Top 5 Most Viewed Posts of 2011

There is almost over. And it's been a good year! After starting up in late June, we have now surpassed the 14,000 hit mark! So what articles were the most viewed on theaterinthenow.com?

1. Spotlight On...Kerry Malloy

 

2. Spotlight On...Olli Haaskivi and A.J. Shively

3. Spotlight On...Alex Wyse

4. Review: Enter Perfection

5. The 1st Annual Mikey Awards

 

What were your favorites of the year? As 2011 comes to a close, I want to thank you for being a part of launching theaterinthenow.com. Expect big things in 2012!

We're on Twitter!

Big things have happened: we're on twitter! If you haven't done so already, follow us on twitter at @TheaterInTheNow. In addition to news, interviews, and reviews on theaterinthenow.com, we'll be sharing other fun theater-filled tid bits on twitter!

11 in '11: The Best of the Year

I'm no Brantley or Isherwood. I'm not even a David Cote. But I have been privileged to see some wonderful productions in 2011. With that being said, the usual suspects of the best of the year that may have been found on some of the other year-end wrap ups probably won't be on mine as I haven't been able to see them because I haven't been invited! (ie: The Book of Mormon, which I'm still dying to see...wink, wink...). So alas, my top 11 in alphabetical order.

Completeness (Playwrights Horizons)
Itamar Moses has a gift for establishing relationships in his plays, and this one was no different. The science-laden dramady about finding the thing that completes you was perfectly directed by Pam MacKinnon with a superb cast bringing Moses's words to life. Still one of my favorite productions I've ever seen.

Exit Carolyn (Sans A Productions/The Drilling Company)
Finding a gem in the Indie Theater world can be hard. But look no further than the wonderful Exit Carolyn by Jennie Bergman Eng. The well-rounded play had a top notch cast, with a brilliant performance by Laura Ramadei, directed by Adam Knight.

 


Jerusalem (Broadway)
It's safe to say that Mark Rylance's Rooster is that solidifies his brilliant career. The tour-de-force role led this outstanding production to all the hype it deserved. Jerusalem is an experience. Jez Butterworth has written a masterpiece that will be remembered forever, all thanks to Mr. Rylance.

Kin (Playwrights Horizons)
Bathsheba Doran wrote a play about varying relationships that were told through intertwining scenes that brought all the characters together. Sounds simple, but it was her brilliant writing and a sublime ensemble that made Kin a super success. The complexity and depth of her characters each with some great dialogue made audiences relate to at least one character. Oh, and then there was that hilarious and heart-wrenching performance by Laura Heisler.

Lysistrata Jones (Transport Group/Broadway)
Give it up for this bawdy musical about sex! The adaptation of the Greek comedy Lysistrata was a hit Off Broadway before transferring to the Great White Way. With Douglas Carter Beane's witty and funny book and Lewis Flinn's humworthy score, there's no way you can't but walk out of the theater grinning and wanting more. Lysistrata Jones is the slamdunk sleeper of the season.

Peter and the Starcatcher (New York Theater Workshop)
Taking a piece of theater and actually making it a work of theater is quite rare. But Peter and the Starcatcher was theater at its best. With a hard-working ensemble, led by the always brilliant and comical Christian Borle and rising star Adam Chanler-Berat, there was never a dull or dry moment. Written by Rick Elice, adapted from the Peter Pan prequel, the simple yet complex staging by Roger Rees and Alex Timbers displays why theater is wonderful when you let the audience play pretend.

Self Taut (Dixon Place’s HOT Festival)
Written and created by Chris Tyler, this gem of a solo piece followed Tyler as he retold his high school tales of self-awareness, friendship, love, and the apprehension of intimacy. Tyler is a brilliant performer. Look out for what he does next because it's bound to be great. I think I'll declare 2012 the year of Chris Tyler

Stick Fly (Broadway)
After hit productions in Boston and Washington, DC, Stick Fly is a sleeper hit of the year. This play about class, race, and family is witty and sharp with an ensemble to die for. Condola Rashad gives a stellar performance that will should be remembered come next June.

The Brain That Wouldn’t Die in 3-D (NYMF 2011)
The musical horror comedy genre has a new hit on their hands. The Brain That Wouldn't Die in 3-D is a laugh out loud musical inspired by the B horror classic of the same name (minus the 3-D). The six person cast takes on a plethora of stock characters that get funnier and funnier as the show goes on. Kathy Voytko gives a stand out performance playing a head for the majority of the show. Look out for this show in the future.

The More Loving One (NYFringe 2011)
Usually the New York International Fringe Festival is filled with gimmick pieces so when you get a true work of art, it shines. The four hander about two couples, one straight, one gay, all searching for the meaning of love and how to mend their own relationships is brilliantly written by Corey Conley. A genuine piece of theater led by a great cast.

The Normal Heart (Broadway)
What hasn't been said about this Larry Kramer revival? This poignant piece had everybody talking and thinking and crying and wanting to find an answer. Joe Mantello gives a wonderful performance as Ned Weeks (quite possibly better than Rylance's brilliant Tony winning performance) but it was Ellen Barkin's showstopping monologue that solidified the production. When was the last time a monologue received an uproarious round of applause?

Bonnie and Clyde Forever (on CD)

Even though it's been shot down in every way possible, the tragic Bonnie and Clyde will be given the opportunity to record a soundtrack so everyone mourning their loss can listen and continue to wonder what went wrong. If only other flop musicals had that chance, say, oh I don't know, Cry Baby?

Shameless Plug: DreamStem Productions Giveaway!

Want to see a reading of a new play by yours truly? Want to walk in and receive a gift bag of amazing goodies? Simply go to DreamStem Production's fan page on Facebook, like it, and post "I <3 DreamStem's reading series"
 

The Best of 2011: Fan Vote

Let the year end wrap-up commence! Kicking things off is the list of top shows as suggested by the readers and our long list of amazing Spotlight interviewees! What do you think? Good list? Anything missing?

Cymbeline (Fiasco Theater)
Follies (Broadway)
Good People (Broadway)
Hand to God (Ensemble Studio Theater)
Jerusalem (Broadway)
Milk Like Sugar (Playwrights Horizons)
Other Desert Cities (Lincoln Center/Broadway)
Sleep No More (Punchdrunk)
Sons of the Prophet (Roundabout)
Stick Fly (Broadway)
 

The Book of Mormon (Broadway)
The Lapsburgh Layover (Ars Nova)
The Normal Heart (Broadway)
The Talls (2econd Stage)
Three Sisters (Classic Stage Company)
Unnatural Acts (Classic Stage Company)
Venus in Fur (Manhattan Theatre Company/Broadway)
War Horse (Lincon Center/Broadway)

Ricci to Enter Forest of Love

Classic Stage Company has announced that Christina Ricci will play Hermia in the new staging of Shakespeare's A Midsummer Night's Dream. She will be joining the previously announced Bebe Neuwirth who will be playing Titania. Well, now I have more reason to see this!

Nick Jonas Gets Posterized

Did they run out of letters or is Nick Jonas just too cool for a full title? Well, here it is. The poster for Nick Jonas's run in How to Succeed in Business Without Really Trying, also known as How to Succeed... As Dan Rad's run is about to end, are we excited to see Darren Criss or Nick Jonas? I'm personally excited to see Michael Urie!

Live from New York, It's Dan Rad!

Lorne Michaels will have a wizard to help him ring in the new year. NBC and Saturday Night Live has announced that the Entertainment Weekly Entertainer of the Year, Daniel Radcliffe will be making his SNL hosting debut on January 14th with musical guest Lana Del Rey, who I have no idea who she is. Will Radcliffe show off his singing and dancing chops? Will it be Harry Potter jokes over and over again? Well, let's just hope the writing in 2012 will be better than the writing in 2011, 2010, 2009, well you get the idea.

Spotlight On...Patti Murin

Name: Patti Murin

Hometown: Hopewell Junction, NY

Education: BFA in Musical Theatre from Syracuse University (kind of ironic, considering the plot of our show)

Select Credits: Xanadu (Euterpe, Kira/Clio Understudy, Broadway); The Little Mermaid (Ariel, the MUNY); Jane Austen's Emma (Emma Woodhouse-a musical adaptation written by Paul Gordon, Old Globe Theater)

Why theater?: I love being in front of a live audience and doing a different show every night depending on what mood they are in, and where they laugh, and how they react and applaud. It's almost like a very indefinite science, because you have to be so focused and spot on to be able to determine what they want in that split second and give it to them. I also love singing, and there isn't really a better place to do it than on Broadway!

Tell us about Lysistrata Jones: Lysistrata as the character is a cheerleader, both literally and figuratively. She has so much energy and really feels great having somewhere to direct that energy. She hasn't had the easiest last few years, so when she transfers schools to Athens University, she sees it as her opportunity and her mission to make the world a little bit better and make everyone feel proud of themselves by inspiring the boys basketball team to win a game, which they haven't in 33 years!  But that of course backfires on her when the boys resist her plan, and she has to rally the girls together to take drastic measures to get the boys to win a game. She holds on for as long as she can, and ultimately can't turn her back on her friends and having hope.

What is it like being a part of Lysistrata Jones?: It's one of the hardest, most wonderful, exhausting, fantastic experiences I have ever had. I sleep so well at night, it's ridiculous. We have such a bond at the theatre that started downtown at the Gym at Judson (where we did the Off-Broadway run), and then our bond expanded to include the wonderful people we work with on Broadway. We have a wonderful family, and an awesomely imperfect one. We are all learning from each other every day and making mistakes and being inspired, so there is a lot of love at that theatre.

What kind of theater speaks to you? What or who inspires you as artists?: I love most theatre actually! There is very little theatre that I don't like. I love musicals, plays, revivals, new ideas, theatrical experiences, everything! The only kind of theatre that doesn't speak to me is the kind when you can't see the love and sweat and tears that was poured into it. If it seems mechanical, it's probably not for me. But one of the best things about theatre is that you can see the passion onstage as everyone works, so that speaks volumes to me.

Any roles you’re dying to play?: I am dying to do a revival of Crazy For You playing opposite my husband, Curtis Holbrook! That is my absolute dream. I would also love to play Ellen in Miss Saigon and the Narrator in Joseph..., which are holdovers from when I was first learning about musicals.

What’s your favorite showtune?: Probably "On the Street Where You Live" from My Fair Lady. It's just so simple and romantic!

If you could work with anyone you’ve yet to work with, who would it be?: Anyone and everyone that I can learn from. Bernadette Peters instantly comes to mind. But really, any actor who can teach me something, which is every actor.

Who would play you in a movie about yourself and what would it be called?: I would play myself!! Of course :) It would be called "Eternal Cheerleader"

What show have you recommended to your friends?: I have recommended Once to my friends at NYTW, and also Lysistrata Jones, of course!

What’s up next?: Hopefully a long and healthy run of LJ with some workshops and readings thrown in to keep working on the new theatre. I am involved with a new musicaled called Citizen Ruth, based on the movie starring Laura Dern, and it is just brilliant. It is written by Mark Leydorf and Michael Brennan, and directed by Dan Knechtges, who directed LJ. I also am hoping for a wonderful future life of Emma, the musical I did at the Old Globe in San Diego this past winter, written by Paul Gordon and directed by Jeff Calhoun.

For tickets to see Patti and the amazing cast of Lysistrata Jones, visit http://www.lysistratajones.com/

Spotlight On...Paul McGill

Name: Paul Edwin McGill III

Hometown: Pittsburgh, PA

Education: Profesional Performing Arts High School in NYC

Select Credits: La Cage aux Folles (2004) (Swing, Marriott Marquis); A Chorus Line (Mark, Schoenfeld); Memphis (White Teen Tumbling Track, Shubert); Spider-Man: Turn Off the Dark (Spider-Man/Ensemble, Foxwoods)

Why theater?: It's live. As an artist, you get to feel a story in succession. You get to feel the resolution of the story as opposed to film where you shoot in order of location. Also, in theater, the audience is part of the experience. They are directly affecting your energy and vice versa.

Tell us about Spider-Man: Turn Off the Dark: Spider-Man is based on the Marvel Comic. It's an action packed, high flying adventure. It's a spectacular for the whole family.

What is it like being a part of Spider-Man: Turn Off the Dark?: To be in Spider-Man is a dream come true. It's keeping my roots as a Broadway performer, but taking it to a cirque level that I'm looking to take my career. The amount of thought, time, and dedication that has gone into this piece is astounding. It's truly magical.

What’s life like as a swing?: A swing's job is that of a dance captain in that you have to know pretty much everyone's spot in the entire show off the top of your head. It's a job for the cool, calm, and collected because you NEVER know what will happen. There have been times in a different show where I've had to do 3 different people's parts all spliced together. There's never a dull moment.

How is it different being a replacement as opposed to originating a role? Do you prefer one over the other?: I prefer to originate a role. As an artist, you get to really delve
into a character and work with the people around you on building relationships and back-story. Rehearsing with an original cast is my absolute favorite part of the theater. It's where the REAL magic happens. Being a replacement is really about catching up. Thank God for Jason Snow, who put me into Spidey. It's about catching up to details and getting to know the show inside and out in just about a week. Stressful? yes.

What kind of theater speaks to you? What or who inspires you as artists?: As a visual person, I respond mostly to Spectacular theater. My favorite piece of all times, thus far, is the Cirque du Soleil and Beatles collaboration: LOVE. Not all theater has to be linear to me. I enjoy FEELING when I go to the theater.

Any roles you’re dying to play?: I wouldn't mind trying those Peter Parker glasses on...

What’s your favorite showtune?: "Before the Parade Passes By" is a good one. The message is beautiful and Jerry Herman is brilliant.

If you could work with anyone you’ve yet to work with, who would it be?: That list is FAR too long. There are so many people in this industry (and out of this industry) that fuel me.

Who would play you in a movie about yourself and what would it be called?: I think I'd be played by Cillian Murphy. There's still a working title...

What show have you recommended to your friends?: I really really love and believe in Memphis. If you havent seen it, GO.

What’s up next?: I'm beginning to dabble into choreography and creative direction. That's where my life is headed.

For more information on Spider-Man: Turn Off the Dark, please visit  http://spidermanonbroadway.marvel.com/

Spotlight On...Zakiya Young

Name: Zakiya Young

Hometown: Downingtown, PA

Education: B.A. Communication, University of Pittsburgh

Select Credits: The Little Mermaid (Mersister, Lunt-Fontanne); It's a Bird...It's a Plane...It's Superman (Lois Lane, Dallas Theater Center); Little Miss Sunshine (Miss California, La Jolla Playhouse); Greenwood (Stacey, NYMF); Winner Take All (Scarlett, Fringe NYC); Carousel (Carrie, Depot Theater)

Why theater?: Good question :-) I was actually on my way to becoming a doctor.  That had been my dream ever since I was a kid. In high school - I was a cheerleader, in several choirs, a peer mediator, in the band and student council.  My high school - which had a phenomenal musical theater department -  did West Side Story and I played Anita.  That was when I fell in love with theater. I absolutely loved being onstage, but I wasn't ready to fully commit.  I went pre-med at Pitt, hoping to get the experience there that would make me a good candidate for their fantastic medical program.  The 8 AM Calculus classes and 4 hour Chem labs made the thought of spending the next 10 years or so training to be an M.D. much less appealing.  I lasted about 2 semesters before realizing I didn't have a passion for it.  I changed my major to Communication, continued taking private voice lessons, minored in Theater and spent my summers singing at Paramount's King's Island.  I was hooked - and I couldn't see myself doing anything else.

Tell us about Stick Fly: Stick Fly is a story about what happens when people stop being polite, and start being real. Just kidding. Kind of.  Without giving too much of the plot away, a family travels to their house on Martha's Vineyard for vacation, the two brothers bring their significant others to meet the family for the first time and all kinds of secrets are revealed during this trip. As a result, the family is forever changed.   What is so groundbreaking about this play is that it is about a highly educated, wealthy black family.  I really connected with the story because I've never seen something that reflected my life experience on the Broadway stage until now.  Yes, well-read black families that debate politics, social issues, the economy, etc around the dinner table do exist.  With the exception of the all black cast of Cat on a Hot Tin Roof, we rarely see plays that portray the black elite, or even the black middle class on Broadway.  And the fact that it's written by a black female playwright? Even better.  And it's so honest. So honest - and funny.  It's a story that everyone can relate to - and you don't have to be black to enjoy the show.  You'll definitely leave the theater thinking about and discussing the show.  I've been incredibly happy to see diverse audiences at our performances. In fact, I don't think I've ever seen such mixed audiences - both in age and ethnicity - at a Broadway show. I love it!

What is it like to be understudying two different roles?: It's very challenging - and I'm honored to have been given this incredible responsibility.  I don't think I've ever worked so hard in my life.  The two roles are so incredibly different. Since I've never understudied before, I had to come up with a method for keeping everything organized - especially because doing a full run through during understudy rehearsal will be impossible.  The app Rehearsal 2 on my iPhone has been an absolute lifesaver! I've been able to record the other actors' lines scene by scene for both of the roles I understudy. So if I'm focusing on Taylor, I can rehearse her lines and hear the other lines in the scene as well and go through her whole show.  The next day I can focus on Cheryl and have the same experience. Every actor should have it. And no, I'm not a spokesperson for it :-)  I'm also learning about being disciplined. I thought I was already disciplined but quickly learned that I had a lot more work to do! When you're in a play with 6 characters onstage, it's up to you to use your time wisely during the show - it's not just about hanging out.  Whether it's sitting in the audience, running lines alone, running lines with the other understudies, reviewing your blocking or listening to the rhythm or the show, or even working out backstage, there's always work that can be done to help ensure that you're ready to go on at a moment's notice.

How is it different being an understudy as opposed to originating a role?: It's very interesting - especially since I've originated the last few roles in the shows I've done and this is my first experience as an understudy/standby.  It's humbling but also a great honor at the same time.   Tracie Thoms and Condola Rashad are not only incredible actresses, but they're also warm, open and friendly.  I could not ask for better women to work with and each night I'm impressed by what they bring to the stage. The fact that our creative team trusts me to cover both of these phenomenal and challenging roles is kind of amazing to me - and I'm thrilled to do it.  I honestly never thought I would understudy because I always wanted to be the one in the spotlight.  But when I read the script and saw who was already working on it, I put my pride to the side and focused on the amazing learning experience I'd have if I booked the job.  Being an understudy is helping me remember that it's not always about me.
As I began working on the roles, I learned that the goal isn't to copy what Tracie and Condola do, but to bring myself to the character.  So as I'm finding Taylor and Cheryl, I have to make sure that I'm telling the story with honesty - but within the existing emotional framework of the show.  Both the creative team and stage management have been amazing with making themselves available to answer any questions and concerns we have about the show.  During previews we had an understudy rehearsal in the dressing room I share with the other female understudy Gretchen, who understudies Rosie Benton, and Lydia, our playwright, came and sat in on it.  It was awesome to be able to pick her brain about the play.
Also, this is the first play I've done as a professional actor.  All of my other credits have been musicals or commercials so it's a completely different and exciting experience.  Do I miss musical theater? Absolutely. But it's so great to explore the world of straight plays and really tune into myself as an actor - and not an actor/singer/who moves. I'm happy to have the opportunity to learn and grow as an actor while I wait for my opportunity to perform - also knowing full well that I might never have the chance to go on but that's ok.  Will I be disappointed? Sure. But it's part of the job. The disappointment will quickly fade in light of how much I'm growing- both professionally and personally, the friends I'm making, the experiences I'm having and all that I'm learning.

What kind of theater speaks to you? What or who inspires you as artists?: I absolutely love sitting in a theater and being transformed. Emotionally honest theater speaks to me.  I also love thought-provoking,  brave and bold theater - art that thinks outside the box.  Theater that tells a story - that isn't just all flash and spectacle.  Don't get me wrong, I love a good flashy show as much as the next person, but it's even better when there is a great story at the heart of it being told by people committed to telling that story with emotional transparency.
I'm inspired by people who have overcome incredible odds - those who have turned their pain into something beautiful.
And I'm inspired by my relationship with Jesus...because I can honestly say I wouldn't be able to create without Him being in my life :-) 

 Any roles you’re dying to play?: In musicals - Sarah in Ragtime, Deena in Dreamgirls and Aida.  I may be the only black actress left in NYC that has never played any of these roles and it seems like a rite of passage that I have yet to complete. ;-)
And in plays: anything by August Wilson, Pearl Cleage, and Kate in Good People.
On television - I'd love to play one of Mr. Schuester's love interests on "Glee". He'd be down with the brown. I'm sure of it.  Also someone fabulous and stylish on "Revenge" and "Gossip Girl". Oh - also anything on "Psych". And I'm not just saying that because I'm now working with Dule - I've been a big fan of the show for a while now.
And at some point, I'd love to play our fabulous first lady, Michelle Obama on film or tv.

What’s your favorite showtune?: "Wheels of a Dream".  I get goosebumps everytime I listen to the original cast recording.

If you could work with anyone you’ve yet to work with, who would it be?: It's funny - I truly believe in putting things out there. You never know what can happen :-) True story - about two or three weeks before I auditioned for and booked Stick Fly, I was introduced to Dule Hill at the "Blacks on Broadway" photo in Times Square. I was so excited to meet him because I admire his work. I took a photo with him, tweeted about it and said to my friend Daniel who was with me - I just really want to work with him one day. I had no way of knowing that day would come so soon! From my lips to God's ears! So - in no particular order: Viola Davis, Audra McDonald, Ruby Dee, Angela Bassett, Phylicia Rashad, Cicely Tyson, Regina King, Brian Stokes Mitchell, Denzel Washington, James Earl Jones, Will Smith, James MacAvoy, Johnny Depp, Hugh Jackman, Don Cheadle and Lawrence Fishburne.

Who would play you in a movie about yourself and what would it be called?: Hmmm...I'm thinking Gabrielle Union or Aisha Tyler would play me and it would be called either "No I don't speak Ebonics, I'm from the Suburbs" or "The Brickhouse"

What show have you recommended to your friends?: Stick Fly

What’s up next?: Right now, I'm just concentrating on getting both roles performance ready.  This cast is so incredibly talented.  If I do get the chance to go on, I want to maintain the level of excellence the performing cast has set.  I'm grateful for the opportunities that have come my way - and whatever is next for me - only God knows. I'm in good hands :-)

For more on Zakiya, visit http://www.zakiyayoung.com/

Review: All About the Spider Men

Ok. Let’s get the exposition out of the way now. A long time ago, a musical venture known as Spider-Man: Turn Off the Dark emerged on the Great White Way lead by legends Julie Taymor and Bono and the Edge. When it began, many speculated what this extravaganza would be. Audiences would come in hopes the show would be stopped to experience something that rarely happens on Broadway. Injuries were sustained. Rewrites were eminent. Personnel changes were inevitable. And thus, Spider-Man: Turn Off the Dark is the show audiences see today.
I remember being in a Chipotle last October, sitting next to a certain star discuss the tech experience with his band. The quotes I overhead were priceless. Priceless, but true. I remember wanting to take every opportunity to mock it, despite not even seeing the show because it was the easy thing to do. It is easy for the theater person to rip the show apart. It’s easy to dissect every tiny moment that doesn’t quite work. Yes, the music sounds like it’s specifically written for a certain Irish rock star’s voice. Sure, the book has some flaws, especially with the two blatant U2 shout outs. But that’s not why we go to see the show. We go for Spider-Man. The show is visually stunning. At every moment, something or someone is moving. You will never get tired of seeing what comes next. What turns into what. Who pops out where. Spider-Man is a spectacle for the eye. If you’re an avid fan of the comic books or even the movie, you will be disappointed at the liberties taken. The story has been altered. Characters were added. Motives have been changed. But let’s be honest, we would have been pissed if they decided to use the “safe” approach and put up a show that we already know.
You can knock the technical aspects of the libretto and the music, but regardless, night after night there is a phenomenal, dedicated group of performers giving the show life. Reeve Carney is an atypical Broadway star, but he is certainly committed. Patrick Page is a pro. When the script finally allowed him to be the comic he truly is, he shined and stopped the show (no pun intended). But the most thrilling part of the show is the work done by the ensemble. Being a part of an ensemble is no easy undertaking. This ensemble is the heart of the show. They play so many whacky roles in so many elaborate costumes and there is not a phoned in moment to be seen. Daniel Ezralow and Chase Brock have created some wonderful choreography. They showcase the ensemble quite well. And it doesn’t hurt that the performance I saw included one of my favorite dancers to grace Broadway, Paul McGill. One of the highlights of the show was the song “Boy Falls From the Sky” not because Carney necessarily knocked the song out of the park, but the brilliant choreography which featured the brilliant mirror image effect of all the men in their Spider-Man costume. It was stunning moment.
This show has been kicked around. It’s the ugly stepkid of Broadway. But it deserves some recognition. It an experience that every theater person should have. Regardless if you dislike the show, you’ll have a conversation about your thoughts, and really isn’t that what art is supposed to do?

Review: Shooting Major Blanks

There should be a rule about how many Broadway flops you’re allowed before you receive a lifetime ban. Frank Wildhorn, I’m looking at you. And here we were thinking it would be hard to be worse than Wonderland! At least that disaster had music that worked! Bonnie and Clyde, the musical that followed depression era lovers and bandits, Bonnie and Clyde, arrives on Broadway and does nothing but fire blanks.
This Bonnie and Clyde is not based on the movie, according to the author notes. This story follows the love of two young kids looking for happiness in the age of debt. And of course the only way to happiness is to steal…duh! Jeremy Jordan, previously of Newsies fame (wish you could hop in a time machine now don’t ya!) and Laura Osnes, who is unfortnatley cast because she has more talent than what she was allowed to showcase, play Clyde and Bonnie. Jordan looks gangster-lite. Al Capone would laugh at the sight of him. Osnes plays the radiant red head full of hope. Only hope comes in the way of her macho man. Sure, the duo had chemistry, but they lacked motivation. Yes, they sung their brains out. But the music they were provided had no business being in a 1930s era musical set in Texas. A jazzy feel works if you’re up in Chicago with Capone, not Dallas. And a score featuring an electric guitar?! Unacceptable!
It’s hard to fault the actors for the train wreck that is Bonnie and Clyde. Jordan and Osnes do the best they can. Melissa Van Der Schyff is wonderful. Claybourne Elder has the potential to be a huge star. The fault should be pointed toward Wildhorn and director Jeff Calhoun. On a side note, Calhoun should be ashamed that he has a choreography credit. It was more like musical staging. Wildhorn had mild success with Jekyll and Hyde and The Scarlet Pimpernel. He bombed with Wonderland. And again, he has no luck. Four musical adaptations. Perhaps it’s time to move on and create a 100% original musical. I will give him credit that there were some catchy tunes, but it was drab and bit forgettable score. Calhoun has seen glory helming the soon-to-be mega hit Newsies. But having scenes where key moments of dialogue are spoken with the actor’s back to the audience is unforgivable. The atrocious set could be partially to blame. Perhaps Tobin Ost took on too much when he designed the costumes and the set. Levels are always important in designing a set. It gives a director a playground. But this set had levels and ramps and things coming in and out way too often. There was very little payoff. It made the stage pictures suffer severely.
The source material allowed for something that could have been so great. A story about love from the least likely of pairs. We didn’t need the exposition including young Bonnie and Clyde. We didn’t need the pathetic love “triangle” where Louis Hobson’s Ted was made to look like a complete moron. We didn’t need the unnecessary MODERN projections. Bonnie and Clyde is a spectacle of tragic proportions.

What's the Best of 2011?

It's been an exciting year in theater all over NYC! Did you have a show that moved you tears? A show that brought you excitement that you couldn't stop smiling for days? Maybe even a show that inspired you to do something! I'm looking for your input! What was the best theater in NYC? Broadway, Off Broadway, Off Off Broadway, Festivals, Showcases. You name it! Leave your thoughts in the comment section or message me to vote!

Spotlight On...Alex Wyse

Name: Alex Wyse

Hometown: Cleveland, Ohio

Education: Boston University

Select Credits: Lysistrata Jones (Cinesias, Walter Kerr Theater/Transport Group); Academy (Benji, Maltz Jupiter Theater/Daegu International Musical Festival); Lost in Yonkers (Jay, Paper Mill Playhouse/Cleveland Play House/Maltz Jupiter Theater); Mrs. Sharp (Charlie, Playwrights Horizons); Speech and Debate (Solomon, Lyric Stage Company of Boston); Bored to Death (Steven, HBO).

Why theater?: My family took me to lots of theatre growing up, and I knew from an early age that I wanted to make it my life. I saw every national tour that came through Cleveland. I put on shows with marionette puppet theater. I used all the sheets in our house to hang curtains and put on my own plays. I was totally entranced by the magic, the storytelling, the wonder it instilled in me. And I loved quick-changes.

Tell us about Lysistrata Jones: Lysistrata Jones is a new musical by Douglas Carter Beane and Lewis Flinn, directed and choreographed by Dan Knechtges. Here are the press notes, so I don't have to type anything else:  "The Athens University basketball team hasn't won a game in 30 years. But when spunky transfer student Lysistrata Jones (Patti Murin) dares the squad's fed-up girlfriends to stop 'giving it up' to their boyfriends until they win a game, their legendary losing streak could be coming to an end. In this boisterous new musical comedy, Lyssie J. and her girl-power posse give Aristophanes' classic comedy a sexy, modern twist and take student activism to a whole new level."

What is it like being a part of Lysistrata Jones?: It's the time of my life. Every night it's like we're throwing a party on the stage of the Walter Kerr. So the challenge is to bring yourself to the party... and STRETCH. Woof! it's such a physical show, and gives you one hell of workout. Also, I love my cast. Especially my boys on the basketball team: Josh Segarra, Alexander Aguilar, Teddy Toye, Ato Blankson-Wood. We feel like a real team out there. We've got each other's backs, we work together, and that's the real thrill of the show. Being on this kickass team, busting ass together every night. Plus, it is such an honor to be making my Broadway debut. I dreamed about this as a kid... didn't dream about the basketballs... but we give and take... The point is - to make my Broadway debut in such a joyful show is monumental to me. I will never stop being grateful for this opportunity.

What kind of theater speaks to you? What or who inspires you as artists?: All theater speaks to me. The question is whether or not I listen. And I have some attention problems. For instance, when I was a baby, my mom would call my name, and I wouldn't respond. She took me to the doctor to check my hearing. The doctor had to break it to her that I could hear perfectly fine. I just wasn't interested in what my mother had to say. Now, my mother is a wonderful woman. But let's just say that I don't like dating other Jews because one Jewish mother is enough. Next question, please.

Any roles you’re dying to play?: The roles I want to play are roles that have not yet been written. Or Fanny Brice in Funny Girl. Check out my version of "My Man" on YouTube.

What’s your favorite showtune?: I like songs by Harold Arlen because they are timeless and can be vocally interpreted in so many different ways. And yes, I know that I am coming off in this interview like I'm doing a cabaret at the Cafe Carlyle. ...But seriously if you know the booking agent, let's talk.

If you could work with anyone you’ve yet to work with, who would it be?: Frances Conroy. Based on her work in "Six Feet Under", I think she's one of the best actors working today. I know we're not supposed to be result-oriented, but bitch can drop a tear.

Who would play you in a movie about yourself and what would it be called?: I would play myself, and it would be called, "Life is Not a Fairytale: The Fantasia Barrino Story."

What show have you recommended to your friends?: Sons of the Prophet. It's the best play I've seen in months. Honest, hysterical, heartbreaking, and it really spoke to me - the themes of growing up and finding yourself reluctantly becoming an adult... I got that.

What’s up next?: Who knows! I'm gonna keep going Lysistrata Jones until... I guess until we don't do it anymore. Hopefully that won't be for a long while. And then? I'd love to do a play next. After all this dancing, my legs need a break.

For more information on Alex, visit http://www.alexwyse.com/.

Rock of Ages Trailer Debuts!

Well it's here! The movie of the summer? Potentially. It looks like a blast with some fun performances, but I'm still bitter with deletion of three of the best characters!

Review: Enter Perfection

It’s simple as this: grieving sucks. It’s hard and takes many forms. In the sharp and hauntingly beautiful Exit Carolyn, we watch as three characters’ lives are affected by the death of a loved one. And they each take their sorrow to heart. Julie and Lorna are roommates who are still feeling the aftermath of the death of their best friend and roommate, Carolyn. Lorna has decided to put grieving on the backburner and move on while Julie, a month later, still sits on the couch eating her pains and watching “Judge Judy” all day long. As the play progresses, we learn that Carolyn was the unannounced glue that kept the trio together. Lorna pushes Julie to move on with her life but Julie wants nothing but to preserve the past as long as she can, including not touching a single item in Carolyn’s bedroom. Julie, who seemed to always have a thing for Carolyn’s brother, Matthew, calls Matthew on an inebriated whim to come over. We see Matthew’s way of grief falls right in between Julie and Lorna. Julie and Matthew enter Carolyn’s room and put on her clothes as they believe it’s the only way they can still feel her. Meanwhile Lorna has invited Avery, a potential new roommate, over to view the apartment to take the third spot. Avery, a quirky and not all quite there girl, stays forcing a major wedge between two girls who have very different ideals of moving forward.

Jennie Berman Eng’s script is near perfect. She has captured four distinct characters in a situation that is dramatic, but added just the right amount of comedy. The dialogue is smart, punctual, and utterly believable. Sure some fat can be trimmed in the second act, but overall, she has a solid script that tugs at the heart. Adam Knight has done a sublime job guiding an outstanding ensemble. The objectives are clear. Jake Loewenthal is charming as Matthew. Anna O’Donoghue is good playing the tough as nails Lorna, but lacks the full amount of empathy needed to make the final scene spot on. Lauren Blumenfeld does a wonderful as the quirky comic relief, Avery. But the stand out of the ensemble is the beautifully underrated and stunning Laura Ramadei as Julie. Ramadei is the perfect blend of funny and sincere. Ramadei has a bright career ahead of her, so it’s unfair to say that this was a performance of a lifetime, so instead, this is a career-defining performance.
The organic design of the show fits perfectly. Steven Manuel does a great job costuming the characters to fit their personalities. He even ties in Ashlee Springer’s maroon pillows and curtain into some of the costumes. Austin Bransgrove’s lights set the mood quite nicely. My favorite moment design-wise in the production came in the first act when Lorna was in the living room listening to the Rolling Stones and Matthew and Julie entered Carolyn’s room. Toby Jaguar Algya did something marvelous with the sound, reminding us that there was still music being played but drowning out the definition. The effect was genius.
Exit Carolyn is one of the best plays I’ve seen in a very long time. It is a must see. You will be moved from start to finish.

Review: Hedda the Sitcom

It’s pretty safe to say that most people have a moment in their life where they feel trapped, longing for an escape. Whether it be trapped in work or in love or just the general strain of life. Hannah is no different in Friends Don’t Let Friends. Less Than Rent, an ambitious and wonderfully triumphant group of talented young theater artists, present a reimaging of the Henrik Ibsen classic Hedda Gabler in a modern day world where Hannah, a character on the fictional sitcom “Reel Deal”, takes on a similar saga like Hedda. Only in Hannah’s world, her realities are severely blurred.
Adaptations can be hard. You need a niche to make it original. Playwright James Presson has skillfully taken the classic story and placed it in the sitcom world of “Reel Deal.” Each character personifies Ibsen’s characters. Becca Ballenger’s, in a tour de force role, Hannah is Hedda. Cory Asinofsky’s George is Tesman. Jason Zeren’s Isaac is Lovberg. Will Turner’s Brad is Brack. And the list goes on. As the line of sitcom and real life are blurred, so is the basic plot. The known plot drifts back and forth within the sitcom and when Hannah breaks from the show. The world inside the sitcom plays off of the classic form that we know and love from sitcoms. Stock characters forced into funny situations, occasionally accompanied with physical comedy. George is a mix of Seinfeld and Ross Geller. Beth is the ditzy secondary character who’s not all quite there like Phoebe. Hannah is the generic leading lady driven daffy by the obtrusive laugh track. And then there is Brad who is the goofball best friend. But Will Turner shines when he breaks from his sitcom persona, as does the play. By far the best moments of the play are when the bright lights snap off from the sitcom and the stark reality appears. Hannah is a broken person who desires guidance. She gets those moments when non show Brad has a heart to heart with Hannah and when Hannah goes to an unlikely source for advice. Though he only gets one solid scene of dialogue, Tommy Hettrick as stagehand Henry uses every moment he’s given. His genuine and sincere character is the most grounded and realistic character in the play. The ensemble as a whole had a tremendous undertaking of flipping from world to world. They seemed to handle the task well. Each character had their moment. Some of the most intriguing and amusing moments came from the Jason Zeren, who played the divaliciously zany and outlandish Isaac.
Rachel Buethe did a fine job directing the piece. She placed comedy when comedy was needed. She directed the off camera moments with ease and tenderness. The inclusion of a four and a half person ensemble (as one of the actors had lines) as stagehands was a clever decision. Though they occasionally stayed on set a tad too long at moments, they really helped set the tone of blurring the lines. Scenic designer Caite Hevner created a color splash of a sitcom set with the brilliant upper level reveal of the show’s stars’ dressing room. Lighting designer Ryan Seelig helped define the line of show and real life with the stark difference in color. The coolness and drab of reality was more comforting than the warm sitcom light. Gifford Williams knew exactly how to create a sitcom atmosphere. Just as it drove Hannah batty, the laugh track just kept going and going and driving me mad, even when the lines weren’t funny. As did the consistent theme song supplied by the band the Fratellis. But perhaps that was the point.
I'll say it again. Adaptation is hard. I know from experience. But James Presson does a fine job. I appreciated when Ibsen’s plot was present and the liberties he took to create his own Hedda. I waited to find out if Friends would end similarly to Hedda, and boy was I pleasantly happy how it ended!

Stick Fly Road to Opening: Opening Night!

Well it happened! And it was an amazing night! The audience was on their feet the second the blackout happened. The party was out of control. Not only was it at the Copacabana, but it was all three floors of the Copacabana! There were celebrities galore, and even a certain movie "musical" actor who crashed the party! The journey on Broadway has only begun. There is a bright future ahead. Here's to a prosperous life on Broadway Stick Fly!

Aaron Tveit Joins Revolution

The list just keeps getting bigger and bigger! Next up is Broadway heartthrob Aaron Tveit as Enjolras, the leader of the student revolution. Now the biggest question of this movie is, who gets the credit above the title? At this point it's getting a tad too big to give them all the star power they're bound to want. We shall find out soon! 

Borat is the Master of the House

Just when you thought you couldn't jam pack another name into the Les Miserables movie, they do! Joining Hugh Jackman, Eddie Redmayne, Anne Hathaway, and Russel Crowe is Borat himself, Sacha Baron Cohen as Thenardier, the Master of the House. Now the question is will they be able to find a lady that can keep up with him as his misses! At this point, I vote Queen Latifah. Also, there are no reports on who's won the role of Eponine, but Lea Michele said she will be embarrassed if she doesn't get it. Well, start being embarrassed because I pray it ain't you!

The (Potentially Broadway Bound) Toxic Avenger Assembles

With the buzz that the production will move to Broadway after it's run at the Alley in Houston, the Off Broadway smash hit The Toxic Avenger has a cast. Leading the cast as Toxie is Constantine Maroulis with Mara Davi as Sarah, Nancy Opel reprising her role as Mayor Belgoody, Mitchell Jarvis as White Dude, and Antoine L. Smith as Black Dude. I don't know about you but I'm most excited about Mara Davi (even though she's yet to be cast as Reno Sweeney...)

Spotlight On...Laura Ramadei

Name: Laura Ramadei

Hometown: Silver Spring, Maryland and Evergreen, Colorado

Education: Denver School of the Arts; NYU, Tisch, Stella Adler

Select Credits: Keep Your Baggage With You At All Times (Julie, Theater for the New City); Cloud Nine (Maud/Lin, The Nola Project); Too Little Too Late (various, HERE Arts Center); Sunken Living Room (Tammy, Theater 80); Squealer (Caroline, Lesser America).

Why theater?: Because we can't help it. Because this is where we find ourselves. Because though other mediums of performance are also thrilling, there's nothing like sitting in a room and experiencing a story live. Resonating with another human's spirit several feet away. And because some of us are addicted to working for no money, I guess.

Tell us about Exit Carolyn: I've been chomping at the bit to do this show since we workshopped it with Slant Theater Project last year. The first time I read the script - literally three lines in - I already knew I was a fan of this writer - Jennie Berman Eng. Her characters are crisply individual, uniquely intelligent, fun and brilliantly messy too. Exit Carolyn is about the death of a young woman, her closest friends and what happens to the people she left behind and their relationships. And Jennie deals with this incredibly heavy subject matter as hilariously as I think is possible. Which is what makes it such a human play. Even in our darkest moments we are a funny and ridiculous species just trying to figure out what to do next.

What is it like being a part of Exit Carolyn?: Hard to summarize. It's a complicated piece. And I think each of us on stage has to really confront and delicately navigate some gut wrenching material in rehearsal every day. We're always carving through these intricate moments together, and often picking through some almost ridiculously detailed nuances. I assumed it would be a breeze because I play a couch-bound danish-consuming stoner, but every day I leave rehearsal totally drained. It's a tight process and everybody is really kicking ass and taking names.

What kind of theater speaks to you? What or who inspires you as artists?: Whatever is truthful. Bonus points for funny. My tastes tend to vary across style and convention but I love anything that moves me and that does so without pulling any dirty tricks. If an artist can really let me into the weirdest and darkest part of their artistic soul I'm into it.

Any roles you’re dying to play?: They haven't been written yet.

If you could work with anyone you’ve yet to work with, who would it be?: Charlie Kaufman. Mitch Herwitz. Anna Shapiro. The list is too long. I'm tempted to say something about making out with Ryan Gosling but I respect his talent too much to objectify him. Whoever's around and ready to play, I'm down to work with.


Who would play you in a movie about yourself and what would it be called?: It would be called "It Really Ties the Room Together: A Misguided Career in Interior Design", and I would be played by David Cross in a really thrilling gender bending biopic.


What show have you recommended to your friends?: Hand to God at EST is fantastic. That show has gotten so much well-deserved attention I'm probably being redundant, but it truly is great. And the people working on it are the loveliest. Also Suicide Incorporated at Roundabout Underground. Brilliantly well acted.


What’s up next?: I just wrapped shooting on a divinely little web series with Alex Anfanger, written by playwright Adam Szymkowicz called Compulsive Love. It'll start releasing in the new year. And in the spring I'm working on the final show in the inaugural season of my theater company, Lesser America...yet to be announced ;)

For more information on Laura, visit http://lauraramadei.com/