TIME STANDS STILL
How far do moral obligations reach in humanity and love?
Reviewed by: Sandi "D"
When Sarah Goodwin (Laura Linney) returns home to her Brooklyn loft injured and scarred from shrapnel as a photojournalist in the Iraqi warzone, her significant other James Dodd (Brian d’Arcy James), with whom she’s been living for the past eight years, appears overly attentive. She is a bitter and complex person not used to being pampered and eager to return to the action. Jamie, a war correspondent himself, is anxious and feeling guilty for leaving the chaos and Sarah, having suffered a breakdown when people blew up around him.
Donald Margulies’ latest drama, that sometimes appears as more of a comedy, is a brilliant conflict of morality and deterioration of relationships. Does the person behind the camera have a moral obligation to step away from it in the face of horror and cruelty and come to the aid of the subjects? According to Sarah “the camera reports life, it doesn’t change it.” Can an eight year relationship survive when two people have suffered unbearable hurts and no longer share common goals?
Tensions grow as long-time, middle-aged friend, Richard (Eric Bogosian) who is also Sarah’s former lover, mentor and the photo editor at a magazine that publishes her photos, shows up with a girl half his age. Mandy (Alicia Silverstone), an event planner, has brought balloons and it’s evident she isn’t exactly a ‘deep’ thinker. Emotions and words pour forth as whatever is in her brain is on her tongue, allowing Sarah to remark to Richard “you always wanted a little girl.” However, Mandy’s shallow appearance is overshadowed, at times, by stunning outbursts of endearing qualities and words of wisdom. As friendships grow and personalities become apparent, Mandy emphatically remarks to Sarah “there’s so much beauty; all you see is misery.”
As the story continues, Mandy, who is pregnant, and Richard marry while the stress between Sarah and Jamie to follow the same path reach greater proportions. Sarah reveals a love affair with her now deceased interpreter in Iraq, as Jamie divulges that all he wants is to marry Sarah and lead a comfortable life. Sarah, needing the adrenaline of her profession, thinks she can change things by continuing to take pictures of war. Marriage, babies…are just not part of her life’s plan.
The opposing needs of Sarah and Jamie along with past events result in the emergence of true feelings of rage, disloyalty and anger and a love that can never be.
Stars Laura Linney and Brian d’Arcy James are consummate actors who approach their roles with sympathy and understanding unearthing the underlying feelings of the complicated characters they portray. Alternatively, Bogosian and Silverstone’s characters are easier and fluffier and a good contrast.
This Manhattan Theatre Club production at the Samuel J. Friedman Theatre, is efficiently directed by Daniel Sullivan with scenic design by John Lee Beatty and lighting by Peter Kaczorowski. The two-hours zip by in scenes that include confrontations, secrets revealed, and a push-pull look at the roads people take in search of happiness and fulfillment.
Sunday, January 31, 2010
A VIEW FROM THE BRIDGE
A VIEW FROM THE BRIDGE
Tragedy in the life of a longshoreman, Greek style!
Reviewed by: Sandi "D"
Was it time for another revival of Arthur Miller’s “A View From The Bridge” after the spectacular 1997 production, directed by Michael Mayer, starring Anthony LaPaglia, Allison Janney and the now deceased Brittany Murphy? The answer is an emphatic “YES!” This latest production is by far the finest interpretation to come to the stage, made viable by the understated, intimate direction of Gregory Mosher.It is the story of a 1950’s blue collar Italian family, Eddie Carbone (Liev Schreiber), his wife Beatrice (Jessica Hecht) and her orphaned17 year old niece, Catherine (Scarlett Johansson), all living in a sparsely furnished, shabby apartment in the Red Hook section of Brooklyn. However, family life isn’t exactly normal. Eddie is unduly protective of Catherine in more than a paternal manner, as he dotes on her, his face registering a troubled expression that subtlety grows and changes throughout the play, projecting his conflict as he becomes more obsessed. Adding to the tension and tragedy is the neighborhood lawyer Alfieri (Michael Cristofer) who acts as a moderator or one-man Greek Chorus, giving lofty explanations of Eddie’s downward spiraling direction.
When Beatrice’s two illegal immigrant cousins Marco (Corey Stoll) and Rodolpho (Morgan Spector) arrive from Italy to seek a better life, they move into the small, cramped apartment, the threat of expulsion from the country ever-present, as the jealous Eddie’s passionate fury and fixation on Catherine grow to epic and tragic consequences.
Meanwhile, the sheltered Catherine falls in love with the charming, blond Rodolpho whom Eddie complains is “not right” because of his effeminate qualities, i.e. singing, cooking and dress making and whom he says wants Catherine only because it means a green card. Eddie’s counsel with Alfieri to see if he has any legal rights is useless as the lawyer tells him the truth, trying to convince Eddie to let Catherine go. It all falls on deaf ears to the emotionally ravaged Eddie.
Schreiber embodies the essence of Carbone’s character and because he is such a great actor, every feeling and nuance is written on his face and physicality as the tension grows. Hecht is totally convincing as the wife who is frustrated by the lack of physical contact with her husband in the bedroom, understanding all too well his obsession with Catherine as she tries, unsuccessfully, to bring this awareness to Eddie.
Screen star Scarlett Johansson easily personifies the young, unglamorous Catherine, exhibiting the quality of her stardom as an actor as she makes an easy transition from screen to stage. She is perfect in the role.
This fast-paced two hour production of Arthur Miller’s 1956 drama is a gem that soars on the strength of the leading performances. The sets and lighting are dark and cramped, echoing the characters’ anxiety, as the second act builds to the climactic crisis. John Lee Beatty’s enhancing revolving set changes from Brooklyn street tenements to interior apartment in easy transition, aided by Peter Kaczorowski’s fine lighting. Jane Greenwood has designed the costumes. The production is running at Broadway’s Cort Theatre.
Tragedy in the life of a longshoreman, Greek style!
Reviewed by: Sandi "D"
Was it time for another revival of Arthur Miller’s “A View From The Bridge” after the spectacular 1997 production, directed by Michael Mayer, starring Anthony LaPaglia, Allison Janney and the now deceased Brittany Murphy? The answer is an emphatic “YES!” This latest production is by far the finest interpretation to come to the stage, made viable by the understated, intimate direction of Gregory Mosher.It is the story of a 1950’s blue collar Italian family, Eddie Carbone (Liev Schreiber), his wife Beatrice (Jessica Hecht) and her orphaned17 year old niece, Catherine (Scarlett Johansson), all living in a sparsely furnished, shabby apartment in the Red Hook section of Brooklyn. However, family life isn’t exactly normal. Eddie is unduly protective of Catherine in more than a paternal manner, as he dotes on her, his face registering a troubled expression that subtlety grows and changes throughout the play, projecting his conflict as he becomes more obsessed. Adding to the tension and tragedy is the neighborhood lawyer Alfieri (Michael Cristofer) who acts as a moderator or one-man Greek Chorus, giving lofty explanations of Eddie’s downward spiraling direction.
When Beatrice’s two illegal immigrant cousins Marco (Corey Stoll) and Rodolpho (Morgan Spector) arrive from Italy to seek a better life, they move into the small, cramped apartment, the threat of expulsion from the country ever-present, as the jealous Eddie’s passionate fury and fixation on Catherine grow to epic and tragic consequences.
Meanwhile, the sheltered Catherine falls in love with the charming, blond Rodolpho whom Eddie complains is “not right” because of his effeminate qualities, i.e. singing, cooking and dress making and whom he says wants Catherine only because it means a green card. Eddie’s counsel with Alfieri to see if he has any legal rights is useless as the lawyer tells him the truth, trying to convince Eddie to let Catherine go. It all falls on deaf ears to the emotionally ravaged Eddie.
Schreiber embodies the essence of Carbone’s character and because he is such a great actor, every feeling and nuance is written on his face and physicality as the tension grows. Hecht is totally convincing as the wife who is frustrated by the lack of physical contact with her husband in the bedroom, understanding all too well his obsession with Catherine as she tries, unsuccessfully, to bring this awareness to Eddie.
Screen star Scarlett Johansson easily personifies the young, unglamorous Catherine, exhibiting the quality of her stardom as an actor as she makes an easy transition from screen to stage. She is perfect in the role.
This fast-paced two hour production of Arthur Miller’s 1956 drama is a gem that soars on the strength of the leading performances. The sets and lighting are dark and cramped, echoing the characters’ anxiety, as the second act builds to the climactic crisis. John Lee Beatty’s enhancing revolving set changes from Brooklyn street tenements to interior apartment in easy transition, aided by Peter Kaczorowski’s fine lighting. Jane Greenwood has designed the costumes. The production is running at Broadway’s Cort Theatre.
Thursday, January 14, 2010
"RACE" - Mamet at it again
RACE
Reviewed by: Sandi "D"
January 2010
David Mamet is at it again, as writer and director of what was slated to be another provocative and disturbing commentary on racial issues and political correctness. Ooh, all those ethnic slurs and four letter words that are supposed to make our blood boil as barely a sentence goes by without what is supposed to be shocking dialogue. We must all be thoroughly desensitized by now so that rather than gasps and outrage, the result is giggles and some chuckles. Well, with our first African-American President in office, things they are a changin’!
The story is about a rich, married white man Charles Strickland (Richard Thomas) who is accused of raping a young black girl wearing a red sequin dress. The dress is an important piece of information as its essence is more than just an object of clothing. We never see this girl whom Strickland says was his mistress and the sex consensual. However, when she accuses him, then sues him for rape, he chooses a law firm to represent him comprised of one white lawyer and one black.
Jack Lawson (James Spader) is the fast-talking, cynical know-it-all white lawyer, and Henry Brown (David Alan Grier) (is that name Brown a racial slur?) is his black partner equally adept. It’s unclear whether Susan (Kerry Washington) is a new fledgling lawyer or an assistant who was recently hired because, as Jack puts it, “I hired you because you’ve got talent.” Regardless of her position, she endures verbal abuse by both her bosses until she reveals her own agenda.
As the story twists and turns and the second act develops, Susan is illuminated as more than just a new hire with talent. Eventually, her underlying mission as an advocate to right the wrongs inflicted on black women result in a pivotal moment in the story.
The play is filled with Jack’s brand of sarcastic knowledge: black people are inclined to commit adultery, black people are fragile because they deal with shame, Strickland wants to confess because he’s white, all black people hate white people, and the usual lawyer conventions ‘we get paid either way’ along with accepted references to the theatrical nature of the practice of law. One-liner insults fly steadily between Strickland and Brown on the issues of race, their new client (is he innocent or guilty), their new hire Susan and the legal profession as a business. It all comes off as a big scam. . .who’s doing what to whom, when and how.
All four performers are well suited for their rolls, with Spader and Grier seeming more self-assured and Thomas a bit stiff until the play heats up in the second act allowing for more dynamics. Washington, too, grows exponentially in the second act.
“Race” has an open run at Broadway’s Ethel Barrymore Theatre, also the home of former Mamet productions “Speed the Plow” and “November.” The scenic design is by Santo Loquasto.
Reviewed by: Sandi "D"
January 2010
David Mamet is at it again, as writer and director of what was slated to be another provocative and disturbing commentary on racial issues and political correctness. Ooh, all those ethnic slurs and four letter words that are supposed to make our blood boil as barely a sentence goes by without what is supposed to be shocking dialogue. We must all be thoroughly desensitized by now so that rather than gasps and outrage, the result is giggles and some chuckles. Well, with our first African-American President in office, things they are a changin’!
The story is about a rich, married white man Charles Strickland (Richard Thomas) who is accused of raping a young black girl wearing a red sequin dress. The dress is an important piece of information as its essence is more than just an object of clothing. We never see this girl whom Strickland says was his mistress and the sex consensual. However, when she accuses him, then sues him for rape, he chooses a law firm to represent him comprised of one white lawyer and one black.
Jack Lawson (James Spader) is the fast-talking, cynical know-it-all white lawyer, and Henry Brown (David Alan Grier) (is that name Brown a racial slur?) is his black partner equally adept. It’s unclear whether Susan (Kerry Washington) is a new fledgling lawyer or an assistant who was recently hired because, as Jack puts it, “I hired you because you’ve got talent.” Regardless of her position, she endures verbal abuse by both her bosses until she reveals her own agenda.
As the story twists and turns and the second act develops, Susan is illuminated as more than just a new hire with talent. Eventually, her underlying mission as an advocate to right the wrongs inflicted on black women result in a pivotal moment in the story.
The play is filled with Jack’s brand of sarcastic knowledge: black people are inclined to commit adultery, black people are fragile because they deal with shame, Strickland wants to confess because he’s white, all black people hate white people, and the usual lawyer conventions ‘we get paid either way’ along with accepted references to the theatrical nature of the practice of law. One-liner insults fly steadily between Strickland and Brown on the issues of race, their new client (is he innocent or guilty), their new hire Susan and the legal profession as a business. It all comes off as a big scam. . .who’s doing what to whom, when and how.
All four performers are well suited for their rolls, with Spader and Grier seeming more self-assured and Thomas a bit stiff until the play heats up in the second act allowing for more dynamics. Washington, too, grows exponentially in the second act.
“Race” has an open run at Broadway’s Ethel Barrymore Theatre, also the home of former Mamet productions “Speed the Plow” and “November.” The scenic design is by Santo Loquasto.
Monday, January 11, 2010
Finian's Rainbow - delightful
FINIAN’S RAINBOW
Everything Old is New Again!
Reviewed by: Sandi "D"
November 2009
The original Broadway production of Finian’s Rainbow, with book by E.Y. Harburg and Fred Saidy, lyrics by Harburg and music by Burton Lane, opened in 1947, running for 725 performances. It had 3 revivals: 1955 starring Helen Gallagher, Merv Griffin and Will Mahoney; 1960 starring Jeannie Carson, Howard Morris, Robert Guillaume and again in 1967. After a New York City Center Encores! Series concert version earlier this year, it is happily back on Broadway.
It’s a charming jewel that twinkles brightly and one reason is that just about every song is a knock out. Does anyone not know “How Are Things in Glocca Morra?” or “Old Devil Moon” or “Look to the Rainbow”? Beautiful melodic tunes like these are hard to find nowadays.
Finian’s Rainbow is a whimsical, romantic story with political racism that is old hat but relevant even today. Finian McLonergan, the twinkly eyed Jim Norton, leaves his Irish town of singing skylarks and emigrates to Rainbow Valley in the mythical State of Missitucky, which bears a resemblance to Glocca Morra from whence he comes. With him is his beautiful daughter Sharon (Kate Baldwin). He is intent upon burying a stolen pot of gold close to Fort Knox where he thinks it will grow, multiply and make them rich. Og (Christopher Fitzgerald) is the leprechaun- in -pursuit trying to recover the stolen pot before he turns completely mortal.
Ms. Baldwin’s classic soprano is warm with radiant color as she sings the legendary and yearning “How Are Things in Glocca Morra?” gleefully reprised twice more throughout the show. Local boy Woody Mahoney (Cheyenne Jackson) immediately falls for her as they unite in the romantic harmonies of “Old Devil Moon.” Jackson is a perfect romantic lead with his glorious dreamy vocals and good looks. Hilarious Leprechaun Og has also fallen for Sharon where love is more comically presented in “Something Sort of Grandish.” Woody has a mute sister, Susan (Alina Faye), who dances her language in classical ballet style to which Og is drawn, creating another romantic liason.
Implications of racial divide are ever present as big, brawny and boisterous Senator Rawkins ( David Schramm) tries to take over the land at a tax auction where the poor sharecroppers eke out a living growing tobacco resulting in the gospel showstopper “Necessity” featuring powerful performer Terri White as Dottie. Sharon, without realizing the mystical properties of the pot of gold, unknowingly makes one of the three wishes it holds, accidentally turning the Senator black. This counterpart is played to perfection by Tony Award winner Chuck Cooper who becomes part of a quartet in the song & dance “The Begat.”
Relevant topics include “When the Idle Poor Become the Idle Rich,” a satirical pronouncement of the seduction of a line of credit from the Sheers and Robust catalog, along with topics of foreclosure and the “misbegotten G.O.P.” Og is deliciously impish as he flits around in “When I’m Not Near the Girl I Love” eventually falling for Susan as he realizes that turning human is not so bad.
Yes, it’s a complicated theme of love, romance, fantasy, wishes, satire, racial bigotry and it all comes together in this delightful big ole’ fashioned Broadway musical where every song is a hit and audience members walk out singing and humming the wonderful music.
Everything old is new and delightful again!
Everything Old is New Again!
Reviewed by: Sandi "D"
November 2009
The original Broadway production of Finian’s Rainbow, with book by E.Y. Harburg and Fred Saidy, lyrics by Harburg and music by Burton Lane, opened in 1947, running for 725 performances. It had 3 revivals: 1955 starring Helen Gallagher, Merv Griffin and Will Mahoney; 1960 starring Jeannie Carson, Howard Morris, Robert Guillaume and again in 1967. After a New York City Center Encores! Series concert version earlier this year, it is happily back on Broadway.
It’s a charming jewel that twinkles brightly and one reason is that just about every song is a knock out. Does anyone not know “How Are Things in Glocca Morra?” or “Old Devil Moon” or “Look to the Rainbow”? Beautiful melodic tunes like these are hard to find nowadays.
Finian’s Rainbow is a whimsical, romantic story with political racism that is old hat but relevant even today. Finian McLonergan, the twinkly eyed Jim Norton, leaves his Irish town of singing skylarks and emigrates to Rainbow Valley in the mythical State of Missitucky, which bears a resemblance to Glocca Morra from whence he comes. With him is his beautiful daughter Sharon (Kate Baldwin). He is intent upon burying a stolen pot of gold close to Fort Knox where he thinks it will grow, multiply and make them rich. Og (Christopher Fitzgerald) is the leprechaun- in -pursuit trying to recover the stolen pot before he turns completely mortal.
Ms. Baldwin’s classic soprano is warm with radiant color as she sings the legendary and yearning “How Are Things in Glocca Morra?” gleefully reprised twice more throughout the show. Local boy Woody Mahoney (Cheyenne Jackson) immediately falls for her as they unite in the romantic harmonies of “Old Devil Moon.” Jackson is a perfect romantic lead with his glorious dreamy vocals and good looks. Hilarious Leprechaun Og has also fallen for Sharon where love is more comically presented in “Something Sort of Grandish.” Woody has a mute sister, Susan (Alina Faye), who dances her language in classical ballet style to which Og is drawn, creating another romantic liason.
Implications of racial divide are ever present as big, brawny and boisterous Senator Rawkins ( David Schramm) tries to take over the land at a tax auction where the poor sharecroppers eke out a living growing tobacco resulting in the gospel showstopper “Necessity” featuring powerful performer Terri White as Dottie. Sharon, without realizing the mystical properties of the pot of gold, unknowingly makes one of the three wishes it holds, accidentally turning the Senator black. This counterpart is played to perfection by Tony Award winner Chuck Cooper who becomes part of a quartet in the song & dance “The Begat.”
Relevant topics include “When the Idle Poor Become the Idle Rich,” a satirical pronouncement of the seduction of a line of credit from the Sheers and Robust catalog, along with topics of foreclosure and the “misbegotten G.O.P.” Og is deliciously impish as he flits around in “When I’m Not Near the Girl I Love” eventually falling for Susan as he realizes that turning human is not so bad.
Yes, it’s a complicated theme of love, romance, fantasy, wishes, satire, racial bigotry and it all comes together in this delightful big ole’ fashioned Broadway musical where every song is a hit and audience members walk out singing and humming the wonderful music.
Everything old is new and delightful again!
Thursday, January 7, 2010
Memories: On the Red Carpet at the 63rd Annual Tony Awards
63rd ANNUAL TONY AWARDS
By: Sandi "D"
June 7, 2009
THE NOMINEES ARE. . .AND THE WINNER IS . . .
The 63rd Annual Antoinette Perry Awards took place on Sunday June 7, 2009 at Radio City Music Hall. At the Red Carpet, this writer was given the golden opportunity of up close and personal chats and overhearing tidbits from many nominees and celebs passing through on their way inside Radio City Music Hall. The women be-jeweled and be-gowned, many in designer frock, were all smiles. Martha Plimpton, nominee for Featured Actress in a Musical (Pal Joey) revealed “I was terrified and got through because Graciella Daniele is a mammy choreographer.” Nominee for Leading Actor in a Play Hope Davis looked glamorous in a more simplified Peter Soronen dress (he dresses Michele Obama) as she met up to chat with God of Carnage co-actors Jeff Daniels and James Gandolfini.
Stage mates Janet McTeer and Harriet Walter (Mary Stuart) walked arm in arm, a friendly pair of competitors, as nominees for Best Performance by a Leading Actor in a Play. Young, talkative Mark Indelicato told me he was the official Twitterer for the evening while Tovah Feldshuh (in strapless Christian Lacroix) and currently appearing on Broadway in “Irena’s Vow” was off to co-host the event at Duffy Square. Lin-Manuel Miranda of In The Heights fame, when asked what he said when Sondheim called him to rewrite lyrics in Spanish for West Side Story….”I said yes, yes!” Lovely Sutton Foster, swathed in orange gown, said that by age 14 she knew that Broadway was for her. Rock of Ages Constantine Maroulis confided that he feels surreal and is looking forward to going on the road with the show.
Red Carpet photo ops gave sponsor Audemars Piguet (maker of distinguished Swiss watches) the opportunity to showcase specially designed clocks where many celebs posed. Is that Dolly Parton being ushered through? Yes! Darn, she still has an 18” waist!
Before I knew it, everyone was safely tucked into their seats inside Radio City as I made my way up to the 64th Floor Rainbow Room’s Media Room to watch the Tony Awards simulcast. While Doogie Houser, M.D. was hosting the Awards, I mean Neil Patrick Harris, and making with the funnies, I was about to have some downtime, relaxation and food; the perfect solution for tired feet and brain.
It didn’t take long, however, before the first winners were announced and escorted to the Media Room for interviews and photos. The writing was on the wall as Martin Koch arrived for Best Orchestrations followed by Paul Arditti for Best Sound Design , both for “Billy Elliot.” Here comes Angela Lansbury hugging her Tony for Best Featured Actress in a Play (Blithe Spirit) while Roger Robinson took the Award for Best Featured Actor in a Play (Joe Turner’s Come and Gone). Karen Olivio won Best Featured Actress in a Musical for West Side Story saying she feels transported when she performs finding it very liberating to sing lyrics in Spanish, while acknowledging that Arthur Laurents gives notes in the best way he can to get what he needs and doesn’t coddle his performers. Her influence: Rita Moreno.
Leading Actor in a Play went to Geoffrey Rush who said he was thrilled to be performing in such an obscure Ionesco play; “It’s like eating spinach.” He’d love to come back to Broadway if the right role comes along. Harvey Firestein was already announcing Best Revival of a Play to The Norman Conquests and soon the entire cast and creative team were busily answering questions in the Media Room. They are a lively bunch!
Gregory Jbara, Best Featured Actor in a Musical, (Billy Elliot) says he wouldn’t be here if it wasn’t for the sacrifices his wife made stating he was a bit intimidated going into rehearsals, finding it hard maintaining the accent, and stating that it’s like ‘electricity inside me….I’m free, I’m free!”
Special Lifetime Achievement in the Theatre Award went to composer Jerry Herman who is now 77 years young and responsible for Hello Dolly!, Mame and La Cage aux Folles. Jerry said he was born right near Radio City and he’s here because his Mother and Frank Loesser believed he had the talent to make it big. What does he look forward to now? Enjoying my houses in Palm Springs and Beverly Hills!
Best Revival of a Musical went to Hair, along with Best Direction to Diane Paulus who said she worked closely with Jim Rado on this revival and that he did write some new lines about the draft card. She said the musical speaks to all generations; it’s about the rebirth of idealism.
Best Direction of a Play went to Matthew Warchus for God of Carnage. He was also up for the same award for The Norman Conquests. Pretty good odds.
The three young “Billy Elliots” won Best Performance by a Leading Actor in a Musical. David Alvarez, Trent Kowalik and Kirl Kulish were all adorable and somewhat tongue-tied trying to answer questions saying it’s like a dream. But they all had some advice: to all the kids out there who want to dance. . .never give up! No surprise that the announcement soon came that Billy Elliot had just won the Tony for Best Musical, making a total of ten Tonys!
Marcia Gay Harden took home her Tony as Leading Actor in a Play for God of Carnage looking stunning in a long green gown.
Best Actress in a Musical was given to Alice Ripley in Next To Normal. Ms. Ripley was explicit in saying that she channels her character Diana everyday and is happy she has a patient husband. It takes a lot of energy to stay focused and deliver her on stage. How did she feel winning the Tony? I feel complete; it feels natural and makes sense I have this Award. It’s other-worldly and a dream come true!
Before I could finish taking notes, I looked up and there was Elton John eager to speak to everyone. He was a little worried opening Billy Elliot in these tough times and admitted he’d never been to the Tonys before but found it more enjoyable than the Oscars because you’re being entertained from start to finish. Do you feel the need to control the performance of your music? Having done four musicals Elton remarked, you have to check your ego at the door and be part of a team. No immediate stage plans at the moment but he is working on a Disney film.
Lest I forget, Liza won Best Special Theatrical Event for Liza’s at the Palace. And the audience cheered and cheered both at Radio City and in the Media Room.
Other awards presented included: Regional Theatre Award to Signature Theatre in Arlington, Va.; a first time Isabelle Stevenson Award presented to Phyllis Newman and a Tony Honor for Excellence in the Theatre to Shirley Herz.
The evening was now complete or almost as Neil Patrick Harris sang the 11:00 o’clock song, a parodied “Tonight” as the credits rolled, featuring lyrics such as “this show could not be gayer if Liza was named Mayor and Elton John took flight. . .” Oh well, it’s the Tonys. See you next year!
By: Sandi "D"
June 7, 2009
THE NOMINEES ARE. . .AND THE WINNER IS . . .
The 63rd Annual Antoinette Perry Awards took place on Sunday June 7, 2009 at Radio City Music Hall. At the Red Carpet, this writer was given the golden opportunity of up close and personal chats and overhearing tidbits from many nominees and celebs passing through on their way inside Radio City Music Hall. The women be-jeweled and be-gowned, many in designer frock, were all smiles. Martha Plimpton, nominee for Featured Actress in a Musical (Pal Joey) revealed “I was terrified and got through because Graciella Daniele is a mammy choreographer.” Nominee for Leading Actor in a Play Hope Davis looked glamorous in a more simplified Peter Soronen dress (he dresses Michele Obama) as she met up to chat with God of Carnage co-actors Jeff Daniels and James Gandolfini.
Stage mates Janet McTeer and Harriet Walter (Mary Stuart) walked arm in arm, a friendly pair of competitors, as nominees for Best Performance by a Leading Actor in a Play. Young, talkative Mark Indelicato told me he was the official Twitterer for the evening while Tovah Feldshuh (in strapless Christian Lacroix) and currently appearing on Broadway in “Irena’s Vow” was off to co-host the event at Duffy Square. Lin-Manuel Miranda of In The Heights fame, when asked what he said when Sondheim called him to rewrite lyrics in Spanish for West Side Story….”I said yes, yes!” Lovely Sutton Foster, swathed in orange gown, said that by age 14 she knew that Broadway was for her. Rock of Ages Constantine Maroulis confided that he feels surreal and is looking forward to going on the road with the show.
Red Carpet photo ops gave sponsor Audemars Piguet (maker of distinguished Swiss watches) the opportunity to showcase specially designed clocks where many celebs posed. Is that Dolly Parton being ushered through? Yes! Darn, she still has an 18” waist!
Before I knew it, everyone was safely tucked into their seats inside Radio City as I made my way up to the 64th Floor Rainbow Room’s Media Room to watch the Tony Awards simulcast. While Doogie Houser, M.D. was hosting the Awards, I mean Neil Patrick Harris, and making with the funnies, I was about to have some downtime, relaxation and food; the perfect solution for tired feet and brain.
It didn’t take long, however, before the first winners were announced and escorted to the Media Room for interviews and photos. The writing was on the wall as Martin Koch arrived for Best Orchestrations followed by Paul Arditti for Best Sound Design , both for “Billy Elliot.” Here comes Angela Lansbury hugging her Tony for Best Featured Actress in a Play (Blithe Spirit) while Roger Robinson took the Award for Best Featured Actor in a Play (Joe Turner’s Come and Gone). Karen Olivio won Best Featured Actress in a Musical for West Side Story saying she feels transported when she performs finding it very liberating to sing lyrics in Spanish, while acknowledging that Arthur Laurents gives notes in the best way he can to get what he needs and doesn’t coddle his performers. Her influence: Rita Moreno.
Leading Actor in a Play went to Geoffrey Rush who said he was thrilled to be performing in such an obscure Ionesco play; “It’s like eating spinach.” He’d love to come back to Broadway if the right role comes along. Harvey Firestein was already announcing Best Revival of a Play to The Norman Conquests and soon the entire cast and creative team were busily answering questions in the Media Room. They are a lively bunch!
Gregory Jbara, Best Featured Actor in a Musical, (Billy Elliot) says he wouldn’t be here if it wasn’t for the sacrifices his wife made stating he was a bit intimidated going into rehearsals, finding it hard maintaining the accent, and stating that it’s like ‘electricity inside me….I’m free, I’m free!”
Special Lifetime Achievement in the Theatre Award went to composer Jerry Herman who is now 77 years young and responsible for Hello Dolly!, Mame and La Cage aux Folles. Jerry said he was born right near Radio City and he’s here because his Mother and Frank Loesser believed he had the talent to make it big. What does he look forward to now? Enjoying my houses in Palm Springs and Beverly Hills!
Best Revival of a Musical went to Hair, along with Best Direction to Diane Paulus who said she worked closely with Jim Rado on this revival and that he did write some new lines about the draft card. She said the musical speaks to all generations; it’s about the rebirth of idealism.
Best Direction of a Play went to Matthew Warchus for God of Carnage. He was also up for the same award for The Norman Conquests. Pretty good odds.
The three young “Billy Elliots” won Best Performance by a Leading Actor in a Musical. David Alvarez, Trent Kowalik and Kirl Kulish were all adorable and somewhat tongue-tied trying to answer questions saying it’s like a dream. But they all had some advice: to all the kids out there who want to dance. . .never give up! No surprise that the announcement soon came that Billy Elliot had just won the Tony for Best Musical, making a total of ten Tonys!
Marcia Gay Harden took home her Tony as Leading Actor in a Play for God of Carnage looking stunning in a long green gown.
Best Actress in a Musical was given to Alice Ripley in Next To Normal. Ms. Ripley was explicit in saying that she channels her character Diana everyday and is happy she has a patient husband. It takes a lot of energy to stay focused and deliver her on stage. How did she feel winning the Tony? I feel complete; it feels natural and makes sense I have this Award. It’s other-worldly and a dream come true!
Before I could finish taking notes, I looked up and there was Elton John eager to speak to everyone. He was a little worried opening Billy Elliot in these tough times and admitted he’d never been to the Tonys before but found it more enjoyable than the Oscars because you’re being entertained from start to finish. Do you feel the need to control the performance of your music? Having done four musicals Elton remarked, you have to check your ego at the door and be part of a team. No immediate stage plans at the moment but he is working on a Disney film.
Lest I forget, Liza won Best Special Theatrical Event for Liza’s at the Palace. And the audience cheered and cheered both at Radio City and in the Media Room.
Other awards presented included: Regional Theatre Award to Signature Theatre in Arlington, Va.; a first time Isabelle Stevenson Award presented to Phyllis Newman and a Tony Honor for Excellence in the Theatre to Shirley Herz.
The evening was now complete or almost as Neil Patrick Harris sang the 11:00 o’clock song, a parodied “Tonight” as the credits rolled, featuring lyrics such as “this show could not be gayer if Liza was named Mayor and Elton John took flight. . .” Oh well, it’s the Tonys. See you next year!
BYE BYE BIRDIE . . . bye bye
BYE BYE BIRDIE
“Bye Bye”
Reviewed by: Sandi "D"
After nearly 50 years, musical comedy Bye Bye Birdie made its way back to the Great White Way. It’s an imploding tongue-in-cheek rendering of silly and sillier. That’s not to say, that it isn’t an audience pleaser in some ways! One can’t help but laugh at the over-wrought vaudevillian antics of loveable mime Bill Irwin (Harry MacAfee), the role originally played by Paul Lynde, or the smothering Jewish mother syndrome of Jayne Houdyshell (Mrs. Mae Peterson) who would rather lay down on the tracks and divide her mink coat into three’s than see her sonny boy John Stamos (Albert Peterson) marry his secretary-girlfriend Gina Gershon (Rose Alvarez).
If you recall, Albert was originally played by Dick Van Dyke and although Mr. Stamos gives it his best shot, it appears as if he may have watched the original version too many times and absorbed too much of Van Dyke characteristics that he hoped he could channel but instead comes out looking rather clownish. He plays the showbiz agent who manages teen heart-throb Conrad Birdie. Albeit, he does a pretty good singing job on “Put On a Happy Face” considering this isn’t his prime talent.
Gina Gershon, a fine actress, is miscast as Rose Alvarez, and although she stays on pitch it’s a frail attempt. It was Chita Rivera who originally played this part. Both she and Mr. Stamos have neither the singing nor dancing skills needed for the roles. Bill Irwin makes up for his singing by clowning. Mrs. McAfee (Dee Hoty) and son played by Neil McCaffrey are fine.
The story line is simple but one feels a comic book has come to life on stage. Nolan Gerard Funk as Conrad Birdie, is underplayed and needs a shot of adrenaline most of the time, but at least can sing and gyrate as needed for the screaming teenies who adore him in Sweet Apple, Ohio. He’s been drafted and his send off is a kiss from fan club admirer Kim McAfee (originally played by sex kitten Ann-Margaret) who is more realistically portrayed by Allie Trimm who can sing, a 15 year old whose steady, Hugo, played by Matt Doyle becomes extremely jealous. Does this sound familiar? Think Elvis Presley.
Color coordinated families in bright colored 50’s costumes (by Gregg Barnes) are eye appealing, and the set including moving train car on tracks (by Andrew Jackness) works well. Some of the production numbers are more than likeable; “The Telephone Hour” performed on a jungle gym, “One Last Kiss” fun and campy; nice harmonic arrangements by the Bar Quartet (John Treacy Egan, David McDonald, JC Montgomery, Timothy Shew) on “Baby Talk To Me.” But, alas, the basic choreographic and directorial skills of Robert Longbottom seemed to be lacking in totality giving a disconnected feeling to the production.
Bye Bye Birdie is produced by the Roundabout Theater Company. It debuted at the newly renovated Henry Miller Theatre on West 43rd Street, a comfortable and well designed theatre that will make future audiences very happy.
Unfortunately, this show has had an abbreviated life span and so it’s bye bye to Birdie!
“Bye Bye”
Reviewed by: Sandi "D"
After nearly 50 years, musical comedy Bye Bye Birdie made its way back to the Great White Way. It’s an imploding tongue-in-cheek rendering of silly and sillier. That’s not to say, that it isn’t an audience pleaser in some ways! One can’t help but laugh at the over-wrought vaudevillian antics of loveable mime Bill Irwin (Harry MacAfee), the role originally played by Paul Lynde, or the smothering Jewish mother syndrome of Jayne Houdyshell (Mrs. Mae Peterson) who would rather lay down on the tracks and divide her mink coat into three’s than see her sonny boy John Stamos (Albert Peterson) marry his secretary-girlfriend Gina Gershon (Rose Alvarez).
If you recall, Albert was originally played by Dick Van Dyke and although Mr. Stamos gives it his best shot, it appears as if he may have watched the original version too many times and absorbed too much of Van Dyke characteristics that he hoped he could channel but instead comes out looking rather clownish. He plays the showbiz agent who manages teen heart-throb Conrad Birdie. Albeit, he does a pretty good singing job on “Put On a Happy Face” considering this isn’t his prime talent.
Gina Gershon, a fine actress, is miscast as Rose Alvarez, and although she stays on pitch it’s a frail attempt. It was Chita Rivera who originally played this part. Both she and Mr. Stamos have neither the singing nor dancing skills needed for the roles. Bill Irwin makes up for his singing by clowning. Mrs. McAfee (Dee Hoty) and son played by Neil McCaffrey are fine.
The story line is simple but one feels a comic book has come to life on stage. Nolan Gerard Funk as Conrad Birdie, is underplayed and needs a shot of adrenaline most of the time, but at least can sing and gyrate as needed for the screaming teenies who adore him in Sweet Apple, Ohio. He’s been drafted and his send off is a kiss from fan club admirer Kim McAfee (originally played by sex kitten Ann-Margaret) who is more realistically portrayed by Allie Trimm who can sing, a 15 year old whose steady, Hugo, played by Matt Doyle becomes extremely jealous. Does this sound familiar? Think Elvis Presley.
Color coordinated families in bright colored 50’s costumes (by Gregg Barnes) are eye appealing, and the set including moving train car on tracks (by Andrew Jackness) works well. Some of the production numbers are more than likeable; “The Telephone Hour” performed on a jungle gym, “One Last Kiss” fun and campy; nice harmonic arrangements by the Bar Quartet (John Treacy Egan, David McDonald, JC Montgomery, Timothy Shew) on “Baby Talk To Me.” But, alas, the basic choreographic and directorial skills of Robert Longbottom seemed to be lacking in totality giving a disconnected feeling to the production.
Bye Bye Birdie is produced by the Roundabout Theater Company. It debuted at the newly renovated Henry Miller Theatre on West 43rd Street, a comfortable and well designed theatre that will make future audiences very happy.
Unfortunately, this show has had an abbreviated life span and so it’s bye bye to Birdie!
Wednesday, January 6, 2010
LIZA - And her legs still look great
“LIZA’S AT THE PALACE”
starring LIZA MINNELLI
Reviewed by: Sandi "D"
December 2008
Watching a cult phenomenon such as Liza is mesmerizing and inspiring. No, she doesn’t have the remembered high kicks or high notes, but at age 62 she gives ‘em what she can and what they want! Often breathless and perspiring and in need of a few moments of recovery, it all doesn’t matter because Liza continues to be the sweetheart of live performance, the Queen of ‘Cabaret’- a munificent, unstoppable presence.
She’s a contradiction to an opening of “Teach Me Tonight,” for who could? Liza knows and understands every nuance of the how, what, where and when. Cleverly directed and choreographed by Ron Lewis, every strut, move, inflection and hand movement has something to say. Breathing hard after “If You hadn’t, But You Did” she affectionately says “I’m so glad you’re here.” Regaling the audience with stories of her childhood and entry into show business, she talks about the 70’s, replacing Gwen Verdon as Roxy Hart in ‘Cabaret’ for five weeks renewing the nostalgia with Kander & Ebb’s “Maybe This Time” and “Cabaret.”
“Palace Medley,” originally sung by mom, Judy Garland at the Palace, is given a new twist by David Zippel, John Kander and Billy Stritch. Right hand man Stritch, who has been with Liza for 17 years, plays her soul and secrets, she admits.
Act II was an ode to Godmother Kay Thompson whom she portrays as an extraordinary life force. Thompson was also the author of the “Eloise” books, vocal coach at MGM, a singer/dancer who took center stage in the 1957 movie “Funny Face” and songwriter of “Hello, Hello,” “Jubilee Time” and “I Love A Violin” all splendidly performed. Suffice it to say that the tribute to Ms. Thompson’s heyday at Ciro’s Nightclub on Sunset Blvd. is the highlight of the evening, as Ms. Minnelli and her super-slick quartet of modern jazz males deliver flawless singing and dancing production numbers together with cool vocal assist from Billy Stritch who is also tinkling the ivories. The high energy doesn’t stop there as Johnny Rodgers, Cortes Alexander, Jim Caruso, Tiger Martina and Liza continue non-stop with Gershwins’ “Clap Yo’ Hands’ at record speed. With slicked down hair, close harmonies and sharp choreographed moves, this quartet outdoes the Williams Brothers.
Yes, Ms. Minnelli’s vocal sh’s and raspy sounds are plentiful but it didn’t deter the audience from applauding wildly and giving standing ovations after just about every song. Liza is adored by her fans. The unending adulation that flows onto the stage is beyond love of celebrity. Liza channels her mother and, as such, is the only living connection to the powerful bond that was and continues to exist to Judy Garland.
Liza’s sequin costumes were vintage Halston and her legs…still look great.
starring LIZA MINNELLI
Reviewed by: Sandi "D"
December 2008
Watching a cult phenomenon such as Liza is mesmerizing and inspiring. No, she doesn’t have the remembered high kicks or high notes, but at age 62 she gives ‘em what she can and what they want! Often breathless and perspiring and in need of a few moments of recovery, it all doesn’t matter because Liza continues to be the sweetheart of live performance, the Queen of ‘Cabaret’- a munificent, unstoppable presence.
She’s a contradiction to an opening of “Teach Me Tonight,” for who could? Liza knows and understands every nuance of the how, what, where and when. Cleverly directed and choreographed by Ron Lewis, every strut, move, inflection and hand movement has something to say. Breathing hard after “If You hadn’t, But You Did” she affectionately says “I’m so glad you’re here.” Regaling the audience with stories of her childhood and entry into show business, she talks about the 70’s, replacing Gwen Verdon as Roxy Hart in ‘Cabaret’ for five weeks renewing the nostalgia with Kander & Ebb’s “Maybe This Time” and “Cabaret.”
“Palace Medley,” originally sung by mom, Judy Garland at the Palace, is given a new twist by David Zippel, John Kander and Billy Stritch. Right hand man Stritch, who has been with Liza for 17 years, plays her soul and secrets, she admits.
Act II was an ode to Godmother Kay Thompson whom she portrays as an extraordinary life force. Thompson was also the author of the “Eloise” books, vocal coach at MGM, a singer/dancer who took center stage in the 1957 movie “Funny Face” and songwriter of “Hello, Hello,” “Jubilee Time” and “I Love A Violin” all splendidly performed. Suffice it to say that the tribute to Ms. Thompson’s heyday at Ciro’s Nightclub on Sunset Blvd. is the highlight of the evening, as Ms. Minnelli and her super-slick quartet of modern jazz males deliver flawless singing and dancing production numbers together with cool vocal assist from Billy Stritch who is also tinkling the ivories. The high energy doesn’t stop there as Johnny Rodgers, Cortes Alexander, Jim Caruso, Tiger Martina and Liza continue non-stop with Gershwins’ “Clap Yo’ Hands’ at record speed. With slicked down hair, close harmonies and sharp choreographed moves, this quartet outdoes the Williams Brothers.
Yes, Ms. Minnelli’s vocal sh’s and raspy sounds are plentiful but it didn’t deter the audience from applauding wildly and giving standing ovations after just about every song. Liza is adored by her fans. The unending adulation that flows onto the stage is beyond love of celebrity. Liza channels her mother and, as such, is the only living connection to the powerful bond that was and continues to exist to Judy Garland.
Liza’s sequin costumes were vintage Halston and her legs…still look great.
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