I almost feel weird reviewing Mud Donahue and Son since I feel like it was a good show, but...just wasn't really for me. I don't want to be so quick to say it's for an older generation, as I love many shows that others might think are for an older generation, but between the fact that the average age of the audience appeared to be 60, the fact that the show is based on a old Vaudeville entertainer that I never heard of, and most importantly, the fact that the show is essentially a bunch of letters between Jack Donahue and his mother, Mud. I just don't think I was able to sit still so long while essentially being told a story, with hardly any actual action on the stage.
Jack Donahue (Shonn Wiley) is discovered in Manchester, and gets a job touring on a small Vaudeville circuit. This doesn't thrill his mother, Mud (Karen Murphy) who thinks he should stay at home and have a real job. The whole show consists of letters, apparently taken from letters between the real Jack Donahue and his mother. Jack promises to send his mother $5 a week, but each week, he always has a reason not to. Things aren't easy as home, as Jack's constantly-drinking father has disappeared again, and Mud cannot rely on his salary to support the family. As Jack stays longer on tour, he becomes less and less like the good wholesome boy he once was. He becomes quite materialistic, spending the money he said he would spent on Mud on girls and new, expensive shoes. Eventually, he starts to drink just like his father. This begins to affect his performances, and his relationship with his mother.
The story on its own is fairly compelling. It is interesting to watch the early days of Vaudeville, and how a boy changes as he leaves his town to go out into "show business," and what it does to him. Again, it's just the fact that most of the story is told through their letters is frustrating. Moments that are the exception to that are pretty much the best moments of the show: Jack's performances, a flasback Mud has to when their furniture was taken away, and how she told Jack they were gonna have a picnic, and the end, when the two characters are finally face-to-face. The songs work well in the context of the story, but the problem is, there isn't any action for the songs to interrupt, so my enjoyment of most of the songs, as well,
The most enjoyable part of the show was watching truly great performances. Karen Murphy conveys Mud's pain, lands both humor and tender moments, and has a beautiful voice. Shonn Wiley is at his best when he's dancing, and he is a true master at that. A scene where he is on the stage alone, though in the scene with 4 other people is one of his best moments, and he essentially beats up himself. His movement and flexibility in this scene are simply outstanding.
The audience really enjoyed the show. And I can't find too many flaws in the story or piece itself. Maybe this piece is aimed at a particular audience. Maybe it just wasn't for me.
Sunday, October 7, 2007
Emma, 10/5
I'm a sucker for Jane Austen stories, so unsurprisingly, I went into Emma with high expectations, as I did Austentatious, but Emma certainly did not disappoint me.
If you're not familiar with the story of Emma, I'll just say Clueless was adapted from it. And I don't know what planet you're from if you haven't seen Clueless.
So yeah, I loved Emma, it's definitely up there as one of my favorite shows in the entire festival. The music was beautiful -- it was appropriate to the 19th century, and was very classical, and really wonderfully fit the show. There were several strong ensemble numbers, where the company beautifully harmonized, and some wonderful standout songs, including Mr. Knightley (Josh in Clueless)'s ballad, "Emma," and Emma's act-one closer, "Never Again." John Patrick Moore as Mr. Knightley and Leah Horowitz as Emma offer beautiful renditions of these songs, and Ms. Horowitz is a wonderful Emma. She commands the stage, has a beautiful song, and really makes you feel for her character, despite some misdeeds on her part.
I was never that familiar with the actual story of Emma, so I'd be interested to know what was cut from the original story, as I imagine much had it to be to fit in all the songs, but I must say it was wonderfully adapted. I was never confused, and honestly can't imagine what could have possibly been cut. It seems like that would be a giant task when attempting to adapt a Jane Austen novel into a musical, so bravo to the creators for that.
I just had a couple of qualms with the production, particularly the setting. There was mini-houses all over the set, which were constantly being carried on and off and rearranged. They were used sometimes as chests, sometimes as actual houses, but as a whole, they seemed unnecessary, and just clogged up the stage. I hope a setting is better conceived in future productions.
But, probably at least partially due to solid source material, Emma features a tight book, a great score, and I think is up there with Unlock'd as best of the festival.
The only other problem was that I kind of believed that Sir Elton had deeper feelings for Mr. Knightley than for Emma...
If you're not familiar with the story of Emma, I'll just say Clueless was adapted from it. And I don't know what planet you're from if you haven't seen Clueless.
So yeah, I loved Emma, it's definitely up there as one of my favorite shows in the entire festival. The music was beautiful -- it was appropriate to the 19th century, and was very classical, and really wonderfully fit the show. There were several strong ensemble numbers, where the company beautifully harmonized, and some wonderful standout songs, including Mr. Knightley (Josh in Clueless)'s ballad, "Emma," and Emma's act-one closer, "Never Again." John Patrick Moore as Mr. Knightley and Leah Horowitz as Emma offer beautiful renditions of these songs, and Ms. Horowitz is a wonderful Emma. She commands the stage, has a beautiful song, and really makes you feel for her character, despite some misdeeds on her part.
I was never that familiar with the actual story of Emma, so I'd be interested to know what was cut from the original story, as I imagine much had it to be to fit in all the songs, but I must say it was wonderfully adapted. I was never confused, and honestly can't imagine what could have possibly been cut. It seems like that would be a giant task when attempting to adapt a Jane Austen novel into a musical, so bravo to the creators for that.
I just had a couple of qualms with the production, particularly the setting. There was mini-houses all over the set, which were constantly being carried on and off and rearranged. They were used sometimes as chests, sometimes as actual houses, but as a whole, they seemed unnecessary, and just clogged up the stage. I hope a setting is better conceived in future productions.
But, probably at least partially due to solid source material, Emma features a tight book, a great score, and I think is up there with Unlock'd as best of the festival.
The only other problem was that I kind of believed that Sir Elton had deeper feelings for Mr. Knightley than for Emma...
Saturday, October 6, 2007
With Glee, 10/5
So yeah, considering today is the last day of the festival and therefore, the last day where my blog entries will be relevant, I have an hour to post 4 more "reviews," so from here on out, they're gonna be briefer and much less formal.
Five 13-year old males are shipped off to a boarding school in Maine against their will. Rooming and having to deal with each other doesn't make the experience any easier. There is Nathaniel, who has burnt down his school in the past in an attempt to make friends; Sam, who steals cars; Scott, who is demeaning his high-societal Vanderberg name; Kip, who's father is fearing is acting too feminine, and Clay, whose best friend is a boat named Mortimer. The 5 heavily clash at first, but then realize they have more in common than they initially thought, and perhaps the boarding school isn't as bad as they thought it would be.
I know, it sounds really cliche, but it does work, particularly at the end. The music is as responsible as anything for making this show work. The music serves as a tribute to Broadway, integrating songs that reflect some of the most famous shows and composers: "If You Want to Be a Vanderberg" is a Gilbert & Sullivan song in every way, featuring tongue-in-cheek lyrics, an extremely fast pace, and a chorus repeating a soloist. Additionally, a dance break in "Normal" reminded me of similar music in A Chorus Line. But the songs stand well on their own, particularly "Normal," a song reflecting a wish for all the boys to be out of this school so they can be normal. Another great song is "Back to Mom's," where 3 of the boys debate between who has it worse: someone who's parents have been divorced for years, someone who's parents are currently getting divorced, or someone who's parents are staying together despite fighting all the time. And from a completely objective standpoint, a song about the perfect girl, titled "Amanda" is one of the best songs I ever heard. :-) (If anyone wants to send me some sort of demo/copy of it, I'd love to be able to listen to it at will).
Though the story is cliche, the close bonding of the boys at the end, the fact that they don't all immediately become best friends, and a particularly interesting twist make this show go further than a simple coming-of-age story. Work still could certainly be done, as, in many of these kinds of stories, the sudden bonding of the boys seems to come out of left field, and feels quite forced. The reasons they are sent to school are pretty much expected, and I wish the reasons could be more complicated, making them more complex characters.
Still, for the most part, With Glee is a well-constructed and entertaining musical, and i look forward to further productions of it.
Five 13-year old males are shipped off to a boarding school in Maine against their will. Rooming and having to deal with each other doesn't make the experience any easier. There is Nathaniel, who has burnt down his school in the past in an attempt to make friends; Sam, who steals cars; Scott, who is demeaning his high-societal Vanderberg name; Kip, who's father is fearing is acting too feminine, and Clay, whose best friend is a boat named Mortimer. The 5 heavily clash at first, but then realize they have more in common than they initially thought, and perhaps the boarding school isn't as bad as they thought it would be.
I know, it sounds really cliche, but it does work, particularly at the end. The music is as responsible as anything for making this show work. The music serves as a tribute to Broadway, integrating songs that reflect some of the most famous shows and composers: "If You Want to Be a Vanderberg" is a Gilbert & Sullivan song in every way, featuring tongue-in-cheek lyrics, an extremely fast pace, and a chorus repeating a soloist. Additionally, a dance break in "Normal" reminded me of similar music in A Chorus Line. But the songs stand well on their own, particularly "Normal," a song reflecting a wish for all the boys to be out of this school so they can be normal. Another great song is "Back to Mom's," where 3 of the boys debate between who has it worse: someone who's parents have been divorced for years, someone who's parents are currently getting divorced, or someone who's parents are staying together despite fighting all the time. And from a completely objective standpoint, a song about the perfect girl, titled "Amanda" is one of the best songs I ever heard. :-) (If anyone wants to send me some sort of demo/copy of it, I'd love to be able to listen to it at will).
Though the story is cliche, the close bonding of the boys at the end, the fact that they don't all immediately become best friends, and a particularly interesting twist make this show go further than a simple coming-of-age story. Work still could certainly be done, as, in many of these kinds of stories, the sudden bonding of the boys seems to come out of left field, and feels quite forced. The reasons they are sent to school are pretty much expected, and I wish the reasons could be more complicated, making them more complex characters.
Still, for the most part, With Glee is a well-constructed and entertaining musical, and i look forward to further productions of it.
Going Down Swingin', 10/5
At this moment, when I hear the phrase, "Going Down Swingin'," I think of the Yankees already losing 2 of their playoff games, partially because of bugs. But fortunately, in this case, "Going Down Swingin'" refers to a well written musical.
It’s 1956, and television is beginning to overtake radio in the entertainment industry. The best radio shows are being moved to TV, and that’s exactly the fate that Dean Newhouse (Christopher Shyer) wants for his show. Dean is a narcissistic, selfish, womanizer. His show consists of: his “second banana” for years (James Stovall), who is ready to move on; a soap star (Marla Schaffel), who has been one of Dean’s past lady-victims; an up-and-coming rock star (Leo Ash Evans), who possibly has a secret, a 28-year old former teen star still playing a 16-year old (Tom Deckman); a new naïve girl from a small town (Stacie Bono), who Dean attempts to put the moves on, and a performer who is onto Dean, and has aspirations for both herself and for Dean’s demise (Meredith Patterson).
Act 1 follows the rehearsal of an episode of “The Dean Newhouse Show,” while act 2 consists of a live performance of the show, one week later. This structure is effective, as all of the backstage relationships can be established in the first act, but, of course, any backstage drama that interferes with the live broadcast results in hilarity. The story is strong and captivating, though some of the radio skits are more entertaining than others.
The show has been creatively adapted from Mozart’s opera, Don Giovanni. It sticks very close to its source material, and some of the more famous opera songs are transformed into a more modern song in the score. But what is really admirable about this show is that it didn’t just attempt to adapt and update Don Giovanni, but added in other relevant issues, such as the beginning of television and the fall of radio, and also brings up the issue of the rarity of Black people on television in the 50’s. The way the show is cleverly structured, it can be appreciated greatly by both Don Giovanni fans, and by those who have never heard of the opera before.
The interesting aspect about the score of Going Down Swingin’ is that all of the songs are confined to the context of the radio show. Characters do not randomly burst into song to express their emotions; but rather, they sing songs for the radio program. Of course, these songs often do cleverly relate to the characters’ feelings and emotions, Perhaps the most effective of these songs is the beautiful, revealing 11 o’clock number, sung wonderfully by Meredith Patterson.
A masterful performance is turned in by Christopher Shyer as Dean Newhouse. He establishes all of the important qualities of Dean – the aforementioned bad qualities, but also an incredible amount of charm, so you can understand why girls fall for Dean, and why Willie has remained with Dean all this time. Shyer’s performance at the climax of the show is nothing short of brilliant. Special mention should also go to James Stovall as Willie, who’s huge smile and gorgeous voice and versatile movements absolutely light up the stage.
Going Down Swingin’ is a very tight musical. The songs integrate with the plot the way they are supposed to, characters are developed, the story holds your attention. These aspects, combined with strong performances all around help to make it one of best shows of the festival.
It’s 1956, and television is beginning to overtake radio in the entertainment industry. The best radio shows are being moved to TV, and that’s exactly the fate that Dean Newhouse (Christopher Shyer) wants for his show. Dean is a narcissistic, selfish, womanizer. His show consists of: his “second banana” for years (James Stovall), who is ready to move on; a soap star (Marla Schaffel), who has been one of Dean’s past lady-victims; an up-and-coming rock star (Leo Ash Evans), who possibly has a secret, a 28-year old former teen star still playing a 16-year old (Tom Deckman); a new naïve girl from a small town (Stacie Bono), who Dean attempts to put the moves on, and a performer who is onto Dean, and has aspirations for both herself and for Dean’s demise (Meredith Patterson).
Act 1 follows the rehearsal of an episode of “The Dean Newhouse Show,” while act 2 consists of a live performance of the show, one week later. This structure is effective, as all of the backstage relationships can be established in the first act, but, of course, any backstage drama that interferes with the live broadcast results in hilarity. The story is strong and captivating, though some of the radio skits are more entertaining than others.
The show has been creatively adapted from Mozart’s opera, Don Giovanni. It sticks very close to its source material, and some of the more famous opera songs are transformed into a more modern song in the score. But what is really admirable about this show is that it didn’t just attempt to adapt and update Don Giovanni, but added in other relevant issues, such as the beginning of television and the fall of radio, and also brings up the issue of the rarity of Black people on television in the 50’s. The way the show is cleverly structured, it can be appreciated greatly by both Don Giovanni fans, and by those who have never heard of the opera before.
The interesting aspect about the score of Going Down Swingin’ is that all of the songs are confined to the context of the radio show. Characters do not randomly burst into song to express their emotions; but rather, they sing songs for the radio program. Of course, these songs often do cleverly relate to the characters’ feelings and emotions, Perhaps the most effective of these songs is the beautiful, revealing 11 o’clock number, sung wonderfully by Meredith Patterson.
A masterful performance is turned in by Christopher Shyer as Dean Newhouse. He establishes all of the important qualities of Dean – the aforementioned bad qualities, but also an incredible amount of charm, so you can understand why girls fall for Dean, and why Willie has remained with Dean all this time. Shyer’s performance at the climax of the show is nothing short of brilliant. Special mention should also go to James Stovall as Willie, who’s huge smile and gorgeous voice and versatile movements absolutely light up the stage.
Going Down Swingin’ is a very tight musical. The songs integrate with the plot the way they are supposed to, characters are developed, the story holds your attention. These aspects, combined with strong performances all around help to make it one of best shows of the festival.
Thursday, October 4, 2007
Such Good Friends
"Today we are engaged in a final, all-out battle between communistic atheism and Christianity" - Joseph McCarthy
This address made my Senator Joseph McCarthy launched the terrifying and destructive "McCarthy Era" attacks upon many US citizens. It is one of several parts of our country's history that we'd rather ignore, but Such Good Friends puts the era in the forefront of a new musical, and shows the massive impact it had on these citizens, and especially those in the entertainment industry.
Dottie Francis (Liz Larsen), Gabe Fisher (Brad Oscar), and Danny Factor (Jeff Talbott) have been best friends ever since they all met in a comedy club years ago. They've worked together to achieve their dream: "The Dottie Francis Show" on television! Dottie stars in it, Gabe directs it, and Danny writes for it. They all enjoy it, and are not afraid to invoke political satire that shows how ridiculous the McCarthy hearings are. But what happens when the three of them get called before The House of Un-American Activities Committee? In these days, anyone who didn't cooperate was sent to jail, and was then blacklisted from all television. Will they crack under pressure? Will their friendships remain intact? And most importantly, how will their lives be impacted?
Its two acts are quite distinct, as the second act is much darker than the first, in terms of both tone and mood. The first act focuses on the production of "The Dottie Francis Show," and establishes the friendship of the 3 main characters, while the second act begins with their testimonies in front of the committee, and follows the aftermath. It is effective that the relationships and general happiness of the characters are clearly established, so the audience truly grasps what is being destroyed. The show successfully portrays the tensions, paranoia, and general injustice associated with the McCarthy Era. The story becomes quite moving, and it's certainly hard not to shed a tear.
The score is a vital part of the show, as sparse dialogue is spoken between the musical's many songs. The music certainly captures the '50's sound, but, more importantly, as the show's tone changes, the songs are similarly altered. The music of the first act is generally upbeat, bouncy, and fun, while the songs become more solemn and slower in the second act. The score also succeeds in creating a motif that pops up every so often and is distorted, depending on the current events of the story. It first appears as an early song in the show, appropriately titled, "Such Good Friends," a song establishing the deep friendship between the three main characters. But as their relationships are stirred, the music reflects the differences. The theme creeps in every so often as a reflection of the current, changed state of their relationships. It is a prime example of truly using music to further explore the drama.
A great performance is turned in by Liz Larsen as Dottie. She lands her jokes, conveys her emotions, and belts out her songs. Jeff Talbott gives a heartbreaking performance as Danny, and sweetly, yet chillingly emotes his 11 o'clock number.
Such Good Friends has picked a wonderful topic to bring to the forefront of a musical: The McCarthy Era. It was a dark time for our country, and one that I'm sure tore people apart. Such Good Friends will leave you contemplating several issues as you exit the theatre, something that seems to be rarer with newer musicals these days.
This address made my Senator Joseph McCarthy launched the terrifying and destructive "McCarthy Era" attacks upon many US citizens. It is one of several parts of our country's history that we'd rather ignore, but Such Good Friends puts the era in the forefront of a new musical, and shows the massive impact it had on these citizens, and especially those in the entertainment industry.
Dottie Francis (Liz Larsen), Gabe Fisher (Brad Oscar), and Danny Factor (Jeff Talbott) have been best friends ever since they all met in a comedy club years ago. They've worked together to achieve their dream: "The Dottie Francis Show" on television! Dottie stars in it, Gabe directs it, and Danny writes for it. They all enjoy it, and are not afraid to invoke political satire that shows how ridiculous the McCarthy hearings are. But what happens when the three of them get called before The House of Un-American Activities Committee? In these days, anyone who didn't cooperate was sent to jail, and was then blacklisted from all television. Will they crack under pressure? Will their friendships remain intact? And most importantly, how will their lives be impacted?Its two acts are quite distinct, as the second act is much darker than the first, in terms of both tone and mood. The first act focuses on the production of "The Dottie Francis Show," and establishes the friendship of the 3 main characters, while the second act begins with their testimonies in front of the committee, and follows the aftermath. It is effective that the relationships and general happiness of the characters are clearly established, so the audience truly grasps what is being destroyed. The show successfully portrays the tensions, paranoia, and general injustice associated with the McCarthy Era. The story becomes quite moving, and it's certainly hard not to shed a tear.
The score is a vital part of the show, as sparse dialogue is spoken between the musical's many songs. The music certainly captures the '50's sound, but, more importantly, as the show's tone changes, the songs are similarly altered. The music of the first act is generally upbeat, bouncy, and fun, while the songs become more solemn and slower in the second act. The score also succeeds in creating a motif that pops up every so often and is distorted, depending on the current events of the story. It first appears as an early song in the show, appropriately titled, "Such Good Friends," a song establishing the deep friendship between the three main characters. But as their relationships are stirred, the music reflects the differences. The theme creeps in every so often as a reflection of the current, changed state of their relationships. It is a prime example of truly using music to further explore the drama.A great performance is turned in by Liz Larsen as Dottie. She lands her jokes, conveys her emotions, and belts out her songs. Jeff Talbott gives a heartbreaking performance as Danny, and sweetly, yet chillingly emotes his 11 o'clock number.
Such Good Friends has picked a wonderful topic to bring to the forefront of a musical: The McCarthy Era. It was a dark time for our country, and one that I'm sure tore people apart. Such Good Friends will leave you contemplating several issues as you exit the theatre, something that seems to be rarer with newer musicals these days.
Tuesday, October 2, 2007
The Jewel is Unlock'd
Can it be? Do my ears deceive me? Do I really, truly hear an...
OVERTURE?!
Is it sheer coincedence that out of the eleven 2007 NYMF shows I've seen to date, the only one of the eleven that has a true overture is easily the best of the eleven?
Based on Alexander Pope's poem, "The Rape of The Lock," Unlock'd centers around Belinda (Sarah Jane Everman), a maiden whom all of the men in the kingdom are desperately in love with. She loves the flattery, but has no intention of marrying anytime soon. This frustrates many of other maidens in the kingdom, as all of the potential suitors are focused on Belinda. Included in this group is Clarissa (Jackie Burns), Belinda's stepsister, whom Belinda has neglected ever since she became so attractive. Clarissa schemes to help get the Baron (Jim Weitzer) one of Belinda's locks, for that would all but promise marriage. The lock is eventually taken, but by who? When affections change, will everyone achieve their "happily ever after"?
Also affecting the situation are three sylphs -- virginal fairy-like creatures -- who want to keep Belinda a virgin like them at all costs. They spurn the advances of 3 gnomes, who, in turn, bet that they can get Belinda to marry. It seems as though humans aren't the only ones who will be impacted by the events in Unlock'd.
The musical does a wonderful job of integrating its fairy-tale setting, the music, the story, and even several monologues spoken entirely in couplet, as a tribute to the Pope poem. The story takes an unexpected turn, providing for a great deal of heart, wisdom, and cleverness, all of which can't help but make you smile. The show openly addresses aspects of fairy tales you may generally dislike, and the plot twist ensures that these aspects are eradicated from this story. The important characters are all likable, although they each certainly have their flaws.
The overture sets the stage for a beautiful score that has an appropriate magical/whimsical sound. The composer is not afraid to use operatic music, even though it seems like today's audiences prefer pop music that they can sing as they leave the theater. The music really grabbed me as I hung onto every note of Sarah Jane Everman's lovely soprano and Jim Weitzer's powerful baritone. I can only imagine how gorgeous this score will sound when played by a 25-piece orchestra. (yes, I said "will.")
There are even aspects of this small production that shine. The costumes, designed by Colleen Kesterson, are both appropriate and lovely. Furthermore, directorial decisions, such as having the sylphs ride on moving walls to give the impression that they are high above the ground, as fairies are, deserve praise. The design of these walls also provide for a clever visual in the show's final scene.
Strong performances are turned in by all, particularly by Sarah Jane Everman as Belinda. Her comic timing and gorgeous voice contribute to a great performance. Jim Weitzer is a well suited, love-struck Baron, and as previously mentioned, his baritone soars. Jackie Burns does a great job of establishing Clarissa as a complex character. She makes her monologues of couplets fit in perfectly to the rest of the story, and gives us insight into her character, and so, we are truly able to understand her motivations. She is a strong female, yet insecure. Chris Gunn makes a cute and geeky Edwin, the Baron's brother. Also making an impression is Christopher Totten as a love-struck gnome.
Between an enticing story, a beautiful score, a child-friendly environment, and a setting that certainly lends its way to at least a degree of spectacle, I would not be at all surprised if Unlock'd made it Broadway. Not only that...I think it could have a successful Broadway run.
OVERTURE?!
Is it sheer coincedence that out of the eleven 2007 NYMF shows I've seen to date, the only one of the eleven that has a true overture is easily the best of the eleven?
Based on Alexander Pope's poem, "The Rape of The Lock," Unlock'd centers around Belinda (Sarah Jane Everman), a maiden whom all of the men in the kingdom are desperately in love with. She loves the flattery, but has no intention of marrying anytime soon. This frustrates many of other maidens in the kingdom, as all of the potential suitors are focused on Belinda. Included in this group is Clarissa (Jackie Burns), Belinda's stepsister, whom Belinda has neglected ever since she became so attractive. Clarissa schemes to help get the Baron (Jim Weitzer) one of Belinda's locks, for that would all but promise marriage. The lock is eventually taken, but by who? When affections change, will everyone achieve their "happily ever after"?Also affecting the situation are three sylphs -- virginal fairy-like creatures -- who want to keep Belinda a virgin like them at all costs. They spurn the advances of 3 gnomes, who, in turn, bet that they can get Belinda to marry. It seems as though humans aren't the only ones who will be impacted by the events in Unlock'd.
The musical does a wonderful job of integrating its fairy-tale setting, the music, the story, and even several monologues spoken entirely in couplet, as a tribute to the Pope poem. The story takes an unexpected turn, providing for a great deal of heart, wisdom, and cleverness, all of which can't help but make you smile. The show openly addresses aspects of fairy tales you may generally dislike, and the plot twist ensures that these aspects are eradicated from this story. The important characters are all likable, although they each certainly have their flaws.
The overture sets the stage for a beautiful score that has an appropriate magical/whimsical sound. The composer is not afraid to use operatic music, even though it seems like today's audiences prefer pop music that they can sing as they leave the theater. The music really grabbed me as I hung onto every note of Sarah Jane Everman's lovely soprano and Jim Weitzer's powerful baritone. I can only imagine how gorgeous this score will sound when played by a 25-piece orchestra. (yes, I said "will.")There are even aspects of this small production that shine. The costumes, designed by Colleen Kesterson, are both appropriate and lovely. Furthermore, directorial decisions, such as having the sylphs ride on moving walls to give the impression that they are high above the ground, as fairies are, deserve praise. The design of these walls also provide for a clever visual in the show's final scene.
Strong performances are turned in by all, particularly by Sarah Jane Everman as Belinda. Her comic timing and gorgeous voice contribute to a great performance. Jim Weitzer is a well suited, love-struck Baron, and as previously mentioned, his baritone soars. Jackie Burns does a great job of establishing Clarissa as a complex character. She makes her monologues of couplets fit in perfectly to the rest of the story, and gives us insight into her character, and so, we are truly able to understand her motivations. She is a strong female, yet insecure. Chris Gunn makes a cute and geeky Edwin, the Baron's brother. Also making an impression is Christopher Totten as a love-struck gnome.
Between an enticing story, a beautiful score, a child-friendly environment, and a setting that certainly lends its way to at least a degree of spectacle, I would not be at all surprised if Unlock'd made it Broadway. Not only that...I think it could have a successful Broadway run.
Monday, October 1, 2007
Sympathy Jones, 9/29
Sympathy Jones is one of the NYMF shows that has been receiving quite a bit of press, due in no small part to the fact that Kate Shindle (Vivenne in Legally Blonde) is playing the title role. While Ms. Shindle deserves all of the press and praise she has been receiving, the show leaves quite a bit to be desired.
Sympathy Jones (Kate Shindle) is a secretary at the top-notch spy agency in the country. She dreams of turning in her typewriter and becoming a full-fledged agent, working in the field. She gets her chance when a confidential case file is accidentally left on her desk: a watch that is able to keep one young forever is stolen by its inventor's ex-wife, Kitty Hawk (Jane Summerhays). She and her husband's former worker, Tick Tock (Glenn Peters) plan to use it to create a time bomb that will freeze the world, so that they can control the world. Sympathy and the assigned agent, David Hunter (Charlie Pollock) team up to stop Kitty. Can Sympathy save the world, prove her talent as a super secret agent, and manage to avoid losing her job?
The show seems to lack a true identity. Is it satirizing the spy-agent genre, or is it using the genre as a backdrop to tell the story of a woman following her dreams, and "making it" in a man's profession? It's not fully clear. The plot seems pretty thin for a 2-act musical.
There are also some aspects of the plot that don't work so well. While Sympathy's yearning to be in the field is fully developed, the same cannot be said of the details of the case at hand. It unfolds too rapidly, not giving the audience enough time to digest the details. Moreover, The major subplot of the musical is also less than stellar. It involves the budding relationship between Sympathy's best friend, Caprice (Lucy Sorenson) and agent Nick Steele (Jimmy Ray Bennett), who has become essentially useless because he is stuck on crutches. There is little chemistry between the characters, and attempts to get Nick off of crutches just seem to waste time.
The strongest aspect of the show is easily its score, as its style is perfectly suited for the show. It has a unique spy-sound to it. Though it is odd for a secondary character to be singing the show's first song, the song is well executed, and is a good introduction to Sympathy's world. A particularly heartfelt song is "I Should Have Known," where for the first time, Sympathy doubts her abilities and decisions. The song is sung exquisitely by Kate Shindle.
Speaking of Kate Shindle, she shines in the title role. She has the heart, the yearning, and definitely the pipes to handle the role. Her performance indicates quite a versatile actress, as the role is very different from her current role as Vivienne in Legally Blonde. I look forward to seeing Ms. Shindle's versatility in future roles. The only other standout in the cast was Amanda Ryan Paige as Sympathy's nagging intern, Doris. Her obnoxiousness and annoyance make her presence quite notable in the limited amount of stage time she receives.
I must also give special mention to the wonderful lighting design. It was the first technical aspect of any NYMF show that made an impression, but great use was made of flashing light to help to acquaint the audience with the spy-agent world.
After reading this review, you're probably thinking that I didn't like the show. That's not true. Despite its flaws, it's a fun show. My roommates can couch that I ran into our apartment, making a spy pose, and singing, "Sympathy Jones, super secret agent..." If Sympathy Jones is not a great show, it is certainly a likable one.
Sympathy Jones (Kate Shindle) is a secretary at the top-notch spy agency in the country. She dreams of turning in her typewriter and becoming a full-fledged agent, working in the field. She gets her chance when a confidential case file is accidentally left on her desk: a watch that is able to keep one young forever is stolen by its inventor's ex-wife, Kitty Hawk (Jane Summerhays). She and her husband's former worker, Tick Tock (Glenn Peters) plan to use it to create a time bomb that will freeze the world, so that they can control the world. Sympathy and the assigned agent, David Hunter (Charlie Pollock) team up to stop Kitty. Can Sympathy save the world, prove her talent as a super secret agent, and manage to avoid losing her job?The show seems to lack a true identity. Is it satirizing the spy-agent genre, or is it using the genre as a backdrop to tell the story of a woman following her dreams, and "making it" in a man's profession? It's not fully clear. The plot seems pretty thin for a 2-act musical.
There are also some aspects of the plot that don't work so well. While Sympathy's yearning to be in the field is fully developed, the same cannot be said of the details of the case at hand. It unfolds too rapidly, not giving the audience enough time to digest the details. Moreover, The major subplot of the musical is also less than stellar. It involves the budding relationship between Sympathy's best friend, Caprice (Lucy Sorenson) and agent Nick Steele (Jimmy Ray Bennett), who has become essentially useless because he is stuck on crutches. There is little chemistry between the characters, and attempts to get Nick off of crutches just seem to waste time.
The strongest aspect of the show is easily its score, as its style is perfectly suited for the show. It has a unique spy-sound to it. Though it is odd for a secondary character to be singing the show's first song, the song is well executed, and is a good introduction to Sympathy's world. A particularly heartfelt song is "I Should Have Known," where for the first time, Sympathy doubts her abilities and decisions. The song is sung exquisitely by Kate Shindle.
Speaking of Kate Shindle, she shines in the title role. She has the heart, the yearning, and definitely the pipes to handle the role. Her performance indicates quite a versatile actress, as the role is very different from her current role as Vivienne in Legally Blonde. I look forward to seeing Ms. Shindle's versatility in future roles. The only other standout in the cast was Amanda Ryan Paige as Sympathy's nagging intern, Doris. Her obnoxiousness and annoyance make her presence quite notable in the limited amount of stage time she receives.
I must also give special mention to the wonderful lighting design. It was the first technical aspect of any NYMF show that made an impression, but great use was made of flashing light to help to acquaint the audience with the spy-agent world.
After reading this review, you're probably thinking that I didn't like the show. That's not true. Despite its flaws, it's a fun show. My roommates can couch that I ran into our apartment, making a spy pose, and singing, "Sympathy Jones, super secret agent..." If Sympathy Jones is not a great show, it is certainly a likable one.
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