QUICK REVIEWS 2013 [STICKY POST - Current reviews follow]

These are the shows I've seen in 2013 with a quick rating for each and links to any reviews I've done. Please scroll down for other recent posts.

I also have a list of shows I've seen since 2007. (Ok, it's quite a bit out of date now.)

BEST. EVER.

ZOMG

W00T

Cat on a Hot Tin Roof - Broadway (in previews)
Picnic - Broadway (in previews)

YEAH

Other Desert Cities - Speakeasy - Boston

OK

MEH

UGH

BOOOOO

KILL. ME. NOW.
n/a

2012 reviews.
2011 reviews.


[Updated 2/4/2013]

Hello 2013 (Picnic and Cat on a Hot Tin Roof)

I have seen two shows already this year, and I liked them both. Last weekend, I saw Cat on a Hot Tin Roof and Picnic in previews with Arthur and Lisa. We all liked both shows. I had been worried about Picnic because the Huntington's production of William Inge's Bus Stop seemed so dated and unnecessary. But Picnic has so much to say about gender roles and socioeconomic problems that reviving this Inge play actually makes sense (though I found the plot in the second act less compelling).

The pacing in Cat needs to be tightened, and I think Scarlett Johansson actually underplays her sex appeal, sexual frustration, and marital desperation. Plus her accent doesn't sound at all like she is from North Carolina or Memphis. I am SO sick of amorphous, overdone Southern accents. Benjamin Walker and Debra Monk are good as Brick and Big Mama, and Ciarán Hinds is PERFECT as Big Daddy. I loved him in The Seafarer, too, and I'm thrilled that he's continuing to act in New York. I'd keep Hinds here always, if I could. I have to say that this is the most I've enjoyed Emily Bergl on stage--a really excellent performance from her as Sister Woman.

Shall we talk about Picnic and beefcake Sebastian Stan? I really love how the entire first scene is dedicated to ogling his shirtlessness (both by the audience and by the characters). Is it just me or is he a bit orange, though, as though he used bronzer instead of having a real tan? I'm sure that's healthier, and maybe it looked better from farther back, but I found it distracting. Also--and I hate to actually complain about all that skin--did they really have low-rise jeans back then?

Anyway, Stan is fantastic in the role (though any line that included "baby" sounded a bit off), and I'd go see him in anything (and I can't wait for the Captain America sequel). He certainly has a spin at Stanley Kowalski in his future. Also, he's a graceful dancer?! I wonder if he can sing ... I'm now fantasizing about him playing Riff in West Side Story. Seriously, as lovely as his physique is, I really, really just want to watch him dance some more.

The rest of the casting for Picnic is spot on, too. Stan's chemistry with Ben Rappaport and Maggie Grace is great. Really, everyone in the cast is fantastic, as you would expect from a group including Ellen Burstyn, Maddie Corman, Mare Winningham, Elizabeth Marvel, and Reed Birney. I mean, I've mentioned repeatedly how I love Reed Birney. Always. Grace is a good casting choice, and I was pleasantly suprised by her performance. But I especially liked Madeleine Martin, formerly of August: Osage County, as Millie, and I can't wait to see her in future shows.

I think I'm not back in New York for about six weeks, when I'll finally be seeing The Mystery of Edwin Drood and Who's Afraid of Virgina Woolf, which has the best window card I've ever seen (it's already hanging on my wall). I've always loved Woolf, and I'm excited about seeing a lot of the Drood cast, including Conor McPherson regular Jim Norton, Stephanie Block, Chita Rivera(!!!), and Jessie Mueller. I hear it's a good time.




I suspect that in 2013 I'll be seeing fewer shows. I have less disposable income, and we just adopted two polydactyl cats, so I don't want to be gone every weekend until we've bonded more. Plus, I'd miss them! I'll try to be better about seeing Boston theater to make up for it. I need to start with getting a ticket to Pippin before it transfers to Broadway.

Here are the new cats, Jack (all black) and Milo (black and white). We adopted them from the Northeast Animal Shelter in Salem, Mass.



(We considered calling Milo Fanty, for Phantom, since it kind of looks like he's wearing a mask, but the name didn't stick.)

Quick reviews 2012

These are the shows I've seen in 2012 with a quick rating for each and links to reviews (some still to come). Please scroll down for other recent posts.

I also have a list of shows I've seen since 2007. (Ok, it's a bit out of date now.)

BEST. EVER.

Black Watch - National Theatre of Scotland at Shakespeare Theatre - D.C.

ZOMG

The Agony and the Ecstasy of Steve Jobs - Public

Assassins - Broadway Reunion Concert - Roundabout
Cock - The Duke

Da - Gate - Dublin, Ireland
Dirt, Part I - HERE Summer Sublet Series
DruidMurphy cycle - Druid Theatre/Lincoln Center Festival
The Elaborate Entrance of Chad Deity - Company One - Boston

Freestyle Love Supreme

Once - New York Theatre Workshop and Broadway transfer
Prison Dancer: The Musical - NYMF

Tribes - Barrow Street
Uncle Vanya - Sydney Theatre Company/Lincoln Center Festival
The Whale - Playwrights Horizons

W00T

American Idiot tour

Assistance - Playwrights Horizons

The Best Man - Broadway

Billy Elliot - Broadway

The Canterbury Tales Remixed - SoHo Playhouse

Chimichangas and Zoloft - Atlantic
Falling - Minetta Lane Theatre
Glengarry Glen Ross - Broadway

An Iliad - New York Theatre Workshop

Lonely, I'm Not - Second Stage

Long Day's Journey into Night - New Rep - Boston
Macbeth - National Theatre of Scotland/Lincoln Center Festival
No Room for Wishing - Company One and Central Square Theater - Boston/Cambridge

A Number - Whistler in the Dark - Boston

Outside People - Vineyard

Slowgirl - Lincoln Center
Uncle Vanya - Soho Rep

YEAH

Backbeat - Mirvish Productions - Toronto
Bengal Tiger at the Baghdad Zoo - Company One - Boston
Bring It On - Broadway
Le Cabaret Grimm - NYMF
Car Talk - Underground Railway Theater - Cambridge
Chinglish - Broadway

The Columnist - Broadway

The Common Pursuit - Roundabout

Death of a Salesman - Broadway

Dogboy & Justine - workshop production at American Theater of Actors

An Early History of Fire - New Group

February House - Public
Fried Chicken and Latkes - Actors Temple Theatre

Gentlemen Prefer Blondes - Encores
Golden Age - New York City Center
Good People - Huntington - Boston

Harold and Maude musical - York Musicals at Mufti
Hedwig and the Angry Inch - Rose Tinted Productions/A.R.T. - Cambridge
*Hedwig and the Something Homunculus (that's what I remember about the working title) - workshop presentation at AFTERGLOW - Provincetown, MA
The Heiress - Broadway
If There Is, I Haven't Found It Yet - Roundabout
Ingmar Bergman's Persona - HERE Summer Sublet Series

Leap of Faith - Broadway

The Lyons - Broadway

Merrily We Roll Along - City Center Encores
Modern Terrorism, or They Who Want to Kill Us and How We Learn to Love Them - Second Stage

Next to Normal - Speakeasy - Boston

One Man, Two Guvnors - Broadway

Potted Potter - Little Shubert

Stick Fly - Broadway

Storefront Church - Atlantic

That Beautiful Laugh - La Mama
Through the Yellow Hour - Rattlestick
Two Gentlemen of Verona - Actors' Shakespeare Project - Somerville

Wit - Broadway

Too tired for a three-show day

I'm tired, y'all. I hate the summer heat. I feel gross all the time and have trouble sleeping. So forgive me if this post makes even less sense than usual. Also I'm writing it out on my phone using Swype, so there are sure to be embarrassing errors. I just hope they're funny ones.

Anyway, I'm up early (for me) and hadn't posted in forever, and my already questionable judgment is compromised, so it seemed like a good time to say things on the Internet for everyone (or maybe five people) to see.

Today is day three of a four-day, seven-show weekend in New York with Lisa. Thursday I almost got a migraine laughing my head off at James Corden in One Man, Two Guvnors. I'm not a huge fan of that kind of farce in general, so extra kudos to Corden and his crew for the thoroughly delightful evening.

Yesterday was a two-movies-and-a-musical day. I saw The Avengers movie again followed by watching Cabin in the Woods again. I really love them both, and not just because I'm a Joss Whedon fangirl. (What, Swype didn't have "fangirl" in its standard dictionary? Disappointing.)

Then we saw Newsies. Finally. So that happened. And won't be happening again.

This afternoon we're seeing Topher Grace in Lonely, I'm Not at Second Stage. (Really, Swype? You give me "fecund" and "devine" before "second"?) Then we're catching the early evening performance of Potted Potter before splitting up so Lisa can see The Lyons, which I already saw recently (alas, not decadently, Swype!). (Don't worry, Nicky Silver, I'm sure she'll love it. You can stop pacing.) I'm going to Chimichangas and Zoloft at the Atlantic. (So, Swype knew "Zoloft" but not "chimichangas"? That's very disturbing.)

Tomorrow we're getting our lit-nerd on with the musical February House at the Public. I'm predisposed to like it.

To wrap up the weekend, we're going to try to get tickets FOR (not "fir," you stupid tiny portable generally awesome pocket computer) Rapture, Blister, Burn* at Playwrights Horizons. (I'm really looking forward to seeing Virginia Kull, whom I loved in Assistance.)

So, anyway, it's time for about seven frigid showers to wake me up for this long (awesome) day.

See you on the flip side. (See? Dementia from overheating!)

* Update: We ended up paying $25 to see Cock (what a bargain!) instead of rushing Rapture, Blister, Burn. We'll catch Kull's show in June instead. Also, you can bet your ass I'll be paying more money for Cock in the future. ;)

Leap of Faith

http://leapoffaithbroadway.com

What? You're trying to decide whether to see Leap of Faith*** on Broadway? How is that even a question?

Ok, it's possible that I can't be even a little bit objective about this show. I love the movie on which this musical is based. And we all know I'm a sucker for it raining on stage. Plus Raúl Esparza is a sexy beast. And--as you can see above--he wears a freaking mirror-ball jacket. While singing his balls off. Alongside Jessica Phillips singing her ovaries off.

Overall, the movie is much better, but I think you'll like the musical too (though pretty much ALL the professional reviewers seem to disagree). I don't even care that I can't remember any of the songs right now. They sound great when they're happening, and the show is just so. much. fun.

Esparza as a womanizing, swindling, fake revival preacher? YES PLEASE. Phillips as a jaded sheriff and single mother? Oh yeah. (Seriously, her voice is so amazing in this that I really wish I'd seen her in Next to Normal.) Leslie Odom Jr., Kendra Kassebaum, and the rest of the cast are fantastic and have huge voices. For me the only problem is Talon Ackerman as the wheelchair-bound son, but that part is seriously underwritten so it's not entirely his fault.

All in all, I found Leap of Faith to be more fun than Bonnie & Clyde, Catch Me if You Can, and Priscilla, Queen of the Desert combined.

*** I saw this show in previews.

Go see Assistance. Now.

[SCROLL TO THE BOTTOM FOR TWO PHOTOS OF THE ASSISTANCE CAST BEING RIDICULOUSLY AWESOME.]

So, as I mentioned earlier, I'm leaving my awesome publishing job at the end of this month. And this is interfering with my theater life. Wrapping everything up is taking over my life. I suppose leaving a job I love and moving on to a new adventure should be difficult, though. And the end is in sight!

I'm really looking forward to no longer canceling New York weekends. Last weekend I missed all of the following:
* How to Succeed in Business without Really Trying (canceled in advance because Michael Urie was going to be out to film a pilot, and I didn't really need to see it without him and without Mary Faber, who has left the show).
* CQ/CX, at the Atlantic Theater (closing March 11, so I won't get to reschedule because I'll be in Denver this weekend visiting my brother and seeing the American Idiot tour again)
* Once, on Broadway (rescheduled for early April, which cannot come soon enough because I loved it the 4 times I saw it at the New York Theatre Workshop)
* How I Learned to Drive, at Second Stage (also closing March 11, so I won't get to reschedule)
* An Iliad, with Denis freaking O'Hare, at NYTW (closing March 25, so I hope I get to reschedule--I do still have tickets to see it with Stephen Spinella at least--they're alternating performances) [ETA: SORTED! As Stockard Channing will be out of Other Desert Cities to film a pilot with Mandy Moore(!), I got a ticket to see O'Hare. So I'll be seeing An Iliad twice in one weekend!)

Anyway, the real purpose of this post isn't actually to complain! *gasp* I just want to highly recommend that you run out to Playwrights Horizons to see Leslye Headland's OMGSOFANTASTIC play Assistance.

Every single person in the cast is perfect (Michael Esper, Sue Jean Kim, Virginia Kull, Lucas Near-Verbrugghe, Amy Rosoff, Bobby Steggert). Headland's play is great. David Korins's set design is unfrakkingbelievable. Trip Cullman's direction is wonderful. Really, I love pretty much everything about this show. So go see it. Now. Because it closes March 11. If I could recommend only two shows currently running, they would be Once and Assistance. And you would kiss my feet to thank me for seeing both. I promise. (But don't do that, please. Ew.)

Anyway, I'm looking forward to getting back to actual theater reviews next month. In the meantime, just do as I say and go see Assistance? Thanks. And you're welcome.

ETA: Here are two photos of the cast of Assistance being awesome.

Weekend in review (1/7-1/8/2012): The Mountaintop, Chinglish, Billy Elliot closing

I started the weekend with three very funny shows about serious topics: The Mountaintop (closing Jan. 22), Chinglish (closing Jan. 29), and Billy Elliot (closed Jan. 8). What a way to start my year in theater!

First up was Katori Hall's The Mountaintop, a strange fictional account of Rev. Martin Luther King Jr.'s last night on earth. I'm not a religious person, but I do care about civil rights, so it's really a shame I don't know more about the man. And this play really didn't do much to correct that ignorance, I suspect. Was he really a philandering, chain-smoking, sometimes-foul-mouthed megalomaniac? Ok, that might be overstating the play's portrait of him a bit. A bit.

I went in excited to finally see Samuel L. Jackson in something that wouldn't be curse-strewn, to see him act in a role different from anything else I'd seen him in. (I'm pretending those terrible Star Wars prequels didn't happen.) While it's true that Jackson doesn't curse--much--Angela Bassett more than makes up for him in her role as a maid/newly minted angel. (Huh? Yeah, it makes about that much sense a lot of the time.)

Jackson is great, which doesn't surprise me at all. Bassett disappoints me, though, and I suspect it's because the writing for her character is pretty awful. I appreciate the effort to humanize MLK and inspire everyone to "pick up the baton" and make the most of the time we have on this earth. It isn't a very good effort, and it shouldn't have worked on me at all. But it did. And it rains on stage, which almost always wins me over. Mostly, though, the show sucker-punched me at the very end with a weird spoken-word bit that made me think of The Normal Heart, a play that rocked my worldview last season. (More on that soon!)

Up next was Chinglish, my first encounter with Henry David Hwang. I laughed a lot at this display of the communication troubles and culture clash that results when American businesses expand into the Chinese market. The enormous supertitles showing the correct translations for the words misspoken on stage are hilarious, as is its somewhat charming example of sad-sack American As Buffoon. The performances are excellent, and the set movements are fun. The show is basically great fun with a few serious points thrown in. I liked it well enough that I insisted that Arthur see it the following weekend. I'll talk more about this show in connection with another Chinese-English bilingual play, Zayd Dohrn's Outside People, which I saw the following weekend at the Vineyard Theatre.

Last up was the closing performance of Billy Elliot, the dancing/mining/Thatcher-hating musical that I have been lucky enough to see many times with various casts and will miss very, very much. There were so many Billys on stage over the course of the show. Brilliant! The scene of the dance class interwoven with the police brigade is still one of my favorite stage scenes ever.

January is a bitch

http://www.playwrightshorizons.org/mainstage.asp

In the theater world, January is a cruel, cruel bitch. Productions hang on through the holidays hoping the hordes of tourists will save their ailing shows, but come January, the closing notices go up all over town. Bonnie & Clyde died a violent death. Lysistrata Jones is giving it up this weekend. The relatively unloved Relative Speaking slinks away at the end of the month. It's a sad time for the already underemployed and underpaid. But it opens up theaters for new shows that might do better. And it opens up my schedule, too.

Poorly reviewed Close Up Space, the editorially (un)inspired play starring David Hyde Pierce and Rosie Perez, is closing up early, so yesterday I received notice that my ticket has been canceled. In hunting for something to take its place, I was reading through Playbill.com's listings and almost choked on my Coke Zero when I read that Bobby Steggert and Michael Esper are starring in a play together at Playwrights Horizons, and that I can go see it on my now-free Sunday afternoon.

How is it possible that Michael Esper is going to be in a play and I didn't know? How is it that Michael Esper is going to be in a play WITH Bobby Steggert and I didn't know??? And in a play by Leslye Headland, the woman who gave me Topher from Dollhouse (Fran Kranz) and Fat Pat from Wonderfalls/Shitbrick from the American Pie movies (Eddie Kaye Thomas) as sleazy guys getting lucky at a bachelorette party!

I screamed my question to the Twitterverse and many of my other theater friends hadn't heard of it either. But Steggert himself confirmed the news! So of course I bought the ticket immediately. And now, today, there's an article on Playbill announcing the casting.

In summary: The theater world took away David Hyde Pierce in a mediocre play about an editor (have I mentioned that I'm a book editor?) but it gave in return a chance to see Bobby Steggert and Michael Esper on stage together in a play that's likely to be really good. I call that a pretty big win for me.

2012: A Look Ahead

How can it be 2012 already when I still haven't finished my reviews of shows I saw in 2011? Less than twelve hours into the new year, and I'm already disappointed with myself. And not just because of my behavior last night.

But now that I mention it:

1. Next year I shall try to not be the drunkest person at the party.

2. Even when I'm drunk at a NYE party, I still talk trash about theater.

(This time I was complaining about the gay lumberjack outfits for the supposedly straight-dressing gay older brother in Sons of the Prophet at Roundabout. If your flannel shirt is fitted, even in a small Pennsylvania town people will start to wonder if you are gay. Right? And both brothers were way less flaming when the show was at the Huntington. More on this later when I double-back to finally reviewing that show, which I really liked, by the way.)

In exciting news, I already have tickets to 27 theatrical performances for this year (in chronological order):

The Mountaintop
Chinglish
Billy Elliot (closing performance)
The Canterbury Tales Remixed (Soho Playhouse)
Stick Fly
Outside People (Vineyard)
Once (NYTW, closing performance)
Red (SpeakEasy, Boston)
American Idiot (tour, Boston)
Wit
CQ/CX (Atlantic)
Assistance (Playwrights Horizons)
Yosemite (Rattlestick)
Merrily We Roll Along (Encores!)
Once (Broadway transfer)
American Idiot (tour, Denver)
Death of a Salesman
Carrie (MCC)
Next to Normal (SpeakEasy, Boston)
Xanadu (SpeakEasy, Boston)

(No, I'm not terrible at math. I'm seeing the American Idiot tour multiple times in Boston. Yes, every performance. It's all Steven Hoggett's fault. Well, mostly.)

It seems unlikely that I'll match 2011's record of 102 theater performances ever again, but perhaps that means I'll read more than 10 books this year.

Quick reviews 2011

These are the shows I saw in 2011 with a quick rating for each and links to reviews (some still to come). Please scroll down for other recent posts.

I also have a complete list of shows I've seen since 2007.

BEST. EVER.
Black Watch - National Theatre of Scotland at St. Ann's Warehouse - off-Broadway
The Cripple of Inishmaan - Druid ensemble tour through ArtsEmerson - Boston
Frankenstein - National Theatre (London) Live broadcast

ZOMG
American Idiot - Broadway
The Book of Mormon - Broadway
The Intelligent Homosexual's Guide to Capitalism and Socialism with a Key to the Scriptures - Public Theater - off-Broadway
The Merchant of Venice - Theatre for a New Audience at Emerson's Cutler Majestic - Boston

Once - Broadway

W00T
Anything Goes - Broadway
Arcadia - Broadway
Carson McCullers Talks about Love - Rattlestick Theatre - off-Broadway
Completeness - Playwrights Horizons - off-Broadway
The Dream of the Burning Boy - Roundabout Theatre Black Box - off-Broadway
Good People - Broadway
Gruesome Playground Injuries - Second Stage - off-Broadway

Hadestown (Anais Mitchell) - traveling concert version
Invasion! - Play Company - off-off-Broadway

The Lyons - Vineyard Theatre - off-Broadway
Misterman - St. Ann's Warehouse - off-Broadway
The Normal Heart - Broadway

The Public - Powerhouse - New York Stage and Film at Vassar College

The Rocky Horror Show - The Old Globe, San Diego
Seminar - Broadway
Sons of the Prophet - Huntington Theatre - Boston

Sons of the Prophet - Roundabout Theatre - off-Broadway
Through a Glass Darkly - Atlantic Theater - off-Broadway

Venus in Fur - MTC - Broadway

Awkward turtle (On a Clear Day You Can See Forever opening)

http://onacleardaybroadway.com

I went to my first Broadway opening! Many thanks to the excellent folks at the Vineyard Theatre for hooking me up with a pair of tickets for opening night. It was fun spotting Tom Kitt and Len Cariou at Angus McIndoe before the show. Yes, Arthur and I gave up our bar stools to Sweeney Todd and his wife! And with minimal fangirling on my part.

Unfortunately, that was most of our celebrity spotting for the night. I couldn't find my nice wool coat because it had been way too balmy in previous weeks to ever break out the winter gear, and there was a total planning failure on my part leading up to packing for the weekend. I don't buy into the idea of theater being a dress-up event (it should be an affordable part of everyday life), but even I knew a hoodie would not do for this special occasion. So I went with a thin, 3/4-sleeve wrap over my cute, fancy short-sleeved shirt. That ensemble was wholly inadequate to the chilly task, and we both felt like awkward turtles just standing around, so we went inside shortly after the house opened.

Loitering outside before then, though, we did spot the fantastic Brian d'Arcy James being interviewed. (The Smash cast is showing up en masse to pretty much every arts-related event right now.) Mo Rocca was there, looking dapper. The self-important dude who does the overrated Battery's Down was wandering around, I think with Carly Jibson (who was sooooo good in the really bad Johnny Baseball musical at the A.R.T.--seriously, considering that amazing cast, the show should have been great, but the book was an unholy mess).

Our seats up in the mezz had a great view. (The balcony was closed--is that common for an opening?). But from up there we weren't able to oogle the stars in the orchestra once we were seated. Alas. The show started about half an hour after advertised, but that's probably normal. There wasn't any late seating, which was a wonderful perk. No cell phones went off. And people pretty much didn't talk or text, as far as I saw. That lack of distractions and the overall enthusiasm from cast and audience made the performance a special experience for us.

The show itself doesn't do it for me. In so many ways. The revisions are half-baked, the premise is beyond dumb, and there is nothing likable about most of the characters. The sets are violently awful, perhaps in an effort to distract from the rest of the mess on stage. And considering that the gay twist was one of Michael Mayer's main reasons for reviving the show, cutting to black before the big kiss is a ridiculous cop-out.

Some of the choreography for the trio is fairly brilliant, though. And Jesse Mueller's voice is perfection.

Bonnie & Clyde

http://bonnieandclydebroadway.com

I'm a heartless bitch, but even I feel a bit bad about giving this necessarily negative review for the new Bonnie & Clyde musical. The coroner has already been called on this one, so if you have your heart set on seeing it, you better hightail it to the Schoenfeld Theatre by December 30.

This musical had so much potential, but I was pretty sure they would screw it up, so expected it to flop. I just wish it had done so in a bigger, fun(nier), more spectacular way. (Like On a Clear Day You Can See Forever, for example.) Well, at least Jeremy Jordan is available for Newsies, now.

Really, the show isn't all bad. It just ... fails to be good. On the plus side: It's chock-full of really talented performers. The design work is great, especially the projections. And everyone sings the crap out of the (overly eclectic, and mostly forgettable) songs. But the main problem is a failure of vision, of focus. The book is terrible, basically, and it has no excuse for not being awesome and really relevant to what's going on in the country right now.

At its core, the story of Bonnie and Clyde is about a celebrity-obsessed country in financial ruin. But instead of focusing on this historical pair of vain, fame-hungry criminals in order to proffer Crucible-like incisive commentary on contemporary issues, this creative team chooses to focus on the love story. Because that's clearly more ... zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz.

Remember how I didn't like Laura Osnes in Anything Goes or Grease? I like her even less here. She sings like a dream, but none of the songs are particularly great, so that doesn't really save her performance. And Bonnie Parker had to have been more than a self-centered, lovesick ingenue since she was also an accomplice to bank robbery and murder. But Osnes's performance has no edge or down-and-dirty sex appeal, and her saccharine line deliveries feel so out of place once the bodies start dropping. Some of that must be a failure of Ivan Menchell's writing and Jeff Calhoun's direction, but I'm not sure she could have handled anything darker anyway.

Jeremy Jordan is much better as Clyde Barrow. The boy can SIIIIIING, and he has charm for days. Others have complained about the cloyingly cute young Bonnie (Kelsey Fowler) and Clyde (Talon Ackerman), but I kind of like them. In fact, they have some of the edge that Osnes sorely lacks. Claybourne Elder as Clyde's brother Buck was fine in a kind-of nothing role. And Melissa Van Der Schyff gives a performance better than the one she was handed as Buck's wife, Blanche--and, really, Blanche has the best lines in the show anyway. Unfortunately, I hate country music, so I don't like her songs as well as I should.

My favorite song in the show is definitely the one in the beauty shop about how the women actually prefer the freedom they have while their husbands are in jail. It's hilarious and a bit out of place--and pretty much the only island of joy in this sea of mediocrity that seems to go on and on forever.

I could rip apart other problems in the show, such as how poorly written Bonnie's sad sack not-Clyde suitor is. Or that prison rape jokes are. not. funny. Instead I will bury this nearly dead horse with this bit of praise: I love the use of real photos of the famous duo and newspaper stories about them. I also appreciate how the integration of the projections onto the rustic set leaves parts of the images obscured. That, the precision of the sound effects (i.e., gunshots), and starting the story at the end and then flashing back are the best things about Bonnie & Clyde. (But ending the show right before it catches up to where it began feels anticlimactic, which is really the problem with the show in general. Damn, I guess I really don't know how to end this on a kind note.)

Long week in review (11/15-11/20/2011): The Divine Sister / Idiots in concert / The Lyons / Once / Other Desert Cities / Hadestown

The theater week started (normally) in Boston on Tuesday, when I went with Lisa and hubby (I suppose I should just start calling him Arthur, yeah?) to see Charles Busch's The Divine Sister at SpeakEasy Stage in Boston. I never saw the show when it was in New York, and I think that's really, really fine. It's just really not my kind of humor (though I had a blast at Silence! The Musical!, which has a similar feel, I guess). The performances were excellent, especially Varla Jean Merman (aka Jeffrey Roberson), and the cast certainly didn't hold anything back in this insane slapstick comedy with music. It was quite a brilliant performance for what it was, I suppose. Not my favorite, but not a waste of an evening, and I like trying new things.

Then Lisa and I decided we were tired of acting like adults, so we ran off to New York Thursday night after work. We got to Rockwood Music Hall in time to catch the midnight set from the as-yet-unnamed punk trio of (ex-Idiots) Michael Esper, Johnny Gallagher, and Gerard Canonico. We got a nice seat upstairs and I drank a lot a whiskey. Lovely.

Friday we saw Esper again, this time at the Vineyard Theatre for our second viewing of The Lyons. Linda Lavin as the mother was just as excellent the second time around. Kate Jennings Bryant as the alcoholic sister was just as terrible. Dick Latessa as the obscenity-spewing dying patriarch was good but greatly overshadowed by Lavin--well, everyone was. I can see why she chose to do this off-Broadway role instead of reprising her role in the Broadway transfer of either Follies or Other Desert Cities. A role like Mrs. Lyons is a hard one to find. I feel extraordinarily lucky to have seen her performance even once, much less twice. The play itself is ... hilarious, sad, and very problematic. There's a weird scene with Mr. Lyons in the second act that is just SO unnecessary. The same with the sister's scene at the top of that act. Just, terrible really. It was hard to tell whether Bryant was truly awful (overall, but in that scene in particular), or if the playwright (Nicky Silver) spent all his talent on writing the parents and just ran out of steam when faced with the dialogue for the other roles. Overall, the first act is really good (daughter excepted), and the second act is a mess. As always, Esper cries beautifully. (Isn't it time for this man to be in a comedy? Or, even better, a traditional musical comedy? Please?)

Saturday Lisa saw Venus in Fur, which she then RAVED about, before abandoning me to head back to Boston. (I'm seeing Venus this weekend--front row for Hugh Dancy, w00t!) While she was there, I headed to the New York Theatre Workshop for my first viewing of Once. (I'll be seeing it a total of four times before it closes off-Broadway and will then probably park myself at the Bernard Jacobs theater next year.) I bought tickets to three performances as soon as subscriber tickets were available and have since gotten tickets to the closing, which is conveniently on a Sunday evening during a long weekend. I am in love with pretty much everything about this show, as I knew I would be. A show that adds the creative team behind Black Watch to the music of Glen Hansard and Marketa Irglova was a pretty safe bet for me. Sure, it's cheesy at times, but in a way that I find charming overall. And the music and visuals are breathtaking. I love the entire cast (even with the accent wonkiness). Kudos to Steve Kazee for making me feel even a bit sorry for him--given how attractive and talented he is, it's not so easy to be convincing as a sad sack. Major props to Cristin Milioti for approaching Irglova's stunning vocals and being completely charming in a role that's a bit too twee.

(I don't know if there are any left, since the show is getting good reviews and has already announced its Broadway transfer, but they were offering $20 tickets for all Sunday evening performances. They were available to purchase in advance at the box office--cash only, max 4 per person.)

Then I saw Other Desert Cities, minus Stockard Channing, who was out with an injury. The audience was understandably upset to be missing the show's star. I like Channing and was a bit disappointed, but I didn't mind seeing an understudy. I feel like I certainly get a better sense for the strength of a play itself when left in the hands of a less overwhelming presence. (Indeed, would The Lyons be as enjoyable without Lavin's masterful delivery and the extra oomph she provided even--often especially--in silent moments?) The cast is excellent, including understudy Lauren Klein, but the rhythm of the show was definitely off. And it did sound as though Jon Robin Baitz had written specifically for Channing's voice. I liked the play well enough and would like to see Channing in that role (because Pal Joey should NOT be the only time I see her on stage), so maybe I'll go back when Justin Kirk takes over Thomas Sadoski's role. For me, though, Judith Light made the show.

To wrap up the weekend, I got to see Anais Mitchell's BRILLIANT folk opera, Hadestown, again, this time as a regular concert at Le Poisson Rouge. As most of the audience were diehard fans, Mitchell skipped the exposition and just plowed ahead with the songs, with guest musicians including Ani DiFranco as Persephone and Boston music god Tim Gearan as Hades. I am so in love with this show. If I were rich, I'd bankroll a production of it myself. And I'd convince the Once team to write the book/direct/choreograph/design it. THIS NEEDS TO HAPPEN.

After Hadestown, the enormous band/cast came down off the stage and led the audience in some protest/pro-union songs. She then invited everyone to follow her out to Washington Square Park to support the OWS campers there. Here's a very up-tempo version of Hadestown from the park:

And here's the end of my favorite choreographed moment in Once:

Elizabeth A. Davis and Cristin Milioti

Photo by Joan Marcus

Weekend in review (11/11-11/12/2011): Suicide, Incorporated / Morgan Karr / Bonnie & Clyde / Wild Animals You Should Know

I felt like crap this weekend, but I like to think I can separate that from my opinions about the shows I saw. But, you know, full disclosure and all that.

So, yay for a three-day weekend. And OF COURSE Lisa and I used that to go to New York. Full reviews to come, but I'm tired of being so thoroughly behind, so I'm going to start doing these quick weekend reviews in addition to coming back for full reviews later. So these will be for general impressions and recommendations and then (I hope) I'll be able to go back and dig in for the reviews later.

Anyway, here's what I saw:

• Suicide, Incorporated at Roundabout Underground
  
• Morgan Karr's concert at Joe's Pub
• Bonnie & Clyde musical on Broadway
• Wild Animals You Should Know at MCC Theatre
  

First up was the latest offering from Roundabout Underground, a program I really love. This is the group's black box space and they use it to foster young artists. So far their biggest success seems to be Stephen Karam, so a big YAY for that. I really like Speech & Debate, and I love Sons of the Prophet (which started at the Huntington in Boston and is now in Roundabout's Pels theater, their larger off-Broadway space, upstairs from the Underground--so Karam is literally moving up in the world).

Right, so the new Underground show is Suicide, Incorporated. I was achy and exhausted, and the theater was overly warm, so I was not at my best as an audience member. Still, I think the show needs to pick up the pace. I was itching to leave toward the end, even though a couple of the performances are excellent. (HOLY CRAP, James McMenamin.) I think the idea of the play is intriguing: a company that helps people write their suicide notes. It's interesting to think about how companies prey on desperate people, how people can learn the wrong lessons from personal tragedy, and how little effort it might take to nudge someone onto or off of the right track. The play isn't as funny or insightful as it seems to thinks it is, and in addition to the production needing better pacing, the play could use some trimming. Still, not bad, and I'm glad I managed to fit it in (more in retrospect than while I was fidgeting in my overly tall seat).

Then I saw Spring Awakening alumnus Morgan Karr's concert at the newly renovated Joe's Pub. In general, I think I like the new space, though I did not like sitting near the new door to the kitchen, which was louder than it should be. The new bathrooms are plentiful. The whole Public Theater is a mess of construction right now, but I think it's moving in the right direction.

Karr is determined to be a pop star, and he certainly has the voice and the drive for it. He has surrounded himself with talented supporting artists, and he goes balls-to-the-wall out on stage. His songwriting isn't my favorite style, but DAYUM that boy can sing. And he put on a SHOW. So go see him when you get a chance. And his 11:11 wish thing is pretty charming, even though his 11/11/11 show started barely before midnight (not his fault).

Next up was the new musical Bonnie & Clyde. I will have very, very much to nitpick about it. For now, I'll just say that for a show filled with so much shooting, it really misses the mark. (Yeah, I'm sure I'm neither the first nor the last to make that super-lame observation.) It's not bad exactly, but it's not good. I was hoping it would be great or hilariously awful, but it is neither. And it isn't shockingly mediocre the way Priscilla, Queen of the Desert and Catch Me if You Can are. It just fails to be good. The sound and projections and costuming and design are excellent. The fault lies with the material. The music is pretty forgettable other than about three good songs. And the entire focus of the show is wrong. There are such talented people up on stage, a famous real-life story, and so much potential relevance in this economic climate and culture of fame worshiping. So it's so disappointing for the musical to be so not right. Alas. Also, Laura Osnes has such a beautiful voice, but this is the third show I've seen her in and SHE CANNOT ACT. Just ... NO.

Rounding out the trip was the new off-Broadway play Wild Animals You Should Know, which I think had just started previews that week. I liked it. The performances are very good, as you would expect from Tony Winner Alice Ripley (Next to Normal) and Patrick Breen (the Normal Heart), but really there isn't a weak link in the cast (plus Jay Armstrong Johnson and John Behlmann are so very, very pretty). There are interesting ideas (alas not particularly well explored). Basically, it's fine off-Broadway fare, but nothing that is likely to stick with me for a long time. And the MCC needs new seats like whoa.

While I was at Suicide, Incorporated, Lisa saw Other Desert Cities and really liked it. I'm looking forward to seeing it next weekend.

Anything Goes

http://www.anythinggoesonbroadway.com




[This is a guest review by Lisa.]

I know Sutton Foster was miscast as Reno Sweeney, but I just can’t bring myself to care. She sings and dances the crap out of Anything Goes, and I’d happily watch her do it again and again. I had wanted to see this show since the moment it was announced, so I was ecstatic when theatre buddy Mel said she was willing to pony up for the good seats. If you can’t tell, I was predisposed to like this show. And from the opening strains of the overture I had a smile on my face that didn’t leave until long after the show ended. (It probably disappeared during the less-uplifting Follies, which we saw that evening.)

There are plot twists, mistaken identities, and hijinks all over the place on the way to a typical everything-works-out happy ending. While Billy is trying to woo Hope from Lord Evelyn, Lord Evelyn becomes enthralled with Reno, who is trying to help Billy woo Hope. Meanwhile Hope’s mother Evangeline is being pursued by Billy’s boss Eli Whitney, but she is busy trying to talk Hope into marry Lord Evelyn. In spite of all of the confusion it’s not actually that hard to follow the plot, and in this Cole Porter show the plot is hardly the point anyway.

As Mel has already stated, when it comes to sexy and edgy, Sutton Foster comes across as neither. She’s cute as a button and looks like she is having the time of her life on stage. Still, she lacks the edge that evangelist turned nightclub singer Reno should have. She was too happy in the opening number, smiling her way through the beginning of I Get A Kick Out of You right after Billy Crocker tells her doesn’t really get a such a kick out of her (as anything more than a friend--but what great friends they are). And I expected more from the seductive Blow Gabriel Blow at the top of Act II. But all of that somehow doesn’t matter. Plus, the title number was AMAZING: Sutton Foster and the rest of the cast sang, danced, and tapped their asses off in a very extended and much appreciated version of the song Anything Goes.

I apparently saw Colin Donnell in the forgettable Johnny Baseball at the A.R.T. last year, and now I’m sad I don’t remember it because his performance in Anything Goes is anything but forgettable. He is absolutely charming as stow-away Billy Crocker who is trying to romance Hope Harcourt out from under Lord Evelyn Oakleigh while pretending to be Public Enemy Number One, all the while avoiding his boss, who thinks he is back in New York. His numbers with Laura Osnes as Hope Hartcourt (Easy to Love, It’s De-lovely, and All Through the Night) are as de-lightful and sweet as his number with Sutton Foster (You’re the Top) is fun. Laura Osnes moves and sings like a Disney princess.

Jessica Stone as Erma is all sass and sexy fun as the not-so-faithful girlfriend of the true Public Enemy Number One and travel companion of Moonface Martin, aka Public Enemy Number Thirteen, in disguise as a minister. Moonface is more caricature than character, but I don’t know if that’s how the character is written or directed or both. In any case, Joel Grey is exceedingly endearing in his portrayal of the hapless guy.

Adam Godley is hilarious as Lord Evelyn Oakleigh, the fiance of Hope Harcourt with the secret past who would rather be with Reno. The Gypsy in Me was seriously goofy. John McMartin and new-to-the-show Kelly Bishop as Eli Whitney and Evangeline Harcourt were well cast, although I’d like to see Bishop in something where she has more to do (I loved her as Grandma on the Gilmore Girls). The rest of the ensemble was equally impressive and enjoyable to watch.

This show is just pure fun. Porter has a way with words that makes me giddy and I have happily integrated this cast recording into my rotation of albums I listen to frequently. Kathleen Marshall’s choreography is jaw-droppingly spectacular. Whether there are two people on stage or twenty, the dancing is phenomenal. The costumes by Martin Pakledinaz are wonderful, and I think Foster has more gorgeous outfits for a two-and-a-half-hour show than I would actually take with me on a week-long cruise.

All in all I had a blast at this show and highly recommend going to see Anything Goes.

Off the hook (Funny Girl, Lysistrata Jones)

http://artsbeat.blogs.nytimes.com/2011/09/13/its-no-con-bobby-cannavale-to-play-nicky-arnstein-in-funny-girl-revival/

http://artsbeat.blogs.nytimes.com/2011/08/03/lauren-ambrose-will-be-fanny-brice-in-funny-girl/



Bobby Cannavale; Lauren Ambrose (photo: Bebeto Matthews/Associated Press)


I'm not a fan of the musical Funny Girl. Well, perhaps that's unfair to say. Maybe the movie is nothing like the stage version (as with Hair). In any case, I'm generally uninterested in seeing the upcoming revival. The gorgeous Lauren Ambrose (excellent in the recent Torchwood: Miracle Day TV series and, of course, on Six Feet Under) seems like a crazy physical choice for the homely Fanny Brice. And my boss, an obsessed opera fan who knows way more about vocal technique than I do, is convinced Ambrose can't sing the role. But I love her and the idea was interesting enough that I thought I might force myself to see the show.

But now they've cast Bobby Cannavale as Nicky Arnstein, so I'm off the hook. I didn't like him in either of the plays I've seen (Trust at Second Stage and The Motherfucker with the Hat on Broadway), and I'm even less interested in his singing. So, yay, there's one bound-to-be-pricey show that I don't have to fit into my budget and schedule. I am very much looking forward to the reviews, though.


I also plan to skip Lysistrata Jones because I get enough antifeminism in real life. I mean, have you seen the ad? I just ... I'll have to rant about that in a separate message. For now, behold this stunning (in a bad way) spot they're using to try to sell tickets. #doingitwrong

These divas leave me cold (Follies, Anything Goes)

Lisa and I saw Follies and Anything Goes weekend before last, so we experienced several big-name or up-and-coming divas: Bernadette Peters (who was on my bucket list), Elaine Paige, Jan Maxwell, Sutton Foster, Laura Osnes. Overall, the experience made me sad.

Anything Goes is a great time: everyone looks like they're having a blast; there's an insane tap number that is just jaw-dropping; and Sutton Foster is clearly in love with the show. Still, although I had fun, I didn't love it. Part of the problem is that Foster seems completely wrong for the part. I mean, based on off-stage videos (like in the hilarious Side by Side with Susan Blackwell), she is probably excellent to have a few beers with. I'm sure she knows hilarious jokes, probably rude ones. And the girl can sing and dance. She works hard and has fun and I just don't buy her as the risqué, sex-on-legs Reno Sweeney. Her number at the top of Act II in the nightclub fell flat because of it. (The Tony voters clearly disagreed.)

AG was the second time I'd seen Foster on stage. Previously, she failed to convince me as a dominatrix in the Second Stage play Trust. I firmly believed she'd yell at and beat the hell out of her clients if they so wished. I did not believe that she'd be at all erotic while doing so. She's a pretty girl, but something about her just comes off as too goofy to be sexy. Alas.

Back to AG, Laura Osnes has a beautiful singing voice, and when she dances it's like she's floating above the floor. Seriously, I have no idea how she moves so smoothly or sings so effortlessly. Stunning. She should not, however, be allowed to open her mouth except to sing in this show. Her acting is so acty and her line deliveries remind me of high school plays. *sigh* And I was rooting for her. I actually voted for her in that terrible Grease casting show on NBC back in 2007. (In fact, I owe my current Broadway obsession to that--as I've said, awful--show.) I saw her in the terrible production of Grease on Broadway that followed. I was so happy, and impressed, when she took over for Kelli O'Hara in South Pacific (though I didn't see the show until closing, when O'Hara was back). And I'm glad for her that she's getting the chance to originate a role on Broadway, though I think the Bonnie & Clyde musical will be truly dreadful. What I'm saying is that I was rooting for her. But every time she talks--so earnest and so forced--it kills my theater-loving soul a little bit. I thought it was just a problem with that completely charmless (and toothless) Grease revival but her acting was really bad in both it and AG. (Perhaps with the better direction and better material of South Pacific she was fine. She certainly got good reviews for it.)

So, after filling up on post-show Belgian fries at BXL across the street from AG, we saw Follies. (It was still in previews, but it did have a recent out-of-town tryout in D.C.) This is a Sondheim musical, and one that I loved at Boston's Lyric Stage a few seasons ago. So it was the fall production I had been most excited for. I expected to still love the show itself, and I've wanted to see Bernadette Peters on stage since I first saw the video of Sunday in the Park with George oh so long ago. Oh, well. I could not be more disappointed. I don't care a whit about her Sally Durant. Her little-girl voice grates. And her singing voice isn't that impressive. Mostly, I can't see why anyone would have an affair with or marry (and, indeed stayed married to) that simpleton who is completely lacking in charisma or passion, other than her obsession with Ben. *snore* And I don't remember feeling that way, that complete lack of compassion for Sally, with the Lyric's production (possibly because Leigh Barrett is absolutely perfect, always).

Jan Maxwell, on the other hand ... HOLY! Why would anyone cheat on her Phyllis? Brilliant, witty, not preserved-within-an-inch-of-her-life. And HER VOICE! And her dancing! And her acting! And, just, everything about her performance was stunning. Despite the accent, I liked Grams Mary Beth Peil, too, but Solange is such a minor part. Other than Elaine Paige's fantastic I'm Still Here and Jayne Houdyshell being generally amazing at all times, I really didn't care what happened in the show except when Maxwell was on. And wow, is she ON. Overall, I'm sad that I didn't like the show more in general. I remember feeling in love with the musical itself the first time around. Now I think I probably never need to see it again. That can't be entirely Peters's fault, of course.

Anyway, I must be a terrible Sondheim fan and a diva-hater because I am out of love with Follies and did not enjoy Gypsy. And Bernadette Peters, Patti LuPone, and Sutton Foster all leave me cold (well, ok, LuPone was perfect in Company). If Peters takes a Tony Award over Maxwell, I will throw things at my TV.

Quick hits 1

My longer list of shows I've seen this year obviously includes shows that have closed. And there are a ton of productions I saw this year that I haven't gotten around to reviewing yet (plus shows I saw in past years that are still running). I do hope to double back to them.

In the meantime, here are my brief impressions of shows I've seen that are still running, in case you're looking for recommendations of shows to see (or to avoid). I'm just going from the lists of Broadway and off-Broadway shows at Playbill.com. If no dates are given, the show's run is open-ended.


ZOMG
Avenue Q - off-Broadway (not for the easily offended, but smart and hilarious)
Billy Elliot - Broadway (not for those who care about accurate British accents, but heartwarming with great music and dancing)

W00T
Anything Goes - Broadway
Sons of the Prophet - off-Broadway - currently scheduled for Sept. 20 through Dec. 23

YEAH
Blue Man Group - off-Broadway (weird and fun)
How to Succeed in Business without Really Trying - Broadway
Jerusalem - Broadway - closes Aug. 21 (heavy, but Mark Rylance's Tony-winning performance is definitely worth seeing)
Silence! The Musical - off-Broadway - currently extended through Sept. 24 (not for the easily offended, or for people who don't remember the movie well, but so much fun)
The Talls - off-Broadway - closes Aug. 27 (I laughed so hard and so often that I was embarrassed and had to clamp my hands over my mouth at times)

OK
All New People - off-Broadway - closes Aug. 14
Follies - Broadway - closes Dec. 30
Rock of Ages - Broadway (fun if you like that kind of music, and really much better than I expected)
Wicked - Broadway (quite a spectacle; I saw this on tour in Boston not on Broadway, so take from that what you will; a good time, but with all the hype I was a bit disappointed)

MEH
Catch Me if You Can - Broadway
Hair - Broadway (tour) - closes Sept. 10 (not my favorite songs, and I wish it had more of a story and developed characters, but the wall of sound created by so many voices is quite impressive, so if you like the music, this might be for you)
Priscilla, Queen on the Desert - Broadway
War Horse - Broadway/London's National Theatre

Upcoming
Bluebird - off-Broadway - currently scheduled for Aug. 9 through Sept. 9
The Book of Mormon
Dreams of Flying Dreams of Falling - off-Broadway - currently scheduled for Sep. 9 through Oct. 23
The Lyons - off-Broadway - currently "scheduled" for September through November
Master Class - Broadway - closes Sept. 4
Once - off-Broadway - currently scheduled for Nov. 15 through Jan. 1
Porgy and Bess - Boston pre-Broadway tryout Aug. 17 through Oct. 2 - currently scheduled to start on Broadway Dec. 17
The Submission - off-Broadway - currently scheduled for Sept. 8 through Oct. 22

How to Succeed in Business without Really Trying

http://www.howtosucceedbroadway.com

As with The Motherf**ker with the Hat, How to Succeed in Business without Really Trying wasn't high on my priority list. Big-name stars means expensive crappy seats and often lead actors who would never get cast if they weren't already famous. But as I mentioned in my weekend wrap-up, I was pretty much out of shows to see.

Despite my reluctance, the show had much to recommend it:

• A friend of mine who ushers the show is completely in love with it
• Ex-Idiot Mary Faber was excellent in the previous two musicals and one play I've seen her in (Saved! and Idiot, The Corn Is Green)
• Christopher Hanke was a charming high point in the seriously lackluster Cry-Baby musical (By the way, where is James Snyder now, and why is he not somewhere on stage singing to me???)
• John Larroquette did get a Tony for this role
• Daniel Radcliffe was quite good in Equus, even though I didn't love that show overall (but, seriously, how cool was that Playbill cover?)
  

So H2S had a decent chance of not sucking, and I went into the show in fairly good spirits, even as I hauled ass up to the very last row of the balcony. Which, stunningly, had a great view. And (yay!) the show totally did not suck. It was even good, but I still wished for more.

I love fluffy musicals like The Music Man and Bye Bye Birdie (recent disastrous Broadway production aside) and even Grease (at least the recent horrendous Broadway production gave us Laura Osnes). So H2S should have been right up my street. Instead I found it a bit dull (the show, not the production). Perhaps with better leads I might have enjoyed the story more.

I know that Radcliffe and Larroquette were the big draws for the sell-out crowd, but the show really belongs to Mary Faber's hilarious turn as Smitty and Rose Hemingway's jaw-droppingly-gorgeous voice. Seriously, this is Hemingway's Broadway debut? Just ... wow. I would like her to sing to me every day, please (though perhaps not enough to pick up the cast recording--I don't remember any of the songs!). And as much as he tries to steal the show, Christopher Hanke's schtick gets old really quickly (he's seriously adorable, though, and I really do love him).

So, back to Radcliffe and Larroquette. Kudos to these guys, who are clearly having the time of their lives. And I'm pretty sure they're BFFs now, which is completely charming. These are two hard-working dudes. If they threw themselves into this show any harder, they'd break something. It's hard not to cheer for them because they are clearly so dedicated and obviously in love with their jobs (and, as it was the opening weekend for the last Harry Potter movie ever, the audience went INSANE at a trillion points during the show). Still, regardless of how much I love both actors, this show is stretching their musical-theater talent to its limit. Their singing and dancing is adequate. And their personal charm carries them along quite well (although Radcliffe lacks a bit of smarm and is just a bit too likeable for the role). All that doesn't change the fact that I'd rather have seen real MT stars in these roles.

A second round of kudos for Radcliffe, who is refreshingly brave in his career and public-persona choices. In addition to his role in Equus requiring full nudity (and, trust me, I did not need to see the full Harry--ever), the demanding role could have gone horribly wrong, and the material was a risky choice for someone still in the middle of filming such a family-friendly franchise. The same for his hilarious turn as a want-to-be womanizer and chain smoker in an episode of Ricky Gervais's funniest series, Extras. He is also a loud supporter of LGBT rights, speaks out frequently for The Trevor Project's crusade to prevent teen suicide, and never felt the need to clarify for the press his relationship with trans singer-songwriter Our Lady J (read the excellent Out article where she interviews him). It would be difficult for me to love Daniel Radcliffe any more than I already do. To fall in love with him for yourself, look no further than the video of his Trevor Project speech in my earlier post.




[ETA: So much love for this dude for never missing a performance during his run as Finch. Well played, boy wizard.]

The Motherfucker with the Hat

http://themfwiththehat.com/about/




With the death of Amy Winehouse, once again we have lost a talented young artist, probably to addiction. Of all the commentary on the event, Russell Brand(!) has offered the one most worth reading. In addition to recounting his personal history with Winehouse, he reminds us:

Not all addicts have Amy's incredible talent. Or Kurt [Cobain]'s or Jimi [Hendrix]'s or Janis [Joplin]'s. Some people just get the affliction. All we can do is adapt the way we view this condition, not as a crime or a romantic affectation but as a disease that will kill. We need to review the way society treats addicts, not as criminals but as sick people in need of care. We need to look at the way our government funds rehabilitation. It is cheaper to rehabilitate an addict than to send them to prison, so criminalization doesn't even make economic sense. Not all of us know someone with the incredible talent that Amy had but we all know drunks and junkies and they all need help and the help is out there. All they have to do is pick up the phone and make the call. Or not. Either way, there will be a phone call.

The Motherfucker with the Hat, an ear-splitting look at life in recovery (and not), depicts some of those less-talented drunks and junkies in their one-day-at-a-time struggle to get by. I love the idea of the play, which is both important and ripe for humor and insight. And the creative team is promising: Although I'd never seen any of Stephen Adly Guirgis's previous plays, they all sound interesting (Jesus Hopped The A Train, Our Lady of 121st Street, The Little Flower of East Orange). Plus, Anna Shapiro won the Tony for directing a similarly intense dark dramedy, August: Osage County.

As it was the show's closing weekend and I was out of things to see, I figured I'd finally give Hat a shot (sorry, that's a fairly bad pun if you've seen the show). I had been avoiding this play because tickets weren't cheap and I'm not a huge fan of the two leads, Chris Rock and Bobby Cannavale. Both seem fairly one-note to me across their respective bodies of work. In the supporting cast, Annabella Sciorra has been hit or miss for me, and I had no idea who Elizabeth Rodriguez or Yul Vásquez were. Sadly, Rock and Cannavale were true to form in Hat, and Rodrigues and Sciorra cranked up their volume to meet the guys, shrieking expletive after expletive (or maybe everyone else rose to Rodriguez's inexplicable constant fever pitch). Their performances certainly did nothing to make up for weaknesses in the script.

I can't believe the show was only 90ish minutes long, because it seemed interminable. (At least Todd Rosenthal, also a Tony winner for August's set design, gave me something cool to look at.) The only real surprises came from the most minor character--also the only actor who didn't scream every line. I perked up every time Vásquez appeared because I had no idea what kind of crazy, or touching, or profound shit his endearingly odd character would say. And Vásquez managed to make some pretty wacky lines seem sincere, so I'll definitely be on the lookout for what he does next.

Perhaps I'm just not the target audience for this show, because other people were busting up all around me (in the cheap seats). But I should be the perfect audience for this type of play. I'm a huge fan of the antihero, and the unhappy ending. In fact, I do love much of what the play has to say, mainly that giving up drugs and alcohol is only the first step in turning a life around. It won't turn a self-centered tool into a saint, a layabout into a hard worker, or a cheat into a monogamist. And though your sponsor may be able to help keep you on the wagon, it doesn't mean he's a role model in any other aspect of life. On the flip side, just because someone is a total asshat doesn't mean he doesn't also have something important to offer along your path.

The show is short enough that I might--a couple years from now--go see a good local company production of Hat, just to see whether different direction and acting choices change my opinion of the script.