The Tony Awards are Sunday! Here's What Should Happenby Randi / June 7, 2019Full disclosure, before seeing the new musical version of The Curious Case of Benjamin Button I assumed it was going to be hilarious. Really, you’re taking the decent-but-not-loved Brad Pitt movie and turning it into a musical? Good luck with that. I assumed it would go the route of recent screen-to-stage West End musical disasters like Made in Dagenham and Bend It Like Beckham. But I could not have been more wrong. No, as the lot of us sitting in the ‘Little’ black box studio of the Southwark Playhouse pathetically blowing our noses and sobbing during Act II can attest, I could not have been more wrong. Rather than lazily taking a known property and shoving in songs here and there as everyone else seems to do and calling it a ‘new musical’ instead of a ‘garbage fire’, the Button team did what so few can do and made something meaningful and worthwhile. They’ve taken the original F. Scott Fitzgerald story and reset it as a Cornish coastal folk tale, with an underpinning of mysticism and with inventive folk music that successfully builds an entire world, and gives poignant, impressive new life to this story.
Having its world premiere at London’s Southwark Playhouse these past few weeks, Button continued this very exciting and very inspiring new trend of original British scores being on the up and up after about a decade of swimming in the shallow end. Although folk music isn’t the kind I’d be listening to at home, this score from Jethro Compton and Darren Clark served the show well and helped convey the necessary mythology and emotion in a way that classic showtunes, for one, couldn’t have. Making Button a Celtic-inspired legend was a smart creative decision, bringing the tale from its jazz-age Americana roots and establishing it instead on the Cornwall coast, with its UK traits of the stiff upper lip, the hardworking fishermen, the omnipresent pubs.
For those of you not up on your F. Scott short stories or who somehow didn’t see the 2008 Brad Pitt – Cate Blanchett – Taraji P. Henson absolute ROMP of a movie (it’s not it’s sad) (but really good) (I know I said above it wasn’t beloved but like it was really solid and honestly thinking about the ending makes me quite emotional like old lady Cate holding the baby version of her former love as it dies???? whaaat??) (Oh ps SPOILERS just there before), Benjamin Button is this cursed child (not related to Harry Potter) born as an old man who then spends his life aging in reverse. I have to admit I’m not up on my Effe Scott Fitzy but in the movie, he’s just a creepy old-man-looking baby-sized 80-year-old or what have you, but in the stage version, he pops out of his OBVIOUSLY DISTRAUGHT mother a full-size, full-talking, full-thinking 70-year-old man. (Which yeah you understand why his mother would jump off the cliffs but I think her song “Davey Jones’ Locker” should be cut or trimmed, like yes you just had a full-grown-gramps instead of a baby and I’m sorry but we don’t feel enough sympathy for you right off the bat to connect fully with your downward spiral.)You’re probably thinking, um how did they do this on stage? And the answer is with puppetry, with puppets made out of, well, garbage, pretty much (wicker baskets and lots of plastic bottles, hooray for reusing (recycling isn’t as good as we were all told, please try to actually reduce your plastic use and as here, reuse! PSA)) and impressive maneuvering by the hard-working five-person ensemble. It was really impressive stuff, and funny when it was plastic-bottle children later on.
Speaking of the hard-working ensemble, these five actors and musicians, all onstage mostly the whole show, weave in and out of various characters and play multiple instruments as they tell this tale in a most impressive manner. Well one actor, James Marlowe, does very little weaving since he plays Benjamin for the majority of his life (they need a few more visual aids to show the passing decades, like maybe losing the mustache when he talks about not needing to shave anymore, adding a few youthful accessories or playing with wigs, things like that). And one weave was my biggest pet peeve of the show since it was completely unnecessary: Benjamin’s love interest is named Elowen, and she’s played winningly in Act I by Philippa Hogg. In Act II, as Elowen grows older and Benjamin grows younger, Rosalind Ford takes over as Elowen. The passing of the character between the two actresses is actually done in quite a lovely way – but it’s not only unnecessary, it takes away from the character development. For one, Philippa created the bond with the audience, especially in the wonderful, moving “The Moon and the Sea”, and so it’s jarring to switch halfway through. For another, more important reason, um, Philippa and Rosalind both look about the same age, so making one play only the old lady version is suuuuuuper weird and it feels wrong. It’s a shame because Rosalind’s big Act II song as Elowen is truly stunningly delivered, but for the good of the overall show, Phillippa should play Elowen the whole time (Rosalind has enough to do otherwise whereas Philippa in Act II felt underused). We’re supposed to be focusing on how Benjamin is changing in odd ways, not having the ‘normal’ people do that.
Aside from that quibble, Compton’s clever direction was a feat, and despite the tiny stage and the tiny black room, you could sense the wind and waves crashing against the shores of Cornwall. Despite a slow start that would be much helped in the next production by trimming one of Benjamin’s parents’ songs (the weakest material is over with right at the start at least), they built this world pretty quickly, drawing the audience in fully and keeping us there, on board for all the twists and heartbreaks of the story. I loved the a cappella Celtic theme song of the show and how well it captured the right mood (although I think it had one too many reprises?). Even all the references to space travel paid off in a lovely, surprising, poignant way. A lesser quality show would have drawn eyerolls at, e.g., the reprise of the super-fun-every-action-is-connected song “A Matter of Time” when it tries to pull that sad as hell shit at the end, but instead we were all gutted along with the characters. It really worked. And then as the heartbreak keeps building in a really beautiful way, the audience, like I said, was sobbing. I can’t believe what this little show managed to pull off, but it was an extraordinary first effort at mounting this new musical.
INFORMATION
I have to give a shout-out to whoever designed the programmes, which for some reason only cost £1. They were the best programmes ever. Actually interesting notes from the creatives? A FULL BREAKDOWN of what it cost to mount this production and how they raised the money?? Show everyone how it’s done, son.
While this initial run is now over, hopefully it will come back in a slightly revised but no less fantastic form soon.
Related Posts
“Falsettos” Revival on Broadway: March Me to Another Theatre
For a show that begins with four Jews in a room bitching, in a song called “Four Jews in a Room Bitching”, you would think I’d love “Falsettos”. But when I saw the current Broadway revival of this show, I was somehow left cold, which is pretty hard when the focus is on family dynamics and, suddenly, AIDS. I was having trouble with the choppy direction and erratic pacing throughout the show, but I believe the suddenness of the AIDS story is what fully shut down all my feelings aside from ‘disbelief’ and ‘like you’re being punked’. I’ve been told that I would have enjoyed this particular production more if I was at all familiar with it beforehand (I wasn’t), and I could see how this cast would be a treat if you were a fan of the show. But you shouldn’t need to know a piece beforehand to enjoy it. And honestly, it’s a weird show. There are moments of brilliance (possibly due to the actors involved here), but oof, it was difficult to get through. I’ve never been so impatient for a show to end. And I barely remember ¾ of what I saw.
“Falsettos” is the story of a ‘tight-knit family’ of Trina (Stephanie J. Block), her ex-husband Marvin (Christian Borle), their son Jason (a child), Marvin’s new male lover Whizzer (Andrew Rannells), and their therapist Mendel (Brandon Uranowitz). Marvin has just left Trina for Whizzer but still wants to keep his family close and have them accept Whizzer as a new member, which is supes awks for everyone. But even more awkward is the opening number, which I enjoyed tremendously before thinking, wait, WTF, what’s happening. The four male characters are dressed like Israelites straight from the desert as they ‘bitch’ and Trina does some community-theatre-style assistant directing, flying flags and banners and adding some props to the mix. So, going into this cold, my actual first thought was, is this show about an acting troupe? Not joking. It made more sense than the truth, which is that this opening had nothing to do with their reality because no, they weren’t putting on a show, so it was just breaking the fourth wall I guess for a few laughs. Yet it was one of the most enjoyable parts of the show, so I can’t knock it too much.
Weirder was when that vaguely odd number ends and the real story begins, and you realize that despite this being an expensive Broadway production, there is no set aside from some giant gray cubes. And the actors throughout the entire show are constantly rearranging the blocks into different shapes to represent tables, chairs, therapy couches, beds, exteriors of houses, &c. This set design was really distracting and had very little payoff, the only interesting uses being as a house that could be easily knocked down, a decent metaphor for the family strife, and when all the cubes rearranged into a grave at the end. But despite how strong that ending visual was, I don’t think it was worth two hours and 45 minutes of wasted set design and extra jobs for the actors. It looked very ill-fitting for such an enormous stage, and I thought how much more appropriate this production and show in general would be in a small black box theatre. I think I could have appreciated it more in that setting.
Early on, as the cast forms the gray blocks into living room and bedroom furniture, we learn that Jason, the child, is scared that he’ll be gay because his ‘father is a homo’, as he sings. The funniest part was that Anthony Rosenthal, playing Jason, seemed to have a bad cold, and he kept sneezing and coughing in Christian Borle’s face and they tried not to laugh. Not as funny was that, in the wake of Sydney Lucas in “Fun Home” putting all other child actors and child roles to shame, this role (and sadly the actor) was indeed put to shame. We also learn that Marvin sees a therapist to figure out his tumultuous relationship with Whizzer – based more on lust at first than love, though they do admit that they truly love each other. Christian and Andrew’s chemistry was stronger than that of most couples, onstage or onscreen, and these two Broadway superstars made the thin story of the first act more compelling because of it. Nonetheless, their characters were kind of thankless until the very end, which is unfortunate for such incredible actors. They both do extremely well with what they’re given, but aside from a few money notes and their killer chemistry, they aren’t given much.
Then we learn that Trina needs a therapist because of this very difficult time for her family, which is understandable. But what isn’t understandable – except for purposes of the fake story – is that she goes to Marvin’s therapist Mendel. And then they all decide that Jason, who is having an understandably rough time with this transitional period, needs a therapist too…so they also enlist Mendel to therapize Jason. One really important lesson that I wish the characters learned before the show started is that there are lots of psychiatrists in New York City. Like I bet there’s at least one on every block of Manhattan and more when you get to the Upper East Side. So, there’s no good reason for a father, mother, and the son to all see the same psychiatrist. That’s the kind of crazy talk that would merit a visit to a psychiatrist. A different one.
Mendel quickly falls in love with Trina, which is against lots of rules and makes Marvin feel even more alienated from his family. He also needs a new therapist now. We’re supposed to feel bad for Marvin when these things start biting him in the ass but he did leave his family for a hot young thang so I mean what did he expect would happen. Mendel seems great at first, if severely in breach of ethics rules, but he really is the same immature sort that Marvin is, and Trina knows it, but having a husband turn out to be gay has apparently destroyed her confidence so she tells herself she could do worse and convinces herself that its in her best interest to marry Mendel. And I can see how one could arrive at that conclusion because Brandon Uranowitz is flipping hilarious. His subtle gesticulations really made the character and I was loving it for a while. But his character didn’t live up to the early potential. At one point amid all the constant familial drama, Marvin slaps Trina, and I was sooo ready for Trina to stand up and fight back (physically or verbally) but Mendel physically holds her back to prevent any escalation. I think that’s when I lost it. I was pretty close to the stage so it was really hard for me to remember that this wasn’t real and it took all my might to stop myself from climbing up on that stage, punching Marvin for hitting a woman/his ex-wife and then beating the crap out of Mendel for failing to stand up for his new wife. Like what is that shit about. It doesn’t matter that there are two lesbians in the second act (conveniently referred to continuously as ‘the two lesbians who live next door’); this is really a show by, about, and for (gay) men.
Even so, I really tried to love it. I wanted to love it. And one scene got me closer to that point than any other. In fact, as incongruous as it sounds for a show I didn’t really enjoy that much, this one scene – Trina’s “I’m Breaking Down” – might be one of the best performances of a song I’ve ever seen live. I know! Stephanie J. Block is that talented, and this song is directed that perfectly and performed that impeccably. In it, Trina is chopping up food for dinner or a pie or something while she sings a hilarious song about how all this tumult and disorder in her family and in her life is making her lose her mind and all her control, which isn’t that funny on its face, I guess, but Stephanie nails every nanosecond of this scene with perfect comic timing and hysterical frenzied humor, and this one song was worth the ticket price alone. She gets so wild in her crazy that by the end she’s singing through a mouthful of banana and is just a complete mess and it’s amazing. I never thought of Stephanie as a comedian or saw her do anything funny, but this shot her up to the top of the musical comedy list. So, everyone else in the theatre community thought this production was fantastic, to the point where it’s a frontrunner for the Best Revival Tony award. As much as I disagree with that, I would condone such a win just because of Stephanie and this one song. She was that great. As much as I kind of wished I chose a different show to see that night, I am so happy I got to witness this expert performance. I really can’t get over it.
After that scene, I tried even harder to get a bit more into it, as the dynamic was more understandable, with a growing family trying to get through all these changes. But I could not get past how unfortunately terrible a lot of the music was. Not all; there are some bright spots. But too much of the score was terrible. I remember literally gagging when Mendel sings a line about going ‘to jaw’ – as in TO EAT, just so it would rhyme with ‘my paw’ – as in A HANDSHAKE. I can’t stop having nightmares about how terrible that lyric is. There’s no reason for a rhyme that forced when both sides of it are horrendous. Just change both lines!!
And then two insane surprises happen. The first is the most unforgivable because I still don’t understand what it was going for – “The March of the Falsettos”. The four male characters come out in the dark and march over the cubes which are set up as a city skyline or some such. They are wearing bodysuits with patches that reflect the blacklight in the dark, so it’s very 1970s college dorm vibe. And they are singing in falsetto voices. This is legit the one reference to the title of the show. And they march and they sing in those high voices “march of the falsettos, march of the falsettos” and it’s WEIRD. Like, look-around-at-all-the-patrons-around-you-to-see-if-it’s-just-you weird. It was like the opening number in that it was divorced from the reality of the characters’ story and was just for fun or something, I don’t know, but I know my eyes were open rull wide.
The next unforgivable thing is unforgivable for an entirely different reason. See, this is the 1980s, and it’s about some gay men. So maybe I should have seen it coming, but I didn’t because so far it was a comedy, and a silly one at that, at least at times. And its first act didn’t let on that anything of the sort was coming. So when Whizzer starts getting sick, I didn’t get sad; I got ANGRY. Really angry. You can’t have a kind of absurd tone and then all of a sudden start talking about AIDS and expect everyone to quickly get on board with the requisite depth of emotion necessary to discuss the AIDS crisis. It made me angry that they broached this topic in such a poor manner as to prevent me from getting emotionally invested, because we all should always be emotionally invested when this disease comes up. I was pissed that I wasn’t able to connect with this more serious material because it came out of nowhere. And I guess the argument is that well the disease came out of nowhere, to unsuspecting people, and that’s totally true. But so far, this show wasn’t about reflecting pure reality, as the march of the falsettos showed. So I don’t buy that, instead of continuing to tell the story in an artistic way that allowed for maximum empathizing and connection, they suddenly switched to a cold blank reflection of reality. And the whole section of the story about Whizzer dying was incredibly emotional and well done, but because there was no bridge from the former section of the story (the whole first act and change) to this intense drama, I never found a way to catch up to that drama. We were never given another route to it, so it felt very far away and detached from any emotional connection with the audience. Well, some people did manage to find another bridge because there was some SERIOUS sobbing at the end, and I wanted to be there with them, but I wasn’t.
I learned after the fact that my feelings of disjointedness and choppiness were warranted, because the original show was a series of three separate one-acts presented Off Broadway in 1990, like sequels. The Broadway incarnation of “Falsettos” is composed of the second and third one-acts in that series, so, although they are related and follow the same characters and story, the first and second acts are really two completely separate shows. That explains a lot for me. Well, except for the “March of the Falsettos” number. And why they didn’t work more on combining the two more cohesively. And why they kept the second act longer than the first, which should be rule #1 of theatre – never have a longer second act omg especially when people’s attention spans are getting shorter. The show was so long. My hair is so now.
A few days after I saw it, I heard that they are going to air it this season on PBS, as is usually done with one Broadway production per season or so. Despite my frequent exhortation that musical theatre has to be enjoyed live to be appreciated, and despite how lucky I feel having seen these amazing actors live, I kind of wish I’d skipped this one and waited to see it on TV. For free. Still, I’m ecstatic about a few things: one, that I did indeed get to see these actors live, and especially that I saw Stephanie J Block perform this role so wonderfully, and two, that I get to see her perform that role again. For free.
Weirder was when that vaguely odd number ends and the real story begins, and you realize that despite this being an expensive Broadway production, there is no set aside from some giant gray cubes. And the actors throughout the entire show are constantly rearranging the blocks into different shapes to represent tables, chairs, therapy couches, beds, exteriors of houses, &c. This set design was really distracting and had very little payoff, the only interesting uses being as a house that could be easily knocked down, a decent metaphor for the family strife, and when all the cubes rearranged into a grave at the end. But despite how strong that ending visual was, I don’t think it was worth two hours and 45 minutes of wasted set design and extra jobs for the actors. It looked very ill-fitting for such an enormous stage, and I thought how much more appropriate this production and show in general would be in a small black box theatre. I think I could have appreciated it more in that setting.
Early on, as the cast forms the gray blocks into living room and bedroom furniture, we learn that Jason, the child, is scared that he’ll be gay because his ‘father is a homo’, as he sings. The funniest part was that Anthony Rosenthal, playing Jason, seemed to have a bad cold, and he kept sneezing and coughing in Christian Borle’s face and they tried not to laugh. Not as funny was that, in the wake of Sydney Lucas in “Fun Home” putting all other child actors and child roles to shame, this role (and sadly the actor) was indeed put to shame. We also learn that Marvin sees a therapist to figure out his tumultuous relationship with Whizzer – based more on lust at first than love, though they do admit that they truly love each other. Christian and Andrew’s chemistry was stronger than that of most couples, onstage or onscreen, and these two Broadway superstars made the thin story of the first act more compelling because of it. Nonetheless, their characters were kind of thankless until the very end, which is unfortunate for such incredible actors. They both do extremely well with what they’re given, but aside from a few money notes and their killer chemistry, they aren’t given much.
Then we learn that Trina needs a therapist because of this very difficult time for her family, which is understandable. But what isn’t understandable – except for purposes of the fake story – is that she goes to Marvin’s therapist Mendel. And then they all decide that Jason, who is having an understandably rough time with this transitional period, needs a therapist too…so they also enlist Mendel to therapize Jason. One really important lesson that I wish the characters learned before the show started is that there are lots of psychiatrists in New York City. Like I bet there’s at least one on every block of Manhattan and more when you get to the Upper East Side. So, there’s no good reason for a father, mother, and the son to all see the same psychiatrist. That’s the kind of crazy talk that would merit a visit to a psychiatrist. A different one.
Mendel quickly falls in love with Trina, which is against lots of rules and makes Marvin feel even more alienated from his family. He also needs a new therapist now. We’re supposed to feel bad for Marvin when these things start biting him in the ass but he did leave his family for a hot young thang so I mean what did he expect would happen. Mendel seems great at first, if severely in breach of ethics rules, but he really is the same immature sort that Marvin is, and Trina knows it, but having a husband turn out to be gay has apparently destroyed her confidence so she tells herself she could do worse and convinces herself that its in her best interest to marry Mendel. And I can see how one could arrive at that conclusion because Brandon Uranowitz is flipping hilarious. His subtle gesticulations really made the character and I was loving it for a while. But his character didn’t live up to the early potential. At one point amid all the constant familial drama, Marvin slaps Trina, and I was sooo ready for Trina to stand up and fight back (physically or verbally) but Mendel physically holds her back to prevent any escalation. I think that’s when I lost it. I was pretty close to the stage so it was really hard for me to remember that this wasn’t real and it took all my might to stop myself from climbing up on that stage, punching Marvin for hitting a woman/his ex-wife and then beating the crap out of Mendel for failing to stand up for his new wife. Like what is that shit about. It doesn’t matter that there are two lesbians in the second act (conveniently referred to continuously as ‘the two lesbians who live next door’); this is really a show by, about, and for (gay) men.
Even so, I really tried to love it. I wanted to love it. And one scene got me closer to that point than any other. In fact, as incongruous as it sounds for a show I didn’t really enjoy that much, this one scene – Trina’s “I’m Breaking Down” – might be one of the best performances of a song I’ve ever seen live. I know! Stephanie J. Block is that talented, and this song is directed that perfectly and performed that impeccably. In it, Trina is chopping up food for dinner or a pie or something while she sings a hilarious song about how all this tumult and disorder in her family and in her life is making her lose her mind and all her control, which isn’t that funny on its face, I guess, but Stephanie nails every nanosecond of this scene with perfect comic timing and hysterical frenzied humor, and this one song was worth the ticket price alone. She gets so wild in her crazy that by the end she’s singing through a mouthful of banana and is just a complete mess and it’s amazing. I never thought of Stephanie as a comedian or saw her do anything funny, but this shot her up to the top of the musical comedy list. So, everyone else in the theatre community thought this production was fantastic, to the point where it’s a frontrunner for the Best Revival Tony award. As much as I disagree with that, I would condone such a win just because of Stephanie and this one song. She was that great. As much as I kind of wished I chose a different show to see that night, I am so happy I got to witness this expert performance. I really can’t get over it.
After that scene, I tried even harder to get a bit more into it, as the dynamic was more understandable, with a growing family trying to get through all these changes. But I could not get past how unfortunately terrible a lot of the music was. Not all; there are some bright spots. But too much of the score was terrible. I remember literally gagging when Mendel sings a line about going ‘to jaw’ – as in TO EAT, just so it would rhyme with ‘my paw’ – as in A HANDSHAKE. I can’t stop having nightmares about how terrible that lyric is. There’s no reason for a rhyme that forced when both sides of it are horrendous. Just change both lines!!
And then two insane surprises happen. The first is the most unforgivable because I still don’t understand what it was going for – “The March of the Falsettos”. The four male characters come out in the dark and march over the cubes which are set up as a city skyline or some such. They are wearing bodysuits with patches that reflect the blacklight in the dark, so it’s very 1970s college dorm vibe. And they are singing in falsetto voices. This is legit the one reference to the title of the show. And they march and they sing in those high voices “march of the falsettos, march of the falsettos” and it’s WEIRD. Like, look-around-at-all-the-patrons-around-you-to-see-if-it’s-just-you weird. It was like the opening number in that it was divorced from the reality of the characters’ story and was just for fun or something, I don’t know, but I know my eyes were open rull wide.
The next unforgivable thing is unforgivable for an entirely different reason. See, this is the 1980s, and it’s about some gay men. So maybe I should have seen it coming, but I didn’t because so far it was a comedy, and a silly one at that, at least at times. And its first act didn’t let on that anything of the sort was coming. So when Whizzer starts getting sick, I didn’t get sad; I got ANGRY. Really angry. You can’t have a kind of absurd tone and then all of a sudden start talking about AIDS and expect everyone to quickly get on board with the requisite depth of emotion necessary to discuss the AIDS crisis. It made me angry that they broached this topic in such a poor manner as to prevent me from getting emotionally invested, because we all should always be emotionally invested when this disease comes up. I was pissed that I wasn’t able to connect with this more serious material because it came out of nowhere. And I guess the argument is that well the disease came out of nowhere, to unsuspecting people, and that’s totally true. But so far, this show wasn’t about reflecting pure reality, as the march of the falsettos showed. So I don’t buy that, instead of continuing to tell the story in an artistic way that allowed for maximum empathizing and connection, they suddenly switched to a cold blank reflection of reality. And the whole section of the story about Whizzer dying was incredibly emotional and well done, but because there was no bridge from the former section of the story (the whole first act and change) to this intense drama, I never found a way to catch up to that drama. We were never given another route to it, so it felt very far away and detached from any emotional connection with the audience. Well, some people did manage to find another bridge because there was some SERIOUS sobbing at the end, and I wanted to be there with them, but I wasn’t.
I learned after the fact that my feelings of disjointedness and choppiness were warranted, because the original show was a series of three separate one-acts presented Off Broadway in 1990, like sequels. The Broadway incarnation of “Falsettos” is composed of the second and third one-acts in that series, so, although they are related and follow the same characters and story, the first and second acts are really two completely separate shows. That explains a lot for me. Well, except for the “March of the Falsettos” number. And why they didn’t work more on combining the two more cohesively. And why they kept the second act longer than the first, which should be rule #1 of theatre – never have a longer second act omg especially when people’s attention spans are getting shorter. The show was so long. My hair is so now.
A few days after I saw it, I heard that they are going to air it this season on PBS, as is usually done with one Broadway production per season or so. Despite my frequent exhortation that musical theatre has to be enjoyed live to be appreciated, and despite how lucky I feel having seen these amazing actors live, I kind of wish I’d skipped this one and waited to see it on TV. For free. Still, I’m ecstatic about a few things: one, that I did indeed get to see these actors live, and especially that I saw Stephanie J Block perform this role so wonderfully, and two, that I get to see her perform that role again. For free.
I LOVE CONTENT! All the Thoughts/Things/Theatre I’ve Been Having/Doing/Watching
So it’s been a very long time since I last blogged! These two months have absolutely flown by, and it’s the longest I’ve gone without posting in probably 6 years. WHICH IS NONSENSE. I’m back, mes babies, and as long as my brain stays okay I shant I say SHANT be gone that long again. During this time, we’ve been watching hella content, from all the theatre recordings and livestreams to lots of new TV shows (but not Tiger King; I don’t futz with animal cruelty for fun?) to movies and screeners I’m probably not allowed to talk about yet. You know on 30 Rock when Kenneth says to Pete “I just love television so much” and Pete nods and says “we all do”? I mean if a line of dialogue could define a person, hoo boy.
Some of you know why I haven’t posted in a long time, and it’s not just because the theatres have closed and I’m lost without it. I got sick (before the UK implemented lockdown measures (hooray for countries with ineffectual governments headed by people who look like gross blond puffy twins!)) and it suuuucked. Slash, sucks, because the virus caused some residual effects that haven’t gone away yet. I had probably a mild case, which is hilarious, because it was the worst I ever felt in every way. My experience was like if a really, really uncoordinated squirrel was given a gun and told to shoot at the target, the target being me. Every day, the pain would be in a different random spot, running the gamut of everything a human body can feel. Seriously, name a symptom of anything, and I bet I had 90% of them. Not the Dara O’Briain sort like ‘sudden blindness’ or ‘loss of height’ but almost everything else you can think of. The unpredictability was about as fun as the pain sounds. One constant was the fatigue. That shit was no joke. I thought I knew from tired before since I’m like alwayyys tired but this was like ‘hi I would like to get up to pee but…cannot’ type legit fatigue, where I was actively trying to get my brain to send movement commands to limbs and just failing miserably. But now I am able to put sentences together (enjoy!) again and stay out of bed for most of the day (I do get up at noon most days but that’s by accident, I do not plan to nor want to, so that doesn’t really count…or something).
The crazy thing is, again, this was probably mild. I had to go to the hospital once but they sent me home with meds, and I had to get blood drawn a few times, but that’s it. And I’m like the healthiest goddamn dancer in the American Ballet Academy, who the hell are you, so people who are crying about wearing masks should get in the g-d bin. It doesn’t just affect old people or people with underlying conditions (which is like…suuuper vague and probably 90% of the population has some sort of underlying condition?? what kind of stupid mental gymnastics is this for people to pretend they are not at risk) but even if it was it would still be awful and worth protecting other people, you absolute bellends who don’t think safety precautions or grandma matter because you let your roots look truly atrocious and now you are blaming coronavirus when it’s really just your own preexisting bullshit.
Anyway that’s enough of that. You know I love to overshare on here (hello Mongolia posts) but let’s talk about CONTENT! I LOVE CONTENT! Honestly if I hadn’t been sick, and if my neighbors weren’t rude pieces of 8 who don’t care about the people around them, I’m very lucky that I would be fine with this quarantine. (Oh and if London friends need a small bottle of hand sanitizer or a roll of toilet paper, hit me up, we have some extra and don’t want to be considered a hoarder of anything but beans, beans, the special beans, I let him go but I didn’t know he’d stolen my beanssss.) On that note, I am going to share a few thoughts on the things we’ve watched!
THEATRE
Praise to the powers that be for releasing recordings of live theatrical productions for our entertainment during this time, and praise to the ones who had already had their goodies available online on places like YouTube and BroadwayHD.
Before I get to the specifics, I feel the need to comment on the ongoing discussion of theatre bootlegs, especially given the Patti Murin business from a few days ago. If you don’t follow Broadway stan twitter, well first of all that’s wonderful and I wish I had also gone my life without seeing the truly mind-numbing ‘arguments’ on it. Broadway star Patti said something about how bootlegs would put Broadway out of business if they were ever allowed to reopen. Which is, not true. However, the fact that that is not true does not mean that bootlegs are great wonderful things that should be widely made and disseminated. These are not the only two options in this argument, as, sadly, lots of gen z bway stanz seem to think. Yes, it’s unfair that those of us who don’t live in NYC or have lots of money cannot see every Broadway show every season. Broadway is inaccessible in the grand scheme of things. But we are not entitled to see every Broadway show every season. This isn’t a right of ours. I’m upset that I have missed dozens and dozens of productions I would have loved to have seen since moving out of the tri-state area. It sucks. I would love if they released recordings of, at the very least, productions after they close. But just because I want that doesn’t mean I deserve to have that, or that live theatre productions are required to think about being available to any audience that isn’t live in their theatre.
Obviously, this is even harder for people who don’t live near any live theatre hub, but there are so many productions online already LEGALLY. The feeling of entitlement that we all must have access to every single current production is insane. Not only is it theft, guys, must I remind you of my lauded 2015 Vida Vegan Con presentation called “Stop Breaking the Law, Assholes!”, but every bootleg you watch ruined the experience of another audience member, and probably enraged performers (you are not slick, chief; we all see your phone). My theatre-going experience has been ruined lots of times by people trying to record. The arguments made in favor of bootlegs are like an endless barrage of begged questions. The one with any validity is that theatre can be inaccessible to so many who want to experience it. That is true (though not an excuse for whatever solution you civilian come up with). The funniest thing for me is that the people actually taking the videos are there. They don’t have the ‘but it’s inaccessible!’ argument on their side, so what do they have? A ticket to the Bad Place, I hope.
Also, this pandemic has revealed just how much content is online already. No it’s not all or most of what has played on Broadway or the West End. But it’s something. So people people arguing will make it seem like there’s positively nothing available to them, and that’s not true. Yes we all want more, we all want to see the theatre we missed out on and especially new modern works. And it would be great if producers &c were more forthcoming and forward-thinking about making recordings available at some point, especially for shows that close early. But wanting that to happen isn’t sufficient reason to jump in and fill in the problem with your own solutions, especially when that ‘solution’ is something that everyone involved in this thing you profess to ‘love’, despises.
Maybe, we can hope, that the success and popularity of online recordings will lead to more when things get back to normal. But you aren’t going to get there this way. It’s really quite mind-boggling how growing up with the internet, with everything available to access instantly, has given younger generations this ill-conceived notion of entitlement to every sort of content. The psychology of that is super interesting, and something I’d love to learn more about, but alas, I am not an expert here to school you on that. You know what I *am* an expert in? IP LAW. STOP BREAKING THE LAW, ASSHOLES.
So here is a partial list of all the theatre content we have watched legally recently. I want to emphasize that this is a partial list. I’m not including shows I really disliked because that would just be rude, and I’m not including things lots of you probably watched like last week’s Cats livestream because I thought I had more time (I really dislike that ALW’s drops are only 24 hours in the UK, but 48 for the rest of the world. I HIGHLY DISLIKE THAT THAT RULE CAUSED ME TO MISS THAT SHOW BUT OH WELL, I AM NOT ENTITLED TO SEE THAT JUST BECAUSE I WOULD LIKE TO.) Anyway, my point is, there is SO MUCH to watch. I have a to-watch list a mile long. Tell me again how there’s just nooo way to see anything good legally??
- Into the Woods – The original Broadway production (well with a replacement Cinderella (who is fabulous)) is on YouTube. I KNOW. The more I watch this show, the more I impressed I am. It has some of the most genius lyrics that are also incredibly efficient, like my favorite “careful the things you wish/wishes come true/not free.” THAT’S THE WHOLE THING, wishes are not free. Ugh this show is so good.
- Sunday in the Park with George – The original Broadway production, also on YouTube, was shown on PBS decades ago. I remember my mom, obsessed with Mandy Patinkin, watched it in awe and I was like in single digits but remember watching with her and being like ‘oh theatre is magic, I get it, I’m gonna love this shit’. This show is my happy place, and I watched it a lot while I was stuck in bed. I think ‘Move On’ is my favorite Sondheim song. So deep and so moving and oh my god the choice may have been mistaken the choosing was not??? FUCK ME UP FAM.
- Cyprus Avenue – Speaking of stuff that forking destroys you, this 2016 play starring Stephen Rea did just that but not in a good way. It tricks you into thinking it’s funny but then nooope it is beyond harrowing. Really well done and really effective but my god, I was messed up for days.
- I and You – This production with Maisie Williams at the Hampstead Theatre was not my favorite; in fact, I despised her character with every fiber of my being, so annoying. But the ending was pretty interesting, even if it loses some of it’s power from the coincidence that Maisie’s Game of Thrones castmate did a romcom last year with the exact same twist. Hey, hey that’s joincidence with a c.
- One Man, Two Guvnors – The National Theatre’s worldwide livestreams have been an very welcome addition to the quarantine online viewing, and this is definitely my favorite. We saw this show, with pre-USA-famous James Corden, on Broadway, so to see the London production (the same cast, I believe) was a treat. It’s always fun to note what the two different audiences laugh at. Oliver Chris’s pompous posh boy was one of the funniest performances I have ever, ever seen, and we are still quoting him all the time, yop, yop, yop. It’s almost sad to realize that the hummus bit wasn’t unique to our performance, but THANK GOD the audience member who gets absolutely tortured was in on it.
- Jesus Christ Superstar – ALW’s weekly show drops have been a lot of fun because he is forking insane. His catalogue is as random as my symptom squirrel, but I love it. This one was a great weekend afternoon treat, with a fantastic performance from Tim Minchin as Judas. The music in this show is largely great and fun, and this production’s extra rock concert vibe and setting worked.
- Pride & Prejudice the Musical – This new musical, recording in a regional theatre in California, was SO fun. I absolutely love P&P (who doesn’t) and this was a very pleasant and enjoyable version, although I wish the songs were more memorable. We watched the full 100 hour Colin Firth miniseries soon after, so worth it, although I think I prefer the Keira movie!
- Jane Eyre – Okay so this play from the National is long, but it is very effective. I hated the horse noise interludes, but that is in large part due to how absolutely horrendous the sound quality on YouTube is, with the dialogue being too quiet but the horse noises shaking our walls. I found the lead performance very moving and wonderful.
- Bandstand – The Playbill.com paid release of this exquisite 2016 Broadway show solidified that it’s one of my favorites, even though it makes me cry literally the entire time. You can search ‘bandstand’ at the top of this page to read my review from back then so I won’t go into all the details now, but man alive it is perfection. HOT DAM COREY COTT. Why this was a short-term release is beyond me, especially if it’s paid, just keep making that bank guys and leave it up.
- Beardo – Okay so we ABSOLUTELY ADORE Dave Malloy, especially when his work is super weird (always), but this was probably his weirdest show yet. It was enjoyable and the music my god I LOVE that he has such a recognizable sound. But it was so f-ing weird.
- Drawing the Line – This play from the Hampstead Theatre about how India and Pakistan were divided by British buffoons was interesting, if not my favorite or the most exciting show.
- Phantom of the Opera – ALW dropped the Sierra Boggess – Ramin Karimloo version, and Sierra is my favorite Christine so I was happy that his was husbo’s first full-length exposure to this BONKERS show. I love it. The music is so good and the story is so batshit, god ALW you one crazy mufucka.
- Love Never Dies – I had heard that this sequel to Phantom was bonkerballs as well, and it was not. It was actually quite tame compared to the original, with only one generally memorale/good song. I enjoyed it, actually, but I wanted more batshit besides how awful they made Raoul. It is quite an accomplishment, however, that they made him so bad that you actually root for Christine to be with the crazy deformed murderer guy, did everyone forget that he was a murderer?
- The Arrest of Ai Weiwei – this was ANXIETY ON A STICK, jfc. The Chinese government, woof. I guess that means it was hella effective and successful.
- Frankenstein (Jonny Lee Miller as the Creature) – I love that the National released both version of this acclaimed production, with JLM and Bandersnatch Cummerbund switching roles of the doctor and his creature. This was some heavy, dark shit, and wow, it was AMAZING. I loved JLM as the creature because he was so sympathetic and even though he pulls a Phantom and starts a-murdering, you feel for him. (Thanks Cadry for that tip!)
- By Jeeves – This was hilariously painful, ALDubs. Not even Donna Lynne Champlin saved this for me. However, I’m sharing it because if you are a) British or b) a fan at all of PG Wodehouse, you will enjoy this. I am technically #a but not really, and apparently defffffinitely not #b.
- Sea Wall -This 30 minute monologue written for and performed by Andrew Scott is on YouTube if you want to get tricked into thinking it’s fun to watch the Hot Priest do something new to you but then somehow start bawling and feeling sick with grief for a fictional person, so.
- Legally Blonde – Back when MTV did the reality show “The Search for Elle Woods” (inferior to the amazing “Legally Brown” search for the new piragua guy) to find the Broadway cast’s new star, they shared this proshot of the original production, which is on YouTube. It is such a fun show, with the BEST opening number (hello Annaleigh Ashford you queen). However, be warned that the MTV audience was very much the precursor to the NBC/ABC live musical event audiences where the producers aparrently tell them ‘just scream and shout and wooo as much as you possible can! it’ll be great!’ it is not great.
- Shrek – The proshot of the original Broadway production is on Netflix for most of the world, but luckily for those of us in the UK, it’s also on Amazon to rent for £3.49. One of the most surprising shows with a wonderful score, Shrek will fill you with joy and make you cry at how moving Brian D’arcy James is and how jealous even Eugene Levy would be of his eyebrows.
- Oh, Hello – This may be the most I ever paid for a show in person (and we took my brother too, and it was the hardest we’ve ever laughed maybe, oh my god they are geniuses) but I still am giddy over getting this free on Netflix (well free after Netflix costs). Jon Mulaney and Nick Kroll are sick geniuses. I’ve been listening to their new Oh, Hello p’dcast where they…talk about Princess Diana and it is just as ridic and hilarious as it sounds, I adore them.
- Newsies – Available to rent on Amazon, this recording of the original Broadway cast is a joy. You get Jeremy Jordan and you get the most gymnastic choreography Broadway maybe ever saw, what more could you want? I saw this standing room, so this is one online experience I think I prefer (sooo funny to be like ‘ow my feet and back hurt’ when you are watching boys do like, 1000 backflips on newspapers).
- West Side Story – The classic movie version, the absolute best, is on Netflix. I still cry a whole forking lot it’s so damn wonderful.
- South Pacific – The 1958 movie was on TV here on my birthday! What a treat! It’s also on Amazon! Mitzi Gaynor is no Kelli O’Hara but it’s still pretty great!
- Hello, Dolly! – The Barbra Streisand version is on Amazon people. Helloooooo Dolly welcome into my hoooooome Dolly.
- Oklahoma! – we saw the new dark Broadway production last year and fell head over heels for it, it was so flipping amazing. This original movie is much lighter but a great watch, on Amazon.
- Pippin – The original Broadway production from 1981 is on Amazon, what are you EVEN DOING if you aren’t watching it.
- Eugenius – This sweet and clever London musical about a teen who writes comics about superheroes is on YouTube. I really enjoyed this show in London and I’m so glad they are making it available online. So fun!
- Passing Strange – On YouTube to buy or rent, this Broadway show from Stew was compelling and unique. I don’t think I appreciated it when I saw it live, so it’s a treat to reexamine and reexperience it.
- Miss Saigon -The 2016 West End 25th Anniversary Gala performance is on Amazon, with Eva Noblezada as Kim. She is. Forking. Amazing.
- 21 Chump Street – a 20 minute musical written by Lin-Manuel? Yes please. Free on YouTube and worth the extremely short time commitment, even if you will be angry because ACAB.
- Take Me to the World: Sondheim’s 90th Birthday Celebration – I have watched this YouTube tribute at least 500 times in the past few weeks. I wasn’t even a huge fan of Melissa Errico or Elizabeth Stanley before but after hearing their versions of “Children and Art” and “The Miller’s Son”, respectively, I would kill for them.
- Smash Reunion Concert – I’m sure I will watch this one 500x as well. Here’s the link!
A lot of these were available for years before the pandemic. There are dozens of productions out there, at least. Many more than most people get to see live in their lifetimes. Tell me again how there’s nothing??
I’ve also watched 10 or so full Tony Awards broadcasts from the previous century, it’s so fun. Audra still dominates, what a ledge. They used to wait to applaud each announced nominee until all 4-5 were announced, SO POLITE. But that stopped about the same time they started playing off every speech after only 8 seconds. It’s really fun to watch how the awards show changed, from a calm polite event with little intro speeches from like Bernadette to the raucous energy parades of like NPH jumping through a hoop while singing. LOVES IT.
I’ve obviously watched even more television and movie content, which I will share in a separate post since this, as per my uzh, is Quite Long. What have you watched? I want to know! I want to talk about theatreeee it’s my favorite thing to do! Is there anything on my list that you didn’t know about and are going to watch? dooo itttt.
