REVIEW: "A Little Night Music"

Performance: Saturday, April 24th @ 2:00pm

Location: Ruth N. Halls Theatre, Bloomington, IN

I must admit that while I have fallen in love with A Little Night Music since seeing it on Broadway in March, I was a little worried that my expectations for the IU Theatre Department's production would be set too high, thus resulting in disappointment. If you are unfamiliar with the story of A Little Night Music, see my March review of the Broadway production. I'm happy to say that, overall, it was a delightful way to spend a Saturday afternoon.

I felt the show started off a bit rocky. While the vocal were beautifully precise, the execution of the choreography in the opening number seemed awkward and at times messy, for lack of a better word. There were several instances where it was noticeable when the actors/actresses were speeding up, slowing down, or even bumping into one another. The opening number is such an elegant beginning to the show and I don't think it needed so many entrances and exits or rushed choreography.

Vocally, the show was stunning. It is wonderful to see, not only so much talent in general, but so much young talent! There are a number of performers that I look forward to seeing in future productions. Two of these younger performers are Matt Birdsong (Henrik) and Jamie Anderson (Charlotte). Birdsong, a sophomore, BFA student who I remember from Blood Brothers earlier in the 2009/2010 season, not only emoted the frustration of dejected Henrik, but also had the wonderful ability to make you smile. Let's face it, if performed well, how can anyone avoid smiling during the song "Later"?

Anderson made her debut at IU in A Little Night Music. While the character of Charlotte, Carl-Magnus' neglected wife, did not gain much of my attention when I previously saw the show, I was really swept away by the charm, timing, and vocal abilities of Anderson (seen above- Right: Jamie Anderson (Charlotte) Left: Leslie Spitznagel (Anne) ). I was very drawn to her portrayal of Charlotte and I am excited that she is only a sophomore BFA student, which leaves another 2 years to enjoy her talents.

One MFA performance that I cannot neglect mentioning is that of Abby Rowald (Madam Armfeldt). Admittedly, while I have enjoyed Rowald in the past, I have never been really taken or drawn in by her her performances. She completely won me over as Madam Armfeldt. I would even go so far as to say that I enjoyed her performance more than Angela Lansbury's performance on Broadway. Her mannerisms genuinely reflected the fragility of Madame Arfeldt, yet the strength of voice reminded the audience that she is no pushover. Her performance of "Liaisons" could not have been more perfect.

Though I had some initial hesitations, I greatly enjoyed this production of A Little Night Music. I also enjoyed that discovery that different productions also brings different likes and dislikes. This is a show that I feel confident I will see again, should I have the chance.

REVIEW: "Take Me Out" in Bloomington, IN

Performance: Thursday, March 25th (Final Dress Rehearsal)

Location: Ruth N. Halls Theatre, Bloomington, IN

Take Me Out by playwright Richard Greenberg, and 2003 Tony Award winning Best Play, was a highly anticipated show in the Indiana University Theatre Department season. Plays that focus on diversity related issues provide a unique opportunity for me to expose the students in my "Understanding Diversity" class to the art of theatre, and the notion that not all learning comes from a textbook. I am happy to say that this production surpassed my expectations.

Take Me Out follows the relationships and interactions among men on the New York Empires baseball team. When the team's star player, who also happens to be African American, easily announces that he is gay, the team must come to terms with this new knowledge which is especially difficult for the team's homophobic and racist pitcher. Beautifully acted and written, I was easily able to expose my students to the beauty of theatre and the complexities of human interaction, socially constructed norms and discrimination.

Admittedly, I have not been greatly impressed by the 2009/2010 IU Theatre Department season. However, I offer nothing but praise for this production. While I normally highlight the few standout performances, I welcome the difficulty that I have had singling out only a few.

First year MFA student Jaysen Wright, who brought to life star player Darren Lemming, commanded the stage from the moment he entered. His performance also offered complexity, as one wonders if his confidence and "no cares" attitude is genuine, or only a mask intended to shield his doubts. Freshman, Taylor Crousore (Shane Munger) offers the opposing force to Darren, as he holds strong to his homophobic and racists beliefs. Though Shane plays a large role in the play, his character has has very few lines; he thoughts, attitudes, and reactions by and large come only from the intricate mannerisms that Crousore developed. I was truly taken aback by the talent of this first year student.

Though not wishing to ignore the overall strength of this ensemble cast, I would be remiss not to mention Neal Utterback (Mason Marzac), seen to the right with Wright, who offered moments of laughter to the point of tears. Mason is Darren's new, VERY gay, business manager. Marzac's timing, over the top mannerisms, and general likability quickly made him an audience favorite.

I never would have guessed that the performance I was watching was a final dress rehearsal. My kudos go out to the cast and crew of this production.

REVIEW: "The Addams Family" in New York, NY

Performance: Wednesday, March 17^th @ 8:00pm

Location: Lunt-Fontanne Theatre, New York, NY

I could not have asked for a better end to my theatre run in New York. The Addams Family, a brand new musical based on Charles Addams “Addams Family” cartoons, left me literally in pain from laughter! This new musical is still in previews and a number of changes have been made since its premiere in Chicago. This show explores the consequences of Wednesday falling in love with a “normal” boy. Be prepared for the normally abnormal antics of the family we have all come to know and love through the television show and Addams' comics.

The Lunt-Fontanne theatre could not be a better venue for this show. Its walls are lined with electric candleabras, setting the mood. The sets are bigger than life and even the large red curtain seems to have a life of it's own, as it contorts in ways I have never before seen in order to show the audience what is meant to be seen -- not to mention the tassle that falls to the ground and immediately runs away on its own "two feet". The artistic direction and choices make it impossible not to love the atmosphere this show creates.

Nathan Lane (Gomez) and Bebe Neuwirth (Morticia) embody the spooky couple, leaders of the household. Lane's comedic timing and over the top portrayal are nothing less than perfect, while Neuwirth's unforgettable voice and sleek appearance bring Morticia to life once again. The only thing better than listening to Neuwirth sing is hearing her sing AND watching her dance. Her dance number in "Tange de Amor" in the second act practically brought the house down then and there. I've never seen any actress who can make dancing look so effortless.

Another outstanding performance came from Krysta Rodriguez (Wednesday). Rodriguez is not a new name to Broadway. She appeared in the original casts of both In the Heights and Spring Awakening. She brought not only a booming, beautiful voice, but laughter to the Wednesday's growing pains. I was greatly impressed by her performance and I feel confident that we will see much of her in the future.

A musical based in reality this is not. If you are looking for a thought-provoking, let's discuss over coffee musical, you won't find it here. But if you are looking for fun, laughter, and outstanding comical and musical performances, this is your show! There are still many weeks to enjoy the family!

REVIEW: "A Little Night Music" in New York City

Performance: Wednesday, March 17^th @ 2:00pm

Location: Walter Kerr Theatre, New York, NY

I’m embarrassed to say that I almost passed up the opportunity to see A Little Night Music during my three day stay in Manhattan. How can anyone pass up a Sondheim in good conscience? I was pleasantly surprised to find myself in the second row, close enough to reach out and touch the stage.

Who knew one could find so much humor in infidelity, though humor there was. Initially my motivation for seeing the show was to not miss out on the opportunity to see Angela Lansbury on Broadway. With her long and coveted career on Broadway, she is a presence. While I enjoyed her portrayal of Madame Armfeld, I was far more taken by Catherine Zeta-Jones (Desiree Armfeld) and Leigh Ann Larkin (Petra).

Zeta-Jones was both sultry and full of grace. I enjoyed her burning quips, but even more her sense of vulnerability during Send in the Clowns. She flawlessly stitched together the face of Desiree Armfeld. Both she and Larkin embraced the free spirited nature of these women.

Larkin’s performance brought a smile to my face from the moment she spoke her first line. All you had to do was look into her eyes to see the mischief. She was free spirited, dramatic, but not overly dramatic and just plain fun! I thoroughly enjoyed the life she brought to Petra.

I, in no way, want to ignore the overall cohesion and talent of this cast. There was not a misstep from start to end and I left the theatre with a smile on my face and even a few tears in my eyes.

I am now very interested to see what the Indiana University Theatre Department does with this show, as I will see their production the first weekend in April. While I don’t think it would be fair to compare the two casts, I welcome the opportunity to take in A Little Night Music one more time.

REVIEW: "A View From the Bridge" in New York City

Performance: Tuesday, March 16th @ 7:00pm

Location: Cort Theatre, New York, NY

A burnt orange/brown, depending on the lighting, Brooklyn city street began to tell the story before it even began. The simulated moonlight meant a sliver of a reflection of the Brooklyn bridge could be seen against the side of the building. It has been 17 years since I found myself in New York City, on Broadway and I was prepared to allow the cast of A View From the Bridge to take me wherever they wanted to.

While very familiar with many of Arthur Miller's plays, I realized that my familiarity has come only from reading them. I have never had the opportunity to experience one on the stage. A View From the Bridge follows a path of obsession taken by longshoreman Eddie (Liev Schreiber), since his niece Catherine (Scarlett Johansson) has grown up in he and his wife, Beatrice's (Jessica Hecht) care. (All seen to the right) When two cousins come to stay with them, as illegal immigrants, and love blossoms between Catherine and Rodolpho (Morgan Spector), Eddie is barely able to contain his rage.

I was immediately drawn in by Louis (Robert Turano), a local lawyer, and the narrator of the play. In many way, Louis represented the voice of reason and reality within the chaos that slowly builds. He presented a steady and strong voice that led me to want for the next part of the story. In fact, it was the natural ease of the actors and actresses that allowed reality to melt away, so that we might all glimpse through the small hole in the wall as the silent observers.

There was a clear chemistry between cast members and the transformation of Johansson and Schreiber into niece and uncle was seamless. Johansson was barely recognizable with her long brown locks and thick New York accent, while Schreiber commanded the stage, at least a foot taller than Johansson. This made for an added visual dynamic of the power Eddie held over Catherine. In addition to the story, I appreciated the glimpse into life in Brooklyn during the 1950's. The evidence of a truly remarkable production is when you realize your natural ability to empathize with each of the character, as people.

A View From the Bridge was a wonderful introduction back to Broadway in New York City. The show is in the final 3 weeks of its run. If you are ready to be swept away to 1950's Brooklyn for a couple of hours, don't miss this show!

REVIEW: "Spring Awakening" in Cincinnati

Performance: Saturday, January 16th @ 8:00pm ,

Location: Aronoff Performing Arts Center, Cincinnati, OH

"Once in a generation..." Had any one of you walked out of the theatre this evening after curtain call, you would have only required the hush that surrounded me as review of this haunting musical. Or perhaps foundation fingerprints that cover the front of my Playbill, as a result of wiping tears away multiple times throughout the show would suffice. I am not sure if a musical has ever touched me in quite the same way as Spring Awakening.

Set in a provincial German town in the year 1890, with the budding sexuality and general confusion of adolescence, we are introduced to the young men and women who live there. The original play by Frank Wedekind was written in 1891 and caused such controversy that it was banned for almost 100 years -- and the issues dealt with, some may say, are still controversial today. Sexuality. Teen pregnancy. Abortion. Suicide. Incest. Homosexuality. But what has changed is the offering of hope.

I am one who always likes to know the music before seeing a new show, and this was no exception. What I realized quickly though is that you can't really know the music or the story until you have seen it performed. Bill Jones won the 2007 Tony Award for Best Choreography and it was clear why. The choreography provided soul, poetry, and breath to the story. With a front row, center seat it was easy to forget where I was as I sat face to face with many of the actors and actresses throughout.

I saw the greatest amount of talent I have seen in a touring company in very long while. While a generally young cast, their performances were impeccable. Christy Altomare's (Wendla) performance was a homecoming of sorts, as she was a 2008 graduate of the Cincinnati College - Conservatory of Music and touched my heart with her innocence as Wendla. I must admit that while there were challenges that all of these young men and women faced, I was drawn in the most by Steffi D's performance (seen to the right) as Ilse, a girl cast out by her family to live on the streets and Taylor Trensch's performance as Moritz, who fails out of school. There was an intensity that reverberated through their performances. I felt completely drawn in to the loss and the angst they experienced.

As I sit here now I can still feel the music pulsing through my veins, my eyes still burn from the tears shed, and my only regret is that I have to be in Indianapolis by 2:00pm tomorrow and can't buy a ticket to the Sunday matinee performance.

Check to see if Spring Awakening is coming to a city near you.