How can we ever forget the past? How can remember? These questions surface for Raisel and Red when Jenny asks her Bubbie who the people in the picture are. They are Raisel’s friends and theatre/film company. These people hold the key to Jenny’s heritage and must instill it within her despite her mother’s objections and grandmother’s failing health. Although the story and score are uneven, the talent and the sentiment carry the show through joy and heartbreak.
Donna Murphy spends the majority of the show as Jenny’s Bubbie who tries to pass down her family’s history. Ms. Murphy shows her versatility by not only providing a strong dramatic performance but also by providing comedic moments depicting Raisel’s younger days. Raisel shows her granddaughter Jenny (played by Rachel Resheff) the life that she and her theatre/film company had. She tries to only share positive memories, but the horrible realities underneath keep seeping through. Raisel’s daughter Red (played by Nicole Parker) pushes for the entire truth to be known and not simply a pleasant mythology. Ms. Murphy’s acting, singing, and dancing flow effortlessly and show the whimsy, pain, and sacrifice that make up Raisel’s life. Continue reading →
New Repertory Theatre’s production of Passing Strange examines a classical theme in a post-modern construct–the quest for the meaning of life. Like Candide and Pippin, the youth in Passing Strange leaves his familiar surroundings to find “the real” or the meaningful existence but finds only more illusion and more questions. New Rep’s masterful presentation carries the audience along the journey, earnestly hoping the youth will find what he is looking for.
If New Repertory Theatre uses even half of the talent from Passing Strange for their fall production of Rent, they will have another hit on their hands. The vibrant cast of Passing Strange electrifies the concert-style stage with their performances. Continue reading →
Less than a week after Elizabeth Taylor’s death, what story could be more apropos than the tumultuous romance of two artists? Jason Robert Brown’s chamber musical about the conflict marriage and career examines the fallout of two people who meet in the middle but remain apart. New Rep’s production of The Last Five Years delivers two masterful performances to a faulty libretto.
(copy of press release–working on article about opera, but it will not be ready by the time their show starts & I want you to have the information)
Oh, the depravity!
Boston Lyric Opera goes Baroque with elegant, insidious Agrippina
Caroline Worra stars in satire of the fall of the Roman Empire, opening March 11
Production features three countertenors: Anthony Roth Costanzo,
David Trudgen and José Alvarez
WHAT: Witness the ultimate stage mother have a major melt-down in one of opera’s most intense “mad scenes,” as she plots to make her son Nero Emperor of Rome in BLO’s production of Handel’s fast-paced Agrippina. This light and frothy opera with insidious undertones is based in historical fact, weaving the twisted tale of a mother’s desperate scheme to remove her husband from the throne and elevate her spoiled teenage son…creating a complicated intrigue of shifting alliances and turning the Imperial court into a nest of elegant vipers.
This classical yet modern production, created by Glimmerglass and New York City Opera, features exciting debuts and is the third in BLO’s 2010-2011 Season; it will be presented at the Citi Performing Arts CenterSM Shubert Theatre. Three countertenors, a five-piece continuo group and an elevated orchestra pit built specifically for the production will immerse the audience in a uniquely Baroque experience. Continue reading →
Billy Elliot, book and lyrics by Lee Hall, music by Elton John, based on the Universal Pictures/Studio Canal Film, Imperial Theatre (Broadway), 2009 Tony Award for Best Musical, open run since 10/1/08, http://www.billyelliotbroadway.com/. Contains mature language and themes. (for those with allergies: fog and cigarette smoke, avoid the orchestra section)
Reviewed by Becca Kidwell
Yes, it’s been a little over two years and I have just been to see Billy Elliot. I confess, I am very hesitant to spend over $100 on a ticket to a show that I don’t know much about. Musicals based on movies have had a mixed history (Footloose, The Wedding Singer, Carrie, Legally Blonde, The Producers, Hairspray, Nine, etc.). So, I was looking at my break in February and trying to figure out what shows I would see in New York. Continue reading →
As I was watching Wheelock’s production of The Secret Garden, I wished I was eight again (except for the horrible prospect of growing up again). Wheelock Family Theatre is a magical place where dreams come alive, and this is particularly evident in their production of The Secret Garden.
One can’t help but be enchanted by the scenery by Matthew T. Lazure. The garden wall rotates and reveals the inside of the garden, and Colin’s room appears from the walls of the seemingly impenetrable house. Another clever aspect is the “growth” of the flowers during intermission; I put my head down for one minute–I look up and see leaves; I put my head down for another moment, look up and see flowers in full bloom. Continue reading →
Timothy John Smith (center) and company in a scene from the SpeakEasy Stage Company production of NINE, running Jan. 21 - Feb. 20 at the Stanford Calderwood Pavilion . Photo: Craig Bailey/Perspective Photo.
Nine, book by Arthur Kopit, music & lyrics by Maury Yeston, adaptation from the Italian by Mario Fratti, based on Fellini’s 8 ½, Speakeasy Stage Company, 1/21/11-2/20/11, http://www.speakeasystage.com/index.php
Reviewed by Becca Kidwell
Speakeasy Stage Company has created an exquisite, solid revival of Maury Yeston’s award-winning musical Nine. With masterful direction and a stage full of talent, Maury Yeston’s vision of the struggling director as a conductor of his own affairs takes the stage with vigor and tenacity.
Nine, based on Fellini’s film 8 ½, tells the story of a formally successful film director who is struggling with both a creative crisis and midlife crisis. Timothy John Smith plays Guido Contini, the figure who represents Fellini. Smith infuses Guido with both an arrogant confidence of a professed womanizer and the almost childlike uneasiness of someone whose world is trying to spin out of control. Although he is betrayed by his own schema, he picks himself up, pulls himself together, and moves on. Continue reading →
The moment the audience enters the doors (actual scenery), they are invited to join Max Beckmann’s collage of memories. An accordion player crosses the stage and roams the audience prior to the start of the show. The stage is in a state of ordered disorder—the perfect working space for creating art. All of the elements (the music, lighting, acting, scenery, and film) swirl around to form a story of love, loss, sorrow and hope. Continue reading →