Pippin at A.R.T.

A little delayed, but it's only because I couldn't come up with words to describe how wonderful this production is. Diane Paulus' production was magical. Between the sets, lights, costumes, and acrobatics, Pippin has never looked better.

The last time this show was on Broadway was 1977 -- it played from October 1972-June 1977. And let's be honest, this show is definitely straight out of the 70's. Luckily Paulus set out to salvage it's reputation of being outdated because the production currently playing at A.R.T. is anything but outdated.

I'm a big believer in this show. I've seen a really good community theater production, have seen a couple not-so-good amateur productions, and was in it in high school. So I know the show really well. And I think it can be done well or it can be horribly (that pretty much goes for everything though). It's just that with Pippin, the director either gets it or doesn't and it's obvious when the director doesn't get it. It's a complicated story with lots of little things going on, and it's the director's job to catch those things. Like the incest, for example. This is a tiny subplot that can either be played on or not. Or using Catherine as a clown in the first act. Sometimes she is not in the first act at all, other times she is there but the audience doesn't understand the significance of her presence until after intermission. There's a lot to it.

And Paulus did it right. It was clear the from the start that she understood the show and wanted to make it really special. And special it was. From the moment the orchestra began playing the first few notes of "Magic To Do" the audience was engaged. It's one of those shows that people know from their childhood and has memorable songs that are played over and over even if the person playing the song doesn't realize where it came from.

The only thing that wasn't there was the incest. I mean, it was there but extremely subtle, and only there because it's in the script. The "love" Fastrada has for Lewis, her son, is obvious from the way she treats him, but Lewis was not seen with Fastrada during her big number ("Spread a Little Sunshine"), which is where most of the obvious aspects of their relationship would play out.

In terms of acting, everyone was strong. Patina Miller as Leading Player was out of this world, and I had absolutely no qualms about a female Leading Player. She was just evil enough, and was always lurking. She did a lot with her eyes and it really came across. Matthew James Thomas was born to play Pippin. He played Spiderman on Broadway in the past few years and the weird thing was that his voice was eerily similar to Reeve Carney's, so at times I felt like I was watching Spiderman. But honestly he was superb and extremely charismatic, just as Pippin should be. He made the audience care and that's ultimately what needs to happen to make the ending so emotional. Terrence Mann was the perfect Charlemagne and it was really cool to see him onstage, because he's one of those performers you know about but haven't seen (or at least for me). It was the first time I'd seen Charlemagne feel like a lead role and he added so much to the part. Fastrada was a weak singer, but she fit the role. Lewis didn't sing at all until the "Finale" and he had a great voice. I stand by my opinion that his character was not used enough. Catherine was cute and lovable and her voice was wonderful. And the ensemble/acrobats were amazing. Totally outrageous. 

This is one show I will be sure to see in New York in the coming months. Go see it. The world is ready for a Pippin revival.

Favorite songs:
Magic to Do
Morning Glow
Finale

The Mystery of Edwin Drood

Studio 54
Rear Mezzanine, Row JJ, Seat 4
December 22, 2012 (8:00pm)

Thoughts:
This is one of those shows that I would have regretted not seeing. You know that awkward moment when you're watching the Tony Awards and a show performs and you're like "DAYUUMM why didn't I see that?!" That happens to me a lot, and I know for a fact that it would've been the case again had I not decided on a whim to rush this show.

First of all, the theater is beautiful. It made me wonder why all Broadway theaters aren't just like it... there didn't seem to be any sight-line issues and I was in the rear mezzanine all the way on the side. I thought for sure my seat would be restricted view, but it wasn't at all. Super impressed with the layout of the theater.

I loved that the ushers and theater staff were dressed up in the fashion that the actors were wearing onstage. That always provides for an experience rather than just a show. It makes the audience feel like the action is bigger than just what is happening onstage. And of course, with this show in particular, the action happens throughout the theater. Actors were in the audience many times throughout the performance.

For avid Broadway fans, this show is a pretty epic cast -- Will Chase, Andy Karl, Stephanie J. Block, Jessie Mueller, Chita Rivera, Betsy Wolfe, and many more "famous" faces. Of course I saw an understudy for Block, but she was great and it's not like I had anything to compare her to since I hadn't seen the show before.

Obviously the big event in this show is the fact that every night it could end differently. Normally I'm not a huge fan of any kind of audience participation AT ALL. But this was done well and in the end it was necessary for very obvious reasons. The night I saw the show, Bazaar was the detective, Rosa was the murderer, and the Landless siblings were the lovers. If you haven't seen the show you have no idea what I just said.

None of the music is particularly memorable except for "Moonfall" and that's no doubt the best song in the show anyway. I'll be interested to hear the recording and see if I remember any of the music.

Bring It On: The Musical

St. James Theater
Front Mezzanine, Row D, Seat 101
December 22, 2012 (2:00pm)

Thoughts:
This was my second time seeing this show. My first time was opening night on August 1, 2012.

The creative team behind this show is genius. You might've seen/heard of "In The Heights" or "Next to Normal" or "Avenue Q"... if you haven't you should be ashamed. Anyway, the composers and lyricists behind this musical are just fabulous so it was no surprise to find that the music was great.

I am a huge fan of this show. It's one of those pieces of theater that could purely be entertainment unless you have the brain to actually analyze what you've just seen. And trust me, I analyzed the crap out of this musical.

I honestly think there's a pretty deep lesson if you're willing to peel away the stunts and silly lyrics. The big telling moment for me is Randall's solo song in Act II, "Enjoy The Trip" where he explains that our high school years are nothing more than a blip in time. If only tweens really understood just how little high school means in the end...

Watching "Bring It On" is watching athletes onstage and that's something we don't get to see everyday. The woman sitting in front of me had her hand covering her mouth the entire time so she didn't gasp out loud when cast members were practically flying in the air.

When I first hear about this show I was like "eww no." I don't go for fluffy musicals. Ever. And I thought this was just going to be for tweens and fans of the movie (which I have never seen). I was totally wrong. Sure, it's fluffy and geared towards 13-year-olds. But it's actually awesome to watch it when you're a few years out of high school.

The cast is spectacular. I don't think the team could've found a more perfect cast if they used some sci-fi computer program and cheerleader clones. 

I was sad to see it close early, but it had a good run. I have no doubt we will see this show pop up again whether on tour or in another city.

Favorite Songs:
It's All Happening
Enjoy The Trip
Do Your Own Thing
What I Was Born To Do

Bare

New World Stages (Off-Broadway)
Orchestra, Row E, Seat 105
December 21, 2012 (8:00pm)

Thoughts:
I am such a fan. I can't say that I know all that much about the other versions that have been produced, but I know that this revamped version is fantastic. Most of it. I thought it was too long and there some things that could definitely be cut or just don't have to be included.

The reason I wanted to see this show in the first place was because I am a big fan of the choreographer, Travis Wall. Fire up Google if you don't know him. I started watching his show last summer and have been a fan ever since. In London I became intrigued by modern dance and I was more than excited to see Wall's choreography in a musical. It didn't disappoint. The second the first song started and the cast started to move I was engrossed.

There wasn't any one particular performer that blew me away and was more impressive than anyone else. I think they were all equal, which was refreshing because no one was out-shadowed. Yeah I had my favorite characters based purely on reasoning from the plot, but other than that I enjoyed watching everyone. Also I like weird voices... like voices that are not typical musical theater-y voices, and pretty voices were few and far between in this show.

I'm so glad I didn't know the plot or the ending before seeing "Bare" because there's nothing like being shocked out of your pants and having your mind blown at an ending. I didn't cry, but everyone around me was sobbing. It was a shocking ending, there's not much else to say about it.

The intermission was unfortunate. I wished this had been along the lines of a 90-minute rock/pop opera like "American Idiot" (which had an intermission when I saw it in London and I wanted to die because it ruined the flow). Still, I was glad I got to spend 2.5 hours with these characters. So 90-minutes would've felt way too short, but 2.5 hours felt way too long. Maybe it's just because I could not have cared less about the two adult characters...

This was my first time seeing anything at New World Stages, and I have to say that I loved the space. It was the perfect atmosphere for this show. The whole vibe was very London-esque with the bar and the people milling around before and after the show.

Favorite songs:
Are You There?
Best Kept Secret
Bare
Portrait of a Girl 

London Theater

Interested in what I saw while in London this past semester? Well you're in luck. I kept a good record of every show I went to...

Troilus and Cressida - Riverside Studios
As You Like It - The Globe
Julius Caesar - Noel Coward Theatre
Sweeney Todd - Adelphi Theatre
Without You - Meiner Chocolate Factory
Les Miserables - Queen's Theatre x3
4:48 Psychosis - Drayton Arms
Morning - Lyric Hammersmith
Mademoiselle Julie - Barbican Theatre
Thom Paine - Print Room
Oh, The Humanity - SoHo Theatre
Fireface - Young Vic
Three Sisters - Young Vic
Our Boys - Duchess Theatre
The Last Session - Tristan Bates Theatre
Choir Boy - Royal Court Theatre Upstairs
King Lear - Almeida
Damned by Despair - National Theatre
The Enquirer - Barbican Theatre (site specific)
The Manxman - The Empire (movie - London Film Festival)
Wicked - Apollo Victoria
Flashmob - Peacock Theatre (dance)
One Man, Two Guvnors' - Royal Haymarket Theatre
Don Giovanni - English National Opera
The Merry Wives of Windsor - Royal Shakespeare Company (Stratford-upon-Avon)
The Orphan of Zhao - Royal Shakespeare Company (Stratford-upon-Avon)
Scenes From an Execution - National Theatre
Loserville - Garrick Theatre
Billy Elliot - Victoria Palace
Richard III - Apollo Theatre
Carmen - English National Opear
The Effect - National Theatre
La Boheme - Charring Cross Theatre
Trojan Women - Gate Theatre
The Seagull - Southward Playhouse
Kooman & Dimond - St. Andrew Holborn (concert)
The Changeling - Young Vic
War Horse - New London Theatre
Straight - Bush Theatre
American Idiot - Hammersmith Apollo (tour)
In The Republic of Happiness - Royal Court Downstairs
Clockwork Orange - SoHo Theatre
Dick Whittington - Hackney Empire (pantomime)
Fire Raisers - Oval Theatre (performance from British American Drama Academy peers)
Cymbeline - Oval Theatre (performance from British American Drama Academy peers)

So yes, I saw Les Mis three times over the course of my months abroad. If you're interested in hearing my thoughts about any of these shows feel free to leave a comment and maybe I'll elaborate. 

Hello.

Okay, if you have read anything I've ever written you know I'm a little nuts about theater. In the past year I've had a lot of interesting theater experiences, from house managing on the college level to house managing on Broadway, and studying theater in London. Well, the last two blogs I had were initially supposed to be about life in general, but in the end they were all about theater.

So this is post #1... this is where I explain to you what my goals are for this blog. I hope you might follow and keep up on my strange but interesting taste in theater. I should tell you right now that I tend to be one of those people who like everything that others hate. A musical gets a bad review? I've probably already seen it three times.

At this point you might be asking yourself who the heck I am and why you should care. I am a college student getting a degree in theater and I want to be a house manager. Yeah, I know, weird. But that's what I'm aiming for. I'm the kind of person who goes to the theater to watch the audience interact with the ushers and study the way customers react to the service they're getting.

Alright. I hope you will check in every once in a while.