The Opponent, 59 East 59th St Theater, Wednesday August 20th 2014

The Opponent, 59 East 59th St Theater, Wednesday August 20th 2014

"The Opponent" is a two hander play by Brett Neveu is a great night of masculine physicality and relationships.  It is a Red Orchid Theater production presented at 59E59 St Theater in New York.

The accents are so thick that it took us about ten minutes to adjust our ears and we think that we missed some of the story due to this.

Great acting and a simple and effective set consisting of a boxing ring and the accompanying benches and training bags surrounding the stage.  As this theatre is so intimate with about thirty people watching act one the theatre had about ten seats to spare.  Sadly six people left to miss out on a great act two.  With twenty four people we got to relish these bravura performances.

What I loved about the first five minutes of act two was I did not know whether we were going backwards in time or forwards in time.  This was made clear after this wonderful dramatic device.  I do not know if this was intentional or not but it kept my interest and intrigued me as to where our journey would lead.  (Maybe it was the accents and I missed the key point but I like to think the writing was clever and intentional!)

The two cast include Kamal Bolden as Donell Fuseles and Guy Van Swearingen as Tremont "Tre" Billford are sensationally talented actors who gave one hundred percent conviction.    

Direction by Karen Kessler made the story sharp and alive.  The relationships between the boxer and trainer/coach were dynamic and physically exhilerating.  Their connections both physical and emotional were so honest and captivating.

The fight direction and staging by John Tovar was sublime.  The breathing and footwork and eye contact all were like the spaces and the actions of the words from the pages of the play.  This is a wonderful companion piece for "Rocky" the musical which we were lucky to see on Broadway.

The lighting by Mike Durst and sound by Joe Court created a sense of time, space and location.  It was so atmospheric and masculine without any workout stench.  The two actors provided the aromatic drips of sweat to create "Opponent-essence!"

A great play with wonderful rich performances.  Thank you to Kirsten Fitzgerald from "The Qualms" at Steppenwolf in Chicago for recommending that we see this play.

Superb value for $25 a ticket.  This would make a great play for Red Stitch in Melbourne to consider performing.

Pageant, Davenport Theater, New York, Monday August 18th 2014

Pageant, Davenport Theater, New York, Monday August 18th 2014

The best part of the show was page three of their programme and their announcement before the show.  This gets my TOP AWARD for a Broadway and Off Broadway Theatre for the "no cell phone used during a show on Broadway" award!  A shock as there was not a distraction.  But maybe my applause at their announcement made it very obvious that I would tolerant cell phones on.  Relief!   I stand up for all theatre patrons and NO CELLS ON during a show.  In their programme they request all all cell phones are turned to "Silent." 

The Davenport Theater programme states:  "Violators will be punished by ejection and violations may render the offender liable for money damages."

I applaud the Davenport Theater and this should be the standard.  But change the last page of your programme to Turn Cell Phones Off not just to Silent!

Congratulations to the Davenport Theater for the dedication to respect for all theatre patrons with their  announcement that the use of cell phones is "Illegal by New York law" and I applauded to the dismay of many patrons.  I nearly cried at their dedication to showing all patrons respect.

In thirteen out of sixteen Broadway shows I have had to ask people to turn off their cell phones during a show.  I am passionate about my theatre but probably more passionate about old fashioned respect.

The musical "Pageant" is a musical interactive show about a beauty contest\ where five audience members became the judges to decide the winner.  It is a dated drag show concept and is well performed but the script is very corny and old fashioned and could do with an update.

I think the songs and lyrics could do with a revamp to give the show some zing and sting!

It is a funny show but is about 4o minutes too long for an 85 minute show.  It is not the performers fault but the very dated script and ordinary songs and lyrics that make the show drag.  In 40 minutes this could have been a very snappy piece of theatre which could have done the same concept so well and kept my attention.  Sadly it  dragged and was like let's give the audience another filler to give the audience value.

Great performances by all actors who tried to maximise the material they were working with.  It was only the last number that we heard some bung sung notes.  Flat and discordant singing by the lead man did not fit the theme for this show!

I was impressed that we bought our tickets about six weeks ago and they upgraded our seats for a better  view.  Thank you Davenport Theater!

My favourite moments were the tributes that paid homage to Alwin Nikolais the choreographer with the Miss West Coast Talent contribution.

I also liked the conviction of the actors to sustain their character during the show and during the voting sequence.

A fun show.  Sadly the show started fifteen minutes late and my partner was about to walk out and demand a refung.  Five or ten minutes is understandable but fifteen is an issue!  Nothing great as a show though a reasonably priced fun night out!

the eend

The Maids, New York City Center Theater, New York, Friday August 15th 2014

The Maids,  New York City Center Theater, 

 Friday August 15th 2014

We saw Cate Blanchett when she first graduated from NIDA and now to see her in New York with Sydney Theatre Company is a wonderful experience.  What is even better is seeing these three fine actresses play in Jean Genet's "The Maids" for the New York Lincoln Center Festival 2014. 

Cate Blanchett plays Claire the younger sister of Salonge played by Isabelle Huppert and Elizabeth Debicki as the Mistress at the New York City Center Theater.

I have seen "The Maids" at least three times before in the 1970s, 1980s and 1990s.  So to see one of one of my favourite Australian theatre companies present this play in New York is such a treat.

Each time I have seen "The Maids" it seemed to had a sinister edge and they told the story.  Here, these actresses totally absorbed their roles and lived them, thereby having my total attention and transport me on their journey.

I have been lucky to see Lindsay Kemp's "Flowers" based on Jean Genet's work at Her Majesty's' Theatre in about 1976.  (Double CHECK Date and theatre!)   

I have also been lucky to see the Melbourne Theatre Company present "The Balcony" with many graduates from VCA, WAPPA and NIDA.  A very memorable show that some of the actors nicknamed "ker-plop" for the sound of audience members leaving as their seats made a speedy exir or a definite sound of displeasure at their retreat.  It was their loss as they missed a great work.

Visually, "The Maids" is a stunning piece of theatre with the use of cameras to project close up live action images of the actresses on to the screen.  The images of luxury and indulgence were also projected.  These included the flowers, jewellery, fur coats, designer dresses, gowns and shoes.  We had the obligatory Chanel advertisement - which was as subtle as the play's execution!

The camera in the base of the dressing table mirror gave us extreme close ups of these stunningly emotional faces.

The flowers were like a funeral parlour and the final scene heightened their relevance and their sinister and apparent omnipresence.  This also emphasised the imminent ending.

The use of the off-stage bathroom with the cameras revealed the private moments of supposed luxury and indulgence.  All people go to the loo!  Or "Your shit stinks too" as Aussies would say!  It also reminded me of the Spanish company who performed Hamlet at the Melbourne Festival a few years ago.  This Spanish company demonstrated the ever-so natural behaviour for people to have body evacuations.  The  relevance is like the philosophy of the reality of mortality as portrayed in a still life painting.  Or as Alain de Botton says about pigs they are happy and people who fart together are happier.  This house was like the Mistress's pig sty!

"The Maids" reflects life of greed, jealousy and revenge.  It also mirrors the influence of fantasy as a strategy to cope with their life of servitude.  What is reality?  What is fantasy?  As Solange steps from the white stage down on to the black walkway she breaks through the fourth wall and shatters the mirror.  She shatters the mirror for us and herself.  She teases us with a brief seduction of what is reality and fantasy, and then re-enters the white stage. 

"The Maids" is brilliantly acted by all three fine actresses who deliver a visual treat.  Vocally Cate Blanchett's voice delivers a vast range of emotional responses revealing truth, fantasy and reality. Hostile revenge and the ritual of the sister's ceremony is sinister and child like role playing.

Elizabeth Debicki as the Mistress arrives after the two sisters have cleaned up after their ceremony.  Here we see a spoiled and indulgent woman who pisses on us.  We are beneath her.  But she too longs for something better.  Each character is encaged as highlighted by the glass walls.  They are  trapped and longing for inner peace and happiness.  Money cannot buy happiness.  It is such a wonderfully philosophical work.  They should not throw stones in their glass house! They do not throw the stones but they propel them with explosive force!

Even though Isabelle Huppert's French accent was difficult at times to understand this did not bother me.  Her acting was sublime and her conviction honest.  Some audience members were frustrated that they could not understand her every word.  Her mannerisms and expressions were just as telling and gave me a very clear message of her relationship with the younger Claire and her Mistress.

I have seen "The Maids" three times before and Solange had me believing that Claire had been strangled.  I knew this was an updated version and I was on the edge of my seat watching Claire to see if she was alive.  (I will not spoil the ending.)  Thank you for transporting me on a journey of fantasy and reality and maximising my attention span.

The new translation by Benedict Andrews and Andrew Upton had me in the palm of these actresses' hands.  This version was about fifteen minutes longer than I have seen  and made the journey richer  with action and motivations and thus made it clearer and more sinister. 

The direction by Benedict Andrews was sensationally focused and clever.  He gave us so much action that kept me transfixed by their antics.  I did not care that I could not see from a slightly restricted view as it heightened the sinister nature of not seeing what was happening.  We could see parts of the action reflected in the glass walls opposite, or, on the screen. 

The design by Alice Babidge was brilliantly effective and clean and fresh providing us to be invited into a decadent and indulgent world that would be the play room for the maids.  Lighting design by Nick Schlieper provided clear shifts in focus and transitions of fantasy and reality. The sound composition by Oren Ambarchi gave us an edgy undercurrent of trepidation.

Video design and operation by Sean Bacon allowed us to see the magnifications of ourselves. From the ultra close ups of faces, jewellery, clothes and shoes.  Finally to the obscure still life shots of flowers.  These flowers can be romantic, celebratory and funereal.  Flowers die eventually and so must the Mistress.

Thank you Sydney Theatre Company for "The Maids" and showcasing our Australian exports of the arts to the USA.  We got to witness this fine Australian talent with Isabelle Huppert in New York City!

Yes and it was me who left an apron with an Australian Flag for the cast and crew to sign as a memento of your time in New York City.  Hopefully the cast and crew do sign it and either keep it for  Sydney Theatre Company or give it to the New York City Center Theater.  

Congratulations to the New York City Center Theater for their very specific announcement which also includes "This means no texting during the show."

Pippin, Music Box Theater, New York, Thursday August 14th 2014

Pippin, Music Box Theater, New York, Thursday August 14th 2014

We saw "Pippin"  in 2013 and had to return the Music Box Theater to see it again.  Even better the second time.

Thank you  "Pippin" cast and crew.

And only once I had to ask for our neighbour to turn off their cell phone.  No distractions and a great experience from the beginning to the end of the show and leaving the theatre.

"Pippin" is pure magical theatre. with consistently professional performances in singing, dancing, acting and acrobatics.  Sheer bliss.

We will see "Pippin" again next year when and if we are lucky to return.

The only down side was that the photo programme two different souvenir staff gave me two different answers to my question. Do not pull the wool over my eyes.  The insert was not printed and thus the programme price should have been reduced.  Or the other seller said it was never printed.  I said "Really? As I have a copy from 2013".  Truth please!   Plus reduce the price of the magnets to $5.00 as you will sell more!

Repeat we will see "Pippin" again next year.

If/Then Richard Rogers Theater, New York, Tuesday August 13th 2014

If/Then Richard Rogers Theater, New York, Tuesday August 13th 2014

The experience of "If/Then" has been renamed "Off/On" due to the rude people with their "cellular sexual tinia" or their cellular separation anxiety.  Phones OFF.  Spelled O.F.F. Not O.N.  OFF!

"If/Then" would have been a completely different experience IF the cell phones were turned off.  Sadly they were not, so pick your new title "Not If/But" or "Off/On."  What is the antonym version of "If/Then"?  Would it be "As/Is"?

This would have to be the worst experience of attending the theatre on Broadway.  We pay for our own tickets and have seen two shows in Chicago and ten shows on Broadway. We were so looking forward to seeing "If/Then." 

For those who do not know we buy our own tickets and I write about the holistic experience of attending the theatre.  This includes from the moment we research the show, to buying the tickets until the moment after we leave the theatre.  Some theatres even follow up with your feedback.

Buying the tickers well in advance was easy as we wanted to see this show. We paid $142 each for our Mezzanine front row seats with a great view.  Even better views of the text messages next to us!

I love how the theatres send you a reminder email with hints to help you  maximise your experience of attending a show.  Please include OFF means OFF for cell phones in your emails and the accompany New York law (see below.)   Or you get thrown out of the theatre.  No exceptions!  

New York law:

"The use of recording device, either audio or video and the taking of photographs, either with or without a flash is strictly prohibited.  Please turn off all electronic devices such as cellular phones, beepers and watches.  The use of cell phones in the theater is prohibited by New York law."  states each Playbill programme.

One day people are going to ask for their money back and there will be a court case if you do not do something about this illegal behaviour!  Stop the rot now!

OFF means off.  Not silent.  OFF! No sneaking to write a text messages to scratch that "tinia" itch!

As you are probably gathering the holistic experience of attending "If/Then" was diminishing quickly.

Souvenir stand:

The price of souvenirs are too expensive at $10.00 per magnet.  They should be $5.00 per magnet.  "Brigadoon" in Chicago charged $3.00 per magnet.  

At least they had the package deal of the cd and the photo programme for a reduced fee.

Heating/cooling:

The theatre was too hot for Act One and the air conditioning finally kicked in for Act Two.  But just so!  It was the most uncomfortable night at the theatre and it was not the hottest night in either Chicago or New York.

Is this a cost saving strategy, I ask?

My partner did not want to go back for Act Two due to his discomfort and the rudeness of cell phone users.

Usher on Mezzanine:

Prior to the show starting, our very pleasant usher on the Mezzanine made an announcement about turning off cell phones and not putting items on the ledge for the A Row of the Mezzanine. 

Why not make one announcement for the whole theatre over the speaker system? Then the ushers could follow-up in each section.

At interval I spoke to our usher and I was impressed that she offered to move us to a box due to the cell phone usage.  I was grateful with her offer but our seats were better than a side view box.  Plus this would mean that the rude people had won over the silent majority!

Our usher told me that she had once said to a patron at a previous performance:  "That text message has cost you $142!".  I would say the violator should pay for every ticket price in the theater plus air-fares and accommodation for ALL audience members who have travelled to attend that performance! 

This is not a threat but a timely suggestion about respect for all patrons!  I speak up on behalf of ALL audience members.

Suggestion:

Cell phones are a condition of entry and not to be turned on inside the theatre.  If people fall down the stairs when using them then there will be consequences.  It is a safety issue and about respect for all patrons.  I wonder if their insurance company pays out for their stupidity.

Refer to the sensational usher at the St James Theater where "Bullets Over Broadway" is playing and what he says to patrons.  As was the usher at the Stephen Sondheim Theatre who asked patrons to be mindful of safety.  Thank you to these young ushers for your care, vigilance and demonstrating leadership.

Toilets:

The toilets have been improved since we saw "In The Heights" a few years ago.  There are more urinals and wash basins and it is also cleaner.  A much more conducive experience that could be improved by having entry and exit signs to keep the traffic flowing in one direction. There was not the wait like some theatres.  Probably the best toilet visit in a Broadway theatre!

Theatre Manager:

I spoke to Tim the Richard Rogers Theater Manager at interval about the use of cell phones during Act One and other people had also complained.  In the Orchestra the B Row either seat 4 or 6 a woman turned on a  huge blue screen turned on her iPAD or cell phone too many times to distract our attention from the stage.  Then the woman in A Row Seat 2 on the aisle did the same thing.  Congratulations to your selfishness ladies!  This not only distracted us in the Mezzanine but others too.

Twice I had to ask the people to my right in Mezzanine A Row 105 and 106 to turn off their cell phones.  They were texting and the light and their tapping away was very rude and distracting.

I spoke to the Tim about this passionately and I was standing up for ALL who attended the theatre.  Rude behaviour is not acceptable.  

Richard Rogers Theater can do something and just ban the use of cell phones inside the theatre.

At least three other people complained about the woman in the front of the Orchestra.

It needs to be the standard and the Broadway League better do something about it!  There is too much money at stake.

If I were considering producing a show I would only put money into a show where this rule applied to ensure that ALL patrons were respected for attending an event.  Some people have saved long and hard to attend this show.

Programme design:

I liked the two fronts to the programme for what appeared to be the Liz and Beth versions.  Such an opportunity was missed by not making the clear delineation of having one side with all of the photos with the glasses on version and the other with glasses off version.

The review of the show:

I would normally put on lots of links to performers and the creative crew, but I feel that I would not give a true representation of their work as we had such a bad experience.  I am not going to single out any performers either as we heard some flat singing at this performance.

The following are some thoughts of the show.

I felt there was a huge dampener on the show from the start due to the behaviour of our rude neighbours.  This puts you on edge as you are sitting next to these feral imbeciles with manners of a frustrated cell phone separation anxiety sufferer!

Loved the sets.  Especially the lighting of the floor with the subway map, the Brooklyn Bridge, the iron fire-escapes, the revolve.  This to me was the highlight of the show.

The use of the mirror above reminded me of "A Chorus Line" and "The Music and the Mirror".  This was used even more effectively to transport us and create larger crowd scenes, or show us the universe of stars.  The mirror was like a symbol for us to reflect upon our own consequence of our behaviour.

I loved the greenery of the  park in the back-drop and in the two wings inside the cosy wintery conservatories.

The show was way too long. I agree with my partner that it is probably twenty minutes too long.

A clever show with some of the writing.  I thought some of the humour was full of forced jokes.  It was like ramming the story and the jokes down my throat.

I enjoyed the replaying of scenes from the different perspectives of Liz/Beth's alternate lives.

I thought that some of the characters were emotionally disconnected and detached.  It was not until  Act Two with the refreshing Beth, Kate and Anne trio  "Love While You Can" that we finally saw some heart and warmth to the characters.  The show finally started to warm up.  I finally was getting an emotional connection to the story and the characters.

The show dragged and made its point but had too many twists and turns. 

It seemed like another excuse for another big ballad. 

Some of the ensemble singing was very flat.  I have the cd and it was out of tune on at least four occasions.

The choreography was very pedestrian.  Nothing to excite me, though I did enjoy the staging more than the choreography.  The logistics of the staging of people with the set on the revolve  was well timed and executed.  This was so effective visually and in moving the story forward.

Some of the background characters did not have a real purpose and objective.  They seemed like ballet school background extras.  I thought this drew focus away from the main action as the background action in other shows created real characters with motivations of who and why they were in a park, or having coffee etc.  Plus they did not distract in other shows.  I thought they were more distracting by not playing real objectives but just creating archetypical poses.

The staging of the scenes on the revolve gave us a visual treat.
  

Sadly not my favourite experience.

Hint:

Please take your rubbish (garbage with you).

Please do not leave your personal information behind with your name on your tickets!  There may be "If/Then" consequences!  Namely, the Front Mezzanine A18  ticket holder to (not) name her.

Overall:

It felt like attending the Roman Coliseum with battling to trying and watch the musical "If/Then."

My partner and myself felt cheated by the cost of the show, the rude use of cell phones, the flat singing at times, the over-heated theatre, the length of the show and the formula approach to creating another ballad or big solo.

We were expecting to see a sensational show and must say we both only gave it about 7.5/10.  Good but not great.

See "If/Then" on discounts if you must.  Ask if they have finally banned the use of cell phones in the theatre and then consider paying full price.

Or as the song says "What the Fuck?"

Rocky, Winter Gardens, New York, Tuesday August 12th 2014

Rocky, Winter Gardens, New York, Tuesday August 12th 2014

For those new to my blog we buy our own tickets.  We are regular theatre goers and are passionate about supporting the arts and recommending quality shows.  

"Rocky" the  musical is sadly closing and we bought our tickets in late March 2014 and paid about $142 a ticket.  We met Stephanie next to us who paid $35 this afternoon for the front row Mezzanine. With these full ticket prices the producers should consider throwing in the photo programme as a bonus so you do not feel cheated when people get such cheap tickets at the last minute.

The show is sadly closing this weekend and we are so lucky to have seen it.  I think "Rocky" is playing six months too early on Broadway to capitalise on the 40th anniversary of this iconic movie.  It is a great adaptation by Thomas Meehan and Sylvester Stallone from his own work.

"Rocky" is such a treat and should transfer to Las Vegas where the audiences will really appreciate it.  From some comments by people when we told them that we were going to see "Rocky", we felt that they looked down upon the musical because it may not have the "supposed" artistic depth of some other musicals.

This was the first show on our 2014 trip to a Broadway theatre, where we were not distracted by use of cell phones by an audience member.  This audience respected the "turn off cell" phones and I am so impressed as they did not look like your "supposedly sophisticated" Broadway audience, but they were  more respectful.  Unlike the other audiences that have such public displays of "cellular sexual tinia" and cannot get rid of their itch (also known as "Cell phone separation anxiety".) 

This  audience was so respectful as they wanted to see their hero, Rocky Balboa from the film on stage.  These people are real and some really struggled to pay for their tickets.  They were not your traditional Broadway fans and it was their first theatre attendance.  Some people did not know that this was not a film and were awestruck at the experience.  It was a joy to witness some of their reactions.

Some audience members were disappointed with the ending as they confused  the ending of the musical with one of the  film's sequels - Rocky 2,3 or 4.  But it was a joy to see the audience  spellbound by the live theatrics.  Theatre is for all people to enjoy.

I was impressed by the pre-attendance email to tell me that outside food and drinks was not permitted.  They could add to the email that use of cell phones is banned also.  They inspected your bags upon entry and I thank the Winter Garden ushers and security for this as it shows you will not tolerate inappropriate behaviour!  It demonstrates respect for all theatre goers.

The ushers were pleasant and helpful.

The souvenir stand cashier was pleasant.  The souvenirs were reduced as the show is closing and they had a deal for a reduced photo-program if you bought items over $25.  I bought a t-shirt as I already have the cd, and three magnets for presents.  $5.00 per magnet should be the standard.  $10 is outrageous and they would sell more at a lower price.  Some patrons wanted a souvenir but still could not afford the $5.00.  Producers please take note!!

Then we were greeted by Brook Evans who was issuing surveys on behalf of The Broadway League.  It is a good survey asking about our contribution to the Broadway economy to New York and the USA.  She was impressed with my feedback about restricting cell phones in theatres, and my ideas of speaking up with inappropriate behaviour as people have paid big money to see a Broadway show and it is for all members of the audience.

This was our first time attending the Winter Garden Theater, which I believe is where "Cats" and "Mamma Mia" had long runs.  I love the spaciousness of the Winter Gardens Theater though it bothered me with ticket prices as the views on the side could be restricting to see upstage corners.  I think the prices should be much cheaper on the sides as we could not see into the upstage right corner and we sat at A113 and A115.  You should be able to see the entire stage for full price!

"Rocky" the musical is a great adaptation of the film.

I love the music and lyrics by Stephen Flaherty and Lynn Ahrens as it develops and gives more insight into the characters and their intertwining relationships. Their music and lyrics brings added depth to the characters and is a great companion piece to the movie.

Sensationally directed by Alex Timbers.   The fans of the movie gratefully recognised so many key moments from the movie.  They said in unison "Turtles" as Rocky entered his apartment for the first time. This was not your usual Broadway audience and they relished in the respect shown for their favourite film.  

I loved the emotion of the iconic moments from the movie, the training sequences, the running sequences and the memorable moment of climbing the stairs and command his presence.  The final fight scene had me pumping adrenalin at the logistics of the entire staging.  The direction was superb.

Great choreography by Steven Hoggett and Kelly Devine to transform boxing archetypical moves into Broadway dance.  I was so pleased it was not campy dance but choreography of masculinity, strength, power and endurance.

Sensational scenic design by Christopher Barreca which is cinematic and ingenious with the use of flies, trucks and screens.  It was a visual treat.  We met Jeff who sat next to us and said it was visually more impactful from the Mezzanine,  even though you feel closer to the action in the Orchestra for  the final fight.  No wonder Jeff wanted to see "Rocky" again and I am so jealous that he could see it twice.  Sadly with our other bookings we cannot see it again,  as we want to see it again as there is so much depth to the design and performances in "Rocky."

Superb lighting by Christopher Akerlind to support every aspect of "Rocky."  Faultless lighting which guides the story.  He calmly lights scenes to create atmospheres of living alone, to living trapped, to a glitzy pet shop, to masculine gyms to dazzling boxing arenas.  The team work by all production creative staff is highlighted by the icing on the cake of the Christopher Akerlind's lighting. 

Wig and hair design by Harold Mertens honoured the mid 1970s.  The fight scene make up was executed in stages with minimal disruption as our attention was cleverly diverted to the interview on the screens. A simple magic distraction technique completed with style and magnificent timing.

Associate Fight Choreographer, Patrick McCollum has achieved realistic fight sequences for the performers to sustain eight performances a week.  Great control by the actors in conjunction with the lighting and special effects by Jeremy Chernick to create boxing atmospheres.

The video design by Dan Scully and Pablo N. Molina and music added to create suspense in Rocky's countdown to the big fight.  

Rocky is played superbly by Andy Karl.  His ease at singing and not using vibrato whilst doing chin-ups and not breaking his breathing was incredibly skilful and powerful.  He was born to play this role with his masculine stature and smarmy stance.   So true that I felt I was watching  Sylvester Stallone play the role.

Adrian was played by Margo Seibert with mawkish charm and innocence.  She developed her character to transform into the support love interest.

Dakin Mathew as Mickey gave a very credible interpretation of the role made famous by Burgess Meredith.  I was so pleased he did not impersonate Burgess Meredith but used his own centre to create a believable  character with his own voice and mannerisms.

My partner and I thought that there was a song sung by Mickey that sounded very much like a few bars of Peter Allen's "Tenterfield Saddler" and they reprised this moment a few minutes later.

During Mickey's song to Rocky the video footage looked like Balinese shadow puppets.  Such a great use of shadows to illustrate the past history of boxing and paid homage to shadow theatre.

My neighbour who got the $35 ticket said that she heard the book was pedestrian.  Speak from your own experience. Yeah! So what it speaks honestly and succinctly. I thought Thomas Meehan and Sylvester Stallone did a sensational job in adapting for the musical stage.

 I thought the only hiccough for me was that the count down stopped at about 31 weeks to go and then jumped.  This created a break in the flow of the story for me and reduced the tension building count down. The video graphics for the countdown stopped too, which is my main criticism.

The "Rocky" fight scene finale is unbelievable.  I have seen many shows and to see the organisation of the front section of the audience in the Orchestra being moved to the stairs on stage was incredibly effective.  To see the preparation of the Orchestra seats with the scenery and the rollers for the rink were incredible.  I was and still am beside myself at the logistics of this incredible feat to move the crowd within a specific time frame eight shows a week.

Sheer magical set design and book writing to co-ordinate the timing of the movement of the audience with the video footage and the stage crew's preparations.

Sheer brilliance.

The final fight scene with the videos relaying live footage was sublime theatre.  It was an event.  It was old fashioned pantomime of cheering the hero and booing the villain.

What we saw live on The Tony Awards gave us a taste for what we saw live.  I am in awe at the direction, lighting, sound, costumes, video etc.  The entire production worked like clock work to create an experience.  This was more than a Broadway musical, it was an event, one that people will regret that they missed.

Theatre producers take note.  You are closing this show way too early.  You are missing the opportunity as the prices are generally too expensive for the audience that you want to attract.  It was sad to see some people want to buy a souvenir and they could not afford them even at the discounted prices.  They longed to take home a small memory of their hero.

This show should transfer to Las Vegas and be enjoyed by the masses.  They should reduce the prices for more to enjoy the brilliance of this musical.

After the show:

What was probably even more magical was seeing Andy Karl posing for a photograph with a down's syndrome youth wearing a gold studded red jacket.  The sincerity of Andy talking with this young man made my heart swell at the impact that Rocky has had on people.  It is the typical under-dog story and was an incredible holistic theatrical event from receipt of my confirmation of tickets to watching Andy signing autographs.

Thank you for  "Rocky" for such a special event.  Suffer to those who thought it beneath them to see this musical.

An aside:

I was told that "Once" will not tolerate cell phones on at all in the theatre.  I applaud them and hope this becomes the standard.  That way people will talk to their neighbour before and after the show.

Congratulations to "Once" for taking the lead in re-educating people on how to behave at the theatre.

Mind you this is the most respectful audience I have seen out of 11 shows here this year.  No flashing and distractions.

Pilobolus Program B, Joyce Theater, New York, Monday August 4th 2014

Pilobolus Program B, Joyce Theater, New York, Monday August 4th 2014

Tonight we went to the Joyce Theater to see Pilobolus Program B.

I cannot get over why some people attend the theatre.  I again had to ask some one to turn off their cell phone as the light was distracting and dangerous for the dancers at such a close proximity.

It was very special to see Pilobolus in NYC, yet alone twice within three months, as we saw them in Melbourne in about late June performing their first full length work  "Shadowlands."  I have waited since 1977 to see this company and now to see them here in NYC for such a cheap price was incredible.  These prices balanced out what we paid in Melbourne.

The other incredible aspect was seeing The Joyce Theater, let alone attending an iconic dance company in this historic theatre.  I had studied all about its history at the Victorian College of the Arts (VCA)  and have seen many dance companies that have visited Melbourne. For example, Twyla Tharp, Paul Taylor, Merce Cunningham, Alwin Nikolais, Trisha Brown, Mark Morris, Pacific Northwest, New York City Ballet, Alvin Ailey, Dance Theatre of Harlem, Royal Ballet, National Ballet of Spain, Cloud Gate, Ballet Nationale de Cuba, Les Ballet des Trockadero, Matt Ek, Mathew Bourne,  Christopher Wheeldon's work for The Australian Ballet and most Australian dance companies.

So to give weight to my wait since 1977, tonight was going to be a special night.  But I was to find out it was to be even more special  More of that later.

Review:

"Masters of Ceremony" is choreographed by Robby Barnett, Alison Chase and Jonathon Wolken.
What was scary in this first dance was the likeness of Jordan Kriston to my friend Michele Braban who was Rehearsal Director and Assistant to Christopher Bruce at Ballet Rambert for about 20 years.  Michele was the first person to Graduate from VCA as a Choreologist (Benesh Notation Method).  It was like was watching Michele come back to life as she sadly died, at the very young age of 51 in 2012.

The other incredible connection was that aspects of the first dance piece "Masters of Ceremony reminded me of my friend Ree Schweizer who was Circus Ring-mistress at The Shrine Temple in Chicago and at Circus Circus in Las Vegas etc.  So Jordan's performance was so spooky, sureal and special.

The female role is like a dominatrix with a gentlemen on a rope.  He is like her puppet, her toy boy, her servant.  Renee Jaworksi was arrogantly in control of her beast.  It is a reversal of the Beauty and the Beast roles.  There were controlled sections and then the  circus-like flourish to  "ta da" or punctuate each segment.  These were sinister, haunting and disturbing. 

I loved the use of the rope and the chair as it was like a pas de quatre.  The rope was an instant dancer from the moment Renee first used the rope.  She caught her prey in the guise of the man danced magnificently by Matt Kent.  Or should I say manipulate or obeyed by his controller and succumbed with servility.  A very fine performance.

The variations/divertissements paid homage to the circus world.  There were short sections where Renee as dominatrix used the rope in such creative ways to twist and turn and control his moves.  How do they come up with so many variations?  Love it.

A masterpiece of a work from a creativity and timing perspective.

A short film in between while the crew set up for the next piece.  The crew setting up was choreographed so well and in itself was another dance.  "Wind" was a clever short film with variations on the impact of wind. 

This is where we had to tolerate our very "windy" audience member.  He disturbed other fellow audience members with his "diarrhoea of the mouth and constipation of the brain"  He chose to talk all the way through this short film and then talk through every dance.  So rude. Why come to the theatre mate?

"All Is Not Lost" was created by a huge group from Pilobolus.  Check out their website for accurate credits.  This work has a screen on stage right and what appears to be a glass top table on the stage left.  But there is a camera underneath the glass top table and we get to see all the machinations, manoeuvres and gymnastic moves of this classy troupe which is relayed to the large screen. The way Pilobolus create and invent and do not repeat is so inspiring.

The crawling, climbing, clinging, rolling, supporting, suspending ..... So many fabulous variations that kept your interest and intrigued me at how they could invent yet another variation.  The flow seemed effortless and did not jar.

It was terrific as you could watch the screen, or, the dancers on and around the glass topped table, or shift between the two.  Or even try to watch both at the same time.  So a feast for the eyes and such a lift in my heart to see such fine athletic dancers relish in teasing us with this magically simple theatrical shift of perception.  It was also a tribute to the overhead shots of Busby Berkley movies.

This reminded me of a piece by NDT that came to Melbourne many years ago at The State Theatre.  (Date to be clarified here).  Though the NDT version used a camera from above if I remember correctly, this Pilobolus piece took this invention to a new level of creativity.

"Danielle" a short film that is slow meditation and shows the ageing process of a person in slow motion form child hood to old age.  Sadly it was difficult to enjoy the meditation with the verbose rude gentlemen two seats away telling his mate all the juicy NYC gossip!  It is not your lounge room mate!  RESPECT for all!

"Korokoro" devised by a huge group from Pilobolus has a group of six dancers in very skimpy g-strings and minimalist bras dance a very physically demanding work with lots of contact.  Visually stunning and textured with so many layers of dynamic interplay between the dancers.  I loved the pas de six where each couple would then be featured in a pas de deux of pure trust.

Act Two began with "The Inconsistent Pedaller" created by another large group from Pilobolus.  This piece had a bicycle on stage right, an old man in the centre, and a table with a cake and presents on 
stage left.  There was also a candle on the floor.  There was a pulley system that had a coat or a sheet hanging from it.   All would be revealed in due course.

The sheet was flourished and hung up as a sign announcing Happy 99th Birthday but had a replaceable section to change the number of birthday years accordingly.  It is as if the staff change the number for each resident's year of survival.  Punctuated with this was the survival of the staff working in a care facility and their opening pose was as if it is a dead end job.  But no, as this dance work reveals the job obtains huge satisfaction.

Jordan Kriston strode the bike and pedalled and brought the other characters to life.  It was a bit like a side show at a carnival and reminded me of "Carnivale" the tv show.  It was also like one of those music boxes or prize machines.  She wound the story up and it was going to repeat at nauseum.  It was like inside a nursing home (aged care facility).  We had our very athletic dancer, Nile Russell in what appeared like a nappy or an adult incontinence under garment. The juxtaposition of such athletic musculature and fragility of the nappy spoke volumes - as we will all age, and so enjoy your health while you can.

It was like the still life paintings of old, where they respected that death is a certainty.   And we hope that it does not come to this for ourselves!   (Refer to the philosopher, Alain de Bottan for more details about his analysis of still life paintings)

This riding of the bike sequence was repeated with variations like a daily grind for not only the nursing home staff but also for the residents.  Then a small children's tricycle appears ridden by Matt Del Rosario ( I think.  To be clarified) and it was as he were the Milky Bar Kid, or The Lone Ranger here to protect and guide not only the old man on his journey in life but their staff in understanding that their job is a vocation and not just a job.   He was like the engineer here to start the energy unit in the nursing home and revitalise their spirit.  He provided a fresh perspective.

There was mayhem and fun and games and presents were opened for the old man's birthday.  All presents contained ducks and ducklings.  There was the flying dance sequence where the dancers carried our old man into flight.  He soared physically and they energised his spirit.


Then present were opened and all the same present of  fluorescent yellow ducks and ducklings. The old man flew at one stage.  In fact he soared with sweeping moves suspended by the other dancers.


The end of the old man had died and his balloon floated off into the sky.  Is this to be our fate?  Yes we will all die and hopefully our spirit will rise too.

"Explosions" a very clever short film that showed many variations of explosions one should do not do at home.  The scariest rang true when they showed a bottle of red wine exploding in a microwave.  Or friends had a wheat bag do that and are still our of their house a year later!

"Megawatt" the final piece began with five dancers crawling on their backs onto the stage full of mats. The snake like entrance requires such skill, agility and strength.  Their entrance alone would exhaust your average theatre goer's attempt at the same movements.

This was was a high voltage and extremely gymnastic dance work with lots of rolls, falls and suspensions.  Trust is paramount for this company of dancers.  Trust also from us as an audience that they will deliver.

I loved some of the isolations and retrograde phrases of movement. It is as if you are rewinding the video or dvd. Then you get to pause it and they replay the moments.  This tricks our brain and allows us to relish the phrase again.

Pure teamwork.  It reminded me of the free falling antics of "Streb" a company that I was fortunate to see at the Melbourne Festival of the Arts.  The difference with this work and the work that I saw Streb  perform, was that here I admired their skill, technique and was entertained.  While still being entertained with "Streb" I feared for their safety and had an emotional response of dread and  still I respected their skill and technique. 

A great night at the theatre.   A very special event.

Special connections:

I met most of  the dancers and was moved when three of the dancers were also taught by Trish Casey-Strong.  She taught me at VCA and was so supportive and encouraging.  

This is an edited email that I sent to thank the company of Pilobolus:

Thank you again for a very special performance and completing a circle of study of both The Joyce Theatre and the Pilobolus Company.

I am sharing the following as I am so passionate about Dance and Theatre History:

What excited me was to reading in the programme connections of study at North Carolina University and the hope that one of you may know either Trish Casey-Strong or Diane McPherson or Francene (surname?)

I studied at the Victorian College of the Arts from 1979 - 1982 and had some incredible teachers.    Our Dean was Anne Woolliams who was John Cranko's assistant at Stuttgart Ballet.  Elsie Tjok Lim was my favourite classical teacher and an angel with someone who was classically challenged.

We also had a guest teacher from Spain for three months in about 1981 and his name escapes me.  But he was our Flamenco Master.  Other guest teachers included Marcel Marceau, Mirka Moira the artist etc.

We also had a guest residency from Martha Hill the first director in 1951 at Julliard's dance department.  She offered us jobs to teach dance in the regional USA and we all laughed as we were young and stupid and USA Work Visas then were ridiculously hard to obtain.  She was serious and we only realised later that we missed a great opportunity.

What was scary in the first dance tonight was the likeness of Jordan Kriston to my friend Michele Braban who was Rehearsal Director and Assistant to Christopher Bruce at Ballet Rambert for about 20 years.  Michele was the first person to Graduate from VCA as a Choreologist (Benesh Notation Method).  It was like was watching Michele come back to life as she sadly died, at the very young age of 51 in 2012.

The other incredible connection was that aspects of the first dance piece "Masters of Ceremony reminded me of my friend Ree Schweizer who was Circus Ring-mistress at The Shrine Temple in Chicago and at Circus Circus in Las Vegas etc.  So Jordan's performance was so spooky, surreal and special.

I apologise if I am waffling on but it was so special to see your performance at The Joyce Theatre and to evoke so many memories.

Such an incredible event.

This production gets an 8.5/10

Bullets Over Broadway, St James Theater, New York Thursday August 7th 2014

Bullets Over Broadway, St James Theater, New York Thursday August 7th 2014

Forgive if there any errors or please contact me re errors.  Thank you.

 

For those new to my blog I write about the holistic experience of attending the theatre.

Susan Stroman is a one of my directional and choreographically heroes.   She is a master genius and this adaptation of the Woody Allen film "Bullets Over Broadway" is brilliantly funny, clever and stylish.  Such a shame it is coming off and people will miss out.  But suffer as you missed your opportunity!

Sadly most Australians will have missed out on this show and hopefully the regional companies will try to emulate this masterful directioon and execution.  It is a perfect night of entertainment and it such a fun show.

Seeing Susan Stroman's "Bullets Over Broadway" is one of the few holistic theatre experiences as there was thought for not only the show but the logistics of the following:

You felt special from the moment that you entered this theatrical temple called the St James Theater by the staff's greeting and welcome rather than a curt "tickets!" pronouncement.

I must say this is the first of nine shows this year where cell phones were not a problem due to the hyper vigilant ushers and their dedication to ensure that all patrons were paid mutual respect.  

The young usher directing traffic at interval for the toilets was a superb stage manager and deserves a special mention for his concern about people's safety as they walked the stairs with cell phones as their "tinia".  He announced where people should stand to the right to allow through traffic and also made serious announcements with a light edge with "Facebook will still be there" or he has other versions like "Your girlfriend will still be there ....." or "Your girlfriend still loves you."  He said this with his genuine concern for people's welfare and also in keeping with the genre of the show.  This ensured more people talked unlike other shows where they got neck strain from bending over their phones.

Attending the theatre is not a cheap venture.  I love the respect shown by the "Bullets Over Broadway" management by fostering this caring activities by their ushers.  Also I think they are being responsible for not wanting someone to fall down the stairs as they are texting or talking on their cell phone.

Attending the theatre at the St James and the American Airlines Theater (for "Violet") were made much more holistic experience due to these ushers, souvenir staff and  the very pleasant Cloak Room attendant.

"Bullets Over Broadway" the musical was written by Woody Allen with music adaptation by Glen Kelly.  Susan Stroman works her cast at such a pace that it is  slick show full of wonderful gags and a story that moves with pace and "Bullets Over Broadway", St James Theater, New York Thursday August 7th 2014 the key moments from the movie.

Susan Stroman sets the scene clearly with "Nick's Club" and introduces us to the world of gangsters and their girls.  It seems familiar like "Guys and Dolls" but we are in for a treat of a show.

It is such a joy to see mature men dancing on stage rather than having twenty and thirty somethings playing the more mature men.

That is one of  the main differences I notice is that you are not past your use-by-date" here on Broadway.  But with Australian shows, so many times they use the stars or because of the population and the younger performers playing the older roles.

In Australia we are lucky to have so much talent but performers have more limited opportunities than Broadway or in London.  The competition is fierce in Australia (as it no doubt is in NYC) but the performers here are so lucky that they are more truthful to the casting of age specifications for roles to provide a more realistic portrayal of age specific roles.

The other great aspect of Broadway and Off Broadway, in fact most American theatre companies is seeing the number of older men and women who dance superbly.  Such a treat to see and honour their dedication to their art and their persistence in maintaining their dance skills.

David and Ellen's rooftop is a magic set that we know will revolve later and reminded me of "The Nance" and both had exquisite attention to detail.  

"The Streets of New York" shows us a great number with the men showing their masculine bravura and bullying ability.  My partner thought that the sets in the back alleys and near the canal reminded him of being under the Washington Bridge in "In the Heights."  For a show to evoke memories for my partner, of a specific show, is a huge compliment to both shows.  

"Olive's Apartment" provides some fantastic comic moments with the sexually suggestive "Hot Dog Song" and "Gee Baby, Ain't I Good to You."

"Helen's Penthouse" introduces us to the magical Marin Mazzie who plays the star Helen Sinclair.  He outfits are to die for.  The costume design by William Ivy Long is so accurate to the period and also glamorous.  He does not fail with providing a feast of glamour and sophistication to the characters.

"The Gowanus Canal" provides Cheech played by Nick Cordero with a great song to display his rich deep voice.  I loved the use of the car from a logistical and authentic view.  The other exceptional aspect was the backdrops that moved to creat a superb sense of movement, atmosphere and location.

The set designs are brilliantly realised by Santo Loquasto.  He provides such detail and smooth transitions between scenes to keep our attention directed accordingly.  I loved the skylines, the theatre revolve, the house revolve, the train, the compartments to the train, and Helen's Penthouse.  In fact I adored every set as they provided a changing attention grabbing moment.  It was like a swipe of an iPAD watching the sets back tabs shift sideways.

"The Belasco Theatre: Onstage Rehearsal" has us in stitches watching as Olive is trying to keep up the script as she uses her finger to keep her place.  When she finally speaks her line we get the vaudeville drop of the jaw by the cast and the pause.  Great timing.

I am curious if there some historical in-jokes about the Belasco Theater as I know there is a ghost.  I am sure Susan Stroman has used some historical homage in the scenes set in this theatre.

"Helen's Terrace Overlooking Times Square" is a simple set with the balcony rising and her name in lights in the background and then the writer's name scrolls up to provide a gag.  The duet between Helen and David is sensational and I love the repeated banter between the two of the them throughout the show.  It pays homage to so many old shows, vaudeville joke sand musicals.  It also reminds me of "The Three Stooges" and "Mark Brothers" sight gags.  

"Nick's Club" has the Atta-Girls provide some light entertainment and classy showgirl memories.  I loved their exquisite costumes and the fur outfits were so elegant.

"The Alley Behind The Theater" has Cheech and his Gangsters show us a great ensemble number "Tain't Nobody's Biz-ness If I Do" for the men.  So full of energy and Broadway pizazz.

The brilliant finale to Act One is set at "Grand Central Station" that pays homage to "42nd St" and  "On The Twentieth Century."  The ensemble shine in this finale with no hole to be filled.  The girls in their red outfits also pay homage to the Radio City Rockettes and absolutely shine.

Act One gave us  a smile on your face and humming along the tunes.  Every one seemed to have spring in their step.

Act Two "The Wilbur Theater in Boston; Onstage rehearsals" reminded me of the set for "The Nance."  "There's a New Day Comin'" sung by Eden played by Karen Ziemba with the company.  She      

has a hard act to open Act Two and does an admirable job.  Such a consistently fine performance all night.

"Backstage at the Wilbur Theater; Opening Night" has a great song "There'll Be Some Changes Made" which has the cast from the show eager to brighten up the dull script.  We also see Helen and David in a duet "I Ain't Gonna Play Second Fiddle" that provides some more sexual tension and adds to David's story of will he go with Helen Sinclair or stay with his original Ellen?

The scene the "Train from Boston to New York" has the Red Caps frame the number as the compartments to the train rotate to show us what is happening with various characters.  Their song is snappy and punctuates the action with each featured group.This simple revolving set was superb.

We return to "The Gowanus Canal" and see the car again.  We know what is going to happen as it is his routine to farewell a character.  Cheech reprises "Up A Lazy River" with gusto.  Cheech is now implicated in a way that could have severe consequences for himself.

"David and Ellen's Apartment" is revolved to show that Ellen is packing up.  "I've Found a New Baby" is their duet that gives us a moment to reveal their fragile relationship.  She is moving out.

Superb staging with this brilliant set that not only turns but trucks in from upstage.

The apartment trucks upstage as David leaves and reveals "The Streets of New York" where he  sings "The Panic is On." 

"The Alley Behind the Theater" has Cheech confronted and exposed for his earlier actions.  He reprises "Ain't Nobodies Biz-ness If I Do" that provides a sinister pause for us to consider the consequences of his actions.

The farcical chase scene occurs as we  return to "The Belasco Theater: Opening Night' where the stage  is trucked downstage surrounded by the lovely girls, even above the proscenium arch.  This reminded me of the Busby Berkley movies and of some of Graeme Murphy's staging for the Australian production of "Love Never Dies" and his ballets. 

This opening night performance is interrupted by the Gangsters and the chase is on.  This is brilliant beyond comparison as the stage revolves and the characters run through the set with impeccable timing.  It is a very dangerous staging and choreography and has been rehearsed with precision.  Did I say Susan Stroman is a genius?

Cheech is shot and reprises his "Up a Lazy River."  The visual gag of Cheech putting his hand into David's face is an extension of the Helen and David gag.  Great timing and portrayed with sincerity.

We return to "Nick's Club" for the opening night party with champagne flowing.  Relationships are resolved or renewed to complete our story.

A lovely duet by David and Ellen "She's Funny That Way" and then the full Susan Stroman Broadway treatment for us to savour.

Sensational choreography and clever direction by Susan Stroman.  A brilliantly entertaining show that deserved a longer run on Broadway.

The programme is outlined in the traditional way setting outlining the scenes and the musical numbers within each scene.  I love that as it provides a follow up to my "memory jogger" for after seeing the show.

I wish they had a photo of the train compartments that revolved in the picture book programme.  It was my favourite set other than the house that revolves and shows the bedroom.  This scene will be forever etched in my memory.

The souvenirs were on sale as the show is closing.  I think these sale prices should be the normal prices as the Getty Museum in LA uses a cheap pricing policy to get into the museum and you feel like buying a meal or a souvenir.  Here you think twice as $10 for a magnet is ridiculous.  $5 and I bought five as gifts!  $10 for a poster is great, $20 is outrageous.  Why can The Joyce Theater for magnets for a $1 and "Brigadoon" in Chicago for $3.00.  Don't be greedy people are struggling.

Producers please take note:  make the souvenirs more reasonably priced all year round to allow families and tourist and regular theatre patrons the opportunity to take a little bit of theatrical, physical memory with them.

Overall this production receives 9/10.