ABT 2016 - The Sleeping Beauty

It seems like only yesterday I was going into the Met excited about the first ballet of the season. Time flies by too quickly, especially during ballet season:  last night, I saw my last ballet for the summer. It's a sad thought, but at least my season went out with a bang.  I simply adored last night's The Sleeping Beauty.  I saw this new production last year and was really looking forward to seeing it again. There is so much detail and so much loveliness that it was hard to take in during one viewing.  I think I enjoyed myself even more last night, I really felt the music and the dance and the costumes just made a perfect whole; I was completely and utterly enchanted from start to finish.

I don't remember, but maybe I did a little changing to my season tickets, because last night's seat neighbors were new to me.  I wonder if cranky lady to my left will miss me. Anyway, there was a new cranky lady to my left, but she mainly kept to herself.  The gals on my right were tourists from Louisiana who had never seen a ballet before.  I think you can imagine how excited I was to fill them in on what wonderfulness was in store for them! They really seemed to enjoy themselves, which is always nice to see.  Maybe they'll become subscribers in their hometown!  I hope so.

speaking of chandeliers...

When I entered the theater, I made sure to ask an usher about the chandelier situation (if you recall, in my first ballet post of this season, I mentioned that I was disappointed that the lights didn't raise before the show started.  they didn't raise all season).  He smiled, as if he had gotten this question 137, 243 times before and told me the chandeliers were being repaired and they should be working again next summer.  Woo hoo! Something more to look forward to!  As if I needed something more to look forward to with regards to ABT...

Back to The Sleeping Beauty.  You can see my review from last year's performance HERE. That post will remind you about the impetus behind updating ABT's production and what kinds of changes Alexei Ratmansky made.  I'll just talk about everything I loved.  I'm a seriously big fan of the way the choreography emphasizes and extends the storytelling. I'm all for dances that take us out of the plot, but it's also nice to see everything drive the story and emotion.

The sets and costumes are simply glorious, and there are more wigs than I've ever seen before!  When I used my binoculars to get better looks at all that beauty, I did notice that a few of the gals had a hard time getting those blonde wigs over their dark hair, but it wasn't really distracting.  And the Queen's wig still rather does look like the Bride of Frankenstein, but the beautiful lady wore it well.  

During the prologue, the fairies were all so lovely and unique.  Veronika Part was exquisite as the Lilac Fairy and one of my favorites, the sparkly Skylar Brandt, made an enchanting Canary.  I did notice one Lilac Fairy attendant who had, I think, an extreme and unfortunate sunburn.  It looked painful.  I can only hope she got some aloe on it after the show and it cooled down for her.  My ABT MVP, Roman Zhurbin, was again commanding and regal as the King (I saw him last year, too) and he's added a touching paternal quality.  At one point, his queen almost tripped on her enormous dress, and he gallantly took her arm and steadied her, then patted her hand as if to say, 'no worries, my dear.'  I just love him. And Marcelo Gomes was perfection as the evil fairy Carabosse, with crystal clear miming and terrific comic (and terrifying) timing.  He was grand, as always.  

photo credit: Gene Schiavone

After the prologue, I was happy to see that the Garland Waltz seemed much less crowded to me, and it was perfectly in unison, so that was delightful. Isabella Boylston, who I enjoyed so much as Juliet last week, was an enchanting Aurora.  She made her entrance practically on wings, she was so quick and airy.  She showed great affection for her parents, excitement at every new thing happening at her birthday, and her dancing in the Rose Adagio was exquisite.  If it were me, I would've definitely picked the Spanish Prince immediately, since he was danced by Calvin Royal III, but hey, I get that she has to save herself for her handsome prince in act two.  :) She was also quite touching after she swooned for the first time, trying to get up and dance so her parents wouldn't worry, before falling to the ground for her very long sleep.

photo credit: MIRA

Speaking of our handsome prince, my god was Joseph Gorak the epitome of handsome prince-ness.  He was supremely princely, with regal carriage, good breeding and a lovely remoteness.  His dancing, as always, was exquisite - expansive and engaging.  He showed such delight in dancing with his princess, both in the vision scene and in the wedding pas de deux. I was practically swooning (as was my seat neighbor from Louisiana).  He even made that goofy Revolutionary War costume look good.  He had a great rapport with Isabella, so I truly felt the love and romance whenever they were on stage together.

I love how, in this version, the wedding celebration doesn't seem like filler or an afterthought, but a true celebration of love and marriage.  Each of the fairies here were deilghtful, especially Christine Shevchenko as the Diamond Fairy, and Cassandra Trenary and Daniil Simkin were amazing in the Bluebird variation.  

Obviously, I loved every minute of The Sleeping Beauty and I hope they leave it on the program for years.  It can't be an inexpensive ballet to produce, I admit, because it's a cast of thousands who all must wear at least three wigs apiece, but still.  It's just gorgeous ballet at its best, with a clear throughline from beginning to end and a charm and ease that's a delight.  There are performances all week, so you should get yourself over to the Met to see for yourself. Me, I'll be dreaming of what's on the bill for ABT's fall season...

Review - War

Last year, I went to an event where playwright Branden Jacobs-Jenkins received an award.  During the ceremony, the first scene of his latest play was presented.  I thought the scene was incredible and immediately decided, "I have to see that play!" That play was War and I finally saw it last night at LCT3.  I was supposed to see it a few weeks ago, but my dental trauma made that impossible.  I was bummed to miss my original performance date, but since the tickets at LCT3 are so affordable, I went ahead and bought myself another ticket. The website said I got the last ticket available for the show, but I saw quite a few empty seats scattered throughout the house last night, so you can probably still get in, if you like.

Getting seat neighbor antics out of the way first - this is a bit of a spoiler, but the play begins with someone already on stage. As many of the audience members entered, they would stop, point and talk about the person already on stage.  One weirdo actually got out their camera and took a photo.  The usher ran over and said NO PHOTOS!  But that didn't stop other people from taking photos from their seats.  What is the matter with people?!?!?!  I love pictures as much as anybody (and probably more than some), but even I can restrain myself when I'm in a theater!!  Grrrr.  The gent in front of me (in the front row) was conservatively seven feet tall so no one in the theater could see around him.  Of course he had excellent posture and wouldn't lean down in his seat.  I missed one whole scene because I just couldn't get a view around him.  I heard the people behind me complaining too.  The gals on my right maybe hadn't seen each other for awhile, at least that's what I gather from the TICKLE FIGHT they had during intermission.  A tickle fight.  I should mention these women were older than me.  I kid you not.  And the gal on my left was a fidgety sort, wearing a thousand bracelets.  All I could think of was Vera's line in Auntie Mame:  "what have you got back there, reindeer?!"  She was also abnormally attached to her sippy cup.  I tell you, these crazies are almost enough to keep a person from seeing a show.  Well, no, not really. I won't stay home.  But people ARE annoying.  I guess I should be grateful no one got on their cell phone during the play.  Moving on.

Back to the play.  War is about identity, family, forgiveness, politics, mortality and maybe even a little science.  I think.  There's a lot going on.  It's often funny, often scary, completely audacious and sometimes confusing.  I may have even cringed at points (in a good theatrical way, I mean).  Ultimately, I think I found the play utterly compelling and truly fascinating, not to mention thought-provoking, but I'm not sure I 'liked' it.  I liked many aspects of it, but I feel as if the second act isn't completely satisfying after the incredibly risky first act.  If that makes sense.  I was all jazzed up at intermission and then felt a tad let down by the second act.  But, maybe that's just me.  The tickling ladies next to me loved the second act (or so they exclaimed after the curtain call; obviously they haven't heard of the five-block-rule).

photo credit: Sara Krulwich

The play begins with a woman in a hospital bed and two women keeping vigil.  One is the woman's daughter, who is calling her brother via a cell phone.  She doesn't know who the other woman is.  The other woman, who seemingly doesn't speak English, keeps saying 'sister,' but that doesn't make any sense to the daughter or the son, who tries to take things over when he arrives.  Gradually, we discover that the woman in the hospital bed, Roberta, had a stroke.  The daughter and the son struggle with what to do about their mother, but are continually provoked by the presence of the other woman.  Later added to the mix is the other woman's son - and periodically, throughout the proceedings, we see Roberta, the mother, gliding across the stage, in another dimension of some sort, struggling to make sense of what has happened to her.  (So, parenthetically, it made me laugh that those people taking photos before the show started were taking photos of a body double or a mannequin of some sort.  That will teach them.)

photo credit: Sara Krulwich

The twists and turns of family, of illness, of mortality, of breaking free of established roles, all play a part in War.  I especially enjoyed the idea of Roberta floating through some aspect of time and space, in another dimension because of her stroke, trying to figure out who she is and what has happened.  The way her life comes back to her is wonderfully written, and boldly accompanied by actors playing apes, or 'alphas', who speak in sign language to her in this other dimension.  It's all very hard to explain in a clear way, but I thought the storytelling in the first act was shocking and bold and very theatrical.  We hear about the history of the characters as Roberta tries to piece her life back together, which informs how they behave (often badly) in the present.

photo credit: Erin Baiano

The second act is a little more didactic, in my opinion, with less from Roberta and more from her kids, who clearly have never liked each other (probably informed by how they were treated by Roberta) and have no idea how to cope with each other now that their mother's mortality is in front of them. They also have no idea how to deal with the other woman and her son, who also have claims on their mother and their inheritances. There are some really ugly fights and some characters are hard to look out without repugnance. It's all woven together quite well, but all of the naturalistic speeches in the second act that seemed to say "here's what the play is about" were less interesting to me than the juxtaposition in the first act of reality and the limbo of life and death.  I did appreciate all of the different family dynamics and levels (or not) of forgiveness and I was surprised by the last scene, but I still wasn't as jazzed by the end as I was by the beginning/set up.  Oh well.

Regardless, I was completely engrossed in the story and in the performances, so I guess I shouldn't complain about much.  Charlayne Woodard is amazing as Roberta - so smart and hard, so inquisitive and appealing.  I loved her.  Rachel Nicks and Chris Myers, as Roberta's kids, were also terrific; they weren't afraid to be unlikable, but they also had a great relationship and really seemed like siblings.  Reggie Gowland, as the daughter's white husband, did an excellent job being supportive, horrified and clueless, all at the same time. And Michelle Shay and Austin Durant were excellent as the interlopers who just might be family, though their roles were a little underwritten, in my opinion.  Oh, and Lance Coadie Williams was very good as the sassy day nurse and another character in Roberta's dreamlike world.  He was also very good company when we rode in the elevator together after the show.  :)

This is only the second play I've seen by Branden Jacobs-Jenkins and it's clear he has a lot to say.  I will enjoy hearing more from him in the future.  Even if I didn't find War to be completely successful, it's definitely worthy of your time and attention.  It's well-acted, smart, thought-provoking, and very funny in places.  Those types of plays are always worth supporting.

ABT 2016 - Romeo and Juliet

Well, hello again!  My outings are few and far-between lately, I know.  I have a couple of shows coming up (yay!) and my last ballet is next Monday (boo!).  But before all that, I was fortunate enough to win tickets to ABT's Romeo and Juliet this afternoon.  I came into the office early and I'll be here late, but it was worth it to sneak out to see such a grand matinee performance.

This year, Romeo and Juliet wasn't part of my subscription series and I was ok with that. Remember, I saw it three times last season!  And one of those performances was the final performance of my favorite ballerina, so I wasn't really that disappointed that it wasn't part of my series.  But when a free ticket opportunity came my way, I had to try.  And fortunately, I won!

My seat was pretty close, though a little off to the side.  It only was an issue when I couldn't see the stairs leading up to Juliet's balcony, but other than that, they were fine seats.  I didn't even have any right-beside-me seat neighbors!  Woo hoo!  Though the party in front of me was a bit wackadoodle.  One of the gents kept having to get his synopsis out to read it, whenever he felt lost, I guess.  But, hello, who doesn't know the plot to Romeo and Juliet?! I thought that was a bit nuts.  And there was a woman who brought a toddler with her; a toddler who, of course, began screaming his head off during Romeo and Juliet's first pas de deux.  Uh, NO!  Get that baby out of here!  To her credit, she did, though you could still hear the kid screaming throughout the lobby...

I saw a new-to-me pairing as our lovers today - Isabella Boylston and James Whiteside.  I don't think I've ever seen them paired up before (I could be wrong, I frequently am), so it was interesting to me to see how their chemistry and commitment to each other would play out over the course of the ballet.  I will say that I didn't see a lot of chemistry between them, but there could be a reason for that.  I'll get to that later.  Oh, I just read an article that said it was Boylston's debut as Juliet, so now I'm even more impressed!  Of course, the article said that my favorite former ballerina coached her, so now I'm not surprised to have enjoyed her...

I generally enjoy Boylston, though sometimes her arms drive me nuts. But I thought her characterization of Juliet was first-rate.  Really, really good acting from her.  She made some strong choices and they all worked - she went from enchantingly childlike at the beginning to willfully passionate by the end.  And her last scene brought me to tears. When she comes upon Romeo in the crypt - tragic.  Her dancing was also very light, but dramatic.  I was very impressed with her.  I'm seeing her as Aurora Monday night and now I'm really looking forward to it even more.

I think James Whiteside is generally a very good leading man - his dancing is strong and assured and he's an attentive partner. But I didn't get much acting out of him today.  At least not while he was supposed to be acting.  His dancing was quite dramatic, especially as we got towards the end, but I found him a little blank at times. I didn't notice much camaraderie between him and his pals today, either.  Maybe it was just an off-acting day for him.  His solo dancing was terrific, though.  I will say I saw a real affection and gratitude between Boylston and Whiteside during curtain call, so maybe they just need more performances together to put it all together onstage.

Daniil Simkin was a beautifully danced Mercutio, and very charming, but his characterization still seems a tad incomplete.  I was completely entranced with Calvin Royal III as Benvolio, though.  I thought he was exquisite.  So elegant, yet a guy's guy.  I am dying to see him as Romeo.  I think I saw the same gent I saw all three times last year as Tybalt and he was again fine. I seem to recall last year more menace and less petulance, but that could be a false memory.  I really enjoyed Thomas Forster as Paris - he was a younger and more impressionable Paris to me and I liked that.  His feelings kept getting hurt by Juliet instead of his pride, and I appreciate that interpretation.

The ladies in the corps de ballet did a nice job dancing in unison today, though the constant eye-rolling by some of the younger gals got a little old by the end of the second scene with the harlots.  I thought the harlots were fantastic - zesty, open, fun and full of feeling.  I can sometimes tune out during their dancing and think of it as filler, but they were driving Romeo's story today.  I liked that.  The gentlemen really need to keep working on their fencing, their free arms are just flapping around and that's not fun to watch.  Plus, some of them stay flat-footed during the duels and that doesn't make any sense at all.  I know they can't all be great dancers AND great fencers, but they could make more of an effort.  In my opinion.

One thing that really stuck out for me today was the tempo of the music.  I have a feeling the conductor or the orchestra had a train to catch, because my god the music was FAST. I think that could be part of the reason there wasn't a lot of chemistry/connection between Boylston and Whiteside, especially during the balcony scene.  It was just too fast!  It was as if they were concentrating on getting all the steps in but not really on each other!  I don't know.  I'm not really an expert on music tempo, but I've seen the ballet enough where I can tell a difference.  At least I think I can. I guess it could've just been me.  But all-in-all, I had a grand time at the matinee today and I look forward to seeing Boylston develop even more into a great prima ballerina.

Thoughts on The Healing

Those of you who know me, or read my blog, may remember that I'm a staunch advocate for the rights of the disabled.  I know I don't always do enough, but I try to do what I can - I serve on committees and I speak out where appropriate.  I recently wrote a brief essay in my company's magazine about how to make our theater audiences truly diverse, including for the disabled.  So, all of that is to say when I received a steeply discounted ticket offer for Samuel D. Hunter's new play at TBTB (Theater Breaking Through Barriers), I immediately pounced. Since the show is still in previews and doesn't open until next week, I'll only offer a few thoughts.

I've only seen one other Sam Hunter play, Pocatello, which I really enjoyed (you can read that review HERE).  I need to read more of his work - as a small-town, Midwestern girl myself, I connect with his worldview.  I just watched an interview with Sam where he described the incident that compelled him to write his new play, The Healing, for a particular group of actors he admires.  That all of those actors happen to be disabled is not a coincidence.  This is how the theater company's flyer describes the play:  "Twenty-five years ago, a motley group of friends met as kids at a summer camp where the head counselor secretly taught them their disabilities could be “cured” through the power of prayer. Today, the group has gathered to mourn the untimely passing of one of its members. Over the course of the night, old wounds are uncovered, friendships are tested and the truth surrounding their late friend becomes troublingly clear."

The Healing is very moving, both on the page and what it accomplishes just by existing: a chance for wonderful actors who happen to be disabled to show their considerable talent. I'm always interested in stories where people question their faith, since I am constantly questioning myself, and to hear characters in this play describe people, who truly think they're coming from a place of love, who think their being disabled can be cured by praying more, is simply heartbreaking.  Hearing how they've changed, accepted things, and changed again was terrifically thought-provoking.

The play begins after a funeral - two friends are eating leftovers and watching a home-shopping network because they can't find the remote to turn the channel.  We learn that we're in the home of the deceased, Zoe, and the two friends, Sharon and Donald, are there to clean and empty out the house.  Over the course of the evening, we meet two more people who used to be friends with Zoe, Laura and Bonnie, plus Bonnie's new boyfriend, Greg, and at the end of the play, we meet another character only alluded to throughout the evening.  In flashback scenes, we also meet Zoe.

Part of me wonders if it would've made more sense for us NOT to meet Zoe, to just hear about her through the other characters, though I'm not sure that's the right choice, either. And I guess that would make it my play instead of Hunter's.  But that didn't really bother me, it just sort of struck me on the way home. On the whole, I enjoyed watching The Healing very much.  It was a story I've never seen onstage before, which I love, and these actors were terrific.  There were many stories being told, actually, both on- and off-stage. There were a lot of laughs interspersed with the sadder moments, and all of the actors had terrific comic timing.  They were all disabled, too, remember. So this story of disability was told with great authenticity and truth, which, as we all know, isn't always the case.  So, bravo, cast of The Healing:  Shannon DeVido, David Harrell, Jamie Petrone, John McGinty, Mary Theresa Archbold, Pamela Sabaugh and Lynne Lipton.  I hope to see you all onstage a lot more in the future.

As with Pocatello, I think Sam Hunter has written truthful, interesting characters, with flaws and demons.  The dialogue was quirky and smart and always completely authentic to the characters.  The arguments about religion were done so as all the characters were treated with dignity and respect and no one was demonized.  I do think maybe the actors got some new pages recently, because there seemed to be a few awkward pauses throughout the night, but otherwise, this was a smart, funny, sad, touching piece about a topic I found fascinating.  I was asking myself many questions on the way home from the theater, which is always a treat, and plays that can do that are ALWAYS worth championing.  I think you should definitely go see The Healing.  I may go back again myself.

ABT 2016 - Swan Lake

Gosh, I can't believe I'm almost at the end of my ballet season! After last night, I only have one to go!  Sad face.  But at least the last ballets are two of my favorites - Swan Lake and Sleeping Beauty.  I just love the combination of beautiful dancing and Tchaikovsky music.  I'm looking forward to seeing the new production of Sleeping Beauty again, I only saw one performance last year, so I'm happy to be able to see it again so soon.  But last night, the war horse of all story ballets:  Swan Lake.  For the first time all season, the house was packed.  I got stuck at work a little late, so by the time I arrived at the Met, the lobby was hugely crowded and there was a huge line at the ladies room.  Oh well. it all worked out, even though I felt a little rushed and breathless most of the night.  I wish the breathlessness had been because the ballet was a sublime, transformative experience, but, alas, I had to settle for a gorgeously danced piece with not a lot underneath.

Maybe I expect too much.  After seeing an incredible performance a few years ago, now I'm spoiled and greedy and want that experience all the time.  And I know that those kinds of nights only happen once in a very great while.  But after having one, I just want more. Which I guess makes me more picky and critical of things, and I really shouldn't be. After all, as we all know, everything is beautiful at the ballet.

Except my seat neighbors.  And my seat, actually.  There was gum under my seat.  Can you believe it?  Gum??  I was shocked. Thankfully, I saw it before I sat down and could take it off.  I can't believe the staff didn't clean a little better, but still.  There was the couple a few rows behind me who, when the usher came over and asked to look at their tickets because someone else seemed to have those seats, refused to move. The usher said "Those aren't your seats."  The yutz said "But this is where I want to sit."  Um, hello?!?!  I want to sit tenth row center, but I don't go plant myself there!  Really.  Some people.  And there was the guy who laughed at the end of the first act.  Cracked up. Really loudly.  It was so disrespectful.  I mean, ok, something can always strike someone funny, but if you laugh loud enough that someone on the other side of the balcony can hear you?  You're too loud.  Yutz.

photo credit: Rosalie O'Connor

Sigh.  Finding my zen place.  Getting back to the ballet.  I was excited to see last night's cast - I've never seen Gillian Murphy dance Odette/Odile before and I knew she would absolutely slay in the Black Swan pas de deux in the second act, but I was interested to see how she would handle the much softer, more lyrical choreography in the first act. So...she was lovely, don't get me wrong, and it definitely was the softest I've ever seen her (I often describe watching her as watching a diamond, beautiful and brilliant but hard) and her technique is always off the charts, but I didn't see her really embrace the white swan's character - the sadness and the timeless love - and I didn't ever see her connect with her Siegfried, the divine Marcelo Gomes. They had chemistry, sure, because I think Marcelo could have chemistry with a potted plant, but I never saw her be affected by him.  I just guess acting/characterization is not her strong suit, but golly her dancing is grand.

The Black Swan pas de deux was electrifying.  At the end is a famous sequence of 32 fouette tours (there's a very interesting article in the New York Times about this, if you're interested), which conquer many ballerinas, and Gillian was thrilling.  She even added double and triple pirouettes, maybe even a quadruple?  And different arm placements made the degree of difficulty even harder.  It was fast and free and ever so exciting.  The crowd went insane for them - even Marcelo, still in character as Siegfried, was thrilled by her dancing and thrilled that he found his love.  His acting is always just exquisite, as is his dancing.  I also saw Cory Stearns play Purple Rothbart for the first time.  I liked him in the role.  He was decadent and sardonic, but very sexy.  He knew everyone in the room was staring and he used it.  His solo in the ballroom could use a little more pizazz, but I think he'll get there.  Maybe he's more suited to villains than heroes because he puts more focus on his acting.  Whatever it is, I'll take it.

photo credit; Gene Schiavone

As for the other dancers, Marcelo Gomes = perfection in every way, no need to bring that up again.  I also again adored Joseph Gorak as Benno, he makes a wonderful best friend, though I thought I saw a new dimension in his friendship with Siegfried, a rivalry for one of the aristocratic ladies, and that was what sent Siegfried to the woods.  I thought it was a really nice interpretation and I don't remember seeing it done quite that way before. Gorak did a terrific pas de trois with the sparkling Skylar Brandt and the exquisite Sarah Lane. That may be the best version of that threesome I've ever seen, I loved them.  The swans were terrific and also got a big round of applause.  The cygnettes were great and the two swan soloists, Devon Teuscher and Melanie Hamrick, were first rate.  In fact, it was really an all-star evening with most of my very favorite dancers in a role or two. Craig Salstein and Arron Scott were great in the Neapolitan duet and, of course, my ABT MVP, Roman Zhurbin, was a sinister and overwhelming Lizard Rothbart. How he acts so wonderfully in a big lizard suit is a miracle to me.

So it was a nice evening, an exciting evening at times, but not a transcendent one.  Oh well.  Off to the next.  And thinking about the next is always exciting.  :)

Review - Charles Busch at 54 Below

photo credit: Frederic Aranda

I was talking to a friend earlier today and I said, "why should I write a review of Charles Busch's cabaret?! Everyone knows what I'll say!"  But she thought I should post something in case other people were on the fence about going someday, and also as a record for myself, that i can go back and read when I want to be uplifted.  I was convinced!  So, even though everyone knows what I'm going to say, here are some thoughts on last Friday's fun...

I'll admit I don't get to 54 Below very often, in fact, I've only gone once before.  But I was able to secure a discount for last Friday's early show, and I figured I could splurge a little on the dinner/drink minimum because I didn't eat very much last week (more tooth drama; I'm still working through whether I want to share THAT traumatic experience). But it is a lovely spot, if a little pricey - it's cozy (just thisside of being cramped) and not too big or too small, and the way the room is set up, the performer is the star, but is still very close to the audience.  I do have one complaint, though - they turned the air conditioner on about half way through Charles' show and it was FREEZING in there! I'm glad I thought to take a scarf with me, but it was still mighty cold in there...

As I need to be a Charles Busch career completist, I was happy to see last Friday's cabaret show.  I arrived early for my dinner seating and was seated at a very nice center table, towards the back.  I had a terrific view of the stage. Since I'm still on drugs for my dental horror, I didn't get a cocktail but I did get their non-alcoholic lemonade, which was delicious.  After perusing the menu for the softest food item, I finally chose the crab cakes.  They were actually really good (and soft).  I especially liked the guacamole they served with it. 

While I was eating, another of my table mates arrived, a very nice guy named Bob, who turned out to be Charles Busch's travel agent.  Bob even gets a mention during the cabaret! He was a fun dinner companion and I enjoyed speaking with him, though I probably should've picked his brain a little more about my (please god) upcoming trip to Italy.  Very close to curtain, our other table mate arrived, a very nice gal named Katherine, who turned out to be Charles' wig and hair designer!  I mean, how did I get to sit at such a table of celebrities?!  It was very exciting.  Bob, who turned out to be quite the prankster, introduced himself to Katherine and said that he and I were from Ohio and on our tenth wedding anniversary. Uh, ok.  I played along.  Though it was hard to keep the ruse going when I was so excited to hear Bob's shoutout during the show.  

As for the cabaret, as expected, I had a delightful time.  Charles is, of course, a witty raconteur, but he's also a lovely singer.  Not the most powerful voice in the world, but he uses his considerable acting talents to put a song across beautifully. After his rendition of "Bill" from Showboat, Bob turned to me and said "I think that was the best version of that song I've ever heard."  I had to agree.  It was simply heartbreaking and genuine and oh so lovely.  

Charles told funny stories (his brief foray into his online alter-ego Miriam Passman territory was a scream), he sang comedy songs and torch songs and we all generally had a grand time.  His music director and accompanist, Tom Judson, was also wonderful.  They did a delightful medley together called The Summer Medley.  I wish I could retell all of his stories, but since I won't be able to bring the wit and heart to them that Charles would, I won't try.  I will say that his story about a particular Channel 13 pledge break was an absolute riot, as was the Elaine Stritch story that accompanied a medley of songs Stritch herself performed.  I didn't write all of the songs down, darn it, but I do remember my particular favorites:  "Hurry! It's Lovely Up Here" from On a Clear Day You Can See Forever; "Road to Morocco"'; "With So Little to be Sure Of" and "A Parade in Town" from Anyone Can Whistle: "Those Were the Days," and a rueful, frankly surprising "Rainbow Connection."  I wish I could remember all of the others.

Needless to say, I loved every minute of the cabaret.  It could've been twice as long and still not long enough.  It was just such a treat to be so close to Charles' warmth and affection for his material and for his audience, and to hear his terrific stories and songs. He was, in a word, enchanting.  I wasn't as enchanted with all of my seat neighbors (except for my table mates, I loved them) - some of them maybe had a little too much to drink or maybe had seen the act before, but there was an awful lot of talking going on. Bob and I were doing a lot of shushing.  Well, we WERE celebrating our anniversary...

I'm just sorry I waited so long to catch one of Charles' cabarets.  I won't make the same mistake again.  You shouldn't either.  Keep your eyes peeled for when he does another show at 54 Below - you should check it out!  And try the crab cakes!  :)

My Tony Predictions - 2016

I can't believe it's almost Tony Awards time again! Seems like I was just getting ready for last year's awards and hoping for a Fun Home sweep (which I mainly got, woo hoo, though I wish some of it had been on the air, goshdarnit!).  Some people have dubbed Sunday's ceremony as the Hamil-tonys, because Hamilton is sure to be the big BIG winner of the night.  Although I've imagined myself winning the Hamilton lottery many times, I still haven't, so I still haven't seen the show, so I still can't vote for any of its categories.  Or can I...

Even with taking Hamilton out of the mix, I still haven't seen very many of the musical nominees.  As I told a friend the other day, I'm trying to see fewer shows and save money so I can go to Italy in November.  Well, I'm seeing fewer shows but I haven't saved any money.  I need to figure this out more successfully.  But I'm hoping to catch a few shows via TDF over the summer; the shows that don't win the major awards will hopefully hang around at least until Labor Day so I can check them out.

I'm looking forward to James Corden hosting the broadcast - I enjoy his fun car karaoke things that I watch online and as a former Tony winner, I think he'll have the right combination of respect and exasperation for the whole thing.  At least I hope he will. Anyway, without further ado, here are some predictions and hopes for how things turn out Sunday (I'm not listing every category here, some of them just render me clueless, but I will of course list the category that lets me post the picture I will keep posting from now until the end of time of me and the most popular guy in town):

BEST PLAY

My prediction:  The Humans by Stephen Karam
My hope:  Eclipsed by Danai Gurira

I haven't seen The Humans yet, as it is rarely on TDF.  I'm sure I will enjoy it - I've enjoyed Karam's other plays that I've read.  I'm just rooting for Eclipsed and Danai because I'm thinking of the power of seeing a woman of color accept the Best Play award.  And I thought the play was wonderful.

BEST MUSICAL  (also Best Book and Best Score)

My prediction:  Hamilton by Lin-Manuel Miranda

Hello, I'm not an idiot.  Of course it's going to win.  I've listened to the cast albums of two of the other nominees and...not so much.  I love Lin - he has the biggest heart in show business and I'm so ready to hear the roar of love that will come his way when he wins everything (except maybe Best Actor).

BEST REVIVAL OF A PLAY

My prediction:  A View from the Bridge
My hope:  Long Day's Journey Into Night

I might've been ok with Bridge winning until I saw The Crucible. Now my hope is that this particular director does not get rewarded at all.  I know.  I'm mean.  Sue me.

BEST REVIVAL OF A MUSICAL

My prediction:  The Color Purple
My hope:  She Loves Me

I haven't seen The Color Purple, but I've heard so many people talk about how revelatory it is in comparison to its previous production, so I guess I feel like it will win.  But She Loves Me is perfect, always has been perfect and always will be perfect.  So it has my heart.

BEST ACTOR IN A PLAY

My prediction:  Frank Langella, The Father
My hope:  Tim Pigott-Smith, King Charles III

I haven't seen The Father, so I can't make comment on Frank Langella, but he IS always wonderful and he has been winning most of the previous awards this season, so I'm pretty sure he's going to win.  But I really thought Pigott-Smith was magnificent in King Charles III; he might've had more of a chance to win had the play still been running.

BEST ACTRESS IN A PLAY

My prediction:  Jessica Lange, Long Day's Journey into Night
My hope:  Lupita Nyong'o, Eclipsed

I'd actually be fine with anyone in this category winning (well, except for one gal, but I'll keep that name to myself since I've been mean enough already and will probably be mean again in a bit), but I thought Nyong'o was amazing as the young girl who tries to find herself in all the degradation of her life, but finds that taking power isn't quite what she thought it would be.  Nyong'o finds so many layers, it's wonderful.  And I would love to see her in many more plays, so a Tony might get her to come back sooner.

BEST ACTOR IN A MUSICAL

My prediction:  Danny Burstein, Fiddler on the Roof
My hope:  Zachary Levi, She Loves Me

Wait, what?!  I didn't pick EITHER of the guys from Hamilton??  I know.  Call me crazy.  I do think Odom has a huge chance here, but Burstein is so well-loved in the community, and his performance has been huzzahed from top to bottom, that I think it might be his year. Maybe voters will be thinking - we're voting for Hamilton everywhere else, let's give someone else some love.  Maybe.  Of course, I love me some charm, so I would love Levi to win here.  Charm.  Though, if charm were the only criteria, Lin-Manuel would win win win.  He's a charmer.

BEST ACTRESS IN A MUSICAL

My prediction:  Cynthia Erivo, The Color Purple
My hope:  Laura Benanti, She Loves Me

Again, haven't seen Purple, but I've heard Erivo tears the place apart night after night. But I just loved Benanti.  Oh well.

BEST FEATURED ACTOR IN A PLAY

My prediction:  Reed Birney, The Humans
My hope:  Richard Goulding, King Charles III

May I just point out here that Richard Goulding did NOT receive a nomination from any other award body, but after I pointed him out in my Tony nominee prediction blog post, THEN he got a nom.  Coincidence?  I think not. I didn't know I had so much power!  :) Anyway, I'm on the record as having loved his performance, so I'm sticking with him.  He won't win.

BEST FEATURED ACTRESS IN A MUSICAL

My prediction:  Renee Elise Goldsberry, Hamilton
My hope:  Jennifer Simard, Disaster!

I have loved Goldsberry in several shows over the years, so I'm happy to see her win.  I'd also be happy to see Jane Krakowski win here.  But Jennifer Simard gave me more laughs and more joys in that dingaling show of hers than I've had in years.  So I'm rooting for her. 

BEST COSTUME DESIGN, PLAY

My prediction and hope:  Jane Greenwood, Long Day's Journey Into Night

I'm not sure, I think Greenwood has been nominated 77 times in this category but has never won.  It has to be her year, right???

BEST DIRECTOR OF A PLAY

My prediction:  Joe Mantello, The Humans
My hope:  Liesl Tommy, Eclipsed

Again, woman of color.  Powerful statement.  Yes.  As long as I don't hear the name of the director of View From the Bridge/Crucible, I'll be happy.  Remember, I said I'd be mean again.

BEST DIRECTION OF A MUSICAL

My prediction:  Thomas Kail, Hamilton
My hope:  Anyone but John Doyle.

Oop.  Oh my, I was mean yet again.  Sorry.

BEST ORCHESTRATIONS

My prediction and hope:  Alex Lacamoire, Hamilton

I worked with Alex once on one of my events here.  He was charming, delightful, kind and oh so talented.  I want to see him onstage.

Please, everyone pray with me that Best Book and Best Score will be on the broadcast this year.  I'm hoping with the Hamilton zeitgeist, things will be different and those important awards won't get relegated to the commercial breaks.  And if we could see Lisa Kron and Jeanine Tesori on that stage, too, maybe presenting to Lin-Manuel Miranda?  My night will be complete.  Good luck to everyone!

ABT 2016 - The Golden Cockerel

Practically this whole season at ABT has been new-to-me ballets, so that's been fun.  In fact, it may have been the perfect post-Julie season I could imagine.  I'm not missing her as much as I normally would, because she wasn't doing a lot of these newer pieces anyway.  Of course, I have a couple of goopy story ballets coming up, so I'm sure I'll start to miss her again soon.  But last Monday's ABT premiere of The Golden Cockerel was another new experience - I think I liked it, but I also think I'd need to see it again.  There was a LOT going on in a very short time...

Alexei Ratmansky choreographed a new production of The Golden Cockerel a few years ago for the Royal Danish Ballet, based on Michel Fokine's original from 1914 (and update from 1937).  The ballet is based on an opera by Rimsky-Korsakov, which was in turn based on a Pushkin folk tale (which was itself based on a piece by Washington Irving - that's a lot of 'based on'!).  The designs are based on the originals, as well.  So this felt like a modern version of a folk tale, a loving homage to a far-away time of dance.  Because the original texts are so dense, and characterization so important, there is a big emphasis on mime rather than classical ballet steps.  I'm sure some ballet purists are put off by that, but when you have such experts in mime part of the ABT company, it didn't bother me very much.

I will be compressing the detailed plot for you here (and spoilers will abound):  the ballet begins with a prologue where we meet The Astrologer, an ancient gent dressed in wizard-type clothes, who has a vision of a beautiful Queen.  He comes up with a plan to try to capture her.  The plan involves a Golden Cockerel.  The rest of the plot concerns the foolish Tsar Dodon, his foolish sons, his staff and the probability of war.  The Astrologer gives the Tsar the Golden Cockerel, who will warn the kingdom of any warlike threats.  In return, the Astrologer asks to be given whatever he desires.  The Tsar agrees.

War of course comes, the Golden Cockerel warns the kingdom, and everyone goes off to fight.  Plot-wise, we see death on the battlefield and fevered dreams of a beautiful Queen.  When it turns out the Queen is real, the Tsar falls in love and takes her back to his realm to be his wife.  The Astrologer comes to claim the Queen, but the Tsar refuses, kills the Astrologer, then the Golden Cockerel pecks out the eyes of the Tsar.  Kinda gory ending, right?  Oh, but then the Astrologer gets back up and shows us it's all been a story! Everyone except for the Queen and himself are not real, so all that's left is the Astrologer's eternal quest for the Queen.  

That's a lot of stuff in a ballet that lasts less than two hours!  In fact, it might have been better as a one-act, instead of stretched into two.  But it didn't bother me a lot.  I thought the ballet was whimsical and funny and sad and silly.  I loved the beautiful designs (the sets and backdrops were astounding), the beautiful music, the wonderful miming and the lovely dancing (though there could maybe have been a tad more).  I thought it was a rather enchanting evening, if a little muddled, especially at the end of each act.  The music and dancing just sort of...stopped.  It was a little odd, but I'd definitely like to see the ballet again to see if I missed the lead-ins to the act breaks.

photo credit: Fabrizio Ferri

I thought Skylar Brandt was terrific as the Golden Cockerel - very strong and sure, with quick movement and a kind of weightlessness.  She completely transformed into a bird and made the choreography seem natural coming out of her being.  The stunning Veronika Part was the Queen and she was (as always) gorgeous.  Those long legs were so seductive and voluptuous - she was sexy and teasing and hard all at the same time. You could see why everyone wanted her and you could see how she enjoyed her power over everyone and how she could really care less about anyone.  Gary Chryst as the Tsar was very funny and very foolish; his role was completely mimed but he did it so well.  He and (my ABT MVP) Roman Zhurbin had a delightful relationship done completely in mime.  Zhurbin also had a bit of dancing in the second act and he was fantastic - I wish more of his character parts would combine the two.  

photo credit: Andrea Mohin

The foolish sons were danced by Joseph Gorak and Jeffrey Cirio and they were fantastic. They had most of the 'dancing' per se, along with Veronika Part, and they were so good at doing the same steps but making them separate in a character-way.  I know I sound like a broken record, but I am always so impressed with how Gorak moves through space - he just seems to have more time than anyone else. Or he stops time.  Something like that. I just love watching him. But Cirio is quite special, too. He has an expansiveness to his dancing, a real joie de vivre that is compelling to watch.  And the manner in which their characters exit the drama is pretty darned cool.  

All in all, I enjoyed myself at The Golden Cockerel and hope ABT brings it back soon.  I would definitely like to see how other dancers tackle the roles, especially Stella Abrera as the Queen, I would love to see her take on it.  I'd also like to hear the orchestra get another crack at it - the brass section was a little off and it was unfortunate that the opening notes were kinda squeaky.  But I'm not sure if it will come back. The response seemed to be rather tepid in the house and it wasn't full by any measure. Oh well.  I was excited - when Ratmansky himself came out for curtain call, I went all fangirl! Couldn't help myself.  It's been the Season of Ratmansky and I'm looking forward to catching the return of his Sleeping Beauty in a few weeks.  Fingers crossed I get to see the dancers currently scheduled for that date - let's put that happy thought into the universe...