BORSTALS REVIEWS--Sweeney, Red Light, Bernarda, Inishmore, Doubt

[Borstalboy]

Posted: 2/21/06 at 1:18pm

Hey, everybody, just got back from the big city and I'm still a-buzzin'. GodDAMN what a great trip!!! Spent waaaay too much money and alot of that was on the thea-tah. So here's some reflections on what I saw:

RED LIGHT WINTER---Great tix usually available at TKTS. Adam Rapp is one hell of a playwright and he continues to grow, but this three-hander about broken hearts just had one too many plot holes to be totally satisfying. As you may know, it's about two friends--one a cripplingly neurotic unsuccessful playwright, the other an arrogant, obnoxious author who (of course) is hugely sucessful--and the ramifications of their run-in with a mysterious Amsterdam hooker. There is real aching and romantic longing and to say it's not touching in parts would be a lie. However, two of the characters I just didn't believe: The hooker has this incredibly convoluted back story that didnt make sense and her relationship with Davis (the obnoxious writer) didn't wash. The character of Davis I also didn't buy...he's rather cliched (I've seen this character written better in BOY'S LIFE and THIS IS OUR YOUTH and quite a few others) and why anyone would want to hang out with such a jerk is a little far fetched. Also, why would a successful writer be staying in a crummy student hostel? Unbelievably good acting, though, that carried much of the evening. Christopher Denham has the best, biggest part and he is quite a marvel, I think. Gary Wilmes was also an inspired piece of casting--he's not a jock-type actor--bringing life to a clumsy part. Kudos also to Todd Rosenthals wonderfully grungy sets.

SWEENEY TODD---Tough one to review. I got seats waaaaaaaay in the back and, well, lets just say if you want to really enjoy this one, you need seats on the floor. Originally staged in a small theatre in a 3/4 thrust, it has not been restaged to a large proscenium, and all intimacy was lost for me. Also lost for me was the storytelling as the staging almost deliberately tore apart coherence (can you imagine someone who didn't know the story trying to figure out what he was watching?). This is an English thing, I think, where the SWEENEY TODD story is as well known to the average Joe as, say, "The Tell-Tale Heart" is to us. The approach does lift the production out of the Harold Prince lock, however, and it is exciting to see a low-budget production with complete re-takes on the old favorites (I particularly liked the hilarious simplicity of "By The Sea"). The actors-as-orchestra was sometimes thrilling, other times distracting (I think it will work much better with COMPANY). The real genius here is the orchestrations, capturing the splendor of Sondheims score and even accenting some subtle things I haven't noticed before. It's a treat. Standout performances are Patti LuPone, who was sexy, funny, and weird as Mrs. Lovett, Lauren Molina as a Johanna that was both wily and hysterical, and Raul Esparza lookalike Manoel Felciano with his rodent-like physicality as Tobias. He should get remembered come Tony time. Cerveris was okay....I couldn't hear him alot of the time in his dialogue moments, and whether or not the lack of tragic depth in his Sweeney is his fault or John Doyle's is debatable.

BERNARDA ALBA---Another tough-to-review show. Lorca's tragedy about an almost fanatic woman and the power she wields over her sexually burgeoning daughters does not seem the kind of thing that screams to be musicalized, but it's rather astonishing how well the concept works. The music and staging perfectly capture the hothouse essence of Lorca's sensual prose and passion. Graciela Danielle's staging incorporates alot of flamenco into the proceedings, lots of handclaps, stomps, and literal breast beating...Danielle I'm told is very hit-or-miss in her staging and this I would say is a big, imaginative hit. Pretty amazing what can be done on a bare stage with a couple of chairs. LaChiusa's score is not one of his best and is unlikely to convert those who aren't fond of his work. There are some lovely ballads, like the ravishing "The Smallest Stream", and he does capture Lorca's essence beautifully. The only problem I had with the score was that it covered much of the same thematic material over and over.
Now for the bad part. The cast is wildly uneven. Daphne Rubin Vega as the ugly (!!) sister Martirio comes across the best and Yolande Bavan strikes a memorable figure as Bernarda's senile mother. Sally Murphy is in lovely voice but has strange physicality as Amelia, Nikki M. James dances beautifully but totally lacks depth in the pivotal role of Adela, and Candy Buckley just doesn't look like she knows what show she's acting in in the plum role of the earthy servant Poncia.
And sadly, the show is a dissapointment for a miscast Phylicia Rashad. Bernarda is a fierce, sexually repressed, scary force of nature and the casting of the warm, sensual, and still stunningly beautiful Rashad was a mistake. Lord knows she's in there working hard and her star presence is an asset to any show, but it's a heartbreaking misstep.
I don't think this show will be well recieved by critics and the audience I saw it with seemed very,very cool ("The music was awful!" I heard one person say to his date on the way out), but this was still one of the more satisfying shows I saw in NY. Alot of this comes from my affection for Lorca and some of it comes from my reaction to SWEENEY. I was closer to the stage and alot more involved in the action, and it was nice to see an intimate musical production where the storytelling was utterly solid and the tragic depths truly explored. This, for me, made it a more rewarding experience than SWEENEY TODD.
For those willing to forgive it--or even root for it--for it's flaws, BERNARDA ALBA is worth checking out.

DOUBT---Been spending too much time writing this, so forgive if this is a little quick: Witty, beautifully written, constructed like a Swiss watch, but oh so very old-fashioned drama is well worth the time, just don't expect your socks to be knocked off. Cast was strong, Jena Malone a bit weak. $27 tix in the balcony are a super bargain.

THE LIEUTENANT OF INISHMORE---Now this is why I go to the theater, boys and girls! After four tries of mixed success, I plunged in and found a big, fat hit. Martin McDonagh's comedy is a raucous, silly, bloody romp about terrorism and the circular cycles of violence. But really, the thematic stuff is just about the only thing that's spread on lightly in this production. The story revolves around a renegade terrorist,the death of his beloved cat, Wee Thomas, and the rubes who try to cover up that fact. There is a cast of mixed U.S. and UK performers and there isn't a weak link in the bunch of them...this is one hell of an ensemble, but I was particularly taken with Domhnall Gleeson as the put upon, not very bright Davey.
Yes, it's violent (by the end, most of the cast look like Sissy Spacek in CARRIE) but the blood and guts is wierdly inoffensive, in fact, it's hilarious and has to be seen to be believed. Big time laughs in this one. Kudos to the special effects team and sympathy to whoever has to clean the set at the end of the day.
Judging by the audience's enthusiastic response, this is going to be a huge hit and perhaps a transfer to Broadway would not be out of the question. GO, GO, GO!!

Updated On: 2/22/06 at 01:18 PM

[popcultureboy]

Posted: 2/21/06 at 1:22pm

First of all, Borstal, I'm sad I had to miss you on your trip. Well written reviews and insights, but I gotta tell you, I couldn't agree with you less about Inishmore

[LeaGirl]

Posted: 2/21/06 at 1:27pm

Glad you enjoyed Bernarda Alba - I saw it Saturday night and while I had my misgivings about parts of it, it was a THOROUGHLY engaging evening of theater. And Daphne Rubin-Vega blew me away.

I admit I was most excited by the use of dance and the use of the actresses as... percussion. That opening sequence where they were all clapping got me very excited.

My audience was... older. And by older I felt like I was one of the only people in the room who was under 60, I'm by no means a teenager. And the reactions afterwards in the line for the restroom were hysterical. I had a great time and felt like I saw something truly different, but everyone in the line was going "I didn't understand it" and "it was too avant-garde". I agree that it was odd, but I found it a very interesting and GOOD odd, and the final scene... holy smokes.

The best reaction came from a man in the lobby BEFORE the show started. He loudly yelled "This is a MUSICAL? You CAN'T MUSICALIZE THIS STORY!"

Clearly he hasn't encountered very much LaChiusa, that man can musicalize just about anything.

Updated On: 2/21/06 at 01:27 PM

[Borstalboy]

Posted: 2/21/06 at 1:36pm

Missed you too, Poppy!
And, at the risk of sounding reeeally cheezy, INISHMORE totally restored my faith in the theater.

[jrb_actor]

Posted: 2/21/06 at 1:38pm

Meet any cool people, borstal?

[popcultureboy]

Posted: 2/21/06 at 1:38pm

maybe it's a better production than I saw of it in London but I H A T E D it when I saw it.

[Borstalboy]

Posted: 2/21/06 at 1:45pm

I met LOTS of cool people, Jerby, as well you know!



Not at the boy bars, though. They're even chillier in NY than they are everywhere else....although our night at The Duplex was a night to remember.


OH!OF COURSE!!!
And I also saw Mr. Robbiej tearing up the stage at the duplex! His fiery rendition of "You Oughta Know" was one of the musical highlights of my trip!

[Borstalboy]

Posted: 2/22/06 at 12:11pm

Hey, it took some time to write this. BUMP!

[robbiej]

Posted: 2/22/06 at 12:23pm

Ain't you a sweetie!!! It was an absolute delight meeting you! Thanks for the kind words.

And I agree with you about the SWEENEY orchestrations. Absolutely terrific!!!

[sanda]

Posted: 2/22/06 at 12:37pm

I feel released that there is someone else who are not as thrilled about Sweeney as me. My feeling about Cerveris is kind like you. Maybe George Hearn is too good in this role. Cerveris' Sweeney is,how to say, not scary.

[neomystyk29]

Posted: 2/22/06 at 11:00pm

Cerveris' Sweeney in my opinion is not meant to be scary, but, rather, haunting and haunted. In my opinion, Hearn's Sweeney was a crazy man who we are told is so loud and forceful because he was once broken. Cerveris' Sweeney is a broken man driven to act the way he does because the "ghosts" of his past move him to act as such. I loved his take on Sweeney and I loved Patti's Lovett. I loved most of the character takes actually. For some reason though I didn't like the show as a whole as much as I thought I would. Maybe it was just overhyped by some on this board, or maybe it's just my personal taste. But technically it was masterful.

I love Lachiusa more than anything so I'm upset I don't have two tickets to see Bernarda Alba. I also love Lorca so it's a double blow. How's the score in comparison to his other stuff, as bombastic, eclectic, and altogether amazing? Or is it really THAT different?
Updated On: 2/23/06 at 11:00 PM

[RentBoy86]

Posted: 2/23/06 at 12:43am

any chances Bernarda Alba will be recorded? it looks so very interesting.

[BSoBW3]

Posted: 2/23/06 at 12:46am

I hope it is!

[Roninjoey]

Posted: 2/23/06 at 2:50am

Haha, you characterize his music as bombastic?

I saw Sweeney again tonight (I was gonna see Inishmore but I opted for Spelling Bee instead which was sold out so I just went and got Sweeney tickets) and I liked Cerveris much better than I originally did. I actually think Cerveris' Sweeney is less the guy tormented into becoming a brutal killer (no, that was Cariou and Hearn) as he is a man who was born to kill. He was a man born with darkness in his heart and it was only a matter of time or the right events to bring it out. Whereas traditional Sweenies played in the style of Cariou and Hearn play the character as having been driven to his obsession with death, for Michael Cerveris it was always there, only growing and growing and growing. He was truly a monster of a man, reminiscent of a serial killer, someone with something wrong with them, and the moment when Toby takes him out and he hisses and fades just is so appropriate.

When he was holding the little white coffin and he sang the line "Somehow I miss you less and less as every day goes by, Johanna." I finally understood how that could happen. He was replacing his longing for his family (which sustained him in Australia) with his obsession with death.

This is particularly in keeping with the whole is this all Toby's insane asylum fantasy? thing (the Fogg's Asylum was really creepy tonight) because during his final monologue Toby has the razor and one actually comes to wonder if TOBY is the killer and this is some insane fantasy he's created to justify what he has done. But that's just speculation.

I also have decided that in this Sweeney, Mrs. Lovett is not the villain. It's gotta be Sweeney. He's a monster. Patti's Mrs. Lovett is too human. Whereas Angela's Lovett was ultimately humanized by her eventual comeuppance, Patti's is human frmo the beginning.

In the end a Hearn or a Cariou appeals to me more because I think the music demands that Sweeney be bigger, and I like a more human Sweeney because you feel the story more, but in terms of this story it's great. I love Lauren Molina, she's so cute.

[Roninjoey]

Posted: 2/23/06 at 2:58am

Oh, and on Bernarda Alba... all I'll say is that it's totally worth going to see for anybody who will be open to it, but the Shoshana Bean crowd may not get into it and the old people crowd definitely won't. While I don't think she's a revelation, Daphne Rubin Vega was one of the most believable persons on the stage (aside from the grandmother) and Nikki James the most engaging. I don't really want to have a final judgement until I see it for a second time. Go during the week sometime, there are usually cancellations.

I don't know if it will get recorded. Personally I want to hear Michael John's opera for Audra ;P How much are tickets to Texas?

Updated On: 2/23/06 at 02:58 AM

[sanda]

Posted: 2/23/06 at 10:28am

neomystyk29 and Roninjoey, I love to read your opinion.

[keatonbynumbers]

Posted: 2/23/06 at 11:43am

I'm so excited for Bernarda Alba. Everything that's been said about Daphne makes me even more excited. And Daphne in conjunction with LaChiusa is sort of making me weak in the knees. Definitely seems like a show that's hard to pinpoint and so must be seen.

[neomystyk29]

Posted: 2/23/06 at 6:36pm

Bombastic? Yes, in a way. Not overblown if that's what you thought I meant. I suppose dynamic would have been the better word. Meh...

Roninjoey, I love your idea that Toby was really the killer and that the entire story is his fantasy to justify what he's done. It's a brilliant interpretation and I'll be looking at the show a little differently now.

[aspiringactress]

Posted: 2/23/06 at 9:17pm

Threadjack: Are there student rush tickets for Bernarda Alba?

[Dollypop]

Posted: 2/23/06 at 10:37pm

I'm really glad to read Borstal's review of this SWEENEY TODD. I loved the original and the revival that played at the Circle In The Square (the one affectionately dubbed "Teeny Todd") This new version was a complete let-down for me.

Yes, there were some interesting new arrangements, but some of the orchestrations were so important to the power of Hal Prince's concept of the story. For example, the orchestra's soaring arrangements for "Johanna" lifted the spirits along with those of the characters. That was lacking in this new production.

Even more significantly was the direction of this version. Rarely did the actors look at one another. Most of the time they were directed to face out and talk into the audience. It created a lack of "connection" between the characters. The human elements were missing--and there human elements to be found in this musical.

I, too, found the musican/actors to be distracting. The sight of Patti LuPone carrying around that tuba became annoying after a while. So did the emptying of one bucket into another.

SWEENEY TODD has a magnificant score and presents some marvelous roles for actors. All of that is diminished here even more than they were in "Teeny Todd".