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Theatre Uncategorized

Cabaret at the Kit Kat Club

I had the opportunity to see the current production of Cabaret on Broadway (thanks to my wonderful family), and as it is my favorite musical…nay, my favorite staged media full stop…I have thoughts.

It is a radical departure from the previous Broadway productions, and while it was magnificent in its way, it wasn’t the Cabaret that made me fall in love with the show. It felt like a blend of the old and new, the Cabaret of Joel Grey and the 1960s, but also bits and pieces of the Alan Cumming Cabaret of the 1990s. They chose to revert at times to the 1960s script, most significantly in my mind they chose to remove the single use of the word “fuck” in the show, with Cliff’s explosive argument with Sally at the club now having the line “When are you going to realize, the only way you got this job, any job, is by sleeping with somebody!” This, combined with the fact that Cliff no longer slaps Sally when he realizes that she’s had an abortion (instead, in this version, he draws back but can’t, and following he breaks down crying in Sally’s arms) fundamentally changes the apotheosis of their relationship. Instead of Sally breaking down, and Cliff running away from Berlin, we are instead faced with a Sally that is far more determined, who has affirmatively decided her fate…granted, that fate is to be a fascist, but it is a choice that feels stronger in this production than others where she is often played as chasing fame, or chosing to remain and party until the end.

The yang to Sally’s yin in Cabaret is the Emcee, played here with an absolute grotesquery of a performance by Eddie Redmayne. Where Grey played the character as a devilish imp, and Cumming as a swaggering reflection of Berlin itself, Redmayne’s Emcee is a goblin that becomes beautiful and horrid all at once. His transformation through the show from clown to Aryan ideal is chilling, but never real enough to feel either threatening or threatened.

I was extremely happy with what I consider the heart of the show, Steven Skybell as Herr Schultz and Bebe Neuwirth as Fraulein Schneider. These two were remarkable, and Skybell specifically was the best Schultz I’ve ever seen…as the only morally uncomplicated (if naive) character in the show, Herr Schultz is the character that I always hope the audience is identifying with as their surrogate. These two were perfection as the lovers displaced by fascism.

I think ultimately the source of my disappointment in the production overall is that it never felt dangerous. There were far too few moments of shock and horror in a show about the rise of the Nazi party and fascism in general. The breaking of Herr Shultz’s shop window was a particularly effective moment…but really the only one in a show which traditionally has several take-your-breath-away moments within. The staging of Tomorrow Belongs to Me in the first act, beautifully sung by Eddie directly, failed to produce the requisite discomfort that is necessary to make the reprise horrifying. The end of act one, typically something that shakes the audience going into intermission, was striking but not shocking, and definitely lacked the gut-punch of most stagings (there were no flags, no salutes, no direct reference to the Nazis at all). In fact, in the entirety of the production there were only two direct visual representations of the Nazi party at all: Ernst’s armband, and a toy rifle with a swastika “bang” flag used by the Emcee during the Entre’act. The production has style and talent, but lacks conviction.

I am full of conflict in my feelings about Cabaret at the Kit Kat Klub. It is an unsubtle production of a show that somehow makes the central message more subtle than I would like. The ultimate reveal of the cast as uniform, colorless cogs in the wheel of fascism, with the Emcee as a delirious conductor of the tune is effective…but I didn’t feel it. It didn’t stab me in the heart and leave me bleeding in the way that other productions have, and I find that somehow I need that pain to be reminded of the importance of the story being told. So as beautiful and wild as the production and performances are, in the end I didn’t weep or bleed for them. And that’s what I want from Cabaret.

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Theatre

Attending the Tale

Warning: enormous amount of theater nerd opinion below

I had the great privilege to see the current Broadway production of Sweeney Todd: The Demon Barber of Fleet Street at the Lunt-Fontanne theater the evening of March 15th, and we got lucky that none of the “star” principles were out (Gaten Matarazzo was out the 14th, Josh Groban the 16th, 17th, and matinee on the 18th), so we really threaded that needle. 

As major Sweeney fan, I was really looking forward to hearing the full orchestration for the first time (26 piece orchestra!), and it didn’t disappoint…although I do prefer a bit more bombast with my Sweeney than we get with Alex Lackamoire’s conducting. The score is almost subtle in places where I didn’t expect, and it took me by surprise at times with how quiet it was. 

I’m also an outlier in that I really love the steam whistle/punctuation of the score and action, and having that missing was a small personal disappointment. I know not all productions include it, but I prefer it.

Sweeney Todd stage pre-show

The set maintains the two levels traditional to Sweeney, but does so with a movable bridge that spans the entire width of the stage. I enjoyed the staging with the bridge, although I think that would be dependent on where you were sitting. We were lucky in that we had front row, front mezzanine, maybe the best seats in the house for this particular show. No issue with sight lines, nothing breaking up the view, extremely close to the action. 

Sweeney is also a show that relies on some special effects, and here this production didn’t disappoint. No red cloth or light effects for these kills, no….here we had blood, and lots of it, freely flowing. The mechanism of the effect was clever as well, with piping/bladder around the neck of Sweeney’s barber towels that was activated as each throat was slit. His “diabolical chair” was also in full effect, dumping his victims down into the basement below…even if “below” was actually stage left. My only disappointment was that there weren’t quite enough kills, as during “Johanna” the normal litany of walk-in customers that Mr. T unceremoniously offs was only three, which felt like maybe not quite enough for me. 

Me with Josh Groban after the show at the stage door

Now…to the performances. True to form, Josh Groban  as Sweeney Todd sings the part better than anyone I’ve heard. Not a note stretched or strained, nothing even remotely off, just beautiful and clean and clear baritone. He plays the part well, his interactions with Lovett are great (he’s the perfect straight-man for Annaleigh Ashford’s manic/obsessive Lovett). But I really do want my Sweeney to be at least a little scary, with some actual menace to him. When he addresses the audience in the song Epiphany, I want to feel it. He had a few moments of physicality when he came close, but just never really got all the way there. I want Sweeney to be a frightening figure, and I just don’t think that Groban ever quite got there.

With that said: he was fantastic. I would absolutely see it again, it’s just not exactly the Sweeney I would want to put on stage. 

Annaleigh Ashford is the standout for this cast as Mrs. Lovett. A new take on the character, which is extremely hard to pull off successfully with a role this iconic. She was the high point of the show for me, funny and ascerbic, and her physicality in the show from the first few moments of her introduction sold me totally. She reinvents Lovett and I’m here for every second of it. She sings it wonderfully, but it’s her acting that sheds new light on Lovett and her obsession with Mr. T. 

Jordan Fisher after the show at the stage door

I was unimpressed with Jordan Fisher’s Antony…he was solid, and the things that I noticed (variable accent being the main) could easily be forgiven. Less easily forgiven is that the part had to be take down for him vocally, so we miss some of the higher notes that the part is written for, and that was a mild disappointment. Overall, solid but not special. 

Gaten Matarazzo after the show at the stage door

Gaten Matarazzo on the other hand was fantastic as Toby. He was absolutely able to pull off the part as written/sung, and his voice and take on the part were perfect. Watching him break down at the end, his interactions with Lovett, etc…just perfection. Really marvelous take on the role, and the other standout besides Ashford. This is the second time I’ve seen him on a Broadway stage, the first in the New York City Center production of Parade from fall 2022. He’s fantastic on stage. 

Sweeney Todd set between acts

Other members of the cast that were real standouts were Maria Bilbao as Johanna, John Rapson as Beadle Bamford, and Nicholas Christopher as Pirelli. I have basically never seen a Johanna that I thought carried the role well, and Bilbao was just perfect both vocally and in character work. Rapson and Christopher were equally committed to the characters, and handled the outsized personalities with aplomb. 

Overall, it’s a fantastic production. Is it my personal perfect production of one of my favorite shows? No, it isn’t, but it’s going to please a ton of people. 

The result of my stage door efforts after the show

I also stage-doored the performance, and the cast was incredibly generous with their time and effort. All the mains came out and signed everything the crowd asked them to, and most of the cast was willing to talk and take pictures as well. Just so, so generous after what must be an exhausting show. I was able to get everyone to sign my window card, which will take a place of honor on my wall as soon as a frame arrives.

Categories
Theatre

when the flood comes

This past weekend, we had the amazing chance to see the New York City Center production of Parade. I knew the plot of the show, but had never heard the music prior to going in Saturday evening and finding our seats. We knew we were in for something special…this was a fundraiser, the show is scheduled to run only 6 days and stars Ben Platt, features Gaten Materazzo of Stranger Things fame, and has an absolutely mind-blowing cast. The show was also garnering rave reviews, and it seemed certain to be something we wouldn’t forget.

Days later, I’m still thinking about it. Some of that is the sound, the sheer overwhelming emotion drawn out by a fully-orchestrated New York show conducted by Jason Robert Brown himself. Some of it are the voices, the power and beauty and pain that was on display by the entire cast (when the full-cast harmony kicks in during “Old Red Hills of Home” I dare the hairs on your arms not to stand at attention). Standouts include Michaela Diamond as Lucille Frank and Alex Joseph Grayson as Jim Conley, the latter of which got the longest and largest ovation of the night for his jaw dropping That’s What He Said.

But no, the reason I’m still rolling this show around in my head is the story and the way it’s told. The story of Parade is the story of Leo Frank, a Jewish man in Georgia in the early 1900s who was accused of the murder of a 13 year old girl at the pencil factory he managed, and was ultimately convicted and sentenced to be hung. When the governor interceded to commute his sentence, he was dragged from prison by a group of men and lynched. As is the way of musicals, this story is also the story of racism, the story of the history of the South, the story of child labor and abuse, the story of the abuse of the power of the press, the power of politics, and the relationship between anti-semitism and broader racism in the South.

Told with a deft touch by Alfred Uhry (writer of the book of the musical which won the Tony in 1999) and Jason Robert Brown (who wrote the music and lyrics and won the Tony for Best Score), the show doesn’t pull punches in showing the horrors of the time.Nor does it in its portrayal of the villains of the piece that are all too familiar in the modern era: members of the press who are happy to lie if it sells papers, politicians who are happy to lie if it increases their ambitions, and the public who are willing to lie to protect themselves and their way of life. The victims? Minorities, both racial and religious, who challenge the status quo.

But there’s another layer to the show, a cultural one, especially for someone who has basically lived my whole life in the South. For all the cultural baggage that gives me, it was a truly surreal experience to see this show. The South, capital T capital S, is its own character here, in the form of Atlanta and Marietta Georgia. Alfred Uhry was born in Atlanta, which explains why so much of the show’s representation of the South felt so true. But the framing is such that it’s a continuously uncomfortable truth, the type of truth that makes you slightly embarrassed to admit, the type of truth that you really don’t like to look at too closely for fear that you may burn out your eyes. The type of truth that means that you don’t see the same way afterwards.

It’s no secret that my favorite type of theater are the shows that tear out your heart and leave it bleeding on the ground…not that I don’t enjoy happy shows, it’s just that they don’t change me in the same way. Give me Cabaret, Fun Home, Sweeney Todd, and Hadestown…and add to that list Parade. If this production gets moved to a Broadway run, if it has a cast album….just see it, listen to it. I’m going to be thinking about this one for a long time.

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Maker Media Theatre Uncategorized

Tonight is opening night

I sometimes describe myself as a ‘Maker’. In online parlance, that moniker places me in the realm of 3d printing, hobby electronics, laser cutting, and the like. That’s definitely true, and I do have and use those sorts of tools regularly for a variety of things, but my reason for using the term is more personal. For as long as I can remember, from the time I was 7 and discovered that with a small screwdriver I could take apart my GI Joe figures and put the head of one on the body of another, I’ve had the instinct to take the things inside my head and make them real. From radically customizing my toys as a kid, to learning computers and sitting for hours programming my Commodore 64 as a teen, to the early web of my 20’s (my first ‘real’ paying job after university was as a “webmaster”), there has always been this continued drive to imagine a thing, consider it inside my head, and then figure out how to instantiate it in the world so others could see it. 

In another life, with a few different initial conditions, this might have driven me to be an engineer. With yet different conditions, maybe an artist. Over the course of my nearly 50 years I’ve scratched this itch through writing poetry and fiction, webpages, scholarly articles, two academic books, creating two different technology products (LibraryBox and Measure the Future), mucking about with Raspberry Pi’s and Arduino’s and software to make everything from halloween decorations to props for musical theater productions. In my “workshop” I’ve got a laser cutter, an electronic soldering station, more 3d printers than I’d like to admit, a wood lathe, and a variety of parts and pieces that would allow me at any time to spend a day building whatever pops into my head, and I have an Etsy store where I randomly add things that I think up.

Tonight, a totally different sort of Making comes into existence. Over the last 4 months, I’ve been spending my evenings working as a Director at the Manchester Arts Center in service of the Millennium Repertory Company’s production of the musical Cabaret. I could talk about Cabaret for hours (and, unsurprisingly, I have). It is my favorite musical, and one of my favorite pieces of art of all time. It is weird, and hard, and full of comedy and horror and sadness, and I love it to death. When given the opportunity to direct it, it was an almost overwhelming sense of “oh, yes…now I can finally get these images, this story, out of my head and into the world”. I had nearly the whole show fully formed inside my head from the very beginning, themes I wanted to work in, stagings for various bits, new ideas for how to handle specific scenes and character interactions. 

The only problem? I had never directed before. In fact, I’ve never been on stage as an actor, either. I had worked many local theater production in all sorts of different technical roles, but if you wanna talk about imposter syndrome…I knew I had the show in my head, but whether I had any clue as to how to make it happen onstage remained to be seen. Compound this with continually second-guessing myself (I kept reflecting on the quote “grant me the confidence of a mediocre white man”) and knowing that I really hadn’t earned this role in the traditional ways and there has been lots of internal conflict and reflection over the last 16 weeks. 

Tonight is opening night. 

To see this show come together has been one of the best creative experiences of my life. The reasons are complicated, but mostly boil down to the fact that in almost all of my other “making” endeavors, it’s just me. I have the idea, learns the skills to make it happen, and then do it. That’s just not possible with a theater production, as it takes so, so many people to make it happen: the cast and their onstage talent, the production crew and their originality and creativity, the backstage crew and their logistics and planning, the tech crew and their knowledge and skills. In just this small community production there are over 30 people involved in putting this show together. None of my previous making involved anywhere near that number of creative partners, all of whom bring their own ideas and talents to things. 

It may be a cliche to say that I learned more from all of these individuals than they learned from me, and it could never be more true. I am grateful beyond words for everyone that had a hand in making this real, and I’m going to miss creating with all of you like mad. These people have helped me bring together so many things to create what will ultimately be just five performances of the show, five opportunities for this thing that’s been inside my head for years to emerge into the world from the stage, full of light and sound and joy and sadness. 

Tonight is opening night. 

It’s nerve-wracking and exciting to anticipate how the audience might react, what sort of feedback we might have. It’s a hard, emotional, edgy show, and I’ve chosen to incorporate modern fascist imagery and video into it in ways that could be extremely controversial. Doing this show here, in Middle Tennessee? As far as we can tell, Cabaret is the first show on this stage to have a same-sex kiss on it…much less a song about threesomes and choreography to match. Between the sexuality and the critique of right-wing extremism, the show doesn’t pull any punches. But the theater that I love is the stuff that takes your heart bodily out of your chest, makes it hard to breathe, and then stomps in flat before returning it to you. So that’s what I’ve tried to create.

Tonight is opening night. 

Let’s see what happens. 

Categories
Personal Theatre

The Big Payback

Today at 6pm starts The Big Payback (https://www.thebigpayback.org), and while there are dozens of non-profits that need our help right now, I’m starting with the one that began our family’s path into community theater. Millennium Repertory Company was the first to put Eliza on stage, casting her in their production of The Wizard of Oz. Since then she’s performed on over a half-dozen stages around Middle TN, and Betsy and I have donated time and energy into helping these theaters put on amazing shows for our community. 

I’m a member of the Board of Directors at Millennium Rep, and have been proud to be a part of their work. But especially now, with theaters dark and shows closed, local theater needs money to keep things running. 

Starting at 6pm tonight, and running through 6pm Thursday, there are a number of contests, matches, and other incentives that increase the power of your gift. Please, to all my friends around the world, if you have anything you can donate, even $5, it will help keep the Arts vibrant in Middle TN. 

Click here to donate: https://www.thebigpayback.org/griffey