DVD REVIEW: Passing Strange

My friend Mike and I usually disagree on small things or a specific performance when we see a show.  It is rare at we completely agree.  And every once in awhile, we completely disagree.  Passing Strange is one of those instances.  I saw the show on Broadway, and found it to be self-important, smug, ego-driven, and most of all dull.  Oh, and as pretentious as referring to yourself in the third person or by name as Stew does, or referring to your movie as a "Joint" like Spike Lee does.

Mike and I did not see this show together, and so it seemed completely out of the blue when he emailed to say he watched the movie version and was quite fond of it.  And so I asked him to write a review of the show/DVD, knowing that I would not be wasting another 135 minutes of my life on Stew and his crew, but realizing maybe some of you might be interested.  And so, here is my best buddy's guest blog.  Enjoy!

DVD: Passing Strange.  An IFC Film.  A Spike Lee Joint.  Filmed live at the Belasco Theatre in New York City in 2008.  Book, music and lyrics by Stew.  Starring Stew, Daniel Breaker, Rebecca Naomi Jones, De'Adre Aziza, Colman Domingo, Eisa Davis and Chad Goodrich. Directed by Spike Lee.  2009.  135 minutes.  Not rated.

Grade: B+

Have you ever seen a show and thought, "wow, that was a clever concept! I wonder how they managed to screw it up?" I sure have. Well, Passing Strange is just the opposite: the story is pretty lackluster, but the execution is so sincere and compelling that I found this video version of the 2008 Stew musical to be quite satisfying.

About that story... let's just say that it traces the artistic (or maybe pseudo-artistic) journey of the kind of self-absorbed young man that, well, only a mother could love. In pursuit of musical inspiration, a callow Youth (Daniel Breaker as a younger version of Stew himself) travels from Los Angeles to Amsterdam to Berlin, alienating everyone who cares about him along the way, without ever really discovering what it means to be a real artist, or indeed what it means to be real at all. I can't blame audience members who wondered "what's the point?" and maybe even "who the hell is this Stew guy to think that he deserves to be telling this story on Broadway?"

The show is basically a satire, but the targets of the satire - the foibles of a middle-class African American upbringing in 1970s Los Angeles, the casual sex and innocent debauchery of Amsterdam, the post-modern anger and emptiness of Berlin - don't have much resonance, unless you've led a life pretty much like Stew's. Only towards the end of the show do things converge in the direction of a more universal theme, but even then, the lessons are not terribly original (if you've seen Home Alone, then you've already learned them).

What, then, is the appeal of this show and this video? Well, if you're traveling with the right people, a road trip can be fun even if the scenery is blah and the destination is meh; in much the same way, the people who tell this story and the music that is used to tell it make Passing Strange worth the time. The cast is superb: Breaker as our (anti?) hero; Eisa Davis as his very sympathetic and long-suffering mother; and a quartet of young actors who play the Youth's friends and compatriots at various stages of his journey: Rebecca Naomi Jones (terrific also in American Idiot), Colman Domingo (even more terrific in The Scottsboro Boys), De'Adre Aziza (Women on the Verge of a Nervous Breakdown), and Chad Goodridge. All give fascinating performances, and all work very hard (most of them end up soaked in sweat by the time the show is over).

And then there's Stew, who is the creator of the show, its central performer, and its soul. I found him very likable and enjoyed his casual sense of humor, and I very much enjoy his singing voice, which can be both strident and soothing. Even though the Tony he won was (inexplicably) for Best Book, it's really the score that makes this show work. There are some beautiful, heart-tugging ballads ("Keys," "Come Down Now") and some energetic rock songs ("We Might Play All Night," "Passing Phase"). There's also some trippy chromaticism to accompany various drug binges and some vivid passages that do a much better job than the dialogue in establishing the atmosphere of cities like Amsterdam and Berlin.

Even though the story of Passing Strange leaves a lot to be desired, the script does have a few high points. There's lots of humor, much of it quite funny, and some of it deeply rooted in the dramatic situation, as when Stew deadpans that "no one in this play has ever had to hustle for dimes in South Central." (See? You had to be there.) And while many of the show's attempts at "deep thinking" miss the mark, a few of them are genuinely though-provoking, as when Stew suggests to his younger self that the concrete realities he's looking for may only exist in art.

As for the design elements, there's nothing too flashy, except for the many neon lights at the back of the stage. These are by Kevin Adams, and while they do a serviceable job evoking the various dives that constitute most of the show's settings, they pale in comparison to the work he had done in Spring Awakening and would soon do in Next To Normal. The scenic design is sparse - basically a few chairs - and works well enough. The costume design, on the other hand, is extremely effective, and absolutely crucial in differentiating the roles of the "quartet" of friends as the Youth makes his way from California to Germany. It's the costumes that also establish, from the start of the show, the connection between our narrator Stew and the impetuous Youth.

I was actually invited to review the DVD of Passing Strange, but I see that I've used up almost all of my space discussing the show itself. If I can't be verbose, then let me be clear: this is, hands-down, the best video recording I've seen of a stage show. Some of that, I'm sure, is due to budget: Spike Lee has a dozen or more cameras all over the theater, something clearly beyond the means of PBS or Lincoln Center. But it's clearly also a matter of talent and artistry: from moment to moment, the director has carefully chosen each shot and each angle so that we see precisely what we're supposed to see. He also shows admirable restraint, letting the performances speak for themselves. The few cinematic tricks that he does employ - a sort of fuzziness when drugs are being used, as well as a "home movie" effect when one character is shown filming another - are appropriate and unobtrusive. If I have one qualm, it's that the shots that show the audience detract a little from the viewing experience, but I suppose that's a byproduct of his laudable commitment to filming a live performance of the show.

In short, if you missed Passing Strange on Broadway and have any curiosity at all about the show, do not hesitate to buy or rent this DVD. That is all.

 
Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.206

DVD: Les Miserables: The 25th Anniversary Concert

DVD: Les Miserables: The 25th Anniversary in Concert. Presented in 2010 at The O2 Arena in London, England, United Kingdom.  Cameron Mackintosh in association with Universal Pictures presents Boublil and Schonberg's Les Miserables based upon the novel by Victor Hugo. Conducted by David Charles Abell. Directed for the Stage by Laurence Connor and James Powell, and for DVD by Nick Morris. 170 minutes.

Starring: Alfie Boe as Jean Valjean, Norm Lewis as Javert, Matt Lucas as Thenardier, Jenny Galloway as Madame Thenarier, Lea Salonga as Fantine, Samantha Barks as Eponine, Nick Jonas as Marius,  Katie Hall as Cosette and Ramin Karimloo as Enjolras.  Plus Colm Wilkinson, Michael Ball, Frances Ruffelle, Alun Armstrong, Roger Allam, John Owen-Jones, Simon Bowman, Earl Carpenter, Hadley Fraser and the original 1985 London Company.  The 2010 Original Production and 2010 New Production, and a chorus and musicians numbering over 550.

Grade: A

From the outset, Les Miserables has been epic.  First Victor Hugo's novel, then countless movie adaptations and even a PBS version.  But nothing really prepared the world for the epic piece of musical theatre it would become.  In 1985, clocking in at over 3 and a half hours in length, the show opened at the Barbican Theatre, and it was not a success - a fact that seems to get glossed over in its rosy colored history.  Critics ravaged its length, its simplification of themes and characters, its "atrocious translation," and the sheer audacity of trying to bring such an epic downer to the stage.  And so its fate, it seemed, was sealed. 

But a funny thing happened.  The people came anyway.  The very people that the show was about - common, everyday folk, not the upper echelons of theatre snobbery.  It seemed that, in fact, misery loves company, and a love story, and a rallying around a cause, and the triumph of moral right over legal right.  And so, after the Barbican, the West End, two runs on Broadway, several national and international tours, and a rumored translation into Martian, we have arrived 25 years later at an anniversary that has to date never been equalled in terms of presentation.

First, the enormous The O2 Arena is the venue, and the show was filmed over the course of a two performance sold-out run.  Although the exact number of seats for this specific event was not available (rumored to be over 18,000 per show), depending upon the event, 23,000 people at a time can attend.  The stage is enormous, large enough to fully seat a several hundred member choir, a full symphony orchestra, and a setting and stage that can fit a hundred member cast.  There are 3 giant screens that project images, film footage and live camera shots of the soloists, and a dozen or more light bridges on the stage alone that move and tilt, forming "the barricade."  (There is extensive lighting on the seating areas as well.)

Second, the company itself features over 550 actors, singers and musicians.  And it doesn't end there.  In perhaps the most epic of curtain calls ever, members of the original 1985 London cast, the current company of the original production, which is still running in the West End, AND a 2010 new production company, all take the stage to sing several numbers, including "Bring Him Home," "One Day More," and with hundreds of school children who have performed the school version of the show, "Do You Hear the People Sing?"  It is, in and of itself, a grand and glorious production.  And that is just the curtain call.

The performance itself features thoroughly talented performers, probably the best they could get across the board.  Everyone, of course has their preferences (I don't care at all for Colm Wilkinson as Valjean, and I adore Merwin Foard as Javert, for example.) but I think it would be hard to quibble about the level of talent here.  Alfie Boe (Jean Valjean) delivers a tour de force performance, nicely balancing an operatic quality with a more down to earth delivery.  His wide eyed facial expressions offer a larger than normal take on the emotions of the character, but considering what he has to perform in front of it is easy to get used to and look past.  He gets a mid show ovation for "Bring Him Home," and he looks visibly shaken by the response.  I love live performance for this very reason.  Norm Lewis (Javert) was in sturdy control of his instrument here and delivers a sharp, tough as nails performance as the unbending inspector.  Only because of the concert staging itself, did his big number, "Stars" suffer in any way.  If you weren't familiar with the actual show, you probably had no idea he was committing suicide.  On the other hand, the concert staging forces the Thenardiers to do much less over playing and mugging, which has become the unfortunate norm in recent years.  Instead, Jenny Galloway and Matt Lucas really focused on the characters, providing laughs for sure, but also some serious chills when they become most evil. 

I have always had an issue with the character Cosette, who is just too damned good, and beyond Judy Kuhn, usually a shrill, hard to understand soprano.  But I can say I found Katie Hall to be far beyond my expectations.  A decent actress, she sang so that every word was as clear as a bell.  No, I don't now love the character, but I did enjoy the actress.  The much more sympathetic (and with the best female material to work with) role of Eponine is played very very well by Samantha Barks, though I have heard several actresses do "On My Own" as good or better.  The role of Marius, again a sympathetic character with some of the best material to work with, may be to many of you the weak link of this production, as played by Nick Jonas.  True, his voice is not the bombastic opera-meets-Broadway belt that every single other singer/actor (even the fop and the workhouse boss) brought to the show.  And because of that he sticks out from the rest.  Perhaps some vocal variation in the supporting roles would have added to the whole evening, actually.  Still, I found Jonas' portrayal to be one of the best acted, if not best sung.  Marius is young, naive, impressionable, passionate and a mess of hormones in love.  And Nick Jonas gives us every bit of that and more.

By far, though, my two favorite performances of the show were by Ramin Karimloo and Lea Salonga.  I have loved "I Dreamed a Dream" since the first time I heard Patti LuPone belt it on the Original London Cast Recording, and it still my go-to song wen I sing in the shower.  And I also love the story arc and character of Fantine.  I've heard many actresses do this role, including Alice Ripley and the US original Randy Graff, and I think Ms. Salonga is my second favorite ever, behind Ms. LuPone.  And, even having seen the original Broadway cast with Tony winner Michael Maguire, I have never been able to figure out why student leader Enjolras was such a big deal.  Well that ended the second Karimloo took the stage.  Sure it helps that he is devestatingly handsome, but his passion and fire in the role really brought it to life for me in a way that no other performer has been able to for me.

When you take into consideration that the screens projected titles and film clips (Valjean stopping the runaway cart, for example) and the use of full costumes, it is amazing how very little I missed the "iconic staging" of the original production.  In fact, there were several times that I appreciated the pauses and the on and off stage movement more than the constant circling of the turn table.  Only a few times did the "concert staging" seem to get in the way, like every time two characters were singing dialogue to one another, standing right next to each other and emoting their asses off, but NEVER looking at each other.  It was off-putting to say the least.  Only occasionally did they touch each other or even seem to act like anyone was onstage but themselves.  Apparently, Nick Jonas didn't get that note, God bless him... he took every opportunity to look at Cosette and Eponine directly!  And it worked.  How else do you portray head over heels love?

The DVD comes with a special "Whiz Through Les Miz" bonus feature which is fun and theatrical, and the show is also subtitled in several languages.

Alfie Boe, Colm Wilkinson, Ramin Karimloo and Nick Jonas

The Finale

Although Les Miserables is a show I've seen numerous times - I went through the same infatuation period everyone else did - history has shown me that it is not one of my favorite musicals of all time.  I can appreciate it for what it is, and nothing beats the cast recording when you are in a certain mood.  This DVD and performance reminded me of my initial love and exuberance for the piece - this cast's passion reminds me of when it was new back in the 80's.  And I am glad I have it in my collection.  But my overall opinion of the show is the same: respect and admiration.


(Talk about good timing!  This very performance was broadcast on PBS on Sunday, March 6th!)

(Photos by Bing Shimizu)


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.188

DVD REVIEW: Sondheim! The Birthday Concert

DVD: Sondheim!  The Birthday Concert. Presented in March 2010 at Avery Fisher Hall at Lincoln Center for the Performing Arts, New York City. Conducted by Paul Gemignani.  Hosted by David Hyde Pierce.  Written by Lonny Price and David Hyde Pierce.  Produced and Directed for the Stage and Television by Lonny Price.  A presentation of Ellen M. Krass Productions and THIRTEEN in Association with WNET.ORG. 116 minutes.

Grade: A+ (I'd go higher if possible!)

Let me just cut to the chase here.  Sondheim!  The Birthday Concert is the best performance of its kind that I have ever seen on screen.  Bar none.  It is expertly staged, filmed, and edited by Lonny Price.  The quality of the sound is beyond excellent.  The pace is quick, witty, reserved when appropriate and celebratory throughout, particularly due to the superb hosting of David Hyde Pierce, who, oddly enough, has never done a Sondheim show.  (Let's remedy that one fast...).  Even the setting is cool... the entire orchestra shell draped in billowing material and lit as a giant birthday package.

And what gems that package holds!  First and foremost, what evening of this magnitude for Stephen Sondheim would be complete or so well taken care of without the masterful baton of Paul Gemignani, the man who has conducted every single original Sondheim production since 1975?  And who better to have him conduct than The New York Philharmonic?  The sound is pure bliss.  Their "Birthday Overture" and "Theme from REDS" really allow them to shine, but their contribution to each song is immeasurable and definitive.

The cast list is a who's who of two kinds.  As one might expect at an occasion such as this, names associated with Sondheim's works are plentiful:  Bernadette Peters, Elaine Stritch (who at this point in time had no idea that they'd be critically acclaimed in Sondheim's A Little Night Music), Mandy Patinkin, Donna Murphy, Marin Mazzie, Patti LuPone, George Hearn, Jim Walton, John McMartin, Joanna Gleason and Chip Zien.  The second list is a who's who of today's youngest and brightest (and simply magnetic) performers, some of whom have Sondheim on their resumes, some who don't: Bobby Steggert, Audra McDonald, Laura Benanti, Laura Osnes, Matt Cavenaugh, Jenn Colella, Victoria Clark, Michael Cerveris, Jason Danieley, Alexander Gemignani and Karen Olivo.  Opera singer Nathan Gunn, ABT dancers Blaine Hoven and Maria Riccetto, and the Shark girls from the revival of West Side Story round out the stellar company.

And given the level of talent on that stage, one would expect a flawless evening.  And that is exactly what you get.  How nice to have all expectations met and exceeded.

Following the overture, the evening opens with a few songs that Mr. Sondheim only contributed lyrics to - "America," with Olivo and the girls recreating the number from the revival, and Alexander Gemignani delivering a simple and lovely "Something's Coming" from West Side Story.  Jason Danieley and Marin Mazzie offer a fun "We're Gonna Be Alright" from Do I Hear a Waltz?, and Victoria Clark showed of her comic chops with a seldom recorded number, "Don't Laugh," a song written to help a show in trouble out of town called Hot Spot.  "New talent" is called upon for "Johanna" from Sweeney Todd (Nathan Gunn) and "You're Gonna Love Tomorrow"/"Love Will See Us Through," from Follies, featuring the charismatic talents - and I mean all four fairly jump of the screen oozing charm and charisma - of Matt Cavenaugh and Jenn Colella and Bobby Steggert and Laura Osnes.  All four reveal a very promising future for the Broadway musical.

The next segment of songs includes a variety of original cast performances - a touching Follies number from John McMartin, and Jim Walton singing a song from Merrily We Roll Along that wasn't even written when he starred in it.  But the real highlights were the crowd-pleasing reunions of Chip Zien and Joanna Gleason, doing "It Takes Two" from Into the Woods, and "Finishing the Hat"/"Move On" by Mandy Patinkin and Bernadette Peters.  All four transported us back as if they were still doing their shows 8 times a week.  "Move On" was particularly brilliant, with both Peters and Patinkin in superb voice.  A funny and brilliantly conceived hybrid was up next with dueling Sweeneys Michael Cerveris and George Hearn doing a stunningly sung and acted "Pretty Women", and then the hilarious trio - yes, trio - of Cerveris, Hearn and Patti LuPone doing "A Little Priest."

The final segment - notable for the much publicized "red dresses" alone - proved to be the absolute icing on the cake.  Six of Broadway's greatest living divas took the stage and each delivered a "Sondheim Lady" number.  Each was an absolute treasure, but three numbers really stood out for me: Patti LuPone's blistering and for me now definitive rendition of "The Ladies Who Lunch", complete with a sincere and touching moment between LuPone and Elaine Stritch, originator of the role.  Strich, on her feet the second it was over, LuPone gesturing for an ovation for Stritch.  It was a beautiful of the moment moment.  The second standout was the biting and humorous "Could I Leave You?" from Follies as presented by Donna Murphy.  A study in song interpretation and acting, this, too, is for me a definitive version.  But the absolute treasure of the evening was Elaine Stritch's comic, bold, and honest interpretation of "I'm Still Here" from Follies.  It is the very definition of brilliance.  And it stands as testament to what a great theatre legend she still is.  Brava, indeed.

When the actual event happened, it made headlines for obvious reasons, but also because the casts of every then current Broadway show came to pay tribute to the musical theatre master.  For the closing number, some 287 singers filled every aisle on all levels of the hall and on the stage to sing, for a visibly moved Stephen Sondheim, "Sunday" from Sunday in the Park with George.  You'd have to be in a coma or worse not to be moved by this giant tribute.

What strikes me most about this particular concert is that because the very best talents came together, it was even more evident just how genius his works are.  Without fail, the minute each number started, every single performer got that "in the zone" look of intensity, followed by what I call the "Sondheim Look."  You may know it - the singer can't help but act the entire song, so evocative are the lyrics, and because each is so complex their eyes glaze over in an amazing level of concentration.  Even the really great ones do this.  But the most remarkable thing is that all of this still happens when each number is without context.  Here, the "Sondheim Look" is joined by an expression of sheer joy and admiration.  It is as if each performer is also seeing outside him or herself and even as they interpret are in awe of the fact that they are getting to do this for the master himself.  (Would that every Christine/Phantom pairing had this magic!)

Of course, the man is the reason for the occasion, but isn't it wonderful to celebrate a life that continues to give all of us so many gifts?  This DVD is a lasting testament to the genius and artistry of one of Broadway's greatest people.



Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.132

DVD REVIEW: Camp

DVD: Camp.  2003.   Choreography by Michele Lynch and Jerry Mitchell. Produced, Written and Directed by Todd Graff.  An IFC production/A Jersey Films/Killer Films/Laughlin Park Pictures production.  1 hour, 50 minutes.

Starring: Daniel Letterle (Vlad), Joanna Chilcoat (Ellen), Robin De Jesus (Michael), Steven Cuffs (Shaun), Kahiry Bess (Petie), Vince Rimoldi (Spitzer), Tiffany Taylor (Jenna), Sasha Allen (Dee), Alana Allen (Jill), Anna Kendrick (Fritzy), Don Dixon (Bert) and Stephen Sondheim (as himself).

THEATRE GEEKS: THE MUSICAL

I came across Camp by way of a friend who was thumbing through my La Cage aux Folles Playbill.  "That's the kid from Camp!" she exclaimed.  Never having seen the film (apparently I lose my "gay card" and my "theatre snob card" for this), I had no idea she was talking about Robin De Jesus.  Discussion ensued, and I mentioned that Anna Kendrick is also someone of import (Tony nominee - High Society, Oscar nominee - Up in the Air and co-star in the Twilight films - she plays Bella's non-vampire BFF), not to mention Sasha Allen (Hair), and in smaller roles, Tracee Beazer (Memphis, Hairspray) and DeQuina Moore (Legally Blonde, Little Shop of Horrors).  Further inspection of the movie on http://www.imdb.com/ got me even more surprises - Todd Graff, star of Baby, wrote, produced and directed the film, Jerry Mitchell co-choreographed it, and none other that Stephen Sondheim appears in a cameo role.  No wonder my "cards" were called into question!

And so I watched the movie - twice.  And here are my thoughts.

Robin De Jesus and Joanna Chilcoat

It is the rare film or show that manages to hit all of the prudent stereotypes, warts and all, and manages not to annoy me.  Instead, because even though they each wear their hearts on their sleeves these stereotypical teens do so with a disarming sincerity that make it for them (and us) just a little more "real" than we'd like to admit.  Stereotypes are just that because they actually exist.  And every single "theatre geek" stereotype is here: the gay kid comfortable with his sexuality (Spitzer - Vince Rimoldi), the gay kid/drag queen who thinks he's OK with it, but struggles to find himself and fit into his family (Michael - Robin De Jesus), the Black kid with talent to spare, but not too comfortable in his atypical skin (Shaun - Steven Cutts), and his tag along little brother (Petie - Kahiry Bess), and the self-aware, hyper sexual straight kid with talent and looks to get him any girl or guy he wants (Vlad - Daniel Letterle).  Then there are the girls:  the giant ego with marginal talent (Jill - Alana Allen), her annoying sidekick/slave/Eve Harrington wannabe (Fritzi - Anna Kendrick), the ultra sassy black girl who has everything it takes and knows it without being a monster (Dee - Sasha Allen), the overweight girl with a golden voice and a platinum heart (Jenna - Tiffany Taylor) and, of course, the plain Jane girl with enough ability to be a huge star, but with the self-worth of a used tissue (Ellen - Joanna Chilcoat).

Daniel Letterle

With the setting of Summer Theatre Camp - Camp Ovation - these stereotypes interact.  A love triangle between the straight kid, the plain Jane and the drag queen, the "star" and her "protege" duke it out by sabotaging each other for lead roles, the chubby girl literally has to break the ties the bind to be heard and loved, the black kid laments that there is a dearth of roles for African-Americans, while the little brother becomes an unlikely tap dancing phenom, while the rest of the cast weaves in and out of each story adding a bit of sass, hero worship and some pretty nifty dance moves.  In short, I can see now why the kids at my school shied away from us.  In small groups we are loud, gregarious, and bizarre; en mass, we are unbearable!  Still the movie finds gentle ways to tease its own - a picture of Stephen Sondheim is mistaken as another boy's dad by the un-theatre straight kid; the entire bus of campers sings "Losing My Mind" on the way to the camp; gay pride flags adorn the walls.

Joanna Chilcoat and Daniel Letterle

Then there are the production numbers, naturally.  After all, the kids produce new sets of shows every two weeks, plus a blow out benefit at season's end.  As a result, we get "Turkey Lurkey Time" from Promises, Promises, lovingly reproduced from the original, a truly amazing version of "The Ladies Who Lunch" from Company, "I'm Still Here" from Follies, and my favorite, the Dreamgirls sequence, added to the camp season in response to the kids' complaint that there aren't enough roles for African-Americans.  The scene is "I'm Telling You I'm Not Going" with Sasha Allen, DeQuina Moore and Tracee Beazer dressed as the Dreams, while lily white Joanna Chilcoat, the only kid at camp that can handle the song, dons a huge 60s black wig and belts the number to 6 year old Kahiry Bess, dressed as Curtis Taylor, Jr.!  What makes it so great is that they play it straight and ultra-seriously, AND that Chilcoat sings the hell out of the song.

"Turkey Lurkey Time" with

Tracee Beazer, Alana Allen and DaQuina Moore

Each of the actors has moments to shine, and they do.  Their innate awkwardness - they are age appropriate - makes them sweet, their talents make them awesome.  The two main actors, Joann Chilcoat - she hits every moment perfectly, and Daniel Letterle - he exudes an intelligent self-awareness and a blinding sexiness for an 18 year old, haven't been seen much since this film, and that is a shame.  I would have bet they'd have great careers.  But it is great to see how far so many of them have come, especially the Broadway babies.  Sasha Allen owns the entire opening sequence, belting the hell out of "How Shall I See You Through These Tears?" from the short-lived Broadway musical The Gospel at Colonus.  And how is Robin De Jesus, the one that got me to watch this in the first place?  He is utterly charming, sweet and affecting.  And to watch his comfort and glee in the closing number in full drag is to see exactly what is missing in his act one performance in the La Cage aux Folles revival.  Still, he is now nominated a second time for a Tony.  Who am I to quibble?

So, Camp is a romp for theatre lovers - the "show" scenes will tickle you; it is a trip down memory lane for every serious (and weren't we all?) high school actor.  Had it been a tad deeper and probing, the adult in me would be raving about it.  But I'm thrilled that as stereotype full as it is, it manages not to be insulting or condescending.  And that's probably because Mr. Graff lived this summer himself years ago.

Grade: B+

(Photos from MGM/IFC Films)

Comments?  Leave one here or email me at jkstheatrescene@yahoo.com.
Jeff

DVD Review: Every Little Step

DVD: Every Little Step: The Journey of "A Chorus Line". 2009. Edited by Fernando Villena and Brad Fuller. Endgame Producer John Breglio. Produced and Directed for film by James D. Stern and Adam Del Deo. A Sony Pictures Classics Release of an Endgame Entertainment Production. 93 minutes. Rated PG-13 for Strong Language and Sexual References.

Featuring: Bob Avian (Revival Director), Baayork Lee (Original Cast Member, Revival Choreographer), John Breglio (Revival Producer), Donna McKechnie (Original Cast Member) and auditioners: Jason Tam, Jeffrey Schechter, Tyce Diorio, Charlotte d'Amboise, Nikki Snelson, Yuka Takara, Chryssie Whitehead, Rachelle Rak, Jessica Lee Goldyn, Diedre Goodwin.

BROADWAY'S SINGULAR SENSATION

The documentary film, Every LIttle Step, is really two films in one, and both succeed in the same superior quality as the source material, the Broadway legend, A Chorus Line. Half the film is a history of the making of the musical, from the history of Michael Bennett (carefully edited so as to make clear the connections his entire life had to leading up to the landmark piece, to lengthy and telling segments of those first recorded sessions from 1974 which led to the creation, through the rehearsal process and the subsequent blockbuster phenomenon the original became. It also very smartly provides context about the state of Broadway at the time, why the show resonated so much, and how it created history from the get go - A Chorus Line was the first Broadway show to be workshopped, and among the first to travel from off-Broadway to Broadway. The other, equally smart half chronicles the long, arduous process of casting the first ever Broadway revival. All one has to do is listen to the words of revival director Bob Avian and choreographer Baayork Lee to fully understand why this revival was so important to them, to the show's legacy and to the new generation of dancers who would eventually bring it back to life. "What I Did For Love" resonates throughout the piece.

The historical aspect of the film, straight from the mouths of those who were there clears up a lot of rumor and innuendo (even addressing some of it, such as Bennett's struggle with homosexuality, Marvin Hamlisch's initial reluctance to join the show, Donna McKechnie's contributions) and leaves the ugly stuff mostly to the side - that Bennett was a task master, demanding, and mean at times is both legend and cliche at this point. Anyone with an interest, and particularly anyone with a passion to perform should and needs to know the history of this show, and this film provides plenty.

I CAN DO THAT

Perhaps the most startling aspect of the revival audition portion of the film is that even though one knows who makes the final cut and who doesn't, the entire process is heart-stopping, on the edge of your seat entertainment, only with real people and lives at stake. I found myself speechless at the "quality" of some of the early auditioners, the gutsy confessions of the auditioners who, in the length of one sentence goes from dignified confidence to shear panic, to troubling self-doubt and back again.


Still, knowing who makes it and who doesn't makes the final show downs all the more interesting, and I had to fight to not do Monday morning quarterbacking. And as someone who frequents Broadway shows and is familiar with several of these performers' work, it was exciting to see them through this lack of filter. Regional actress Natascia Diaz and Broadway dancers Rachelle Rak (Dirty Rotten Scoundrels, Fosse) and Nikki Snelson (Legally Blonde, ultimately the tour of A Chorus Line) give of themselves amazingly throughout, and watching as each deals with their ultimate rejection is sad, difficult, and makes me respect them even more as performers. Even more interesting is watching the ladies who get the roles transform from their first audition to their final callback, though, to me Chryssie Whitehead had the part from the second she opened her mouth. Watching Jessica Lee Goldyn get on the bus from home to New York was poetic justice considering she ultimately lands the role of Val, even though she is initially only being considered for covering roles. Seeing the venerable Charlotte d'Amboise being as nervous as a first-timer and watching the love from her famous father, Jaques d'Amboise, is a heart-warming center of the film.


Interestingly, most of the male roles are not even mentioned, let alone filmed, save for the roles of Mike, ultimately played (and as you see in the film, for VERY good reason) by Jeffrey Schechter, and Paul played ultimately by Jason Tam. In the case of Mike, you get to see more of the process, including one finalist, Tyce Diorio, the ultimate in chorus boy cuteness and stupid arrogance - you want to hate him and love laughing at his pomposity. But in the case of Paul, you get to see Tam's audition from start to finish, as isolated on film as the actual monlogue is in the show. The casting table was reduced to tears and so was I. I had to pause the DVD. Simply marvelous.

And so, even though they short change us on the male side of things, Every Little Step gets every other little thing right. And that includes the significant extras, including a full interview with Miss McKechnie, much more of the original A Chorus Line tapes and added commentary from Frank Rich, which shows the butcher of Broadway has a heart and impeccable taste.

From the theatre novice to the casual musical fan to the student of theatre to the obsessed like me, Every Little Step is a must have DVD.

GRADE: A+

(Photos: TOP to BOTTOM: The revival cast in rehearsal; Charlotte d'Amboise and Baayork Lee at the audition; Rachelle Rak; Tyce Diorio; The revival company in performance - "I Hope I Get It.")

Comments? Leave on here or write to me at jkstheatrescene@yahoo.com

Jeff

DVD REVIEW: Were the World Mine

DVD: Were the World Mine. US Premiere, March 2008. Written by Tom Gustafson and Cory James Krueckeberg. Inspired by William Shakespeare's A Midsummer Night's Dream and the short film, Fairies. Directed for film by Tom Gustafson. A SPEAKproductions Film in Association with The Group Entertainment and Logo. 95 minutes.

Starring: Tanner Cohen (Timothy), Wendy Robie (Ms. Tebbitt), Judy McLane (Donna), Jill Larson (Nora Fay), Zelda Williams (Frankie), Ricky Goldman (Max), Nathaniel David Becker (Jonathan), Christian Stolte (Coach Driskill), David Darlow (Dr. Bellinger), Parker Croft (Cooper), and Brad Bukauskas (Cole).

A REAL HIGH SCHOOL MUSICAL

Were the World Mine is that rare film that tries to be all things to all interested parties, and succeeds on every level. This movie manages to be a small independent film, and edgy commercial film, a high school musical, an anti-High School Musical musical, a teen film, and adult (as in "grown up") film, a gay fantasy film and a gay-themed, serious film. It is funny, fanciful, sweet, romantic, thought-provoking and just a little risque.

There are also several reasons why a review of this film qualifies for inclusion on a theatre website: it is about a high school drama club production of A Midsummer Night's Dream, and features large chunks of the Bard's work, both in progress and in performance. It is also a musical, though a somewhat unconventional one, with many Roxie/Chicago-fantasy-style numbers that easily move us in and out of "reality." Finally, it also includes several very fine actors, many of whom are no stranger to the stage, be it in New York, Chicago or L.A., though the most recognizable face to Broadway lovers might be that of Judy McLane, who has been starring in Mamma Mia! on Broadway as Tanya for the long haul. You might also recognize Wendy Robie and Jill Larson from both stage and TV screen.

But if there is any justice left in the world, you will someday recognize Tanner Cohen and Nathaniel David Becker as the stars they deserve to be. Cohen plays the lead character, Timothy, while Becker plays Jonathan, the object of Timothy's affection. Both give fantastic performances, both in acting and in the musical elements of the show. Mr. Cohen in particular gives an angst-filled, edgy performance that is never over the top or annoying, but rather nuanced and full of detail, as his character vacillates between the happiness of his fantasy life and the lonely misery of his reality. An openly gay teen in an all boys' private prep school, he faces scrutiny and relentless teasing from his rugby team classmates and even one of his teachers.

But as the Senior spring play, A Midsummer Night's Dream, comes closer, those two worlds collide as all of the boys are required to participate in the play. Through it all, only one other boy, the strikingly handsome Jonathan, seems to understand Timothy, protecting him and offering him private moments of solace and comfort. Mr. Becker brings this relatively complicated high school jock stereotype/anti-stereotype to full life; his inner conflict is displayed through some fine line readings and heartfelt facial expressions, all carefully picked up on film by director/writer Tom Gustafson, whose heart and soul is clearly driving this picture.

In the course of rehearsing the play, Timothy discovers a magic potion recipe that delivers the fanciful spell in Shakespeare's play: drops of the elixir in the eyes of all makes each fall in love with whomever he sees first. Hoping to woo Jonathan, Timothy makes the potion, but things get out of control when first he mistakenly sprinkles some on his straight best friend Max(a funny Ricky Goldman), and get even worse, when out of spite, he gives the potion to many of the people in the uptight small town he so desperately wants out of. The result? Most of the town begins to see the world from a gay perspective, as couple after couple (same-sex, of course) pursue each other and fall desperately in love. As one might expect, the homophobic coach (Christian Stolte) and the most offensive of his rugby players (Parker Croft and Brad Bukauskas) are the hardest hit by the gay love bug. But what makes this plot have its real bite, though, is in who DOESN'T get the potion: Timothy's mother (Judy McLane), who is struggling to understand her son's sexuality, the principal (David Darrow), who is struggling to keep his school together as the star members of the rugby team pair up and are found dancing and singing on the field, and canoodling in each others' beds, and Frankie (Zelda Williams) a unique girl and best friend of Timothy, and would-be girlfriend of Max. Ultimately, the whole experience opens the eyes of all concerned, realistically, not everyone ends up on Timothy's side, but all have a new perspective. When the very production that started all of this comes under fire and might not open, the drama teacher (the ethereal, wicked and very cool Wendy Robie) convinces Timothy that he must get everyone back to the way they were and hope that maybe they will learn to be more tolerant. The ending, which has both crowd-pleasing elements and healthy doses of a reality check, I won't give away, but you'd have to be a very hard case not to be moved by it.

OF FANTASY SEQUENCES, DREAMS AND REALITY

One can only guess that writer/director Tom Gustafson and his design team have practical stage experience, as this low-budget film relies on stage effects over computer and film effects. One of the most effective sequences, the title number "Were the World Mine," where Timothy realizes that the play and his potion are the key to getting the world to be the way he likes it, starts in Timothy's bedroom, and moves into the gym/auditorium of the school and on the stage set. Rather than morphing the scenes, using green screens or even fancy film cuts, Gustafson reveals the sequence as he would were he confined to the Broadway stage. The reality of Timothy's bedroom literally breaks as the wall opens, revealing, in successive pools of light, the gym floor, Jonathan in a midsummer slumber, the rugby team as the fairies, and finally the stage where Timothy, as Puck, can weave his magic. Production designer Cory James Kruekeberg and costume designer Elizabeth Powell Wislar have created a big budget feel with limited funds: it is a gay fantasia filtered through the eyes of a small town gay teen. The emphasis is on glamming up the dreamers, and sexing up the hot jock boys, who as the fairies are topless (but evenly sweaty - think brushed on Vaseline) and in sparkly short hot pants. The choreography by Todd Underwood clearly takes a teen's fantasy world and MTV style dancing into mind. The rugby players/dancers are sexy in a teen lust kind of way, but all manage to maintain some semblance of innocence and sweet awkwardness. In fact, the same could be said of the whole film.

It manages to be the gay film gay audiences want. Lots of teasing with cute boys, who look just enough like high school age to be naughty, but are clearly old enough not to be jail bait. There is the requisite locker room scene, complete with just showered guys dressing, touching each other in a teasing way, with anti-gay banter to fill the void. The star of Timothy's love life manages to be shirtless and/or sweaty in a rugby uniform for most of the picture, and the rest of the boys saunter around in school boy uniforms, untucked, unbuttoned or slightly askew, or they are in a shirts (dripping with sweat) vs skins (sweaty, bare chested) gym game. And when they are effected by the potion, they all kiss like porn stars. Yes, Gustafson makes sure all the "gay" buttons are pushed. But he also balances things with subtle bouts of innocence and behavior that shows how similar gays and straights really are: sweet hand holding, falling asleep cuddling, moonlit professions of love, and heartfelt angst when the pursued aren't interested in the pursuers, all of which are the same no matter your orientation. By playing both sides of this complicated coin, the film manages to please the gay film crowd, the struggling with sexuality crowd, and shows the uninitiated that all of us are pretty much the same in matters of the heart. The difference is merely plumbing.

Sure, lots of plays, musicals and films have covered this territory. But very few have done so with as much intelligence, heart or creative understanding. I recommend this film to anyone who loves a good story, Shakespeare, the theatre, musicals and simply good movies. Were the world mine, there would be a lot more movies like this one.

Grade: A

(Photos from IMDB.com, Top to Bottom: The Cast of Were the World Mine; Jill Larson and Judy McLane; Tanner Cohen; Nathaniel David Becker; Brad Bukauskas and Parker Croft; Wendy Robie and Tanner Cohen; The Cast of Were the World Mine.)

Comments? Leave one here or write to me at jkstheatrescene@yahoo.com

Jeff

DVD REVIEW: RENT Final Performance

DVD: RENT: Filmed Live on Broadway. The Final Performance on Broadway, September 7, 2008, Nederlander Theatre, New York City. Book, Music and Lyrics by Jonathan Larson. Stage Production directed by Michael Greif. Directed for film by Michael John Warren. The Hot Ticket Presents a @Radical Media Production. 152 minutes.

Starring: Will Chase (Roger), Eden Espinoza (Maureen), Renee Elise Goldberry (Mimi), Rodney Hicks (Benny), Justin Johnston (Angel), Adam Kantor (Mark), Michael McElroy (Tom), Tracie Thoms (Joanne), and Gwen Stewart (Seasons of Love soloist).

HOW DO YOU MEASURE A MOMENT SO DEAR?

In my lifetime so far, there have been two truly landmark musicals on Broadway that changed the way Broadway does business, and changed the way Broadway sounded: A Chorus Line and RENT. Both went on to win every major award for theatre, including the Pulitzer Prize, awarded very rarely to musicals. Had A Chorus Line happened second, perhaps we would be as fortunate with that show as we are with RENT in that the producers and the Broadway community at large recognized the invaluable and indelible mark RENT left on the theatre world and filmed the final performance of the show, in lasting tribute to a landmark and to a genius of musical writing silenced forever by his untimely death the night before the very first preview of the show in 1996, Jonathan Larson.

That RENT is a well-done, if imperfect show, has been chronicled since its opening back in the mid-90's. It is widely agreed, even among the original cast and creative team, the Larson would have done much repair - adding/cutting songs, trimming awkward dialogue, etc. - but that was never to be. And it is somewhat to the show's advantage that it remains as it was, warts and all, for it retains its author's original intent, energy and direction - an imperfect, but wonderful moment in time frozen forever. So, with the advent of the DVD, discussing the merits and pitfalls of the show itself is both unnecessary and somewhat disrespectful in a way. But what can be discussed is the quality and value of forever memorializing the final performance.

There is, I suppose, some irony in the fact that musical itself is filtered through the medium of film - the story of the late millennium Greenwich Village Bohemians is told by videographer Mark Cohen, and by putting the theatrical version on film, we can see the show through the same device. The big difference is that Mark's use of the camera is both character driven and metaphorically sound to the story. Watching a live performance through the filter of a camera, a director and several editors is a whole different thing. While one can watch the whole stage picture and select where to focus is up to the audience member entirely, we as a movie audience have those choices made for us. Is this, in this case, a good or bad thing? Both, actually.

On the negative side, much of the staging, NOT changed for the filming, was done with an eye toward the broad picture, with isolated moments and "close ups" carefully chosen by director Michael Greif and his lighting designer. Film director Michael John Warren has all of that to consider, plus where else we get to see the action from his well-placed cameras. Often, we are given moving close-ups during company numbers, where the singers are focused on as they sing. The problem, especially during the "Will I Lose My Dignity?" and numbers like that, is that solo lines are said from far points on the stage, and instead of quickly cross-cutting the camera moves as our head would, the camera pans the stage, thus getting us to the next singer too late or at half way through their lines. Other times, the camera pans up, blinding us in the stage lighting. Then there are the bizarre times when Warren has chosen to go directly from a tight close up to a full stage shot, which is jarring to say the least.

Still there are great advantages, especially for fans who know the show and avid theatre-lovers who crave a chance to see thing from a backstage/onstage point of view, and I'm not just talking about the terrific bonus features (reviewed later in this piece). There are several sequences brilliantly cut in a almost a music video style that both embrace and strengthen the theatricality of the staging, namely "Christmas Bells Are Ringing," "Wet," and the particularly moving "Without You" numbers. Then, too, there are the opportunities to see the acting up close, and often with an actor facing upstage. Then we see what the cast sees, where as if we were in the audience we'd only hear, not see the actor acting. This happens frequently in scenes between Roger and Mimi and Angel and Tom, and to great emotional effect.

Having had the benefit and supreme privilege of seeing the original Broadway cast shortly after the opening, I can testify to the raw energy and passion of that unique group. A largely unseasoned group, the daring, in your face mentality of those Broadway newbies and their lack of show biz polish added an undirectable edge to the piece, adding only more to the heavy burden and hugely life-transforming event the show became because of Larson's death. In short, their unique perspective, lack of experience and indestructible bond could never be replicated, much like the original cast of A Chorus Line, whose only real difference from the RENT cast was that they were telling their own story. Even the original RENTers couldn't replicate that initial synergy when they gathered to make the film version a few years ago. And just like it would be unfair to compare the Chorus Line original cast to say, the revival cast, so, too is it unfair to compare the original RENTers with the final RENTers. The producers of the stage version wisely orchestrated their leaving the Great White Way by gathering a cast of New York's finest, young and best actor/singers for the final company, rather than try to arrange for the original cast (too old) or for completely unknowns (too green to not go through the entire creation process). The result is probably the best post-original cast of the show, full of people who didn't help create, but fully embrace the piece as a masterpiece of musical theatre.

LAST SONG GLORY

The youngest member of the main company, Adam Kantor, wonderfully plays Mark, blissfully unaware of his self-fulfilling loneliness until he is forced to confront it. His performance is not a carbon copy of the original, and his inflection during certain numbers and scenes reflects a study of the piece as true theatre. Further, his voice is in fine form, particularly as both soloist and duettist (with Will Chase) in "Rent" and "What You Own." Mr. Chase, as Roger, also mines the depths of his character's angst and depression, with out getting too maudlin, and watching him transform into a happier, love-struck hero is satisfying. His voice, also quite nice, lacks a certain rock edge in "One Song Glory," but really works in "Your Eyes." Renee Elise Goldberry as Mimi is also terrific, if not really convincing as a 19 year old. Her voice is spectacular (though not nearly edgy enough for "Out Tonight"), and her acting is superb. Of all the main cast, she benefits most from camera-close ups, so specific is her acting. Plus, the camera loves her. I'd be surprised if she doesn’t get film offers from this.

As lesbian couple Maureen and Joanne, Eden Espinoza and Tracie Thoms (sole RENT movie actor in the cast) have awesome chemistry and push and pull as they fight their way through their relationship. Miss Espinoza knows how to walk that line between oddly enticing and off-putting, just as Maureen should. Her "Over the Moon" performance art piece is terrific, even if she has just a wee bit too much polish to be convincing as truly avant-garde. But their Act Two diva duet, "Take Me or Leave Me" is electrifying - a stagy, theatrical and vocally thrilling moment if ever there was one.

Michael McElroy, one of Broadway's greatest voices today, is no less than brilliant as Tom Collins, a lonely HIV+ guy who finds love after a beating with Angel (Justin Johnston), a sweet, equally sick transvestite, who has chosen to grab life like the brass ring that it is. Their chemistry is so real, you'd swear they were truly lovers! Their "Santa Fe"/"I'll Cover You" duets are joyful and uplifting, making McElroy's solo "I'll Cover You" all the more sad and emotionally rich later in act two.


Finally, there are two members of the final company that were in the original, Gwen Stewart, who reprises her roles, including chiefly the "Seasons of Love" soloist. I'm glad to report that her voice has gotten richer and more moving the intervening years. Rodney Hicks has moved up from the ensemble to play Benny, the villain of the piece. And he does quite well, even if he doesn't completely erase the mark left on the role by Taye Diggs. He sings well, and his acting is fine, but he comes across like he is ACTING, not living the role. Still, he doesn’t stick out in any discernible way, and that is good, too for an ensemble piece like this one.

WE'RE NOT GONNA PAY: THE DVD EXTRAS

Like most DVDs, this one has bonus features (there are even more on the Blue-Ray version) that really add to the experience. They were chosen wisely, with theatre-lovers and RENT-heads clearly in mind, and they don't repeat the excellent documentary on Jonathan Larson included with the motion picture version DVD. No, these features celebrate the theatrical even the RENT was. The documentary RENT: The Final Days on Broadway really brings home the impact that the show, its final days and being selected for means to the company. Most interesting are the snippets about Ms. Stewart and Mr. Hicks, who have the benefit of having experienced both the beginning and the end, and Mr. Kantor, whose first Broadway role is the lead in the show, and who can't quite grasp the enormity of that fact or that it is all coming to and end. (Seeing him finally break down after the curtain call brings an nice closure to the whole thing.) The Final Curtain Call is the type of featurette that true fans will love because they can see how many past and present cast members they can identify, without the benefit of names added to the screen. I suspect, however, that if you grow tired of "Seasons of Love," this is one feature you'll watch once.

RENT has a special place in Broadway history for many reasons, but two of the unique ones are is famous wall, where anyone of any note who has been in or visited backstage has signed their best wishes. It is the kind of thing only Broadway would have, and it was a legend very few people got to see first hand. Now we can all enjoy it with the bonus The Wall. The other thing that RENT really left a mark on Broadway with was its instituting a Lottery/Rush policy, where the first two rows (and occasionally some side-view seats) are filled in by people who put their names in a hat for the chance at those tickets for a mere $20.00 each! This policy allows many folks who can't even afford TKTS tickets to enjoy the best of Broadway. Since then, almost every show has some sort of Lottery (Wicked, Avenue Q) and/or discounts for all (Chicago) or students (Billy Elliot). And nearly every theatre has significantly dropped the price of rear mezzanine seats. And all of that is thanks to Jonathan Larson, who famously said before he had any idea RENT would even be produced, "If this makes it, I won't be able to afford to see my own show." The last time this is done is wonderfully archived in the documentary, The Final Lottery, which includes a visibly moved lottery wrangler who loves his job and will miss it terribly.

RENT is about living for the moment and knowing when and how to say goodbye, a sentiment oft expressed by this final company who struggle to put on the best show that they can while still savoring every minute of it. With the filming of this last performance, we can all relive those final, thrilling moments of a true Broadway legend.

Grade: A+

Photos: Top: The Final Company of RENT in "La Vie Boehme" (Justin Johnston and Michael McElroy, center); Left to Right, below: Adam Kantor, Tracie Thoms and Eden Espinoza. Bottom: Will Chase and Gwen Stewart.