1/13/20: The Woman in Black
a repeat visit
Monday, January 20, 2020
Monday, January 13, 2020
Weekly Margin 2020, W2: Jagged Little Pill, The Woman in Black, Judgement Day, London Assurance, The Inheritance, Parts One and Two
1/08/20: Jagged Little Pill
What: A new jukebox musical combining an original script by screenwriter Diablo Cody and the song catalog of Alanis Morissette to tell the story of a suburban family struggling for perfection--or at least the veneer of perfection--whose various crises come to a head when a student is assaulted at a party.
And? My dad and I wrote recently about how Crazy Ex-Girlfriend and even Dear Evan Hansen owe a large debt to the Pulitzer-winning next to normal for its nuanced approach to struggling with mental illness, and the inability to achieve a perfectly tied bow of a conclusion. This show, too, is a descendant of next to normal, though it takes a different spin with Mary Jane, the suburban housewife and mother of two teens, addicted to pain medication, suffering from undiagnosed PTSD, and unwilling to confront her own demons until they threaten to tear her entire family apart. There's more to the show than that, and that's actually a bit thrilling in itself--that it's not nearly so tidily and tightly focused as musicals--especially jukebox musicals--often are. There's also the all-star son Nick, struggling with his conscience over being a passive bystander; there's adopted daughter Frankie, angry activist, bisexual, and newly attracted to a boy; there's Frankie's best friend/partner Jo, watching helpless as Frankie drifts away; there's Bella, the victim of the assault, guarded and defensive and confused (there's also Steve, the husband, but his struggles are mostly surrounding his relationship with Mary Jane and hey, it's fine if he takes a backseat on this one). All this is interesting and at times even compelling, particularly when the rallying cry is finally sounded in support of Bella. However, the show still falls prey to that which plagues all jukebox musicals: how well do the songs actually fit the narrative--not just the emotional essence but the specific narrative beat? And that doesn't always work out. They come closest with Jo, as played by Lauren Patten, who charms with "Hand in My Pocket" and knocks it out of the damn park with "You Oughta Know," but in other numbers when two characters from vastly different angles and backgrounds share the same lyric, it loses some of its authenticity and specificity (understanding the lyrics when sung by the full ensemble is also an occasional challenge). I'm also not wild about Riccardo Hernadez's scenic design, especially with that many ambiguous entry and exit points (gonna call out director Diane Paulus for this too--I need consistent world rules), and the seemingly arbitrary sliding in and out of the band's platforms (coupled with the I-guess-this-is-a-concert-now? lighting work by Justin Townsend). Those complaints aside, this thing is badass in a lot of ways. Sidi Larbi Cherkaoui's choreography is fluid and kinetic and performed seemingly effortless by a crazy gifted ensemble. The staging of "Smiling" and "Uninvited" are particularly hauntingly crafted, the voices are great, and the story is relevant.
1/09/20: The Woman in Black
What: The McKittrick Hotel (famed home of the long-running Sleep No More) hosts the even-longer-running The Woman in Black, this time sharkening back to the play's original pub staging, by hosting it in their upstairs Club Car restaurant.
And? I suppose when I saw the language that it was originally staged in a pub, along with the fact that it was hosted by the McKittrick, I assumed this would be immersive, so I'll say upfront that it is not. It is instead an intimate performance, but largely similar to that which is still running on the West End (some of the staging, like the staircase behind the scrim, or the disappearance into the orchestra pit, had to be scrapped and replaced with something better suited to the space). It's marvelous. As my friends know, I am a longtime fan of this play, and the two stars of this run, David Acton and Ben Porter, are absolutely terrific. As an added treat: at times one can hear--and feel--the louder moments of Sleep No More's soundscape coming up from the floor (the Club Car is on the sixth floor); and then, on our exit, we took the elevator down to the lounge and got to pass through the maze. I hadn't been back to the McKittrick since August 2012, so that was a nostalgic return for me.
What: A new jukebox musical combining an original script by screenwriter Diablo Cody and the song catalog of Alanis Morissette to tell the story of a suburban family struggling for perfection--or at least the veneer of perfection--whose various crises come to a head when a student is assaulted at a party.
And? My dad and I wrote recently about how Crazy Ex-Girlfriend and even Dear Evan Hansen owe a large debt to the Pulitzer-winning next to normal for its nuanced approach to struggling with mental illness, and the inability to achieve a perfectly tied bow of a conclusion. This show, too, is a descendant of next to normal, though it takes a different spin with Mary Jane, the suburban housewife and mother of two teens, addicted to pain medication, suffering from undiagnosed PTSD, and unwilling to confront her own demons until they threaten to tear her entire family apart. There's more to the show than that, and that's actually a bit thrilling in itself--that it's not nearly so tidily and tightly focused as musicals--especially jukebox musicals--often are. There's also the all-star son Nick, struggling with his conscience over being a passive bystander; there's adopted daughter Frankie, angry activist, bisexual, and newly attracted to a boy; there's Frankie's best friend/partner Jo, watching helpless as Frankie drifts away; there's Bella, the victim of the assault, guarded and defensive and confused (there's also Steve, the husband, but his struggles are mostly surrounding his relationship with Mary Jane and hey, it's fine if he takes a backseat on this one). All this is interesting and at times even compelling, particularly when the rallying cry is finally sounded in support of Bella. However, the show still falls prey to that which plagues all jukebox musicals: how well do the songs actually fit the narrative--not just the emotional essence but the specific narrative beat? And that doesn't always work out. They come closest with Jo, as played by Lauren Patten, who charms with "Hand in My Pocket" and knocks it out of the damn park with "You Oughta Know," but in other numbers when two characters from vastly different angles and backgrounds share the same lyric, it loses some of its authenticity and specificity (understanding the lyrics when sung by the full ensemble is also an occasional challenge). I'm also not wild about Riccardo Hernadez's scenic design, especially with that many ambiguous entry and exit points (gonna call out director Diane Paulus for this too--I need consistent world rules), and the seemingly arbitrary sliding in and out of the band's platforms (coupled with the I-guess-this-is-a-concert-now? lighting work by Justin Townsend). Those complaints aside, this thing is badass in a lot of ways. Sidi Larbi Cherkaoui's choreography is fluid and kinetic and performed seemingly effortless by a crazy gifted ensemble. The staging of "Smiling" and "Uninvited" are particularly hauntingly crafted, the voices are great, and the story is relevant.
 |
| Elizabeth Stanley and Kathryn Gallagher as Mary Jane and Bella, with company. Photo by Matthew Murphy. |
1/09/20: The Woman in Black
What: The McKittrick Hotel (famed home of the long-running Sleep No More) hosts the even-longer-running The Woman in Black, this time sharkening back to the play's original pub staging, by hosting it in their upstairs Club Car restaurant.
And? I suppose when I saw the language that it was originally staged in a pub, along with the fact that it was hosted by the McKittrick, I assumed this would be immersive, so I'll say upfront that it is not. It is instead an intimate performance, but largely similar to that which is still running on the West End (some of the staging, like the staircase behind the scrim, or the disappearance into the orchestra pit, had to be scrapped and replaced with something better suited to the space). It's marvelous. As my friends know, I am a longtime fan of this play, and the two stars of this run, David Acton and Ben Porter, are absolutely terrific. As an added treat: at times one can hear--and feel--the louder moments of Sleep No More's soundscape coming up from the floor (the Club Car is on the sixth floor); and then, on our exit, we took the elevator down to the lounge and got to pass through the maze. I hadn't been back to the McKittrick since August 2012, so that was a nostalgic return for me.
Monday, January 6, 2020
Weekly Margin 2020, W1: A Soldier's Play, Slava's Snowshow, The Inheritance, Parts One and Two
1/02/20: A Soldier's Play
What: Roundabout presents Charles Fuller's 1982 Pulitzer prize winning play, about the investigation of a murder on a military base of a black sergeant in the American South during the second world war.
And? A wonderful cast, from the television stars to the Broadway debuts, ably directed and staged by Kenny Leon. The play itself is a compelling examination of the racial tensions and nuances of what it meant to be the "right" kind of black man at the time in order to earn respect from white colleagues, and a sobering reminder that the more things change, the more things stay the same.
1/03/20: Slava's Snowshow
A lovely revisit before the run concluded, and this one had Slava himself stepping in for part of Yellow's track (namely, the opening rope sequence, and the second act), as well as the cutest child Green in the world.
1/05/20: The Inheritance, Parts One and Two
a repeat visit
What: Roundabout presents Charles Fuller's 1982 Pulitzer prize winning play, about the investigation of a murder on a military base of a black sergeant in the American South during the second world war.
And? A wonderful cast, from the television stars to the Broadway debuts, ably directed and staged by Kenny Leon. The play itself is a compelling examination of the racial tensions and nuances of what it meant to be the "right" kind of black man at the time in order to earn respect from white colleagues, and a sobering reminder that the more things change, the more things stay the same.
1/03/20: Slava's Snowshow
A lovely revisit before the run concluded, and this one had Slava himself stepping in for part of Yellow's track (namely, the opening rope sequence, and the second act), as well as the cutest child Green in the world.
1/05/20: The Inheritance, Parts One and Two
a repeat visit
Monday, December 23, 2019
Weekly Margin 2019, W51: Anne of Green Gables
12/21/19: Anne of Green Gables
What: Chance Theater revives its holiday production of a musical adaptation of the beloved L. M. Montgomery novel.
And? I gather that if I had already had familiarity with the source material (or its miniseries adaptation), I might have felt more nostalgic fondness for this show. I've really enjoyed the past holiday productions at the Chance, including a darling She Loves Me and a frothy Emma, but this one didn't do it for me--though I lay most of the blame on the writing, which was fairly inactive throughout. Emily Abeles was a real treat as Anne, however.
What: Chance Theater revives its holiday production of a musical adaptation of the beloved L. M. Montgomery novel.
And? I gather that if I had already had familiarity with the source material (or its miniseries adaptation), I might have felt more nostalgic fondness for this show. I've really enjoyed the past holiday productions at the Chance, including a darling She Loves Me and a frothy Emma, but this one didn't do it for me--though I lay most of the blame on the writing, which was fairly inactive throughout. Emily Abeles was a real treat as Anne, however.
 |
| Emily Abeles as Anne Shirley. Photo by Doug Catiller, True Image Studio. |
Monday, December 16, 2019
Weekly Margin 2019, W50: Little Women
12/15/19: Little Women
What: Hedgepig Ensemble Theatre's new adaptation of the Louisa May Alcott classic novel.
And? Lovely work. Full review here.
What: Hedgepig Ensemble Theatre's new adaptation of the Louisa May Alcott classic novel.
And? Lovely work. Full review here.
 |
| Samanthia Nixon, Ashley Kristeen Vega, Rachel Schmeling, Desiree Baxter, and Sara Hymes as Amy, Beth, Jo, Marmee, and Meg. Photo by Allison Stock. |
Subscribe to:
Posts (Atom)