April 2012: NYC

Cindy Sherman retrospective at MoMA

This is one of the better exhibits that MoMA has put together in recent memory and a great retrospective of the (most?) well-known contemporary photographer. I was mistaken to believe that she only did self-portraits as a section of the exhibit is devoted to her "Sex" series, featuring grotesque, pieced together mannequins. Highlights include her entire "Untitled Film Stills" series, which catapulted her to fame; her "Old Masters" series, appropriately displayed in the salon style; and her recent "Society Portraits" and "Fashion" series, which are a humorous mirror of today's materialistic culture. A must-see!

Nice Work If You Can Get It

Ugh! That was my response after sitting through the first act this "new" Gershwin musical. Oh how I wished I had chosen to see another show instead of this crap. There's so much that's bland and boring in this show, including the lazy Matthew Broderick (who's appropriately getting typecast as a buffoon) and the uninspired story and staging (seriously, no tap dancing in a Gershwin musical?). That said, I'm glad I stuck out the second act because it actually did get better, mainly due to supporting players like Judy Kaye (so much fun!). Unfortunately, Estelle Parsons (so brilliant in the August: Osage County tour!) doesn't show up until the very end of the show and is stuck with the let's-wrap-up-all-the-loose-ends-to-explain-the-nonsensical-plot monologue to end the show. What a waste! Avoid this dreck!!!

Now. Here. This.

I missed seeing my old friends from Title of Show so much that there was no way that I could miss seeing their new show! It was nice to spend a couple of hours with them at the science museum (seriously) as they broke into song while pontificating on the meaning of life. And, I loved the songs!!! I just wish they were part of a real musical, one with an actual plot. Too bad this show probably won't get recorded or performed ever again. These guys and gals are talented and I'll definitely be watching out for their next moves!

Evita

It's hard to believe that this is the first revival of Evita on Broadway. It's one of my favorite musicals and also my first musical (besides being dragged to the Muny as a kid). I still remember that original Hal Prince production vividly thanks to the endless tours that followed it oh so closely. This production features a love-her-or-hate-her Evita in the form of Argentinian actress Elena Rogers. I am on the love-her side and think she is electric in this role! It's see to understand why Rogers has received much acclaim in portraying Edith Piaf since if you close your eyes, it sounds like Piaf is singing the Evita score. But, this Evita can also dance! The tango-infused choreography by Rob Ashford is brilliant and Rogers kicking up her heels in "Buenes Aires" is hot, hot, hot! The scenic design is big and beautiful, and I loved the tweaks made to the book that really move the show along (the first act is maybe 50 minutes). I even liked the addition of "You Must Love Me," which I was prepared to hate, though I think this number really should be sung to the narrator character and not Peron. And, that brings us to the narrator character, who is no longer Che Guevara, but just Che. I loved the changes to this role made for the movie and thought it should have been taken even further in this stage production to make the character an "everyman." Unfortunately, it's a little confusing as to who this character is (why still name him Che?) and things aren't helped any by Ricky Martin. Yes, he sings the role beautifully and clearly, but he seems to be in another musical altogether (The Boy From Oz?). The man is too happy with a "Let Me Entertain You" gusto that just doesn't belong in this show. Can't wait for the cast recording though!!!

End of the Rainbow

OMG!!! This play is not as bad as I had been led to believe, but the lead performance has to be seen to be believed!!! Tracie Bennett is amazing in her portrayal of Judy Garland during the last few months of her life as she prepares for a stint of concerts in London. Not only does she excel in the book scenes, but she is absolutely electrifying in the concert numbers, both when Garland is "on" and nailing the material, and when she is manic and out of control and generally making an embarassing mess of things. My favorite moments included the two numbers that close each act ("The Man That Got Away" in the first and "Over the Rainbow" in the second). They exist in a theatrical otherworld with Bennett as Garland devastating the audience with both heartbreaking pain and hopefulness, respectively. A triumphant tour de force!!!

Newsies

This is about as good as a contemporary blockbuster musical can get! And, it even serves as a history lesson. Yes, the score could be better, and yes, the dancing gets repetitive, but in the end it doesn't matter. This show has heart and a hot male chorus that hoofs its ass off! Jeremy Jordan, the leading man, actually takes a while to warm up to only because he doesn't oversing and overact like most of his contemporaries working on Broadway. His voice is more soulful and his performance more understated, but by the end of the show he completely wins over the audience. Bravo! This one will run and tour for years to come.