically, if you take these four shows and throw in Bare and a couple plays you’ve got my fantasy directing roster in your hands. Despite (or perhaps because of) my deep affinity for these shows, I have somehow managed to avoid reviewing any of them. Fearful, I suppose, that my own personal vision might cloud my judgment.
This aforementioned avoidance, however, ends here.
Last weekend I had the opportunity to take in the NYU Steinhardt School’s production of Jeanine Tesori and Brian Crawley’s obscure Off-Broadway success Violet. Directed by NYU faculty wunderkind John Simpkins, this production is well-paced, deftly performed and visually exhilarating.
Based on Doris Betts’ novel, The Ugliest Pilgrim, this seldom-produced musical tells the tale of Violet’s journey to visit a faith healer in Oklahoma who she hopes will rid her of the disfiguring scar that she accidentally received from her father’s wayward axe. Along the way, she meets two soldiers who help her to understand the power of forgiveness, acceptance and the beauty we all hold within.
Set during the onset of the Civil Rights Movement, the story offers plenty of opportunity for poignant parallels between Violet’s isolation and that felt by African Americans during a volatile time in our country’s history. Violet also explores religious fanaticism and how the business of the church preys upon the faithful. In both instances, however, the book touches upon these moments all too topically and sometimes borders on the cliché. The dialogue in Violet serves primarily as a way to get from one song to another, which is where most of the storytelling is done.
Most theatre aficionados know Jeanine Tesori as the composer of Thoroughly Modern Millie or Caroline, or Change. These days, Ms. Tesori is working on bringing Dreamworks’ Shrek to the boards. However, it is through Violet’s Southern influenced score that I first got turned on to Tesori. The rousing “On My Way” is a cabaret favorite and the melodic “Lay Down Your Head” was recorded by the incomparable Audra McDonald on her solo album How Glory Goes. The music in this production is rich in gospel, country and blues flavors and, for me, that is music that is comfort food for the soul.
It is no secret that NYU breeds Broadway talent of the finest stock and the cast assembled by Mr. Simpkins only proves that fact. The ensemble of actors, which is comprised of Steinhardt Vocal Performance majors and Masters candidates, masterfully executes the rangy score under the musical direction of Stan Tucker, who also conducts.
In the title role, senior Caitlyn Caughell turns in a stunning performance. An Oklahoma native, she expertly slips into Violet’s country drawl and, despite the fact the scar is invisible to the audience’s eye, Ms Caughell makes you feel the pain of a scar that runs miles deep. The real treat, however, is when she sings and her voice fills the room. Whether sassy, robust or sweet, Ms. Caughell navigates each song with great skill and a big heart, particularly when she implores her father to look at her disfigured face in the aptly-titled “Look At Me”.
As the soldiers that accompany Violet on her journey, senior Gregory Williams (Flick) and junior Rich Krakowski (Monty) are as we want our leading men to be: strong yet gentle. Mr. Williams’ agile tenor voice brings down the house with “Let It Sing” and he delivers a moving performance in what I believe to be the most underwritten character in the play. Mr. Krakowski shines in “You’re Different” and when he implores Violet in “Promise Me, Violet” there is no question in your mind why she does.
The solid performance of senior Ryan Speakman as Violet’s father, the effervescence of junior Natalie Hinds as Young Vi and the sultry song stylings of junior Melanie Field as the Music Hall Singer/Mabel highlight what truly is a strong ensemble of actors with no weak link among them.
Simpkins’ direction and Jennifer Werner’s choreography guide the actors fluidly from scene to scene on a set that easily adapts to multiple locations. With the help of a few period style signs, some moveable furniture pieces and a woodshed, we easily "travel on" with Violet and her entourage. Most notable is the revolving wooden structure that serves as a mountain, a choir loft and a night club. I’ve seen several of Simpkins’ productions and once again he deftly uses levels, angles and multifunctional set pieces to conquer the challenge of musicals with multiple locales.
Violet is a gem that has been lovingly unearthed by NYU. And while she may be the wallflower when you’re looking at your dance card, taking Violet for a whirl at Frederick Loewe Theatre may just surprise you.
=====================
NYU’s Violet runs September 26-27, and October 2-4 at 8:00pm and September 28 and October 5 at 3:00pm at the Frederick Loewe Theatre at 35 West 4th Street. Tickets are $20 general admission and $5 with valid NYU ID. For more information and to make ticket reservations, call (212) 998-5281.
=====================
Saturday, September 27, 2008
I Need A Little More Time...
My schedule is complete madness right now. Of course, those of you who know me well know that my schedule is always madness. But sometimes there is a little more insanity than usual. This is one of those times.
Yesterday I had a wonderful, albeit brief, dinner with friends and then joined another group of friends downtown to see NYU's production of Violet. That would have been, of course, the optimal time to take in the matinee of [title of show] before it shutters on October 12th but my bank account, unfortunately, disagrees. I am hoping that Hunter, Jeff, Heidi and Susan's current campaign to save [tos] keeps it on the boards a little bit longer. If you haven't already done so, please sign the petition to get them on Ellen. You never know... If Ellen tells 999,000 people and those 999,000 tell 9 people...
Well, you do the math.
Thursday, September 18, 2008
You Can't See Everything
OK everyone, this economy is beginning to piss me off! Why? Because I can't afford to go to the theatre.
It angers and saddens me to hear and say these words. But it's true.
Despite the fact that all but one of the Broadway and Off-Broadway shows I've seen this year have been either heavily discounted, inexpensive (under $20), a gift or free, it is still a costly venture. When you figure in the price of getting into the City, parking and food, it can end up costing in the neighborhood of $100. Multiply that by a dozen shows and we're talking a significant chunk of change. Factor that in with the rising costs of gas, utilities and food and it's just not pretty.
Alicia's world with no theatre. Not pretty.
The other distressing effect this economy has is on the shows themselves. Several shows planned for the 2008-2009 season have been postponed or canceled, primarily due to issues of the money sort. Running shows have been taking the hit at the box office. This is the reason Rent closed. This is the reason I was not able to see Passing Strange before it closed. This is probably why I will not get to see [title of show] before it closes.
My bemoaning the fact that I had heard that [title of show] is papering heavily and is rumored to close very soon was met with this response from my husband: "You can't see everything."
So not pretty. I really wanted to tell Susan Blackwell that she is my hero.
Good thing we received an early anniversary gift from my father and will be seeing Equus in October. Because if I missed that it would get downright ugly.
It angers and saddens me to hear and say these words. But it's true.
Despite the fact that all but one of the Broadway and Off-Broadway shows I've seen this year have been either heavily discounted, inexpensive (under $20), a gift or free, it is still a costly venture. When you figure in the price of getting into the City, parking and food, it can end up costing in the neighborhood of $100. Multiply that by a dozen shows and we're talking a significant chunk of change. Factor that in with the rising costs of gas, utilities and food and it's just not pretty.
Alicia's world with no theatre. Not pretty.
The other distressing effect this economy has is on the shows themselves. Several shows planned for the 2008-2009 season have been postponed or canceled, primarily due to issues of the money sort. Running shows have been taking the hit at the box office. This is the reason Rent closed. This is the reason I was not able to see Passing Strange before it closed. This is probably why I will not get to see [title of show] before it closes.
My bemoaning the fact that I had heard that [title of show] is papering heavily and is rumored to close very soon was met with this response from my husband: "You can't see everything."
So not pretty. I really wanted to tell Susan Blackwell that she is my hero.
Good thing we received an early anniversary gift from my father and will be seeing Equus in October. Because if I missed that it would get downright ugly.
=========================================
Monday, September 15, 2008
A Mamma Mia Oscar for Streep Is Doubtful
For those of you who belong to the faction that feels Meryl Streep should receive an Oscar nomination for her portrayal of Donna Sheridan in the summer blockbuster Mamma Mia, I implore you to watch this.
Meryl Streep will assuredly garner a 2008 Oscar nod for her portayal of Sister Aloysius, the role for which Cherry Jones won the 2005 Best Actress Tony Award. While I would have preferred to see Cherry go head-to-head with Philip Seymour Hoffman, I am intrigued to see Streep's interpretation of the role.
And if Streep's portrayal of the flaky Donna Sheridan wins out over hard-nosed nun Sister Aloysius, you can expect to hear some loud protestations. And I mean loud!
Thursday, September 11, 2008
Broadway's 2009 Season Continues to Beckon
The ridiculousness of my schedule right now has me literally standing in a room, spinning in circles before pointing myself in the direction of the next project that needs my attention. Very frustrating. Because I have a LOT to write about but no time to do it in.
That said, I had to stop in for a minute because I could not let these two litle tidbits pass my ever-faithful readers by:
It has been officially announced that The Public's production of Hair is officially making the move to Broadway in 2009. Given the play's subject matter, I find it quite ironic and telling that this announcement was officially made on September 11th. I've seen this production evolve from its concert version in September 2007 and the Central Park staging in August 2008 and I am very much looking forward to the Broadway revival.
Beads. Flowers. Freedom. Happiness.
Much happiness.
=====================================
That said, I had to stop in for a minute because I could not let these two litle tidbits pass my ever-faithful readers by:
TIDBIT #1.
[Kevin McCollum] opens West Side Story Dec. 16 in Washington D.C.'s National Theatre, where it was originally launched in 1957, and will open on Broadway "at a theatre we're going to name in about three weeks. When Arthur called and said, 'I think it should also be bilingual,' I said, 'Okay, I'm in.' Even though it's a revival, it's a fresh take. I'm excited about that. We're talking to Lin-Manuel Miranda about translating Sondheim into Spanish. He has met with Arthur. He's going to meet with Stephen. It's just a consult right now. We're just asking him to contribute ideas, and we'll see what happens.
I just saw In The Heights on Saturday night and, while West Side Story was already very much on my radar, it is now an even brighter beeping beacon with the involvement of the infectiously charming and talented Lin-Manuel Miranda.
(SIDENOTE: I really hope that I can spend a few minutes to do a review of In The Heights but if you reference Paragraph #1 you will see that it is not coming any time soon.)
TIDBIT #2.
It has been officially announced that The Public's production of Hair is officially making the move to Broadway in 2009. Given the play's subject matter, I find it quite ironic and telling that this announcement was officially made on September 11th. I've seen this production evolve from its concert version in September 2007 and the Central Park staging in August 2008 and I am very much looking forward to the Broadway revival.
Beads. Flowers. Freedom. Happiness.
Much happiness.
=====================================
Saturday, August 30, 2008
Sorkin "Friended" By Facebook for Biopic
Aaron Sorkin's newest writing project? A biopic about the creators of Facebook. Sorkin, a famed and sought after LA-based writer, has long had a fan in me. And I sure do love me some Facebook. Mark Zuckerberg, creator of the social networking phenomenon, has turned down billion-dollar offers in order to remain independent. The many ownership debates, Facebook's remarkable growth and its presence in the media certainly makes for some good film fodder. And Sorkin definitely has a gift for eloquently turning fodder into though-provoking entertainment.
Sorkin got his start writing for the stage and was quickly swept off to Hollywood where he has penned several successful and critically-acclaimed films. His screenplay writing credits include A Few Good Men, Malice, The American President and Charlie Wilson's War. Sorkin is probably best-known and most-loved for creating and acting as head writer for three very popular TV series: Studio 60, The West Wing and Sports Night.
Last year saw Sorkin returning to Broadway as the author of the very mediocre The Farnsworth Invention. As I stated in my review, it seems as though the producers (which included Steven Spielberg) could not decide if Farnsworth was a film or a play and made the wrong choice. Perhaps the forthcoming film Flash of Genius, which also tells the story of an inventor who gets the shaft, will work better.
In addition to the Facebook film, Sorkin has been tapped for The Trial of the Chicago 7 and the film adaptation of Stephen Sondheim's Follies. I have every confidence that Sorkin will deliver with a heavyhitting courtroom drama, as that is his sweet spot. I have reservations about how he will handle Follies. Hopefully he is more successful bringing stage to screen than he is trying to morph a screenplay to the stage.
=======================
Sorkin got his start writing for the stage and was quickly swept off to Hollywood where he has penned several successful and critically-acclaimed films. His screenplay writing credits include A Few Good Men, Malice, The American President and Charlie Wilson's War. Sorkin is probably best-known and most-loved for creating and acting as head writer for three very popular TV series: Studio 60, The West Wing and Sports Night.
Last year saw Sorkin returning to Broadway as the author of the very mediocre The Farnsworth Invention. As I stated in my review, it seems as though the producers (which included Steven Spielberg) could not decide if Farnsworth was a film or a play and made the wrong choice. Perhaps the forthcoming film Flash of Genius, which also tells the story of an inventor who gets the shaft, will work better.
In addition to the Facebook film, Sorkin has been tapped for The Trial of the Chicago 7 and the film adaptation of Stephen Sondheim's Follies. I have every confidence that Sorkin will deliver with a heavyhitting courtroom drama, as that is his sweet spot. I have reservations about how he will handle Follies. Hopefully he is more successful bringing stage to screen than he is trying to morph a screenplay to the stage.
=======================
Related Article: Aaron Sorkin To Write Facebook Film
=========================
Friday, August 29, 2008
Change Is Officially Imminent
Monday, August 25, 2008
The Simpsons Intro in Live Action - 2 Cool!
This video has amassed in excess of 2 million hits since it was added over 2 years ago. 2day, however, was the 1st time I saw it... And it was 2 good not 2 share! Enjoy!
Sunday, August 24, 2008
Where The Wild (And Talented) Things Are: 92nd Street Y
Oh, if only I could attend this little event up at the 92nd Street Y...
Several of the announced guests for this celebration/fundraiser are associated with the forthcoming film. This includes director Spike Jonze, Wild Thing Forest Whitaker, Catherine Keener and everyone's favorite Soprano James Gandolfini. Should that list not suffice, they've thrown in some Tony Kushner, Meryl Streep and Anika Noni Rose, among others, for good measure.
General sale tickets are sold out but benefit tickets to for special seats and a post-performance cocktail party are available by contacting Marissa Carty at 212-415-5488 or by e-mail. Funds are donated to Y-sponsored Education Outreach Intiatives that serve 8,000 kids each year.
That's a good thing folks. So if you'll be in NYC on September 15th, if you've got the cash for those special seats and want to part of something cool, I'm thinking this event will qualify.
Incidentally, the Warner Brothers film just wrapped an expensive reshoot in June and is listed on IMDb as being in post-production. A 2009 release date is anticipated though nothing definitive has been released from the studio since mid-July. I respect the fact that the studio is willing to invest time and money in order to give this classic story the artistic attention and integrity it deserves.
I, for one, can't wait...
==============================
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Tuesday, August 19, 2008
Ethics of Reciprocity In Hollywood?
Call it what you will: karma, the Golden Rule or simply what comes around goes around. Whatever you call it, it is nice to see some of Hollywood's finest realize that it is there but for the grace of God and to take a moment to do unto Matilda.
Johnny Depp, Colin Farrell and Jude Law have reportedly donated salaries received for completing The Imaginarium of Dr. Parnassus to Heath Ledger's daughter, Matilda. Ledger was in the middle of filming Dr. Parnassus when he died of an accidental overdose in January 2008. Following his death, the three actors stepped into Ledger's role so that the film could be completed.
Kudos for a classy move, guys!
Sunday, August 17, 2008
Never Neverland (Fly Away)
Well, it has been a month now since Peter Pan has closed. The project was a lot of work but it was also exceedingly rewarding. I believe we brought a good production to the community on a shoestring budget and exposed many kids and families to the wonderment of producing theatre. If we accomplished nothing else, it was that.
But we did accomplish more... In previous posts I have also mentioned The Heart Gallery exhibit that was being displayed in the theatre's Geissinger Annex Gallery during the run of Peter Pan. Every night after the show we would gather in the Annex among the faces of over 30 children searching for permanent homes through adoption. Words cannot express the feelings experienced when I learned that 4 of the children from that exhibit have now been placed in homes. Indeed, a little fairy dust was sprinkled on our unassuming theatre in Brookfield. And it is because of moments like that in life that I do believe.
So, I have left Neverland behind and have pointed my compass in the direction of Concord, NH. Beginning in September, I will be spending a few months at TBTA with Jo March and about as much estrogen as one show can muster. In many ways, Little Women will be the polar opposite of the musical about the boy who would not grow up. This is definitely a journey that I am eager to begin.
Beyond September, plans are in the works and announcements are forthcoming... So stay tuned.
========================================
"Never Neverland (Fly Away)" from Dreaming Wide Awake by Scott Alan
But we did accomplish more... In previous posts I have also mentioned The Heart Gallery exhibit that was being displayed in the theatre's Geissinger Annex Gallery during the run of Peter Pan. Every night after the show we would gather in the Annex among the faces of over 30 children searching for permanent homes through adoption. Words cannot express the feelings experienced when I learned that 4 of the children from that exhibit have now been placed in homes. Indeed, a little fairy dust was sprinkled on our unassuming theatre in Brookfield. And it is because of moments like that in life that I do believe.
So, I have left Neverland behind and have pointed my compass in the direction of Concord, NH. Beginning in September, I will be spending a few months at TBTA with Jo March and about as much estrogen as one show can muster. In many ways, Little Women will be the polar opposite of the musical about the boy who would not grow up. This is definitely a journey that I am eager to begin.
Beyond September, plans are in the works and announcements are forthcoming... So stay tuned.
========================================
"Never Neverland (Fly Away)" from Dreaming Wide Awake by Scott Alan
Friday, August 15, 2008
Wednesday, August 13, 2008
Obama, Iconis & Sondheim
Wait! Barack Obama listens to Joe Iconis? When asked about late-period musical theatre, Obama replied thusly:
Despite the emergence of the Brown-Lippa-LaChiusa triptych and younger, DIY voices like Lopez/Marx and Joe Iconis and in the post-Larson era, no one writing today even approaches the emotional depth, harmonic complexity and the spiritual clarity evident in the work of the still-living legend Stephen Sondheim. Maybe Adam Guettel, but he supports drilling.
Of course, I think it is a bit unfair and premature to compare Joe Iconis to America's most revered living musical theatre composer, who happens to be 50 years Iconis' senior. I also have a hard time believing that Obama is rocking out to Iconis on his iPod... I'm just saying.
And since we're speaking of Sondheim...
The WSS announcement comes directly on the heels of The Public Theater announcing the Off-Broadway run of Sondheim's Road Show. The musical, whose previous incarnation under the title of Bounce, will be directed by Sondheim's staple director of late John Doyle. The production will star Michael Cerveris and Alexander Gemignani.
And in more solemn Sondheim news, George Furth, the librettist for Company and Merrily We Roll Along, passed away at the age of 75. Merrily is one of my favorite Sondheim musicals, one that is also rumored for revival. Strangely enough, in my quest to find a composer for my musical project, I received a resume from someone who recently worked with George and cited him as one of his references. Perhaps this is a sign. And you know how I am about signs...
==========================================
Related Article: Barack Obama and John McCain Weigh In On Pop Culture
==========================================
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Friday, August 08, 2008
A Little Toast with Jam-boree
As usual, Iconis and his merry band of troubadours kicked some major ass at Joe's Pub this past Monday night. Take a gander at some highlights from the evening...
"Vagabond" performed by Matt Hinkley
"Helen's In Skin Flicks Now" performed by Jason "Sweet Tooth" Williams
"The Bar Song" featuring Jason "Sweet Tooth" Williams, Joe Iconis, Matt Hinkley and Lance Rubin
"The Goodbye Song" performed by John Gallagher, Jr.
Thursday, August 07, 2008
Crazy Talented Cheyenne
How amazing is it to be Seth Rudetsky and constantly be around people as sick with talent as this? I'm guessing pretty fucking amazing.
Wednesday, August 06, 2008
August: Osage County Inches Closer To The Silver Screen
Tracy Letts' stellar ensemble play, which already boasts the Pulitzer and five Tonys, is getting closer to what will undoubtedly be a few Oscars.
According to Variety, Doumanian Productions and Steve Traxler, the Broadway production's lead producers, will executive produce the cinematic incarnation of dysfunctional tour-de-force written by Steppenwolf playwright Tracy Letts. No budget, schedule or cast has been set but every time a Hollywood A-list actor goes to see August: Osage County, rumors certainly fly. In fact, theatre bloggers have made great sport of predicting which Tinsel Town luminaries they'd like to see bring the Weston family to the big screen.
I realize that several of the original cast will have had the opportunity to perform this masterpiece in London and perhaps on the US tour. I also understand the allure that some of the best written roles in contemporary theatre hold for established film actors. But please, God, please, let the Steppenwolf actors have the opportunity to immortalize their brilliant performances for the public at large. A broader audience deserves to see those performances.
And I did say please.
=========================
Click here to play casting agent for August: Osage County in the Fantasy Casting poll.
=========================
Monday, August 04, 2008
The Dempster Girls Take In The Plants That Ate Dirty Socks
So apparently the most popular keywords currently driving traffic to my blog are (1) related to reviews of Joe Iconis' The Plant That Ate Dirty Socks or (2) my maiden name.
Well who am I to disappoint?
If you are searching under my maiden name, you probably know me from my college years or before. A lot has changed since then. I am now Alicia Dempster. Google that. Or friend me on Facebook.
Also, as it would happen, on a rainy Sunday afternoon last week my three daughters and I took the train to the City to see Plant, the second of the two fully-realized Iconis shows produced this summer. And, since it is what my readers want, I will write a review.
In its 20th season of offering free theatre to children, TheatreworksUSA's production of The Plant That Ate Dirty Socks continues the tradition of providing literature-based musicals featuring some of theatre's most promising talent. Iconis' one-hour family friendly rock musical is currently in production at the Lucille Lortel Theatre and is based on the first installment of Nancy McArthur's popular book series from the late 80s. A less-gory spin on another rock musical, Little Shop of Horrors, it is the story of two very different brothers who find common ground in their unusual plants.
Many of the titles in Joe's songbook are for mature audiences only, so several tracks get skipped when we're listening to Mommy's Iconis CD in the car. My girls have, however, heard "Plants Make Wonderful Pets" enough times that they were humming it well before they saw the show. In fact, we even incorporated the book into storytime, so they were aptly primed for our journey to see the musical adaptation.
Iconis' pulsating rock score and clever lyrics are appealing to both the primary audience for which they are intended and the parents seated at their side. Most notable are the jaunty and catchy "Plants Make Wonderful Pets" and "Welcome To My Room", although the one that my girls now keep screaming around the house is "I Saw It Suck Up A Sock!" Some of Iconis' best songs, in my opinion, are the ones with lilting melodies and simple sentiment, thus making "Sorta Kinda Not So Bad" my personal favorite (hey, I'm a sentimentalist).
Iconis' book solidly retells McArthur's story with only minor variances from the less-than-complex chapter book. Most of the changes, I presume, were made to keep the cast size small and its run-time under an hour thus increasing its tour appeal. While children's theatre may not be the genre one would dub as being in Iconis' comfort zone, he has certainly risen to the task with an infectious and entertaining production.
The at-odds brothers, portrayed by Jason "Sweet Tooth" Williams and Lance Rubin, are energetic and endearing. Williams is wide-eyed and soulful as big brother Michael, a perfect compliment to Rubin's dorky yet comical Norman. Both manage the various song styles with the vocal power necessary to handle a loud, rock score but lend just the right amount of heart to ballads like the aforementioned "Sorta Kinda Not So Bad".
As the meddling neighbor kids, Lauren Marcus and Jeffery Omura have the opportunity to show off their pipes in their featured number, "Talk of the Town." Marcus is spirited and nasty as nosy-cheerleader-with-a-dark-side Patty Jenkins. Her bulldog scene with Lisitza is classic and, despite her tantrums, her character was a favorite with my girls. Doubling as egomanical 7th grade pal Jason and ratings-hungry telejournalist McKenzie, Jeffrey Omura creates characters that are appropriately loathesome. He also has 15 seconds in "Welcome To My Room" as the Mailman that delivers the mysterious sock-eating plant seeds. My eldest daughter was deeply concerned that he was not credited for this role in the Playbill. I believe she may have a future as an agent.
Lorinda Lisitza and Kilty Reidy play the boys' far-too-accomodating parents with cartoon character perfection. Since most of the songs are relegated to the kids characters, the only time we really got to hear Lorinda wail is during the riotous "Talk of the Town". But wail she does. For more wailing, click here. Lisitza and Reidy also show up at the science fair to chew the scenery a bit as Sanjay and the Judge respectively.
The eponymous plants are the brainchild of puppeteer designer Eric Wright and are manipulated by puppeteer Michael Shupbach. While I did see some kids hiding their eyes during the sock-slurping scenes, the plants are truly lovable, as is witnessed in a cute and humorous scene between Michael and his plant Stanley.
No strangers to Iconis material, director John Simpkins and choreographer Jennifer Werner stage a tight production. Michael Schweikardt's colorful set deftly set the stage, whether it is the boy's bedroom or the cafegymitorium, and it is highlighted by Tracy Christensen's youthful costumes and Chris Dallos' lighting design.
While I personally prefer my Iconis a little bloodier, Plant is a great introduction to the brilliantly damaged mind of Joe Iconis. I had a great afternoon at the theatre with my girls and, with all due to respect to the folks over at CityCenter, they said they liked it better than Damn Yankees.
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The Plant That Ate Dirty Socks runs at the Lucille Lortell Theater in New York until August 22nd. For information, visit http://www.theatreworksusa.org/.
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