Friday, May 27, 2016
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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Thursday, May 26, 2016
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!
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!
Wednesday, May 25, 2016
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!
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!
Sunday, May 22, 2016
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.
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, May 20, 2016
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, May 16, 2016
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:
* 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.
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:
Thursday, May 12, 2016
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!
Sunday, May 8, 2016
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!!!!
"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, May 6, 2016
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.
Thursday, May 5, 2016
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!
Monday, May 2, 2016
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
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).
Sunday, May 1, 2016
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.
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.
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