Written by David Byrne (Composer, Lyricist, Bookwriter, Orchestrator)
Director: Alex Timbers, (he directed Bloody, Bloody)
Saw this show March 1, 2017 at the Public Theatre.
In general terms, it started out meh and got good by the end. The name (and ESPECIALLY the publicity art) seemed to imply that it was a hardcore rock musical. Much to my surprise, the opening number started MT, and changed to 70's Peter, Paul and Mary and then to... nope, there was no third thing. Most of the first half of the show sat in Peter, Paul and Mary world, though there WAS an amazing MT dance break as she was learning to fight, that combined great choreography and music in a way that was hands down the best part of the show.
On the whole, the songs felt the same, were the same tempos, and had the same languid tempo for lyric delivery ("I'm going to sing some slow eigths." .... ..... ..... "And then wait for the next phrase." ...... in EVERY song it seems).
The lyrics were alright. Great use of not needing to rhyme. There were at least one or two really intriguing points made effectively with rhetoric. There were also moments using the cheesy archaic re-ordering of words I don't like (akin to "this, you shall do" or "stories they do tell").
IMO, the show got good when she was thrown in jail the first time. The music really started to acquire the rock quality I was expecting from the advertisements (there was also a fun dark-in-subtext song that used text of a Psalm from the Bible set to a great MT two-step thing about how the priests were gonna torture her. THAT was good biting writing.)
The end of the show they brought out the only other female actor (as Joan's mother at the retrial 24 years after her death) was... reasonably effective, anyway. Kind of a slow mantra song "Send her to heaven" repeated over and over to a panel of judges? church officials? who were facing upstage in a semicircle (they were facing the mom). She went through a few verses and choruses to no avail, but then one by one the jurors got up and embraced her, etc. and joined her in singing. The song was well acted, and seemed just the right length (ie managed to not feel too long, actually). I think it'd be a great way to come down after 90 minutes of face-melting rock. And was an acceptable way to come down from maybe 20 min of chocolate-melting rock. Basically, IMO there's no downsides to adding more face-melting and more rock to the show.
Staging: Got better as the show progressed. Started with everything DSC.
Choreography: Seemed acceptable for a workshop. While this is still in the workshop stage, it's not a workshop production! It was fully realized! So I wish most of the choreo was better/more intense. The one exception is of course the fighting montage dance break that was the best part of the show. :P
Lighting: SPEAKING of best parts of the show, I think the lighting was great. Effective use of LEDs, including crosses that were sometimes crosses, and sometimes lost the arms for effect. These were also in the sides of the rotating staircase, and actually extended a ways into the audience. Which created some INCREDIBLE unifying pictures. (and a use of Christian imagery that was effective in tone-setting, and also artistic and not over-done. Once they set up the crosses, I feel like they didn't have the arms more often than not. It was beautiful minimalist shorthand.) There was ALSO a great use of shadow at the back of the stage to emphasize some cool things when they were lit (like Joan appearing at the top @ the end of the final song). Drawing focus via staging DS and choreo all collaborating helped emphasize this.
One disappointing moment near the end with a VFX. There was a strobe that flashed through the mirror tunnel in the rotating stairs, but as it was reflected, you could see the bald bulb which overpowered any wash or area lighting they might have been trying to go for.
Costumes: Effective. Especially Joan's everything (leather swag, bandages in prison, etc.) Though the half-British, half-French costumes were NOT effective, and that entire moment was hella confusing(where the British gradually took out the French, but the same actors were just turning US or DS to represent larger groups of people).
Set: Taken up by a GIANT STAIRCASE smack-dab center. It's wide, it's tall. It's constrictive. Those were my initial thoughts, but then it TURNED. And I liked it in the end (though it is still wide and tall and generally maybe too big for the space.). Each side (4) had a different function. The front was just stairs. The back was stairs with alcoves for musicians to play in (which was maybe not as effective as they hoped, though when they sang harmony, it was nice to be able to see them). Each side of the stairs opened into a single mirrored tunnel that ran under the highest point of the stairs, allowing for entrances and exits (including a considerably-less-impressive vanishment during Joan's burning, cause we've seen her go that way like 5 times already, so we ALL know where she "vanished" to in the 5 seconds the lights were blinding us from movement...
Projections: Some were effective (flames in the background, projecting her face during her trial also worked reasonably well) and some seemed to diminish the tone of the show in a self-referential, self-aware and ultimately ineffective attempt at humor and/or spouting trivia. (Like the thing about "this is an exact transcript from the trial? I get why it's important in terms of "Joan was actually this badass, we're not just making her so for a feel-good story, but A) why was the dialogue not set to music? Text setting has been an effective art form for like a bajillion years, and B) I think the non-serious use of the projections in other parts of the show made it less of an effective informative tool in this instance than it would have been otherwise. (Still on the fence about the "They actually said this" in moments relating to the "in this time, it was thought only a virgin could hear God" though it did make the super-awkward "is she pure" and "let's examine her hymen" moments clear that the writer was trying to deal with ridiculous historical thought in a modern show. Probably would have been still more ok if the writer had not used "Pure_____" as a held-out lyric twice.)
Saturday, March 4, 2017
Monday, September 1, 2014
25th Annual Putnam County Spelling Bee -- (Listened only)
I listened to the OBR
Music / Lyrics: William Finn (Falsettos, A New Brain)
Book: Rachel Sheinkin
On the whole I was unimpressed by this musical, largely due to the lack of interest in the plot, and sometimes painful lyrics.
Things I DID like:
The end of "Woe is me" when she keeps singing, after the tag (instrumental and vocal from chorus) ends. The tag comes back in and finishes, and she's still singing. Then one last time the tag plays and they're done. I found that hilarious.
I also like the variations on "Goodbye". It's always the same, but is lead up to by different things.
The use of different styles was well done... Except that it felt forced. It was not necessarily part of the world of the play, unlike Seussical. (Maybe part of that came from the fact that each different style would be preceded or followed by standard musical theatre thoroughfare. Meaning it changed styles in the middle of a song.)
"My unfortunate erection" seemed to be a good song. Not sure if that's because I'm biased because I've heard it before, though.
Ooh, also apparently when they perform it, they get volunteers from the audience to participate in the spelling bee. They sing Goodbye to them, and they are serenaded by the Comfort Counselor. That's a neat bit of audience interaction that can probably only happen in a show like this. So there's that, and that's cool.
Music / Lyrics: William Finn (Falsettos, A New Brain)
Book: Rachel Sheinkin
On the whole I was unimpressed by this musical, largely due to the lack of interest in the plot, and sometimes painful lyrics.
Things I DID like:
The end of "Woe is me" when she keeps singing, after the tag (instrumental and vocal from chorus) ends. The tag comes back in and finishes, and she's still singing. Then one last time the tag plays and they're done. I found that hilarious.
I also like the variations on "Goodbye". It's always the same, but is lead up to by different things.
The use of different styles was well done... Except that it felt forced. It was not necessarily part of the world of the play, unlike Seussical. (Maybe part of that came from the fact that each different style would be preceded or followed by standard musical theatre thoroughfare. Meaning it changed styles in the middle of a song.)
"My unfortunate erection" seemed to be a good song. Not sure if that's because I'm biased because I've heard it before, though.
Ooh, also apparently when they perform it, they get volunteers from the audience to participate in the spelling bee. They sing Goodbye to them, and they are serenaded by the Comfort Counselor. That's a neat bit of audience interaction that can probably only happen in a show like this. So there's that, and that's cool.
Monday, March 17, 2014
110 in the Shade -- BWay 1963, West End 1967, BWay Revival 2007
Book: N. Richard Nash
Lyrics: Tom Jones
Music: Harvey Schmidt
Based on N. Richard Nash's play The Rainmaker. Quite faithful to the play (helps when the playwright is the librettist). Also many of the lyrics come from the play.
I did not see it. I just listened to the 2007 Revival recording.
LIZZY: Was away for something, not sure what. Has father and brother. Visiting family, trying to find a husband. Wasn't successful. **Intelligence, sharp wit, insecurities**
FIFE: Sheriff of the town. Has a Poker Face. But gave it up. Good at dancing, etc. But hesitant at beginning to go to the picnic. Seemingly desirable by the women of the town. Wife walked out on him. He was unable to tell her he needed her, even though she prompted him to do so.
First song: Sets the tone. Not particularly upbeat though.
Lizzie's coming home: Cheesy rhymes. Except "when lizzie is here I eat until I nearly pop." Something like that.
Love Don't Turn Away: Singing to love. Interesting to sing to love.
Hungry men: Some cool round stuff, but still cheesy lyrics. Catches my ear, and not in a good way.
The Rain Song: Very different style. Definitely a change to the town. Jazzy stuff coming in to it. Also very bold MTheatre song, once it gets into the chorus. I like this song. Which makes sense, cause they need to like the character in order for this show to go anywhere. (though some of the orchestrations seem empty, esp in one of the call and response parts.)
You're Not Fooling Me: The really fast "fiddling with your buttons" is glorious. For character, etc. Not sure about the dotted slow rhythm once it gets started into the song. The rest of the song, while it works, feels slow.
Raunchy: Melody very effective at beginning, though it might in part be the performance. Overall, stereotypical Gypsy Rose Lee style song. Not sure how it fits contextually into the show.
A Man and a Woman: FILE and LIZZY. Sonata-form-ish in that it is the same melody, with different words. Man and a woman, they eventually drift apart. VS. Man and a woman, they can live together forever in love if they try. One cheesy lyric part.
Old Maid: Umm... YES!!!! There's a reason why they put it as the act closer. Western flair, a la Copland. Has a slow, lamenting, music box, POETIC intro. "Always being one, never being two. Rearrange the furniture, there's nothing else to do." And then the horror that comes with the label "Old Maid." And then the caesura. Dat caesura. o.O Back to music box. Rinse and repeat and SUCCESS!!! And the lyrics seem to follow her train of thought very well.
Evenin' Star: Melody analogous to the first song. Lyrics mostly effective. Metaphor between Starbuck and the evening star. Both have to travel. Why? Line that ends with "night" cheesy rhyme. Other than that, no complaints. Melody is not completed sometimes, which seems fitting for the wandering man's song.
Everything Beautiful: Cool lilt to part of the melody.
Melisande: Making up the story as it goes. Which solidifies the shady character of his character. Very exuberant music, and seems quite effective. And the ending is very sweet, and subtextual, and beautiful.
Simple Little Things: Talks about what she wants from someone who loves her. Just someone to hold her, tell her he loves her. "Melisande" sang under his breath at the end of the song. Not sure how context works, but that sounds like it could be a powerful temptation.
Little Red Hat: Song out of context of the story. Characters that don't have other songs, so it's hard to tell what it's about. However, sex. Veiled? I don't think so. I think the end of the song, he decided to stop where he was before he went too far. So he literally has her little red hat. But they're in love, exchanging tokens, crying in the moonlight together, etc.
Is it Really Me?: Starbuck tells her she's beautiful. Which she hasn't heard (or thought) before, though he's probably not the first one to think that (if you ask me. The little redheaded boy on a "dare" from his friends. Could be a good cover from him.) Fine song.
Wonderful Music: YAY! File wins. Good for him. And good for Lizzie's dad for his advice: "Whatever you decide, just remember you don't have to go through life as a woman who hasn't been asked." And good for Starbuck for letting her go. Cool stretto duet between Star and File.
Last song: Definitely a last song. Coda-like. The show is mostly over, but Starbuck actually gets to make it rain. But yes, good chorus, close-y song.
Lyrics: Tom Jones
Music: Harvey Schmidt
Based on N. Richard Nash's play The Rainmaker. Quite faithful to the play (helps when the playwright is the librettist). Also many of the lyrics come from the play.
I did not see it. I just listened to the 2007 Revival recording.
LIZZY: Was away for something, not sure what. Has father and brother. Visiting family, trying to find a husband. Wasn't successful. **Intelligence, sharp wit, insecurities**
FIFE: Sheriff of the town. Has a Poker Face. But gave it up. Good at dancing, etc. But hesitant at beginning to go to the picnic. Seemingly desirable by the women of the town. Wife walked out on him. He was unable to tell her he needed her, even though she prompted him to do so.
First song: Sets the tone. Not particularly upbeat though.
Lizzie's coming home: Cheesy rhymes. Except "when lizzie is here I eat until I nearly pop." Something like that.
Love Don't Turn Away: Singing to love. Interesting to sing to love.
Hungry men: Some cool round stuff, but still cheesy lyrics. Catches my ear, and not in a good way.
The Rain Song: Very different style. Definitely a change to the town. Jazzy stuff coming in to it. Also very bold MTheatre song, once it gets into the chorus. I like this song. Which makes sense, cause they need to like the character in order for this show to go anywhere. (though some of the orchestrations seem empty, esp in one of the call and response parts.)
You're Not Fooling Me: The really fast "fiddling with your buttons" is glorious. For character, etc. Not sure about the dotted slow rhythm once it gets started into the song. The rest of the song, while it works, feels slow.
Raunchy: Melody very effective at beginning, though it might in part be the performance. Overall, stereotypical Gypsy Rose Lee style song. Not sure how it fits contextually into the show.
A Man and a Woman: FILE and LIZZY. Sonata-form-ish in that it is the same melody, with different words. Man and a woman, they eventually drift apart. VS. Man and a woman, they can live together forever in love if they try. One cheesy lyric part.
Old Maid: Umm... YES!!!! There's a reason why they put it as the act closer. Western flair, a la Copland. Has a slow, lamenting, music box, POETIC intro. "Always being one, never being two. Rearrange the furniture, there's nothing else to do." And then the horror that comes with the label "Old Maid." And then the caesura. Dat caesura. o.O Back to music box. Rinse and repeat and SUCCESS!!! And the lyrics seem to follow her train of thought very well.
Evenin' Star: Melody analogous to the first song. Lyrics mostly effective. Metaphor between Starbuck and the evening star. Both have to travel. Why? Line that ends with "night" cheesy rhyme. Other than that, no complaints. Melody is not completed sometimes, which seems fitting for the wandering man's song.
Everything Beautiful: Cool lilt to part of the melody.
Melisande: Making up the story as it goes. Which solidifies the shady character of his character. Very exuberant music, and seems quite effective. And the ending is very sweet, and subtextual, and beautiful.
Simple Little Things: Talks about what she wants from someone who loves her. Just someone to hold her, tell her he loves her. "Melisande" sang under his breath at the end of the song. Not sure how context works, but that sounds like it could be a powerful temptation.
Little Red Hat: Song out of context of the story. Characters that don't have other songs, so it's hard to tell what it's about. However, sex. Veiled? I don't think so. I think the end of the song, he decided to stop where he was before he went too far. So he literally has her little red hat. But they're in love, exchanging tokens, crying in the moonlight together, etc.
Is it Really Me?: Starbuck tells her she's beautiful. Which she hasn't heard (or thought) before, though he's probably not the first one to think that (if you ask me. The little redheaded boy on a "dare" from his friends. Could be a good cover from him.) Fine song.
Wonderful Music: YAY! File wins. Good for him. And good for Lizzie's dad for his advice: "Whatever you decide, just remember you don't have to go through life as a woman who hasn't been asked." And good for Starbuck for letting her go. Cool stretto duet between Star and File.
Last song: Definitely a last song. Coda-like. The show is mostly over, but Starbuck actually gets to make it rain. But yes, good chorus, close-y song.
Monday, March 3, 2014
Avenue Q -- BWay 2003, Tours all over, Off BWay 2009
Book: Jeff Whitty
Music: Robert Lopez and Jeff Marx
Lyrics: Robert Lopez and Jeff Marx
I watched the 2009 Off BWay in 2014 at the New World Stages (March 2nd, the night Lopez won his EGOT!!!)
This musical is a lovely blend between episodic-like scenes and songs that still maintain an overall and purposeful arc. The transitions, seemed to be really smooth, even though there would often be a post-applause button that drew my attention more than once.
The puppets are a really awesome addition to the show. I found myself watching the actors SLIGHTLY more than the puppets, as they made more facial gestures, etc. But the synchronicity with which they moved together was incredible. The actors were their charactes. Like when the lady helping out with and Nicky and Trekkie Monster was doing the extra hand (Maggie Lakis), she was actively mimicking (only not mimicking, cause it was very specific) the facial expressions of the main puppeteer (Jason Jacoby), who by the way had an awesome Ernie impression).
Princeton/Rod (Darren Bluestone) was INCREDIBLE as far as specificity, though I thought his voice was not as dead on as it could have been. The notes seemed a little bit out of his range, but I was certainly able to forgive that for his UBERcrisp specificity.
Kate Monster (Veronica Kuehn) was not seeming to enjoy it as much as the rest of the cast. She enjoyed her Lucy the Slut more, but Kate, there wasn't much of a sparkle in her eye.
Brian (Nicholas Kohn) was brilliant, and really lived in the world.
Christmas Eve (Sala Iwamatsu) was similarly brilliant, over the top and... I was kind of offended by her stereotypical performance. Which is maybe the point? I guess it was all in good fun.
Gary Coleman (Danielle K. Thomas) felt very at home. Her performance was all in good fun, no doubt about it.
As for songs:
"Everyone's a Little Bit Racist" while brilliant lyrically, was kind of generic as far as melody and harmony. The same thing happened too many times, and I was disappointed by it.
In contrast, "The More You Ruv Someone" wasn't that great lyrically. I don't remember how I feel about it as far as music.
"I'm Not Wearing Underwear Today" functions very well in the context of the show. When I first encountered the show (in the songbook) I was worried that it was a big song without much content to it. But it is meant to function as a transition, and is BRILLIANT for that.
Also the animations are quite amusing. They add a lot to the show, though they're perhaps not in the same art style as the puppets, which was a little distracting (more MS Paint, Allie Brosh with less skill).
Music: Robert Lopez and Jeff Marx
Lyrics: Robert Lopez and Jeff Marx
I watched the 2009 Off BWay in 2014 at the New World Stages (March 2nd, the night Lopez won his EGOT!!!)
This musical is a lovely blend between episodic-like scenes and songs that still maintain an overall and purposeful arc. The transitions, seemed to be really smooth, even though there would often be a post-applause button that drew my attention more than once.
The puppets are a really awesome addition to the show. I found myself watching the actors SLIGHTLY more than the puppets, as they made more facial gestures, etc. But the synchronicity with which they moved together was incredible. The actors were their charactes. Like when the lady helping out with and Nicky and Trekkie Monster was doing the extra hand (Maggie Lakis), she was actively mimicking (only not mimicking, cause it was very specific) the facial expressions of the main puppeteer (Jason Jacoby), who by the way had an awesome Ernie impression).
Princeton/Rod (Darren Bluestone) was INCREDIBLE as far as specificity, though I thought his voice was not as dead on as it could have been. The notes seemed a little bit out of his range, but I was certainly able to forgive that for his UBERcrisp specificity.
Kate Monster (Veronica Kuehn) was not seeming to enjoy it as much as the rest of the cast. She enjoyed her Lucy the Slut more, but Kate, there wasn't much of a sparkle in her eye.
Brian (Nicholas Kohn) was brilliant, and really lived in the world.
Christmas Eve (Sala Iwamatsu) was similarly brilliant, over the top and... I was kind of offended by her stereotypical performance. Which is maybe the point? I guess it was all in good fun.
Gary Coleman (Danielle K. Thomas) felt very at home. Her performance was all in good fun, no doubt about it.
As for songs:
"Everyone's a Little Bit Racist" while brilliant lyrically, was kind of generic as far as melody and harmony. The same thing happened too many times, and I was disappointed by it.
In contrast, "The More You Ruv Someone" wasn't that great lyrically. I don't remember how I feel about it as far as music.
"I'm Not Wearing Underwear Today" functions very well in the context of the show. When I first encountered the show (in the songbook) I was worried that it was a big song without much content to it. But it is meant to function as a transition, and is BRILLIANT for that.
Also the animations are quite amusing. They add a lot to the show, though they're perhaps not in the same art style as the puppets, which was a little distracting (more MS Paint, Allie Brosh with less skill).
Monday, February 10, 2014
Jekyll & Hyde - BWay 1997, Revival 2013
Book: Leslie Bricusse
Music: Frank Wildhorn
Lyrics: Frank Wildhorn and Leslie Bricusse (Also Steve Cuden for some songs)
I watched the DVD version of the 1997 BWay production.
Jekyll trying to save his father. Reintegrate his mind and... his humanity basically. Dares to change what God has done.
"Facade" originally like something from Les Mis (the set reminds me of Les Mis as well, not sure why though cause it's actually not quite alike). Comes back as an interlude a la the ballad of Sweeney Todd.
"The late Dr. Jekyll." Foreshadowing? (YUP! :D )
Song leading into the red rat: FINALLY a different style. I appreciate the darker style, and I suppose they had to set it up with the very light, orchestral style before.
"This is the moment" song. Seems out of place, particularly with his supposed high-falutin' ness. Why is it rock-y and cymbals and drums? To be honest, I was zoned out through the song. Which is sad.
Unclear reaction when Lucy kissed him. I thought. Then her song seemed an appropriate reaction from HER, but after about the third modulation...
"Murder" effective chorus song. With 2 exceptions. There's a sweeping major bridge section that feels really out of place. Lyrics are something like "What can we do? We don't know, and we need to find out." and the melody and accomp is so heroic and majestic, and out of place. Second is at the very end of the song, when Hyde appears at the back of them with his knife. Was that really necessary? Answer: no.
There was a really cool part in the middle where it was "Murder, murder, more words go here. / Murder, murder (beat) more words go here. / Murder, murder, (beat) (beat) more words go here." Glad I caught it when it happened, but was disappointed it didn't continue. Though it maybe would have gotten tiring a few times through.
Were umbrellas in choreo, which was fine except that they were all black, save one red and one blue. Couldn't figure out the significance of them, which then drew my attention to the fact that the umbrellas were simply there for the purposes of the choreo.
His thoughts before "Obsession" were pretty interesting. The fact that while Hyde is the dark, evil stuff, he also possesses an admirable love of life. Seems to suggest that a love of life is more easily found in the dark sectors, and I thought that was interesting and the song might explore that. But it didn't.
"In his eyes" a little confusing that they take turns so neatly. Is it a duet? Or are they two separate songs that just so happen to wait neatly for each other? I'm unsure if they are having the same thoughts, and splitting their thoughts between them, or if they're thinking separate thoughts that rhyme.
Facade reprise #3 (with Spider, and chorus) was an awesome mood-setter. With the chorus whispering words that he had just said, words that he was about to say, or whispering unintelligible things. Beautiful. Also, creepy. :P
Why did Hyde show John the transformation back? Just to show him, which seems kind of random, and/or weak writing. Cause earlier Hyde said "I don't expect him back any time soon."
In his next song, he had a beautiful vocal performance when he stabbed himself with the needle. But as per usual, the lyrics seemed very generic.
Kinda wished for a Jekyll and Hyde bow. He did something that seemed like it could have been, but I don't think that was the purpose of it.
Especially in the first act, the songs felt VERY often. Almost too often. They don't seem to further the story, but rather to dwell on... what? I'm not sure, cause I don't hear most of them.
"Confrontation" was the strongest moment in the show. That is, in my opinion, the sole reason the show exists. Even with the unfortunate blocking (or was it unfortunate? More on that in a bit, hopefully.) it grabbed my attention, and HELD it, something which this musical largely failed to do.
This version with Rob Evan seems to be stronger. Part of the problem with the turning back and forth comes when they hit the same poses.
Hasselhoff's Hyde pose was NEVER different. And the Jekyll seemed to always be pointing.
Evan's Hyde was very different, very fluid and random in movement, which was beautiful. His Jekyll sometimes suffered from the pointing all of the time. Something beautiful he did (though with the repetition, I don't think it was intentional) was physically fighting with himself. Grabbing his arm, and wrenching it back into Hyde, or throwing his arm into Jekyll. With added specificity, I think that would have been very beautiful.
Music: Frank Wildhorn
Lyrics: Frank Wildhorn and Leslie Bricusse (Also Steve Cuden for some songs)
I watched the DVD version of the 1997 BWay production.
Jekyll trying to save his father. Reintegrate his mind and... his humanity basically. Dares to change what God has done.
"Facade" originally like something from Les Mis (the set reminds me of Les Mis as well, not sure why though cause it's actually not quite alike). Comes back as an interlude a la the ballad of Sweeney Todd.
"The late Dr. Jekyll." Foreshadowing? (YUP! :D )
Song leading into the red rat: FINALLY a different style. I appreciate the darker style, and I suppose they had to set it up with the very light, orchestral style before.
"This is the moment" song. Seems out of place, particularly with his supposed high-falutin' ness. Why is it rock-y and cymbals and drums? To be honest, I was zoned out through the song. Which is sad.
Unclear reaction when Lucy kissed him. I thought. Then her song seemed an appropriate reaction from HER, but after about the third modulation...
"Murder" effective chorus song. With 2 exceptions. There's a sweeping major bridge section that feels really out of place. Lyrics are something like "What can we do? We don't know, and we need to find out." and the melody and accomp is so heroic and majestic, and out of place. Second is at the very end of the song, when Hyde appears at the back of them with his knife. Was that really necessary? Answer: no.
There was a really cool part in the middle where it was "Murder, murder, more words go here. / Murder, murder (beat) more words go here. / Murder, murder, (beat) (beat) more words go here." Glad I caught it when it happened, but was disappointed it didn't continue. Though it maybe would have gotten tiring a few times through.
Were umbrellas in choreo, which was fine except that they were all black, save one red and one blue. Couldn't figure out the significance of them, which then drew my attention to the fact that the umbrellas were simply there for the purposes of the choreo.
His thoughts before "Obsession" were pretty interesting. The fact that while Hyde is the dark, evil stuff, he also possesses an admirable love of life. Seems to suggest that a love of life is more easily found in the dark sectors, and I thought that was interesting and the song might explore that. But it didn't.
"In his eyes" a little confusing that they take turns so neatly. Is it a duet? Or are they two separate songs that just so happen to wait neatly for each other? I'm unsure if they are having the same thoughts, and splitting their thoughts between them, or if they're thinking separate thoughts that rhyme.
Facade reprise #3 (with Spider, and chorus) was an awesome mood-setter. With the chorus whispering words that he had just said, words that he was about to say, or whispering unintelligible things. Beautiful. Also, creepy. :P
Why did Hyde show John the transformation back? Just to show him, which seems kind of random, and/or weak writing. Cause earlier Hyde said "I don't expect him back any time soon."
In his next song, he had a beautiful vocal performance when he stabbed himself with the needle. But as per usual, the lyrics seemed very generic.
Kinda wished for a Jekyll and Hyde bow. He did something that seemed like it could have been, but I don't think that was the purpose of it.
Especially in the first act, the songs felt VERY often. Almost too often. They don't seem to further the story, but rather to dwell on... what? I'm not sure, cause I don't hear most of them.
"Confrontation" was the strongest moment in the show. That is, in my opinion, the sole reason the show exists. Even with the unfortunate blocking (or was it unfortunate? More on that in a bit, hopefully.) it grabbed my attention, and HELD it, something which this musical largely failed to do.
This version with Rob Evan seems to be stronger. Part of the problem with the turning back and forth comes when they hit the same poses.
Hasselhoff's Hyde pose was NEVER different. And the Jekyll seemed to always be pointing.
Evan's Hyde was very different, very fluid and random in movement, which was beautiful. His Jekyll sometimes suffered from the pointing all of the time. Something beautiful he did (though with the repetition, I don't think it was intentional) was physically fighting with himself. Grabbing his arm, and wrenching it back into Hyde, or throwing his arm into Jekyll. With added specificity, I think that would have been very beautiful.
Friday, December 20, 2013
Ruthless! The Musical -- Off-BWay 1992 (LA 1993)
Book: Joel Paley
Lyrics: Joel Paley
Music: Marvin Laird
I watched this production.
Is poking fun at Gypsy and Mame
"The central role of Tina was played by future Broadway actress Laura Bell Bundy, and featured Natalie Portman and Britney Spears as understudies."
Opening number seems to set up the ridiculous world as well a Judy Denmark's devotion of her life to Tina's "career" so to speak. She's the Mama Rose type, alright.
Lead (Louise) gets cast cause her parents are donating all the set and costumes.
So most of the roles are similar in motivation, etc. Tina, Sylvia and Myra Thorn. All want talent, to succeed, etc. Later Judy/Ginger (who breaks out of it a bit with "It Will Never Be That Way Again")
Critical of what goes on in theatre perhaps as well. From the slicing and dicing, and the "this is a theatre, not a playground, we're not here to have fun." The argument about "I don't think Puddles would shake hands here. / I can't act like this. / You can't at all."
"Ms. Lerman who was to star TONIGHT in her school production of Pippi In Tahiti, and would have been eleven years old... Tomorrow." Dang, they cross ALL THE LINES. >:) I like it.
The subsequent song "Kisses and Hugs" is glorious with Judy (the mom) trying to handle the tragedy like a normal mother (a taste of realism), but gradually it devolves back into the world of the play, because of course Tina isn't concerned at all. That was beautifully written too. All innocent and simple. Nothing complicated here.
I also appreciate the consistency of the running jokes. With the "Please call me this" etc. And Judy taking everything literally. "Cigarette? / No thank you. / No, do you HAVE one? / Oh, I'm afraid I quit. / Cold turkey? / I'm not sure, I'll go check."
"I Hate Musicals" brilliant especially in that it's self-deprecating. "The story is moving, chock-full of suspense / The plot takes a twist and the mood is intense / Then someone sings a song like this, it doesn't make sense."
Also relevant to the real world. Critical of new musicals. Sex. Keyboards/synth rather than real orchestras.
"There are no lousy songs. Only lazy singers." The book is so well written. :O (but seriously. I don't use the :O face often, and it looks kind of sarcastic, but I really do love this book.)
You're INDICATING. <3
THIS BOOK IS SO WELL WRITTEN!!!! Circular, bringing things back. The "I'll get it" with Eve, only she's better at it, and can preemptively do it. The "toast, Danish, Denmark." etc with the reporter. (Speaking of the reporter, the version I watched, the transformation from Myra Thorn to the reporter was glorious. Didn't recognize her.)
That's a fun show to have a curtain call in. o.O
I really liked the first act. I think the second act was maybe not as well constructed? They changed things up, and that's always difficult to do in a second act, cause you've been setting up so much from the first act. But the things coming back in the script really helped, I think. That circularity, etc. Made it verbally coherent, if not visually. I wonder how much that had to do with the set, and how much it had to do with the show. Maybe a different set would have felt more unified throughout the show.
Song:
I really wanted to learn something of Sylvia's. But they didn't really stand out to me as anything special. As a result, I think I'm going to learn "I hate musicals".
Lyrics: Joel Paley
Music: Marvin Laird
I watched this production.
Is poking fun at Gypsy and Mame
"The central role of Tina was played by future Broadway actress Laura Bell Bundy, and featured Natalie Portman and Britney Spears as understudies."
Opening number seems to set up the ridiculous world as well a Judy Denmark's devotion of her life to Tina's "career" so to speak. She's the Mama Rose type, alright.
Lead (Louise) gets cast cause her parents are donating all the set and costumes.
So most of the roles are similar in motivation, etc. Tina, Sylvia and Myra Thorn. All want talent, to succeed, etc. Later Judy/Ginger (who breaks out of it a bit with "It Will Never Be That Way Again")
Critical of what goes on in theatre perhaps as well. From the slicing and dicing, and the "this is a theatre, not a playground, we're not here to have fun." The argument about "I don't think Puddles would shake hands here. / I can't act like this. / You can't at all."
"Ms. Lerman who was to star TONIGHT in her school production of Pippi In Tahiti, and would have been eleven years old... Tomorrow." Dang, they cross ALL THE LINES. >:) I like it.
The subsequent song "Kisses and Hugs" is glorious with Judy (the mom) trying to handle the tragedy like a normal mother (a taste of realism), but gradually it devolves back into the world of the play, because of course Tina isn't concerned at all. That was beautifully written too. All innocent and simple. Nothing complicated here.
I also appreciate the consistency of the running jokes. With the "Please call me this" etc. And Judy taking everything literally. "Cigarette? / No thank you. / No, do you HAVE one? / Oh, I'm afraid I quit. / Cold turkey? / I'm not sure, I'll go check."
"I Hate Musicals" brilliant especially in that it's self-deprecating. "The story is moving, chock-full of suspense / The plot takes a twist and the mood is intense / Then someone sings a song like this, it doesn't make sense."
Also relevant to the real world. Critical of new musicals. Sex. Keyboards/synth rather than real orchestras.
"There are no lousy songs. Only lazy singers." The book is so well written. :O (but seriously. I don't use the :O face often, and it looks kind of sarcastic, but I really do love this book.)
You're INDICATING. <3
THIS BOOK IS SO WELL WRITTEN!!!! Circular, bringing things back. The "I'll get it" with Eve, only she's better at it, and can preemptively do it. The "toast, Danish, Denmark." etc with the reporter. (Speaking of the reporter, the version I watched, the transformation from Myra Thorn to the reporter was glorious. Didn't recognize her.)
That's a fun show to have a curtain call in. o.O
I really liked the first act. I think the second act was maybe not as well constructed? They changed things up, and that's always difficult to do in a second act, cause you've been setting up so much from the first act. But the things coming back in the script really helped, I think. That circularity, etc. Made it verbally coherent, if not visually. I wonder how much that had to do with the set, and how much it had to do with the show. Maybe a different set would have felt more unified throughout the show.
Song:
I really wanted to learn something of Sylvia's. But they didn't really stand out to me as anything special. As a result, I think I'm going to learn "I hate musicals".
Tuesday, December 17, 2013
Carrie: The Musical - BWay 1988, revival OffBway 2012
Book: Lawrence D. Cohen
Lyrics: Dean Pitchford
Music: Michael Gore
Obviously based on Stephen King's Carrie.
(I watched the Off-Broadway version)
Carrie: Molly Ranson
Sue Snell: Christy Altomare
For full cast and review click
Nother review
Both say, and I agree, it seemed a little bit watered-down. Perhaps commonplace?
The second notes, however, that it's difficult to be a serious musical, and those that are (Miss Saigon, or Spring Awakening) are set far away from the current time and place, whereas Carrie is set here and now. High school, modern day.
"I remember how those boys could dance" I liked Carrie's first lyrics. But they seemed very stream-of-consciousness and the music did not match the eager, tumbling energy that she possessed. I thought her mom's section was effective. Lyrics, and music. When Carrie began to interject, it brought me out a little bit.
"A Night We'll never Forget" (Act 2 opener) Pretty good storytelling song. Lots of different things happened.
"Why Not Me" I like it. Gonna learn it?
"Stay Here Instead" Beginning underscoring beautiful. Scary, sort of Horror, I had honestly expected more of that throughout the show. We'll see if there is more later. But that was beautiful.
"The sweetest memories are never planned"
Choreo in general underwhelming, I think... When they're high schoolers at the prom, it makes sense, but when they're angsty teenagers, like at the opening or at the Act 2 opening, that was disappointing.
Lyrics try to rhyme too often? Also not any internal rhymes, or cleverly placed things (that I noticed).
Lyrics: Dean Pitchford
Music: Michael Gore
Obviously based on Stephen King's Carrie.
(I watched the Off-Broadway version)
Carrie: Molly Ranson
Sue Snell: Christy Altomare
For full cast and review click
Nother review
Both say, and I agree, it seemed a little bit watered-down. Perhaps commonplace?
The second notes, however, that it's difficult to be a serious musical, and those that are (Miss Saigon, or Spring Awakening) are set far away from the current time and place, whereas Carrie is set here and now. High school, modern day.
"I remember how those boys could dance" I liked Carrie's first lyrics. But they seemed very stream-of-consciousness and the music did not match the eager, tumbling energy that she possessed. I thought her mom's section was effective. Lyrics, and music. When Carrie began to interject, it brought me out a little bit.
"A Night We'll never Forget" (Act 2 opener) Pretty good storytelling song. Lots of different things happened.
"Why Not Me" I like it. Gonna learn it?
"Stay Here Instead" Beginning underscoring beautiful. Scary, sort of Horror, I had honestly expected more of that throughout the show. We'll see if there is more later. But that was beautiful.
"The sweetest memories are never planned"
Choreo in general underwhelming, I think... When they're high schoolers at the prom, it makes sense, but when they're angsty teenagers, like at the opening or at the Act 2 opening, that was disappointing.
Lyrics try to rhyme too often? Also not any internal rhymes, or cleverly placed things (that I noticed).
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