i miss theatre

Last week, the organization I work for announced that all shows through the month of March have been cancelled.

This week began the work from home.

This sucks. Look, there are plus sides to social-distancing like the fact that I won’t be putting insane miles on my car every week (I still live at home and my work is over 30 miles away) and I’m getting to use that time to *theoretically* be creative.

Broadway has been shut down. Completely. This hasn’t happened since September 2001 and even then it wasn’t such an extended amount of time. As of right now, Broadway theatres are closed through April 12, but as the days go on it looks more and more likely that will changed to a date even further in the future. The impact this will have on the 19-20 season is still to be determined. So many shows use this time as a rush to open to make Tony eligibility requirements and now there is no possible way that these shows will have the necessary preview time to open before the deadline. This shutdown might even go on past the April 23 deadline. Whether they move the awards ceremony and therefore the deadline is still up in the air at this point. Meanwhile, the Oliviers have just cancelled the ceremony outright.

The financial impact of this is going to hit even harder. When it was announced, it was one month that Broadway was given. That is one month without shows, without traffic to the bars and restaurants in the Theatre District. There is no way around the negative economic impact this will have on New York City and the whole world. My question is, what shows will close prematurely because of this. Which shows were hanging on by a thread to keep their doors open with hopes of Tony season publicity? It’s not a new thing for shows to close after they don’t garner enough nominations (if any) or awards, but this season it almost feels like a lot of shows don’t even have a shot.

It’s not just Broadway. Theatres across the country are announcing cancellations. Here in Southern California, most theatres have announced they’ll remained closed through March. While we hope that is the case, I am just not sure anymore.

I miss theatre.

I miss sitting with a couple thousand people in a dark space, facing the same direction, and going on the same emotional journey together.

I miss the bad shows, too.

I miss shows that are not trying to be high art, but instead just trying to be a fun night out. Even if they miss the mark completely (especially then). I miss pitchy singers who are trying their hardest while kick-ass dancers are stealing the spotlight while you wonder why they are so pale if they live on an island. (Yes, I am talking about a specific show but I will not name it)

I miss the weird theatre, too. I thank God every day for Dave Malloy and the treasures he’s brought the world and the fact that we can just watch a production of Ghost Quartet. Have you listened to that show? It’s insane.

Of course, I also really miss the GOOD theatre. I have tickets to Hamilton at the end of April in LA and I am holding my breath for the cancellation email I am sure will come any day, now. I’ve seen it before, I’ll be fine.

But what I really miss are theatre people. I already miss my coworkers and its only been a couple of days. Watching this whole thing go down together, we’ve managed to find light, laughter, and silver linings. I truly work with the best people in the business.

There is no getting around the fact that this whole situation will financially hurt, potentially devastate small arts organizations. Without shows or concerts in-house, people are understandably asking for refunds. But I urge anyone and everyone who is able to please, please, please donate your tickets back to the organization–maybe even more.

I try to look for the positivity in all things, for the silver linings. When this whole thing is over, I can’t help but believe that people are going to be clamoring for the arts, so much so that the energy in the audiences will be off the charts. The vocal rest these musical theatre performers are getting is going to make their voices better than ever, though I’m sure they’d rather be performing, creating, and playing.

So, during this time, I am taking the time to listen to some of my old favorite cast recordings. Like, can you believe I haven’t listened to Next to Normal in YEARS?! I’m also watching old classic movie musicals that I’ve never seen. Like, how have I never seen Funny Girl or Singin’ in the Rain?

Also, I’m working still. Even though shows are cancelled and the theatres are closed, the staff at your local arts organizations are still working, trying to provide the best content and connection we can. We want to be back at work, too. We want theatre back just as much as you.

Please, if you are financially capable, please consider donating to your local non-profit arts organization.

And please, wash your hands and stay home.

Until next time,

Katie

Our Dear Diana

Princess Diana died when I was only 2 years old. I don’t remember anything about it. The only reference I have is what I’ve been told and seen on TV with an agenda. She seems to be deified, gone-too-soon, and beloved. But was that the real her? Diana, the new musical making its world premiere at the La Jolla Playhouse attempts to answer that question. From the same creative team that brought you the Tony-winning musical Memphis, we are given a look at the lives of Diana, Charles, Elizabeth, and Camilla.

 

Now, keeping in mind that this is a world premiere, this is such a wonderful start. I can’t quite tell you what kind of music I was expecting from this musical, so I don’t know why was I was so shocked to find out it was rock. Starting with the music, as we are already on this topic, I must say that some of these songs are absolutely wonderful, specifically Snap, Click, Princess Di Floating, Diana (the Rage), and Pretty, Pretty Girl from Act 1, and The Words Came Pouring Out, The Dress, and If from Act 2. For most musicals, music is OBVIOUSLY important to the show, but for most of Act 1, I was left wanting something more, something deeper from the music. But when Act 2 started, I was given exactly what I was craving, thank God.

The book of this show is what I think needs the most work. For the most part, Act 1 needs a serious overhaul. It seemed very superficial like we were just given something that was only slightly better than one of those Lifetime movies: all speculation and no concrete facts about the personal lives. It isn’t until the end of the first act that we actually see some real emotion from the character of Diana. We see the pain that she feels, that she has been putting on a front for so long, trying her hardest to be the wife she has to be but also the woman she wants to be. When Harry is born, we are first given a glimpse into the pain she feels, the self-harm she has done, and the pressure she is under. From the beginning, we see the harassment she has had from the media, being followed by paparazzi and her life becoming the subject of gossip. But now we see the perfect ideals and standards that they put on her (and all women, if we are honest) about not losing enough weight after giving birth and then more judgment when she quickly loses the weight, causing eating disorders.

This is the kind of meaty story I craved. Why was it only given at the end of the first act? The whole beginning was too much fluff, a totally unconvincing love story between Diana and Charles. But was that the point? I mean, did Charles and Diana even love each other or was it just their duty to their country? Were the crown and all in charge telling him it was time to get married and she just happened to be the girl he was seeing at the time so she was it? That’s what this show is trying to tell you. Do we know this for certain? I’m not sure. But whatever it was, the first act just didn’t work until the end.

Act 2 is a completely different story. Almost as if it was written first and they worked backward. We see Diana, now totally putting on a show. While still married to Charles, the two of them are basically living separate lives, only together for the press. Charles is spending all of his private time with Camilla, as he has been the entire time, and Diana has started spending time with James Hewitt. It seems as though they have both made peace with this. It isn’t until a Diana-Camilla showdown at Camilla’s sister’s birthday party, that things really come to a head. There has been too much fighting, but Diana doesn’t want William and Harry to go through what she went through when her parents separated. But this, we are shown, is the true catalyst for the divorce. Well, that along with the fact that Diana went to Andrew Morton aired all the Windsors’ dirty laundry. Then Charles goes to the press to address his infidelity and Diana wears the lovingly-titled “Fuck You Dress”. A truly wonderful song that has the audience laughing and on her side. If the media is going to be harsh to her in the morning, she may as well look great in her latest photos.

Elizabeth grants the divorce, Diana loses everything but gains her independence. In the 11 o’clock number we see Diana dream about everything she can do now that she is free. She dreams of helping people and going to America once her boys are older. We see her dream of realities she’ll never experience. The show ends rather abruptly in her death, something that will definitely need to be fleshed out more if the show moves on.

The pacing of the show in the first act is reminiscent of Come From Away, which makes sense as the two share a director. The first act moves rather quickly, leaving next to no room for applause, not that the material garners any. That sounds harsh, but it’s true. Act 2, however, leaves breathing room in the transition from song to the next scene, in which applause is welcome and deserving. Christopher Ashley definitely knows what he is doing, he has a Tony Award for God’s sake. He directs this show so beautifully, giving his actors exactly what they need. He has definitely become a favorite director of mine in the past few years.

 

The costumes, my God, the costumes. William Ivey Long did it again. He recreated some of these looks from the ’90s, namely Diana’s wedding dress and “revenge dress”. There are some signature quick changes, at the end of Act 1 Diana is in a sparkling red dress that gets ripped away into a dazzling white gown. His work is tremendous, but we already knew this.

Jeanna de Waal as Diana is a true dream to see. She takes us from an innocent, timid, 19-year old assistant kindergarten teacher to a fully grown, bold, and hurt woman. Her voice is one of an angel, and she has such heart.

Roe Hartrampf as Charles makes the audience so conflicted. We are shown him to be a man who doesn’t quite stand up for himself but rather lets the women in his life influence his decisions. While he is a flawed character, Roe has such an understanding of this Charles, playing him perfectly

Erin Davie as Camilla is another conflicting character. Obviously, we want Diana to triumph, but does Camilla not deserve happiness as well. While terribly privileged, she and Charles are drawn as star-crossed lovers. Camilla wants to be happy just as much as Charles and Diana. Still, we see her as a villain, but Davie gives her as much heart as she gives bite.

Judy Kay as Queen Elizabeth is a gem. That’s it, she’s just a gem. Getting to see a true Broadway queen as THE queen was something else.

 

So, I suppose, in conclusion, I truly enjoyed Diana. As a world premier, this was wonderful. Some kinks definitely need to be worked out but there is so much good here. I truly cannot wait to see what this show becomes and I look forward to seeing it again one day on a bigger stage. Is Broadway in the future? I think yes, and I cannot wait.

Bandstand on Broadway

It was my last day in New York. I had just left the matinee of Natasha, Pierre, and the Great Comet of 1812 in utter disbelief of the magic that was made on the stage of the Imperial. My mother and I had gone to dinner and were now waiting in line to enter the Jacobs Theatre to see Bandstand.

Bandstand was the one show that I had actually planned on seeing while in New York. I knew I would see others, but hadn’t bought the tickets, but I wanted to make sure to see Bandstand. Maybe it was a bit of a redemption for the first time I had come to the city to see Cinderella and Laura Osnes was out of the show that week, maybe it was my incessant need for originality on Broadway, or maybe it was both. I knew I wanted to see this show.

Something that I love doing, and rarely have the opportunity to do, is seeing a show without even an idea of what it is about. I love being able to enter a theatre with a blank pallet and let the actors and musicians take me away. I had an idea of what Bandstand was about. I knew that it was about men who returned home from WWII and started a band, but Lord, I had no idea what I was in for.

The show starts and you are instantly taken to the war. You are there with Donny and Michael and are faced with the harsh realities of what happened there. They don’t sugar coat it, its real. When you end up in Cleaveland and see the way the war has changed people, it’s an eye opener. Before I saw this show, WWII seemed so far away, so disconnected. I knew that my grandfather had fought, I knew he saw things he never talked about, but this show put it into perspective for me. The way you see these men behave and try to deal with their inner demons is such eye-opening theatre. When the doctor tells Donny to find something quick, that he’s gone to three funerals that month because the men wanted a way to make it stop, I actually wanted to cry. Back then, and even to an extent now, people didn’t talk about what happened. They were expected to get over it, see it as an honor, and get through it. But talking about experiences helps so much, but it just wasn’t seen as an option then, they just had to do what it took to make it like it was before.

When the 11 o’clock number rolls around and you see that someone is talking about it, that they want every man who served to know that they aren’t alone, I wanted to cry even more. I wish something like that was more readily available to men then, or even now. Sure, TV shows and movies talk about it, but back in the day, they had the MGM movie musicals that were more about the lavish homecomings than the realities of war.

This show has so many amazing aspects to it. It is a swing musical, which isnt common on Broadway, and not just that, but the actors on stage also play their own instruments. This means that not only do these actors have to act, sing, and dance well, but also be able to play swing music amazingly. There are still pit musicians who play the rest of the score, but when the Donny Nova Band is playing, the actors are playing the music.

Also, Tony winner for Hamilton, Andy Blankenbuehler directs and choreographs the show. I remember that during one particular dance number, there are people sliding with chairs across the stage and the audience went absolutely nuts for it. It was amazing. There is no doubt that this show had the best choreography this season, they won a Tony for it.

But what makes this show even more amazing is that this show is the first Got Your Six certified Broadway musical, meaning it’s the first show to accurately portray veterans stories. These stories need to be told just as much as any other story on Broadway.

The performances by the actors were just so touching. Having been a fan of Laura Osnes for years, finally getting to see her in a show was such an amazing experience. But it was Corey Cott’s performance of Donny that absolutely blew my mind. Why he was not nominated for a Tony still baffles me. He gave his all and left it on the stage during that performance. His performance was one that will honestly stick with me for years to come.

Whatever your thoughts on the military may be, this show tells the stories of what happens to people who do what they think is the best thing for their country and how they do their best to cope with those experiences.

Great Comet, Great Birthday

Saturday. Matinee. My 22nd birthday. Great Comet

I left Los Angeles for New York two days before my 22nd birthday with tickets for only one show (Bandstand) and an idea of what other shows I wanted to see. Natasha, Pierre, and the Great Comet of 1812 was at the top of the list. So when I was able to buy next-day matinee tickets at TKTS I was absolutely beside myself.

I had listened to the Off-Broadway Cast Recording for about a year before leaving for New York and had fallen in love with the story and the show itself. I knew that some changes would be made but I had absolutely no idea about how I would feel during this show.

We, my mother and myself, rolled up to the Imperial Theatre in an Uber after getting myself a birthday blowout at DryBar, ready for what this show would become. Upon entering the theatre, I was immediately transported and disoriented. This is not what a Broadway theatre typically looks like, I felt cramped and a bit like Kimmy Schmidt, trapped in a bunker. But after following the crowd through the entry, I was once more transported into a lush, lavish, and absolutely beautiful Russian supper club.

When the lights went down and the actors came out to discuss the rules of the club, I was instantly committed to the show. And then they won me over once more by handing out boxes of potato and onion perogies, which I was lucky enough to find myself in possession of. I was in love.

The lights dimmed, the chandelier rose, and the show began. The prologue makes me so happy with the repeating verses which are insanely helpful. I find that by repeating the names of who is who, it helps the audience get a better grasp of the characters and their personalities.

I wasn’t a fan of Josh Groban, not that I didn’t like him, I just hadn’t had much exposure to his music. I knew him from the 2008 UK Concert of Chess, and thought he was wonderful in that. But he truly shines as Pierre and I feel lucky to see him make his Broadway debut. I also knew that as a fun fact he attended LACHSA, which is one of the high schools that are basically on my college campus.

As for Denée Benton, I actually saw her 3 years ago in the National Tour of Book of Mormon as Nabulungi. From what I remember, she was great in that. As Natasha, however, she soared. I cannot imagine someone more suited for this role than her. Her performance was so wonderful and she truly embodied that naive, love-struck character that is Natasha. Also, this being her Broadway debut was pretty exciting.

For me, however, the absolute standout of the show was Lucas Steele as Anatole. He was able to exude the charm and stubbornness that the character requires all while singing his little heart out. He was funny and, God, he was so charming.

When I woke up on Tuesday May 2, 2017 to the news that all three of these actors were Tony-nominated for their performances made my heart soar.

A criticism I have heard about the show is that they speak a lot of their actions and some people do not like that. But I think it’s genius for two reasons. ONE, the show has pretty much redesigned the Imperial Theatre and the actors are performing around you all the time, including up in the mezzanine and at the back of the orchestra so nearly ever seat has some sort of obstruction, and so the actions being narrated is necessary. TWO, the show is based on a 70-page section of War and Peace, a book, by narrating the actions, it stays truer to the book, as if they are reading directly out of it. I think that is brilliant.

I love that the show is interactive, the actors are playing with the audience and toasting with them. I remember that during the song Letters, Anatole sends a letter along a row in the audience to Natasha. The row happened to be comprised of mainly older people and the last in the row was an elderly lady who was supposed to give the letter to Natasha. She, obviously, couldn’t move as well as a younger person might have so it took her a bit longer than anticipated to hand the letter over, but the audience gave a big cheer as she went to sit back down, and my heart swelled.

When the cast members came out with egg shakers for Balaga and the audience couldn’t keep the rhythm of the song, I felt so much joy. I love audience participation so much when no one is singled out.

I love how different and immersive this show is. It doesn’t leave you with a warm feeling in your heart unless the idea of no one being happy or in love makes you feel warm and fuzzy. To each their own. Still, this show is special, it leaves you feeling new and refreshed and like you and these characters are given a new start.

Everything about this show, the actors, the set design, the costumes, the book, and the music come together to form a perfect art piece. Not one day has passed since I saw this show that I have not listened to the cast recordings and spoken about this show. Of the three shows I saw on that trip, this is the one that has left the biggest impact on me. The fearlessness this show has by being different than the others is so promising of the future of Broadway, and that gives me hope.

I know this seems like a rave, but thats because it is. I love Great Comet. I love this show and want nothing but the best for this show and these actors. I want to see this show a million more times and I wonder if ever this could tour. I want everyone to see this show. When my friends tell me about the trips to New York they have planned for the summer, I tell them to see this show. Even when Groban leaves in early July, Oak will come in and kick ass.

Until next time,

Katie

What’s Going On with the National Endowment for the Arts and What It Means.

Lets talk about the National Endowment for the Arts and everything thats been going on with it for the past few weeks.Since Donald Trump has taken office on January 20, 2017, the world has been a bit of a mess. There are reports of Fake News, Alternative Facts, and a whole bunch of Executive Orders. I won’t get into that in this, it doesn’t relate to the Arts right now and until it does, I’ll keep my mouth closed. However, something that has been tossed around recently is the possibility of Trump defunding the National Endowment for the Arts, the National Endowment for the Humanities, and privatize the Corporation for Public Broadcasting. Now, this can all seem a little confusing so the point of this post is to break down exactly what this means.

The Facts:

• Donald Trump reportedly wants to cut cultural programs
• Privatize the Corporation for Public Broadcasting (according to the Hill)
• Eliminate the National Endowment for the Arts and the National Endowment for the Humanities (according to the Hill)
• All of this is in order to reduce federal spending by $10.5 trillion over 10 years
• Cultural programs make up 0.02% of Federal Funding (according to the Washington Post)

How an Endowment Works

Because I have twice interned in Development, which is the fundraising side of nonprofit organizations, I know a thing or two about endowments and how exactly nonprofits are funded. I am not an expert by any means, but I believe that I know enough to say something.

Essentially an endowment is a sum of money that sits in a bank that the organization cannot touch (unless circumstances are dire, in which case its seen as a bad thing in the org’s books). While they can’t touch the money itself, while it is in the account, it acquires interest which the organization can touch. Over the years the endowment can be added to which will then allow more money to be made off of it. A lot of nonprofit organizations rely on their endowment and the money they are granted by the National Endowment for the Arts. So, the NEA is pretty dang important.

The National Endowment for the Arts

A little information about the NEA

• Established by Congress in 1965
• Independent federal agency
• Government funding—$148million of the $3.9trillion (Washington post)
  • 0.0004% (Billboard)

“Established by Congress in 1965, the NEA is the independent federal agency whose funding and support gives Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities. Through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector, the NEA supports arts learning, affirms and celebrates America’s rich and diverse cultural heritage, and extends its work to promote equal access to the arts in every community across America. Visit arts.gov to learn more about NEA.”

What Does This Mean?

Trump wants to completely eliminate programs that don’t even equal 4/100000 of a percent each year. Now, I’m not an economist or much of a math person, but I know how to do basic multiplication and division. If you multiply $148 million by the 10 years in which Trump wants to reduce spending, you get $1.48 billion. Divide that by the $10.5 trillion he wants to reduce federal spending by and you get 0.0001409, which is 0.01409%, not even two-hundredths of a percent.

Again, I am not an economist, but these numbers seem to do nothing but hurt the NEA and the organizations that they fund, the communities they help throughout the country.

This is really no surprise, though, is it? The arts have always been the first thing to go when discussing budget cuts because our education system’s ideal is for students attending public schools to be more educated in STEM areas in order to keep up with technology and whatnot globally. Completely understandable, I get it. But public high schools have already eliminated so much of their arts programs in the past 10 years which keeps the students in lower income communities from being exposed to the arts in a hands-on setting. Yes, student matinees put on by local theatre communities but not all schools are able to attend, much less those that have already cut their arts programs. By cutting those programs it makes it nearly impossible for students to have a well rounded education. It further hurts children who are just not cut out for STEM subjects by telling them subconsciously that there is nothing out there for them because they do not provide it in school. This is why we need people who understand the public school system to be the Secretary of Education, not Betsy DeVos who has never attended or been employed at a public school and who thinks that the teachers are overpaid. (PS. my AP Lit teacher was full time at my high school and worked part time at two different colleges just to make ends meet, so thats a load of bull)

If this happens, if Trump does in fact cut the funding and completely eliminate the National Endowment for the Arts, organizations that rely on that funding will have to look for other sources.

What You Can Do

Speak Up!

• Remember, Donald Trump works for us. Contact your local representatives about all issues that concern you, whether it be the Executive Orders, the “Wall”, or the possibility of cutting the funding to the NEA

Donate what you can!

• You can go to Arts.gov and donate whatever you can to the National Endowment for the arts. Every little penny makes a difference because even a penny can accumulate interest over the years.

Go see art!

• Go to the theatre, a museum, symphonies. It does not matter. Take a friend who might normally not be exposed to this sort of culture on a regular basis and introduce them to your world. Research the organization before attending to see if it is a nonprofit, and to reiterate the previous point, donate what you can if you enjoy the work they are doing.

 

Thank you so much for reading. If you have any comments or suggestions, please share them in the comments because I would love to hear what you have to say!

xx Katie

Amélie: An Out of Town Tryout

Seen: December 23, 2016

Its a rare thing nowadays for a Broadway show to do an out-of-town tryout, let alone one that isn’t in DC, Boston, or Chicago. It happens, of course, but not often. Still, having the opportunity to see Amélie at the Ahmanson was such a magical experience.

To start, may I just say that Phillipa Soo is a legitimate gift from God. Her voice is so pure and angelic. She has such range in her acting and is one of the few actresses that can make me cry.  After having seen her in Hamilton last March, during which she had me in tears, I was so excited to see her in a new show and drastically different character. Also, Adam Chanler-Berat as Nino. I love him. I forgot how much I loved him. Next to Normal helped me get through high school and made me feel less alone when I was a freshman in a school where I didn’t know anyone. I remember writing the lyrics to different N2N songs in the back of my notebook to get out my teenage angst. Good times. Hearing him singing on the stage in front of me was one of those times where reality seemed altered and I was taken back to being 14. It was surreal. 

This show was just so whimsical and magical and wonderful. Obviously as an out of town tryout, changes will be made (I think that wig needs to be one of the first things to go) and I am just so curious as to how it will look when it opens. 

For those who are unfamiliar with the story (like I was) because they have not seen the movie/didn’t have the patience for subtitles (like me), Amélie follows a young woman as she starts her life in Paris and makes a connection with a stranger in the metro. She is inspired by the death of Princess Diana to make a difference and starts by returning a box that was hidden under the floorboards in her apartment to its rightful owner. While on this trip, she keeps crossing the path of a young man, Nino, who is asleep by the photo booth in the metro, eventually coming into possession of the book he leaves behind when scrambling to meet his train. She wants to return it but is afraid that actually meeting this young man will distort their ideas of each other. His book is filled with pictures that had been torn up and Amélie creates stories for each person in the pictures. After a series of clues left behind, Amélie and Nino finally meet decide to give the relationship a try. And they all lived happily ever after. 

I loved it. I loved it so much. The set was just as whimsical and wonderful as the actors who took residence on that stage. The costumes perfectly fit the characters and added to the fairytale-whimsy. I only wish I could remember any of the songs. I think this is only the second show I have seen where a cast recording was not available to listen to afterwards, the other being Shuffle Along. I’m just a little bummed that I cannot remember even a lyric of the show. 

Pippa, like I said before, is one of the only actresses who have ever made me cry. The difference between Eliza and Amélie is so huge. Eliza is such a strong woman and mother with so much love and has a serious side. Amélie, on the other hand, has such a child-like spirit, she is a tad awkward and nervous but always kind. These two characters, though so different, are so strong and wonderful and memorable. 

 

Adam, much like Pippa, portrayed Henry in Next to Normal, which I already stated means so much to me, and that is also such a character change. Henry is a stoner who works hard to provide some form of normalcy in Natalie’s life and understanding that she’s going through a tough time but refuses to give up on her. Literal boyfriend goals for a 15 year old Katie. Nino, however, acts as a sort-of narrator of the story, who goes to lengths to get to know the girl he has a connection with and does not give up… because she has his book. It was so refreshing seeing him portray such a different character because, thank God, I am no longer in that angsty teenage phase (as much, thank God). 

As an out-of-town tryout, it was great. I know there will be changes when it hits broadway in March. I hope they change the wig, its truly horrendous and makes her look 40 not 20 (when Samantha Barks played the role at Berkeley Rep, the hair was much better). I know the changes will be for the best, but part of me doesn’t want anything to change because I loved it so much. In the past 2 weeks, this show has grown on me so much that I am actually entering the TodayTix lottery to win tickets every day I don’t have to work. its only here through the end of next week and I so badly want to see it again. 

Go see this show, whether it’s here in LA or when it hits Broadway in the spring. See it and let yourself be transported to a whimsical Paris 1997. That is the one word to describe this experience: Whimsy. 

 

Also, as a side note, whilst waiting in line for the photo booth before the show I was looking at the poster in the lobby of all of the actors’ head shots and noticed that one looked particularly familiar and I couldn’t place it. When I looked in the program when I was finally in my seat, I saw that she was in She Loves Me on Broadway. And then I knew it! She is the one who took this picture of me and Zachary Levi at stage door as a part of Playbill’s two-show day with Alison Cimmet.

The King and I on Tour

Seen: December 17, 2016

Because I love Rodgers and Hammerstein, because I love classic musicals, and because I have season tickets to the Pantages, I spent a night in Siam with Anna and the King. Having never seen the movie, but knowing my share of the music, I was expecting a nice, enjoyable night at the theatre, and that is what I got. 

 

The King and I is so very classic Rodgers and Hammerstein. So much so that it made me realize something that I, for some reason, had never noticed before: a lot of R+H shows are essentially the same story. A single, strong, leading lady (Anna, Nelly, Maria) is entering a new and unfamiliar territory where she is put up against a strong, stubborn leading man (the King, Emile, Captain Von Trap) where the two bicker and ultimately bond together and realize they complement each other in a unique way that has never happened before. Something happens with the man that the woman does not like and that causes a rift (The King lashes out, Emile has children of mixed race, and Captain Von Trap is going to marry Elsa). All the while there is an impending sense of doom lingering in the air (European imperialism, WWII, Nazi occupation) and a secondary love plot (Tuptim and Lun Tha, Lt. Cable and Liat, Liesl and Rolf) that does not end well. In some way/shape/form the leading couple reunite and make amends with usually a happy ending. 

 

I realized this about twenty minutes into the first act and therefore, the show was predictable. Because I knew essentially how this show was going to end, the story itself started to lose my attention. I found myself paying closer attention to the set and the costumes and realized just how drop dead beautiful it all was. All of Anna’s costumes were just so gorgeous, so big and classic, Catherine Zuber did such a wonderful job. I so badly wish I could just wear just one of her costumes, not the purple ball gown my best friend Nicole likes, but the final dress, the maroon one. God, that was just so beautiful to me. 

 

I was also able to focus more on the individual actors’ performances. Laura Michelle Kelly’s voice is just so pure and a true blessing. She flawlessly took on this role and disappeared into the character, which is a sign of a true great. In a video of her getting into character for Finding Neverland, she mentioned how much she enjoyed working with children and that definitely seemed to transfer to this show. She seemed to be having such a wonderful time with those talented little actors. Jose Llana was also just so great as the king. He had starred twice in the Lincoln Center production and it truly seems like he has taken this role and made it his own and feels really comfortable in it. That is always great to see. 

 

When it comes to the show itself, aside from the fact that its the same as other R+H shows, I think there are some really shitty things about the facts about the story. This isn’t so much about the show, but just about history in general and imperialism and how just fucked up that is. The fact that the King is seen as being barbaric just because of his culture is just not a great thing that happened. The Europeans thinking that they are morally and societally superior than Eastern cultures is something that I just cannot wrap my mind around. Granted, this is coming from the retrospect of a Southern Californian white girl who is of 3/4 European descent. I just do not like the idea that there are cultures that assume they are better than others just because they do not understand it. In the case of Tuptim, the fact that she was given as a gift and forced to be one of the king’s wives, that is the most barbaric thing about the culture. In this story, the other wives don’t really have any complaints about being one of the many, though maybe that is because their voices just are not heard. 

 

In all, The King and I tour was such a wonderful and beautiful production. The talent on the stage is what is the real draw for me, the voices and acting abilities and set and costume designs as opposed to the story and music. Every show has little things that make it great and had it not been for this particular cast and this direction and this lighting design and this costume design and these musicians all coming together for this production, I may not have had as great of a time as I did that night. 

Merrily We Roll Along at the Wallis

About a week ago I realized that, hey, I don’t necessarily need someone to go to a show with me. Obviously it’s nice to share a moment with someone you know, but when you’re sitting in a theatre, you’re silent and staring at the same thing as the other (insert number of seats in any given theatre) people in that room. After I came to this realization, I went onto GoldStar, bought tickets to see Merrily We Roll Along, and drove myself to Beverly Hills.

What I knew about this show going in is the following:

• Written by Stephen Sondheim
• Opened and closed in two weeks
• Has a reputation of never being properly staged
• Jason Alexander was in the OBC (yes, I grew up with Seinfeld on every day in my house)
• Opening Doors  

Naturally, I was hopeful about this show. I always am. I never want a show to do bad or be bad because thats just bad karma. Also, I had the great fortune of seeing Deaf West’s Spring Awakening last summer at the Wallis and absolutely adored Michael Arden’s work with that show. When I heard that he was going to be putting Merrily up at the Wallis I knew I had to see it and see for myself if the show really is impossible to stage.

Because I was by myself, I found myself less worried. Whenever I go to a show with my parents or with a friend that is not necessarily a theatre-goer, I find myself worried that they are not having a good time or understanding the show, making the connection I have to it less intense. But when I sat myself between a couple to my right and a father and son to my left, and the lights went down, I was able to intently focus all of my attention on the action on the stage. Instantly I was swept up in the party thrown in Frank’s honor and felt a part of it all, though that may have been helped in part by the 5th row seats (thank you GoldStar).

Now, my thoughts on the actual show vary. Am I supposed to like Frank? He seems so self involved. He says he wants one thing but goes for another, but that could have to do with the fact that in that first scene he says the one mistake he made over and over was saying yes when he meant to say no. Charlie is the only successful one. He goes after what he wants, eventually winning a Pulitzer for the work he wants to do. He is happily married with a wife and kids and with a successful career. Mary is sadly unsuccessful. She’s developed a drinking problem and is still in love with Frank no matter how many wives he cheats on. She wrote one book that seems to have been very successful but the dissolution of the Mary/Frank/Charlie friendship seems to take a massive toll on her professional life. However, there is some sort of silver lining in the fact that while madly in love with Frank, she never ends up with him. If she had, chances are that he would have cheated on her just as he had Beth and Gussie. 

I think the fact that the show works backwards is such an interesting take. At first I didn’t understand it, but when we hit the finale and you see the excitement these characters have for the future and their potential the point is really hammered in. That basically devastated me, broke my heart, and sent tears down my cheeks. 

These kids have so much hope and knowing how it all ends is heartbreakingly, beautifully devastating. They want to make a difference in the world, create works that matter, and do it all together. I suppose this show shows that you can get what you want, but it all comes with consequences and sacrifices, and sometimes those come in the form of friendships falling apart in the pursuit of those dreams. 

While this is the only production I have seen, I really enjoyed a lot of what could only be personal Arden touches. The set is one that exposes backstage. You can see vanities and clothing racks. I took this to be because the show is about friends and writing for Broadway, this element adds to the behind-the-scenes feel. You never see the musical, but you see what goes into it. 

The transitions are just as important to the show as the scenes themselves. With the three dancers in the transitions chasing dreams, encapsulating the hopes and dreams that Mary, Charlie, and Frank had when they were practically children adds so much to the storytelling. When, during the finale, each of these dancers takes the place of these characters on the rooftop and they talk about what a time it is to be alive, the floodgates burst open. I really enjoyed this show. A lot. More than a lot. I loved this show. 

I didn’t know I could love Wayne Brady more as a performer than I already did, but watching him sing Franklin Shepard Inc. was just pure joy. He is such a charismatic performer with so much depth. We all know he’s great at comedy, but the dramatics this show calls for at times was something I did not expect. Also, Donna Vivino, who just might have the best No Good Deed anyone has ever illegally recorded, was phenomenal. She plays Mary with such hope and sadness and love and I was so drawn into her performance. Aaron Lazar did such a wonderful job with Frank that while he is literally the worst, you are still hoping the best for him. 

I just have so many thoughts and feelings about this show, new opinions come creeping into my brain each time I think about it. I truly loved this show so much that I saw it twice in three days, the second time was with a friend who also loves Michael Arden’s work. To make a bold claim, I think Merrily We Roll Along may just be my favorite musical. 

 

Stray Thoughts:

• I believe Sondheim created rap
• I actually found the song “Its a Hit” to be funny because of how much of a hit this show originally was not
• Kevin McHale and Darren Criss were at the first performance I was at
• Aaron Lazar forgot the line “I saw My Fair Lady” and stammered it out, the second time

Pence at Hamilton

Last night at the Richard Rodgers Theatre in New York City a performance of Hamilton took place. This should have been just like any other performance of this show, but it was not. As it has been WILDLY reported, Vice President-elect Mike Pence was in the audience. As he made his way to his seat, he was greeted with a cacophony, a mixed response of cheers, but also overwhelming boos.

 

To be expected, theaters are full of people with not necessarily conservative views. Theatres are typically full of more liberal minded people. So when the Vice President-elect walks in to a show that praises immigrants like Hamilton and Lafayette and shows that women like Angelica Schuyler are intellectually equal to men. This is a show that doesn’t put the founding fathers or any politicians on pedestals, but paints them in a realistic light. Yes, of course, hip hop, rap, r&b, and jazz weren’t things then and people didn’t break into song, but it is still so realistic. 

 

Apparently throughout the show, when the line “Immigrants, we get the job done” was said, the audience made sure to go EXTRA crazy, in order to solidify the message. The audience wanted to show Pence that this is something they all believed and make sure that he is hearing them as their representative. 

 

Also there were reports of a lot of noise when King George III says, “When your people say they hate you…” for obvious reasons. 

 

Yes, a lot of people at the Rodgers last night hate both Trump and Pence. They stand for a lot of things they do not believe in. I guarantee most of that audience cried the morning of November 9, 2016 when the future was solidified. A lot of them were scared and hurt, and they have every right to feel that way. 

 

These people and likeminded people across the globe felt like finally they were able to show their true feelings towards this man. Trying to make him hear them in the only way they could see fit in the moment. 

Now, the video, seen here. 

This is the transcript of what President-elect Donald Trump finds to be harassment. Written by Lin Manuel Miranda, Thomas Kail, and Jeffrey Seller and spoken by Brandon Victor Dixon:

“Thank you so much for joining us tonight. You know, we had a guest in the audience this evening. And Vice President-elect Pence, I see you’re walking out but I hope you will hear us just a few more moments. There’s nothing to boo here ladies and gentlemen. There’s nothing to boo here, we’re all here sharing a story of love.
We have a message for you, sir. We hope that you will hear us out. And I encourage everybody to pull out your phones and tweet and post because this message needs to be spread far and wide, OK?
Vice President-elect Pence, we welcome you and we truly thank you for joining us here at Hamilton: An American Musical, we really do. We, sir, we are the diverse America who are alarmed and anxious that your new administration will not protect us — our planet, our children, our parents — or defend us and uphold our inalienable rights, sir. But we truly hope that this show has inspired you to uphold our American values and to work on behalf of all of us. All of us.
Again, we truly thank you for sharing this show. This wonderful American story told by a diverse group of men [and] women of different colors, creeds, and orientations.”

Donald Trump then tweeted this:

What part of this is rude or harassment? Im serious! How could any of this be considered rude? If anything, this is pure courage. 

This show stars Javier Muñoz as Hamilton, an openly gay man who has shared with the world the health battles he has been through. He has fought cancer in the past year and will forever live with HIV. Yet, he remains positive and motivated to tell stories on stage. Last night, he performed the role of Hamilton for a man who, as governor of Indiana, funded conversion therapy facilities. That takes such courage to stand on that stage as a gay man to do that and defy the future Vice President with just your pure existence. 

 

The man who actually reads the statement, Brandon Victor Dixon is not lacking in the courage department either. He became the face of that statement. Dixon, who just last season starred in Shuffle Along, a show about the first all black Broadway show and the discrimination and racism that company faced, is now in a lead role in one of the biggest musicals Broadway has ever seen. That company shows what America looks like now, whether or not Pence would like to admit it. That show is, as it has been said several times before, America then told by America now. 

 

 

The statement itself is a plea. It pleads with Pence to remember those on stage as he takes office in the coming months. The statement is one of that just asks to be remembered and not be overlooked. There is nothing harassing in it or mean or negative. It is to tell this incoming Vice President that we all hope he is inspired by the acts that happened on that stage, showing just how important all cultures are to the fabric of this country. And it was told from once Vice President to another. 

 

Brandon Victor Dixon thanked VP-elect Pence for coming to the show and listening to what they had to say.

It is clear to see that there is no harassment going on here. These people tell stories for a living. The story they told last night just so happened to be a real story about real politicians and a real Vice President that got a little too upset when things wouldn’t go his way.

 

Since last night several people have weighed in on Twitter. 

Christopher Jackson, formerly George Washington in Hamilton

Gavin Newsom, 49th Lt. Gov. of California

 

Guy Branum, comedian

Ben Siemon, actor

 

Kevin Porter, co-host of Gilmore Guys podcast

This is clearly a very challenging and difficult time for many Americans, but this (Hamilton’s) is the kind of class that needs to be shown in the coming times. I have hope for the theatre community and for America because without hope, we have nothing.

Hedwig on Broadway, Hedwig on Tour

I was in New York City the day the Supreme Court legalized same-sex marriage. It was Pride Month, Pride Week, and my friends and I already had plans to attend the Pride Parade at the end of the week. The day it happened there was this strange sort of excitement in the city with the give-no-fucks attitude. Obviously, being in New York, I was going to be seeing a Broadway show that night, Something Rotten! It was wonderful, it was great, but its not what this post is about. We are here to discuss Hedwig and the Angry Inch.

The day after the Supreme Court decision was made, my friends and I went to TKTS down at the South Street Seaport and, by just a random decision, bought tickets to see Hedwig and the Angry Inch. It was late June of 2015, Darren Criss was Hedwig, Rebecca Naomi Jones was Yitzhak, and the show was strange. It was a 90 minute confusing art piece that made absolutely no sense until the last 10 minutes. And yet, it was perfect. It was such an interesting, different, confusing character that was necessary in the world of theatre, necessary on Broadway. We were forever changed by it. Confused and elated, but changed.

Cut to— November 2016, Los Angeles, California. The Pantages Theatre in Hollywood. It’s few days before this country made that decision that still leaves me befuddled. Across the street they’ve opened a Shake Shack, only adding to the feeling of being back in New York. Things are great. 

As my friend Danielle and I sit down at our table at Shake Shack, we talk about how excited we are to see this show again with an actually have an idea of what is going on. There are two older men sitting next to us, one of whom interrupts us to ask if we are excited about the show. Turns out they are going to the show tonight too. He tells us of the multiple times he’s seen this show, going all the way back to New York in 1998 at the Jane Street Theatre. He assumes we are here for Darren, and in a way, we are. To us, he is Hedwig. Neither of us have seen the movie or any other incarnations since, Darren is all we know as Hedwig, and he is all we need to know. 

Now, the show itself. Like I said earlier, its such a strange, confusing, confounding, brilliant, wonderful, and truly touching show. The show is done like a concert, telling the story from Hansel to Hedwig. Along the way we learn that there is pent up aggression and emotional issues that Hedwig has not had to face until tonight where they are all brought to the surface. You don’t see this happening until the very end and actually get a moment to truly process what you’ve just witnessed. Thats when it hits you. Thats when you feel for Hedwig and are still left with a few questions but are overall satisfied. 

My first venture into this show was after a long day in New York, it was rainy, it was hot, I was with the same girls for 3 days straight without a moment to myself. I was not necessarily in my right mind. The show was not easily digestible, so not having a clear mind is a definite hindrance, but the music was rockin’ and the atmosphere was great. Even without really understanding the show, I knew I loved it. Darren was amazing and Rebecca was terrific. I knew I didn’t know what was going on, and I knew I loved it.

My second venture into this show was much different. I spent the day at home with my family, resting, before driving to pick up Danielle (who had actually seen the show with me in New York) and heading over to the theatre. Also, by pure coincidence, a friend I hadn’t seen since high school was there and we were able to catch up, which was nice (a week later she won a contest and saw the show again with a backstage tour and meet and greet). Having an understanding of the show and the story made it easier to digest and enjoy. The local shout-outs were a blast because we actually understood them this time (I’m talking about you, West Covina). The Saturday night audience was living for this experience just as much as we were. With this better understanding and the audience vibing on the experience, the second time around was so much better. As much as I love New York, as much as I love Broadway, this second experience was pure magic. 

Now, as I’ve written before, I can be a tad impulsive. I’ve talked about my body taking over and buying Hamilton Chicago tickets without my brain even thinking about it. This morning I was talking to Danielle about how much I want to see Hedwig again and my finger slipped. We bought tickets again. I’m so excited! Third time’s the charm, so they say, but first and second were definite charmers. I’ll be sure to post an update next weekend.

 

Sometimes my impulses lead to wonderful, wonderful outcomes.