Friday, December 6, 2013

I'm still here! Catching up on 2013...

Nobody Loves You
Second Stage Theatre
Saturday, Aug 10 @ 2PM

A fun sit-com of a musical where a snotty grad student goes on a reality dating show to prove that reality shows are a scam.  And of course, ends up falling in love.  It's totally predictable, but the characters and actors are so likable that you excuse the trite set-up and inevitable conclusion.

The score is tuneful, generic pop musical theatre, but the talented cast elevates it beyond what it probably deserves.  It's crammed full of media and technology references that scream "aren't we clever" and for the most part, they are.  Although many of the gray-haired matinee ladies were looking around in confusion as the younger set laughed over hashtags and texting acronyms.

I wish Leslie Kritzer had more to do, but she does the most she can with a big ole stereotype of a character (incidentally, all the characters as written are big ole stereotypes).  Heath Calvert is perfect as a hunky, dim narcissist of a television host.  And Rory O'Malley displays his comic versatility in a range of characters from douche bag frat boy to flamboyant gossip queen.

It's harmless fun with a top notch cast.

The Nance
Lyceum Theatre
Saturday, Aug 10 @ 8PM

It's been months now, but what I remember most was my surprise at Nathan Lane's heartbreaking performance in a dramatic role.  Ever since The Producers, it seemed Lane was stuck in a never-ending loop of wacky, flamboyant comic character roles.  He'd become a caricature of himself.

In The Nance Lane plays Chauncey, a 1930s burlesque comedian trying to come to terms with his sexuality at a time when homosexuality was still considered a mental illness.  Things get complicated when a handsome young stranger forces Chauncey to question his hedonistic lifestyle (to whore, or not to whore?).

The play's structure consists of period musical and comedy skits intercut between traditional dialogue scenes, with the skits commenting on the action of the play.  Cady Huffman, Andrea Burns and Jenni Barber are the lovable activist strippers trying to stand-up to the evil censoring Republicans looking to shut down the burlesque houses.  The only thing missing is a trumpet, some butterfly wings and a light-up bra.

Refreshingly, this isn't the campy romp we usually come to expect from Douglas Carter Beane, who appropriately leaves most of the bitchy one-liners within the skits.

Jonny Orsini is affecting as the young object of Chauncey's lust.  The straightforwardness and simplicity of his acting - as well as some full frontal action - quickly earn the audience's sympathies.

The Glass Menagerie
Booth Theatre
Sunday, Sep 8, 2PM

I'm now officially an aging theatre queen.  It's depressing enough that producers are reviving shows I've seen in their original productions.  But now I'm on to multiple revivals of the same show!  Sigh.  Pretty soon I'll be lamenting the bygone era of LPs and mix tapes and reminiscing about the good ole' days when MTV used to play - gasp - music videos.

Anyway, the most striking aspect of the most recent revival of Tennessee Williams' The Glass Menagerie is the stunning set and lighting design.  The designers have interpreted the "memory play" aspect of the script into a literal visual image.  The set and players seem to float within the dark expanse of the theatre's proscenium.

As always, Cherry Jones gives a thoughtful, intelligent performance as Amanda, the fading southern matriarch.  She infuses her Amanda with a grounded, earth-mother vibe that I'm not totally convinced is the most appropriate route for the character.  It's a growling, fierce performance that seems at odds with Amanda's genteel debutante past.  It's definitely original and unexpected, but I prefer my Amanda's a bit more, well, southern.  Maybe it's because my first Amanda was the delicate, oh-so-southern, Jessica Lange.

Zachary "Spock" Quinto is lending a not-so-subtle gay subtext to Tom, and there is some pretty overt homo-eroticism going on between Tom and the gentleman caller in the second act.  No such undertones in the Lange production, where Christian Slater (yes, that Christian Slater) played Tom as just a schlubby loser.

The director, John Tiffany, adds some interesting impressionistic flourishes to the staging.  Some work wonderfully - characters literally teetering on the "edge" of the set (i.e. their memories) - while others seem gimmicky - repeated movements reminiscent of acting class exercises.

And in case your wondering, I'm in the camp that likes the woman-eating couch.  Don't ask.

It may not be the perfect production for Menagerie purists, but this is a genuinely original take on the well-known melodrama.

Romeo and Juliet
Richard Rodgers
Sunday, Sep 29 @ 3pm

Beside the several phone interruptions and clandestine photo-taking by the teenager and her mom sitting next to me, I found myself not hating this recent Broadway revival of the Bard's classic love story.  It's not ground-breaking or revelatory, but the well-known story still packs an emotional punch and Bloom and Rashad are charming and likable.

Sure, the loud, clanging incidental music and sleek modern design obviously caters to the attention-span challenged tweeners and star-fuckers feigning class by attending "Shakespea-uh on the Broadway," but it's entertaining nonetheless.

Thanks to a second row orchestra seat (go TDF!), I got an eyeful of the strapping Orlando Bloom and lovely Condola Rashad.  But the unfortunate placement of the balcony at the lip of the stage left me with a stiff neck and aching lower back by the end of the evening.

Even up close, the 30-something Bloom still passes for a twink - must be some kind of Middle Earth elf magic - and he gives a charmingly earnest, unaffected performances.  I'm a Rashad fan, but surprisingly I found her the weaker of the pair, trying just a tad too hard to feign the glow of youthful naivete.  But Bloom and Rashad have a palpable chemistry and from the balcony scene onward, they literally can't keep their hands off each other.

Director David Leveaux has a weird obsession with two-wheeled vehicles.  Romeo enters on a motorcycle (for no apparent reason other than for the "cool" factor) and the nurse spends most of her time walking a bicycle around the stage.  Oddly, she never rides it.

There are some inconsistencies in the acting styles within the company and the production doesn't really seem to take place in any specific time or period, but it didn't bother me much since the language is so darn beautiful.

Not a total waste of an afternoon, but sitting in the Rodgers I was reminded of a former tenant, a show that I enjoyed much more, In The Heights.

Wednesday, December 4, 2013

The Three Witches' - er - I mean, Ethan Hawke's Macbeth

Macbeth
Lincoln Center
Wednesday, Nov 6, 8PM

With Trish hanging in RVA for the next couple of months, I had to find myself a new show buddy. Since most of my friends are certified musical theatre queens (me included), I resorted to a straight date with newly employed hetero friend, Chris Grimm. Sadly, our first "date" didn't amount to much, mainly due to a languid and uneven production. The evening seemed endless and after three hours, I was hoping to be the next victim of Ethan's dagger.

The sleek and stylish physical production, in cool shades of black and gray with the occasional splash of symbolic red, seemed a bit too chic for its own good, though it made for some visually stunning stage pictures. The couture costumes, especially for Lady Macbeth, seemed lifted straight out of a Vogue spread - gorgeous, but perhaps not entirely appropriate. Lighting and projections were suitably eerie and often spectacularly cinematic.

Unfortunately, the all-too-often bare (though gorgeously lit) stage led to some fairly stilted blocking with actors peppered around the huge Beaumont stage talking at each other with not much else to do. The lack of action created lots of tennis-match style ensemble work.

The only performers able to successfully navigate the director's sabotage were the three witches. Played by men in rotting-robed drag, John Glover, Byron Jennings, and Malcolm Gets make the strongest stage impression. Slipping in and out of character to play minor roles throughout the evening, the audience is led to believe that the events on stage are just part of some mystical destiny (occult symbolism is literally imbedded into the stage floor).

As for Ethan, when I could hear or understand him, was - well - adequate. His hoarse, unsupported voice and mushy diction thwarted his attempt at lending any strength or gravitas to his characterization. And with a strong and gorgeous Lady (Ann-Marie Duff) at his side, Hawke's Macbeth just comes off as a wimpy, spoiled man-child. Hawke did improve in bearing and strength (still raspy and hoarse, though) by the last hour of the play, but it was too little too late.

The rest of the supporting cast is strong, but all seemed to be in different productions of the same play. Acting styles were wildly inconsistent across the board.

This production would make a gorgeous glossy coffee table book.

Monday, December 2, 2013

Thanksgiving 2013 - Thankful for 24-hour Au Bon Pain

It’s not a Pineda holiday without some kind of drama. This year, my dad decided to scare the bejesus out of us by heading to the ICU over the Thanksgiving holiday. He’s been dealing with a long term illness for the past few months, but seemed to be making good progress...

...until the day before Thanksgiving.

We are a family known for its procrastinating tendencies, but within a few hours of Trish’s panicked phone call, Juan, Val and I were packed into the van and speeding through freezing rain and sleet on our way to Richmond. It was a wild few days, but dad is now out of the hospital and recuperating.

The last minute venue change didn't stop us from keeping the holiday spirit alive. We still managed to have our Thanksgiving turkey dinner with all the trimmings. But instead of a cozy sit-down at the family dinner table, we took turns noshing in the hospital cafeteria. Institutionally prepared, mass-produced turkey and stuffing never tasted so good. And we didn't have to wash any dishes. Thank you, lunch ladies!

Only two guests allowed in a patient's room at a time in the ICU. So we got cozy in the waiting room with our computers and plentiful snacks. Nothing like festive over-nighter in a sterile hospital lounge to bolster your holiday spirit.

Thankfully, dad was well enough to be moved to a regular floor after a couple of days. We spent the rest of the week in a spacious private hospital suite large enough to accommodate the whole Pineda clan, including a surprise visit from a very pregnant cousin Marion. And did I mention the 24-hour Au Bon Pain in the lobby? That's right, we had all night access to chocolate croissants and English toffee cookies.

Per usual, our unique brand of Pineda charm (persistent neediness to some) and good looks quickly won over the staff. It also didn't hurt that we plied the nurses with all sorts of goodies gathered from home from our Thanksgiving celebration that never was. Amazing how free cake can cement a relationship - and get you extra ice cream.

Dad's final day at the hospital coincided with mom and dad's wedding anniversary (as well as Trish's birthday!). As a wonderful final gesture, the whole nursing staff stopped by for a cheerful bon voyage complete with anniversary cupcakes for the happy couple.

Our intrepid nursing staff, technicians and food service professionals all stopped by on dad's final day to say "good-bye" and ...
...to present the anniversary couple with celebratory cupcakes!

I wish all the doctors, nurses and staff at MCV a hearty "thank you" for contributing to a memorable Thanksgiving 2013. And here's hoping for some boring, non-eventful holidays to come.
"I'd rather be nine people's favorite thing thana hundred people's ninth favorite thing."

Jeff Bowen, Lyrics "[Title of Show]"