Win FREE Tickets to the New Musical, The Last Word

 

We have officially reached one of our favorite times of year, the New York Musical Festival. The Last Word tells the story of Jay, a young man who lives above the Indian restaurant his dad left for him. He enlists a group of friends to help him hold onto the restaurant, but will it be enough? Read a full synopsis here http://www.thelastwordmusical.com/synopsis.

This new piece stars Felicia Finley, Jessica Jain, Travis Kent, Nathan Lucrezio, MJ Rodriguez, and Philip Jackson Smith. Michael Bello directs this show with a book, music, and lyrics by Brett Sullivan at The Duke on 42nd Street.

Nathan Lucrezio stars as Jay. In which Broadway show has he most recently appeared? Reply in the comments section below with your answer and an email address so I can contact the winner. The contest closes Thursday night at midnight. Good luck!

Ivo Van Hove's THE CRUCIBLE

After seeing Ivo Van Hove's fast paced, streamlined revival of A View From the Bridge, I was so intrigued to see what he would do with Arthur Miller's most famous play, The Crucible. Unfortunately, I left the Walter Kerr theatre with more questions than answers. They were not robust, existential questions about life's truths or human nature. These were literal questions about directorial intent. What time period are we in? Why is the pacing so laborious? Why is that chalkboard still on stage? Who is using those desks?

The opening scene is a classroom full of young girls in a classroom staring at a chalkboard. The color scheme is dull and gray. This moment is but a glimpse as the curtain quickly falls and rises again on a drastically different scene. This glimpse motif repeats itself throughout both acts and is the one shred of urgency in the entire production. The rest of the piece drags like a funeral dirge. I won't bore you with a summary as we all know the plot, but I'd be lying if I didn't tell you that I checked my watch more than I ever have during a show. I did see the piece early in the preview period, so I will try to be kind and assume that the pace will quicken by opening, but this piece is built on drama and suspense, both of which need a sense of urgency to unfold.

Philip Glass provides the score which aims to create a mood of suspense and even anxiety. It is mostly effective in meeting this goal, though the relentless wall of sound does distract from the text at times. Jan Versweyveld nails the ominous feeling of the piece with the mysterious stark lighting that highlights the cold, gray feeling of the sets, which he also designed. The focal point of the set is a chalkboard which works in the classroom and court room, but feels out of place in the Proctor home. Ditto for the desks and chairs. Wojciech Dziedzic's costumes represent curious choices that tie back to Van Hove's unclear (or unclearly articulated) vision. It is so difficult to tell what time period we are in. The Salem Witch Trials took lace in the late 1600s and the costumes are much more modern. They are not present day either, but rather somewhere in between. A modernized production would've been a remarkably intriguing concept, given recent political discussions over feminism, religion, and government power, but the performances are clearly period. The dialect and diction transport the audience to the past, while clearly modern props like coffee carafes place us in the present. It is quite jarring as an audience member and it made it extremely difficult for me to immerse myself in the world of the performances because I didn't know when or where that world was. If this was Van Hove's intention, then I commend his vision, but unfortunately it was hard for me to invest.

Though Saoirse Ronan is selling the tickets, her performance is not the standout. There is nothing inherently likable about her Abigail, who is more of a devious instigator than a sympathetic victim. As far as the ensemble of young girls is concerned, Tavi Gevinson's portrayal of Mary Warren is much more memorable. She is a vulnerable young girl who is clearly confused about her allegiances and that internal struggle shows in her nuanced characterization. Ben Whishaw and Sophie Okonedo carry the emotional heft of the show as John and Elizabeth Proctor, respectively. They are a hard-working couple maligned by ghosts from their past. They are the ultimate tragic tale. Every attempt they make to prove their innocence pushes them further down the rabbit hole. They are faced with one of life's ultimate conundrums. Lies or truth? If they tell the truth that they have not engaged in witchcraft, they will be executed. If they lie and say they have engaged, their lives will be spared, but they will have to one day meet their maker knowing they've committed a grave sin. Whishaw plays out this question with such reckless abandon that I felt as if I was on his back as he desperately flailed about the stage in search of answers. His work is visceral, animalistic, and even maniacal as he seeks absolution.  This final scene was the only moment in the show that truly gripped me emotionally. It left me asking myself how high of a price I would pay to tell the truth and clear my name. This is what I call a "Miller Moment" where the beauty and purity of the text were able to shine through, unencumbered by Ivo Van Hove's confusing direction. I left the theatre largely disappointed, expecting the brilliance of A View from the Bridge to repeat itself, but this new-concept Crucible lacked clarity and cohesion.

BRIGHT STAR on Broadway

Simply put, Bright Star can be described as Broadway meets Bluegrass. The plot of this musical by Edie Brickell and Steve Martin could easily be a Nicholas Sparks novel, but the music is far more unique. Brickell and Martin capture the heart of the American South in a way that pays nuanced tribute to North Carolina nostalgia. They treat the South with loving care. As someone who grew up on country music, these are songs that would be more capably performed by Alison Krauss than your typical Broadway beltress.

The show begins when Billy Cane (AJ Shively) returns home from the second World War to his backwoodsy North Carolina town. He learns his mother has died and laments her passing, but quickly moves on. He dreams of following his own Bright Star, which is to become a published writer. With the encouragement of his childhood friend Margo Crawford (Hannah Elless) he moves to Asheville in hopes of writing for the Asheville Southern Journal. He soon meets Alice Murphy (Carmen Cusack,) the Journal’s stern editor. She quickly tosses Billy to the curb, but in a moment of fleeting weakness, she gives him a second chance. We are quickly transported back to the 1920s when Alice is a free-spirited teenager in love with Jimmy Ray Dobbs (Paul Alexander Nolan). Alice comes from a working class family, but Jimmy Ray’s father has bigger hopes for his son. When Alice becomes pregnant, Josiah Dobbs (Michael Mulheren) does what he deems necessary to protect his son and ultimately takes Alice’s baby from her, disposing of him off the back of the train. As is the case with all great musicals, things work out for everyone. Alice and Jimmy Ray find one another decades later and fall in love again. Billy becomes a published writer and marries Margo. Oh, and I forgot one small detail…Alice’s baby didn’t die. He was rescued like Moses in a basket by a farmer and his wife; they named him Billy Cane.

If you think I threw that plot twist at you nonchalantly, then you and the show’s audience are in the same boat. The double-timeline structure is a tricky one for an audience to follow, but we will stick with you through the never-ending rising action if the payoff is sweet enough. In this case, the climax was over and done with faster than you could say Yee Haw! Billy invites Alice to visit his family home, she sees the baby sweater she knitted in a box of his old things, they realize they share blood, and they move on happily ever after. Where is Billy’s anger over being lied to by his father? Where is his confusion over which family he should feel allegiance to? Where is his father’s guilt over lying to his son or never helping him to find his birth family? The double timeline and the North Carolina setting do conjure images of a Nicholas Sparks novel, but the questions that are left unanswered and the lack of emotional catharsis are more reminiscent of a lifetime movie.

Though the structure and pacing of the book have serious flaws, the dialogue itself is sharp, witty, and dripping with appropriate southern colloquialisms. The score, both homey and evocative, is hands down the best I’ve heard in show that uses the country vernacular. Walter Bobbie’s direction is as swift and seamless as the clunky book will allow, using stylized movement rather than codified dance to express the melodies and transition between timelines and scenes. Carmen Cusack’s Broadway debut has been a long time coming, but talk about waiting for the perfect role! I have never seen an actress play two distinct ages so convincingly. You believe her when she’s 17 and when she’s 40. For fans of Designing Women, Cusack’s 1940s Alice is a dead ringer for Julia Sugarbaker. She has the musical theatre chops to “act the songs” and develop the character, but in my book nailing this role comes down to that country spirit and she exudes it. Patsy Cline and Dolly Parton would be proud. After having seen this show nearly two weeks ago, Cusack’s performance and the score are two of the three things that have stuck with me. The final thing is one of the most memorable lines I’ve ever heard in a musical: “It would be easier to remove Lincoln’s face from Mt. Rushmore than to remove home from the heart of a Southern Writer.” This motif carries this show, and while it may not sell hundreds of thousands of tickets to a Broadway audience, the sentiment will mean the world to those who get it.

The Color Purple is a Religious Experience!

Two Sundays ago, I went to church twice: Once at Fifth Avenue Presbyterian, and again at the Jacobs Theatre. This phrase is often used liberally, but John Doyle's revival of The Color Purple is unequivocally a religious experience. I'm not one to preach, but the Holy Spirit was in that place. From the opening chorus number, "Mysterious Ways," it is evident that this company can saang! John Doyle has done it again. He has taken a show that was clunky in it's first incarnation, stripped away everything but the necessities, and presented a production that is emotionally charged in it's simplicity. The set is a simple wooden floor and a tri-section back wall with simple wooden chairs that can be moved by the cast. Immediately, the audience understands the setting: a small Southern farm town with caring people and a simple way of life.

The Color Purple is a beloved American story that we all know so I won't bore you with a summary. Let's jump to the performances, shall we? A highlight for me is anything involving the church ladies. If you grew up in church like I did, you'll know that is where you find some of the biggest gossips. But they mean well of course, even as they speculate about poor child Celie, that fine Mister, Sofia, and Harpo. Jennifer Hudson is selling the tickets, but in the role of Shug Avery, she is not the biggest powerhouse in the show. Her characterization of Shug is aloof and disconnected at first, but her heart shines through as she connects emotionally to Celie in "Too Beautiful For Words." She also carries the title song, my personal favorite. Danielle Brooks, whom I love in Orange is the New Black, left me utterly shocked. Her Sofia is not the tough, battered woman from the novel, but a diva who steals the show. When she takes the stage in "Hell No" you'll see what I'm talking about. It's Danielle/Sofia's world and we're just living in it. She has Harpo (Kyle Scatliffe) wrapped around her little finger and their relationship becomes a model for how to be a real man and treat a woman with respect. I won't give away the details but "Any Little Thing" is showstopper.

This brings us Ms. Cynthia Erivo. She is giving the female performance of the season. Her transformation from a meek, abused woman to a confidant, take-charge, entrepreneur is a master class in character work. Celie's changes are subtle until she curses Mister, and that is when she is reborn. When Ms. Erivo saunters onto the stage in her homemade lemon yellow pants, you would think you were watching Tina Turner. I don't intend to sound hyperbolic; that is just the confidence she exudes. I've never quite seen a eleven o'clock number as powerful a "I'm Here" except for maybe "Rose's Turn". Cynthia's interpretation of the song is quite reflective in the beginning, that is until the bridge. It builds, and it builds, and it builds until the audience is on their feet before the final exclamation. If you read my reviews often, you'll know that I'm a big cryer, especially in musicals. But this was something different. I had goosebumps of the variety that I've only ever gotten during particularly rousing renditions of church hymns or Whitney Houston's "The Star Spangled Banner." If you do not see Cynthia Erivo in this role, you will have missed one of the greatest female performances of all time. Think LuPone in Gypsy, McDonald in Porgy and Bess, and Ripley in Next to Normal....she's that good.

To put it simply, this a story of forgiveness. The show and it's source material carry numerous themes, but at the heart, this work teaches us not only how to forgive, but it also shows us how much lighter our load in life can be when we forgive those who trespass against us. My favorite lyric comes from the title track...."Like the Color Purple, where do it come from? Now my eyes are open, look what God has done." Enough said. The only thing that could've made the performance better is if the cast performed an encore of "Amazing Grace" or "How Great Thou Art". But then again, how would the Jacobs operate without its roof?

She Loves Me Leaves Me Smitten!

She Loves Me is a story of sworn enemies turned lovers that is so sugary sweet it might give you a cavity. But when we attend the theatre, we are asked to suspend disbelief, and after twenty minutes or so you'll be swept into the charming little world of 1930s Budapest and you'll deal with the sugar hangover tomorrow. It's this season's version of On The Twentieth Century, another classic show long overdue for a revival and was also produced by Roundabout Theatre Company. In this, their 50th season, they've brought together Laura Benanti, Zachary Levi, Gavin Creel, Byron Jennings, Michael McGrath, and Jane Krakowski in this Bock and Harnick classic with Scott Ellis at the helm.

The above mentioned players work in Mr. Maraczek's (Byron Jennings) Parfumerie and things are running exactly as planned until Amalia (Laura Benanti) arrives. This charismatic salesgirls butts heads with head clerk Georg (Zachary Levi) from the moment she arrives. Little do they know, they have something very important in common. They've been writing to one another anonymously under the pseudonym "Dear Friend." While they've been hating each other in person, they've been falling in love on the page, and as we've learned from every romantic comedy, love always wins.

Highlights include Benanti's vocally virtuosic "Vanilla Ice Cream," Levi's exuberant "She Loves Me," an astutely choreographed hurricane of actors and props in "Twelve Days to Christmas," and the melodramatic "Ilona" featuring a crooning Creel and a Krakowski crash split. Speaking of Ms. Krakowski, she was born to play the comedic characters in these classic musicals and she absolutely shines in this production. If we could go back in time, I would give anything to see her take on Ado Annie or Carrie Pipperidge.

In addition to outstanding performances, David Rockwell's' set is a star. Forced perspective creates the illusion of a real Budpest street and the opening and closing of Maraczek's Parfumerie is like that of a supersized dollhouse. Appropriate words to describe Rockwell's designs as well as Ellis' staging are 'charming' and 'delightful'. This show is a welcome addition to Studio 54 and anytime we can see such a stellar cast performing the work of one of history's best composing teams, we should all be happy.

THE WOODSMAN

At first glance, The Woodsman seems to be yet another spin-off in America's obsession with The Wizard of Oz. When you're deciding which shows to see this season, you may be tempted to swipe left on this one, but that wouldn't be right. What could have been an ordinary prequel is actually an aesthetically rich piece of art that completely reimagines a land of Oz that is heavy on impulse and light on text. In fact, Nick Chopper's opening monologue that provides context within the Oz canon is the only significant chunk of dialogue in the entire piece. The rest is left to puppetry, stylized movement, and vocalization. The skill exhibited by the performers is quite fascinating as you believe the puppets are alive without much suspension of disbelief. Directors James Ortiz & Claire Karpen create a full sensory experience. It is visceral.

Speaking of Nick Chopper, the role is played by James Ortiz who wears many hats in this production at New World Stages. He is the writer, puppet designer, set designer, co-director, and lead actor. Eliza Martin Simpson plays the other significant role of Nimmee, his eventual love interest who has spent her life under the control of the Wicked Witch of the East. Nick, of course becomes who we know as the Tin Man after the witch enchants his axe and directs it to chop off his limbs. Wicked gave us one theory of the Tin Man's origin: The Wicked Witch of the East was so angry when she was scorned by Boq that she removed his heart and Elphaba turned him to tin out of pity. As far as magic is concerned, Ortiz' interpretation of L. Frank Baum provides a much more plausible explanation. The Witch of the East craved her control over Nimmee so much that she destroyed her lover to get her back. The penultimate scene in the piece is one of despair as we see Nick Chopper (in tin puppet form) alone, propped up by wires. The only glimmer of hope is the final scene where we see three symbols that are as ingrained in American culture as Betsy Ross's flag: a farm house, a pigtailed girl, and a pair of slippers. You know the rest.

HAMILTON: From the Public to the Rodgers

When I was lucky enough to win the TodayTix lottery to Hamilton at the Public Theatre last February, I had no idea what I was about to experience. In my entire theatre-going life, I've never experienced such a phenomenon. It seemed like every week there were more and more celebrities in attendance and the show just kept extending its run. When the producers announced that they were moving uptown to The Richard Rodgers, I had mixed feelings. This was such a perfect theatrical experience in the intimate Public Theatre, that I feared it would lose its energy in the bigger space. But regardless, I was so happy that I could say, "I saw Hamilton before you even knew what it was." I scoffed when it became part of the mainstream media and normal conversation, asking myself, "is it really that great?" I purchased the cast recording in September and after one listen, I had my answer. "Yes it is".

As an English teacher and a writer myself, I am enamored with Lin's use of language. It is incredibly complex and layered, yet simplistic enough to move the story forward. When I first saw the show downtown I was focusing so hard on the lyrics and got the gist of it, but when I began to listen to the cast recording on repeat, I understood the intricacies of his verbiage. Each time I revisit a song, I pick up on a new phrase that speaks to me. My personal favorite, from the song Burn, is "you have married an Icarus, he has flown too close to the sun". Lin's references to history, mythology, and other works of literature are inspired. My head spins when I consider the amount of time, research, and energy that he poured into this piece. But enough about my obsession with the cast recording....let's fast forward to this past Saturday morning when I checked my email to find that I'd won the lottery yet again. I was skeptical. Would it ruin the perfect experience that I'd had last year at the Public? As I sat front row center at the Richard Rodgers and listened to the opening drumbeats, my question was answered with a resounding NO! 

I know every single word of every song, so not having to concentrate on the lyrics and plot freed me to look at the bigger picture. I saw aspects of the staging, particularly the choreography, that I completely missed the first time. Andy Blankenbuehler's use of postmodern movement seamlessly conveyed the production's overall goal of telling a historical story through a modern lens. I am a dancer myself, and I love that there were so few moments where I could name the movements. Sure, there was an arabesque here and a penche there, but most of the movement was completely unique. While this is largely the same production I saw downtown, the layers were so much more apparent to me. The minimalist set, a tavern setting with a turntable, allows the the text and acting to shine through. Thomas Kail's staging accentuates the material without distracting from it. This show is so special and unlike anything we have ever seen on Broadway.

Daveed Diggs (Lafayette/Jefferson) my second favorite actor in the show was not performing last Saturday and I greatly missed his rapid fire pace as Lafayette the tongue-in-cheek quality with which he imbues his Jefferson. His understudy was fine, but he didn't have Diggs' twinkle in his eye. My number one guy, however, is Leslie Odom Jr. and his performance grabbed me so much more than it did downtown. Don't get me wrong, I loved him downtown, but he has certainly grown into the role. I have seen many a show in my day and I have never seen so much passion in one performance. He had a fire in his eyes that you would normally expect from an opening night performance, not a random Saturday in February. I saw his Aaron Burr more as a narrator this time. Though it is Hamilton's story, Burr is telling it. The songs that reprise the opening theme are a perfect example of this. "How does a bastard, orphan, son of a whore," "Watch this obnoxious, arrogant, loud-mouthed bother, be seated at the right hand of the father" "How does a rag-tag volunteer army in need of a shower, somehow defeat a global superpower" and "How does Hamilton the short-tempered protean creator of the Coast Guard," etc. Clearly, The Room Where it Happens is a straight up showstopper and a huge highlight, but when he sings "now I'm the villain in your history" he truly had my sympathy. Yes, he killed Hamilton, but when you consider everything Hamilton achieved before Burr even became a senator, you can understand why he felt so much resentment. If someone was constantly steps ahead of you for your entire career, how would you handle it?

What strikes me is that it is so commercially successful, but before it was popular it was extremely well written and artistic. It is rare that these combine in a musical. It is more common that you have saccharine shows like Mamma Mia that runs for a decade juxtaposed with beautifully cerebral shows like Sunday in the Park with George that absolutely flop. Hamilton has shown the next generation of composers that you can write something intelligent with artistic merit and still sell tickets. I only hope that this is a gateway to a new generation of musical. 

Musical Mondays: VANITIES

I'm embarking on a new journey called Musical Mondays. I want to spotlight some of my favorite musicals: old, new, popular, unsuccessful, hits, flops, and everything in between. These will not simply be my favorites shows, but more specifically the shows that were personally meaningful to me at one point in my life or currently. Come back every Monday to learn about another show that is near and dear to my heart!

I saw Vanities when it ran Off-Broadway at Second Stage in in the summer of 2009. It was supposed to transfer to Broadway, but it wasn't to be. Vanities a three-person show performed in three acts without an intermission. The story spanned several decades of the friends' lives from a Texas High School to an Upper East Side apartment. Kathy (Anneliese Van der Pol) Mary (Lauren Kennedy) and Joanne (Sarah Stiles) grew up together as cheerleaders and sorority sisters, but they went their separate ways after graduation. This show, with music and lyrics by David Kirshenbaum, is based on Jack Heifner's play of the same name which was wildly successful in the 1970s.

I was enamored with this show when I first saw it as a college Junior, but it's really stuck with me and I've been drawn to different parts of the show at different times in my life. I immediately connected with Kathy, the organized one, who plans every single aspect of her life down to the last second. She firmly believes that if she plans everything she can keep her life under control, and I can certainly relate. She leads the other characters on the cheerleading squad, as the head of the school dance committee, and later as members of Kappa Kappa Gamma. Her mantra is "Take care of little things, you'll have an organized life," while Joanne and Mary prefer to "let life happen, relax, and that is the key." The characters remain basically unchanged from high school (1963) to college graduation (1968) but the third act is where we see the changes.

As I said earlier, I was a Kathy through and through in high school and in college. I lived by my Lilly Pulitzer dayplanner and my to do list, but then something funny happened after I graduated college. I looked around and nothing worked out as I had planned. This is where we find Kathy at the beginning of act three. It is 1974 and the once inseparable friends have reunited on Kathy's Upper East Side terrace after half a decade. We learn that Joanne, who has always dreamed of having a family is happily married with several children, or so it seems. Mary, who creates erotic installation artwork, blows up this fantasy when she reveals that she's been having an affair with Joanne' husband Ted. But even though their lives are falling apart, they rely on Kathy to have it all together. Much to their surprise, she has lost her job, and "spent a couple of years hanging out at every singles bar, and every therapy group on the east side." She then became so depressed and she couldn't leave her house. Her friends are shocked that her life didn't go according to plan. The rest is in the lyrics:

I sat around all day, without the slightest clue,
It shouldn't sound so sad, it's what I had to do,
'Cause I had worked so long, and I had tried so hard,
And I was so demanding, I was so relentless,
Always in control, and never letting down my guard,
And if that's how you organize your existence, you have an organized nervous breakdown,
You get strung out and neurotic, messed in the head,
That's what you tried to tell me way back in college, call it a bitterly hard-won knowledge,
But there's something to be said for simply living your life.

As someone who always joked that I would plan my own nervous breakdown, these lyrics hit me like a ton of bricks in my post-collegiate life when things didn't go even remotely as planned. They made me cry, they made me have full on breakdowns in my shower, but then they guided me forward, reminding me to stop trying to plan everything and just live! I loved this show so much and I wish that more people had gotten to see it. It's probably too small for Broadway, but I hope that it has life in regional theatre because so many young women could benefit from these characters and these lyrics. If it's playing in your area, go see it--you won't regret it! 

ON YOUR FEET Cha-Chas on Broadway

I was fortunate enough to win lottery tickets to On Your Feet last Wednesday night and I was certainly not disappointed. If I had to describe this show in one word...ENERGY! From the musicians to the dancers to the scene-change-ography and the fierce abuela, the Marquis Theatre is on fire! Jerry Mitchell squeezes every ounce of excitement out of the Estefans' music and Sergio Trujillo mirrors that with the spicy choreography.

Structurally, the show employs flashback to show Gloria's childhood and very tiny glimpses of Emilio's. Both came from Cuban families who immigrated to Miami in search of a better life. One of the most powerful moments in the story happens when Emilio fights with a record producer who is trying to screw him over and he replies by saying "I pay my taxes and take a very good look at my face because this is what an American looks like." This show is the story of immigrants who have fought for every ounce of respect they ever earned in the music business and keep fighting throughout their lives. The emotional climax of the show comes when the Estefans' bus is in an accident and Gloria comes within an inch of paralysis. She uses her fans' well wishes to propel her through physical therapy, culminating in a comeback performance a the American Music Awards. Ana Villafane is fantastic as Gloria and Josh Segarra is equally effective as Emilio. Alma Cuervo's Consuelo, Gloria's Abuela, is the highlight acting performance in the show. She may not have a huge amount of stage time, but when she is onstage, she packs a punch. She also has a major role in the show's turning point, by encouraging Gloria to sing with Miami Sound Machine (then Miami Latin Voice) even when her mother discouraged her. Speaking of which, Andra Burns plays Gloria's mother, also named Gloria, in a beautifully layered way. She is a fierce, strong woman who has done everything she can for her family and is extremely protective, even at the expense of sacrificing her own dreams. She is very stern and emotionally closed off, especially toward Emilio, until Gloria's accident when she realizes how much she has missed by pushing the family away.

This piece uses the same template that Beautiful used with Carole King's music and it has become a huge hit. This show is equally effective in telling the story of the Estefans through their music, but I wonder if these songs are as appealing to a New York audience as King's. The Marquis theatre has also been known to eat shows, in fact I cannot remember the last time it produced a hit. I did love this show though, and it's an extremely entertaining night at the theatre. If you love Conga, 123, On Your Feet, Turn the Beat Around, and my personal favorite, Reach, I highly recommend this. If nothing else, you'll cha-cha out of the theatre with a song in your heart.

Spring Broadway Preview

The 2015-2016 Broadway season is fully underway! Hamilton has risen to stratospheric levels of success, Jennifer Hudson has The Color Purple selling like hot cakes, Noises Off has already extended, On Your Feet has audiences cha-cha-ing home nightly, and my personal favorite, Allegiance, is sadly closing next week. But, on with the show!



While I'd love to see everything, this teacher's salary won't allow it so these shows are on my "MUST SEE" list!

She Loves Me
Opens: March 17th
Laura Benanti is one of my guiding stars, so obviously I already have tickets, but Jane Krakowski's sass has also gotten me through many a tough day. What could be better than these two broads singing Bock & Harnick? Plus, I used to do "Vanilla Ice Cream" with my fabulous voice teacher..done and DONE!

Bright Star
Opens: March 24th
I must admit, I hadn't heard much buzz about this show until a good family friend saw it at The Kennedy Center. I luckily already have tickets to this one as well and I hope it's such a big deal! I too grew up near the Blue Ridge Mountains and I hope this is just as folksy as all get out.

The Crucible
Opens: April 7th
I am the newest convert to Ivo Van Hove after seeing his phenomenal direction in A View From the Bridge. I am fascinated by this Arthur Miller series that he is doing and I like The Crucible even more that the former. It takes a lot for me to rank a play above a musical and Ivo Van Hove is the singular reason I will be skipping Tuck Everlasting until later this summer.

American Psycho 
Opens: April 20th
So I'm going to be perfectly honest and tell you that Alice Ripley was the first musical theatre star that I stalked. I was one of the proud Stage Door Jennies at Next To Normal who was able to facebook friend her before she maxed out and Zuckerberg gave her the heave-ho. Please forgive me, I was interning at Dance Magazine that summer. Anywho, I digress. Duncan Sheik is a brilliant songwriter and this production has assembled the perfect cast of crazy in Lady Ripley, the former Mr. Mamie Gummer, Benjamin Walker, and Spider-Man survivor Jennifer Damiano. (P.S remember in SMASH when Meg Hilty said, of Liaisons, "they are auditioning real names like Jen Damiano"). This is a must see. It may run forever or close after 1 performance, but Madame Ripley will make it memorable.

Waitress
Opens: April 24th
I didn't know what this Jessie Mueller character was all about and then my dear friend Sarah Jones VanFossen had me obsessed with Beautiful. I fell in love with Jessie and I am so happy she is coming back to us. Allegedly, Ms. Bareilles has written one of the best musical theatre scores in years, but I'm refusing to listen to it until I can experience it live onstage. Plus, I love Keala Settle because she tweets with me sometimes!

Long Day's Journey Into Night
Opens: April 27th
Jessica Lange.......enough said. But also, John Gallagher Jr......I will stop talking now.

Shuffle Along, or, The Making of the Musical Sensation of 1921 and all that Followed 
Opens: April 28th
Please see this show if you want to see Audra McDonald her 87,345th TONY....and TAP DANCE! Just let me name drop for a second.....Diva McDonald, Brian Stokes Mitchell, even though he blew off my friend Pam at the Women on the Verge stage door on the way to the BK Whopper Bar, Billy Porter, Brandon Victor Dixon, and Joshua (my Violet crush) Henry. This show could be about teamsters tapping the morse code and I would still see it. Also....Savion frickin Glover! Mic drop...Barbie out!

ALLEGIANCE on Broadway

It has been quite some time since I've written a post just to share my love of a show, but ALLEGIANCE compelled me to do so. I make it my goal each season to see all of the musicals I suspect will receive the big TONY nominations, but when ALLEGIANCE announced a February 14th closing date, I crossed it off of my list. It was only after a dear friend told me that everyone he knew who saw the show wept, that I reluctantly bought a ticket on TDF...and I'm so thankful I did.

The piece penned by Lorenzo Thione, Marc Acito, and Jay Kuo opens in 2001 with Sam Kimura (George Takei) in his military uniform on Pearl Harbor Day. He is visited by a woman who announces that his sister Kei (Lea Salonga) has passed away. He hasn't seen her in over fifty years, but he is immediately visited by her spirit, reminding him that their family has unfinished business. We are then transported back to 1941 when a young Sam (Telly Leung) returns home from college to the family artichoke farm in Salinas, CA. The family's future is wrapped up in Sam, but then Pearl Harbor happens and everything changes. The events that ensue recount one of the darkest parts of America's history. Over 120,000 Japanese Americans were transported to labor camps, not unlike what was happening in Nazi Germany simultaneously. Japanese Americans, including the Kimura family, struggle with their own allegiances. Sam wants to prove just how American he is and eventually joins the Army, while their father refuses to pledge allegiance to a country that essentially disowns his family and finds himself in prison. After the war, Sam returns to a hero's welcome, but finds his dear Hannah (Katie Rose Clarke) gone and the entire Kimura family changed forever.

What struck me so much about this piece was not the music, normally my favorite entry point into the musical, but the storytelling. I certainly learned about Japanese American internment in school, but I never realized how eerily similar it was to Nazi Germany. As Americans, we were horrified to learn what was happening in Europe, yet we had no clue what was happening in our own backyard.

Even more than a history lesson, this piece is one about family and the bonds that unite us across generations or cultures. ALLEGIANCE is not dissimilar to hit shows like Fun Home, Fiddler on the Roof, The Color Purple, Les Miserables, or even The Lion King in its exploration of family. When you see how close this family once was and how America's horrific treatment of them tears them apart, it's nearly impossible not to tear up a little bit.

Adding to the emotion of the piece is actor George Take's real life experience. It was his own childhood, largely spent in internment camps, that inspired the show. Seeing his ability to live his character nightly without any resentment toward his past is the ultimate example of forgiveness. Telly Leung carries this show on his back with drive and conviction, showing us that he is one of Broadway's brightest young stars. This brings us to Lea Salonga, a revelation whose Broadway return is akin to Judy Kuhn's Broadway return in Fun Home. Salonga expertly holds the audience in the palm of her hand as she carries the vocal heft of the show. Every word and every note out of her mouth are so laden with emotion than you shouldn't be surprised if you find yourself sobbing through the piece. But, I'll let you decide for yourself because you must see this remarkable show. It is only here for two weeks and it will be one of those shows that if you miss it, you will regret it.

2016 US Figure Skating Championships: Mens Recap

I was less excited about the Senior men than any other event in this competition. Did you feel me? However, after so many relatively clean shorts, I was actually looking forward to this free! Though the judging left us asking questions, the competitors were at their best! 

1. Without Jason Brown or even Joshua Farris in the competition, any win almost seems…..less than. Nevertheless:
1. Boy was I wrong! Adam won this event, but he had heavy competition, from his training mate Nathan Chen in particular.
2. Can Max Aaron, the clear favorite, land his jumps and win outright?
1. He landed the jumps and had some semblance of performance quality, but with so much two-foot skating his program didn't hold a candle to Adam. Adam leads in artistry and Chen leads in athleticism, which leaves Max Aaron just hanging out in the middle. 
3. Will Nathan Chen, the once novice and junior phenom, improve upon last year’s 8th place finish in his Senior debut and threaten for the podium?
1. Did he ever! In my opinion, he should have won. I am a dance teacher and theatre nerd, so I of all people appreciate performance quality, but this is in fact a sport and athleticism should prevail.
4. Can dark horse candidate and twitter-verse favorite Grant Hochstein make a statement after his impressive 4th place finishes at Cup of China and NHK Trophy?
1. Johnny and Tara would not agree, but Grant pulled at the heart strings in his free and earned the fabulous pewter. With Chen's health uncertain, he has a strong shot at the world team.
5. If Hochstein skates cleanly, will he have a moment with his Les Miz free skate and bring the crowd to its feet?
1. He did indeed! Dell Pelligrini also had a moment when he skated over to her after the skate. Again, Johnny and Tara threw shade, but the real skating fans know better and appreciate a true "Nationals moment" when we see one.
6. Is Ross Miner still relevant?
1. He was indeed relevant in the short program, but without the quad or the unmatched artistry of Rippon, he will have difficulty making a world team. 
7. Will Adam Rippon’s jumps fail him yet again, but wow us with his artistry?
1. Yes and yes!
8. Who will be the surprise member of the final group in the free?
1. Ladies and gentlemen, meet Tim Dolensky! I hated how Tara called him a "practice skater" just because he doesn't train at a big fancy rink. This kid has talent and I don't think this showing was a fluke. 
9. Who will make the biggest jump from the short to the free?
1. He only jumped from 7th to 6th, but Alexander Johnson gave the free performance of the event for me after forgettable short. He is a true artist. His edge work is stellar and he makes this incredibly difficult sport look effortless.
10. And finally, the question is not if, but who, will the selection committee screw out of an International assignment?
1. The answer as of now is "nobody".  However, if Chen cannot attend Worlds, I wouldn't be surprised in the least if USFS reconsiders Brown's petition over 1st alternate Hochstein. 

2016 US Figure Skating Championships: Ladies Recap

Ashley vs. Gracie: Part 4

1. Does anyone else matter to the skating faithful?
1. I feel that as a skating community, we have taken to Hannah Miller at this competition. Bradie Tennell is another one to watch. 
2. Does Ashley come from behind in the short to win in the free as has become commonplace?
1. Well, she was behind and she did so well until that pop, but it wasn't a true Ashley Wagner comeback, clearly, as she took third.
3. Does my girl Ashley, an old broad by skating standards, have any gas left in the tank to take another US title and have a prayer of a World medal?
1. I hate to say it because I love her, but I don't think she has a shot at a world medal unless others falter. She had her shot several times when she couldn't nail a short program. 
4. Does Gracie live up to her word of “no more doubles”?
1. After popping in the short, Gracie just threw it down in the free. She certainly lived up to her promise. 
5. Does Gracie, clearly the more talented of the two, get out of her head and put up the points we know she can?
1. Finally, yes, Gracie got out of her own head and threw down a fantastic performance. That was a "Nationals" performance and she clearly owned that free!
6. More importantly, which of these two will give us the best Side Eye?
1. Oddly enough, Polina was giving us some great face when she realized that Gracie had beaten her.
7. Can Polina finally perform like a mature young woman?
1. I'm just going to say it, because the free skate hair didn't help. It was more Pollyanna than Polina. She had the jumps, but she needs to learn how to perform and needs to be packaged differently.
8. Does Karen Chen make the Gracie vs. Ashley debate moot by wiping the floor with all of them?
1. She did not wipe the floor with them, but her free skate did make an impression aside from the fall. She has the potential to be great, but let's not crown her yet. 
9. Can Courtney Hicks’ jump propel her back into the conversation?
1. Unfortunately for Courtney, her jumps are what failed her. In my opinion, she needs to back off the speed and master her jumps again before she can put together a full program again. 
10. Where does Carly Gold factor in, and more importantly, how does her presence affect Gracie?
1. If she didn't have a famous sister, we wouldn't be talking about her and NBC certainly wouldn't be showing her short before the pairs free.
11. What chance does Mirai Nagasu have after all these years, particularly where International assignments are concerned?
1. She still has the skills, clearly, after nailing 2 clean programs, but that does not guarantee the "committee's" faith in her. She finished behind Ashley Wagner who popped a jump, so that doesn't demonstrate how much faith the international committee has in her. 
12. Will any one performance make me cry or stand up and cheer?
1. I certainly didn't cry, but I did cheer for Gracie because she had a true "Nationals moment".
13. Can anyone from last year’s top ten trio of Bell, Pierce, or Miller surprise us and make the podium?
1. Miller gave us a true performance. Pierce had that phenomenal short, but she really needed to go clean if she wanted to make to get to the program. She did show some fire at the end of the free so I'm very excited about her going forward! Bell showed us that she has the potential but she needs some smoothing out and just more experience. Unfortunately, not counting her combinations killed her. Fortunately, Kori Ade is her coach and in my opinion, she is the best in the business. 
14. How will last year’s Junior winner by a mile, Bradie Tennell, handle the pressure of the Senior event?
1. Bradie Tennell put on a show! She proved that her junior win was not a fluke and that she could handle the pressure. She held onto first until Wagner skated.
15. Finally, will the dreaded “committee” have to step in when it comes to International assignments or will they let the competition play out?
1. This should be pretty straightforward--Gracie, Polina, and Ashley will go to Worlds.

2016 US Figure Skating Championships: Dance Recap

This Senior Dance event had me on the edge of my seat for months following the Grand Prix Final. All I can say is that the judges finally got it right...

1. First and foremost, who will have the most garish costumes and music?
1. The team that did "Kung Fu Piano" has the most over the top costuming.
2. Will the judging be fair?
1. In my opinion, they finally got it right.
3. Will any of the placements have fans in an uproar?
1. For once, no! Many people would argue that Hubbell/Donohue should've finished 2nd but I don't love their free nearly as much as their short.
4. Which free skate will make cry? (eh hem, Shibutanis)
1. Yes, I sobbed while they skated to "Fix You" and I sobbed again when they realized they won!
5. Will there be any significant movements from the Short to the Free?
1. I wouldn't call it significant in terms of jumping several places, but moving from 2nd to 1st is significant in Ice Dance,
6. Will Chock & Bates be given an unfair bump by the judges because they are International favorites?
1. I would argue they got a bump in the short, but luckily, the free was scored properly. However, many would argue they got an unfair bump in the free.
7. Which coach will wear the biggest scarf?
1. My eyes may have deceived me, but I didn't notice any overwhelmingly large scarves! 
8. Will Marina combust if her Shibutanis lose, yet again, to former students Chock & Bates?
1. She did not have to combust because she won, but she did look genuinely surprised and thrilled!
9. Will Hubbell and Donohue even be in the gold medal conversation or will there be, as in the past, a clear drop off between 2nd and 3rd?
1. They were close in the short, not close enough in my opinion, but the distance between 2nd and 3rd was significant.
10. Can Hawayek & Baker step up and challenge for 3rd or will they just fall by the wayside as yet another great junior team?
1. This was a rough season for them with injury and illness. Next year is crucial for them and they will need special special programs in order to stay in the conversation and not go the way of Aldridge & Eaton as former junior champs who couldn't make an impact as senior competitors. 
11. Does Alexandra Aldridge re-enter the conversation with her new pair-turned-dance partner Matthew Blackmer?
1. They had a respectable debut and have potential, but you know she isn't happy to have placed below her former partner Daniel Eaton. 
12. Will anyone else impress us?
1. I was impressed by Cannuscio & McManus. If you had asked me two days ago, I would say that 5th was the bet they could've finished and jumping over Hawayek & Baker was crucial for them. In the past I've found their free dances over the top and maybe even tacky, but this free was elegant, sophisticated, and most importantly to me, extremely well acted.
13. What will be trending among skating tweeters after this event? (you know we won’t all be happy)
1. After taking the temperature of the twitter fans, we are unabashedly thrilled for the Shibutanis and a little bit sad for Hubbell & Donohue.
14. And most importantly, will Ann Jensen and I get our artistry and unicorns?
1. Ann and I did get our artistry and unicorns in the form of Maia & Alex Shibutani!

2016 US Figure Skating Championships: Pairs Recap

The Senior Pairs event was supposed to be a slam dunk for Alexa Scimeca and Chris Knierim, based on their International season, but when has a US Pairs event even been that simple? They made mistakes in both programs which opened the door for Tarah Kayne and Danny O'Shea, who were not only clean, but gave transcendent performances that could make a splash at Worlds if performed in that manner. 

Let's revisit the questions I posed before the event and recap how these things shook down.

1. Will Scimeca & Knierim allow their Skate America and NHK medals and GPF qualification to propel them to a 2nd consecutive US Title?
1. Not so much...I think they were way too confident coming in and they did not perform up to the best of their abilities. They will get a chance to redeem themselves at Worlds.
2. Looking forward, can Delilah Sappenfield coach a World Medalist?
1. This is to be determined, but in my opinion, the best pairs coaches are in Florida.
3. Will Kayne & O’Shea or Aaron & Settlage, or Castelli & Tran perform in a way that establishes a clear 2nd place US Team?
1. Kayne & O'Shea and Scimeca & Knierim are clearly the top 2 in the US, but 4 Continents and Worlds should give us a clearer picture of who is the 1 and who is the 2. 
4. Will Calalang & Sidhu be able to factor in? 
1. They led until the top group took the ice and that's about it, though they did top Aaron & Settlage in the free skate.
5. Can Mervin Tran ever achieve the success he once had with Narumi Takahashi again, and with Marissa Castelli? Will they stay together long enough for any of this to matter?
1. She looks so much happier skating with him than Simon and they seem to be a good match. If they spend another year together and they could make some noise. 
6. Which junior medalists from last year will sneak onto the podium? 
1. Fields & Utah Stevens unfortunately did not even come close. They finished 11th overall after an extremely messy free.
7. Who will give us that classic great half of a free skate and then crumble in the second?
1. Unfortunately this was Castelli and Tran. They started so strong and then we had Mervin's fall, the fall on the throw, and the loss of synchronization on the spins.
8. And last but not least, how many of these teams will still be together next season?
1. To be determined....

Barbie's Friday Thoughts

Dance:

1. We should have Charlie & Tanith together doing commentary
2. Daniel Eaton has beautiful posture
3. Aldridge and Blackmer have potential once he masters the techniques...they clearly love skating together
4. I am thoroughly impressed by Hawayek & Baker; they truly look like seniors this year and their program was beautifully composed
5. The Shibutanis were 100% precise which I would say is a hallmark of Zoueva's teams, not one limb, one finger, one hair out of place
6. I'm living for all of this ballet today! Happy birthday Balanchine! 
7. Madison Chock is a star as long as you don't look at her feet 
8. The top 2 teams should be reversed and everybody else on twitter agrees...Chock/Bates are more dramatic but the Shibutanis are more precise
9. I completely agree with Charlie White...Hubbell & Donohue's short has the feeling of a free dance with the emotional storytelling
10. One team actually DANCED today and that was Hubbell & Donohue....you don't see the elements, just the movement

Men:

1. Nathan Chen knows how to compete-he did not skate perfectly, but he did not fall apart either
2. Jimmy Ma can rock a sheer top
3. Few skaters are more lyrical than Grant Hochstein-it's a shame that he couldn't go clean
4. Vincent Zhou has some guts-at least with the jumps-the spins and footwork will come and he will compete with Chen before too long
5. Ross Miner made me weep...his program was just so easy to watch and for the first time tonight I didn't feel anxious
6. Sean Rabbit's Samson & Delilah was artistic, energetic, and so fast! 
7. Tim Dolensky has an artist's soul and he showed that tonight
8. Max Aaron make jumping look so easy when he's on with those springy knees and he's developing some performance skills
9. Adam's footwork was the one element that stood out above everything else for me tonight
10. This event was infinitely better than the ladies short...these guys showed up to COMPETE

Barbie's Thursday Thoughts

Pairs

1. A new program can transform your season-"Take Me To Church" clearly elevated Kayne & O'Shea's level of skating
2. An emotional song will pull in the crowd over a rock song any day of the week
3. You can never rely on US Pairs to perform the way you expect
4. Too much confidence is always a cause for concern (I learned this from Ann Jensen)
5. Castelli & Tran have a future if they can.....eh hem.....stay together!
6. Never underestimate the power of real ballet training-Aaron & Settlage show us that in their posture and extension through each limb
7. If Denney and Frazier had not been injured, this would have truly been a 4-way race and the most competitive US Pairs event in years
8. A purple unitard is something we all think about wearing but most of us leave it in the back of the closet with the gold lame hot pants
9. Todd Sand still looks as fabulous as ever......like a real life Ken doll
10. I love Jimmy Morgan for his skating, but also because I met him in real life and he tweets with me

Ladies

1. I want Kori Ade to be my coach when I go back in time and become an elite figure skater; the respect between pedagogue and pupil is palpable 
2. Heidi Munger's costume was far and away my favorite
3. Mirai Nagasu has done some living and that showed in her performance in a great way; her struggles have taught her to skate like a woman
4. Karen Chen has "it" but "it" just wasn't her night, don't freak out people, she will come along
5. Tyler Pierce blew me away with how effortless her program looked
6. Ashley Cain should stop fighting the urge to skate to Frozen, she clearly already has the dress
7. Abbott & Rippon are a breath of fresh air as choreographers
8. Polina may not wow me as a performer, but she knows how to COMPETE at Nationals
9. Ashley Wagner...well that broad sure knows how to put on a show
10. Gracie Gold, you had one job and you singled a lutz?
11. We had our moments, but I just wanted some clean skating; too much to ask?

2016 US Championships: Pairs Preview

The Senior Pairs event seems like it should be a slam dunk for Alexa Scimeca and Chris Knierem, based on their International season, but when has a US Pairs event even been that simple? Here are a few questions that have me excited for this event:

1. Will Scimeca & Knierem allow their Skate America and NHK medals and GPF qualification to propel them to a 2nd consecutive US Title?
2. Looking forward, can Delilah Sappenfield coach a World Medalist?
3. Will Kayne & O’Shea or Aaron & Settlage, or Castelli & Tran perform in a way that establishes a clear 2nd place US Team?
4. Will Calalang & Sidhu be able to factor in? 
5. Can Mervin Tran ever achieve the success he once had with Narumi Takahashi again, and with Marissa Castelli? Will they stay together long enough for any of this to matter?
6. Which junior medalists from last year will sneak onto the podium? Fields & Utah Stevens, Liu & Johnson, or both? 
7. Who will give us that classic great half of a free skate and then crumble in the second?
8. And last but not least, how many of these teams will still be together next season?

2016 US Championships: Dance Preview

This Senior Dance event has had me on the edge of my seat for months following the Grand Prix Final. That being said, I have so many question:

1. First and foremost, who will have the most garish costumes and music?
2. Will the judging be fair?
3. Will any of the placements have fans in an uproar?
4. Which free skate will make cry? (eh hem, Shibutanis)
5. Will there be any significant movements from the Short to the Free?
6. Will Chock & Bates be given an unfair bump by the judges because they are International favorites?
7. Which coach will wear the biggest scarf?
8. Will Marina combust if her Shibutanis lose, yet again, to former students Chock & Bates?
9. Will Hubbell and Donohue even be in the gold medal conversation or will there be, as in the past, a clear drop off between 2nd and 3rd?
10. Can Hawayek & Baker step up and challenge for 3rd or will they just fall by the wayside as yet another great junior team?
11. Does Alexandra Aldridge re-enter the conversation with her new pair-turned-dance partner Matthew Blackmer?
12. Will anyone else impress us?
13. What will be trending among skating tweeters after this event? (you know we won’t all be happy)
14. And most importantly, will Ann Jensen and I get our artistry and unicorns?

2016 US Nationals: Mens Preview

I’m less excited about the Senior men than anybody else in this competition. Do you feel me?

1. Without Jason Brown or even Joshua Farris in the competition, any win almost seems…..less than. Nevertheless:
2. Can Max Aaron, the clear favorite, land his jumps and win outright?
3. Will Nathan Chen, the once novice and junior phenom, improve upon last year’s 8th place finish in his Senior debut and threaten for the podium?
4. Can dark horse candidate and twitter-verse favorite Grant Hochstein make a statement after his impressive 4th place finishes at Cup of China and NHK Trophy?
5. If Hochstein skates cleanly, will he have a moment with his Les Miz free skate and bring the crowd to its feet?
6. Is Ross Miner still relevant?
7. Will Adam Rippon’s jumps fail him yet again, but wow us with his artistry?
8. Who will be the surprise member of the final group in the free?
9. Who will make the biggest jump from the short to the free?
10. And finally, the question is not if, but who, will the selection committee screw out of an International assignment?

2016 US Nationals: Ladies Preview

Ashley vs. Gracie: Part 4

1. Does anyone else matter to the skating faithful?
2. Does Ashley come from behind in the short to win in the free as has become commonplace?
3. Does my girl Ashley, an old broad by skating standards, have any gas left in the tank to take another US title and have a prayer of a World medal?
4. Does Gracie live up to her word of “no more doubles”?
5. Does Gracie, clearly the more talented of the two, get out of her head and put up the points we know she can?
6. More importantly, which of these two will give us the best Side Eye?
7. Can Polina finally perform like a mature young woman?
8. Does Karen Chen make the Gracie vs. Ashley debate moot by wiping the floor with all of them?
9. Can Courtney Hicks’ jump propel her back into the conversation?
10. Where does Carly Gold factor in, and more importantly, how does her presence affect Gracie?
11. What chance does Mirai Nagasu have after all these years, particularly where International assignments are concerned?
12. Will any one performance make me cry or stand up and cheer?
13. Can anyone from last year’s top ten trio of Bell, Price, or Miller surprise us and make the podium?
14. How will last year’s Junior winner by a mile, Bradie Tennell, handle the pressure of the Senior event?
15. Finally, will the dreaded “committee” have to step in when it comes to International assignments or will they let the competition play out?