Wit
I'm not a huge fan of this drama detailing a woman's death due to ovarian cancer, but this production starring Cynthia Nixon makes the best case for it. The behind-the-scenes story of a kindergarten teacher winning the Pultizer prize for drama for the only play she ever wrote (or plans to write) is more intriguing to me than watching a woman die a slow, painful death on stage. The fact that such an acclaimed and successful play has never been on Broadway until now is also very curious and sadly points out how the commercially viable Off-Broadway scene that supported Wit in its long-running original production is long gone. Despite the medical mistruths and stereotypes that abound here, it's hard not to feel for the main character, especially since Cynthia Nixon gives such a daring, harrowing performance! Brava to her! A warning for the gay-faint-hearted: if you sit front-of-house left, you will be staring straight into Cynthia's shaved 'gina at the end of play, something I never want to see again.
Diego Rivera: Murals for the Museum of Modern Art
This small "exhibit" falls in line this other recent attempts by MOMA to highlight their own holdings by promoting them as special exhibitions. Featuring Rivera's most famous image, his portrait of Emiliano Zappata, this exhibit documents the time Rivera came to New York to recreate the fresco technique that made him famous in Mexico. Calling the pieces "murals" is a bit of an exaggeration though since these were made as relatively small, movable works. I have much higher hopes for MOMA's upcoming Cindy Sherman retrospective.
Carrie the Musical
Wow! There is a great musical somewhere in this mess of a production now in previews off-Broadway. The original production is legendary, having closed after only one week at a loss of over 10 million dollars, the most expensive flop at that point in Broadway history. Minus the unintended camp that marred that production, some of which is on display on youtube, there were some beautiful songs written for the scenes between Carrie and her overly pious mother. Those scenes and about 2/3's of the original material remain intact with the rest replaced by new material written by the same creators. I have absolutely no issues with the new show itself, but this production is doing it a major disservice. The teenagers from Spring Awakening appear to have taken over this production, which features too much high-energy and overly-choreographed movement. This is Carrie, a frightening, though moving horror story! It doesn't need dance routines!!! I understand that major changes are still being made (indeed, the early preview I saw already had changes based on written reports of the first preview) and I hope they are for the best since I really think this new version could become widely produced. At the very least, I hope the show finally gets a cast recording. I want it, I want it, I want it!!!
Brazil! Brazil!
I had been looking for an interesting show to see in the New Victory Theater just so I could check out this old jewel of a theater that has long-housed programming for children. A noon performance of Brazil! Brazil! allowed me to accomplish this feat and celebrate my pseudo-Brazilian heritage at the same time. This plotless show, featuring high-energy Samba dancing, capoeira (Brazilian marital arts), free-style soccer, and a hot five-man band, is totally infectious. A fun fling for those who can't have a real one in Brazil!
Porgy and Bess
Much has been written about the changes and cuts (over an hour has been trimmed!) that have been made for this new production, but the focus should be on the intense, heartbreaking performances that are electrifying this production. My initial disappointment that Norm Lewis was out sick was quickly allayed as soon as Porgy understudy Nathaniel Stampley took the stage and opened his voice. Not only is he physically more appropriate for Porgy (remember Lewis's bulky frame as King Triton in The Little Mermaid?), but his voice is glorious. Audra McDonald can do no wrong in my opinion and she certainly doesn't here as Bess. WOW!!! She doesn't bother making Bess sympathetic (the audience is going to love her anyone, no?) and instead delivers a scarily realistic portrait of an addict who knows she doesn't exist without the men around her. The love she finds in Porgy is what moves this production, which by the end is heartbreaking stuff instead! Bravo!!!
Elaine Paige at the Allen Room
Britain's first lady of musical theatre rarely does dates in the US, so I took advantage of the fact that one of the shows I was scheduled to see (On A Clear Day...) closed early and jumped at the chance to see Elaine Paige when a single ticket finally popped up to one of her two long-sold out shows. While I thought her performance as Carlotta in the recent production of Follies was somewhat lacking, the same cannot be said for this concert. Singing all of the big songs from every major production that she has been a part of, the woman sounded fantastic, giving a master class of belting! In fact, the only thing marring this performance was the venue in which it took place. The Allen Room is the same room in which Anderson Cooper tapes his day-time talk show. Looking out of a three-story window onto Columbus Circle and Central park, the lights at night are just too distracting. For fear that a migraine would be triggered, I kept having to move in my seat so Elaine's head would block out the street lights below. Unfortunately, Ms. Paige is too energetic of a performer to just stand in one place and sing!
Bjork
I couldn't pass up a chance to witness the craziness that is Bjork, especially in the small performance space that is the "Great Hall" at the New York Hall of Science in Queens. Her run of shows in the space was completely sold out even though she was later moving the show to the much larger Roseland Ballroom in Manhattan for additional dates. But, craigslist can be your friend as I scored a last minute ticket for only a slight premium. This general admission, in-the-round show was a sonically pleasing trip into Bjork's Biophilia world thanks to her unique vocals and a large female Icelandic choir always on stage with (and sometimes obstructing the view of) her. The concert focused mainly on her latest, science-driven album, so much so that there weren't any projections programmed on the numerous TV screens for non-Biophilia songs that Bjork did sing. Glad I made the trek out to Queens!
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