You’ve Got To Pick a Pocket or Two

This afternoon, NSS&F and I went to go see the Roman Polanski remake of Oliver Twist. The movie stars Ben Kingsley, Barney Clark, Jamie Foreman, Frank Finlay, and Harry Eden, was directed by Roman Polanski, and was produced by Alain Sarde, Robert Benmussa, and Roman Polanski.

Critical opinions on the movie have been mixed, but both of us enjoyed it quite a bit. It didn’t drag along, was remarkably acted, and the cinematography was spectacular. There were some changes to the story: Fagin was given a backstory and the antisemitism was toned down; there was no relationship between Brownlow and Oliver. But for the most part, it stayed very faithful. Even more important, it held my daughter spellbound, and she now is planning to read the Dickens original. This is a good thing.

With all the hoopla about Serenity, I felt there should be focus on something else. For those into Dickens especially, I encourage you to see this movie.

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Computer. Tea, Earl Grey, Hot, at 0500.

Last night, we had tickets to see Kate Mulgrew in Tea at Five at the Pasadena Playhouse. Unfortunately, even though Kate’s website doesn’t indicate it, she is not doing Saturday evening performances. We found out about this Wednesday afternoon (as subscribers), but couldn’t change to another performance with her. Evidently, Kate pulled the change on the box office after the play opened, and we’ve never had an official explanation.

So, we got her talented understaudy, Paula Ewin (click here for an image of her with Kate), who evidently has been understudying Janeway Mulgrew for a long time. Ewin is a founding member of the 29th Street Rep, and recently appeared as Nora in Bold Girls and as Ruthie in High Priest of California She is producer and co-director of Look Here! A Portrait of Sylvia Sleigh. Guess what? We didn’t even miss the good captain.

For those unfamiliar with the play (which was written by Matthew Lombardo), it tells the story of an actress, a Miss Katherine Hepburn, a film actress who, when we meet here, has just come off a string of seven flops (including Break of Hearts (1935), Sylvia Scarlett (1935), Mary of Scotland (1936), Quality Street (1937) and Bringing Up Baby (1938)). She’s back at home recovering, and hoping for her next role as Scarlett O’Hara in Gone with the Wind (yes, she was a leading candidate for the role). The first act concerns this low time of her life, when she was dealing with career failure, a label as “box office poison”, a disasterous run in The Lake on Broadway (in 1934) where she was panned by critics and deserted by her audience. The act ends with her being offered a role on Broadway in The Philadelphia Story (which she would later buy to make into a movie).

The second act takes place in 1983, when Kate is at home with a broken ankle. She provides some stories about her relationship with “Spence“, and tells the story of how she found the body of her brother Tom after he died attempting a rope trick at the age of 15. This latter incident completely changed her life. She also relates how she played Coco Chanel on Broadway, and had a run-in with Stephen Sondheim. At the end of the act, she finally agrees to do some project with Warren Beatty. This was the film Love Affair made in 1994, her last film appearance. This is odd to be discussing in 1983, as she did a number of TV movies post 1983, including the well received Mrs. Delafield Wants To Marry in 1986.

We found the production to be very good, and it has gotten good reviews elsewhere. Yet most of the reviews (Los Angeles Times, Variety, Orange County Register) concentrate more on Mulgrew’s performance (OCRegister: “Starfleet Capt. Janeway was Katharine Hepburn in a maroon uniform.”). They seem to uniformally feel the script was shallow (LA Times: “Playwright Lombardo fudges the timing of incidents, puts words in other people’s mouths and distorts who was present at certain events. That’s bad enough. But what’s truly disappointing is that “Tea at Five” is more outline than play — a mere recitation of names and incidents, with little inherent drama.”)

I think they are right. The story itself is shallow. I can’t speak to the inaccuracies, but Miss Hepburn was a recluse about her private life, so the shallowness is understandable. Still, we enjoyed it.

Next up on the theatre schedule: Oliver! at the Cabrillo Music Theatre, the first production of the 2005-2006 season (the other productions are Forever Plaid and The Music Man (which replaced the previously announced Seussical (drat!). This will be in early November, to be followed by Open Window at the Pasadena Playhouse, a joint production with Deaf West. We’re also planning to get tickets for Pump Boys and Dinettes at the San Fernando Valley Playhouse, and I’ve toyed with the idea of getting tickets to The Grand Tour at The Colony Theatre in Burbank.

[Crossposted to cahwyguy and socal_theatre]

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A Gentle Year

I just got back from seeing A Year With Frog and Toad at ICT Long Beach. This is the second production I’ve seen at this theatre, and I am growing more impressed with them at each production. The venue itself is small and has excellent site lines, on par with the Mark Taper Forum. The Artistic Director announced the 2006 season at today’s show: it included Jesus’ Kid Brother (the story of Jesus’ younger brother, Larry… talk about an inferiority complex) and Twentieth Century (but it was unclear if this was the musical version).

Anyway… returning to Frog and Toad. For those unfamiliar with play, it is based on the series of children’s books by Arnold Lobel. From beginning to end, from the coming of spring (and the end of Toad and Frog’s winter hibernation) to the next spring, when the birds fly back from their warm winter quarters, “Frog and Toad’ tells the story of two wonderful friends, Frog and Toad. They live down the road from each other in nearly identical houses and are close friends, so close that they share each other’s dream during their long winter nap. They spend their waking year sharing simple adventures: flying a kite, swimming in the pond, baking cookies, meeting with their friends in the neighborhood. They were written at the first grade level, and formed into a musical that went as far as being nominated for multiple Tony awards. It is less a continuous storyline (except for the Snail delivering the mail, a running (so to speak) gag), as opposed to a series of vignettes that demonstrate the deep and abiding friendship between the two.

The production starred Gary Cearlock as Frog, Danny Stiles as Toad, Elizabeth Brackenbury as (Bird, Turtle, Mouse, Squirrel, Mole, and Mother Frog), Jennifer Clinton as (Bird, Mouse, Squirrel, Young Frog, and Mole), and Jeffrey Landman as (Bird, Snail, Lizard, Father Frog, and Mole). Music and Lyrics were by Robert Reale and Willie Reale.

I found the show excellent. The actors playing Frog and Toad had (in my opinion) real chemistry. Even more amazing were the actors playing multiple roles, in particular Jeffrey Landman as Snail (who really went postal in the role).

What did the reviews say? The Press-Telegram noted it is “full of the kind of theatrical magic, endearing performances and clever effects that will charm adults as well as children.” As for the lead performers, they noted that “Cearlock’s Frog is a creature of gentle pleasures and gentle ways.” and Stiles Toad is played “with a physical abandon that is a hilarious contrast to Frog’s simplicity.” They single out for mention Snail, whom Frog commissions to deliver a letter to Toad. They noted “Kids in the audience loved it as Landman moved in tiny steps across the stage, hurrying to deliver the letter he was carrying (he takes pretty much the entire play to get from one house to the other).”

The Los Angeles Times noted it more as a kids show. They felt that it was “missing the resonances that would recommend the show to adults sans kids in tow.” They also saw weak chemistry between the leads (I disagree, but perhaps they grew into it as the show has progressed).

The Daily Breeze also disagreed with the Times, noting “ultimately, is designed to appeal to a young audience… but parents will find plenty to enjoy, and they will appreciate what these thoughtful stories teach their children.” As for the actors, they noted “Cearlock and Stiles have genuine chemistry as good friends, and their harmonies are pleasing. Brackenbury and Clinton are solid singers. Landman, particularly in his performance as Snail, has wonderful comic timing.”

Lastly, kudos to both the costume designer and the band, who were both marvelous.

Next up: Tea at Five at the Pasadena Playhouse, starring Kate Mulgrew.

[Crossposted to cahwyguy and socal_theatre]

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A Gentle Year

I just got back from seeing A Year With Frog and Toad at ICT Long Beach. This is the second production I’ve seen at this theatre, and I am growing more impressed with them at each production. The venue itself is small and has excellent site lines, on par with the Mark Taper Forum. The Artistic Director announced the 2006 season at today’s show: it included Jesus’ Kid Brother (the story of Jesus’ younger brother, Larry… talk about an inferiority complex) and Twentieth Century (but it was unclear if this was the musical version).

Anyway… returning to Frog and Toad. For those unfamiliar with play, it is based on the series of children’s books by Arnold Lobel. From beginning to end, from the coming of spring (and the end of Toad and Frog’s winter hibernation) to the next spring, when the birds fly back from their warm winter quarters, “Frog and Toad’ tells the story of two wonderful friends, Frog and Toad. They live down the road from each other in nearly identical houses and are close friends, so close that they share each other’s dream during their long winter nap. They spend their waking year sharing simple adventures: flying a kite, swimming in the pond, baking cookies, meeting with their friends in the neighborhood. They were written at the first grade level, and formed into a musical that went as far as being nominated for multiple Tony awards. It is less a continuous storyline (except for the Snail delivering the mail, a running (so to speak) gag), as opposed to a series of vignettes that demonstrate the deep and abiding friendship between the two.

The production starred Gary Cearlock as Frog, Danny Stiles as Toad, Elizabeth Brackenbury as (Bird, Turtle, Mouse, Squirrel, Mole, and Mother Frog), Jennifer Clinton as (Bird, Mouse, Squirrel, Young Frog, and Mole), and Jeffrey Landman as (Bird, Snail, Lizard, Father Frog, and Mole). Music and Lyrics were by Robert Reale and Willie Reale.

I found the show excellent. The actors playing Frog and Toad had (in my opinion) real chemistry. Even more amazing were the actors playing multiple roles, in particular Jeffrey Landman as Snail (who really went postal in the role).

What did the reviews say? The Press-Telegram noted it is “full of the kind of theatrical magic, endearing performances and clever effects that will charm adults as well as children.” As for the lead performers, they noted that “Cearlock’s Frog is a creature of gentle pleasures and gentle ways.” and Stiles Toad is played “with a physical abandon that is a hilarious contrast to Frog’s simplicity.” They single out for mention Snail, whom Frog commissions to deliver a letter to Toad. They noted “Kids in the audience loved it as Landman moved in tiny steps across the stage, hurrying to deliver the letter he was carrying (he takes pretty much the entire play to get from one house to the other).”

The Los Angeles Times noted it more as a kids show. They felt that it was “missing the resonances that would recommend the show to adults sans kids in tow.” They also saw weak chemistry between the leads (I disagree, but perhaps they grew into it as the show has progressed).

The Daily Breeze also disagreed with the Times, noting “ultimately, is designed to appeal to a young audience… but parents will find plenty to enjoy, and they will appreciate what these thoughtful stories teach their children.” As for the actors, they noted “Cearlock and Stiles have genuine chemistry as good friends, and their harmonies are pleasing. Brackenbury and Clinton are solid singers. Landman, particularly in his performance as Snail, has wonderful comic timing.”

Lastly, kudos to both the costume designer and the band, who were both marvelous.

Next up: Tea at Five at the Pasadena Playhouse, starring Kate Mulgrew.

[Crossposted to cahwyguy and socal_theatre]

Note: This entry was originally posted on Observations Along The Road (on cahighways.org) as this entry by California Highway Guy. You may comment either here or there (where there are comment(s)).

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Sometimes, the Best Reviews are the Worst…

…at least to read.

From today’s review by Kenneth Turan of the LA Times on “The Dukes of Hazzard”:

“The Dukes of Hazzard” is a film that is not there. It can’t really be reviewed because it doesn’t really exist. It is not empty calories, which implies pleasure, but simply empty. It’s a cosmic void where a movie ought to be.

A collection of promotable elements strung together until it’s time for the next show, “Dukes” is vapid even by the standards of the venerable TV series about Southern boys and their toys — rarely confused with “Omnibus” or “Masterpiece Theater” — it’s based on. With no plot, character or dialogue worth experiencing, let alone remembering, the film merely occupies space on the screen and hopes for the best. […] But even those who remember being amused by the casualness of the small screen version will find that 104 labored minutes of this material stretches it tighter than Daisy Dukes’ celebrated shorts.

From the Rolling Stone:

I have no problems with the jokes being lowbrow and moronic. Hey, it’s still summer. But the film oozes the desperation of people sweating hard to create the illusion that if you yell “yee-haw” long enough you’ll have a good time. It’s not happening.

The big news is the casting of pop princess Jessica Simpson as sexpot cousin Daisy Duke (Catherine Bach created the role for TV). Simpson had never acted in a movie before squeezing into Daisy’s short-shorts. As far as I’m concerned, her record is clean. Simpson’s body is unimpeachable, but her thespian talent is still undiscovered country. […] At one point, the film’s narrator says, “If you have to go to the bathroom, now would be the wrong time.” I beg to differ. There is no wrong time to flush this turd.

This reminds me of some of the worst reviews in “Opening Nights on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre”. Don’t want to see the show, but the review is worth the price of admission.

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We’re Off to See The Wizard…

…with lowered expectations.

Today, we saw “The Wizard of Oz” at Cabrillo Music Theatre in Thousand Oaks. For a change, I was not impressed with this production. Of course, I didn’t go in expecting much either. After all, this was a stage version of the classic movie musical. As such, it had dialogue I could recite by heart, with particular characterizations that everyone expected, which bound the actors. They also didn’t have the luxury of the movie’s special effects, and the duplications were weak.

Most of the actors were not that notable, with one exception. Jay Brian Winnick played the Cowardly Lion. He was most recently on Broadway with Nathan Lane in The Frogs, and also played Lefou in Beauty and the Beast, Nicely in Guys and Dolls, and a number of off broadway productions. He was really good at physical comedy, and channeled both Bert Lahr as well as Nathan Lane. He had quite a few great ad libs.

There were some fun parts in the program, however. Kristen King thanked her green unitard for not being see-through, so that she didn’t have to face her recurring nightmare of being naked in front of 1800 people. Daisy, the Cairn Terrier, was noted as having a day job as a receptionist for a Woodland Hills Accounting Firm.

As for the show itself: It was basically the movie musical. They added in some short intro pieces to If I Only Had A Brain and If I Only Had A Heart, added a reprise of Over the Rainbow, and (one of the things I liked) restored the Jitterbug sequence that was deleted from the movie.

The audience had more children than usual. Usually, the youngest we see there is around 5; today we even had 3 year olds. Alas, that is too young for the theatre.

One last note: My daughter noted a really odd juxtaposition: We saw Wicked three weeks ago, and now a number of things about the movie just seem wrong. Nessa didn’t have green feet. There was no reason for the Scarecrow to hate or fear the Wicked Witch of the West. And lastly, there was no reason for the Scarecrow to be made ruler in the Wizard’s absence.

Next up for Cabrillo Music Theatre: Oliver!, in October 2005. That will be followed by Forever Plaid and Seussical.

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Willy Wonka, Willy Wonka, The Amazing Chocolatier …

Last night, our family (including ellipticcurve) went to go see Charlie and the Chocolate Factory.

In one word: Yum.

In another word: Deep Roy

In many ways, this movie has the same warped sensibility as the 1971 musical version. In other ways, it is even more warped. The warped sensibility begins with the opening sequence, continues with Johnny Depp’s characterization of Willy Wonka, but is truly embodied in Deep Roy’s characterization of every single Oompa-Loompa. Yes, every single one. None of these folks with orange skin and funny hair. Deep Roy, with his Indian face, plays every single one, male, female, and I’m sure even other genders. This is especially warped in the musical numbers, whose words are taken straight from the original books, but whose style apes everything.

And speaking of apes: the 2001 sequence is hilarious. Too bad most children watching the movie won’t get it. Actually, there are many in-jokes in the movie you have to pay attention to catch… although I was expecting the narrator to introduce a line from a 7-Up commercial.

And then there is Johnny Depp. I haven’t seen all his films, but in the ones I’ve seen, his characterizations are truly unique. This is no different. From the way he says his lines, to his simple facial expressions (watch the one when the mom makes the pass at him)… just remarkable.

Highly recommended.

(P.S.: I also found intriguing the remake of the “I’d Like To Teach The World To Sing” commercial: I’d Like To Teach The World To Chill. Cute.)

(P.P.S.: As to the previews, of what I remember: Harry Potter: Yes!!! Pride and Prejudice: Chick Flick–I sense an expedition for ellipticcurve, gf_guruilla, NSS&F, and ixixlix. Corpse Bride: Interesting. The Disney Golf Movie: Eh. There were one or two others that didn’t stick in my head.)

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Did you ever get the feeling, when you read the papers…

…that sometimes the reviews are right? In this case, the reviews for the latest Pasadena Playhouse production, Purlie.

We went to the Pasadena Playhouse last night to see Purlie. For those unfamiar with the play, it is the musicalization of the play Purlie Victorious by Ossie Davis (made into the movie Gone are the Days). It is a satirical story, set in the antebellum South. It tells the story of a town where white racist plantation owner Ol’ Cap’n Cotchipee effectively owns everyone and everything in sight. Along comes the title character, a slick-talking, self-proclaimed preacher with a cockeyed scheme to get the deed to a barn that he’ll turn into a church and empower the townspeople in the process. You know (by the opening) that he suceeds, but it is the “how” that is the interesting part. This is a high energy musical, with loads of wonderful high-energy singing.

The original version of Purlie came out in the 1970s, and start such up and coming artists as Cleavon Little as Purlie, Melba Moore as Lutibelle (coming off of a spectatular performance in Hair), Sherman Hemsley as Gitlow, Novella Nelson as Aunt Missy, and John Heffernan as Ol’ Cap’n.

This production had an equally strong cast. In the title role, Purlie, was Jacques C. Smith, who you may know as a semi-regular (Leroy Tidd) in Oz. Strong actor; strong singer. Starring as Lutiebelle was Paulette Ivory, who was the title performer in Aida on Broadway. Aunt Missy was played by Loretta Devine, who starred on Broadway as Lorell in Dreamgirls. Ol’ Cap’n was played by Lyle Kanouse, E. Faye Butler as Idella, Billy Gill as Charlie, and Harrison White as Gitlow. According to Broadway.Com, this production (directed by Sheldon Epps of the Playhouse) is Broadway Bound.

Purlie combines gospel, rhythm and blues and the best of Broadway with music by Gary Geld, lyrics by Peter Udell, choreography by Ken Roberson and written by Davis, Udell, Philip Rose (who subsequently collaborated, without Davis, on the musical Shenandoah).

Reviews of this production have been very strong. The Los Angeles Times, although not having a clippable quote, strongly supports the program. Talking Broadway complains about the vocal strength of some of the cast, but I think this was resolved by last night. Curtain Up notes that the phenomenal ensemble brings the stage to life. Backstage notes that the ebullient performances comprise the production’s strongest asset. It was a very strong strong show, and I strongly recommend this production.

Make way for a new-fangled preacher man!
Ain’t gonna promise no cherry and rye
No glorious life on that great other side
I got a different message to spread
How bout some glory days before we are dead?

[Crossposted to socal_theatre]

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