I Heard It Through the Class Vine

It seems that every time I tune into any Republican nominee candidate speaking (something I try to avoid for my own personal sanity), the common buzzwords include "warfare," "welfare" and "Obama," the most common permutation being, "Obama is trying to wage class warfare." What with talks of the 99% and protestors being indiscriminately pepper sprayed (and Mitt Romney not caring about the "very rich" or the "very poor"), it's fitting that right now, one of the more emerging topics discussed on the theatrical stage is the issues of class.

In two weeks, I saw two plays on two different coastlines, which represented two different types of American theater: the commercial Broadway theater and the non-profit, regional theater. The first was Stick Fly by Lydia R. Diamond (who was profiled in the December issue of American Theatre, on Broadway at the Cort Theater, about an African-American family during a weekend at Martha's Vineyard.

The second was Elemeno Pea by Molly Smith Metzler, at South Coast Repertory, who is also a co-worker of mine at Theatre Communications Group. That one was about two White sisters and one sister's wealthy employer on Martha's Vineyard. (Aside: I was on vacation in California when I saw this and ate so much, but not enough, Vietnamese food throughout. Lunar New Year is like Christmas for Asian people, gastronomically.)

In these two scenarios, we won't discuss the race issue (which will be the topic for another blog post). What these two plays have in common are the class discussions, in the seemingly insular world of Martha's Vineyard.

"Once" in a Theater

A perfect moment of theater does not necessarily happen in a show that is entirely good. It's likelier in a show that is entirely good from start to finish. But it can also happen in one of those shows that leaves you mostly emotionless, where you didn't entirely dislike it but you didn't like it very much either. That happened to me with the musical version of Once, a charming little Irish movie about two socially awkward yet musically talented people who develop feelings for each other, make music and then not make love.

But this post is not about what struck me (or didn't) about the musical version of the film, currently playing at the New York Theatre Workshop (it's also written by Enda Walsh, whose Penelope was my first moment of theatrical bliss in New York City). No, this is the story of that rare and perfect theatrical moment.

Me and Hugh Jackman

 

I saw Hugh Jackman on stage. And he was marvelous. Granted, it's not because of his Australian-accented singing voice (which, while full and deep, isn't very nuanced) but rather, the star stage presence. And because of how pleasant he looks standing there singing and shaking his pelvis.

The older lady who sat in the theatre box in front of me would also agree, mainly because in the opening of the second act, Hugh Jackman came to her box (dressed in a tight-fitting gold shirt and gold pants) and sat on her lap. "Ohh, you're warm," he gushed as she rubbed his arms. Then his hand.

Theater Review: "Good People" on Broadway

Why do bad things happen to good people? Sometimes it's because they weren't lucky enough in their lives. And with that depressing thought is David Lindsay-Abaire's "Good People."

Similar to "Rabbit Hole," his naturalistic drama about a couple coping with the death of their child (and who earned Nicole Kidman an Oscar nomination for the movie adaptation), Lindsay-Abaire explores the plight of working people in his newest play, "Good People." It's drama that is centered around the domestic, real world.

"Some Enchanted Evening" with Brian Stokes Mitchell

I was serenaded by Brian Stokes Mitchell.

Broadway leading man, dreamy baritone with the power to melt a thousand women with his voice, Brian Stokes Mitchell.

And now I know what heaven sounds like.

It was the opening of his concert in Syracuse. A trio band of piano, bass guitar and drums began the first notes, quick beats in succession, a happy number. Then the spotlight lit on a man in a lilac suit, who smiled at the audience as he walk out from stage right towards stage left.

He stopped to where I was sitting in the audience.

looked at me, I looked at him and the first words from his mouth were:

"Some enchanted evening,

You may see a stranger,

Why Critics Should Review "Spider-Man: Turn Off the Dark"

Did I tell you guys that I've started writing a weekly pop culture criticism column for TheCelebrityCafe.com called "Culture Ninja?" No? Now you know. Here's one that I particularly liked, which means I'm posting part of it on here. It's about theater, so of course it's going here.

Waiting for "Spider-Man: Turn Off the Dark" to finally open is like waiting in really bad traffic (think Los Angeles traffic at 5pm). You’re angry, you’re frustrated and technically, you can exit the freeway at any time. But you refuse to give in because it’s been an hour already so what the heck, you’re going to see this car crash!

And it better be good.

Except as the opening date inches ever closer, you realize, wait, there’s still another row of cars between you and the wreckage.

Then you wonder: are we ever going to see the real "Spider-Man?"

As a writer, the question in my mind is, will the critics ever get to review it? It has already been pushed back a record-breaking five times, now to March 15.

So now that bloggers and MTV, among others, have had their say about "Spider-Man," can the big critics finally be allowed in?

Read the rest here...

Theater Review: "La Cage Aux Folles"

If one is to take the songs of “La Cage Aux Folles” seriously, then without a hint of irony, the “best of times is now.” And the production currently on Broadway at the Longacre Theatre proves it.

“La Cage Aux Folles” is based on the French play by Jean Poiret, the book was written by Harvey Fierstein with lyrics and music by Jerry Herman. It won the Tony for best musical when it originally opened in 1983.

It takes place in St. Tropez, France, the home of the drag nightclub, La Cage Aux Folles. It is run by Georges, whose gay lover Albin is the headliner. The two have a son, Jean-Michel who has fallen in love with the daughter of a prominent homophobic politician. Consequently, he has lied to his prospective in-laws about his parents’ true orientation and occupation.

Theater Review: "Brief Encounter"

If you've ever been in love, like hopelessly, maddeningly, extraordinarily in love, then Noel Coward's "Brief Encounter," will feel all too familiar. Because who hasn't, when they were in a relationship, felt they were flying, or drowning, or just no longer able to be sensible?

Theater Review: 'The Language Archive'

You ever had one of those times when the word is on the tip of your tongue, standing right at the precipice between the subconscious part of your brain and the conscious part, but try as you might, damnit! You just can't think of the words?

"The Language Archive" by Julia Choi takes that scenario and turns it into two very muddled hours. George (Matt Letscher) is a linguist who has trouble communicating with his wife (oh the delicious irony!), Mary (Heidi Schreck) who leaves him.

Meanwhile, George's coworker, Emma (Betty Gilpin) is in love with him, a feeling that only intensifies as they try to get an old married couple, Alta (Jayne Houdy Shell) and Resten (John Horton) to speak to each other in their native tongues, a language that is soon to be extinct.

And there's the conundrum, George is more obsessed with saving an ancient language than his marriage.

I Write About Zombies

Say hello to the newest television recapper for "TheCelebrityCafe.com." Join me every Monday, readers, as I recap the newest episode of "The Walking Dead."

And now a recap of episode 2 of "The Walking Dead" with the "Zombie Kill of the Week."

"Guts."

And some other small bits of writing.

Music: "KT Tunstall: Tiger Suit"

Op-ed: "Want to Meet Stars? Go to the Theater"

Theater Review: 'A Little Night Music' and Sex

If "A Little Night Music" could be described in one word it would be this: sex.

Or rather, what sex means to the characters.

For Frederick Egerman (Stephen R. Buntrock), it means re-touching long-lost youth. For Anne Egerman (Ramona Mallory), it's a way of keeping her husband's interest (typical virgin move). For Henrik Egerman (Hunter Ryan Herlicka), it's sinful, dreadfully, excitable sinful (no wonder he's trying to become a priest). For Count Malcolm (Bradley Dean but today it was Ben Davis), it's possession and a sign of ownership (he is a military man after all). For Petra (Leigh Ann Larkin), it's about freedom and free love (because she's a maid, what does she have to lose?).

For Madame Armsfeldt (Elaine Stritch), it's memories of more golden (deliciously wicked) times.

For Desiree Armfeldt (Bernadette Peters)...who knows?

Oh Stephen Sondheim, you dirty dirty man.

Theater Review: "Promises, Promises," or How I Met Kristin Chenoweth

When I told my older sister, Thao, that I was coming to Syracuse, NY for graduate school, naturally her first question was, "When are you coming to visit?" Thao lives in New York City, midtown, with her husband, and her being there gives me a reason to come to the city. Then again, why should you need a reason to go to New York, it's New York!

I've been to New York twice at this point, both times when Thao was there, and I've naturally done all of the touristy things (Empire State Building, Statue of Liberty, corny photo ops). This time, my goal was to see a Broadway musical (though that mutated into Broadway + Fringe).
But not just any musical: the "Promises, Promises" revival, starring my favorite Broadway actress Kristin Chenoweth (who I had previously written an obituary for in the news writing class).

And if I am honest, I saw the musical just so I can watch her perform, having previously only seen her through a television and computer screen. I had the fantasies of finally meeting her, maybe it would go something like, "Hi Kristin, I'm Diep and I'm a journalist, I interviewed Joshua Bell who knows you and he said that you are just a darling person. Oh, and look at that! We're the same height! People make fun of me too. Did I tell you that I'm also a soprano?" She would laugh, I would laugh, and our natural chemistry would just take over from there.

But first, I had to see the show...