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Broadway 2008-2009 season

Vic Sage Oct 08 2008 09:56 AM

Another opening, another show. Here's this year's Broadway season schedule so far (only confirmed shows listed): CIRQUE DREAMS - this "poor man's Cirque de Soleil" was less than the sum of its parts, in its limited Broadway run. [C-] [title of show] (7/17) - This original off-Broadway musical, about writing an original Broadway musical, moves to Broadway. Funny and heartfelt, though possibly too much of an inside joke for tourist audiences [B+] upcoming: * A TALE OF TWO CITIES (9/18) - new musical based on Dickens novel from 1st time composer/lyricist/bookwriter Jill Santoriello. * EQUUS (9/25) - revival of Peter Shaffer play, starring Harry Potter naked. * THE SEAGULL (10/2) - Chehkov is beamed up in this Royal Court import, with Kirsten Scott Thomas. * 13 (10/5) - a new musical about middle school, starring teenagers, with songs by Jason Robert Brown. * A MAN FOR ALL SEASONS (10/7) - Frank Langella stars in this Roundabout Theater revival * TO BE OR NOT TO BE (10/14) - MTC's new comedy, based on the original film. * ALL MY SONS (10/16) - John Lithgow, Dianne Wiest and Katie Holmes star in this revival of Arthur Miller work. * SPEED-THE-PLOW (10/23) - Jeremy Piven in this David Mamet revival. * BILLY ELLIOT (Nov. 13) – new Elton John musical from UK, based on film * AMERICAN BUFFALO (Nov. 17) – John Leguizamo and the kid who saw dead people in "the sixth sense" star in another Mamet revival. * DIVIDING THE ESTATE (Nov. 20) – Lincoln Center production of new play by Horton Foote stars Elizabeth Ashley. * Irving Berlin's WHITE CHRISTMAS (Nov. 23) – new musical, based on the film, with book adapted by David Ives. * PAL JOEY (Dec. 11) – Stockard Channing stars in the Roundabout's revival of the Rogers & Hart musical, with book adapted by Richard Greenberg. * SHREK (12/14) – new musical based on Dreamworks animated film series. * THE AMERICAN PLAN (Jan. 22) – MTC's revival of Greenberg play. * HEDDA GABLER (Jan. 25) – Mary Louise Parker stars in the Roundabout revival of Ibsen classic, adapted by Chris Shinn. * WEST SIDE STORY (March 19) – revival of the Laurents/ Sondheim/ Bernstein musical * MARY STUART (April 19) – Brit import is new adaptation of 200-year-old play * 9 TO 5: THE MUSICAL(April 23) – Dolly Parton wrote new songs for new musical, based on film. * ACCENT ON YOUTH (April 29) – David Hyde Pierce stars in MTC's revival of 1934 play by Samson Raphaelson. * Bob Fosse's DANCIN' (May 5) – Roundabout is reviving Fosse's dance revue.

AG/DC Oct 08 2008 10:30 AM

13: Based on the film of the same name? To Be or Not to Be: Musical or not? Is Mel Brooks getting his brand on it? 9 to 5: The Musical: featuring Hollywood talent? Billy Elliot: well-reviewed in UK? Who's Elton's partner?

Farmer Ted Oct 08 2008 10:32 AM

A friend went to see Boeing Boeing but never got back to me with a review. Anyone?

Vic Sage Oct 08 2008 11:25 AM

="AG/DC"]13: Based on the film of the same name? To Be or Not to Be: Musical or not? Is Mel Brooks getting his brand on it? 9 to 5: The Musical: featuring Hollywood talent? Billy Elliot: well-reviewed in UK? Who's Elton's partner? 13 - an original work, it's gotten mixed reviews To Be or Not to Be - a dramatic adaptation by Nick Whitby of the original Lubitsch comedy. Brooks has nothing to do with it. It is said to be less than good. Billy Elliot - this has been universally acclaimed, and considered EJ's best theater work ever. Directed by the film's original director, Stephen Daldry, with book & lyrics by Lee Hall. Most anticipated new musical of the season. 9 to 5: The Musical - No Hollywood types. The only semi-name attached so far is Allison Janney, of "west wing" fame.

AG/DC Oct 08 2008 11:28 AM

What I want to see is Mary Stuart Masterson starring in <i>Mary Stuart.</i> Actually, I want to see Mary Stuart Masterson starring in my original play, "Mary Stuart Masterson," opposite me.

Vic Sage Oct 08 2008 11:28 AM

="Farmer Ted"]A friend went to see Boeing Boeing but never got back to me with a review. Anyone? for my review of that show, and every other show that opened last season, check out the Broadway 2007-08 thread: http://cranepoolforum.qwknetllc.com/php ... php?t=7771 BOEING-BOEING - This vintage 60s British sex farce shouldn't be nearly as funny as it is. But it is hilarious, by virtue of a show-stealing performance by acclaimed British actor Mark Rylance, who brings a combination of Stan Laurel and Buster Keaton to the role of the innocent American abroad who stumbles into his old college buddy's bizarre domestic situation... his friend (played by West Wing's Bradley Whitfield) is affianced to 3 stewardesses, who are all about to collide in his Parisian apartment. Christine Baranski as the enabling French maid gives another great comic performance and the girls (including Gina Gershon) all hold their own. [B+]

themetfairy Oct 14 2008 02:41 PM

This isn't exactly Broadway, but Next to Normal is going to have a 10-week run in DC from mid-November to mid-January. My cataloging teacher, who is an accomplished professional cellist, is going to be playing music for the production.

Vic Sage Oct 15 2008 03:12 PM

it almost moved to Broadway... but not quite. I hear its an interesting show.

Vic Sage Oct 16 2008 08:12 AM

A TALE OF TWO CITIES - “Les Miz Lite” is a reader’s digest version of the Dickens novel with utterly forgettable, derivative score, unimpressive design and staging, and inconsistent performances. But the vocals are impressive, and it’s not a totally unengaging tale [C] 13 – This new musical is about, by and for young teens. I have no idea why it’s on Broadway, but here it is. The score has some high points, but the performances are, due to the lack of experience of its cast, somewhat amateurish. But if “High School Musical” can be a hit, I guess this could be, too. My daughter, 11, loved it. [C] ALL MY SONS - John Lithgow, Dianne Wiest and Katie Holmes star in this revival of Arthur Miller tragedy about war profiteering and our obligation to our community. It's staged like Greek tragedy, which it is. The use of projections is annoying, redundant and distracting. However, much of this production is top-notch. Lithgow and Patrick Wilson are incredible, Weist is even better than that, and Holmes is... cute, and utterly lacking in skill or presence. [B]

Vic Sage Nov 03 2008 08:24 AM

THE SEAGULL - Kirsten Scott Thomas stars in this much-lauded Brit revival of chekhov's play, adapted by christopher hampton. The acting is terrific, the production's direction and design is functional and unobtrusive, and there is some beautiful language and moving characters, but the plot (what there is of it) is melodramatic hokum, the symbolism is heavy-handed, and the whole affair is like watching paint dry. If you like Merchant/Ivory films, you'll probably like this, but, philistine that i am, i nodded off in the 2nd act [C]. A MAN FOR ALL SEASONS - Roundabout's revival of Robert Bolt's play, about the martyrdom of Sir Thomas More by King Henry VIII over a matter of conscience, features a performance by Frank Langella that towers over this production like the inventive set that suggests a gallows hanging over his head throughout the show. As a result, the secondary characters, and the cast that portrays them, suffers greatly in comparison. Still, it's a stirring historical play, with emotional punch. {B+]

themetfairy Nov 03 2008 08:56 AM

I don't think you're a philistine. Chekhov bores me to tears.

Vic Sage Nov 06 2008 09:08 AM

TO BE OR NOT TO BE - musical director/choreographer Casey Nickolaw tries his hand at a comedy in MTC's production of this adaptation of the Ernst Lubitsch screen comedy about a theater company in Poland during the Nazi invasion. It's an awful production with awful performances of an awful adaptation. It makes HOGAN'S HEROES seem like HAMLET. I left at intermission. [F]

Vic Sage Nov 07 2008 09:30 AM

EQUUS - this Brit revival of Peter Shaffer play, starring Harry Potter (naked) and the fabulous Richard Griffiths (HISTORY BOYS), is theatrical, engaging, thought-provoking, often thrilling and even brilliant on occasion. The design, the direction, the performances, the language, the ideas... it's got it all... even Harry Potter's winkie and a naked hot chick, to boot [A]

Vic Sage Dec 11 2008 03:39 PM Re: Broadway 2008-2009 season

Here's this year's Broadway season schedule so far (only confirmed shows listed): CIRQUE DREAMS - this "poor man's Cirque de Soleil" was less than the sum of its parts, in its limited Broadway run. [C-] [title of show] - This original off-Broadway musical, about writing an original Broadway musical, moves to Broadway. Funny and heartfelt, though possibly too much of an inside joke for tourist audiences [B+] TALE OF TWO CITIES - “Les Miz Lite” is a reader’s digest version of the Dickens novel with utterly forgettable, derivative score, unimpressive design and staging, and inconsistent performances. But the vocals are impressive, and it’s not a totally unengaging tale [C] 13 – This new musical is about, by and for young teens. I have no idea why it’s on Broadway, but here it is. The score has some high points, but the performances are, due to the lack of experience of its cast, somewhat amateurish. But if “High School Musical” can be a hit, I guess this could be, too. My daughter, 11, loved it. [C] ALL MY SONS - John Lithgow, Dianne Wiest and Katie Holmes star in this revival of Arthur Miller tragedy about war profiteering and our obligation to our community. It's staged like Greek tragedy, which it is. The use of projections is annoying, redundant and distracting. However, much of this production is top-notch. Lithgow and Patrick Wilson are incredible, Weist is even better than that, and Holmes is... cute, and utterly lacking in skill or presence. [B ] THE SEAGULL - Kirsten Scott Thomas stars in this much-lauded Brit revival of chekhov's play, adapted by christopher hampton. The acting is terrific, the production's direction and design is functional and unobtrusive, and there is some beautiful language and moving characters, but the plot (what there is of it) is melodramatic hokum, the symbolism is heavy-handed, and the whole affair is like watching paint dry. If you like Merchant/Ivory films, you'll probably like this, but, philistine that i am, i nodded off in the 2nd act [C]. A MAN FOR ALL SEASONS - Roundabout's revival of Robert Bolt's play, about the martyrdom of Sir Thomas More by King Henry VIII over a matter of conscience, features a performance by Frank Langella that towers over this production like the inventive set that suggests a gallows hanging over his head throughout the show. As a result, the secondary characters, and the cast that portrays them, suffers greatly in comparison. Still, it's a stirring historical play, with emotional punch. {B+] TO BE OR NOT TO BE - musical director/choreographer Casey Nickolaw tries his hand at a comedy in MTC's production of this adaptation of the Ernst Lubitsch screen comedy about a theater company in Poland during the Nazi invasion. It's an awful production with awful performances of an awful adaptation. It makes HOGAN'S HEROES seem like HAMLET. I left at intermission. [F] EQUUS - this Brit revival of Peter Shaffer play, starring Harry Potter (naked) and the fabulous Richard Griffiths (HISTORY BOYS), is theatrical, engaging, thought-provoking, often thrilling and even brilliant on occasion. The design, the direction, the performances, the language, the ideas... it's got it all... even Harry Potter's winkie and a naked hot chick, to boot [A] SPEED-THE-PLOW - Jeremy Piven in this David Mamet revival. A sizzling play, a sizzling production [A] * AMERICAN BUFFALO – John Leguizamo and the kid who saw dead people in "the sixth sense" star in another Mamet revival that closed in 1 week, so i didn't get to see it. BILLY ELLIOT – Elton John’s musical stage adaptation of the Brit indie film about a working class boy who wants to dance in the ballet. It’s deeply moving, beautifully staged, exquisitely performed. Frankly, the only weakness is Sir Elton’s mediocre if serviceable score that contains a few too many “Les Miz” moments. [A-] DIVIDING THE ESTATE – Lincoln Center production of new play by Horton Foote. A touching, humorous tale of a dysfunctional Texas family, but its no OSAGE COUNTY. It’s too genteel by half to be terribly interesting. The first act sets up expectations that the 2nd act fails to live up to, as it meanders its way to its unexceptional conclusion. Elizabeth Ashley is surprisingly controlled and realistic as the matriarch of the clan, but Foote’s daughter, Hallie, is a garishly cartoonish villainess in an otherwise naturalistic production. [C+] * Irving Berlin's WHITE CHRISTMAS (- This mediocre stage adaptation of a mediocre movie musical is cornier than Kansas in August and not nearly as funny as it should be. But it’s competently mounted, and the Berlin songs are mostly classics, well performed. [C+] upcoming: SLAVA’S SNOWSHOW * PAL JOEY (Dec. 11) – Stockard Channing stars in the Roundabout's revival of the Rogers & Hart musical, with book adapted by Richard Greenberg. * SHREK (12/14) – new musical based on Dreamworks animated film series. * THE AMERICAN PLAN (Jan. 22) – MTC's revival of Greenberg play. * HEDDA GABLER (Jan. 25) – Mary Louise Parker stars in the Roundabout revival of Ibsen classic, adapted by Chris Shinn. * YOU’RE WELCOME AMERICA (Feb 5) – solo show with Will farrell as George Bush * THE STORY OF MY LIFE (fEB 19) - new musical * GUYS AND DOLLS (3/1) - musical revival * HAIR (3/5) - musical revival * IMPRESSIONISM (3/12) – new play * WEST SIDE STORY (March 19) – revival of the Laurents/ Sondheim/ Bernstein musical * MARY STUART (April 19) – Brit import is new adaptation of 200-year-old play * THE PHILANTHROPIST (4/26) Roundabout play revival * ACCENT ON YOUTH (April 29) – David Hyde Pierce stars in MTC's revival of 1934 play by Samson Raphaelson. * 9 TO 5: THE MUSICAL(April 30) – Dolly Parton wrote new songs for new musical, based on film. * WAITING FOR GODOT (4/30) RoundaBout play revival

Vic Sage Apr 21 2009 12:58 PM

It's Tony season, so i'm in my last dash to see everything. Here's the report so far: New Plays DIVIDING THE ESTATE – Horton Foote’s touching, humorous tale of a dysfunctional Texas family is no OSAGE COUNTY. It’s too genteel by half to be terribly interesting. The first act sets up expectations that the 2nd act fails to live up to, as it meanders its way to its unexceptional conclusion. Elizabeth Ashley is surprisingly controlled and realistic as the matriarch of the clan, but Foote’s daughter, Hallie, is a garishly cartoonish villainess in an otherwise naturalistic production. [C+] GOD OF CARNAGE – Brilliant performances from its all-star cast make this mediocre play by Yasmina Reza highly entertaining. But it’s a lot of sound and fury signifying almost nothing, and it doesn’t resolve… it just ends. [C+] IRENA’S VOW - A “Holocaust/Witness” play; it’s sentimental, obvious, heavy-handed, and practically artless… yet it’s also enthralling and profoundly moving. Tovah Feldshuh is absolutely heartbreaking. [B+] THE AMERICAN PLAN – powerful, moving Richard Greenberg play about the tragedy of deception; knockout performances, well staged [B ] 33 VARIATIONS - engaging new play about a dying woman’s obsession with a particular Beethoven work. Well staged, well acted amalgam of AMADEUS and WHOSE LIFE IS IT ANYWAY, but its total effect is less than the sum of its parts. Jane Fonda is impressive, but her relationship with her daughter, which is the central thread of the play, is uninvolving. Best is Fonda’s analysis of Beethoven, especially as exemplified by Zach Grenier’s performance of the dying genius. [B-] TO BE OR NOT TO BE - musical director/choreographer Casey Nickolaw tries his hand at directing a play in MTC's production of this adaptation of the Ernst Lubitsch screen comedy about a theater company in Poland during the Nazi invasion. It's an awful production with awful performances of an awful adaptation. It makes HOGAN'S HEROES seem like HAMLET. I left at intermission. [F] still upcoming: IMPRESSIONISM REASONS TO BE PRETTY Play Revivals A MAN FOR ALL SEASONS - Roundabout's revival of Robert Bolt's play, about the martyrdom of Sir Thomas More by King Henry VIII over a matter of conscience, features a performance by Frank Langella that towers over this production like the inventive set that suggests a gallows hanging over his head throughout the show. As a result, the secondary characters, and the cast that portrays them, suffer greatly in comparison. Still, it's a stirring historical play, with emotional punch. {B+] ALL MY SONS –John Lithgow, Dianne Wiest and Katie Holmes star in this revival of Arthur Miller tragedy about war profiteering and our obligation to our community. It's staged like Greek tragedy, which it is. The use of projections is annoying, redundant and distracting. However, much of this production is top-notch. Lithgow and Patrick Wilson are incredible, Weist is even better than that, and Holmes is... well, cute, but utterly lacking in skill or presence. [B ] EQUUS - this Brit revival of Peter Shaffer’s play, starring Harry Potter (naked) and the fabulous Richard Griffiths (HISTORY BOYS), is theatrical, engaging, thought-provoking, often thrilling and even brilliant on occasion. The design, the direction, the performances, the language, the ideas... it's got it all... even Harry Potter's winkie and a naked hot chick, to boot [A] EXIT THE KING – Geoffrey Rush adapts Ionesco’s absurd farce with great humor, rousing performances by all, especially Andrea Martin and Susan Sarandon. I don’t know what it means, but it was great fun and terribly sad [B+] HEDDA GABLER - revival with Mary Louise Parker is engrossing, without being particularly moving. The modern performances in the classic play make it feel more immediate and realistic. The direction and physical production are not particularly distracting, for a change [B ] SPEED-THE-PLOW – Mamet's sizzling play gets a sizzling production. Piven and Macy gave different performances, but both worked. [A] THE SEAGULL - Kirsten Scott Thomas stars in this much-lauded Brit revival of Chekov’s play, adapted by Christopher Hampton. The acting is terrific, the production's direction and design is functional and unobtrusive, and there is some beautiful language and moving characters, but the plot (what there is of it) is melodramatic hokum, the symbolism is heavy-handed, and the whole affair is like watching paint dry. If you like Merchant/Ivory films, you'll probably like this, but, philistine that i am, i nodded off in the 2nd act [C]. still upcoming: BLYTHE SPIRIT MARY STUART JOE TURNER’S COME & GONE THE PHILANTHROPIST WAITING FOR GODOT NORMAN CONQUESTS ACCENT ON YOUTH DESIRE UNDER THE ELMS New Musicals A TALE OF TWO CITIES - “Les Miz Lite” is a reader’s digest version of the Dickens novel with utterly forgettable, derivative score, unimpressive design and staging, and inconsistent performances. But the vocals are impressive, and it’s not a totally unengaging tale [C-] BILLY ELLIOT – Elton John’s musical stage adaptation of the Brit indie film about a working class boy who wants to dance in the ballet. It’s deeply moving, beautifully staged, exquisitely performed. Frankly, the only weakness is Sir Elton’s mediocre if serviceable score that contains a few too many “Les Miz” moments. [A-] Irving Berlin’s WHITE CHRISTMAS – This mediocre stage adaptation of a mediocre movie musical is cornier than Kansas in August and not nearly as funny as it should be. But it’s competently mounted, and the Berlin songs are mostly classics, well performed. [C+] SHREK - entertaining, but unexceptional; not funny enough, or spectacular enough, to transcend its cynical transfer from film to stage, but the music is pleasant, and functional for narrative purposes, if not entirely memorable. [B-] 13 – This new musical is about, by and for young teens. I have no idea why it’s on Broadway, but here it is. The score has some high points, but the performances are, due to the lack of experience of its cast, somewhat amateurish. But if “High School Musical” can be a hit, I guess this could be, too. My daughter, 11, loved it. [C] [TITLE OF SHOW] - This original off-Broadway musical, about writing an original Broadway musical, moved to Broadway. Funny and heartfelt, with a memorable score, though possibly too much of an inside theater joke for tourist audiences. [B+] still upcoming: NEXT TO NORMAL 9 TO 5: THE MUSICAL ROCK OF AGES Musical Revivals GUYS AND DOLLS – An over-directed mess, but the performances were better than I expected, and the show is almost director-proof... almost. [C] PAL JOEY – It takes a really charismatic Joey to make this flawed show work, and this production didn’t have one. [D] still upcoming: HAIR WEST SIDE STORY Special Events CIRQUE DREAMS - this "poor man's Cirque de Soleil" was less than the sum of its parts in its limited Broadway run. [C-] SLAVA’S SNOWSHOW – Boring russian clowns, with a thrilling finale. [C] SOUL OF SHAOLIN – chintzy road company production with exciting martial arts movements [C+] missed shows: AMERICAN BUFFALO - play revival THE STORY OF MY LIFE - new musical YOU'RE WELCOME, AMERICA - special event

Edgy DC Apr 21 2009 01:56 PM

="Vic Sage"]Irving Berlin’s WHITE CHRISTMAS – This mediocre stage adaptation of a mediocre movie musical is cornier than Kansas in August and not nearly as funny as it should be. But it’s competently mounted, and the Berlin songs are mostly classics, well performed. [C+] I'll assume they don't still do the Lincoln's Birthday song in blackface, but does it still include the line "Who was it set the darkie free?"?

Swan Swan H Apr 21 2009 02:00 PM

I wish I could get to see more shows, but this season I've only seen Speed-The-Plow (with Macy) and Waiting for Godot. I agree about Speed-The-Plow. I thought it was exciting and hilarious, and moved so quickly that it seemed to be over in about fifteen minutes. I'm a big Mamet fan, but I had never seen this play before. I liked Godot as well. The leads (Nathan Lane and Bill Irwin) worked really well together. John Goodman was a bit more out there than I thought he needed to be, but all in all it was a lot of fun for a tragicomedy. The seats in the upper mezzanine of Studio 54 make the old Shea seats feel like a La-Z-Boy. Yikes! If the people next to me had not no-showed I would have had to find a place to stand. I know I'm kind of a fatass, but I've never gone to any show where I literally could not fit my legs in behind the seat in front of me. Maybe I should start mowing my lawn after all.

sharpie Apr 21 2009 02:32 PM

Yeah, the upper reaches of Studio 54 are the most uncomfortable seats around. I'm seeing God of Carnage and Exit the King in early June. Saw Hair when it was at the Delacorte. Enjoyed it there but the setting was part of it, not sure I'd like it as well inside.

Vic Sage Apr 22 2009 08:42 AM

]Vic Sage wrote: Irving Berlin’s WHITE CHRISTMAS – This mediocre stage adaptation of a mediocre movie musical is cornier than Kansas in August and not nearly as funny as it should be. But it’s competently mounted, and the Berlin songs are mostly classics, well performed. [C+] I'll assume they don't still do the Lincoln's Birthday song in blackface, but does it still include the line "Who was it set the darkie free?"? well, as i said, the songs are MOSTLY classics... not ALL classics. But no, i don't recall that song in the show. As for HAIR, I saw it last night. Even without the central park locale its an exciting, inspiring and inspired night of theater. Dated? Yes, but i prefer to think of it as a time capsule. But with our soldiers still dying in an absurd and pointless war, its still a relevant work.

MFS62 Apr 22 2009 06:43 PM

There may be another one. The execs of my company are trying to find enough fellow angels to back a new show based on the Addams Family. One of the stars mentioned has been Nathan Lane. I'll keep you posted as I find out more info. Later

Vic Sage Apr 27 2009 10:46 AM

BLYTHE SPIRIT – this Noel Coward chestnut is certainly well mounted, with Angela Lansbury, still spry, heading an all-star cast, but the production just serves to remind us that the “drawing room comedy” has been supplanted by the sitcom, and there’s no going back. [C+] HAIR - this is a joyous staging of the 60s time capsule, with a terrific cast of youngsters engaging with the audience directly, and ultimately drawing them into an onstage “be in” after the curtain calls. The final stage image of the dead Claude, lying on an American flag beneath a spotlight and a gentle flurry of softly falling snow, as the voices of the cast echo offstage, is haunting and memorable. Still, the movie adaptation was more successful than the original stage version at rendering full characters and involving them in a narrative that pushes past cartoonish caricature. But the music endures. [A-]

Vic Sage May 01 2009 12:46 PM

9 TO 5 - Why? Why were these people in this office singing country-infused Broadway pop ballads? Yes, i know... because Dolly Parton wrote them... but what in the narrative makes this music make sense? This simple-minded musical is a cynical plea for tourist dollars. Allison Janney is a great actress, but as a singer-dancer she's, well, barely adequate. The other 2 women are great singers, but not much as actresses. If you've seen the movie, there is little else here. The book adds a pointless love interest for the Tomlin/Janney character, and some speeches that go beyond a dated feminism, clumsily stumbling toward a sort of angry populism. Still, some folks find this stuff entertaining. I didn't [C-] WEST SIDE STORY - It's hard to believe that this is considered to be a work in the same genre of artistic expression as 9 TO 5. This classic amalgam of ballet, opera, hipster culture, and musical tragedy still gives me chills. The doomed lovers are beautifully rendered in an angelic light, as they go from blissful first encounter to terrible end. The ocasional use of spanish seems an appropriate touch, giving a hint of realism to the stylized theatricality. Except for the excellent Anita, the supporting roles are not as well drawn and presented, and the comic moments mostly fall flat. But it is a show not to be missed [A-] reasons to be pretty - Apparently, there are none. I fled at intermission, in need of a hot shower. [F]

Edgy DC May 01 2009 01:06 PM

Is the office dyanmic of JB McGrabass and his secretarial pool of school-of-hard-knocks victims in <i>9 to 5</i> updated at all? (Or does the show remain in the past?) The film was borderline anachronistic in its own time.

Vic Sage May 04 2009 12:56 PM

="Edgy DC"]Is the office dyanmic of JB McGrabass and his secretarial pool of school-of-hard-knocks victims in <i>9 to 5</i> updated at all? (Or does the show remain in the past?) The film was borderline anachronistic in its own time. the show is set in 1979, and makes (lame) jokes about Violet/Janney character saying or recognizing then-unknown catch phrases as somehow memorable. Its a stupid conceit that i think was used to better effect in FORREST GUMP. the antiquated feminism is also augmented with a trendy anti-business "string up all the bosses" populism that cynically attempts to tap into current anger freefloating in the national zietgeist.

TheOldMole May 04 2009 06:08 PM

Somebody agrees with me about the worth of the movie version of Hair?

Vic Sage May 07 2009 09:39 AM

Nominations for the 2009 American Theatre Wing’s Tony Awards® Presented by The Broadway League and the American Theatre Wing Best Play * Dividing the Estate - Author: Horton Foote * God of Carnage - Author: Yasmina Reza * Reasons to Be Pretty - Author: Neil LaBute * 33 Variations - Author: Moisés Kaufman Best Musical * Billy Elliot, The Musical * Next to Normal * Rock of Ages * Shrek The Musical Best Book of a Musical * Billy Elliot, The Musical - Lee Hall * Next to Normal - Brian Yorkey * Shrek The Musical - David Lindsay-Abaire * [Title of Show] - Hunter Bell Best Original Score (Music and/or Lyrics) Written for the Theatre * Billy Elliot, The Musical - Music: Elton John / Lyrics: Lee Hall * Next to Normal - Music: Tom Kitt / Lyrics: Brian Yorkey * 9 to 5: The Musical - Music & Lyrics: Dolly Parton * Shrek The Musical - Music: Jeanine Tesori / Lyrics: David Lindsay-Abaire Best Revival of a Play * Joe Turner’s Come and Gone - August Wilson * Mary Stuart - F.Schiller / New Version: Peter Oswald * The Norman Conquests - Alan Aykeborn * Waiting for Godot - Samuel Beckett Best Revival of a Musical * Guys and Dolls - Burrows/Loesser * Hair - Ragne & Rado * Pal Joey - Rodgers & Hart * West Side Story - Bernstein/sondheim/Laurents Best Special Theatrical Event * Liza’s at The Palace * Slava's Snowshow * Soul of Shaolin * You’re Welcome America. A Final Night with George W. Bush Best Performance by a Leading Actor in a Play * Jeff Daniels, God of Carnage * Raúl Esparza, Speed-the-Plow * James Gandolfini, God of Carnage * Geoffrey Rush, Exit the King * Thomas Sadoski, Reasons to Be Pretty Best Performance by a Leading Actress in a Play * Hope Davis, God of Carnage * Jane Fonda, 33 Variations * Marcia Gay Harden, God of Carnage * Janet McTeer, Mary Stuart * Harriet Walter, Mary Stuart Best Performance by a Leading Actor in a Musical * David Alvarez, Trent Kowalik, and Kiril Kulish – Billy Elliot, The Musical * Gavin Creel, Hair * Brian d’Arcy James, Shrek The Musical * Constantine Maroulis, Rock of Ages * J. Robert Spencer, Next to Normal Best Performance by a Leading Actress in a Musical * Stockard Channing, Pal Joey * Sutton Foster, Shrek The Musical * Allison Janney, 9 to 5: The Musical * Alice Ripley, Next to Normal * Josefina Scaglione, West Side Story Best Performance by a Featured Actor in a Play * John Glover, Waiting for Godot * Zach Grenier, 33 Variations * Stephen Mangan, The Norman Conquests * Paul Ritter, The Norman Conquests * Roger Robinson, Joe Turner’s Come and Gone Best Performance by a Featured Actress in a Play * Hallie Foote, Dividing the Estate * Jessica Hynes, The Norman Conquests * Marin Ireland, Reasons to Be Pretty * Angela Lansbury, Blithe Spirit * Amanda Root, The Norman Conquests Best Performance by a Featured Actor in a Musical * David Bologna, Billy Elliot, The Musical * Gregory Jbara, Billy Elliot, The Musical * Marc Kudisch, 9 to 5: The Musical * Christopher Sieber, Shrek The Musical * Will Swenson, Hair Best Performance by a Featured Actress in a Musical * Jennifer Damiano, Next to Normal * Haydn Gwynne, Billy Elliot, The Musical * Karen Olivo, West Side Story * Martha Plimpton, Pal Joey * Carole Shelley, Billy Elliot, The Musical Best Scenic Design of a Play * Dale Ferguson, Exit the King * Rob Howell, The Norman Conquests * Derek McLane, 33 Variations * Michael Yeargan, Joe Turner’s Come and Gone Best Scenic Design of a Musical * Robert Brill, Guys and Dolls * Ian MacNeil, Billy Elliot, The Musical * Scott Pask, Pal Joey * Mark Wendland, Next to Normal Best Costume Design of a Play * Dale Ferguson, Exit the King * Jane Greenwood, Waiting for Godot * Martin Pakledinaz, Blithe Spirit * Anthony Ward, Mary Stuart Best Costume Design of a Musical * Gregory Gale, Rock of Ages * Nicky Gillibrand, Billy Elliot, The Musical * Tim Hatley, Shrek The Musical * Michael McDonald, Hair Best Lighting Design of a Play * David Hersey, Equus * David Lander, 33 Variations * Brian MacDevitt, Joe Turner’s Come and Gone * Hugh Vanstone, Mary Stuart Best Lighting Design of a Musical * Kevin Adams, Hair * Kevin Adams, Next to Normal * Howell Binkley, West Side Story * Rick Fisher, Billy Elliot, The Musical Best Sound Design of a Play * Paul Arditti, Mary Stuart * Gregory Clarke, Equus * Russell Goldsmith, Exit the King * Scott Lehrer and Leon Rothenberg, Joe Turner’s Come and Gone Best Sound Design of a Musical * Acme Sound Partners, Hair * Paul Arditti, Billy Elliot, The Musical * Peter Hylenski, Rock of Ages * Brian Ronan, Next to Normal Best Direction of a Play * Phyllida Lloyd, Mary Stuart * Bartlett Sher, Joe Turner’s Come and Gone * Matthew Warchus, God of Carnage * Matthew Warchus, The Norman Conquests Best Direction of a Musical * Stephen Daldry, Billy Elliot, The Musical * Michael Greif, Next to Normal * Kristin Hanggi, Rock of Ages * Diane Paulus, Hair Best Choreography * Karole Armitage, Hair * Andy Blankenbuehler, 9 to 5: The Musical * Peter Darling, Billy Elliot, The Musical * Randy Skinner, Irving Berlin’s White Christmas Best Orchestrations * Larry Blank, Irving Berlin’s White Christmas * Martin Koch, Billy Elliot, The Musical * Michael Starobin and Tom Kitt, Next to Normal * Danny Troob and John Clancy, Shrek The Musical Special Tony Award for Lifetime Achievement in the Theatre: * Jerry Herman Regional Theatre Tony Award: * Signature Theatre, Arlington, Va. Isabelle Stevenson Award: * Phyllis Newman Tony Honor for Excellence in the Theatre: * Shirley Herz Tony Nominations by Production Billy Elliot, The Musical - 15 Next to Normal - 11 Hair - 8 Shrek The Musical - 8 Mary Stuart - 7 The Norman Conquests - 7 God of Carnage - 6 Joe Turner’s Come and Gone - 6 Rock of Ages - 5 33 Variations - 5 Exit the King - 4 9 to 5: The Musical - 4 Pal Joey - 4 West Side Story - 4 Reasons to Be Pretty - 3 Waiting for Godot - 3 Blithe Spirit - 2 Dividing the Estate - 2 Equus - 2 Guys and Dolls - 2 Irving Berlin’s White Christmas - 2 Liza’s at The Palace - 1 Slava’s Snowshow - 1 Soul of Shaolin - 1 Speed-the-Plow - 1 [Title of Show] - 1 You're Welcome America. A Final Night with George W. Bush - 1

soupcan May 07 2009 09:44 AM

I guess I should be posting this in the 'Broadway 2007-08' thread but I have tickets to 'August: Osage County' for Saturday night. Very much looking forward to it.

themetfairy May 07 2009 09:47 AM

="soupcan":25pk2ccw]I guess I should be posting this in the 'Broadway 2007-08' thread but I have tickets to 'August: Osage County' for Saturday night. Very much looking forward to it.[/quote:25pk2ccw] I saw that last December - it was excellent. Enjoy! Edgy DC May 07 2009 09:49 AM ="TheOldMole"]Somebody agrees with me about the worth of the movie version of Hair? Hair should be an embarassment by now, but it isn't. Vic Sage May 08 2009 09:22 AM Milos Forman is a masterful filmmaker, and his movie adaptation of HAIR does a great job of building a stronger narrative, with stronger character development, than the stage version, so Claude and Burger become much more sympathetic figures. Twyla Tharp's choreography for the film is also powerfully evocative. But in the end, its about the score, and the sense of freedom and anger of the time, which is a tonic in any era. batmagadanleadoff May 08 2009 09:32 AM ="TheOldMole"]Somebody agrees with me about the worth of the movie version of Hair? I liked Hair, the movie, so I'll agree with you. But just to be sure, what is your opinion? Vic Sage May 12 2009 02:06 PM ROCK OF AGES - Being stupid on purpose still makes you stupid. And a loving tribute to terrible music is still a musical with terrible music. Good vocal performances, though… at least in the first act. I can’t speak to the content of the 2nd Act, because I fled with all possible speed at intermission. Still, there were many who seemed to enjoy the goings on. And if you're nostalgic for 80s era pseudo-"heavy metal" hair band rock, this might be your thing. I’m not, so it wasn’t. [D] MARY STUART – Exquisitely acted, directed and designed production of this old Schiller play about the intrigue between Queen Elizabeth and her cousin, Mary, Queen of Scots. This version of the oft told tale comes down squarely on Mary’s side of the debate, unlike the Cate Blanchett films. Regardless of its perspective, however, the play itself is less than riveting. But the performances of Janet McTeer and Harriet Walter elevate this otherwise earthbound work. [B-] Vic Sage May 15 2009 10:03 AM NEXT TO NORMAL - Flawed but spectacularly moving original musical about a family dealing with mental illness. The score (an amalgam of Broadway and Indie Rock, not unlike RENT and SPRING AWAKENING, but a little more Broadway and little less Rock) is somewhat erratic but has some very high points. The direction, staging and design are relatively minimalist, which works well in the intimate Booth Theater. The performances rip your heart out and make you care. The best musical of the year? Probably. [A-] JOE TURNER’S COME AND GONE - As usual, this August Wilson play is filled with poetry and symbolism. What it also has is a kind of folk magic inherent in the African tradition of African-Americans, especially in the early part of the 20th century. The beautiful direction and design complements the text and the stirring performances in which actors deliver monologues like arias. I’m not quite sure I got it, but what I got was worth getting. [B+] Vic Sage May 29 2009 10:08 AM NORMAN CONQUESTS - Of the 3 plays by Alan Ayckborn that go under this title, I saw the first and saw no reason to see the other two. It was an amusing, well acted, well staged presentation of British piffle. If you care about which sister sleeps with Norman, you’re a better Anglophile than I. [C+] WAITING FOR GODOT – Exquisitely poignant execution of one of the greatest plays ever written. Nathan Lane and Bill Irwin have a moving chemistry as mismatched friends in the rocky, grey wasteland; John Glover is terrifying as the slave, Goodman is robust as the blind master. It is thoughtful without being ponderous, funny without relying overmuch on shtick, and sad without being depressing. [A] themetfairy Jun 27 2009 06:27 PM ="Vic Sage"]NEXT TO NORMAL - Flawed but spectacularly moving original musical about a family dealing with mental illness. The score (an amalgam of Broadway and Indie Rock, not unlike RENT and SPRING AWAKENING, but a little more Broadway and little less Rock) is somewhat erratic but has some very high points. The direction, staging and design are relatively minimalist, which works well in the intimate Booth Theater. The performances rip your heart out and make you care. The best musical of the year? Probably. [A-] I saw Next To Normal today and concur with Vic. The resolution dragged a bit, but basically this was a powerful, emotionally engaging show.