The Kennedy Center's new production of Follies
I had been waiting to see a full production of Stephen Sondheim's Follies since I first heard the score many years ago. I finally had the chance with this new production at the Kennedy Center in D.C., which I had been looking forward to ever since it was announced 2 years ago. I was aware that Follies had a problematic book, but didn't know just how problematic until now. Yikes, is it a mess (at least on first impression). And yikes, is Bernadette Peters miscast (also a first impression). This production is lavish and has some great moments ("Who's That Woman?" featuring Terri White for one!), but I think this show needs a stronger directorial vision (it was originally co-directed by Hal Prince and Michael Bennett) than what is provided here by the Signature's Eric Schaeffer (who helmed the excellent Sondheim Celebration of six of the master's musicals at the Kennedy Center in 2002). Having now read both the original Broadway script and the "Roundabout" one that closed before I had a chance to see it, this version appears to be an amalgam of both. It also appears to be significantly trimmed down and I suspect that it's the same one used for the Encores concert version in NYC in 2007. I'll provide more comments after a second viewing in June and after I've finished reading Ted Chapin's excellent first-hand account about the making of the musical, Everything Was Possible.
Alexander McQueen: Savage Beauty at the Met
I recently wrote that I'm not a biggest fan of fashion in regards to the Roberto Capucci exhibit at the Philadelphia Museum of Art, but I may take that back after seeing this outstanding show on Alexander McQueen at the Metropolitan Museum of Art. Filled with his outrageous, gothic clothes beautifully displayed, including great lighting and sound designs, I expect long, Gaga-esque lines for Gaga's favorite designer throughout the exhibit's run this summer (I waited an hour+ on a Friday afternoon!). There's a great catalog accompanying the show (cheaper online elsewhere, thanks iPhone!), but I couldn't resist buying a crystal skull paperweight made especially by the Met for this exhibit. Go!
How To Succeed...
While not terrible, this production was a huge disappointment for me. I love this musical, but this production completely lacks bite and never takes off until the end during "Brotherhood of Man." The casting seems ideal, but nobody makes an impression. Daniel Radcliffe, excellent in Equus, is no song-and-dance man; John Larroquette plays fey too much; and Tammy Blanchard as Hedy LaRue seems to be impersonating Jennifer Coolidge (close your eyes and you'll think it's her). I'm sad to report that I didn't laugh once, especially since I thought the last revival with Matthew Broderick and Megan Mullally was hilarious. Also, I hated the new orchestrations (why not use the original's?!?). I can say that Radcliffe is packing them in, especially teenagers, whereas audiences stayed away from Equus even though his tiny cock was on display.
Punchdrunk's Sleep No More
I always find it hard to describe environmental or "immersive" theatre pieces in order to adequately convene their experience, especially one that could be so variable in viewing experience and so open to interpretation as this one. The setting is the McKittrick Hotel (in NYC's Chelsea neighborhood), marked only by a small plaque near the door, where the audience is free to explore the numerous rooms (100?) over 5 floors while wearing white masks (ala Eyes Wide Shut) and remaining absolutely silent (strictly enforced by black-masked guides stationed on each floor). The dimly-lit rooms include most that you would find in any hotel, such as a front desk, guest rooms, ballroom, restaurant, and bars, but also creepier spaces like a taxidermy room, children's dormitory, communal bathing room, cemetery, forest, and various questionable business offices. The dozen or so actors, dressed in period clothing of some vague early 20th century decade, include Macbeth and Lady Macbeth-like figures, hotel staff, and various party goers. The actors appear together in a brief opening party scene and at an ending feast, but rarely talk (excepted for the crazed Lady Macbeth who doesn't seem to make much sense). The rest of the time the audience members follow the actors throughout the hotel, sometimes running in order to keep up, observing various scenes leading up to and following at least one murder. I don't know if I caught it all, but I definitely saw some repetition. There's a fair amount of non-sexual nudity (both male and female) in some of the more intense scenes as various characters have to wash blood off themselves or each other. While there is no clearly discernible plot or true resolution, this piece is very successful is creating haunting images and disturbing moods, made all the more so by the voyeuristic feeling that results from observing everything through a mask and the intimate closeness between the actors and the audience. A must-experience with late-night shows also on Fridays and Saturdays.
Werner Herzog's Cave of Forgotten Dreams
I don't usually write about movies, but this one seemed more like an event to me, plus I had to pay $17 to see it in 3D at the IFC. Written, directed, and narrated by the quirky Herzog, it's an incredible document of Man's earliest known artistic works, which surprisingly are incredibly beautiful and stylized. And, the 3D is essential to experiencing the majesty of the Chauvet Cave, discovered in France in 1994, since tourists will never be allowed to step inside themselves.
The Normal Heart
I had only ever read Larry Kramer's landmark, autobiographical play about the AIDS crisis in New York in the early 80s since productions of it seem few and far between. That's a shame since this new production is one of the most intense, profound, and heartbreaking dramas I have ever seen on stage. This full production directed by George C. Wolfe is based on a recent reading organized by Joel Grey and has a starry cast, including previously-retired-from-acting/too-busy-directing Joe Mantello in the lead, Ellen Barkin in a SMASHING Broadway debut, the-always-great John Benjamin Hickey, and Hollywood-actors-only-available-for-limited-runs Lee Pace (Pushing Daisies) and Jim Parsons (The Big Bang Theory). Even the heartless will be moved by this. Devastating!
War Horse
It's easy to see why this show is a sellout in NYC and is still running in London: it's a great story with incredible staging! I'm so glad I went out of my way to make sure I didn't see any visuals of the show beforehand because I was blown away by the beauty and ingenuity of the puppetry! A must-see for everyone!!! One word of advice: don't see this and The Normal Heart on the same day like I did lest you find yourself randomly bursting into tears all day AND all night.
Catch Me If You Can
Why did someone think this movie would make a good musical?!? I didn't care about a single character on stage despite the hard-sell attempt by the show's writers. That wouldn't necessarily be a problem if the show was a brilliant satire with great songs along the lines of Chicago, which Catch Me... is closely modeled after (but using a TV variety show setting instead of a Vaudeville stage). Unfortunately, only a couple of the songs are the least bit good and the whole thing is rather tedious. On the plus side, Aaron Tveit is the most talented eye candy on Broadway so at least there's that.
Priscilla Queen of the Desert
Like most jukebox musicals, the songs are shoe-horned in, but it doesn't matter: this show is F.U.N.!!! And, it's definitely the gayest thing I've ever seen on Broadway (which the ad campaign seems to be trying to hide). The story closely follows the movie, but there are many changes from the original Australian/London theatrical version (based only upon the Australian cast recording since NYC was my first Priscilla experience). Tony Sheldon as Bernadette stands out from the crowd, but the real star is the outrageous costume design by Lizzy Gardiner and Tim Chappel. Bravo!
Coming in June: Book of Mormon and Sister Act!
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