Appy 4t of July! I broke my keyboard of my computer! But don’t worry! Will be fixed tomorrow! I ope
Archive for the ‘Heat Wave’ Category
“Sweat”is this year’s Pulitzer-Prize winning play. and it more than earns that great accolade, as well as its’ daring title. “Sweat” dares you to take into account the sweat of most of its’ main characters’ smaller-than-life lives. Sweat could be a synonym here for “work,” and that is what most of its’ squashed denizens of Reading, Pennsylvania do. Actually, it’s more like slavery. They are slaves to the Steel Mill so much so that the entire town’s economy and their lives are attached to at the hip – It’s morning, noon and night, until they die. It’s brutal. It’s tough stuff. Now two-time Pulitzer Prize-winning playwright Lynn Nottage is no stranger to horror. Witness her other, superb, previous Pulitzer-winner “Ruined” about the unspeakable terrors of African warfare and its’ ruinous effect on women.
“Sweat” tackles horrors you can speak of. Over-work and under-pay being the two main topics of nearly every conversation, its’ hard-scrabble characters carry on at the local bar, which is almost womb-like in its’ superb setting by John Lee Beatty>It is so familial and familiar, you feel like you’ve been hanging out there for years, as the plays’ bedraggled characters have.
If this bar, and its’ Christ-like bartender (a superb James Colby) seem right out of “The Iceman Cometh”, you’re not far wrong. Nottage is really plowing Eugene O’Neill’s lower depths, as well as her own. And like O’Neill, they are all being crushed and cursed by alcohol. Being that it’s 2017, other addictions apply, and pile up on “Sweat”s beleaguered characters as the actions to close down the Mill roll over all their lives in a relentless juggernaut of corporate greed and union busting that leads, of course, to catastrophe.
“Sweat” is terrifyingly prescient. This is the first play I’ve seen that explains why “You Know Who,” to quote the View’s Whoopi Goldberg, got elected. This is a Rust-Belt play with all the Rust in full view.“Sweat” begins its’ road to hell-in-a-hand-basket with two matched monologues of two young men, barely out of their teens, childhood friends’ it turns out, one black, one white, who have been imprisoned there for some unspeakable, violent act. We don’t find out just what, until the frightening ending, but suffice it to say, that Khris and Jacob’s predicament hangs over the play like the doomed fog that has shrouded all these characters’ lives, white and black. Eugene O’Neill’s characters have gone from Pipe Dreams to Rust.The cast is uniformly excellent but I do have to single out the German descent White-Supremicist-in-the-making of Will Pullen, who has totally nailed the seemingly sweet, but really brutal Jason, a totally exact product of rural Pennsylvania and his factory working Mom, the Tony nominated Johanna Day.
The two of them enact a scene of horror that rivals any horror film, when he finally gets out of jail and comes home to borrow $5 from her only to find that she is now completely unemployed and a hopeless pill-head, Without that pollution-spilling Steel Mill, they’re both reduced to hopeless addicts and their lives and hopes destroyed.No, “Sweat” isn’t for the faint-of-heart, but it’s god-damned powerful. And Lynn Nottage’s capturing their pain and frustration so winningly is a compelling sign of hope.
Much to my great surprise, I really enjoyed the hearty new revival of “Cats” that opened at the Neil Simon Theater on Broadway. I can’t be THIS moved by this pile of furry kitsch which has been disdained through the ages, can I? Well, I was particularly by the first act. And it was the MUSIC. Yes, Andrew Lloyd Webber just did me in with his sweeping, weeping synthesizer-based, semi-operatic score, which has held up remarkably well, and is being beautifully played and sung here.
What “Cats” has got that I hadn’t counted on was memory. And not just the song “Memory” which I saw for the first time in 1996 with an old boyfriend, who was then new, and both of us had never seen it before. And we were both more swept away than I remembered, but especially by Liz Callaway’s heart-rending rendition of “Memory.” Which you can see at the top of this page. We were sitting in the nearly the front row of the Winter Garden, and Callaway looked me right in the eyes and held my gaze as she sang it. It was earth-shattering. Like she was saying, “I know what this song means to you.” And she was right.
And watching that very complete performance on Vimeo, yes, she did it to me again. With a full orchestra yet.
I was moved to tears in 1996, and my friend had to comfort me as Grizabella went to the Heavy Side Layer. So romantic. I could barely speak. And this time “Cats” did it to me again. But it was from the instant I heard those iconic bars of music at the beginning of the first act overture. They had me at “hello”. Or “meow”. And I don’t like cats as a species.
Leona Lewis, who won a talent contest in England and has sold millions of records, just didn’t have the acting chops that Liz Callaway, and probably Betty Buckley, who I never saw do it, or Elaine Page, the original Grizabella in England more than 20 years ago, did. She can sing it, but she can’t act it. Grizabella, the tattered glamour cat needs both. She’s tragic.
But the first act! Before Leona Lewis “hesitated towards you” and threw “Memory” away, before THAT, I found “Cats” Act I absolutely delightful and moving.
You see, you have to toss all preconceptions of what a musical should be. It still doesn’t have a plot. But this time I thought, it didn’t need one. The first time I saw it in 1996, I missed the plot. There is no plot. There is just a string of poems by T.S. Eliot of all people set to music, and Act One is a series of reviews, vaudeville turns really, and this talented cast was up to it in spades.
The dancing this time is just terrific. “Hamilton”s Tony winner for Best Choreography Andy Blankenbuehler was outdone himself re-doing each number in his own very striking, stirring, purring way.
(A hilarious theatrical foot-note. My tap teacher from when I was a struggling young actor/playwright/char-woman in London in the, ahem, er, ’70s, ended being the original choreographer for “Cats.” And she’s now a dame. Dame Gillian Lynne.)
Blankenbuehler attacks “Cats” like he attacked the dancing in “Hamilton” and also “In the Heights.” He approached as if it were a new script entirely, so his take on the many Cats and their movement, is very fresh and strong.
Original director Trevor Nunn is still on board, so there is a sense of tradition in “Cats” too. But its’ just jammed with stunning new talent. Main among them is Andy Huntington Jones, who you can see at the top of the page as Munkustrap, who acts as the narrator. Not an easy job in this fur-filled ensemble. You’re also going to remember Christopher Gurr as Bustofer Jones in Act I “The St. James St. cat” and also Asparagus, the ancient theater cat in Act II. They touch you in ways that Leona Lewis can’t. I hear she’s leaving the show soon anyway. It seemed like she was half out the door already.
But a favorite among favorites was the tangled twosome of Munjojerrie and Rumpleteazer. Who are really Jess LeProtto and Shonica Gooden.
Tyler Hanes really rocked the place as Rum Tum Tugger, the Mick Jagger of cats.And Ricky Ubeda dazzled as the magical Mr. Mistoffelees, jumping, summersaulting and pirouetting his way into the hearts of all. He seemed to be turning into a rainbow of colors to match his electrified suit.
And Quentin Earl Darrington as Old Deuteronomy, the oldest cat alive, was appropriately moving. Spoiler Alert! Especially as he as Grizebella, ascended to the Heavy Side Layer, and Leona Lewis woke up and finally started to act with him.
So yes, I teared up all over again. I’ve always felt that Andrew Lloyd Webber was a much better theater composer than anyone has ever given him credit for. Except the audiences who pack into his shows. “Cats” ran for 16 years the first time. “School of Rock” is at the Winter Garden, where “Cats” was originally and “Phantom of the Opera” is still running, too. With an astonishing three shows currently on Broadway, he’s obviously doing something right.
#Cats, #Andrew Lloyd Webber, #Broadway #Stephen Holt Show
#Leona Lewis, #Betty Buckley, # Liz Calloway, # Elaine Page
I thought it was going to be a slam-dunk for the unawarded genius of Viola Davis in “Fences” repeating her Tony triumph, but holt on! It may not be that easy with Emma Stone, radiant, young, and a past nominee, too,for a film that won Best Picture , “Birdman” is now in a very strong position. Much stronger than I thought she’d be this early on.
Viola’s reps may have to think about her going Supporting for “Fences.” And she’d surely win in that category.
Sasha Stone has it all and all the other winners at http://www.awardsdaily.com of the Venice Film Fest. This is bad news for Viola. “Fences” is opening later this year, outside of the Festival circuits. And Sasha believes that a film has to open right around NOW, in order to build Oscar consensus. As “Spotlight” did last year. Playing TIFF. And now we have “La La Land” being everyone’s new favorite movie and the new front-runner.
I’m seeing it next week and I’ll let you know what I think of it then, for sure. But this is bad news for Viola, who I think is on her was to another Emmy for “Getting Away with Murder” her TV show.
I really did enjoy Emma’s performance in Woody Allen’s “Irrational Man” two years ago. And felt that “Cafe Society” was really written for her, not the tough-er cookie Kristen Stewart, who seemed overall uncomfortable in that sweeter-than-sweet ingenue role. whereas Emma would’ve been just right.
I hope this is not going to go down this way, but Denzel (who’s currently finishing the editing of “Fences” ) better hurry up. He’s on everyone’s mind with “The Magnificent Seven” opening in Toronto. Yes, he stars in that, too.
I saw Viola onstage in “Fences” and she and Denzel BOTH won Tonys for their portrayal of an African-American couple in the ’50, who are finally able to buy their own house. And they were both beyond brilliant.
But Emma Stone…she could win for “La La Land” if the older Academy doesn’t feel comfortable with what seems a younger/skewing movie. Anne Thompson said this on her podcast this week. But historically, the SWARM(Straight White Old Rich Men) who have always dominated the Oscar voting have ALWAYS gone for the cute, young girl of the moment. Which right now is Emma Stone.
Sasha thinks that “La La Land” is going to win Best Picture. She saw it at Telluride, so she should know.
I conclude my two part interview with biographer to the stars David Kaufman. We discuss his new book “Some Enchanted Evenings” about the late Broadway star Mary Martin who was, according to Kaufman, a very likely, but closeted lesbian. She had extended long time relationships with film stars Janet Gaynor and Jean Arthur. Filmed at the still yet-to-open, Hell’s Kitchen eaterie Diane Elizabeth.
Videography ~ Slava Rusakov
You Tube formatting ~ Kevin Teller
#Mary Martin #David Kaufman# Stephen Holt Show #gay # Lesbianism #Peter Pan
There’s something about intelligent lesbian lovelorn conversation that irrevocably holds me in its sway. And coming out very soon on DVD & VOD on Sept. 6, “The Royal Road” an unusual, innovative documentary is a must-see for every lesbian and gay and everyone else, who is reading this. It’s kind of a jewel, in its’ own unique, stubborn way.
Filmmaker Jenni Olson debuted “The Royal Road” to much acclaim at the Sundance Film Festival last year, but I’m just catching up to its’ challenging beautys now. “The Royal Road” doesn’t make things easy for the viewer. Its’ esthetic is extreme. The 16 mm. camera NEVER moves and there is not one human being in the frame.Nor will there ever be. But there is an incredibly revealing and engaging voice-over by the filmmaker herself. It’s not a lesbian conversation. It’s a lesbian monologue, perhaps the longest one ever, as Olson confronts us with the daunting, relentless shot-after-shot of California’s decaying once pristine Royal Road or the Camino Real.
Once a uninterrupted trail from San Francisco to Los Angeles, the road itself is part of California’s repulsive urban sprawl and not romantic at all. While it is nothing to look at, Olson MAKES us look at it, and at the same time, because the images she’s chosen don’t move, you HAVE to listen to her. And you do. And it becomes mesmeric.
As a native New Yorker, who has still yet to visit the LGBT capital of the world, the City by the Bay, it was all news to me, as Olson wants to show us HER lesbian San Francisco and tell her own woman’s story of how she left her heart there.
And a large part of her story is wrapped up in Alfred Hitchcock’s Number One critically proclaimed film “Vertigo.” By the time, she gets to this part of “The Royal Road” I was completely hooked. I’d only re-watched “Vertigo” earlier this week!On Monday night! It’s a film that never leaves you. It’s its’ own obsession.
Olson hooked me into her narrative, just as the hypnotic spell of Kim Novak’s Madeline Elster bewitches James Stewart’s stalwart, but vertically challenged policeman Scotty Ferguson in this classic movie of Obsession. And of secondarily, obsession with San Francisco.
She explains as she reads from an unheard, cut speech from the original “Vertigo” screenplay that Gavin Elster explains that his wife, Madeline(Novak) has fallen under the spell of old San Francisco and that it has driven her mad.So intense is her desire to find ole San Fran that she roams the city in search of it and stops whenever a piece of it jumps out at her.
Olson involves the viewer mightily with this ingenious piece of historical/cinematic dialogue that I’d never heard spoken before. As research, it’s a find. It’s breathtaking and I’m not going to do “The Royal Road” the injustice of a complete speech quotation here. That would be tantamount to spoiling it, but suffice it to say that it makes “The Royal Road” and also “Vertigo” at last make sense.
So I have to say thank you, Jenni Olsen, for finally elucidating this. She also audaciously makes Hitchcock a character in her monologue as she is trying to explain and examine HIS obsession with San Francisco and “Vertigo” and her own. For the first time, she claims “Vertigo” as an important lesbian movie in terms of the impact that the quest for character of Madeline, mirrored her own.
So she answers a couple of important, unresolved questions about “Vertigo,” including the fact that the quixotic name of the mysterious Madeline was probably inspired by Proust! And of course, it’s Proust’s tasting a madeline cookie that sends him on HIS historic literary quest in “Remembrance of Things Past.” Just as Olson has taken us on a “Royal Road” into her own history, in her own unique. original way.
I loved this lovely little film and I hope you do, too!
#Vertigo # Royal Road # Lesbian# San Francisco # Documentary # Hitchcock # Royal Road
“Troilus and Cressida” is considered one of Shakespeare’s Problem Plays. It’s hardly ever done. It’s wildly uneven, and it’s always nigh to impossible to tell the Greeks from the Trojans. It’s clear that there’s a war on, but who’s who and which is which is always mightily confusing.
Director Dan Sullivan has perhaps rectified all that with his testosterone fueled-production in Central Park this summer. He’s cast one of the strongest male casts I’ve ever seen containing some of the best young Shakespearean actors around today. Main among them is newcomer Andrew Burnap in the usually forgettable title role. But Burnap burns up the stage as he holds his own against as formidable a male cast as I’ve ever seen in Shakespeare in the Park, New York’s annual, pastoral summer ritual. Founded by the late Joe Papp to be free to all New Yorkers, the Park never disappoints, though most times the productions certainly do. But not this time.
I’m happy to say that “Troilus and Cressida” is one of the best Shakespeare’s I’ve ever seen in the Park.
But back to Andrew Burnap. A recent graduate of the Yale School of Drama, he’s stepped right out of school and right into stardom, following in the footsteps of former Yale-ees Meryl Streep and Lupita Nyong’o who just soared immediately upon graduation. His beautiful, brave, heart-broken, angry, and eventually murderous Troilus is everything a dream role for a young actor should be. And blond, blue-eyed, dashing Burnap is living the dream. In a part, I’ve never really even noticed before, he makes it seem a greater role than it’s ever been.
Troilus and Cressida are sort of Romeo and Juliet gone wrong. The Trojan War breaks them apart early and nearly kills them.
I saw Helen Mirren as a young girl, maybe even a teenager, make her debut at the Royal Shakespeare Company back in the ’60s as Cressida. Her debut, her first scene, she got rolled out of a Persian carpet completely nude. And thus began her great career. She was utterly heart-breaking in the scene where she emerges ravaged from the rival army’s camp where she has been raped repeatedly. She was shattered, bruised, barely able to speak, unforgettable. The actress here, Ismenia Mendes, just can’t cut it. You barely can tell she’s been gang-raped, and you don’t care much either.
But you do care about Andrew Burnap/Troilus’s reaction to his love being so defiled. He goes madly to war against his enemies, main among them the superb young Shakespearean actor Zach Appelman, as Diomedes, another part no one ever remembers. Appelman, you may remember, was the diamond brilliant Hamlet in Hartford, just this past winter for Darko Tresnjak.
In the first act, Diomedes has very little to do, except to flex his muscles and show his six-pack lifting barbells and strutting shirtless (as do many others of this studly, sweating, stunning cast) in the 100 degree heat New York is now experiencing. But in Act 2, he gets to come into his own, as he battles Burnap. Appelman is a Yale graduate, too, btw. As pictured above and below, you can see how intense their final confrontation is.
I also must mention the tremendously strong ensemble feel that this T & C production had and I wasn’t surprised when I checked my program later that there were 10 (!) count’em TEN graduates of the equally superb NYU Grad Acting program! Which boasts its’ own terrific, classically trained actors, main among them Corey Stoll. Stoll was so memorable as Ernest Heminngway in Woody Allen’s ” Midnight in Paris.” Here the completely bald Stoll is oiliness personified as the only man in a suit in this play, the slippery, Ulysseus, whom Stoll plays as a corrupt ad exec, who arranges Cressida’s gang rape and many other nefarious things.
I also had the privilege of seeing Understudy Keilyn Durrell Jones go on as the muscle-bound Achilles. He was just so loopily love-struck by his male amour Patroclus (Tom Pecinka), he licks his face like a huge puppy dog.
Yes, this is also the gay-est play Shakespeare ever wrote and director Sullivan does not hesitate to show the mighty Achilles, gathering his beloved up in his hugely muscled arms and whisking the giggling Patroclus off to their love-tent.
A male cast this awesome, and striking, who speak the Bard’s lines as magnificently as they make love AND war, makes one re-consider “Troilus and Cressida” as a much better play than it ever seemed before.
#Troilus and Cressida # Shakespeare # Trojan War #Andrew Burnap #Zach Appelman #Shakespeare in the Park #Corey Stoll #Achilles #Helen Mirren # Royal Shakespeare Company #Helen Mirren nude #Ulysses #Dan Sullivan # Problem Play # Central Park #Hamlet # Hartford Stage Company # Darko Tresnjak # Keilyn The Billionaire Jones#Achilles