Posted in #critique, #dystopia, #pointofview, #whatdoyouthink, ambition, Beau Willimon, Blair Brown, blog at wordpress.com, Derek McLane, drama, fictionalization_of_real_events, history, Hudson Theatre, intrigue, Jane Greenwood, Josh Lucas, Marton Csokas, one act play, Pam MacKinnon, Phillipa Soo

Matters political

5389Politics matters, of course, since it definitely affects our daily lives–especially as recent current events have revealed. You may understand when I say that I have felt undone by politics these past couple of years.

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And yet, here I go, voluntarily, to see The Parisian Woman, a tale of the DC Beltway playing at the Hudson Theatre through March 11th.

5189Initially, there were two things driving me to see this drama by Beau Willimon, the president of the Writers Guild of America East. The Parisian Woman stars Uma Thurman in her Broadway debut. Additionally, it is just the third production at the newly refurbished Hudson, following 1984 and Sundays in The Park with George. (By the by, both of these had star turns, the former Olivia Wilde and the latter starring Jake Gyllenhaal.)

So, what did the production, directed by Pam McKinnon, and also featuring Josh Lucas, Blair Brown, Phillipa Soo and Marton Csokas say to my hyper-poiliticized self about the atmosphere of power and influence in 2016?

5393Intrigues, gossip, clandestine activities, affairs, rumors all churn up Washington’s social life in The Parisian Woman. Chloe (Thurman) is looking for powerful friends to help her husband Tom (Josh Lucas) further his ambitions. She has none of her own, it seems, so she lives through those she loves. Peter (Marton Csokas) is her lover but not among the people for whom she really cares.

Thurman and Csokas give overly theatrical performances, though in their defense I will say that the material is a hard sell. The script is rough; I think of it as Noel Coward on Red Bull®. Lucas’s Tom is charming if excessively idealized. Blair Brown as one of Chloe’s power circle, Jeanette, is natural and straightforward; her acting like her character has a certain spunk. Phillipa Soo as Jeanette’s daughter Rebecca holds the stage with an easy poise.

Rebecca also gets to wear the one most singularly impressive and stunning gown (costumes designed by Jane Greenwood.) Chloe’s many outfits are attractive in the understated way of a very expensive wardrobe. The men are chic in suits except in one scene where Tom bears his six-pack, (We can assume that the latter is not courtesy of Ms. Greenwood, although her work in the show is very appealing.) The elegant sets (by Derek McLane) move in a clever fashion and feature a kind of newsfeed which is monochromatic Mondrienesque.

Polemics–even when the politics echo my own– are not inherently dramatic
Willimon’s text is stiff with an elegance manqué. Actually, both ends of the register get short shrift– The Parisian Woman is neither vulgar nor haute. The play aims so hard to be insiderish that it fails to qualify as #resist(ance). This blend of fiction with fact in Willimon’s play, could be called a “faction” drama. Many in the audience at the performance I attended seem to have come there as fans of Beau Willimon’s streaming series, House of Cards, another foray into the inner workings of the life political.

I am not saying that we should not take the excursion, just that Willimon’s The Parisian Woman is not an entirely convincing trip down this path.

For tickets and information, please visit The Parisian Woman website, or the Hudson Theatre box office at 141 West 44th Street.

Take a look at my SidewalkSuperBlog to see what I found of interest inside the new old Hudson Theatre.

Posted in #critique, #pointofview, Coen Brothers, comedy, dark comedy drama, film, James Brooks, Mel Brooks, movie, Noah Baumbach, serious comedy, Wes Anderson, Woody Allen

Parallel Universes

Comedy is not a continuum. It is a universe onto itself; that is each comedy is unique. Buster Keaton, for instance, created a character, a type, who functioned according to his own rules. Charlie Chaplin did much the same with his sad little tramp.

At home at the cineplex

I am not a movie-goer, per se, but a movie-stayer. Put it on my tv screen and I will gladly watch. Laurel Canyon, Urban Cowboy, a few minutes of Life, all get my attention. Hidden Figures, A League of Their Own, and The Help grab my heart.

However, it is comedies that keep me most engaged. In fact, what hubby and I love best is a smart and funny film. That’s not to exclude the stupid ones, which we consume in considerable quantities as well; you know movies like Animal House or even  Dude, Where’s My Car?  The low-brow, like Bad Moms, can be very high on wisdom. Comedy is an escape.

Runaway funny

How far can escapism go with comedians like Woody Allen, or Noah Baumbach, or the Coens as your guide? Mel Brooks, a smart and funny movie-maker, can take you further down the silly than these other guys.

There are some parallels we can make between Woody Allen and the Coen Brothers, like the films A Serious Man and Irrational Man, which may have more in common in than just the similarily in title. There is a tone in both films that connects their styles and content, even if the plot lines are independent of each other.

Baumbach’s The Squid and the Whale tends to have more of a feel of dark whimsy, like a Wes Anderson production. It is not laugh-out-loud funny like Annie Hall or Broadway Danny Rose. It has none of the robust ridiculousness of High Anxiety, for instance, although it is definitely a tremblingly anxious work.

Posted in #critique, athletic, ballet, balletic, classic, connectivity, dance, dance making, dancing, empowerment, high expectations, history, in repertory, joy, legacy

Howdy, Partner

Partnering has developed a new look as the 21st century progresses. Partly, this is a reflection of a more liberal social milieu. Gender fluidity is the term of art for this LGBTQ-era. Same sex marriage, mixed use bathrooms, dorms which house both boys and girls on the same floor are part of our new-age maturity.

Equality has certainly not come full-circle. The workplace and the quotidian are still often off-kilter and exhibit the same kinds of inequities that have been with us forever. We are working on it, much as the dance makers are working on many more diverse ways to partner.

Many choreographers– Justin Peck, Christopher Wheeldon Benjamin Millipied etc.– experiment with male on male lifts, and Jessica Lang has a woman catch and release her male partner at one point in Her Notes.

Roles can be reversed for Mr. Mom and his executive wife. We’ve come to accept that and to expect to see it in our arts and entertainments. The glass ceiling– and other prejudices and biases– will be broken and taken down in tiny steps rather than with crowbars.

Posted in #critique, dark drama, drama, historical drama, Marlowe, political drama, Shakespeare, tragedy

“Tragedy, tonight!”

1William_Shakespeare.
A portrait of William Shakespeare, Christopher Marlowe‘s better known contemporary.

Politics and drama are disparaged, especially by those who feel the sting of the tragedies presented.

Sometimes, even if the message is on point, the admixture has an oddly inappropriate tastelessness.

Nonetheless, as I  have often said, it is the role of art to clarify matters and comment on our foibles and the errors of our ways.

We are often led astray on the roads of life, so we should be grateful to plays, playwrights and the traditions of our theatrical history for helping to put us back on track.

Here is a plot I propose:

Tamburlaine in triplicate or triptych: played alternately by North Korean President Kim Jong-un, Vladimir Putin and the US President, with Benjamin Netanyahu coming in as a pinch hitter.

In the movie version of the shenanigans surrounding the recent election– the movie from my youth– the big guy is carted away in cuffs. Also, the good people of Montana go to the homes of every single Jewish family that was targeted by Richard Spencer’s crew to make sure they are protected. This is so because in 1950’s America Americans played by the rules, were patriotic and did the right thing.

June 25th addendum: The toddler in big boy pants whose got DC as his playpen may be onto something. He doesn’t care for poor folks (note to those who helped elect him–be careful what you wish for is a real thing). Is there a reality show called Lifestyles of the Poor and Unknown?

Posted in #critique, 11 Tony Award winning musical, historically-based musical, Pulitzer Prize winning musical

“Hamilton” A Perfect 10 that won 11

As a theater lover and blogger who has been obsessed over the tragedy that has been our electoral year, Hamilton has given me a gift. Thank you Brandon Victor Dixon. Your eloquence brought (joy-filled) tears to my eyes.

Here to protect and serve, the cast of Hamilton steps up to petition an elected official on behalf of the dissenting 50%.

In response to Brandon Victor Dixon’s curtain plea to VP-Elect Mike Pence, the future president @realDonaldTrump took to Twitter to rage against the show. Here’s the (free) speech the Donald found so objectionable.

As is his wont, the PE created storm in a teacup. Here’s the Trump response, although we know that the Tweeter-In-Chief (as I have heard him called) did not just Tweet once about this issue: https://twitter.com/realDonaldTrump/status/799972624713420804

Mike Pence, for the record, thought that the cast was simply exercising a Constitutionally guaranteed privilege of citizenship.
http://www.cnn.com/2016/11/20/politics/mike-pence-hamilton-message-trump/

Our Theater Blog: TandBOnTheAisle

Alexander Hamilton was this country’s first banker-in-chief, a job which the young revolutionary fulfilled with the same brilliance and passion of all his endeavors. We commemorate him on our ten dollar bill, but are largely unaware of his contributions to his country of choice –yes, he was, like so many of us, an immigrant.

Alexander Hamilton’s life played out on the broad stage of a nascent United States.

Lin-Manuel Miranda has put him center-stage in the radically new bio-musical, Hamilton, which recently transferred from the Public to the Richard Rodgers in an open run.

Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton Photo © Joan Marcus Daveed Diggs, Okieriete Onaodowan, Anthony Ramos, and Lin-Manuel Miranda in Hamilton Photo © Joan Marcus

The trip uptown from Astor Place has only given Lin-Manuel Miranda’s Hamilton a bigger stage on which to play out its amazing history of the founding of the United States. The stage at the Richard Rodgers should be familiar to Lin-Manuel Miranda…

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