Friday Fun August 25

This is from the 2016 Easter Bonnet competition for Broadway Cares/Equity Fights AIDS.  This homage to a 1970s musical took top honors.  What's its name?  The cast of Hamilton will tell the tale.

Friday Fun August 19

The latest revival of Les Miserables is about to close on Broadway.  It continues to run and run and run in London's West End.  Of course, some people feel that way during the show, which does tend to run on a bit.  So, if you don't want to sit through three hours of melodrama sprawling over decades of time (and possibly still think the show is about the French Revolution), the Broadway Production has produced this under five minute version of the show.  Enjoy!

Oklahoma! - August 7

Champaign Urbana Theatre Company returned to The Historic Virginia Theatre (I think "historic" is part of the official title) for a four show run of Oklahoma!.  Oklahoma! itself is historic.  It has a reputation for being the first to truly integrate song and dance into the story.  (That's not exactly true, but close enough)  For a change, songs were not so much filler or chances for solos or written to top the charts.  Rather, characters were developed and emotions revealed in song.  And dance.  Mustn't forget "dance" as Agnes DeMille choreographed a long ballet sequence to end Act One - a very daring thing for the time.  (Okay, it's still daring, given shorter attention spans and lack of audience knowledge of dance).  But, time has passed, and the "newness" or revolutionary nature of Oklahoma! has faded.  Over the last 70 years, the modes and motifs of Oklahoma! have been copied, parodied, homaged, developed and refined.  The challenge is to make the show feel fresh and not a museum piece.

So, curious as to what CUTC had done, I made my way to the final matinee show at The Historic Virginia Theatre.

And for the most part, I think CUTC did a credible job in making this Oklahoma! feel - if not exactly fresh - certainly not stale,

Oklahoma! is an odd story show. Laurey, played by Liz Banaszak, is the owner of a farm in the Oklahoma territory.  (Well, it's not exactly clear if she owns the farm or it's owned by Aunt Eller and where are Laurey's parents anyway?).  In any event, Laurey is the apple of Curly (Jesse Trieger) the cowboy's eye.  But, neither she nor he will admit they care for each other.  Meanwhile, hired hand, Jud (Jeff Dare), has his eye on Laurey.  Just as if they were in high school, Laurey decides to go to the big Social with Jud just to spite Curly or to induce jealousy.  (Ok, the social is that night, and Laurey still doesn't have a date?  Both of these fellers are very slow to make their move).  Meanwhile, the virginal Laurey's best friend, Ado Annie (Chloe Ward), has recently discovered she has power over men and likes to have fun with them - and she is not exactly a one man woman.  Another cowboy, Will (Ray Essick), wants to marry Ado Annie.  But, Annie has recently taken up with a peddler, Ali Hakim (Craig Smith), and Annie's father (Jim Dieker) does not approve of Will.  More conflict ensues over the course of the day through the social.  Overseeing the entire show is Aunt Eller, played by Jenny Gleason.

Director Stephen Fiol has a reputation (fair or otherwise) for not having his performers move while singing - a style known as "park and bark".  But this time, the actors did move around as they sang to denote action and character.  The most static song was the title number - which with the full cast of 50 or so people left no room for anyone to move about the stage, anyway.  As a result, it lacked any big "oomph" that that number should get.  Vocally, it was fine, but it was missing that extra bit of energy to bring the roof down.    

Jesse Trieger was a very pretty Curly.  Probably too pretty, since he never looked like he got dirty a-riding on the range.  Mr. Trieger has a nice clear voice, which can be expressive.  His line readings were straightforward and adequate.  Curly really has very little growth as a character.  He is cocksure at the beginning, middle and end.  His reticence with regards to Laurey is a character flaw - which makes little sense.  So, it didn't bother me too much that Mr. Trieger's actions didn't make much sense.  Mr. Trieger's playfulness with Laurey lacked any notion of the feelings he was to have, although that is due, in large part, to the script.  That said, I want Curley to be both stand-offish and infatuated.  I got more stand-offish than infatuated.  Even Curley's "jealousy" was muted.  According to the program,  Ms. Banaszak majored in vocal performance and it shows as she sang operatically throughout.  To me, this limited her Laurey - who rarely was able to meld well in song with others.  Her voice was too unique and strong.  Yes, it's the lead female role, but harmony was lacking, to my untrained ear.  Jeff Dare looked the part of a dangerous "hired hand".  He hulked around the stage.   When Laurey explains to Aunt Eller that Jud frightens her, you believe her.  Which makes her agreement to go to the Social with him all the more inexplicable.  Mr. Dare, whom I haven't seen on stage in a while, tries to bring some humanity to Jud in Act One, but is stuck with "nuthin to do" with the character in Act Two other than to be villainous.  That said, he and Mr. Trieger did bring out more humor in "Poor Jud is Dead" than I've seen in other productions.  It's still a very sick twisted song - and bears too much resemblance to online cyberbullying today.  Ray Essick continues to improve as an actor and singer.  His Will, while not the sharpest knife in the drawer, had a quaint naivete.  His Will truly was someone who would spend the fifty dollars he needs to wed Ado Annie on presents for her and his friends and be flabbergasted that he needs to get another fifty dollars.  It's usually hard to believe the character of Will, but, this time, I believed.  Jenny Gleason made for a younger Aunt Eller than the role is usually played.  The respect she garnered from the other characters was more from force of character - and seeming wealth - than for being older and experienced.  Her Aunt Eller certainly spoke from experience, but, to me, from experience of a more recent variety, than a wizened older woman.  Ms. Gleason's Aunt Eller commanded attention - even when she wasn't firing off a pistol.  Craig Smith was Ali Hakim - the peddler of indeterminate nationality.  Smith's accent was also indeterminate and wandering.  It made me wonder more about the character's backstory and, so, for me, it distracted from the story.  His final fate, as a result, lacked the humorous impact I would have expected. Chloe Ward's Ado Annie was fine, if a bit typical.  She let the music define her character for the most part.  I also should mention that Sarah Robinson stole every moment she was on stage with a laugh that had to be heard to be believed.

Rebecca Nettl-Fiol's choreography was generally appropriate.  She did get to let go for the Act Two opener "The Farmer and the Cowman", which, for me, was the best number in the show.  She rustled her dancers into appropriate lines and areas - so that those who could dance - or at least remember the movements - were up front.  She also must have put a lot of time and effort into the Dream Ballet that closes Act One and lasts close to fifteen minutes.  The dream Curly had ballet training and it showed as he moved all around the stage capturing the audience's eyes and the various moods of the ballet.  There was no indication in the program that the dream Laurey, Lauren Deppe, has ballet training, but it appeared she must have been trained, as she exhibited excellent body control.  These two numbers shone above the rest.

The minimalist set was, well, minimal.  I'm not exactly sure why the farmhouse was open so that we just saw framing. It just didn't add to the show - and detracted a bit, because I expected something to be done with it.  The minimalist set did allow for the stage to be cleared for the bigger numbers - the ballet, "Many a New Day", "Kansas City" and "The Farmer and the Cowman."  Sad to say, the orchestra was less effective than the cast.  The brass, in particular, seemed off to me.  Rather than supplementing the vocals, the orchestra detracted.

It was nice to see a big musical in The Historic Virginia Theatre.  Things just feel "bigger" on that stage.  The auditorium rake give most people an excellent view.  (Although why The Historic Virginia thought the first two rows were "premium" is mystifying.  I can't enjoy a show from there as those seats are too close to the orchestra (so that the instruments swamp the vocals) and the stage is too high for me to enjoy a show.) There is something to be said to be amongst 400-500 people for a show.  More people can mean more audience excitement, which can be contagious.  The tradeoff is that CUTC could only do four shows at The Historic Virginia Theatre, such that they are just really getting into a groove when the run ends.

All in all, it was a good afternoon at the theatre. The over three hour running time (with the interval) didn't drag.  Even if I didn't leave on a "high" or humming the songs or contemplating what I'd seen, I felt like I was more than sufficiently entertained   Oklahoma! was good solid comfort food and that's what you need every now and then.

Friday Fun - August 12

Broadway Cares/Equity Fights AIDS has several annual fundraisers.  A major fundraiser concludes with the Easter Bonnet competition. Various shows present serious and humorous sketches, musical numbers, and dances.  Here is a recent one which needs no explanation other than an admonition to heed the lyrics!

My London Trip: Part Three - Labels

So, I didn't see this show in London.  Rather, I saw it in Oxford.  "Labels" is a one person show written and performed by Joe Sellman-Leava.  The show was an award winner at Edinburgh Fringe Festival and other festivals.  It looked interesting, so off we went.

The theatre in Oxford was a small black box.  It had the audience on three sides, but only three rows of chairs on each side.

The name of the play gives away that the theme of the show is the various "labels" which societies place upon people - rightly or wrongly.   The show is mostly about ethnic identity - a major label - but one that Mr. Sellman-Leava strives to, not necessarily overcome, but to get others to overcome. It is his story of growing up "mixed-race" in England in the 1990s and why his family name was changed to Sellman-Leava. While he was born in the UK, his father, I believe, was born in Uganda but whose family originally was from India..  His mother is a white British person. The Indian population of Uganda was forced out by Idi Amin in 1972 and Joe was born in England. Mr. Sellman-Leava mimics his father's accent, while he himself has a local British accent.

While the play was autobiographical, it seeks to make strong statements against anti-immigration rhetoric and bias. Throughout the play, Mr. Sellman-Leava would interject - and mimic - various anti-immigrant comments by politicians - British, Australian, South African and American.  In opposition to the political rhetoric is his family's story.   He places a human face on the damage anti-immigrant bias can cause.

Mr. Sellman-Leava uses a trunk throughout for props and costume to good effect.  Mr. Sellman-Leava also involves the audience in the show - asking them to read quotes or paragraphs and to interact with him.  A dramatic point comes when he has a woman in the audience read from the transcript of an online dating service chat which Mr. Sellman-Leava had.

Reactions to the show have generally been positive.  While this is Mr. Sellman-Leava's personal story - it rises above that story and asks audience members to self-examine for both the labels which have been attached to them and the labels the audience attaches to others. While, at times, the show devolves into a polemic, it never becomes a rant nor accuses its audience of overt racism.  It is a strong show and does what excellent theatre can do - gets it audience to think.

As a fringe show, the total show time was about an hour.  The hour was over too quickly.

Dreamgirls - Krannert Saturday August 6

I first saw Dreamgirls on Broadway mumbledy mumble years ago.  I don’t have the Playbill but it was not the original cast.  And it was spellbinding.  It was thrilling.  It had Broadway magic as only the then most expensive production in Broadway history could provide.  So, the show has a special place in my heart and memory.  I have played the truncated  OBC many many times, even though it is heartbreaking what they did on this recording.  I have listened to the amazing Actors Benefit Concert with Audra MacDonald, Lillias White, Heather Headley, Billy Porter and Norm Lewis uncounted times.  I and my family saw the film version the day it opened.   This is one of my favorite shows.

For those that don’t know the show or film, Dreamgirls is inspired by the story of Barry Gordy, Diana Ross and The Supremes.  A trio of young girls from Chicago – Deena, Effie and Lorrell – calling themselves the Dreamettes win a talent contest in Chicago which gives them a chance to compete at the Apollo Theatre in New York City, where they sing a song written by Effie’s brother, C.C.  We are introduced to Curtis Taylor Jr. – a car salesman with dreams of show business.  He arranges for Deena, Effie and Lorrell to become back-up singers for a James Brownish character, James “Thunder” Early.  Curtis sees African –American performers not getting their due – but is obsessed with getting African-American performers popular by “crossing over” to the “white charts”.  So, he recrafts Early into a “sweet sounding” crooner while making the Dreamettes into the Dreams.  And, from there, conflict informs the rest of the story.

Anyways, I was very very excited when it was announced that there would be a local production at Krannert.  It would be a special production in coordination with the Banks Bridgewater Lewis Fine Arts Academy and SITI Company to be directed by Latrelle Bright.  A special “preview” performance last October drew over 400 people to the Krannert Center.  But, then, worries set in.  First, it would be in the Studio Theatre at Krannert, a smaller black box, which might not be big enough for what was originally a “big” production.  Then, I would read on the internet about difficulties finding people to be cast.  So, my excitement was tempered.

But there I was Saturday night , August 6, at the Studio Theatre with one of the hottest tickets in town, as the three performance run had been sold out for some time.  The black box was in a semi-round configuration with the audience on three sides- a thrust format without an actual thrust stage.  A fake proscenium was on the fourth wall with “show light” standards harkening back to the original Broadway version’s use of moving light standards.  So far, so good.  The band started up with those awesome opening beats and notes.  And, then, the show itself started. 

It’s easier to pick on things that you don’t like about a production, because, for whatever biological or psychological reasons, those things stick with you.  (E.G. overall, most people  tend to remember more traumatic events of your childhood than the happy moments).  So, I’m going to start out with the positives.

Director Latrelle Bright made this show move.  Faced with limitations of the Studio Theatre and a score that is written with almost no breaks, this production never faltered or hesitated.  It kept moving.  She was able to use the space she was given effectively.  The actors seemed placed so that everyone got a good view of the action.  Davion Williams was excellent as C.C. White.  His voice was emotional and true.  He started out as “young” as his character and grew as that character grew.  Nathon Jones gave life to an  older “Marty” – Early’s original agent – conveying his exasperation at how Curtis Taylor moves and maneuvers.  Tafadzwa Diener (whom I had in my production of For Colored Girls) was Effie and Ms. Diener continues to demonstrate a stage presence and demeanor beyond her 19 years of age.  Her Act Two number “I Am Changing” was delivered with such understanding and emotion that it stopped the show.  In limited stage time, Prince Robertson as Wayne, one of Curtis’ “henchmen” excelled.  Indeed, I think he was given extra lines in songs from other characters. The 13 piece band produced great sound for the singers. 

Middle ground.  Kvn Tajzea made for a slightly villainous Curtis Taylor, Jr.  But, for me, he didn’t mix in the drive and, yes, humanity of the character.  Curtis is a charismatic figure and he needs to draw in the audience as much as he seduces the cast of characters.  Mr. Tajzea had the arrogance – but not the heart  He also didn’t seem to make a connection with either of the two women his character is to be in love with  - Effie and Deena.  Now, there was some significant age difference between Mr. Tajzea and the actors portraying Effie and Deena which may have led him to hold back.  But, as a result, his performance lessened the central emotional conflict of the show.  J’Lyn Hope was fine as Lorell Robinson, although her “Ain’t No Party” could have used more emotion.  She did not seem to have the love for Early that should be driving the wildness of that number. 

And the not so good.  Jasmine Dandridge made a game effort at Deena, but her age simply didn’t allow her to connect with the character.  And she made what to me were some wrong choices.  Deena is a difficult character, because she is not to be as good a singer as Effie – even if the actor is as good or better a singer than the actor playing Effie.  Deena is promoted to lead of the Dreams because she is “pretty” and because she sounds more “white.”  Dandridge wore glasses throughout the show – which detracted from the “beauty” she was supposed to be.   I wonder if there could have been some way for her to perform without those glasses.  Yes, people can be pretty while wearing glasses – but in the 60s and 70s, the “beautiful Ms. Jones” would not have worn glasses, and certainly not the ones which Ms. Dandridge was wearing.  She (or in concert with vocal director Justin Brauer) made wrong choices when Deena first sings lead – she is not singing “white” or “smooth”.  Rather, she riffed and engaged in some vocal gymnastics that are the exact opposite of the way Deena Jones is supposed to be singing.  She sounds similar to how Ms. Diener’s Effie had been singing.  Ms. Dandridge also showed little of the initial hesitation and nervousness that Deena is to have when she is promoted and first begins to sing and she lacked the emotional heft in the final number of the show, which she seemed to rush.  Again, I think her age and life experience limited her performance.  Age also detracted from Cedric Jones’ as James Thunder Early.  He looked too young for the part.  His clothes didn’t fit.  He played Early as a fool in the early scenes, even though Early is not a fool.  Early is a top performer when the show starts – and he got there by talent and personality – not by being a fool.  Mr. Jones was not able to convey any of Early’s character arc – the rising frustration of a man with “soul”.   To me, Mr. Jones did not show his interest and love for Lorrell, other than in cursory fashion.  The words were there – but not the emotion.  And, like I have seen in other performances, Mr. Jones has a very limited singing range, which was not expansive enough for this score.  While Samantha Jones has nice credits as costume designer, I can only speculate that budgetary issues restricted what she could do.  The Dreams’ gowns were not eye-catching, neither in their first number nor for their Vegas debut.  The Vegas costumes for Act Two were not garish Vegas costumes.  They looked like a mixture of pieces off the shelf, instead of the glamour that the Dreams were to exude.    And the bane of community theatre reared its head at this performance – sound issues were plentiful.  Microphones were not turned on – or were not turned off.  Sound  went in and out.  Actors could be heard and then not heard – even in the small space – in the same sentence.  At one point, an offstage singer was dominating over the Dreams.  I heard the voice and was looking at the Dreams, trying to figure out which one was making the sounds, but none were singing.

Over all, I felt this production was lacking in the electricity and excitement that I expect Dreamgirls to deliver.  It was a game effort – but one that was undercut, I believe, by the difficulties the show had in generating a cast. 

One last note:  the audience was probably 85% Caucasian.  It looked like a stereotypical Krannert audience.  If the goal of this production was to expand the audience, it did not happen on Saturday night.  Still, by presenting a show with a predominantly African-American cast, Dreamgirls did expand opportunities.  And given the sold-out run  of the show, this should encourage Krannert and other producing entities, to present plays and musicals which explore the African-American experience.  

My London Trip - Part Two - Romeo and Juliet

After The Threepenny Opera, I made my way back to the West End to the Garrick Theatre where Kenneth Branagh's theatre company was performing Romeo and Juliet.  I had stopped there earlier and learned that they were filming that evening in preparation for a live stream of the next day's performance.  The Box Office was very candid and helpful and so I took a seat in the Dress Circle rather than the Stalls.  For those keeping score, I paid 35 pounds for my seat.  I was offered the limited view seat in the stalls for the same price.

Kenneth Branagh is considered one of the finer Shakespearean actors and directors of today.  He started this theatre company to perform Shakespeare and other "classics".  Several of the shows have been filmed and broadcast or streamed to movie theatres.

Upon arriving, I had a second surprise. Romeo was to have been played by Richard Madden, who stars on Game of Thrones.  But, he was out due to some injury.  The young ladies sitting behind me were quite disappointed!  And verbally so! So, I had the understudy Tom Hansen on for Romeo.  Mr. Hansen normally plays Paris, and someone else had to step up into that role! I was very curious as to Mr. Madden's injury and whether the next day's performance would not be streamed.  It turns out that Madden injured his ankle.  He was able to do the live stream - but that was, I believe, the last time.  He has since withdrawn from the production.  Oddly, Mr. Hansen was subsequently injured and two performances were cancelled!  Message boards wondered why Kenneth Branagh himself didn't step into the role. 

A confession.  Until this performance, I had never seen a full length performance of Romeo and Juliet. Sure, I was familiar with the story and some of the speeches, but I had never even read the whole play! 

In any event, this production was jointly directed by Mr. Branagh and Rob Ashford who is known more for his choreography.  The play is set in 1960s Italy.  Everyone is costumed in black and white.  (Apparently, the live stream was in black and white).  It looks and feels like a 1960s Italian movie.  The actors even swear and rant in Italian.  For me, this was a play of two halves.  The First Act was Acts One through Three of the play.  The Second Act was the final two acts of the play.  

The First Act was invigorating.  Filled with humor and strong characterizations.  Lilly James - of Downtown Abbey - was Juliet.  She was joyous, no more so than in the beginning of the balcony scene where she has a bottle or wine or champagne and is dizzy with love and alcohol.  Mr. Hansen made for a handsome Romeo and seemed to have some good chemistry with Ms. James' Juliet - so I don't feel like I missed anything by not seeing Mr. Madden.  (Side note: Mr. Madden and Ms. James were the leads in Disney's recent live version of Cinderella, which was....directed by Kenneth Branagh.  

The most interesting choice - and one that paid off handsomely - was to have Derek Jacobi in the role of Mercutio.  So, instead of Mercutio being one of Romeo's friends, Mercutio is the older uncle who provides advice based on his years.  While he sometimes came across as more of a Polonius (from Hamlet, for those who don't know), his style and panache worked, including his brash decision to duel Tybalt, a man 50 years his junior!

But, Act Two was dreary and maudlin.  It almost seemed like the actors themselves lost interest in the story.  And apparently Shakespeare also lost interest.  Because, it is one speech after another. Lots of "telling" to the audience.  There is very little interaction between the characters.  I guess the ending of the play was sort of tragic, but it didn't have any emotional heft for me.  

So, I would say Four Stars (out of five) for Act One.  One star (out of five) for Act Two.

If you didn't catch this in the theatres in July, it will be shown in movie theatres again according to the Kenneth Branagh company website.  As yet, there are no listings for an encore showing in Champaign-Urbana.  

Friday Fun - August 5, 2016

One of the more iconic moments in musical theatre history is "Turkey Lurkey Time" from Promises, Promises.  Promises, Promises was a musical adaptation of the Oscar winning Best Picture, The Apartment.  The musical had music and lyrics from the team of Burt Bacharach and Hal David and a book by Neil Simon.  That number was featured on the Tony Awards and was # 6 in my list of Tony performance favorites.

 

It was homaged in the movie Camp.  

But, this performance from three students at the University of California, Los Angeles, is a favorite and a good bit for Friday Fun.

My London Trip - Part One - The Threepenny Opera

I've been away from this blog for too long due to two trips to Europe and other life escapades.
My charming and beautiful spouse had a week long conference at Oxford University in England in early July.  She graciously invited me to come along.  And amidst other activities, I managed to see EIGHT shows in SIX days.

This is the first report on the shows!

The first show I saw was The Threepenny Opera at the National Theatre in London.  The Threepenny Opera is by Bertol Brecht and Kurt Weil and, of course, was written in German and had its premiere in 1928, Its most famous song is Mack the Knife as performed by Bobby Darin - among many others.  Except that Darin's version isn't exactly the one in the show.

The basic story is that Mr. Peachum controls the beggars in London - among other criminal elements.  Macheath is a noted criminal with his own gang.  Mr. Peachum's daughter, Polly, takes up with Macheath, much to Mr. Peachum's consternation.  There is a coronation coming up which could be a big money maker for Mr. Peachum, and Mr. Peachum wants Macheath out of the way.  Various machinations ensue and there are different endings for Macheath.  The "play with music" is a critique and satire of class and property.  It is a piece of theatre that all theatre fans should have at least a passing acquaintance with.

The National Theatre version was a new translation by Simon Stephens who adapted The Curious Incident of the Dog in the Night Time to the stage.  (That show is coming to Chicago and you should definitely see it).  The National Theatre advertised this new version as having "filthy language and immoral behavior".  And that it does.  That it does.

So, I saw this on a Wednesday matinee.  I do need to thank the lovely people at the Box Office. I showed up about an hour before curtain.  They don't do "day seats" and the on-line 15 pound seats for the first row were gone.  But, they gave me a terrific seat center stalls for 30 pounds which was a bit less than the face value.  Lesson for attending London Theatre - always ask nicely at the box office for discounts!  I did note that a middle to high school group was coming in and being seated in the balcony.  Hmm.  Did they know what they were in for?  Well, I didn't know exactly, either.

The show was, to use a British phrase, bonkers.  It starts out trying to harken back to the concept of the show as a "threepenny opera" or "beggars' opera" as the stage is basically bare.  It is supposed to be a "cheap" show as opposed to "opera" that is performed for the rich and mighty.  So, there are cheap looking flats and some wooden frames.  There are no "full" structures.  The flats and frames are brought on in full view of the audience by actors and stage hands.  The band comes on with their instruments - moves around before taking up their station at the back of the stage and in full view of the audience.  As the show starts, we see that a lot of the flats, it turns out, were merely paper.  So, actors cut them with knives or burst through them.  Midway through Act One, there is a coup de theatre involving a revolve that was breathtaking - if not in keeping with the "beggars' opera" motif.

But, the actors made this show sing - ok, that was a cheap pun - the actors made this show a success.  Rory Kinnear is a noted stage actor (Olivier Award winner!) brings a whole bunch of charisma to Macheath.  Macheath is a villain who holds sway over many - especially women.  Kinnear sings pretty well claiming he found his "dormant" voice.  He has a wonderful moment at the start of Act Two when he came out and said "Still here?  You decided to "remain" [emphasizing the word "remain"]  You could have decided to "leave".  This got tremendous applause and laughter as I saw the show only about 10 days after the Brexit vote.

Rosalie Craig played Polly Peachum.  We had seen her as Althea in The Light Princess when we were in London two years ago.  She was terrific then. She is terrific here.  Her and Macheath's entrance on a half moon being lowered from the rafters was the first taste of much "immoral behavior."  Although a quick glance up to the school group in the balcony did not reveal teachers running to and fro urging the students to cover their eyes!

Haydn Gwynne was Mrs. Peachum.  She was the original Mrs. Wilkinson in Billy Elliott and she brought class and laughter to the role.  But, she was outshone by Nick Holder as Mr. Peachum who stole the stage every second he was on it.  He wears high heels very well!

One positive and negative aspect of the show.  Jamie Beddard, an actor with cerebral palsy, is in the show and in a wheelchair most of the time.  So, it's great that an actor with that medical condition can play a role that is not normally given to a disabled person.  Beddard has several stage credits as actor and director.  However, director, Rufus Norris, has him speak in a way that is nearly unintelligible. Beddard may be difficult to understand in the best of circumstances, but it seemed like it was emphasized.  And I objected to the the production overtly making fun of his speech issues.  This made me very uncomfortable.

The last time I saw The Threepenny Opera was many years ago (ok, 1989) when the role of Macheath was played by Sting.  Maureen McGovern was Polly.  And, not only was Sting not in good voice, the whole production was terrible and boring and dark.  So, I went into this new version with much trepidation.  Luckily, this version was terrifically entertaining and had plenty of the promised filthy language and immoral behavior.

This production is going to be broadcast in theatres on September 22, so you will be able to see it for yourself.  And I wholeheartedly recommend you do! Ok, right now, no Champaign-Urbana movie theatre has it scheduled, but it's likely the Savoy or the Art will have this NT Live production eith on September 22 or shortly thereafter.  Here's the trailer:

Friday Fun - June 10, 2016

The Tony Awards are this Sunday. So, that's what's what for Friday Fun.

Readers of this blog are likely to have already seen the James Corden "Broadway" version of "Carpool Karaoke" - so I won't post that.  I've already noted my favorite performances from the Tony Awards broadcasts on this blog, so there's no sense posting them again.  (For reference: Honorable Mentions:  Here  10-6 Here 5-2 Here and  #1: Here ) I still have yet to do the "worst perfomances" post.

So, instead, here is the opening of the 1999 Tony Awards - hyped entrances to the theatre, Rosie O'Donnell warbles - but then Patti Lupone, Jennifer Holliday and Betty Buckley get to go all out on their signature stage songs!  (And, yes, that is a slimmed down Jennifer Holliday).  Nirvana!

Ugly Story out of Chicago - Lessons for All Of Us

I just got back from Europe and was confronted by an ugly theatre story out of Chicago.

You may have heard about the allegations of years of abuse on and off stage at Profiles Theatre, a prominent theatre company in Chicago, which started as a "storefront" theatre company and was a non-Equity theatre until 2012.  Here is the story reported by the Chicago Reader.  It is long.  It is difficult to read.  It is important to read.  At Profiles Theatre, the Drama - and Abuse - Is Real

After you have read the article - and taken a shower - there is more to the story. As the article states, a Chicago organization - Not In Our House - several months ago promulgated a "Code of Conduct" for non-equity theatres.  That code may be downloaded here:  Draft Code of Conduct.  The Reader article reveals that Not In Our House developed the Code to respond - in part - to rumors, allegations and knowledge of what was going on at Profiles Theatre.  

Reactions in Chicago have been swift:  A petition to the Jeff Awards to rescind a Jeff Award awarded to Mr. Cox - the alleged perpetrator of abuse at Profiles - is under review by the Jeff Awards Committee.  Steppenwolf Theatre - home to actor/author Tracy Letts, whose play "Killer Joe" is discussed in the Reader article - released a statement siding with the victims of Mr. Cox' conduct at Profiles.  These developments are discussed here:  Jeff Awards, Steppenwolf and PeformInk Reactions

One critic has issued a "mea culpa" for his failure to recognize what was going on at Profiles - Christopher Piatt "Mea Culpa"  His article contains an allegation that actors at Profiles tried to get media attention several years ago - but were ignored.

And while I want to think that what allegedly happened at Profiles is an outlier - a bad seed - there are, no doubt, other persons who may be using theatre for their own sadistic purposes.  It is up to all of us involved in theatre to not be silent.  Yes - commenting may jeopardize a career.  But not commenting may jeopardize a life.  No actor - especially a non-equity actor - who is being paid little or nothing for performing - should be uncomfortable with what is happening on stage - and off.  To be fair, I have not heard of similar allegations about anyone in the Central Illinois theatre community.  And, I hope that there are not people like Mr. Cox involved in any Central Illinios theatre company.  But, I know there are those who are involved in Central Illinois who dream of going to Chicago and acting on stage in Chicago, or Minneapolis, or Seattle, or Los Angeles or New York .  Perhaps, until these allegations, those persons wanted to work at Profiles - which was a well respected and award winning theatre company.  But, to get your chance, you should not have to take a chance with your physical or emotional health.  

Friday Fun May 27 - Green Day Edition

In honor of the opening tonite of Twin City Squared's production of Green Day's American Idiot in Champaign - here is the original Broadway Cast and Green Day performing on the Tony Awards - These songs are in the show - but not staged like this!  To see it staged - you need to buy your tickets at Twin City Squared  or at the door.

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Late Night Thursday Ramblings

My post about "Where Are The Auditioners" is the most viewed post to date.  I've received several comments, thoughts and suggestions.  I'll try to address those in a few days.

Wife and Daughter saw "The Play That Goes Wrong" in London.  Luckily, the play lived up to my hyping of it.  They also saw "The Taming of the Shrew" at the Globe Theatre - where the actor playing Katherine had just been hired and went on with script in hand.  But, they say she was really quite good.

Oh, yes,  A personal plug.  Green Day's American Idiot opens Friday May 26.  Perhaps you read about it in the News-Gazette.  If you didn't - you still can:  News Gazette Preview  or perhaps you read about it on Smile Politely. If you didn't - you still can:  Smile Politely Preview  or maybe seen the preview on CI Living on WCIA TV.  The show does contain adult content and strong language.  But, it is like nothing else that has been on the stage in this community in quite a while, if ever.  The Parkland Stage can barely contain the energy and enthusiasm and talent of the cast.  This truly may be the event of the summer.  Sincerely.  Honestly.  So, get your tickets in advance at www.twincitysquared.com

Really happy to see Tafadzwa Diener who was in my production of For Colored Girls Who Have Considered Suicide When The Rainbow is Enuf has been cast as Miss Effie White in Dreamgirls playing at Krannert August 4 -7.  I'm getting my tickets now. You should too because the show is in the Studio Theatre which doesn't seat that many people.

CUTC is returning to the stage at The Virginia after several years for a production of Oklahoma! (the exclamation mark is part of the title).  Auditions are June 11.  Oklahoma! Audition Info

Once you see the job Mikel Matthews, Jr. has done with Green Day's American Idiot - which, if you didn't know,  opens Friday, May 27 for a two week run of 8 performances: tickets at www.twincitysquared.com - he's directing Bat Boy, the Musical at The Station. Auditions are soon!

The Illinois High School Theatre Awards announced its nominees today.  None are from down state. All nominees are from Chicago and its environs (well, there is one nominee from Rockford).  I don't know if area schools are applying to have their shows and actors recognized.  But, I know there is enough talent here to compete with them Big City Folk.

I'm wondering how to set up some kind of Central Illinois Stage Awards to recognize excellence in local theatre.  I need to look at how the Jeff Awards are done in Chicago.

Speaking of awards: The Tony Awards are coming up quickly.  James Corden - late night talk show host and Tony Award winner for One Man Two Guvners is the host.  Awards night is June 12.  You can see some of my favorite Tony Award performances on this blog.  Honorable Mentions:  Here  10-6 Here 5-2 Here and #1: Here  I've been meaning to do a follow-up with the worst performances.  Hamilton has received the most nominations ever but seems unlikely to set a record for the most wins - principally because several nominees are in the same category.

Speaking of James Corden, Britain's National Theatre has been streaming live and also showing recorded shows.  And over the next few months, several will have encores.  First up - James Corden in One Man Two Guvners on June 21 at the Savoy 16.  After that, you can see Helen Mirren's Tony Winning performance as Queen Elizaabeth II in The Audience on July 9 also at the Savoy 16.  And two with Benedict Cumberbatch - Hamlet on November 15 and as The Creature in Frankenstein on October 25.  Personally, I'd skip the Hamlet and watch the Frankenstein.  More on these as the dates get closer.

And just in case I didn't mention it - Green Day's American Idiot starts performances at the Harold and Jean Miner Theater at Parkland College on Friday May 27 at 7:00 p.m. with more performances on Saturday, May 27 at 7:00 p.m., Sunday, May 28 at 2:00 p.m., Thursday, June 2 at 7:00 p.m., Friday, June 3 at 7:00 p.m., Saturday June 4 at 2:00 AND 7:00 p.m. and Sunday, June 5 at 2:00 p.m.  Get your tickets in advance or at the door.  But get thee there!

Where are the Auditioners?

For the last few years - at least in Champaign-Urbana - and  perhaps in other Central Illinois communities - the number of people auditioning for regional/community and even Park District Youth shows has been decreasing.  My daughter was in a community theatre show several years ago where the cast was 100 people!  I have not heard of a community show since then where that large of a number even auditioned.  Where once 100 people might audition for a cast of 40 - now, barely 40 may audition.  Where 60 people might audition for a cast of 25, now barely 30 may audition.  I recently directed a show with a six person cast - but I only had 12 people audition.  (For the record, all six people in the cast were excellent and delivered a great show). I know of a recent show where only 25 or so people auditioned for a 14 person cast.  I see audition dates for shows extended frequently by days or weeks  - or  cast lists issued with TBA or TBD.  Even some youth productions -- which are more oriented to education as people pay for their child to be involved - have had difficult times reaching the numbers they once did.  It's not just that there are too few men auditioning - there are even too few women trying out for parts.

We sometimes have the idea that "if we announce it, they will come," But, when they don't come to audition, you question whether you have selected the wrong show.  You question whether you had the right publicity about the auditions.  You question whether perhaps it is "you" that people don't want to work with. Confronted by a lack of persons to adequately fill a cast, producers and directors then hit the phones in search of actors whom they know who may not have auditioned.  It's not that shows are pre-cast - they are now post-cast.  And, it doesn't mean that the ultimate cast isn't good, great or even exceptional.  But the lack of auditioners creates stress - and also makes you wonder whether you missed out on an exceptional performer, when you have to focus on the cast you have.  

The irony is that as the number of people auditioning gets less and open auditions for all roles does not yield a cast - or the producer and director haven't seen the "right" person for a role, they end up post-casting.  Then members of the community may decide that auditioning is not worth the effort on the erroneous assumption that the producers and directors are not open to casting "new" faces, and then the number of auditioners decreases further.  I know I am always looking for new faces when I put on a show.  But, it can be quite disheartening and discouraging to sit in an audition room, chatting with your production team while staring at a list of roles wondering how you are ever going to fill them..

The lack of auditioners impacts show selection.  Can you really do a "big" musical - for example, Mame or Hello Dolly - without some assurance that you will have enough people?  Can you do "Cats" or "A Chorus Line" if you're not sure you will get enough dancers.  Can you do "Memphis" if you're not certain you will get enough African-American actors? And, should you just forget about producing "Miss Saigon"?  I'm fairly confident there are audiences in Central Illinois for all of these shows.  I'm not so confident those shows can be properly cast.

So, I encourage all of you to go out and audition.  Remember, you are not the judge of whether you are right for a role.  You may be right for a role that you never even considered.  The best way to not get a part is to not audition.

So, watch your local newspaper for auditions.  Join Facebook groups such as Champaign-Urbana Theatre Resources and Bloomington-Normal Theatre.  Tell your friends when you hear about auditions.  Tell your friends to tell you when they hear about auditions.  And, if you're a producer or director-do all that you can to get the word out about auditions to new parts of the community.  Facebook is not sufficient - even though it is very convenient.  Send press releases to the local media.  A first release would be about the upcoming show.  Then a second release would be about the upcoming auditions.  And, a third release would announce the cast - perhaps even emphasizing members of the cast who are new to the theatre company's shows.  You could also phone community groups to let them know about auditions.  Emailing an audition announcement to local drama teachers - middle or high school and college - may help get the word out.  And use local talk radio programs as well!

Maybe, this downturn is temporary.  I hope so, because I have two upcoming shows to cast!

Tech Week Fun - Not

Anyone who has been in a stage show - be it drama, comedy or musical - knows and dreads the beginning of tech week.  What should be an exciting time as opening night approaches instead becomes a series of problems - large and small - that have to be overcome quickly and expediently.  Those solutions often create other problems - but mostly compromises with an original vision.

My comments apply mainly to those productions which rehearse in one place and then, with only a few days until opening night, move into the theatre where the performances will happen.  

Helmuth von Moltke wrote:  "no plan of operations extends with any certainty beyond the first contact with the main hostile force."  This has been paraphrased as " No plan survives contact with the enemy."  With respect to theatre, it should be said, "no plan of blocking, lights and set design survives contact with the actual stage."  It's not that directors and their creative teams don't try ahead of time.  I've taped floors to indicate the performance area and where curtains and set pieces are supposed to go.  I've rehearsed with some set pieces - when they were ready.  

And, yet, when you actually move into the theatre, things have to be changed.  Lighting elements won't set the way you thought they would set.  The wings won't actually hold some of the set pieces or there isn't room to bring those pieces on and off the way you thought they would necessitating switching blocking.  The grand curtain takes up more room, so the stage area is smaller.  The band won't fit where you anticipated or they are too loud where they are placed.  Sightlines from the auditorium are different.  The set pieces got built... a little off.  Or the set piece wasn't built.  Or the set piece you were going to rent from one location suddenly is not available.  Or set pieces were painted one color - but now in the theatre, they have to be painted a different color. Or the platform is too high - or too low - or too steep.  Costume changes are taking longer than thought.  Dressing rooms are too far away and there is no working monitor.  Props have to be moved from stage right to stage left.   The taped floor wasn't completely accurate.  And all of this has to be corrected and done quickly as there is limited time.  

It's stressful. People start to snap at each other.  And everyone has to stop, breathe, and focus on solving a current problem and forget about assigning "blame" for the existence of the problem.  The show becomes the thing to accomplish.  Theatres probably need a "yelling" room - a padded room where people can go in, shut the door, hit the walls and scream in exasperation.  Then, a person can come back out and resume getting the show in proper shape for an audience to see.  One of the first shows I directed had some...major set piece issues.  Indeed, I was so upset (as was my co-director) that I started to cry.  I blamed myself for not knowing more - or not paying more attention to what other people were doing.  But, the producer took me aside and in a friendly voice simply said "what can we do to fix this"?  And we talked some solutions.  The solutions were enacted.  Disaster was avoided.  And the audience never knew.

Because, somehow, 95% of the time, the problems are solved, and the audience has no idea what the show was supposed to look like.  They just enjoy what they do get to see.    

And after the show closes and the set is struck - and the closing night festivities have commenced - including sometimes consumption of alcoholic beverages - stories will be told,  Laughter will be heard.  And, later, the company will try to learn from what transpired to try and prevent another tech week hell.  But, just as armies plan to fight the last battle - there will always be something new, different and unanticipated to send the creative team into fits of exasperation and desperation again.

 And thus is theatre life.  

Friday Fun May 20

The School of Rock is a new musical based on the film of the same name.  It is nominated for 4 Tony Awards this year:  Best New Musical;  Best Performance by a Lead Actor - Alex Brightman; Best Book of a Musical; and Best Original Score.  Oh yeah - the music is by Andrew Lloyd Webber returning to his rock roots!

In this promotional video, the cast sings "You're in the Band".  What makes this video fun is not just how catchy the song is.  What makes this video fun is that it is a 360 degree video.  Use your cursor on the on screen arrow keys in the upper left corner or just in the frame and you can see all around the classroom, the floor and the ceiling.  There are several "jokes" on the blackboards and other places in the room.  (Hint:  look at the ceiling to see how you too can be in the band)

One other interesting thing about this show:  the rights are currently available to high schools!

Monday Ramblings

* So Parkland College's production of Fiddler on the Roof (my review is below on this blog) sold a lot of tickets.  But, it failed to become the highest attended show in Parkland College history.  That honor still belongs to .... Pinkalicious! which sold, so I am told, 19 more tickets than Fiddler.

*  Did you see the summer theatre preview in Smile Politely?  No?  Then click this and read it!  Smile Politely's Summer Theatre Preview!   Besides the Twin City Squared productions - there are lots of things to look forward to.

*  Went to Annie, Kids at the Virginia.  And, surprise, this shortened version was actually enjoyable.  The cuts and revisions didn't make the show nonsensical, as other Kid and Junior productions did.  It was the last Champaign Park District show for Monica Samii as director/choreographer and Leigh Kaiser as a producer.  They did good.

* We buckled under and got season tickets to Broadway in Chicago, primarily to score Hamilton tickets.  But, now we may have a conflict on our date! After the short season ticket run, Hamilton will sit down in Chicago, so there will be other opportunities to see it.  Query:  Should I sell the existing three Hamilton tickets for sufficient money to pay for full season tickets?

* Wife and daughter headed to London.  Both will see The Play That Goes Wrong.  Daughter will finally get to see The Curious Incident of the Dog in the Night Time, which she missed on her last trip to London because the ceiling in the theatre had collapsed.

* My production of A Divas Cabaret was, in my humble opinion, a pretty darn good show.  If you didn't make it out - and shame on you! - you can see several of the performances on You Tube.  Go to the Twin City Squared channel.  This was the opening number of the second show:

We are going to try a couple of other Cabaret nights over the next few months.  Stay tuned.

* I did not manage to get up to Chicago to see Q Brothers' "Othello, the Remix" which is one of my favorite theatregoing experiences.  The Q Brothers have been doing hip hop Shakespeare for several years - long before that show about the first U.S> Secretary of the Treasury who was killed in a duel got praise for interjecting rap into a show.  Next time!  I do have the CD recording to listen to.

* Sponge Bob The Musical.  Part of me wants to go.  Then the other part of me slaps me around.  I think other people are having the same dilemma.

*  I need to find a way to do a concert version of Titanic, the Musical with the Champaign Symphony.
* Ten days until opening night for Green Day's American Idiot at Parkland's Miner Theater.  You'll have eight chances to see it.  Don't waste those chances!  Here's a short preview:

Friday Fun - May 13

No need to be afraid this Friday, May 13.  Just sit back and learn from Kate Monster and Trekkie Monster how to be Wicked Popular!

Happy Mother's Day (US Version) 2016

Today is Mother's Day in the United States.  (It's on other dates in other nations) I don't have a Top Five list of Broadway Musical songs for Mother's Day - but here are five for this day that reflect different aspects:

"If Momma Was Married" - Gypsy.

One of the more famous mothers ever to grace the stage was Rose. Playgoers frequently refer to her as Momma Rose - but she is not actually ever called that in the show!.  Gypsy is the (heavily) fictionalized story of Gypsy Rose Lee.  Any resemblance between the show and reality is highly coincidental.  In the show, Rose and her daughters have a tempestuous relationship.  Summed up in this song by Natalie Wood (Louise) and Ann Jillian (June) in the film version:

"Mama, I'm A Big Girl Now" - Hairspray.

Since conflict is the basis of drama - daughters and mothers have always had conflict matched with their love for each other.  This is all captured in "Momma I'm A Big Girl Now" from Hairspray, the Musical!  This is some of the original cast including Laura Bell Bundy (Amber), Jacki Hoffman (Penny's Mom) and Kerry Butler (Penny) performing after the show Disaster! The Muscial in which Kerry Butler stars, and she kind of - well actually does - forget the lyrics. But not the dance moves!

"Peas in A Pod" - Grey Gardens

Grey Gardens is based on the documentary "Grey Gardens" about the Aunt and Cousin of Jackie Bouvier Kennedy Onassis.  Christine Ebersole plays Big Edie in this number (she plays Little Edie in Act Two) and won the Tony Award.  These two women have some issues with each other - but not always.

"I'd Give My Life For You" - Miss Saigon

Switching over from children reactions to mothers, this next clip is from the Manila production of Miss Saigon - which may be my favorite musical.  It has the incredible Lea Salonga - who originated the role of Kim in London (at age 17) then Broadway and then Manila.  For those that don't know, at the end of the Vietnam War, Kim, recently arrived in Saigon after her family has been killed in their village, is forced by circumstance to become a prostitute for The Engineer.  Chris, an American Marine, buys her for the evening.  They fall in love.  When the Americans evacuate, Kim and Chris are separated.  She is left behind - and has a child.  And she sings this to her little boy.

"The Story Goes On" - Baby

This last clip is a little long - but well worth it.  It is from the original Broadway production of  Baby.  Baby was a musical about three women - a young unmarried woman, Lizzie; a 30 year old married teacher desperate to have a baby and a 40 something married woman who unexpectedly is pregnant after a celebration with her husband.  Lizzie is living with her boyfriend and becomes pregnant.   She decides to keep the baby.  And then ..... well this happens.  This Act One closer is one of the best closing numbers of any show by the incredible Liz Callaway.  And a perfect song about being a mother.

HAPPY MOTHER'S DAY!!!!

Friday Fun - May 6, 2016

So, for Friday fun, here is a bit from Miscast 2015 - Normally, for "Miscast" men peform women numbers and women perform men numbers.  But, in this bit, Laura Benanti and Christopher Fitzgerald offer up a slightly "off" version of Sixteen Going on Seventeen from The Sound Of Music - with Ms. Bananti as "Sleazel" (I mean, Liesel) and Mr. Fitzgerald as a slightly older version of Rolf.   You may never think of this number the same way.  

Divas Cabaret - Return of the Self Promotion

I mentioned this before - but that doesn't mean it doesn't deserve another mention!  On Friday May 6, there will be two shows of A Divas Cabaret - featuring the talents of Jenny Carpenter, Kari Croop, Jacklyn Loewenstein, Micah Tryba and Ranae Wilson along with junior Divas Shireen Hassan and Maddie Henson.  PLUS there's more. There will be a preview of Twin City Squared's upcoming production of Green Day's American Idiot.  And all of this for just $10!  It will be at Fluid Events Center, 601 North Country Fair Drive in Champaign and tickets are available in advance at www.twincitysquared.com or at the door.  Doors open at 7 for the first show and 9 for the second show.  And here's a preview from Smile Politely!

Smile Politely Previews A Divas Cabaret!

Oliver! - CUTC's Kathy Murphy Student Production - AUDITIONS MAY 6-7!

Champaign-Urbana Theatre Company's student production this year will be Oliver! with performances at the Miner Theatre at Parkland College on June 16-26/
This is always a highlight of the summer season.  Even though the cast is 6th through 12th graders, it frequently is one of the better performed shows.  And you get a chance to see people before they become stars!

Auditions are this Friday May 6 and Saturday May 7.  Sign up here: Oliver! Sign Up Here!  But, walk-ins are welcomed as well.

Oliver! needs a large cast - and the ensemble gets quite a work-out, so it's a perfect show for actors of all abilities.  And, of course, they are going to need actors younger (and smaller) than usual!  So, if you are or know aspiring actors, encourage them to audition.

From the CUTC website:  Audition Information and Forms

For middle and high school students, please come ready to read audition sides (provided) and bring 16-32 measures of prepared music (accompanist provided).

For younger students auditioning for the children’s ensemble, please come ready to read audition sides (provided) and sing a short portion of a musical theatre song, or you can bring 16 measures of prepared music (accompanist provided).

Fiddler on the Roof - April 28 at Parkland College

I went to Parkland College's production of Fiddler on the Roof on Thursday, April 28.  I went with some trepidation because since Parkland scheduled the performances during the Jewish holiday of Passover, the cast was composed nearly exclusively of non-Jews.  It's not that non-Jews can't play the roles.  It's called "acting" after all.  But, sometimes, there is just something about being raised in a culture that can't be duplicated.  There is a connection to the material that is almost ingrained.  It seemed like in the 60s, every Jewish home in the US (or at least the ones I visited!) had a copy of the Original Broadway Cast album with Zero Mostel.  And that album was played constantly in our house and in other homes.  "Sunrise Sunset" became so iconic and almost a religious requirement at weddings that I had to ask the music director for my wedding to resist each and every entreaty to play  "Sunrise Sunset".  I was raised on this show.  I've seen many productions from junior editions to school editions to church editions in North Carolina to touring editions and of course, my family went to the movie version which also was required viewing when on television before the days of the VCR (and later DVD players).  But while I like seeing something "familiar" - I still want to see something different in a production of Fiddler.  A director has to resist the temptation to treat the show as a museum piece.

On the one hand - this was a good straightforward production that I was glad to see.  On the other hand, there were some staging issues that detracted from the show.  On the other hand, there were some strong performances.  On the other hand, there were some weak performances.  On the other hand, it's real hard to have a non-enjoyable version of Fiddler.  On the other hand, there were things I didn't enjoy.

Parkland's production had two of my pet peeves about theatre.  First, accents.  To me, either everyone in a cast should do an accent or no one should do an accent.  This cast's accents were all over the place.  It wasn't just that this cast would not have lived in the same village - they were not even people who lived on the same continent.  Lou Kinnamon's Tevye was doing Topol's Israeli accent.  Jenny Gleason's Golde was using her normal American speaking voice as did most of the villagers.  The Russian accents of Gil Yohnka's Constable and Jeff Dare's Fyedka plus the other Russians were very dissimilar such that they must have come from different parts of Russia.  This was not a town where the Constable and Tevye knew each other all their lives - despite what the dialog says.  When people in a community speak to each other - they don't hear accents.  These characters are not speaking "accented" English.  They are either speaking Russian or Yiddish.  Since the Jews and Russians understand each other, presumably, all the characters were speaking Russian and they would hear each other as "normal" and not "accented."  Along these lines - but more minor - Tevye pronounced every "h" as the gutteral "ch"- even when the "h" was not gutteral.  Thus, "Chava" should have a gutteral "ch" but "Hodel" should be spoken with a regular "h".  When singing "To Life" the word "L'Chaim" has a gutteral ch" but the cast sang it as a regular "h" so it sounded like "hi- yim",  That's not saying all cast members didn't sing "Chaim" properly - it's only what I heard - and what people around me also heard

My second pet peeve is static staging.  This is where characters just stand in place and sing.  Or stand in place and talk.  Sometimes, this is appropriate.  Other times, it just doesn't work for me.  The song "Anatevka" was staged with the singers all frozen in one place with no movement.  Now "Anatevka" is a lovely song - but the staging seemed to sap it of the emotion it should have.  Even "Far From The Home I Love" was affected by the disconnect between the emotional words of the song and the static staging.

Lou Kinnamon's Tevye was fairly strong - even if I grew tired of the Topol accent which often blurred his diction.  I thought he was strong in his singing and his asides.  It was a good solid performance - but nothing exceptional. If you'd never seen Fiddler before, you would have lauded his performance.   Indeed, while for the most part, I enjoyed Kinnamon's portrayal, somehow, I lost the softness of Tevye - especially in "Far From The Home I Love" and when confronting Chava.  The cutting of the "Chavaleh" ballet cut off a major opportunity for Kinnamon to show the softer side of Tevye. Kinnamon was best in his scenes with Jenny Gleason's Golde.  There was a feeling of a real relationship there most of the time.

I almost always like Jenny Gleason's performances - and this was no exception.  She knew how to stand up to Tevye and how to yield.  Her transition in "Tevye's Dream" was convincing.  However, her soprano voice did not blend well in choral numbers and even in her duet with Tevye "Do You Love Me?" harmony was lacking - whether that was due to her or him (or the lack of a vocal director), I can not say.  And I was disappointed that at the end of "Do You Love Me" Tevye and Golde simply sat on a bench and stared straight ahead like Benjamin and Elaine at the end of "The Graduate."  After such a lovely song sung with such emotion where Tevye and Golde realize their love for each other - even though "it doesn't change a thing" - they still should have some physical acknowledgement. They could hold hands or put their heads together or even a pat on the thigh, but they should have done something to indicate they are a unit.

Ray Essick was Motel and I think this was the best performance I've seen him give.  Warren Garver made for a nice charming revolutionary Perchik.  However, after reading about how wonderful the sound in this show supposedly was, Garver's microphone on Thursday had major problems with distortion that detracted from my enjoying his performance.  Tafadzwa Diener's Hodel had just the right amount of spunk when needed even if I felt like she held back or was held back a bit on "Far From The Home I Love".  Blaine Lehman was too young for the part of Chava particularly when paired up with the older Jeff Dare.

Whitney Havice came through with some energetic dances and good story telling for "Tradition," "To Life" and "Tevye's Dream."  However, for some reason, men and women were dancing together during "The Wedding" before Perchik announces that he is going to break the tradition of men and women dancing separately.  As a result, that dramatic moment was lessened.  There also needed to be a mechitza- a barrier of some sort that separated the men and women at the wedding for Perchik to cross.

I liked the seemingly simple set of wood plank walls that could be moved to indicate different settings.  But, director Stephen Fiol had people walking downstage in front of interior scenes so that those characters could get to the interior or could leave.  It was very distracting and caused me to lose focus on the dialog.    A member of the audience asked me what was the point of the tall bare tree trunks in the back of the stage.   I presume it was to suggest the rural nature of Anatevka.  But, I don't know.  The trees were not used in any sequence, nor was there any reference to characters going through woods.  

The orchestra had some of the best sound I've heard at Parkland in a while.  However, on Thursday night, it seemed like the curtain came down before the final dramatic drawn out notes began to play.  Those notes almost always bring me to - at the very least - the edge of tears.  But, alas, the coordination of curtain and music was off and the moment was lost.

Friday Fun - April 29

As Passover comes to an end for 5776 and as Fiddler on the Roof has a revival on Broadway and at University Laboratory High School and Parkland College (and lots of other places), here's the off-Broadway cast of In The Heights with their version of Tradition!

Friday Fun

Friday Fun!  The Mischief Theatre Company was formed in 2008 (or thereabouts) by students at the London Academy of Music and Dramatic Arts.  "The Play That Goes Wrong" started small, expanded until it took the West End by storm in 2014 and won the 2015 Olivier Award for Best New Comedy.  I describe it as "Noises Off" without the plot.  And I was fortunate to see the entire show.  This is a taste (with special guest appearances by Kyle Minogue and Josh Groban) - and, believe me, there is much much much more that is even funnier.

The Mischief Theatre Company also has produced Peter Pan Goes Wrong and The Comedy About A Bank Robbery. And they presented at the 2016 Olivier Awards for a new category.

A Divas Cabaret - Self Promotion

My company, Twin City Squared, is trying something - well not different in the full sense - but something new for us.  I'm producing and directing "A Divas Cabaret" on Friday May 6 at the Fluid Events Center in Champaign, Illinois.  When I started this theatre company, I was looking for ways to expand opportunities for people to perform.  I also was looking for ways for people to perform who don't have the ability to commit to 4 to 6 weeks of rehearsals.  The cabaret seems a perfect format. I also was looking for a way for adults to have a more adult evening - outside of the club circuit here in Champaign-Urbana.  The cabaret seems a perfect format.

For "A Divas Cabaret", we have five amazing female singers - Jenny Carpenter, Kari Croop, Jaclyn Lowenstein, Micah Tryba and Ranae Wilson -  and two "juniors" one a High School senior - Shireen Hassan -  and the other an 8th grader - Maddie Henson.  In setting up the show, I had to answer the question: What makes a person a Diva?  My answer:  a Diva is a strong woman who takes and owns the stage.  She is a dynamic performer who commands your attention.  There is nothing negative about the title Diva, for those that earn it!

What was fun for me was coming up with a list of suggested songs for the performers. I quickly listed 3 double spaced pages!  Some of the songs on my suggested list will be performed.  This song will not be performed, but I love this performance so much, I'm just going to post it here. There is a sort of local connection:  The Mad Hatter is played by Miss Illinois 1997 (and oh yes Miss America 1998)  Kate Shindle.  Ms. Shindle was the original Vivienne in Legally Blonde, the Musical and is the current president of Actors' Equity Association.   In any event, Ms. Shindle just owns this number and the stage.  A real Diva!

There will be two shows on May 6.  Doors open for the first show at 7 and doors should open for the second show about 9.  Food and alcohol will be available for purchase.  Tickets are on sale at www.twincitysquared.com.  You can also find Twin City Squared on Facebook.  Twin City Squared on Facebook.  Please visit the page and "like" it.  

If this first cabaret is successful, then we will plan on having others.  We are looking at a variety of "themes" and are hoping on getting some celebrities - or at least Broadway performers - to come to town for a night.  

Voices of Pride

In writing the post about what's on stage in Central Illinois, I learned about this very interesting event:

New Route Theatre and Prairie Pride Coalition are presenting Voices of Pride on April 22-24.  These are going to be four new selected plays being presented in staged readings.  The readings will be at First Christian Church at 401 West Jefferson Street in Bloomington.  Tickets are a suggested donation of $10.

It always is exciting to see new works.  I haven't seen any of the four plays, but here are some descriptions and schedule:

Friday April 22:
7:00 p.m.: "garbage can blues" by Paula Ressler, who teaches in the English Department at ISU.  A lesbian mother tries to come to terms with her son's death.
8:30 p.m.: "ReConnect" by DC Cathro.  This is a series of six short one act plays about what happens when people reconnect.

Saturday, April 23
7:00 p.m.:  "Thingification" by Duriel Harris, who teaches at ISU.  A solo play expanding on a series of performance poems bringing to life characters that creates a discourse on African American identify and empowerment.
8:30 p.m.:  "Bedfellows"  by Daniel Kipp, an Illinois Wesleyan graduate.  We see two men and how their relationship develops at three different election times:  1992, 2000 and 2008.

Sunday, April 24:
2:00  p.m.  "garbage can blues"
4:30 p.m.: "ReConnect"
6:00 p.m.:  "Thingification"
7:30 p.m.:  "Bedfellows"

More information is available at New Route Theatre Facebook pageor emailing new.route.theatre@gmail.com

Friday Fun

I am going to try and post some fun theatre related video every Friday.  First up:  the Broadway cast of Mary Poppins lets us know that every show can be improved by just adding a little something:

What I've Seen Recently

A brief look at the plays and musicals I've recently seen.

Amerian Wee Pie - at The Station.  A touch of the absurd runs throughout this tale of a man returning to a hometown still searching for a way out of a lifetime of anonymity.  He finds purpose - or rather has the purpose find him - from a high school classmate whom he does not remember - who is riding the wave of popularity of gourmet cupcakes.  There is levity and some actual emotion  with generally solid performances - highlighted by Grant Moreanz' wandering accents - which made this an enjoyable evening at The Station.  Director Jaclyn Loewenstein shepherded her cast nimbly.  The division of The Station's small space into three separate areas was a daring choice, but mostly paid off.

She Kills Monsters - at The Station.  This play highlighted, for me, one of the weaknesses of The Station.  One of the more recent strengths of The Station has been its production of newer and edgier plays, exposing Central Illinois to plays that audiences would never otherwise have a chance to see.  She Kills Monsters is a newer play, but one that seemingly was developed to highlight stage combat.  Unfortunately, the proximity of the audience and the skills of the actors combined to make the stage combat less than realistic or involving.  The script suffers from major timeline issues that baffled me throughout.  The script has other internal inconsistencies and, to me, a not very original take on the "issues" the play purportedly seeks to address.  I spent too much time trying to make sense of the script - rather than being taken in by the story.  A strong performance by Andrew Ambrose Lee was not sufficient to carry the play.  Director Mikel Matthews struggles admirably to mask the script's flaws - but I think that effort called for more bells and whistles than The Station could muster.

Legally Blonde, Jr. - Champaign Park District.  This was a youth show for 5th through 8th graders, so this is not a review of their performances!  Having directed the full length production, I was curious about what had been done to the script to make it safe for "junior" audiences.  It was not done surgically - it was done by a butcher.  The script was hacked indiscriminately and lines changed for no apparent reason.  The show makes even less sense than it ever did and does not give the actors adequate opportunity to develop any character.  The set also was disappointing, as Champaign Park District has been doing admirable sets for youth productions.  But, not this time.

Matilda at Oriental Theatre, Chicago.  Ok. This isn't Central Illinois - but we made the trek, along with, it turns out, many of our friends to see the National Tour of Matilda.  This is probably my youngest daughter's favorite show.  She and I have seen it on Broadway and in London.  The tour production was quite good, but not to the level of those prior viewings.  The child actors in the tours have dropped any pretense at trying to have British accents.  But, the adult actors still speak with British accents.  Tim Minchin's lyrics are so witty - but delivered so quickly that I still only caught about 80% of the words actually sung.  However, those in our party (and others we spoke with from Champaign-Urbana) who were seeing Matilda for the first time absolutely loved it.  They loved the staging, the music, the lyrics, the actors, just about everything.  

I also went to two area High School shows: Fiddler on the Roof at University Laboratory High School and A Funny Thing Happened on the Way To The Forum at Champaign Centennial High School.  My youngest daughter was in the latter.  These are two classic 1960s musicals which are very very very different in style.  Seeing them on the same day was quite a shock to the system going from the very serious and gradually depressing Fiddler to the farce and outrageousness of Forum.  I'm not going to review these shows, but I do have a couple of quick observations:    For Fiddler: Noah Blue was a Tevye who was a much stronger confident character than usually presented and commanded all of his scenes.  Director Chris Guyotte made incredible use of the very small stage at University Laboratory High School with an ingenious structure that opened and rotated to serve as Tevye's house (interior and exterior), Motel's store, and other exteriors.  For Forum, director Suzanne Aldridge gave her leads Ryan Gossett and Lyndon Fabi tremendous freedom to chew the scenery to great audience appreciation.  Leland Jackson, however, stole every scene he was in as Miles Gloriosus.  

Upcoming Shows for April/May 2016!

Planning your theatre going for April and May?  Here's what I'm aware of for Central Illinois!  This does not include various high school productions.  And the big summer shows are just around the bend!

I haven't seen any of these productions - so I have no recommendations other than to encourage you to be adventurous and try something new and/or some place new.

Bloomington-Normal
Love Letters at Heartland Theatre Company - now through April 24;
Alice in Wonderland at Illinois State University - April 15 through April 23
Fame at Illinois Wesleyan - April 12-17
Visions of Pride New Play Festival  presented by New Route Theatre at First Christian Church April 22-24
Prairie Fire Theatre Champagne Gala and Fundraiser - April 23
Dial M for Murder at Community Players - May 6-15
Body Awareness at Illinois Wesleyan - May 22-24

Champaign-Urbana
Fiddler on the Roof at Parkland's Miner Theatre - April 14-May 1

The Gospel According to Thomas Jefferson, Charles Dickes and Count Leo Tolstoy: DISCORD

 at The Station - April 21 - May 7
Kiss Me Kate - presented by Lyric Theatre at Krannert April 21-24
Green Day's American Idiot presented by Twin City Squared at Parkland's Miner Theatre May 27-June 5

Charleston
Motherhood Out Loud at Charleston Community Theatre April 15-23

Danville
Boys of Summer at Beef House Dinner Theatre April 15-17
Little Shop of Horrors presented by Danville Light Opera April 23, 24, 30, May 1
The Storybook Reunion Murders by Red Mask Players May 13-14  (Children's Show)

Decatur
Forever Plaid presented by Decatur Underground Theatre at Decatur Civic Center April 15-17
Little Shop of Horrors at Millikin University April 14-17
Blood Wedding at Millikin University May 4-8

Peoria
Private Lives at Eurkea College April 15-17
A Night With Friends at Peoria Players April 22 (fundraiser)
Hands on a Hardbody at Eastlight Theatre April 22-30
Our Country's Good at Bradley University April 21-23
Hairspray at Peoria Players May 6-15
Nunsense presented by Arc Light at Coyote Creek Golf Course May 20-21

Springfield
Doyle and Debbie Show at Legacy Theatre April 16-17
On Golden Pond at Springfield Theatre Centre April 15-17
Mrs. Lincoln Fights Back at Theatre in the Park April 15-17
The Last Five Years at Theatre in the Park April 29-May 7
The Wedding Singer at Springfield Theatre Centre May 6-15
Treasure Island at Theatre in the Park May 20-28