Dave Malloy's Preludes at the Southwark: Challenging, Wild, Brilliantby Randi / September 12, 2019It’s Theatre Thursday! Today’s show is Shida, playing at The Vaults theatre until October 13.
The biographical musical Shida premiered off-Broadway six years ago, the summer of 2013, when I still lived close enough to NYC to see shows almost every single weekend and considered myself pretty in the know and yet this show wasn’t on my radar so like WHAT THE HELL WAS WRONG WITH ME? Don’t be like me – if you are close enough to see the London production of this impeccable, heart-breaking, soul-building show before October 13, you must see it. Oh I just checked my travel spreadsheet (yes of course) and apparently I was in Croatia for some of the NYC run but GUYS this show is BETTER THAN CROATIA so no excuses.
Okay obviously saying a show is better than a country is not the hill I’m going to die on (but also all musicals are better than all countries? because musicals are the magic of life and we shouldn’t have international borders anyway? I didn’t expect this review to get here) but Shida is truly special. It’s been a minute since I’ve seen something that reinforced the power of the art form AND that I didn’t have any critiques of. I’ve always got some little improvements or changes I’d love to see made, even for my favorite shows! I could not find anything to change in this show if you paid me.
(Okay except that it started like 15 mins late but then it was immediately so good that I DIDN’T EVEN CARE!)
Shida, written and performed by Jeannette Bayardelle, follows a young black girl named Shida growing up in the Bronx, her mother, her mother’s boyfriend, her new best friend Jackie, her favorite teacher, and more characters shaping Shida’s childhood and influencing her future. Except all these well-defined characters are all played by Jeannette, a master at dipping in and out of characters as seamlessly and fully as if there were a full cast up there. It begins by showing grown-up Shida as an addict on the streets of New York and then circling back to her childhood and the trauma that led to her that point so you know from the start that you’ll be getting stabbed in the heart. Musically. And yeah it took more energy that I’ve expended in months to keep myself from ugly crying in that loud disruptive manner that sometimes (often) happens to me in the theatre where if I were in your audience you’d be like ‘SHUT UP GIRL THIS ISN’T ABOUT YOU’ but man alive is this show beautiful.
A lot of the flawlessness is owed to director Andy Sandberg (not that one) (it’s actually Samberg, the one you’re thinking of (I know I don’t like that either)) helping maneuver the many changes in and out of the various characters and making a one-woman show feel fuller than most West End musicals with large ensembles. And I don’t know who is responsible for the smooth change that occurs whenever Shida is handed her special bracelets but it’s probably god, that’s how powerful a tiny movement was. As for Jeannette, I’m simply in awe. Her nuanced facial expressions and vocal inflections, telling so much so efficiently, would be enough to grant her a medal from me (for whatever, I don’t know, ‘Most’) but her singing?? and her acting?? and her humo(u)r! AND SHE WROTE THIS! I can’t deal with her brilliance. I’m not going to spoil the post-show reveal of who the real people involved were because it’s too much to handle.Maybe I shouldn’t recommend that you all go because anyone weaker emotionally than I am would probably explode and that’s just gross for everyone.
INFORMATION
Shida is at The Vaults, which is behind Waterloo Station and a little tricky to find if like me you don’t realize that you can’t walk through the brick walls surrounding the station. Aim for the intersection of Launcelot and Lower Marsh and it’s on that block.
It’s pretty small (one central aisle) and there are no bad seats, although the seats themselves feel like they might break.
Programmes are $5 (that’s in pounds) and they’re also selling CDs for $10 (pounddollars).
I’m not sure if she stagedoors; she didn’t come out in the 15 minutes or so it took me to return to normal breathing, buy a programme, and use the bathroom but it’s probably for the best because I would have been like WHAT HOW WHAT.
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Everything’s Coming Up Imelda! “Gypsy” is Finally Back in London
Yes that is signed by Imelda!
After a 40-year absence from the West End, one of the most important American musicals is finally back. And it’s the best musical currently playing in this town that favors its straight plays. Imelda Staunton takes on the iconic (beyond iconic) role of Mamma Rose, and it’s not like anyone ever doubted her abilities or anything, but she kills it. And I’m not just saying that because she would make me write the rest of this blog with my own blood if I said anything bad about her like she did to Harry.
Having been spoiled by the greatest diva Patti LuPone as Mamma Rose in only the past decade, I had very high expectations for Imelda. Hell, Patti LuPone’s mere existence has given me high expectations for every facet of life, from dinner parties to toothbrushing. No one can try to rival Patti’s goddamn beautiful brassy voice on the big singing numbers; she LuPWNs everyone. But Imelda didn’t have to give us a big diva voice to effectively show us her crazy. While I did find myself yearning to listen to Patti’s cast recording later, Imelda’s acting, especially in her ballsiest moments, was off the charts impressive. Very often, I was transported to their world in the 1920s and ‘30s, forgetting that I was watching an actress I’ve adored for so long and sometimes forgetting to blink.
In case you don’t know, “Gypsy” tells the story of Rose, the original awful pushy stage mother whose name has become synonymous with awful pushy stage mothers, who will do anything to make her daughter a star. At first, she focuses her life and all of her being on June, the talented daughter, while pushing Louise, the not-so, to the side. (Or to the chorus as one of the boys in June’s act.) The family along with random boys (named after the towns they were picked up in, I love that) travel the country for years and years to perform at vaudeville halls for whatever they can get. June finally has enough when she’s at some grown-up age (they never really are sure of how old they are), and she and the boy that Louise had a crush on, Tulsa, elope. Poor Louise. Rose switches her focus to her remaining daughter, vowing to talent her up and make her a star. However, vaudeville is dying, and when their shitty act gets accidentally booked at a burlesque hall, everything changes. Louise almost accidentally finds her kind-of-creepy calling in a world where she doesn’t need or want her mother around anymore, and Rose realizes that her entire life was spent pushing her girls to stardom when obviously she just wanted fame for herself and never got it. So sad but so crazy.
Lots of important people say that “Gypsy” is the greatest American musical. I think it’s one of the most important, and definitely Rose is one of if not the most important female characters in the canon, but the show is not the best. It’s great, but there’s so much clutter – I had forgotten how much of the show is the stupid kids’ act. Oh my goodness! Baby June & Her Newsboys! Extra Extra! Look at the headline! Dainty June & Her Farmboys! Oh my god it gets ANNOYING. 70% of the first act is the kids performing. And 60% of Act II is the grow-up kids act with Louise as the star. We hear the act’s one song about 90 times, and then of course we hear “Let Me Entertain You” 99 times. I could sense my husband starting to hulk out when it literally became a stress test gone insane. Luckily, the parts that aren’t the kids performances are superb. It’s so funny, that the dramatic arc of the family dynamic is classic and brilliant, while the majority of the show, the pacing, the structure, is all these dumb kids. Once you make it through that, though, you are rewarded with some of the most compelling musical numbers ever. “Some People”, “Everything’s Coming Up Roses”, and “Rose’s Turn” are of course the big three, the core of Rose’s performance that all need to be absolutely nailed, and Imelda nailed them. I never knew she could sing at all, and I was blown away by how it wasn’t even singing, it was just a continuation of her character.
So many of the other smaller songs are equally memorable and beautiful. We have “Small World”, “Together Wherever We Go”, “If Mama Was Married”, the latter of which gives us our one and only glimpse into the sister relationship and it always makes me want to see more of that. you wonder how much Rose created a divide between the girls and whether they could have bonded over complaining about her if given the chance to be friends. Although I suppose when June secretly marries the boy Louise had a crush on, the relationship is beyond strained.
Speaking of Tulsa, man that is such a good role for an up and coming young man. You show off your dancing and a little singing for like, 10 minutes, and then you are gone for the rest of the show. I love how subtle Louise’s falling for him is. It increases the emotional heft of her performance to feel that you’ve sensed a secret longing of someone onstage without overtly being told as such, like you form a connection with Louise and thus feel for her even more. The 2008 Broadway revival (Patti’s) spoiled me with Laura Benanti, who showed Louise’s emotional journey so subtly and exquisitely that she set the bar insanely high for future Gypsies. Also, her moos, as one of Dainty June’s farm animals, cannot be beat. (“Mu MOO mu moo.” She deserved a Tony just for that. It cracks me up.) Lara Pulver, the West End’s Gypsy, does a fine job in showing us Louise’s journey, and her voice is beautiful. My favorite moment of hers was her “Little Lamb”, a song I always forget about, but it’s really lovely and moving while being so so simple. But there’s nothing to Pulver’s performance that we aren’t explicitly shown, no deeper emotional levels or subtlety. I felt at times (as I so often do here) that her focus on keeping her American accent in check hindered her ability to fully be in character and show us more to Louise. Like, Gypsy Rose Lee isn’t some woodland sprite who lives a life of joy surrounded by singing butterflies, but that’s what she would have us believe at the end of this, that she was finally sincerely happy. There was no necessary edge to this proclamation of happiness, no bite undercutting it. And we need that.
The role of Herbie, Rose’s longtime, long-suffering partner, is equally important, and Peter Davison was very good, although he sounded eerily close to Gene Hackman’s chain-smoking tobacco magnate in “Heartbreakers”. However, he seemed almost too strong to be hurt by Rose, and when he finally finally leaves her for good, you are not upset because you are just happy for him! Yay Herbie! Run don’t walk and so on! I think that scene is supposed to be a bit more crushing though. When Herbie seems weaker, it is, because it’s easier to see that he really does love Rose for some reason. But this Herbie was a little too normal, and there’s no normal in “Gypsy”.
After such a remarkable night, the ending left me kind of confused and cold. In the 2008 revival and in the versions I’m more familiar with, the ‘reconciliation’ between Rose and Louise is tentative, to say the least. I always thought the point was that Louise despised Rose or at least blamed her for everything terrible that has befallen the family, and for her private anguish. I remember Laura Benanti’s Louise laughing at Rose’s dream and the tension between the two still being fo’ serious. Rose is left kind of pathetically dragging behind. Here, instead, they seemed to fully make up, with Pulver’s Louise being like ‘Dude I’m SO happy there is NOTHING I’m hiding in my talk about happiness, just pure joy!’ and the last shot should have been Rose tripping-running to catch up to her star of a daughter (that was such a shockingly good image, like Rose was scurrying still to chase stardom), but instead the last shot is Louise putting her arm around her mother when she does catch up! What is that! There’s no happy mother-daughter ending in “Gypsy”! I was quite taken aback by this type of forgiveness-filled ending to what should be a wretched, regret-filled end for Rose. It’s much more dramatic and moving if there’s no forgiveness (like in life!). It an unfortunate final minute or so to two hours of splendid theatre, so it’s okay. Imelda’s performance is so unbelievable, it’s a must-see. It’s kind of hilarious that the Olivier Awards occurred only a few nights before this show opened, because the fact that there is anyone else, male of female, lead or supporting, performing on the West End and supposedly giving an award-worthy performance while Imelda is living and breathing this role is kind of ridiculous.
OH. There’s a live puppy. So it’s worth seeing for that. PUPPIEEEEEE!
AUDIENCE: Oh dammit. I mean. PEOPLE. You’d think the audience at “Gypsy” would be well-behaved. For the most part, they were okay…but they talked during the overtures. And I don’t mean people behind me were whispering and I could shush them easily (I mean, they were and I did, but that’s not the point.) EVERYONE in the whole theatre was talking at regular volume during the overture. And especially when it is so rare to be treated to the full overture nowadays (or even to have one in shows at all), that is a crying shame. (And it literally almost made me cry, it’s so frustrating.) People apparently thought it was just like ‘sit-down’ music and that the show didn’t start yet. Ughhhhahhhh the overture sets the tone of the show! It has begun, you ingrates! It happened at the start of Act II as well, with the shorter interlude still being too long for our audience to stay quiet. What is wrong with people? It actually got to the point where I was thisclose to standing up and yelling “SHUT YOUR DAMN FACEHOLES!” But I haven’t quite figured out when that is the less disturbing/more helpful action to take in a crap situation like that. One day, I hope to have the courage to actually do it. Actually, if we’re hoping for stuff, I hope for people to stop acting like idiots in the theatre, how about that.
In case you don’t know, “Gypsy” tells the story of Rose, the original awful pushy stage mother whose name has become synonymous with awful pushy stage mothers, who will do anything to make her daughter a star. At first, she focuses her life and all of her being on June, the talented daughter, while pushing Louise, the not-so, to the side. (Or to the chorus as one of the boys in June’s act.) The family along with random boys (named after the towns they were picked up in, I love that) travel the country for years and years to perform at vaudeville halls for whatever they can get. June finally has enough when she’s at some grown-up age (they never really are sure of how old they are), and she and the boy that Louise had a crush on, Tulsa, elope. Poor Louise. Rose switches her focus to her remaining daughter, vowing to talent her up and make her a star. However, vaudeville is dying, and when their shitty act gets accidentally booked at a burlesque hall, everything changes. Louise almost accidentally finds her kind-of-creepy calling in a world where she doesn’t need or want her mother around anymore, and Rose realizes that her entire life was spent pushing her girls to stardom when obviously she just wanted fame for herself and never got it. So sad but so crazy.
Lots of important people say that “Gypsy” is the greatest American musical. I think it’s one of the most important, and definitely Rose is one of if not the most important female characters in the canon, but the show is not the best. It’s great, but there’s so much clutter – I had forgotten how much of the show is the stupid kids’ act. Oh my goodness! Baby June & Her Newsboys! Extra Extra! Look at the headline! Dainty June & Her Farmboys! Oh my god it gets ANNOYING. 70% of the first act is the kids performing. And 60% of Act II is the grow-up kids act with Louise as the star. We hear the act’s one song about 90 times, and then of course we hear “Let Me Entertain You” 99 times. I could sense my husband starting to hulk out when it literally became a stress test gone insane. Luckily, the parts that aren’t the kids performances are superb. It’s so funny, that the dramatic arc of the family dynamic is classic and brilliant, while the majority of the show, the pacing, the structure, is all these dumb kids. Once you make it through that, though, you are rewarded with some of the most compelling musical numbers ever. “Some People”, “Everything’s Coming Up Roses”, and “Rose’s Turn” are of course the big three, the core of Rose’s performance that all need to be absolutely nailed, and Imelda nailed them. I never knew she could sing at all, and I was blown away by how it wasn’t even singing, it was just a continuation of her character.
So many of the other smaller songs are equally memorable and beautiful. We have “Small World”, “Together Wherever We Go”, “If Mama Was Married”, the latter of which gives us our one and only glimpse into the sister relationship and it always makes me want to see more of that. you wonder how much Rose created a divide between the girls and whether they could have bonded over complaining about her if given the chance to be friends. Although I suppose when June secretly marries the boy Louise had a crush on, the relationship is beyond strained.
Speaking of Tulsa, man that is such a good role for an up and coming young man. You show off your dancing and a little singing for like, 10 minutes, and then you are gone for the rest of the show. I love how subtle Louise’s falling for him is. It increases the emotional heft of her performance to feel that you’ve sensed a secret longing of someone onstage without overtly being told as such, like you form a connection with Louise and thus feel for her even more. The 2008 Broadway revival (Patti’s) spoiled me with Laura Benanti, who showed Louise’s emotional journey so subtly and exquisitely that she set the bar insanely high for future Gypsies. Also, her moos, as one of Dainty June’s farm animals, cannot be beat. (“Mu MOO mu moo.” She deserved a Tony just for that. It cracks me up.) Lara Pulver, the West End’s Gypsy, does a fine job in showing us Louise’s journey, and her voice is beautiful. My favorite moment of hers was her “Little Lamb”, a song I always forget about, but it’s really lovely and moving while being so so simple. But there’s nothing to Pulver’s performance that we aren’t explicitly shown, no deeper emotional levels or subtlety. I felt at times (as I so often do here) that her focus on keeping her American accent in check hindered her ability to fully be in character and show us more to Louise. Like, Gypsy Rose Lee isn’t some woodland sprite who lives a life of joy surrounded by singing butterflies, but that’s what she would have us believe at the end of this, that she was finally sincerely happy. There was no necessary edge to this proclamation of happiness, no bite undercutting it. And we need that.
The role of Herbie, Rose’s longtime, long-suffering partner, is equally important, and Peter Davison was very good, although he sounded eerily close to Gene Hackman’s chain-smoking tobacco magnate in “Heartbreakers”. However, he seemed almost too strong to be hurt by Rose, and when he finally finally leaves her for good, you are not upset because you are just happy for him! Yay Herbie! Run don’t walk and so on! I think that scene is supposed to be a bit more crushing though. When Herbie seems weaker, it is, because it’s easier to see that he really does love Rose for some reason. But this Herbie was a little too normal, and there’s no normal in “Gypsy”.
After such a remarkable night, the ending left me kind of confused and cold. In the 2008 revival and in the versions I’m more familiar with, the ‘reconciliation’ between Rose and Louise is tentative, to say the least. I always thought the point was that Louise despised Rose or at least blamed her for everything terrible that has befallen the family, and for her private anguish. I remember Laura Benanti’s Louise laughing at Rose’s dream and the tension between the two still being fo’ serious. Rose is left kind of pathetically dragging behind. Here, instead, they seemed to fully make up, with Pulver’s Louise being like ‘Dude I’m SO happy there is NOTHING I’m hiding in my talk about happiness, just pure joy!’ and the last shot should have been Rose tripping-running to catch up to her star of a daughter (that was such a shockingly good image, like Rose was scurrying still to chase stardom), but instead the last shot is Louise putting her arm around her mother when she does catch up! What is that! There’s no happy mother-daughter ending in “Gypsy”! I was quite taken aback by this type of forgiveness-filled ending to what should be a wretched, regret-filled end for Rose. It’s much more dramatic and moving if there’s no forgiveness (like in life!). It an unfortunate final minute or so to two hours of splendid theatre, so it’s okay. Imelda’s performance is so unbelievable, it’s a must-see. It’s kind of hilarious that the Olivier Awards occurred only a few nights before this show opened, because the fact that there is anyone else, male of female, lead or supporting, performing on the West End and supposedly giving an award-worthy performance while Imelda is living and breathing this role is kind of ridiculous.
OH. There’s a live puppy. So it’s worth seeing for that. PUPPIEEEEEE!
AUDIENCE: Oh dammit. I mean. PEOPLE. You’d think the audience at “Gypsy” would be well-behaved. For the most part, they were okay…but they talked during the overtures. And I don’t mean people behind me were whispering and I could shush them easily (I mean, they were and I did, but that’s not the point.) EVERYONE in the whole theatre was talking at regular volume during the overture. And especially when it is so rare to be treated to the full overture nowadays (or even to have one in shows at all), that is a crying shame. (And it literally almost made me cry, it’s so frustrating.) People apparently thought it was just like ‘sit-down’ music and that the show didn’t start yet. Ughhhhahhhh the overture sets the tone of the show! It has begun, you ingrates! It happened at the start of Act II as well, with the shorter interlude still being too long for our audience to stay quiet. What is wrong with people? It actually got to the point where I was thisclose to standing up and yelling “SHUT YOUR DAMN FACEHOLES!” But I haven’t quite figured out when that is the less disturbing/more helpful action to take in a crap situation like that. One day, I hope to have the courage to actually do it. Actually, if we’re hoping for stuff, I hope for people to stop acting like idiots in the theatre, how about that.
Barber Shop Chronicles at the Roundhouse: Uneven but Enjoyable
It’s Theatre Thursday! Today’s show is Barber Shop Chronicles, at London’s Roundhouse theatre until August 24.
Last weekend, we trekked up to Camden to see the latest production of Barber Shop Chronicles (hard for me to remember that it is three words but one is not ‘the’), Inua Ellams 2017 play about the important role barbershops play in black male communities the world over. It makes sense, giving this location the theatrical treatment, considering that barbershops in certain neighborhoods can play the role of community center, home, church, public square, political stage, and more. The entertainment factor of the wide-ranging conversations is built-in; the challenge is putting these conversations together into a cohesive work, which Barber Shop struggles with. Making quick stops in London’s Peckham neighborhood and locations all over Africa, all on the same day, this cheery ensemble piece gives glimpses of what these community centers share despite their distance.
It sounds like a slam-dunk idea, and for most of the audience it was. The actors are entertaining and energetic, and the set design is wonderful – there’s a wire globe that (patchily) lights up with the action’s current location as it spins, and all the international hair salon ads hanging from the ceiling are also lit depending on which city we’re currently in. And, great for audience members with shorter attention spans, the fast pace from location to location keeps the material from getting bogged down. But, that rapid anecdotes-only pace also keeps it from developing into something more meaningful, a story you can sink into. And it would be one thing if the anecdotal set-up were trusted, but the creators tried that for the first half and then tried to dramatize the non-story for the second half, resulting in an inconsistent outcome.
That first half, where we dropped in on Peckham, Lagos, Accra, and more to briefly listen to what the men were discussing today, showcased brief anecdotes and easy jokes – exclamations, silly voices, the stuff that audiences eat up. Although they did cleverly establish that this was all happening on the same day, by having everyone discuss a big football match, the focus was clearly more on joking around. And the jokes felt cheap, if not offensive. I mean, clearly this show wasn’t written for me and I’m okay with that, but I’m not okay with jokes about every other group of people that felt more mean-spirited than not. One of the longer (still not long, but longer) bits in this first half has a guy tell the others about his friend with an autistic child who tends to make scenes in public, and how they were told to beat the autism out of her – and everyone, onstage and off, erupts into insane laughter. Is…is that funny? There are also lots of macho jokes about gay men and wearing down women who reject you, which felt very troubling. Again, I’m not the target demographic here, but I don’t think that matters when you’re joking about these topics. And if the excuse is that this was just showing how normal men talk in these places – you know, ‘locker-room’ talk – well then that’s definitely a problem.
Soon, the cheap jokes gave way to a sort of late-stage attempt to create dedicated characters and narrative, and by that point it felt unearned. We had a young Peckham man angry at his boss because he thinks he put his dad in jail for no reason, when obviously, you could guess from a mile away the father actually committed the crime and we were going to find out about with the boy, obviously, and then he was going to forgive the boss, obviously, and we were going to all witness the emotional ‘reconciliation’ that honestly would have been emotional if the rest of the show built towards any kind of emotion, but as is, it felt out of left field and the emotion was unwarranted. There’s another cross-continental emotional bridge they try to build between another Peckham youth and a man we met in one of the African shops, but again, with no such foundation established, no emotional groundwork laid with all the time they had, it’s a last-minute bridge to nowhere, an attempt at an emotional punch that doesn’t land.
Despite all my problems with the story, or lack thereof, the show still remains a decent time, an interesting look at this crucial hub of black communities. And even when the action onstage is negative, the show itself still feels imbued with an overall sense of optimism, which is valuable. That’s definitely helped by the pre-show dance party happening with the cast and any audience members wanting to join in the fun, establishing a jovial high that’s hard to bring down, for most of the audience.
INFORMATION
Barber Shop Chronicles plays at the Roundhouse Theatre in Camden until August 24.
The show began at 8:05pm and ended at 9:55pm. There is no interval.
The ushers made a big deal pre-show of telling each and every person (hence a suuuper slow entry to the theatre) that there was no readmission during the show, and if you got up from your seat you’d be resat further back, because it’s performed in the round and you’d be a spectacle. Despite this warning, people came in super late and walked up and down the aisles right to the stage level the entire time, so, I guess do what you want. Also be prepared for people doing whatever they want regarding phone use, as in, everyone is on their phones the entire time and you just have to accept it. We knew going in to just breathe and accept all the phones and not say anything to anyone nearby, but we were surprised at the constancy of full-volume conversations. So, if you go you have to let go of any qualms about theatre etiquette.
