#1
Posted: 3/9/06 at 12:02am
[Bernarda Alba review below]
========================================
The Pajama Game (Revival)
March 8, 2006 - Matinée
---------------------------------------
The Pajama Game
Is the game we’re in
And we’re proud to be
In the Pajama Game
We love it
We can hardly wait to wake
And get to work at eight
Nothing's quite the same as the Pajama Game
[Understudy: Poopsie = Amber Stone]
First off, to get a few adjectives out of the way. Great! Grand! Fabulous! Enjoyable! Energetic! Fresh! Exciting! A look at the old time musical!
By now, everyone and their mother know The Pajama Game. It’s done all over the country in community theatre and schools. A production that wants to be on Broadway should, therefore, be something that we’ve never seen from this show. Unfortunately, this production is nothing more than another production of The Pajama Game. However, with a Broadway style budget and a beyond talented cast, who really cares? Theatre should be fun – and this production is just that. An exciting 2 and one-half hours!
And, while I would not jump into a pool of acid, I would not say that Marshall’s choreography is better than Fosse’s. But I will say that her direction of the show is inspired by the aforementioned legend, but also given a nice little modern-day kick. “Steam Heat” was a sexy and “Hernando’s Hideaway” preserved its sultriness with an added batch of comedy. And I do mean comedy! In this one scene, Megan Lawrence (as Gladys) successfully stole the show right out from underneath Harry Connick, Jr.’s pajama bottoms (yeah, only the bottoms).
With that, the entire cast was sensational. Just completely having fun up onstage, and letting the audience get carried away with the energy and comedy. As leading man, however Harry Connick, Jr. is a bit boring onstage. Very emotionally stiff. And not even the vivacious Kelli O’Hara – in what is going to be her acting-turn – can liven him up. Although, I should say, that I have never had so much fun as I did watching the two duet in “There Once Was a Man.” During this number, it was like watching a completely different Harry. Special note to Joyce Chittick, who did a phenomenal job as the female in “Steam Heat.”
In all, if you want to have fun – get into The Pajama Game!
Bernarda Alba
March 8, 2006 - Evening
---------------------------------------
You may shut the world out
You may bolt every door
You may lock us all behind your prison walls
You may scorn my advice
And my wanting to know
But who will you turn to
When the house of Bernarda falls?
~ Poncia
To have one Michael John LaChiusa show in a season would be a blessing – but two in one season is a godsend. And with the more abstract See What I Wanna See, we now have a more self-sustaining show - Bernarda Alba, currently playing at Lincoln Center.
At first, you may ask how someone could musicalize Lorca’s play about a tyrant of a mother keeping her five daughters locked up inside her house in Spain during the mourning period of her second husband – an act that frustrates the daughters psychologically and, more importantly in context of the story, sexually. But, the question should be, how couldn’t you? LaChiusa has proven that this story can be made even more effective with a little touch of music.
And indeed that is what this show is. Don’t expect the vaudeville of The Wild Party or the operatic arias of Marie Christine. The music of this show, complete with beautifully infectious (though not intrusive) flamenco rhythms, is a way of life.
Graciela Daniele’s direction not only captivates the audience, but is also a cultural journey that successfully compliments the material. Her choreography is made necessary in this piece – and never appears to be “there” for the sake of choreographing a musical. Dance is the lifestyle, as is music. From the opening scenes you forget you are watching some musical, and believe you are witnessing the struggle of a family in a culturally rich community during a devastating time.
Daniele also makes an excellent use of the set, designed magnificently (save for that large door that seems to have been stolen from a Disney theme park – Pirates of the Caribbean maybe?) by Christopher Barreca. The use of chairs as just about everything added a fresh, vibrant touch to the show that kept the action exciting. Toni-Leslie James’ beautiful costumes also added much to the stress of the show (except, once again, Poncia looked like some sort of Pueblo Pirate).
The only wrong this show makes is shining another light onto Bernarda – one that makes us sympathize with her plight. Lorca’s Bernarda does occasionally show a glimmer of sorrow that allows us some insight. For example, she defends her daughter, Martirio, believing every word the girl says. Yes, Bernarda is a wicked woman. But, yes, she is a mother. Letting us, the audience, inside her head does make her less threatening, however this show is also called Bernarda Alba. We deserve to see a more humane Bernarda. It is up to the audience to decide whether or not Bernarda should be seen as human. To me, she should be.
The show, itself, is an essay on the Lorca’s play. It presents us with the themes, and then explains – as opposed to allowing the audience to make complete observations. In “Prayer” we learn what Bernarda is thinking (“You took what you wanted/And then you took more” re: her husband) – then we see how that is a catalyst to force her to suppress her children.
Although Phylicia Rashad isn’t fierce and terrorizing as Lorca’s Bernarda should be, she is maternally terrorizing as LaChiusa requires of his Bernarda. However, there are too many occasions when Rashad loses control of the character, and it turns into something out of a hip-hop film. She had a little too much Harlem sass that, often times, made her lines laughable.
In the Christian world, Bernarda only understands half of what she needs to. She understands the suppression, but not the freedom. Her name, from the name of a saint dealing with love in the world, makes it ironic that she, herself, wants to snuff out such passions. Indeed Rashad’s action throughout the show is to “protect” her daughters from love. From men. From gossip. From passion.
Candy Buckley, as Bernarda’s old maid, is exactly what this production needs to depict the long-term wear and tear caused by Bernarda’s wicked tyranny. If I could point out the true star of this show, it would be Candy Buckley. Each one of Bernarda’s five daughters also does a commendable job, special notice to a rising Nikki M. James, an innocent Judith Blazer, and the physically deformed (with a limp) Daphne Rubin-Vega. That’s not to say Sally Murphy and Saundra Santiago didn’t hold their own.
In all, for the cast, the chemistry is great…but overall they seem to be lacking the ability required to reach those flamenco yelps. More often than not, they cracked – and not in the flamenco way.
The roughest comment I can think of is that the book is lacking the fluid and excitingly haunting movement of the music. But with so many lines borrowed from the original work, this would prove to only be a trivial quibble. Yes, the music works. But more importantly, the musical works.
I can successfully say that Bernarda Alba has been one of my most exciting, enjoyable, and riveting nights at the theatre.
========================================
The Pajama Game (Revival)
March 8, 2006 - Matinée
---------------------------------------
The Pajama Game
Is the game we’re in
And we’re proud to be
In the Pajama Game
We love it
We can hardly wait to wake
And get to work at eight
Nothing's quite the same as the Pajama Game
[Understudy: Poopsie = Amber Stone]
First off, to get a few adjectives out of the way. Great! Grand! Fabulous! Enjoyable! Energetic! Fresh! Exciting! A look at the old time musical!
By now, everyone and their mother know The Pajama Game. It’s done all over the country in community theatre and schools. A production that wants to be on Broadway should, therefore, be something that we’ve never seen from this show. Unfortunately, this production is nothing more than another production of The Pajama Game. However, with a Broadway style budget and a beyond talented cast, who really cares? Theatre should be fun – and this production is just that. An exciting 2 and one-half hours!
And, while I would not jump into a pool of acid, I would not say that Marshall’s choreography is better than Fosse’s. But I will say that her direction of the show is inspired by the aforementioned legend, but also given a nice little modern-day kick. “Steam Heat” was a sexy and “Hernando’s Hideaway” preserved its sultriness with an added batch of comedy. And I do mean comedy! In this one scene, Megan Lawrence (as Gladys) successfully stole the show right out from underneath Harry Connick, Jr.’s pajama bottoms (yeah, only the bottoms).
With that, the entire cast was sensational. Just completely having fun up onstage, and letting the audience get carried away with the energy and comedy. As leading man, however Harry Connick, Jr. is a bit boring onstage. Very emotionally stiff. And not even the vivacious Kelli O’Hara – in what is going to be her acting-turn – can liven him up. Although, I should say, that I have never had so much fun as I did watching the two duet in “There Once Was a Man.” During this number, it was like watching a completely different Harry. Special note to Joyce Chittick, who did a phenomenal job as the female in “Steam Heat.”
In all, if you want to have fun – get into The Pajama Game!
Bernarda Alba
March 8, 2006 - Evening
---------------------------------------
You may shut the world out
You may bolt every door
You may lock us all behind your prison walls
You may scorn my advice
And my wanting to know
But who will you turn to
When the house of Bernarda falls?
~ Poncia
To have one Michael John LaChiusa show in a season would be a blessing – but two in one season is a godsend. And with the more abstract See What I Wanna See, we now have a more self-sustaining show - Bernarda Alba, currently playing at Lincoln Center.
At first, you may ask how someone could musicalize Lorca’s play about a tyrant of a mother keeping her five daughters locked up inside her house in Spain during the mourning period of her second husband – an act that frustrates the daughters psychologically and, more importantly in context of the story, sexually. But, the question should be, how couldn’t you? LaChiusa has proven that this story can be made even more effective with a little touch of music.
And indeed that is what this show is. Don’t expect the vaudeville of The Wild Party or the operatic arias of Marie Christine. The music of this show, complete with beautifully infectious (though not intrusive) flamenco rhythms, is a way of life.
Graciela Daniele’s direction not only captivates the audience, but is also a cultural journey that successfully compliments the material. Her choreography is made necessary in this piece – and never appears to be “there” for the sake of choreographing a musical. Dance is the lifestyle, as is music. From the opening scenes you forget you are watching some musical, and believe you are witnessing the struggle of a family in a culturally rich community during a devastating time.
Daniele also makes an excellent use of the set, designed magnificently (save for that large door that seems to have been stolen from a Disney theme park – Pirates of the Caribbean maybe?) by Christopher Barreca. The use of chairs as just about everything added a fresh, vibrant touch to the show that kept the action exciting. Toni-Leslie James’ beautiful costumes also added much to the stress of the show (except, once again, Poncia looked like some sort of Pueblo Pirate).
The only wrong this show makes is shining another light onto Bernarda – one that makes us sympathize with her plight. Lorca’s Bernarda does occasionally show a glimmer of sorrow that allows us some insight. For example, she defends her daughter, Martirio, believing every word the girl says. Yes, Bernarda is a wicked woman. But, yes, she is a mother. Letting us, the audience, inside her head does make her less threatening, however this show is also called Bernarda Alba. We deserve to see a more humane Bernarda. It is up to the audience to decide whether or not Bernarda should be seen as human. To me, she should be.
The show, itself, is an essay on the Lorca’s play. It presents us with the themes, and then explains – as opposed to allowing the audience to make complete observations. In “Prayer” we learn what Bernarda is thinking (“You took what you wanted/And then you took more” re: her husband) – then we see how that is a catalyst to force her to suppress her children.
Although Phylicia Rashad isn’t fierce and terrorizing as Lorca’s Bernarda should be, she is maternally terrorizing as LaChiusa requires of his Bernarda. However, there are too many occasions when Rashad loses control of the character, and it turns into something out of a hip-hop film. She had a little too much Harlem sass that, often times, made her lines laughable.
In the Christian world, Bernarda only understands half of what she needs to. She understands the suppression, but not the freedom. Her name, from the name of a saint dealing with love in the world, makes it ironic that she, herself, wants to snuff out such passions. Indeed Rashad’s action throughout the show is to “protect” her daughters from love. From men. From gossip. From passion.
Candy Buckley, as Bernarda’s old maid, is exactly what this production needs to depict the long-term wear and tear caused by Bernarda’s wicked tyranny. If I could point out the true star of this show, it would be Candy Buckley. Each one of Bernarda’s five daughters also does a commendable job, special notice to a rising Nikki M. James, an innocent Judith Blazer, and the physically deformed (with a limp) Daphne Rubin-Vega. That’s not to say Sally Murphy and Saundra Santiago didn’t hold their own.
In all, for the cast, the chemistry is great…but overall they seem to be lacking the ability required to reach those flamenco yelps. More often than not, they cracked – and not in the flamenco way.
The roughest comment I can think of is that the book is lacking the fluid and excitingly haunting movement of the music. But with so many lines borrowed from the original work, this would prove to only be a trivial quibble. Yes, the music works. But more importantly, the musical works.
I can successfully say that Bernarda Alba has been one of my most exciting, enjoyable, and riveting nights at the theatre.
The smallest stream is a valent river. It will drown me if it can.
Updated On: 3/9/06 at 12:02 AM
