#1
Posted: 4/25/05 at 1:46am
I have Sunday nights free and, after a full work week in the land of the flying car, am usually in need of some heavier entertainment to balance out my life. I've considered doing something besides seeing more musical theatre, but that just seems a little silly. So tonight seemed a great chance for me to catch DESSA again. I've been twice before, the first time in previews with Rachel York out and the 2nd time 2 weeks ago with La Chanze out. I've been wanting to see Rachel and LC together before it closes.
Tonight wasn't to be the night. I bought the tickets a few days ago before I had heard anything about the extended absence of Ms. Chanze. So Kenita was on again. I've written a lot already about the show, so instead of a real review I'll just do some bullet points, some odds and ends reflecting on the evening:
- My seats the previous 2 times were decent, but TDF hooked me UP tonight! I was 2 rows from the stage, dead center, which greatly enhanced everything. Sitting so close is an especially immerssive experience during the intensity of Act I. I was moved several times to utterances of WOW and DAMN and HAH as well as various other monosyllabic expressions of being in the moment.
-Brooks Ashmanskas was there. I'm still hurt that the friends I was with didn't share my excitement over this discovery. One friend even implied that Brooks is not a major celebrity they should be expected to know, which is ludicrous and depressing. But I got over it with some therapy (pronounced "musical theatre").
-Rachel York's work again confirmed my suspicions that I absolutely LOVE her! This lady delivered such an endearingly funny, real, charming performance that it didn't matter that her role isn't written as well as those of Dessa or Nehemiah. Rachel's "Ruth" comes very close to stealing the collective audience empathy away from Dessa, but she is clearly a generous performer aware enough not to cross the line.
-Actually, everyone was in especially good voice. I feel a bit bad about and wish to take back a portion of the things I've expressed in the past to the effect of "For the love of god, please stop casting Michael Hayden in musicals!" He was in the best voice I've ever heard him in. He was also on my subway train coming back downtown, which let me develop some guilt over such extreme condemnations of his poor singing.
-I still wouldn't list Hayden as a great choice for such a "legit" vocal role in a show surrounded by such strong singers, but I understand a little better why they picked him. At its best, his voice is capable and inoffensive. To be fair, at its worst, his ACTING is still some of the best in musical theatre.
-Speaking of stars, Kenita R Miller also convinced me tonight that she IS one. And dammit, she deserves it! The 1st time I saw her go on, it was too hard to watch her without comparing he performance to La Chanze's. That wasn't a problem this time, not to mention the fact that she was just having an "on" night! Vocals were rock solid, acting was rather exceptional, and dancing- well- continued not to be a factor. A stirring, heartbreaking, powerful performance by a truly gifted performer. I hope to see Ms. Miller in her own leading role someday soon.
-I want to mention the woman who filled in as Ruth's Mother/Susannah Curry at this performance. A new gal took to the stage, by the name of Ann Kittredge, who was a delight and who essentially restored my faith in the power of a great understudy- one who sincerely loves her work. She simply lit up the stage everytime she was part of a scene or number, making the absolute most of every line, embracing all of the material and making it clear that she appreciated the chance to be performing it. And a fine job she did, displaying a lovely voice and bright stage persona that earned the focus and appreciative chuckles of the more detail-oriented audience members. In her very limited onstage time, Ms. Kittredge made her 2 roles memorable through the little quirks thrown in to color the material. Nothing too distracting or upstaging, just little details in her physicality and delivery of lines that can make all the difference. It was a welcome breath of fresh air and a joy to see up close.
A FINAL NOTE ON THE SHOW ITSELF:
-Since seeing a very early preview, my feelings about the piece have been conflicted and constantly changing. The book has improved drastically, as well as the performers' relationships with the characters they play and with each other. The score has been growing on me constantly. I think it's safe to say at this point that DESSA ROSE is a gorgeous, unique piece of theatre. True, it's flawed and not for everyone, but I think it's earned a place in the musical theatre canon. It has so much going for it musically, ideologically, and emotionally, and I'm thrilled to see audiences reacting so well. Chalk up another "hell yes" for that crazy irish-american duo who write the music and words.
And if you haven't yet, check out the Flaherty/Ahrens interview on ATW Downstage Center. You can listen to it
American Theatre Wing
"The last train out of any station will not be full of nice guys." - Dr. Hunter S. Thompson
Tonight wasn't to be the night. I bought the tickets a few days ago before I had heard anything about the extended absence of Ms. Chanze. So Kenita was on again. I've written a lot already about the show, so instead of a real review I'll just do some bullet points, some odds and ends reflecting on the evening:
- My seats the previous 2 times were decent, but TDF hooked me UP tonight! I was 2 rows from the stage, dead center, which greatly enhanced everything. Sitting so close is an especially immerssive experience during the intensity of Act I. I was moved several times to utterances of WOW and DAMN and HAH as well as various other monosyllabic expressions of being in the moment.
-Brooks Ashmanskas was there. I'm still hurt that the friends I was with didn't share my excitement over this discovery. One friend even implied that Brooks is not a major celebrity they should be expected to know, which is ludicrous and depressing. But I got over it with some therapy (pronounced "musical theatre").
-Rachel York's work again confirmed my suspicions that I absolutely LOVE her! This lady delivered such an endearingly funny, real, charming performance that it didn't matter that her role isn't written as well as those of Dessa or Nehemiah. Rachel's "Ruth" comes very close to stealing the collective audience empathy away from Dessa, but she is clearly a generous performer aware enough not to cross the line.
-Actually, everyone was in especially good voice. I feel a bit bad about and wish to take back a portion of the things I've expressed in the past to the effect of "For the love of god, please stop casting Michael Hayden in musicals!" He was in the best voice I've ever heard him in. He was also on my subway train coming back downtown, which let me develop some guilt over such extreme condemnations of his poor singing.
-I still wouldn't list Hayden as a great choice for such a "legit" vocal role in a show surrounded by such strong singers, but I understand a little better why they picked him. At its best, his voice is capable and inoffensive. To be fair, at its worst, his ACTING is still some of the best in musical theatre.
-Speaking of stars, Kenita R Miller also convinced me tonight that she IS one. And dammit, she deserves it! The 1st time I saw her go on, it was too hard to watch her without comparing he performance to La Chanze's. That wasn't a problem this time, not to mention the fact that she was just having an "on" night! Vocals were rock solid, acting was rather exceptional, and dancing- well- continued not to be a factor. A stirring, heartbreaking, powerful performance by a truly gifted performer. I hope to see Ms. Miller in her own leading role someday soon.
-I want to mention the woman who filled in as Ruth's Mother/Susannah Curry at this performance. A new gal took to the stage, by the name of Ann Kittredge, who was a delight and who essentially restored my faith in the power of a great understudy- one who sincerely loves her work. She simply lit up the stage everytime she was part of a scene or number, making the absolute most of every line, embracing all of the material and making it clear that she appreciated the chance to be performing it. And a fine job she did, displaying a lovely voice and bright stage persona that earned the focus and appreciative chuckles of the more detail-oriented audience members. In her very limited onstage time, Ms. Kittredge made her 2 roles memorable through the little quirks thrown in to color the material. Nothing too distracting or upstaging, just little details in her physicality and delivery of lines that can make all the difference. It was a welcome breath of fresh air and a joy to see up close.
A FINAL NOTE ON THE SHOW ITSELF:
-Since seeing a very early preview, my feelings about the piece have been conflicted and constantly changing. The book has improved drastically, as well as the performers' relationships with the characters they play and with each other. The score has been growing on me constantly. I think it's safe to say at this point that DESSA ROSE is a gorgeous, unique piece of theatre. True, it's flawed and not for everyone, but I think it's earned a place in the musical theatre canon. It has so much going for it musically, ideologically, and emotionally, and I'm thrilled to see audiences reacting so well. Chalk up another "hell yes" for that crazy irish-american duo who write the music and words.
And if you haven't yet, check out the Flaherty/Ahrens interview on ATW Downstage Center. You can listen to it
American Theatre Wing
"The last train out of any station will not be full of nice guys." - Dr. Hunter S. Thompson
"I wash my face, then drink beer, then I weep. Say a prayer and induce insincere self-abuse, till I'm fast asleep"- In Trousers
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