A Declaration

I once worked with a director who told me that 1776 was his favorite musical, which puzzled me. He was very into new, edgy works, and I couldn't wrap my mind around how a show about the signing of the Declaration of Independence could hold his interest. His answer? "There's a moment when you actually believe they're NOT going to sign it."

OK. Granted, it's always interesting to see a behind-the-scenes take on an infamous event--for example, even though I knew very well what the end result would be, I was still captivated by "Recount"--but the signing of the Declaration of Independence? Seriously?

But I must say that when I finally saw a production of 1776 (at the Paper Mill Playhouse), I could see what he meant. Who would have thought that watching gussied-up gentlemen sweating in a tiny room could be so entertaining?

Show Business Weekly review: 1776

Daisy Chain

I was in Atlanta recently for an archaeology conference, and I reviewed yet another fabulous production at Theatrical Outfit. Last fall, while in Atlanta for a music conference, I reviewed their exquisite revival of the musical Big River; this time, they've remounted a hometown favorite, Driving Miss Daisy, featuring an evocative original score by Robert Waldman.

In November I'll head to Atlanta again for a women's studies conference, and I'm looking forward to seeing what will be playing next time ...

Talkin' Broadway review: Driving Miss Daisy

A New Normal

I have never had such an about-face with a show as I have had with Next to Normal.

When I saw last year's Off-Broadway production (at Second Stage), I walked away from the theater feeling not only disappointed, but downright angry. And the people who know me well would tell you that I don't typically get all riled up about theater; even when I'm writing a less-than-glowing review, I'm the optimist looking for the silver, quasi-artistic lining peeking through the murky clouds.

But the Next to Normal that sprang up in New York last year--with its cloying, flip depictions of grief and mental illness--made me furious. Especially in the new voices of contemporary musical theater, we need stories that address tough issues and parse tricky human behavior. But not with jazz hands.

So even though I had heard that the recent out-of-town revision (at Arena Stage, in Washington, D.C.) had snagged some excellent reviews, I literally groaned when I heard that the show was planning to transfer back to New York (and on Broadway!?!?). But I have friends who have been disciples of this show from the beginning (and have seen it 6 or more times), so I decided to give it another chance.

And BAM! POW! KAZAM! am I ever glad I did. (Although that music will likely NEVER get out of my head ...)

Show Business Weekly Review: Next to Normal

Lonesome as a moon at dawn ...

Yet another ambitious production from the Prospect Theater Company, this time with a snappy bluegrass soundtrack:

CurtainUp Review: Golden Boy of the Blue Ridge

Durang-Durang ...

If you loved The Marriage of Bette and Boo but wondered how (and why) anyone sat through The Coast of Utopia, you'll love Christopher Durang's latest invention, a surprisingly moving new play that uses the surreal, absurd machinations of theater to explore the very real, absurd musings of our minds. As conceived on David Korins's fantastic turntable set, the play is (literally) a wild ride from start to finish, but somehow, startlingly, ends up at a very familiar place with some very familiar questions. How do we construct and conceive our own (theatrical) worlds? And if Christopher Durang could pilot my life for a while, would it all start to make more (surreal) sense?

Show Business Weekly Review: Why Torture Is Wrong, And The People Who Love Them

Something toxic this way comes ...

How many Toxic Avenger musicals does the world need? Apparently, at least three ... The Toxic Avenger Musical, which recently opened Off Broadway at New World Stages, marks the third effort at turning the campy '80s flick into a singing-and-dancing stage fest.

CurtainUp Review: The Toxic Avenger Musical

This was my first Toxic musical outing, but I brought along my friend Nora to get a veteran's take on the material. (She played the blind girlfriend, Sarah, in a production that debuted at Omaha's Blue Barn Theatre several years ago.) She seemed to enjoy the new take on "Toxie", but declared that the productions were like "apples and oranges" -- all too different to truly be compared.

So why The Toxic Avenger? It seems that audiences have had a fondness for the green-tinged sci-fi genre in recent years. Throughout the show, I kept a running list of other shows that are similar in theme/music/atmosphere: Urinetown, Reefer Madness, Little Shop of Horrors, Bat-Boy, etc. ... and green creatures are already well-represented on New York stages with Shrek, Wicked, and the now-closed Young Frankenstein.

Geek + Green = Superhero? Sounds like wishful thinking on the part of computer nerds everywhere. (Or, if green = $$, we've unearthed the dreams of many a producer on this small island.)

Green goo aside, I highly recommend the show based on the phenomenal fortitude of three fabulous performers: wise-cracking chameleons Matthew Saldivar and Demond Green, and, especially, the formidable force of nature that is Nancy Opel. It appears that one of her secrets is her shoes, but if the right pair of shoes could make everyone sing like that, Broadway would be a happier place indeed (and Carrie Bradshaw would be crooning ballads in her Blahniks).