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Sunday, October 14, 2018

"Small Mouth Sounds" @ Artists Rep

Artists' Rep has an affinity for strange shows, and "Small Mouth Sounds" is among the strangest. A significant portion of  the show takes place in silence, meaning that it relies for a long period of time on nothing but the actors' physicality. Fortunately, Artists Rep's formidable ensemble is more than up to the task. This should come as no surprise, given that both Michael Mendelson and John San Nicholas starred as monkeys in "Trevor", but it does.

When the silent period stops, the second-most unexpected element of the show is its dark humor. It was this dark humor which led me to misinterpret the play's very oblique ending. It makes reference to a parable earlier in the show, but if you only remember half of it, as I did, you'll miss the brighter point. I don't feel badly, though. In my post-show discussion with an usher about it, she had to consult the director. As I said, the full parable has a much more hopeful spin, and it is welcome. "Small Mouth Sounds" is for the more adventurous among you.

Sunday, October 7, 2018

"A Life" @ PCS

The greatest asset of "A Life" is its engaging lead, Nat DeWolf.  He is an animated storyteller. He is instantly likeable. There are also touches within the script that are unique and funny. (The offstage character who screams someone's name constantly outside the apartment.) At times, it can feel like too little is going on, but I think the ordinariness is intentional, but it begins to wear on you slightly. My favorite Bock play was "A Small Fire" and it is similarly-themed in that we see a woman experience a kind of death, as she wastes away from dementia, and the ordinary seems all the more urgent, and heartbreaking. I wished for more of that herre.


Monday, September 24, 2018

"Ordinary Days" @ Broadway Rose

"Ordinary Days" is best when it is true to its title, finding sorrow or humor in the ordinary. (The Starbucks scene comes to mind.) It is admirable when it somehow succeeds in shrinking life in New York. Sadly, I haven't been to The Met in my two trips to The City, but I'd venture a guess that The Whitney Museum at least gives taste of the disorientation made light of in that scene. Be aware that "Ordinary Days", perhaps intentionally given its focus on little things, is a much smaller-scale show than is typical of Broadway Rose. This is not necessarily a negative thing, but it behoove you to calibrate your expectations.

The Color Purple: The Musical @ PCS

There are words that I save for occasions that truly warrant their use, "transcendent' is one of them. I only use it when a certain kind of euphoria envelops me when watching a show. "The Color Purple" had several of those moments. It is the best, most ambitious musical PCS has mounted in years. I opened the playbill after the show and counted the musicians. (You know the show is epic when eight seems a low number.) "Breathtaking" is also among the words to use conservatively, but when one feels short of breath at the end of a number, out of a strange sort of empathy with a performer who appears to have exhausted herself, what other word is there? What an Opener to PCS's Season.

Sunday, September 9, 2018

"Skeleton Crew" @ Artists Rep

There are sequences of movement in "Skeleton Crew" that are used as scene-breaks that are so synchronized, I suspected they were projections, until the dancers took their bows at the curtain-call.  It was at this moment I realized that the synchronicity displayed in those scene-breaks was a sort of microcosm of what I enjoyed most about the play. Not to mention that synchronicity itself is a theme of the play. This is of course intentional, at least insofar as the scene-breaks illustrate the precision workers on an assembly-line must possess, and the play is in large part about how little respect such work receives, and even the dialogue has moments of natural-poetry that takes some rhythmic skill to deliver effectively. (A feat accomplished especially well by actress Shelley B. Shelley, as Faye.) Yet, as apt as the "synchronized" description is, it should not conjure the connotation of being as generic as the products of an assembly-line. Indeed,  the greatest asset of "Skeleton Crew" is its ability to draw truly human characters. It is a timely, perhaps even vital play, and a truly impressive beginning to Artists Rep's new Season.

Sunday, August 12, 2018

"Guys & Dolls" @ Broadway Rose

Well, one advantage of not being raised on Musical Theatre is that even the classics are new to you. I only know of "Guys and Dolls" from pop-culture parodies. As such, I expected it to be a little dated, especially in its humor. It wasn't. Apparently, Relationship Humor is timeless.

This particular production's most impressive element is the sheer size of the cast. It makes for some real "showstoppers." It really is a complex undertaking. I almost missed this show, and I am so glad I didn't, you shouldn't, either.

Guys-and-Dolls-Web-Res-14

Friday, July 6, 2018

"Mama Mia" @ Broadway Rose

I must confess that I did not expect to love "Mama Mia." I was born well past ABBA's heyday, and know virtually none of their songs, with the exception of "Dancing Queen." No one was more surprised than me when I quickly found myself enjoying it immensely. There are a few reasons for this: One is that it just seems to fit the mood of a musical running in the summer, a show that matched the bright Sunday I attended. Another is the once again surprising "scope" achieved by Broadway Rose. I mean, they list "pit singers" in the playbill, this suggests a larger size than we can even see. I seem to say a version of this in virtually every review of a Broadway Rose show, but hats-off to Broadway Rose for "going-big." That said, my favorite moment was the solo "Winner Takes it All" which deserved a mid-show ovation for the sheer power required. I believe this press-photo is from that song, and that is the moment I wish to spotlight, because it might be overlooked in all the fun of the rest of the show, and that would be a shame.


Monday, June 4, 2018

"Lady Day at Emerson's Bar and Grill" @ PCS

Deidrie Henry is truly mesmerizing in "Lady Day at Emerson's Bar and Grill" She somehow manages to embody Billie Holliday with out falling into imitation. She masters the conversational cadence of the show, which feels like it would be exceptionally difficult, and yet she makes it look effortless . The band is also exceptional. Even the placement of the stage is cool. It really feels like a club setting, as if we were indeed in the presence of a legend. I enjoyed every minute of its all-to-brief running time.

Monday, May 28, 2018

"I and You" @ Artist's Rep

"I and You" is a play about the pronouns of its title, specifically their use in the poem "Song of Myself" by Walt Whitman. At first glance, this would hardly seem enough upon which to hang a play. But, "I and You" left more than a few members of the Opening Night audience in tears. A pocket-pack of Kleenex might not be a bad idea.)

The basic  plot is the interactions of two students, one a brilliant, but nearly bedridden girl, the other a jock, who at first appears to be in desperate need of her tutelage, and their presentation about those all-important pronouns. Wrapped within it, is  a twist that would be criminal to spoil. Instead, I will reiterate my warning about tears, and express my admiration once more for its unexpected emotional resonance.

Saturday, May 5, 2018

"Tourette's Hero"

"Tourette's Hero: Stand-up, Sit Down, Roll-over" is a bizarre show. I don't think Tourette's Hero would object to such a description. Especially because a lot of it is MEANT to be bizarre. (Audience members are encouraged to come up and read corny cat-jokes at random intervals, for instance. ) And stand-up has been a place for bizarre things--Andy Kaufmann comes to mind. But, the word that best describes "Tourette's Hero" is not "bizarre," but rather "embrace." The entire evening is about embracing everything, and accommodating the unusual. This is the reason it is not merely "interesting" or "off-beat," but at times revolutionary, both in terms of the typical boundaries forced upon performance, (and oftentimes, by extension, who  gets to enjoy them,) as well as revolutionary in terms of the discussions sparked. It has been a long while since I stayed for a "talkback," but "Tourette's Hero's" examination of Disability Rights in different countries is a must-hear. It is also interesting to hear from the ASL interpreters about how they take on such an unpredictable task. Sometimes I found myself watching them in awe. If you've ever longed for a one-of a-kind show, this is it.