Threepenny Opera Reviews — Page 7
#152
Posted: 4/21/06 at 4:34pm
I just see Cumming getting the nom. because he is so respected in the theater world. However, I do think that the final slot will be a tight race between Lynch and Cumming, but as of now I say Cumming gets it.
"The hallmark of aristocracy is responsibility. Oh brother, that got me, that did me in!"
#153
Posted: 4/21/06 at 6:26pm
Hmm since Nellie is lead... I actually think she has a better chance being nominated in female lead. The category isn't AS crowded as featured. BUT she does not have much of a chance of winning in the lead category.
#154
Posted: 4/21/06 at 7:50pm
I'm not a big fan of the new Shawn translation, but I don't think the earlier quote is accurate regarding the inbreds. I believe the words are (approximately):
So their blood spills on the shark’s back
When the shark strikes at its prey.
But our Mack’s hands, in their kid gloves,
Are like clean pure buds in May.
And the city has a river
Whose green waters hide the dead.
These are not those felled by illness --
Friends of Mackie, someone said.
So their blood spills on the shark’s back
When the shark strikes at its prey.
But our Mack’s hands, in their kid gloves,
Are like clean pure buds in May.
And the city has a river
Whose green waters hide the dead.
These are not those felled by illness --
Friends of Mackie, someone said.
#155
Posted: 4/21/06 at 9:47pm
As far as I know there is only one lead in Threepenny, and that would be Mack, which would make Nellie up for Featured Actress along with Cyndi.
"The hallmark of aristocracy is responsibility. Oh brother, that got me, that did me in!"
#156
Posted: 4/21/06 at 9:47pm
As far as I know there is only one lead in Threepenny, and that would be Mack, which would make Nellie up for Featured Actress along with Cyndi.
"The hallmark of aristocracy is responsibility. Oh brother, that got me, that did me in!"
#158
Posted: 4/21/06 at 11:34pm
Dirty Rotten Guy, the Tony folks don't always see it that way. In 1990, they nominated Georgia Brown for Best leading Actress for playing Mrs. Peechum. There are many ways to slice this particular cake, but if you look at the sheer amount of material and time on stage, I think an argument could definitely be made for Nellie as a lead.
#159
Posted: 4/23/06 at 8:59pm
The Philadelphia Inquirer gave it a positive.
"The Roundabout Theatre's thoroughly polished revival of The Threepenny Opera, which opened Thursday night on Broadway, has the energy of a laser beam."
http://www.philly.com/mld/philly/entertainment/14396549.htm
"The Roundabout Theatre's thoroughly polished revival of The Threepenny Opera, which opened Thursday night on Broadway, has the energy of a laser beam."
http://www.philly.com/mld/philly/entertainment/14396549.htm
#160
Posted: 4/23/06 at 9:15pm
Thanks!
Alan Cumming, with his magnificent Scottish accent and a menacing playfulness that's a joy to watch, is the Macheath of your dreams - unbridled and passionate, especially when he sings. Cumming was the Roundabout's emcee in its revival of Cabaret, which earned him the Tony in 1998, and he's a director and producer. (Also an entrepreneur. Cumming, the bottled scent that bears his name, was selling in the lobby.)
As the father and the mother of Mack's bride, Jim Dale and Ana Gasteyer roll out their portrayals as if they've been holding them in all along, until the right moment. Gasteyer's singing voice booms with suitable contempt.
Singer Nellie McKay takes a wholesome, naive approach to Polly, Mack's new wife, and if you close your eyes, you'll hear the young Judy Garland - voice, dialect and all. Rocker Cyndi Lauper, looking altogether natural in a white fright wig, plays the harlot Jenny, and she masterfully brings off her big second-act number, "Solomon Song," in an interpretation that suggests the coming of a terrible storm.
One gender-bent character not only works, but stands out: Lucy Brown, who is Mack's paramour, is plied for laughs and played in frightful drag by Brian Charles Rooney, who sings in fine falsetto countertenor - or is it mezzo-soprano?
Alan Cumming, with his magnificent Scottish accent and a menacing playfulness that's a joy to watch, is the Macheath of your dreams - unbridled and passionate, especially when he sings. Cumming was the Roundabout's emcee in its revival of Cabaret, which earned him the Tony in 1998, and he's a director and producer. (Also an entrepreneur. Cumming, the bottled scent that bears his name, was selling in the lobby.)
As the father and the mother of Mack's bride, Jim Dale and Ana Gasteyer roll out their portrayals as if they've been holding them in all along, until the right moment. Gasteyer's singing voice booms with suitable contempt.
Singer Nellie McKay takes a wholesome, naive approach to Polly, Mack's new wife, and if you close your eyes, you'll hear the young Judy Garland - voice, dialect and all. Rocker Cyndi Lauper, looking altogether natural in a white fright wig, plays the harlot Jenny, and she masterfully brings off her big second-act number, "Solomon Song," in an interpretation that suggests the coming of a terrible storm.
One gender-bent character not only works, but stands out: Lucy Brown, who is Mack's paramour, is plied for laughs and played in frightful drag by Brian Charles Rooney, who sings in fine falsetto countertenor - or is it mezzo-soprano?
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