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  • AmericanTheaterWeb Original News & Reviews

  • Use the calendar above to find ATW News & Reviews for a specific day, or use the list to the right to go to a specific review or article. The site's updated 3-4 times a day generally. For you convenience, links below will take you to ATWTopNews (a quick listing of links to some of the day's top stories) and to ATWClips (the complete digest of the day's news from ATW).

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A Truly Digital Opening Night for Apollo in Portland

How's this for innovative? Portland Center Stage is just about to open Apollo and for this multimedia experience, they are inviting critics to cover the opening night in realtime online. Here's some of what the invite says:

"Normally, Portland Center Stage has a strict no cell phone in the theater policy.

But we thought that the deconstructed, multi-media rich experience of our World Premiere production of Apollo would be the perfect opportunity for our first experiment in blog- and twitter-friendly performance. With that in mind...."

The invitation goes on to explain that the peformance will be "our first ever twitter and blog friendly performance of Apollo. We'll have the balcony reserved for authorized twitterers and bloggers..." The digiterati sitting in the balcony will be able to document their experience of the production live and in the moment.

The theater's really thinking ahead..."We'll have extra power outlets for you to plug into and access to our in house wireless."

Now for anyone who'd like to follow what's happening on opening night of Apollo at Portland Center Stage, you should drop by www.search.twitter.com by searching #apollo.

And until the opening rolls around, you can check out this new trailer for Apollo that samples some of the footage from the workshop productions:

[video:youtube:TlBfFWyHzXo]

 

For further information about the show, drop by www.pcs.org

Feb. 3 – A Day When Broadway's Recent Past Comes To Your Home

It's interesting that two shows – both not long gone from Broadway – will enter theater fans' homes on February 3. That's the day that Sony Pictures Home Entertainment will release RENT: Filmed Live on Broadway on Blu-ray Disc and DVD and Hybrid Recordings will release the two disc set, Liza's at the Palace….

The Rent release captures the final Broadway performance of Jonathan Larsen's multi-award-winning show. Filmed by Radical Media utilizing the latest in high-definition video and digital audio technology, director Michael Warren creates an enhanced journey through the music, lyrics, and images of this historic piece of live entertainment, allowing viewers to experience the show like never before, not only from the best seats in New York's famed Nederlander Theatre, but from the stage and wings, where cameras capture the raw emotion of the cast's performance.

RENT: Filmed Live on Broadway features Will Chase as Roger, Adam Kantor as Mark, Michael McElroy as Collins, Tracie Thoms as Joanne, Justin Johnston as Angel, Rene Elise Goldsberry as Mimi, Eden Espinosa as Maureen and original cast members Rodney Hicks, who steps into the role of Benny, and Gwen Stewart as the "Seasons of Love" soloist.

Both the DVD and Blu-Ray Special Features Include:

* "RENT: The Final Days on Broadway" – A retrospective documentary featuring cast and crew
* "The Final Curtain Call" – Past/present cast members sing "Seasons of Love" on stage one last time
* "The Wall" – A rare look at the famous backstage wall
* "The Final Lottery" – Hundreds of fans turn out hoping to be one of the lucky few fans chosen to sit in the front 2 rows for the very last show
* National Marfan Foundation PSA

Special Features Exclusive to Blu-ray Include:

* "Home" - A Behind-the-Scenes look at the theater that was transformed into the home for Rent
* "Casting" - Bernard Telsey talks about casting the show for the past 12 years
* Jonathan Larson Performing Arts Foundation PSA
* BD-Live functionality

For further informtion about "RENT: Filmed Live on Broadway" visit: www.sonypictures.com

The Minnelli recording, from Hybrid Records, has been produced by Phil Ramone and features the legendary singer-actress performing with a twelve-man orchestra led by conductor/drummer Michael Berkowitz and pianist/musical supervisor Billy Stritch. On the discs, as in the show on Broadway, Minnelli, accompanied by Johnny Rodgers ,Cortes Alexander, Jim Caruso and Tiger Martina, sings many of her signature songs in addition to pay tribute to her godmother, Kay Thompson.

Below is the full track list for Liza's at the Palace…

Act I - Disc 1

Teach Me Tonight / Music by Gene DePaul, Lyrics by Sammy Cahn
I Would Never Leave You /Music by Billy Stritch, Johnny Rodgers and Brian Lane Green
If You Hadn't, But You Did / Music by Jule Styne, Lyrics by Betty Comden and Adolph Green
What Makes a Man a Man? / Music and Lyrics by Charles Aznavour
My Own Best Friend / Music by John Kander, Lyrics by Fred Ebb
Maybe This Time / Music by John Kander, Lyrics by Fred Ebb
He's Funny That Way / Music by Neil Moret, Lyrics by Richard Whiting
Palace Medley / David Zippel, John Kander/ Roger Edens/ N. Bayes, J. Norworth, N. Graw S. Brooks/ M. Yvain, A. Willemetz, J. Charles/ H. Sutton, R. Grant, J. Lennox
Cabaret / Music by John Kander, Lyrics by Fred Ebb

Act II - Disc 2

But the World Goes 'Round / Music by John Kander, Lyrics by Fred Ebb
Hello, Hello / Music and Lyrics by Kay Thompson
Jubilee Time / Music and Lyrics by Kay Thompson
Basin Street Blues / Music and Lyrics by Spencer Williams w/ special verse by Kay Thompson
Clap Yo' Hands / Music by George Gershwin, Lyrics by Ira Gershwin
Liza (All the Clouds'll Roll Away) / Music by George Gershwin, Lyrics by Ira Gershwin/Gus Kahn
I Love a Violin / Music and Lyrics by Kay Thompson
Mammy / Music by Walter Donaldson, Lyrics by Sam M. Lewis and Joe Young
Theme from New York, New York / Music by John Kander, Lyrics by Fred Ebb

For further information on the CDs visit: www.lizasatthepalace.com

CD Reviews: Zorro, Elie Siegmeister, 'Godmother!'

One of the things that's really most exciting about getting a package of CDs from Original Cast Records is not knowing what to expect. Recently the company sent over three of the newest discs that they've got in stock and what an intriguing assortment it is. (This doesn't include a fourth disc that was in the package – the most welcome Broadway Unplugged 4).

First off, OCR is distributing the London cast recording of Zorro (from First Night Records), the West End musical that features songs from The Gipsy Kings. For those familiar with the work of this renowned Latin pop group, it should come as no surprise that Zorro is an aural pleasure. The melodies throughout are infectious, particularly with the trio of guitarists strumming away with delicate passion in the band, and in some instances (the early women's chorus number "Libertad" for example) also quite rousing.

Matt Rawle makes for an engaging Diego (a.k.a Zorro). He delivers the show's power ballad "Hope" with gusto and shows a more sensitive side in "A Love We'll Never Live," a duet sung with Emma Williams late in the show. Williams plays Luisa, and this latter song makes it pretty obvious that she is Diego's love interest, but, for want of a synopsis in the booklet that accompanies the CD (the notes are dedicated to the history of the legend of Zorro and its various incarations over the year), it's difficult to say much more about this character, or others such as the seemingly fiery Inez, played by Leslie Margherita who marvelously delivers what might be most famous song from The Gipsy Kings, "Bamboleo." This tune, like many of the songs originally written and performed in Spanish, has been outfitted with some intriguing English lyrics by Stephen Clark. The words don't bear much of a resemblance to the original ones, but they do serve well here, where the song is used as an exuberant number for the show's ensemble.

The Zorro disc, I believe, will serve one of the purposes that most cast recordings should, giving those who have seen the musical a means by which they can relive their experience in the theater. Unfortunately, the absence of a plot outline in the liner notes means that the disc won't necessarily serve a cast recording's second purpose, which is to give those musical fans who've not seen the show a chance to experience it aurally. (Interestingly, even the musical's website is surprisingly light on plot description.) Ultimately, it doesn't matter, though, because Zorro is simply a musical treat, thanks to The Gipsy Kings tunes, which have been adapted and beautifully orchestrated by John Cameron.

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ATW Review - Emmet Otter’s Jug-Band Christmas – Striking a Pleasant, Wholesome Chord

Bookwriter Timothy A. McDonald's heartwarming story, composer-lyricist Paul William's catchy tunes and puppet magic from none other than the Jim Henson Company combine to strike a pleasant chord in Emmet Otter’s Jug-Band Christmas, which is premiering at Goodspeed Musicals in East Haddam CT, a nearly pitch-perfect collaboration between the theater and the Henson company.

The show is based on Russell and Lillian Hoban’s book and centers on Russ (Alan Campbell) and his daughter Jane (Kate Wetherhead) as they re-read "Emmet," one of Jane’s favorite childhood stories. They do this as they sadly anticipate spending their first Christmas without Kate’s mom, who has passed away. Suddenly as she and her father spend this time together, Jane finds herself transported to Frogtown Hollow [where "Emmett" takes place] and in the midst of animal characters, portrayed in director-choreographer Christopher Gattelli's production by actors and puppets, the latter masterfully handled by puppeteers Tyler Bunch, Anney McKilligan, James Silson and David Stephens.

Jane soon discovers that times are tough this Christmas in Frogtown Hollow (and the ironic references to the poor economy are not lost on the audience), so when Doc Bullfrog offers a $50 prize to the winner of a talent contest, everyone tries out. Emmet (Daniel Reichard) wants the prize money to buy a piano for his mother (Cass Morgan), who ekes out their living by taking in wash to launder in her tub. Mrs. Otter wants the prize money to purchase a guitar for hardworking Emmet, who uses his late father’s tool box, the only possession they haven’t sold, to do odd jobs. In an O-Henry-like turn, Ma hocks the toolbox to purchase fabric to make a costume so she can sing in the contest and Emmet puts a hole in the washtub to make a bass to compete with his jug-band.

The talent show is a hoot as the townsfolk perform, followed by groan-inducing, pun-filled commentary by Mayor Fox (perfect straight man Kevin Covert). Music store owner Mrs. Mink (Madeline Doherty) vamps, John Deer freezes in the spotlight, Old Lady Possum gets revenge on some dancing rabbits who ate the carrots in her garden and a nightmare rock band with a water-squirting catfish and a guitar-playing snake entertain.

“The Opera House has a no-refund policy,” the Mayor quips.

Bringing down the house are four puppet squirrels who have their own storyline as they chatter to each other and plant and care for a growing Christmas tree in a pot. Their acrobatic display with Madame Squirrel (Sheri Sanders) during the talent show is worth the price of a ticket all by itself, although some sightline problems with the puppets – and the squirrels' final moments in particular – might prove disappointing for some theatergoers.

Anna Louizos’ fabulous sets take us from Jane’s bedroom to Frogtown Hollow, a combination of larger-than-life woods complete with chirping birds and its downtown, where in a clever device, part of the backdrop reveals the Opera House on Main Street. Sound designer Jay Hilton seamlessly blends the puppet and actor voices and Gregg Barnes costumes are colorful and fanciful.

Amid the joyousness of "Emmett," everyone learns a lesson about giving and what matters most, and honestly, it’s hard not to like a wholesome kid’s show with lines like, “Gosh, Jane, that sounds fine!” The kids enjoy it, but so do the adults, who squeal with delight every time a puppet makes an entrance.

---- Lauren Yarger


Jim Henson’s Emmet Otter’s Jug-Band Christmas plays at The Goodspeed Opera House (6 Main Street, East Haddam, CT) through Jan. 4. Performance times are Wednesdays at 2pm and 7 pm; Thursdays at 7 pm; Fridays at 7 pm, with matinees at 2 pm on Dec. 26 and Jan. 2; Saturdays at 2 pm and 7 pm; and Sundays at 2 pm and 6:30 pm; with special performances on Christmas Eve at 2 pm, New Year’s Eve and New Year’s Day at 2 pm and added performances Sunday, Dec. 28 and Sunday, Jan. 4 at 6:30 pm Tickets start at $39 for children under 12 and $49 for adults and can be purchased by calling 860-873-8668 or by visiting www.goodspeed.org.

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2008 in Review - Some Highlights ("Bests") Month by Month

As 2008 draws to a close, I look back over my schedule and realize that I saw nearly 300 shows during the course of the year (this includes Fringe and other Festival going). There have been some good moments, a few sublime ones, and well, some that…. well, let me not finish that thought.

Anyway, I figured that before the year ended, I'd do a quick "best of list" – just going month by month through 2008.

Last January was filled with shows that rest happily in both my memory and heart. Jordan Harrison's adventurous Amazons and Their Men started off my year and was quickly followed by David Ives' New Jerusalem at Classic Stage Company and Fabrik, Wakka Wakka Productions' inventive puppet-parable about how a German industrialist responded to Hitler's rise to power. A couple of performances stand out from January including Rebecca Wisocky's turn in "Amazons" and also S. Epatha Merkerson's soaring, and sensitive, performance in Come Back, Little Sheba.

A few shows in Chicago during the first few days in February were followed by a largish number of New York productions, of which several stand out. First and foremost, the musical The Adding Machine, which seemed to get even better in a second viewing. Patrick Stewart and Macbeth, seen at the Brooklyn Academy of Music, linger with me as does the musical The Blue Flower, which like "Machine" brought a German expressionist aesthetic to musical theater.

As we approached spring in March, we got a chance to see one of Britain's most highly discussed troupes, Kneehigh Theatre, when Rapunzel played a brief run at the New Victory Theatre on 42nd Street. At around the same time, the Vampire Cowboys delivered its latest in comic book-come-to-life theater, Fight Girl Battle World, a lark that rests very pleasantly in the memory. So too does John Belluso's The Poor Itch, which, produced posthumously, played briefly at the Public Theater. As March drew to a close, Broadway seemed to shake with Arthur Laurents' galvanizingly exciting revival of Gypsy, featuring a stunning Patti LuPone and the equally impressive Laura Benanti.

At the beginning of April, a little musical that sounded preposterous completely captured me, Hostage Song from Kyle Jarrow and Clay McLeod Chapman. Who could have imagined that a musical about two people being held captive overseas could provoke not only terror, but also bitter laughs? As April hit its midpoint, John Bucchino's A Catered Affair, one of the most sophisticated shows to hit Broadway in a while, opened. Almost simultaneously, The Walworth Farce, a frighteningly hysterical three-person romp played a brief run in Brooklyn at St. Ann's Warehouse.

With the approach of the Tony Award eligibility deadline, a spate of new shows arrived on Broadway. The most successful were two revivals: the hilarious Boeing-Boeing, which demonstrated that 60s sex farce still could (pardon the pun) fly in the 21st century, and Manhattan Theatre Club's vivid Top Girls, featuring a grand central performance from Elizabeth Marvel. Off-Broadway at the Atlantic Theater Company, the three-person monodrama Port Authority, featured three equally memorable performances from John Gallagher, Jr., Brian D'Arcy James and Jim Norton. The month closed with another odd-ball musical that simply charmed beyond compare, Jollyship, the Whiz Bang. Hopefully, we'll see more of this quirky pirate punk rock tuner in 2009.

Among the highlights in June were Mercedes Ruehl's turn in Edward Albee's The Occupant and a couple of intimate plays seen briefly off-Broadway, Annie Baker's impressive Body Awareness and Philip Ridley's Vincent River. Looking back over the theatergoing for June, another performance that leaps to mind is David Harbour's cunningly nuanced turn as Laertes in the Public's Hamlet, and I must admit to being grateful that the gay hip-hop tuner Bash'd returned for a full-run from an earlier Festival engagement.

July's offerings truly ran the gamut from the interactive Suspicious Package, a grandly clever offering from creator Gyda Arber that used its four-person audience as its cast and sent them, mp3 players in hand, off on an adventure through Williamsburg, to the classically and politically dramatic Scenes From an Execution, which featured a grand central performance from Jan Maxwell. The Midwest was also well-represented during July: from Chicago, The Strangerer, which took President Bush on some terrific flights of fantasy and from Cincinnati, Around the World in 80 Days, a high-speed comic romp. Although both arrived post-Gay Pride, it seems important to note a couple of solo offerings from out artists Taylor Mac and Kenny Mellman. Mac delivered two exceptional shows at HERE Arts Center, and Mellman's musical-in-workshop Say Seaboy, You Sissy Boy? had a brief run at Dixon Place.

Before the Fringe Festival kicked into gear in August, Second Stage Theatre offered up a marvelous bit of comic-drama with Rajiv Joseph's Animals Out of Paper, which not only reaffirmed the playwright's promise, but also featured lovely performances from Jeremy Shamos and Utkarsh Ambudkar. In the middle of the fringe, Signature Theatre Company began its year-long salute to plays developed by the Negro Ensemble Company with a heartfelt revival of The First Breeze of Summer.

One early fall highlight of 2008 certainly was George S. Irving's masterful turn in the equally accomplished production of Enter Laughing at the York Theatre Company. Also in September, what's looking like it will be the final installment of Gerard Alessandrini's long-running Forbidden Broadway opened, proving that there is still plenty to spoof in New York theatre, no matter what Alessandrini might say.

During October, the 2008-2009 Broadway season began in earnest. Dramas abounded. Frank Langella shone in the Roundabout's revival of A Man for All Seasons, and director Simon McBurney delivered a searing revival of Arthur Miller's All My Sons, which featured some exceptional work from its stars, John Lithgow and Dianne Wiest. Off-Broadway, the musical Rock of Ages, soon to be seen on Broadway, proved that a jukebox musical of 80s rock hits could surprise and delight even the most jaded theatergoer, and Sarah Kane's Blasted made its New York debut in an electrifying production at Soho Rep, featuring intense performances from Marin Ireland, Reed Birney and Louis Cancelmi. As the month drew to a close, the first of two David Mamet revivals for the year opened on Broadway. Speed-the-Plow seemed newly minted.

November seems to be overwhelmed by one musical - Billy Elliot - which has brought intelligence, tunefulness, heart and dance together in electrifying ways. Also of note during the month, Mike Birbiglia's charming solo show Sleepwalk with Me and the Lincoln Center Theater and Primary Stages Broadway mounting of Horton Foote's family dramedy, Dividing the Estate. Honorable mention for the month goes to The Language of Trees, a provocative drama from up-and-coming playwright Steven Levenson that played at Roundabout Underground.

Finally, as the year has drawn to a close, we've gotten Shrek the Musical, another big musical on Broadway that, in my opinion improves upon its animated movie source, in addition to Robert Woodruff's taut staging of Edward Bond's provocative Chair. As 2008 has come to a close, two other revivals have leapt to the fore off-Broadway: Jesse Berger's 1950s infused take on the Jacobean tragedy Women Beware Women and Garry Hynes' emotionally rich staging of Martin McDonagh's The Cripple of Inishmaan, seen at Atlantic Theater Company, a co-production with Hynes' own Druid Theatre Company. Finally, although not a December opening, I caught up with Stephen Sondheim and John Weidman's Road Show at The Public this, and my emotions about this one (and Liza Minnelli's engagement at the Palace) run high. It's just a treat to find these two veterans back in the theater with new shows.

Now, it's on to 2009 and I would imagine another 300 or so shows.

---- Andy Propst

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