Waiting for Giovanni

Last year I saw Waiting for Giovanni at the Flea Theater. It is a play by Jewel Gomez about James Baldwin during the time that he was working on Giovanni's room, a novel that is openly about a gay relationship. The characters are his lover, his family and his agent (or publisher) and it is an exploration of what it means to be Black in America, a Black writer, a gay man, and a gay Black man. It is about what is expected of him by those around him and the different pressures he faces. It is about honesty and anger. it is a great play.

Emma and Max

Last year I saw Emma and Max, a play by Todd Solondz, at the Flea Theater. It is a tight focused look at the life of a very privileged couple, and sort of an expose on on the labor and suffering of others that is the foundation of their comforts. It concerns their nanny, a black woman who has endured severe trauma and the rage that lies underneath her servile demeanor.

The script and the acting were all very good, and I loved the sets and the way they were moved by Brittany, the nanny, in a slow, defeated, labored way. The presentation of the couple's obliviousness and their narcissism was both funny and disturbing. At the same time, however, it was familiar and cliched, a well-worn trump in contemporary drama.

Ding Dong It's the Ocean

Over the summer I saw a play in Brooklyn called Ding Dong It's the Ocean. It all took place in the living room of a party that got a slow start and never quite kicked off -- there was always awkwardness to the conversation, something everyone can relate to. One of the themes was angst and despair about the planet and problems in the world and how to connect with those problems while dealing with one's own issues. The dialogue was very good and some of the characters, for instance the host, really stood out. I liked it a lot.

Indecent

Indecent is a unique play that tells the story of a Yiddish play written in Warsaw in 1907 and the troupe that performed it for years. It spans all the way until 1952 and takes place in Europe and America.

The play itself, The God of Vengeance, takes place in a Jewish brothel and has a central love scene between two women, and because of this the Yiddish theater initially rejected it for making Jews look bad. However in spite of this it became a hit in Jewish theater throughout Europe.

Throughout Indecent we see snippets of the play performed and become familiar with the plot. The controversial scene is called the rain scene, where the two women make love. This is not actually shown until the end but is referred to for it's beauty and depiction of pure love (when we do see it, it's kind of ridiculous, but it's okay). In the US the cast is prosecuted on obscenity charges.

Indecent takes place in the context of serious anti-semitism and is about a specific era of Jewish history that came to an end with the Holocaust. The last third of the play is grim yet beautiful. Because of ingenious and beautiful and dark and haunting staging, the final years of the troupe chill the audience with an awed impact. I found this a singularly powerful play (in spite of a few cliches here and there).

Groundhog Day the musical

Last week I saw Groundhog Day, the Broadway musical. It was hard not to compare it to the brilliant movie and accept it on its own terms. They did a good job executing the premise, and it was generally fun. The lead was very good. He didn't imitate Bill Murray, whose arrogant performance was tinged with a sad sense of failure. This actor added the cocky assurance of a self-satisfied handsome man, and seemed a little meaner, which worked very well. The female lead was not so great. She didn't have the charm of Andie McDowell and seemed like a generic girl character. You didn't care if they got together or not.

The music itself was ordinary with no memorable or rousing numbers and the voices were solid but not special. With the exception of the man who played the insurance salesman, when he sang his solo I was moved by the song and the quality of his voice.

I'm glad I saw it though. Like I said, it was fun.

Randy Rainbow at Birdland

The other night I got to see the talented and charismatic Randy Rainbow at Birdland.

This year -- I mean last year -- I was tightly wound around the election, and his video parodies were such a welcome relief from the frightening insanity. I was first introduced to him on facebook during the early debate season, when he did a serious of "GOP dropout" videos. So hilarious. I was hooked and eagerly looked forward to each installment. Every video I watched at least five times.

At Birdland he screened and performed along with some of these. It was fun, but also kind of moving to be in an audience watching these. Kind of like a sense of community.

The evening also featured a number of singers whose performances complemented the videos.

I will say one thing -- the entire election season when I enjoying Randy Rainbow's videos I never for a second thought Trump would actually be elected. Back then (so long ago, our halcyon days), it was fun to laugh at the big ridiculous jackass and the surreal debates. But now that he has won it feels different. I think that was some of the energy in the room, seeing these videos in retrospect created a kind of sadness for our country. It was good and important to be among like-minded people. But disconcerting realizing how much of the country supports such ugliness.

Anyway, looking forward to more Randy Rainbow parodies after 1/20.

Fiddler on the Roof

It was such a treat to see the Broadway revival of Fiddler on the Roof last week!

I remember loving the movie version as a kid, and we had the stage soundtrack so I listened to the music all the time. I had also seen a couple of productions at summer camp, I think. So I was very familiar with the material.

The current version really brought me back. It was a double whammy of nostalgia, because Fiddler itself is steeped in nostalgia. As Tevye's traditional ways of life in a Russian shtetl begin to disintegrate he is nostalgic for the past; it is also infused with the nostalgia of the original writers, for the lost cohesion of Jewish communities both from violent pogroms and the ultimately devastating Holocaust.

It was amazing to me how perfectly I remembered the music. I had to stop myself from singing along. The sentimental show is strong because of the narrative economy (a lot happens in each scene), the singular iconic character of Tevye, the simple and contagious musical numbers, and the combination of sorrow and joy that fuels it. I was particularly roused by the dancing, particularly moved by the Chavala song, and chilled when the family disperses, especially when Tzeitl states that she and her husband and baby are going to Poland.

Blackbird

Blackbird is an intense drama starring Jeff Daniels and Michelle Williams. I saw it on its final weekend on Broadway. Michelle Williams plays a woman who confronts the man with whom she had an affair 15 years ago. When she was 12 and he was 40.

The drama is taught and emotionally exhausting. The two actors are trapped in a nondescript office break room revisiting a past that has haunted them both. Williams is frail and wild, angry and vulnerable. Daniels is shut down and defeated, and also angry.

Blackbird is multi-layered, as we slowly learn that Williams is not simply angry at her abuser, she is furious at the lover who abandoned her. She carries a complicated wound, and it seems her physical fibers are defined by betrayal and loss.

90 minutes, no intermission, this drama maintains a high pitch throughout. The final scenes -- when Daniels' step-daughter enters -- are so wrenching, and the final moment devastating. The audience, deathly quiet throughout, immediately stood up in a standing ovation.

Avenue Q

Over the weekend I saw Avenue Q, and off Broadway musical that I've been hearing good things about for a decade.

I hated it. It was schlocky -- the music was boring and embarrassing, the thin plot had nothing compelling it, and the use of puppets for some of the characters just seemed annoying to me. Worse, it was offensive in a blithely cheerful way -- actors and puppets singing and dancing about racism, among other things. My friend and I walked out at intermission.

Cinderella again!!!

Company XIV is by far my most favorite performance troupe ever! This weekend I went back to the Minetta Lane theater to see their production of Cinderella for second time.

They do such an amazing job of every single aspect -- the dancing, the costumes, the eroticism, the camp, the singing, the athleticism. It all comes together in a very sexy and aesthetically sophisticated way.

This time I had better, more center seats, and was able to get a better visual sense of the whole. The performers are all so fun and beautiful, the show is so generous in how much entertainment it provides. Again my favorites were the chanteuse Fairy Godmother, and the high camp Stepmother.

Cinderella -- Company XIV

Austin McCormick is a genius! His amazing Company XIV did it again! This time a sexy fantasmagorical interpretation of Cinderella. The combination of opera, circus, Baroque dance, vaudeville and cabaret is enormously engaging in this erotic and fun production. The costumes, lighting, music, and movement were all incredibly top-notch and mesmerizing. They certainly know how to maximize the aesthetic possibilities of 18th century undergarments!

The Cinderella narrative is kind of sparse -- providing the occasion for incredible, sultry and comedic numbers that I can't wait to see again. My favorite performances were Katrina Cunningham as the chanteuse/Fairy Godmother, and Davon Rainey as the high camp, extraordinary dancer playing the Stepmother.

Side Show

I have mixed feelings about Side Show, the Broadway musical about lives of conjoined twins Daisy and Violet during the 1930s.

On one hand, I found it artistically underwhelming and banal. There were no thrilling musical numbers that transported me. All the songs sounded the same, as seems to be true of much of contemporary musical theater. (I saw a revival of Pippin last year, and though silly as hell, all the songs were very different and yet each very catchy).

On the other hand, I was moved by the central conflict of the narrative. From Wikipedia I have learned that the story of the Hilton Twins is more complex and grim than portrayed in Side Show. What this production did convey was a core conflict between being "connected" to someone and being "alone". I place both words in quotes because these words and concepts were repeated puns and underlying themes. Both Daisy and Violet lacked privacy and autonomy, because they were conjoined. Yet each felt alone and longed for connection with another (romantic sexual connection with the opposite sex). Another theme is the desire to escape exploitation as "freaks" and live "normal" lives (another two words and concepts the show plays on). That Daisy and Violet's story is not wrapped neatly with an inspiring pink bow is a strength of this unique piece of theater, which instead ends on a rather sarcastic note of grim triumph.

AGAIN! Rococo Rouge, Company XIV

I can't get enough of an amazing thing! Tonight I saw Rococo Rouge for the second time, and it was just as stunning, if not more so, than last week.

We had more center seats tonight, which made a difference, as last time I had a pillar of some sort kind of obstructing my view. Tonight we saw the performance full frontal, and it was incredibly sexy, and dramatic, and beautiful.

Everything about Rococo Rouge hits the right note. The diverse and uniquely talented singers, the choreography, the mesmerizing acrobatics, the wondrous costumes, the decadence and high camp. All the performers were wonderful, but the host or emcee, Shelly Watson, with a powerful singing voice and fabulous regalia, stole the show for me.

I can't wait to see what Company XIV's next production is!

Company XIV: Rococo Rouge!!!

I enjoyed stunning entertainment tonight! Company XIV is the most amazing performance troupe in the city! Rococo Rouge is a delicious confection of beautiful singing, sexy and commanding costumes, burlesque numbers, and acrobatics. There's nothing else like it. Utterly raunchy and masterful.

I had seen their luscious version of The Nutcracker earlier this year and was excited to see them perform again in an intimate venue on Lafayette Street. The performance space was loungy and elegant and decadent, the perfect place for this company.

I enjoyed every moment of Rococo Rouge, but I think my favorite tonight was the sultry blonde chanteuse.

(The second, better photo here is taken from the company's facebook page)

The Killer

Last night I saw Ionesco's The Killer starring Michael Shannon at Theater for a New Audience in Brooklyn.

This existential play centers on Berenger who discovers a beautiful radiant city, designed by a municipal architect. There he experiences a bittersweet joy. He is nostalgic for pure joy, but the present feeling is plagued by doubts as to the certainty of anything.

At the end of the first act it is revealed that the city is traumatized by a killer who mesmerizes people with a photo and then pushes them in a lagoon to drown. Berenger is devastated by this and seeks to find the killer and bring him to the authorities.

The play is very verbal, and the dialogue and Berenger's monologues are brilliant. It seems like a play I would enjoy reading.

The middle act takes place in his apartment with a friend, Edward, whose briefcase contains all the physical elements of the killer's murders. This scene is funny and dynamic. Also creepy. The final act is more chaotic, with a disturbing and amusing fascist politician (Ma Piper), aggressive police, and finally a drawn out confrontation with the killer. This should have been the most tense and important scene, but I felt it was too long and unfortunately I got restless towards the end.

Heathers the Musical

Inspired by the entertainment value of Rocky the Musical, I got tickets to the off-Broadway production of Heathers the Musical. I figured that no matter what it would have to be fun, even if not great theater. Well, I was wrong. It was a giant mess of schlock. I felt embarrassed for the performers, who seemed competent and talented. They just had to work with a big chaotic ridiculous joke of material. It was frenetic and unfunny. Shrill and flat at the same time. The music and lyrics were cringe-worthy.

It was so bad that we left after intermission!!! I don't think I've ever done that with live entertainment (just movies). I'm glad I didn't punish myself by staying for the whole thing.

Rocky The Musical

What an exciting musical! Rocky tells the story of the 1976 movie, which I barely remember, about a down and out local boxer struggling to find respect -- from himself and others. The opportunity to fight the leading champion falls in his lap, and presents him with an opportunity to prove himself.

The narrative is pretty straight-forward. What really made this show dynamic was the production. The sets were dramatic and atmospheric. They made great use of film, particularly during the training montages, and used large screens to project actors playing broadcasters.

However, they brought all the bells and whistles out for the finale. Audience members in the first ten rows were led up to the stage to fill bleachers. The excitement of the fight was enhanced through extra large screens showing close ups of the match. And the ring was extended out into the orchestra so everyone felt close to the action. Totally fun!

Nutcracker Rouge

 OMG - WHAT A TREAT!!! Tonight I saw Nutcracker Rouge, performed by Company XIV. This burlesque take on the ballet was amazing -- so incredibly entertaining.

Very, very loosely following the original story, Company XIV takes Clara (now Marie Claire) on a festively erotic journey. Incorporating all sorts of music, from iconic parts of Tchaikovsky to jazz and even a rendition of Madonna's Material Girl, the show went from one incredible number to another. Wonderful dancing throughout.

Some of my favorites included the Licorice Boys -- doing an S&M dance to Tchaikovsky, the hoop/circus artist and Candy Cane girl, the androgynous Flamenco dancer, and, throughout, Shelly Watson as "Mrs. Drosselmeyer" MCing the show and singing amazingly -- she rocked Marlene Dietrich and Madonna, among others.

The costumes were glitter galore -- sparkling pasties and g-strings -- and very evocative, cool, and a bawdy. The set and costumes were designed by Zane Philstrom and were truly delicious.

(first image courtesy Meridita)

Macbeth

Last night I saw Macbeth at Lincoln Center. Directed by Jack O'Brien it starred Ethan Hawke who's performance was mediocre. He strutted about the stage in an odd limp-wristed way, and screeched his lines hoarsely.

The other actors were stronger, particularly Daniel Sunjata as Macduff. What really made the show work for me was the dramatic staging, lighting, and set production. We were sitting in the far corner for the first part of the performance, which wasn't so great, but moved to the center during intermission and the effect was stunning.

There were many lines which I caught that I appreciated, but much of the language sort of soared over my head. Luckily I am familiar enough with the play that I was able to follow along.

Fun Home, the musical

I wasn't sure what to expect from the musical Fun Home. Based on Alison Bechdel's amazing graphic novel (which I gobbled up five years ago), the play explores Alison's childhood and her time at college. Like the memoir, it is interspersed with the grown Alison working through the process of writing about and coming to terms with her past. It centers on the power her father had over her family, particularly the impact of his shame and repressed sexuality.

The play does a marvelous job of creating the sense that memory and the present are intertwined. It moves effortlessly back and forth through the different phases of her life, and from the opening scene to the closing it is heartfelt and deeply moving.

It took me a little bit of time to adjust to the musical aspect of Fun Home. I guess I was momentarily thrown. But once I relaxed with it I enjoyed the music and the way it moved the narrative. All of the actors were wonderful. I was particularly impressed with Beth Malone, as the adult Alison, and Sydney Lucas as the young Alison. She was an emotionally powerful child performer, with a voice as clear as a bell. Michael Cerveris was also fabulous as as her poignantly complex, difficult, and sad father.