Tony Week '08

So, as many of you know, I'm going to New York City over Tony weekend. This morning, I finally got around to nailing down my itinerary:

Saturday: In the Heights & Gypsy
Sunday: Gypsy
Monday: Broadway by the Year - 1979
Tuesday: Gypsy
Wednesday: August: Osage County & Curtains

If you haven't seen Gypsy yet, I don't even want to hear any words of judgment come out of your mouth. If you had seen this show, you'd know that as many times as you could possibly go STILL wouldn't be enough. Truly.

Besides wanting to see it so many times, there's actually some sort of logic behind when I'm going. I'm rushing on Saturday because, clearly, there's no way I could wait until Sunday to see it. I'm seeing it Sunday because it's their last performance before the Tony Awards. And I'm seeing it Tuesday (front row mezzanine) because it will be their first performance after Patti, Laura, and Boyd all win their respective Tony Awards; a performance NOT to be missed. So I'm only mildly insane.

Also, I'm really excited about seeing August: Osage County. It's a straight play, something I've never actually seen on Broadway. All my closest friends who have seen it can't say enough about how good it is.

"Winner Best Musical!"

I have a new article out for Patrol Magazine with my take on the Tonys' BIG ONE.

Shilling in the Heights

If this video doesn't make you adore the show, then you're hopeless.

Am I really a shill? No. But I do adore this show. I have listened to nothing else but the In the Heights cast recording for three days and I don't think I'll be stopping anytime soon.

I Buy My Coffee and I Go

I hate rap music. It's true. I hate it with such a passion that I often get into boisterous arguments with others about its worthlessness.

But the score of In the Heights is brilliant. Composer and lyricist Lin-Manuel Miranda weaves together slick lyrics with a soul-stirring mix of rap, latino music, and Broadway brass that defies you to stay still. If, at the very least, your head isn't bobbing within the first thirty seconds of the title song, you have severe issues. Add to that the effortless clarity and power of Karen Olivo's voice and Miranda's justified star turn, not to mention the spunk of Robin de Jesus, the intensity of Olga Merediz, and Christopher Jackson's infectious exuberance, plus literally everyone else in the cast, and you get a the joyful, moving score now available from Sh-K-Boom Records.

Highlights include the sick opening number "In the Heights," the beautiful ballads "Breathe" and "When the Sun Goes Down," the Act I closer "Blackout," and Mandy Gonzalez's explosive duet with Jackson "When You're Home." But two songs are particularly remarkable. The first is "96,000," a company number where everyone in the Heights fantasizes about what they would do if they won the lottery. Miranda plays with dynamics and actually throws rap, latino music, and Broadway brass into a mind-blowing counterpoint. And the second is the "Finale" which climaxes as only a finale can into a joyous, tear-filled moment where the company sings, all at once, a smattering of nearly all the songs from the previous hour of music. And it's TWO discs.

Essentially, it leaves me with that same pain in my gut that shows like Gypsy do. Only happier. And that was just hearing the music. I can't even imagine what I'll be like after I actually see it next month.

The Rape of the Book, or Prince Caspian: The Movie

I walked out. I had never in my life walked out of any sort of anything until I saw Andrew Adamson's abomination of desecration: The Chronicles of Narnia: Prince Caspian. It actually makes me want to throw up to see Adamson has signed C. S. Lewis's name to his own kindergarten scribbles.

Save your money and read the book again.

Iron Man

Good movie. Of course, I say that as a fan of comic book movies, mostly for nostalgic reasons. It's one of those feel good movies that keeps you interested and lovin' it the whole time. There were people in the theatre, including myself, just exclaiming things left and right. Not to mention Gwenyth Paltrow wears these really amazing heels during the climactic scene at the end . . . and she runs in them. It's quite remarkable.

Go see it. You won't be wasting your money, I promise.

One Word: RAVE

So, here we are, Thursday night, March 27th, 2008 and the curtain just dropped at Gypsy at the St. James Theatre in New York City. The reviews are in and I couldn't have dreamed of anything better. Mostly raves with a good one thrown in for kicks. Not only did Variety adore it and TheaterMania practically trip over themselves trying to give the best compliments, but Ben Brantley of the New York Times was also among the rave reviewers:

"And Ms. Benanti, in the performance of her career, traces Louise’s path to becoming her mother’s daughter out of necessity. The transformation of the waifish Louise into the vulpine Gypsy Rose Lee is completely convincing. And you’re acutely aware of what’s lost and gained in the metamorphoses."

"When Ms. LuPone delivers “Rose’s Turn,” she’s building a bridge for an audience to walk right into one woman’s nervous breakdown. There is no separation at all between song and character, which is what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be. This “Gypsy” spends much of its time in such intoxicating air."

Some of the truest stuff I've ever heard. My God, I love this show!

The Aftershocks Remain

It’s rare that a musical can both effectively break your heart and help heal it by the end, but Next to Normal does just that. With a cast lead by arguably the best musical theatre actress of our day (Alice Ripley, finally back in New York after an eight-year absence), this little Off-Broadway show is a perfect example of the elusive show than can both move and teach, that can break you down and build you up again.

Diana Goodman is typical suburban mom with a not-so-typical problem: manic-depression. But it’s the source of Diana’s depression -- and all the baggage that goes with it -- which makes this musical so brilliant.

With the addition of heartbreaking performances by Brian D’arcy James and Jennifer Damiano, the solid Asa Somers, and the haunting Aaron Tveit, Next to Normal touchingly portrays the problems caused by dealing with the symptoms of anxiety and depression without addressing the underlying root of the problem; giving a limbless man morphine doesn’t stop the bleeding or heal the wound, it only numbs the pain. As Diana puts it, after sixteen years of unsuccessful treatment: “What happens if the cut, the burn, the break/was never in my brain, or in my blood, but in my soul?”

In our over-medicated society, it is both heartbreaking and refreshing to see a show that reveals the dangers of jumping to pharmaceutical conclusions and moves us to consider that sometimes the only thing worse than the symptom is the cure.

Hold Your Hats and Hallelujah!

From Vanity Fair's April issue.

I'm pretty sure that this picture needs neither comment, nor explanation from yours truly.

Feeling Electric

I don't really know how I managed it, but I'll be in the city on the 11th and 12th of March for the specific purpose of seeing Alice Ripley in Next to Normal before it closes (possibly for good). Along with it comes the side benefit of seeing Patti LuPone and -- more importantly -- Laura Benanti in Gypsy during it's previews.

Next to Normal -- 7:00PM, March 11th, seats C105 and C106
Gypsy -- 2:00PM, March 12th, seats TBD

Alice and Laura in one trip. Here's hoping I live to tell about it.

Life is a Cabaret

"That's the scary thing about theater—it doesn't live on. But that's actually the most beautiful thing about it, too. That's why it's more beautiful than film and certainly more beautiful than television, because it's like life. Real life. Any picture that you take or any video that you make of yourself is not really you, it's only an image that represents the experience you had. In theater, the process of it is the experience. Everyone goes through the process, and everyone has the experience together. It doesn't last—only in people's memories and in their hearts. That's the beauty and sadness of it. But that's life—beauty and the sadness. And that is why theater is life." (Sherie Rene Scott, broadway.com Q&A, January 24, 2008)

Absolutely Perfectly Written. Period.

Some of you may be wondering, as I once did, what exactly it is that makes Gypsy the perfect American musical. How can this musical about an overbearing stage mother and her soon-to-be stripper daughter qualify as anything true, good, or beautiful?

Putting your finger on perfection is a difficult task. It’s never the result of one thing, but all things working together, well, perfectly. It’s music, lyrics, and book flowing out of characters who think, act, and react just as a person would in real life. It’s capturing the essence of the universal in a series of specifics: the strange tension of competition and love between a mother and daughter, the destructive nature of love in the form of favoritism, and the male-female dynamic all exploding from the stage in a backstage story to end all backstage stories.

Gypsy is not a story about a stripper. It is not a story about Momma Rose or Gypsy Rose Lee. It's a story about life. With all its comedy, tragedy, and drama. You will laugh, you will cry, and you’ll probably be terrified. And once your stomach settles and your knees stop quaking, you will leave the theatre with a different outlook on life.

If a piece of art can do all that, you have to call it perfect.

Here She is, Boys!

The temp page for the new Gypsy site is up. Apparently that's the official artwork which will soon be on the marquee, plus delis and cabs all over New York City. Yes, it's one of the fugliest things I've ever seen and, yes, it will be on my wall -- signed, sealed, and framed -- come late June.

But still, someone needs to fire their marketing team. Holy lack of Photoshop skills, Batman!

New Songs?

I love Songs for a New World as much as any other musical theatre fan . . . probably more. As far as song cycles go, I've never heard better. As far as music goes, you'd be hard-pressed to find better. Jason Robert Brown has an unbelievable ability to create the most beautiful piano pieces out of the simplest sounds and his lyrics . . . holy crap, we're not even going into that. It will reduce me to some blathering pile of goo. Anyway, LOVE Songs for a New World . . . until the strings come in.

What? Strings? you say. I though you loved strings! I thought they made you spazz and flail like nothing else and profess your undying love for the composer and/or musician, sometimes to their faces, even if they're complete strangers!

This is all very true. The problem is the strings on the cast recording aren't real strings. They are electronically reproduced strings. I used to just blow it off as me being picky, but then I got this really kick ass pair of headphones (Grado SR60) for Christmas. Songs sounds RIDICULOUSLY amazing on these babies. Like, so-good-it-should-be-illegal amazing. And then the fake!strings come in and it makes me want to cry. The difference between the real!instruments and fake!strings is quite distressing. Having heard it live with real cellos and violins, the fake!strings are even sadder. ESPECIALLY in "Hear My Song" when the strings come in at the climax and because of the dorkiness, the climax just doesn't work.

So I want a new recording. Please? Because, clearly, the Broadway gods listen to me. Just for kicks, my dream cast:

Laura Benanti as Woman 1 - her "Christmas Lullaby" is one of the most beautiful things I've ever heard.
Alice Ripley as Woman 2 - her "Flagmaker, 1775" would -- I don't even want to think about how amazing that would be.
Norm Lewis as Man 1 - listen to "You Should Be Loved" from Side Show and just TRY to tell me his "King of the World" won't kick your ass from here to doomsday.
Norbert Leo Butz as Man 2 - arguably the most talented actor on Broadway right now with a chocolaty smooth voice that just spills from his lips. Delicious. A little "I'd Give It All For You" from him and I'm a goner.

Eh, like it'll ever happen. But a girl can dream, can't she?

No Words

This is Laura Benanti. She makes "awesome" seem mediocre.

Swing Your Razor Wide

    Check out my review of Tim Burton's new Sweeney Todd film at Patrol Magazine, here.  Oh, and, not to gloat or anything, but I'd like to say that I called it right way back in June of 2006.

It's Back, Baby!

It's Official: 'Gypsy' Opens March 27 with LuPone, Gaines & Benanti

    And I plan on making a trip to see this thing (more than once) over Tony weekend in June. And there will, in all likelihood, be a cast recording, which is good for the soul. And I can't wait.

(All of the above is a significant understatement.)

All You Have to Do is Listen

    There have only been two times in my life where a movie or theatrical performance has been so amazing that I’ve been forced to sit in my seat for some time after it's ended, too emotionally drained to move. The first time was at the City Center’s Encores! presentation of Gypsy last summer. The second happened last night when I saw August Rush. It’s not that either of these stories have any particular thing in common, except that they ring remarkably true and are so beautifully executed that they leave the viewer wholly satisfied and thoroughly exhausted.

    August Rush is a story of a boy who wants to be found – a boy who understands that the universe doesn’t operate around red tape or on the mere “laws” of nature and logic. This young orphan boy knows that beyond our pretense of human control, something else holds the universe together. He understands that God draws straight with crooked lines. The odds are morally, logically, and common sensically against him. Who finds his lost parents through music? Lost parents who don’t even know he exists? No one. But August goes on believing. It’s this faith that brings him through. And it’s the same faith – lost and regained – that brings his parents to him.

    August Rush won’t surprise you with plot twists or special effects or trips to magical lands. What it will do is cause you to look for the story in your life and the music that constantly swirls around you. It will show you that there is enough magic in this world that inhabitants from other so-called magical lands should be beating down the door to get into ours.

Curtain Up! Light the Lights!

    I’ve been trying for two days now to collect my thoughts and write something intelligent about the brilliance I saw at the City Center last week. Unfortunately for you, that particular production of Gypsy reduces me to a spazzing, sobbing mess of a theatre freak. I figure since the show has closed, a glowing review won’t do any good anyway, so this will have to do:

    The City Center’s Encores! production of Gypsy was the single greatest theatrical experience of my short life. As a result of its perfection, I will never again be able to see this show. The lack of Laura Benanti, Patti Lupone, Boyd Gaines and, really, the entire cast (down to each cute little newsboy) would cause me to walk out of the theatre in a completely irrational state of disgust. To put it simply, this production will never be matched, let alone surpassed, so I’ll leave it in my memory to pull out on a rainy day.

Reverent Blasphemy

    Truly excellent theatre is a transforming experience. So transforming that I’d go so far as to call it a religious experience. By saying this I don’t intend to be blasphemous, but, insofar as God created this world so that everything points to Him, theatre is as close to heaven as a person can get here on earth, the Sabbath not withstanding.

    Our lives are just a minuscule part of the One, Great Story, written by the Divine Playwright. Excellent theatre reflects His story. It pulls out one of the many threads, examines it, expounds on it, and causes us to search for those threads in our everyday lives. It snatches characters from swathes of humanity and exaggerates archetypes for our entertainment and edification. It is putting the magnifying glass to God’s work of Creation and causing others to wonder at it.

    But why theatre, especially? Why not film, or television, or music even? Because theatre is up close, in your face, live, and in person. It is more real. The energy – the life – is palpable because it’s right there in front of your face – oftentimes no more than ten feet away – and you absolutely can’t deny it. Those are real tears you see and you’re almost close enough to wipe them away with your own hand. That fire in his eyes can and will burn through your soul. The tragedy, comedy, and reality you see displayed before your very eyes is enough to transform your perspective on the tragedy and comedy in your own life, and praise God accordingly.