Showing posts with label Musicals. Show all posts
Showing posts with label Musicals. Show all posts
Saturday, April 4, 2026
Saturday, September 13, 2025
REVIEW: Oedipus the King, Mama
Though they usually present classics, we opted to see a production called "Oedipus the King, Mama," put on by a local L.A. based commedia dell'arte acting company called the Troubador Theater—a mashup between the classic tragedy, Oedipus Rex, by Sophocles, and the music of Elvis Presley.
It was very entertaining and funny, including interactions with the audience that occasionally became running gags, as well as plenty of topical jokes and shout outs to nearby Malibu and other California towns and cities (a reference to the “Oedipus files” got a good laugh).
That said, even with the laughs and crowd-pleasing music (with Oedipus dressed as fat Elvis in his iconic Vegas jumpsuit), it says much about the power of the original play that the horror of the tragedy still comes through and lands with the audience.
One other interesting tidbit—because the Getty is located in a residential area and these are evening shows, it’s clear they accommodate that by somewhat muting the sound and music. In fact, the production made an amusing reference to it during the performance, and in the introduction before the play, the venue did explicitly ask the audience to be respectful of the neighborhood by keeping voices and music low when departing at the end of the evening.
Monday, June 9, 2025
Friday, December 20, 2024
Wednesday, October 20, 2021
Capsule Reviews in the Time of Coronavirus (10)
My Fair Lady
I’m a theater-goer and while I’ve had the opportunity to see several classic musicals on stage over the years, one play that’s always been high on my list to see is “My Fair Lady.” So when I saw that tickets for the Lincoln Center Theater’s touring production of the show were available for October—its visit to L.A. rescheduled and cancelled earlier due to the pandemic—I grabbed a pair for the Oct. 9 show for my wife and me, COVID-19 be damned!
Adding to the appeal was that the show was being presented in the heart of Hollywood, at the Dolby Theatre, where the Academy Awards are held, next door to the famed Grauman’s Chinese Theatre (though now officially the TCL Chinese Theatre) and directly across the street from where the talk show, Jimmy Kimmel Live broadcasts. And, yes, vaccinations were required and checked at the door; everyone in the audience wore masks.
This touring production is based on a much lauded 2018–19 revival production that originated with Lauren Ambrose as Eliza, Harry Hadden-Paton as Higgins, the late Diana Rigg as Mrs. Higgins, and Allen Cordener as Pickering. (When Ambrose concluded her run, Laura Benanti assumed the role.) This touring production starred Shereen Ahmed and Laird Mackintosh as the leads.
I have to assume that the title, “For All Mankind,” is meant to be partly ironic—much of the series focuses on the women who train and become astronauts, partly after the Soviets shock the world when they land a woman on the moon on its second landing. As this suggests, like the best sf, the series examines real-life issues through its alternate history lens: the success of women astronauts helps spur the passage of the Equal Rights Amendment (which ultimately failed in the real world), while race and LGBTQ issues also emerge.
In addition, enough of “real” history is weaved into the series, which adds to its believability. Historical figures like Richard Nixon and Ronald Reaga, and astronauts Neil Armstrong, Buzz Aldrin and Deke Slayton, as well as rocket scientist Wernher von Braun, all play roles, sometimes as major characters. (As an example of how the series plays with history, in the series, Teddy Kennedy is unable to go on a planned vacation to Chappaquiddick when he is recalled to Washington, DC for NASA hearings and eventually succeeds Nixon as president. Similarly, the second season begins with a montage to show some of the “highlights” of the 1970s, including the fact that Beatle John Lennon survived the shooting and becomes a peace activist).
The series features a large ensemble cast, with the characters’ personal lives—while admittedly occasionally soapy—are intertwined with thrilling space missions as well as NASA and Washington politics. The first season generally focuses on introducing us to the characters and the differences of this world from our own, and the acceleration of the space race, concluding with the beginning of construction of the U.S. space station on the moon. The second season further expands that and, for the first time, we see the Russian cosmonauts on screen and, unlike our own world, the militarization of both the moon and space. Without giving anything away, the second season ended on an action-packed culmination of several storylines that come to a head that the series successfully pulls off, a season finale that was genuinely thrilling and left you wanting more—I must admit, the finale left me breathless and looking forward to the next season.
Adding to the appeal was that the show was being presented in the heart of Hollywood, at the Dolby Theatre, where the Academy Awards are held, next door to the famed Grauman’s Chinese Theatre (though now officially the TCL Chinese Theatre) and directly across the street from where the talk show, Jimmy Kimmel Live broadcasts. And, yes, vaccinations were required and checked at the door; everyone in the audience wore masks.
This touring production is based on a much lauded 2018–19 revival production that originated with Lauren Ambrose as Eliza, Harry Hadden-Paton as Higgins, the late Diana Rigg as Mrs. Higgins, and Allen Cordener as Pickering. (When Ambrose concluded her run, Laura Benanti assumed the role.) This touring production starred Shereen Ahmed and Laird Mackintosh as the leads.
The challenge of any show as iconic as “My Fair Lady” is to escape the shadow of the much beloved and excellent film adaptation. While I’m not quite sure the cast of the production I saw quite succeeded in that tall order and made the characters their own, it was nonetheless a solid production. Featuring actors in the lead roles somewhat closer in age than the film does somewhat change the dynamic of the story in a subtle interesting manner; the nature of the relationship between Eliza and Higgins has always been complex and an endless source of debate (playwright George Bernard Shaw, who wrote the original play, “Pygmalion,” on which “My Fair Lady” is based, was adamant that their relationship was not romantic).The theme of Eliza discovering the spark of he soul independent of Higgins also seemed to come through more. That said, when done right and with thoughtfulness, “My Fair Lady” remains critic-proof and the characters indelible. The story and its timeless songs and melodies remain appealing and crowd-pleasing as ever. (I should add that, following the production, I watched the film!)
Afterwards, my wife and I had lovely dinner at Musso and Frank’s on a last-minute whim!
For All Mankind (Apple TV+)
This science fiction (sf) series posits a fascinating alternate history where the Soviet Union was the first to land on the moon, sparking a fierce space race between the super powers. While I noticed the series when it dropped in 2019 and was intrigued by its premise, I did not get around to watching it until this summer during the pandemic and ended up bingeing the first two seasons over a week or so. (A third season is in the works.) This series makes a nice complement to the HBO series “From the Earth to the Moon” and the film The Right Stuff, which I admire.
Afterwards, my wife and I had lovely dinner at Musso and Frank’s on a last-minute whim!
For All Mankind (Apple TV+)
I have to assume that the title, “For All Mankind,” is meant to be partly ironic—much of the series focuses on the women who train and become astronauts, partly after the Soviets shock the world when they land a woman on the moon on its second landing. As this suggests, like the best sf, the series examines real-life issues through its alternate history lens: the success of women astronauts helps spur the passage of the Equal Rights Amendment (which ultimately failed in the real world), while race and LGBTQ issues also emerge.
In addition, enough of “real” history is weaved into the series, which adds to its believability. Historical figures like Richard Nixon and Ronald Reaga, and astronauts Neil Armstrong, Buzz Aldrin and Deke Slayton, as well as rocket scientist Wernher von Braun, all play roles, sometimes as major characters. (As an example of how the series plays with history, in the series, Teddy Kennedy is unable to go on a planned vacation to Chappaquiddick when he is recalled to Washington, DC for NASA hearings and eventually succeeds Nixon as president. Similarly, the second season begins with a montage to show some of the “highlights” of the 1970s, including the fact that Beatle John Lennon survived the shooting and becomes a peace activist).
Tuesday, May 23, 2017
Reviews: Gentleman's Guide to Love and Murder/West Side Story
Below are reviews of two recent musicals my family and I saw on stage this past year...
I first caught this show in April 2016 in Los Angeles with much of the original Broadway cast intact, but when the touring production returned last February to the Segerstrom Center for the Performing Arts in Orange County, my wife and I decided to take our children. So this is the second time I’ve seen it!
Winner of the 2014 Tony for Best Musical, “A Gentleman’s Guide to Love and Murder” is closely based on the 1949 Ealing British black comedy film, Kind Hearts and Coronets, which itself is loosely based on a 1907 novel called, Israel Rank: The Autobiography of a Criminal by Roy Horniman. (For some legal reason, the musical did not have permission to use the same title, so it is officially based on the novel, though it hews closely to the film.)
Set in Edwardian England and considered a skewering of the upper class, “Guide” is a crowd-pleaser of a musical about an estranged member of the prominent D'Ysquith clan named Montague "Monty" D'Ysquith Navarro who—both out of greed and the poor treatment of his late mother at the hands of the D’Ysquith family who disinherited her when she chose to marry a musician below their station—proceeds to kill all those in succession before him when he discovers that he is tenth in line to the family’s title position of the Earl of Highhurst. He does so in ingenious clever ways to make the deaths all look accidental, leading to grisly and funny deaths that are hilariously portrayed using clever yet simple stagecraft.
Adding to the fun of the show is the fact that a single actor portrays each member of the D’Ysquith clan murdered by Navarro (including the women). The conceit parallels the same feat performed by actor Alec Guinness in the 1949 film. Each member of the family, of course, has their own unique eccentricity, which no doubt makes the role an actor’s delight. The show’s music is fitting reminiscent of a Gilbert and Sullivan operetta. In addition to the tension of whether Navarro will get caught, there is also a love triangle involving a lover and a cousin.
The children loved the show.
Many people are no doubt familiar with the classic 1961 film adaptation of "West Side Story," co-directed by Robert Wise and Jerome Robbins, adapted from the iconic 1957 Broadway show by Arthur Laurents (book), Leonard Bernstein (music), Stephen Sondheim (lyrics), and Robbins (concept and choreography), which was inspired by William Shakespeare's “Romeo and Juliet.” Nevertheless, live performances are a beast unto themselves so it is always a treat to watch a well-known show, particularly when the film adaptation differs from the play.
This touring production was put together by the La Mirada Playhouse and my family and I saw it as a Saturday matinee at the Valley Performing Arts Center at California State University, Northridge. My son had recently discovered the film and very much looked forward to the show.
This is a fine production—it says much about the power of the story and the music that I found myself tearing up at some moments, particularly when Tony and Maria first meet. All the actors—particularly the leads—had beautiful voices, though it probably helped that the mics ensured they played to the back rows.
With that said, I found the first half of the production serviceable, with everyone hitting their marks but not quite transcending the material. That changed in the second half, however, after intermission—both the actors and the production seemed to then fully embody the story and the music. The second half was powerful and effecting. Kudos to the leads, and main supporting players, who provided some of the lighter moments in this otherwise sad and tragic story.
A Gentleman’s Guide to Love and Murder
Winner of the 2014 Tony for Best Musical, “A Gentleman’s Guide to Love and Murder” is closely based on the 1949 Ealing British black comedy film, Kind Hearts and Coronets, which itself is loosely based on a 1907 novel called, Israel Rank: The Autobiography of a Criminal by Roy Horniman. (For some legal reason, the musical did not have permission to use the same title, so it is officially based on the novel, though it hews closely to the film.)
Set in Edwardian England and considered a skewering of the upper class, “Guide” is a crowd-pleaser of a musical about an estranged member of the prominent D'Ysquith clan named Montague "Monty" D'Ysquith Navarro who—both out of greed and the poor treatment of his late mother at the hands of the D’Ysquith family who disinherited her when she chose to marry a musician below their station—proceeds to kill all those in succession before him when he discovers that he is tenth in line to the family’s title position of the Earl of Highhurst. He does so in ingenious clever ways to make the deaths all look accidental, leading to grisly and funny deaths that are hilariously portrayed using clever yet simple stagecraft.
Adding to the fun of the show is the fact that a single actor portrays each member of the D’Ysquith clan murdered by Navarro (including the women). The conceit parallels the same feat performed by actor Alec Guinness in the 1949 film. Each member of the family, of course, has their own unique eccentricity, which no doubt makes the role an actor’s delight. The show’s music is fitting reminiscent of a Gilbert and Sullivan operetta. In addition to the tension of whether Navarro will get caught, there is also a love triangle involving a lover and a cousin.
The children loved the show.
West Side Story
Many people are no doubt familiar with the classic 1961 film adaptation of "West Side Story," co-directed by Robert Wise and Jerome Robbins, adapted from the iconic 1957 Broadway show by Arthur Laurents (book), Leonard Bernstein (music), Stephen Sondheim (lyrics), and Robbins (concept and choreography), which was inspired by William Shakespeare's “Romeo and Juliet.” Nevertheless, live performances are a beast unto themselves so it is always a treat to watch a well-known show, particularly when the film adaptation differs from the play.
This touring production was put together by the La Mirada Playhouse and my family and I saw it as a Saturday matinee at the Valley Performing Arts Center at California State University, Northridge. My son had recently discovered the film and very much looked forward to the show.
This is a fine production—it says much about the power of the story and the music that I found myself tearing up at some moments, particularly when Tony and Maria first meet. All the actors—particularly the leads—had beautiful voices, though it probably helped that the mics ensured they played to the back rows.
With that said, I found the first half of the production serviceable, with everyone hitting their marks but not quite transcending the material. That changed in the second half, however, after intermission—both the actors and the production seemed to then fully embody the story and the music. The second half was powerful and effecting. Kudos to the leads, and main supporting players, who provided some of the lighter moments in this otherwise sad and tragic story.
Tuesday, August 17, 2010
REVIEWS: "Promises, Promises"
While there are some inherent problems with the production, the current Broadway revival of the 1960s show “Promises, Promises” by Burt Bacharach and Hal David (music and lyrics) and Neil Simon (book) is at its heart a fun and engaging show. It’s a perfect example of how talent and presence (and strong staging and direction) can overcome the weaknesses of a production.
The show has had its share of minor controversies: at the Tony nominations earlier this year, tongues started wagging when respected Broadway veteran Kristen Chenoweth was not nominated. Similarly, a minor tempest also emerged when a gay columnist in Newsweek attributed some of the negative reviews of the show to the difficulty of an openly-gay actor like Sean Hayes playing the lead in a "straight" romantic comedy (article is available here).
It’s easy to see why some people felt Chenoweth was miscast, playing a role that might have been more suitable for a a young ingenue making her name in the role; and, in truth, Hayes and Chenoweth don’t have a lot of chemistry on stage.
Another problem may lie in the original show itself. Many of the songs feel shoe-horned into the production—while many are snappy tunes (“I’ll Never Fall in Love Again” and “Promises, Promises” both have since become standards), many don’t feel as though they truly serve the characters or drive the story. (Indeed, two Bacharach standards were actually added to the new revival for Chenoweth to sing: “I Say a Little Prayer” and “A House is Not a Home,” adding to this feeling.)
Fortunately, the show overcomes these problems for the most part on the strength of the show’s talent, particularly the leads. Chenoweth’s dynamo voice is legendary, and Hayes more than holds his own, and connects with the audience early, carrying much of the production on good will and charisma. The show also moves quickly, allowing little let time for the show's energy or the audience's interest to flag. It's also clear why supporting player Katie Finneran received the show’s sole Tony—she's a scream and really does steal the show in her one scene. But it's not
at the expense of the show or other performers.
I saw this show as a Sunday matinee and was impressed by how much energy the performers put in at the very start (I learned afterwards that it was their only show of the day—no evening performance to keep a reserve for—which may have helped!).
“Promises, Promises” is adapted from one of my favorite films of all time, “The Apartment,” starring Jack Lemmon, Shirley MacLaine, and Fred MacMurray, written and directed by Billy Wilder and I.A.L. Diamond and directed by Wilder. Though the show stays mostly true to the through-line of the film, the show still does divert a bit from the original story, even changing for some reason the lead’s name from “C.C.” (for Calvin Clifford, though everyone calls him “Bud”) to “Chuck.” In any case, the play certainly stands apart and does not diminish the film’s achievement as one of the best and most sophisticated comedies ever (it consistently ranks among the top ten romantic comedies of all time, and among the best comedies).
Aside from the great music, the popularity of “Mad Men” probably helped drive the revival of “Promises, Promises” (as it has the upcoming revival of “How to Succeed in Business Without Really Trying,” which is scheduled for a new 2011 revival with Daniel Radcliffe of Harry Potter fame). To that end, the production design captures the bright-colored tone and feel of the space age ‘60s era perfectly.
Friday, August 7, 2009
REVIEW: Spamalot
With our young children now getting older, after a long hiatus from live theater (aside from the occasional forays), my wife and I subscribed this year to the Ahmanson Theatre in Los Angeles for the 2009-10 season. The first show we saw was "Spamalot," running until September 6.
Based, of course, on the film, Monty Python and the Holy Grail (one of the first films I saw as an adolescent with buddies and without adult supervision), "Spamalot" is great fun and a real crowd pleaser. With book and lyrics by Python member Eric Idle, and directed by noted film and stage director Mike Nichols, the show retains much from the original movie, both literally and in spirit. The most recognizable and funniest bits of the film have been kept in the show to keep fans happy (of which you can imagine there were many in the audience), but there also is enough new material (and, of course, songs) to make it fresh and not just a cheap retread.
It's a wonderful tribute to the production that the show feels comfortably familiar despite providing a very different through-line from the movie. The characters are somewhat more defined and are given a small semblance of a character arc to help carry the story. The most significant departure is the addition of the Lady of the Lake as a major character. So while feeling totally familiar and faithful, I would guess that at least 50% of the material is new and not from the film.
Again, to keep the material fresh, the show expands on some of the familiar material. One example are the French taunters—knowing that this sequence is one of the best known in the film, the actors playing the Frenchmen go over the top and milk their gestures and taunting for maximum laughs. Another personal favorite song of mine, "Knights of the Round Table," is expanded into a huge Vegas extravaganza. ("What happens in Camelot, stays in Camelot.") As you can imagine, the play had great fun with anachronistic devices like this, which particularly made the choreography hilarious.
Much of the comedy (and the story's impetus) comes from the fact that the show is very self-conscious about being a stage show. The Lady of the Lake is a stage diva, which gives the performer in the role, Merle Dandridge, a chance to show off her singing chops, which were indeed impressive.
Overall, a fun and memorable show—the 2009-10 season at the Ahmanson is off to a great start!
And as a tribute to the original film, one of my favorite bits:
Based, of course, on the film, Monty Python and the Holy Grail (one of the first films I saw as an adolescent with buddies and without adult supervision), "Spamalot" is great fun and a real crowd pleaser. With book and lyrics by Python member Eric Idle, and directed by noted film and stage director Mike Nichols, the show retains much from the original movie, both literally and in spirit. The most recognizable and funniest bits of the film have been kept in the show to keep fans happy (of which you can imagine there were many in the audience), but there also is enough new material (and, of course, songs) to make it fresh and not just a cheap retread.
It's a wonderful tribute to the production that the show feels comfortably familiar despite providing a very different through-line from the movie. The characters are somewhat more defined and are given a small semblance of a character arc to help carry the story. The most significant departure is the addition of the Lady of the Lake as a major character. So while feeling totally familiar and faithful, I would guess that at least 50% of the material is new and not from the film.
Again, to keep the material fresh, the show expands on some of the familiar material. One example are the French taunters—knowing that this sequence is one of the best known in the film, the actors playing the Frenchmen go over the top and milk their gestures and taunting for maximum laughs. Another personal favorite song of mine, "Knights of the Round Table," is expanded into a huge Vegas extravaganza. ("What happens in Camelot, stays in Camelot.") As you can imagine, the play had great fun with anachronistic devices like this, which particularly made the choreography hilarious.
Much of the comedy (and the story's impetus) comes from the fact that the show is very self-conscious about being a stage show. The Lady of the Lake is a stage diva, which gives the performer in the role, Merle Dandridge, a chance to show off her singing chops, which were indeed impressive.
Overall, a fun and memorable show—the 2009-10 season at the Ahmanson is off to a great start!
And as a tribute to the original film, one of my favorite bits:
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