After a lengthy marathon of shows over the past 4 weeks for our vacation, here are a few thoughts regarding a few of the productions we were lucky enough to catch…  Click on the titles to go to the respective websites.

[Title of Show]

I had quite medium expectations for this show because of mixed reviews from people who had seen the off-Broadway production. But an ingeniously timed lottery draw and recent positive feedback carried us straight into the front row of the Lyceum.  Surprisingly, the show was a blast of creative wit peppered with hilarious references to show people and dead musicals.  With a cast of 4 + 1 (Larry, the pianist) and quite a few catchy tunes (my favorite being A Way Back to Then busting from Heidi Blickenstaff), this piece about two people writing a musical about two people writing a musical makes for a strong contender in the upcoming Tony’s.

 

The Little Mermaid

Pardon the callousness, but if you’re looking for something of value on Broadway, this is NOT the show to see.  Again, Walt Disney has succeeded in dishing out a mediocre offering of dumpy unimaginative costumes on roller shoes that look like they tumbled out of a Sketcher’s catalog.  The musical is an utter waste of Norm Lewis and Sherie Rene Scott who are shoved into caricatured portrayals of King Triton and Ursula.  My advice to Disney: save us the pain and keep productions like this where they belong – in Disney World.

 

Gypsy

I saw this version of Gypsy back when it was playing under City Center Encores! and the show seems to have come a long way since its inception – not because of any material changes in the staging or in Laurents’ direction, but more because of the growing pizzazz of the performers.  I must say that this production represents a genuine triumph for LuPone, and I could not agree more with Brantley’s assessment in the Times:  “When Ms. LuPone delivers “Rose’s Turn,” she’s building a bridge for an audience to walk right into one woman’s nervous breakdown. There is no separation at all between song and character…”  Laura Benanti and Boyd Gaines are equally excellent in their roles – and if this trio’s triple tony win won’t spur you to see this show, I don’t know what else will.

 

Damn Yankees

Damn Yankees was this year’s City Center offering that starred Sean Hayes, Jane Krakowski, and Cheyenne Jackson.  But as much as the show was buoyed by Hayes’ evanescent Jack-like charm and concert pianist skills, Karakowski’s languid come-ons, or Jackson’s body-in-boxers display…a stellar cast doth not a show make.  I cannot figure out if it was the length of time in rehearsals that this group had to work with, but the show clearly had no novel sense of identity on stage AND butchered Fosse’s choreography to boot.  Might this pick up speed with a transplant to Broadway?  Possibly.  There’s a lot of good stuff to cook with, but definitely a lot of lard to carve away.

 

South Pacific

AMAZING. AMAZING. AMAZING. I cannot, for the life of me, get over Barlet Sher’s exquisite work in this production.  South Pacific is back on Broadway with its first revival in 50 years – and I have to say it was definitely worth the wait.  The staging is simple and devoid of gimmicky technical surprises, but altogether breathtaking (the use of the beachfront at the very back of the stage is ingenious!!)  There are also definitely many performances to praise:  Kelli O’Hara’s classic tones slide flawlessly into her role as Forebush, and Szot’s take on the estranged Frenchman is definitely worthy of his Tony Award.  Of note, this production’s Loretta Ables Sayre did the Philippines proud with her meaty portrayal of Bloody Mary. However, Sher’s obvious meticulousness with breathing life into real characters and their interactions is the real victory of the evening, and leaves you with haunting images of racism and the American encroachment of the Tonkinese.  The production reminded me of why I got into theater in the first place.  VERY worth seeing (and also one of the most difficult tickets to secure around this time). 

 

In The Heights

This year’s Tony winner is a fresh look at the Latino community of Washington Heights in New York, and boasts of the clever ‘syntax’ of Lin-Manuel Miranda as he busts a rhyme her in there throughout the show.  From a Filipino perspective, much of the show is infused with homegrown sensibilities like the focus on Abuela’s struggles, or Kevin’s obsession with his daughter’s education, or even the plight of the Piragua Guy (akin to our Sorbetero).  I have to say, though, that most of the first act runs through character sketches of the ‘townsflok’, and that the meat of the discourse reveals itself in Act 2.  The musical is, at its core, Miranda’s testament not only to this specific society, but to all that shares the pathos of its situation.

 

Xanadu

This is such a fun musical that I don’t quite know where to begin…but we did see it on the first night Whoopi Goldberg joined the cast as Caliope, and that was just an experience all by itself.  Xanadu is a parody of the Olivia Newton John movie musical of the same title – and in thus being succeeds in every aspect that its predecessor failed.  The banter onstage between the muses is outlandishly hysterical and finds its best delivery in the hands of Mary Testa (who didn’t play that night but I had seen before) and Andre Ward (the muse of dance).  The music is, of course, very catchy and recognizable (to those of us who hail from that post-Grease era), and brilliantly interpreted by Kerry Butler and Cheyenne Jackson.  Again…this musical is such a bag of fun that it is worth watching a couple of times.  How was Whoopi’s performance?  Well, let’s just say she has a lot of potential to get much better (it was hilarious how she didn’t know her lines in the Mt. Olympus scene and took out cue cards) – so yes I will catch her towards the end of her run.

the flight has just landed...

 

Everyone in the area is invited to our concert at Carnegie Hall on Friday, April 4: a musical tribute to Oscar Hammerstein. 

The show will be featuring Sutton Foster (Drowsy Chaperone, Thoroughly Modern Millie), Aaron Lazar (Les Miserables, Light in the Piazza), and Rosena Hill (The Color Purple), and us of course - members of the Juilliard Choral Union (now known as The Clurman Singers).  The New York Pops takes center stage as the orchestra for the performance under the baton of David Charles Abell. 

The concert features songs from Showboat, Carmen Jones, South Pacific, and Oklahoma. 

For more information, visit www.carnegiehall.org.

This Saturday marks my first bold leap into the world of classical bravado with my vocal performance recital the Juilliard School of Music!!!  The semester has been crazy, to say the least. And like I told one of the mezzos at class the other day, I'm not entirely sure if I've really found my identity in relation to the genre just yet.  But what the heck - it's the first semester - and juggling work at the hospital, my current research projects, and the evening classes at Juilliard have been quite a feat!

It has been very exciting to venture into this new jungle of the dulcet set in guttural german 'achs' and slovenly italian lines.  Undoubtedly, the most valuable lesson I have taken home from this semester has been technique.  Seriously, after developing the operatic disciplines of phrasing and breath and proper placement, singing everything else seems much much easier.  Our teacher, Myra, has been nothing short of wonderful in her almost savant-like insights into our performances.

For those of you in the area, you are all invited to come - December 15, 5:30 pm at the Juilliard School of Music.  The entrance is on West 65th between Amsterdam and Broadway.  We're still working out the exact venue (because things have been crazy due to the construction going on) but I'll be sure to let you know before Wednesday. 

I will be dabbling in a bit of Bononcini, Handel, and Pergolesi, and will be performing a couple of duets with some of the sopranos.  The whole program shouldn't last very long, so don't worry about dinner plans because we should be done before 7.  And admission is free!!  Hope to see you all there!!

Now if I could just memorize my lyrics before Saturday...

Stupendous scintillating congratulations are in order for my brother, Andrew, who won the top prize in the comics category at the 2nd Philippine Graphic/Fiction Awards for his short piece, 'Lines and Spaces'. 

And more cheers go out to him for being awarded by (AND...having dinner with!) none other than Neil Gaiman who was the special guest of the event.

My brother puts out the craziest work...if you have time, hop over to The Chemistry Set where his collection called Kare-Kare Komiks is currently being featured among other top international artists. 

Also check out his Famos! blog here.


I wish I could draw.

Ahrens and Flaherty's new musical, "The Glorious Ones", is currently running at Lincoln Center (that is now quite hidden behind all of the construction going on at Juilliard).  Boasting of the kick-ass creative team that brought together "Once On This Island" (yes, Graciella Danielle directs and choreographs this one as well), the piece takes us back to 17th century Italy where we catch the humble beginnings of a small troupe of commedia dell'arte actors.  The group is led by Flaminio Scala (Marc Kudisch) who takes center stage as the very soul of the art form in a role brandishes almost of a quasi-'El Gallo'-slash-'The Fantatsicks' feel. 

In fact, the comparison is not so far off as you may think - the sets are protean in keeping with the style of the early street comedies, with the actors pulling most of the props out of boxes found here and there on the wooden stage.  Furthermore, the use of lunar references in several scenes is very reminiscent of the cardboard moon from the very same show.  All in all, however, it seems like The Fantasticks may have effectively handled that almost minimalist device with more ease.

The show starts off at a rather dragging pace, introducing the almost caricatured members of the troupe - the flamboyant leader, the buffoon doctor, the scroungy midget, the lascivious old tailor, the able-bodied temptress, the cooky young jester, and the blonde-bombshell princess - setting the tone for character portraits that initially have a difficult time taking off the ground.  The real meat of the piece, however, occurs much later in the show where we see the characters round out and conflicts develop. 

The music is beautiful (but sadly, only in certain places - a tad bit disappointing from the team) with memorable pieces like "Absalom" where the street jester, Francesco, talks about his adopted paternal connection to Flaminio.  In "The World She Writes" and "Opposite You", the arduous intricacies between Isabella Andreini and Francesco are formed, that later lead into a plan to change the very nature of the commedia's improv by introducing the idea of 'written lines' in contrast to the spontaneous nature of the art form.  This central conflict serves to mark the piece's main theme - that of the integrity of 'art as art' and its permeation throughout the generations.

I must say, though, that as a cast, the players are solid.  Marc Kudisch puts on a quite excellent excellent performance as Scala, with the understudies, notably Jeremy Webb and Francesco, Natalie Belcon as Columbina, and Solestiyo as Armanda Ragusa dishing out poignant supporting roles.  The company's vocal prowess is also quite impressive (again, Kudisch takes center stage with his fiery copper baritone, but Erin Davie's delicate soprano in the role of Isabella is quite as delicious).

In summary, Ahrens, Flaherty and Danielle's attempt at breathing life into this Francine Prose novel is rather bold (against the backdrop of the ultra-technical stage wonders of this age) and commendable.  However, their best work (beside the glimmer and shimmer of Seussical, Ragtime, and Once On This Island) it is not. 

I'd like to send out a huge thank you to everyone who greeted me on my birthday - especially all the people who either texted or sent messages from Manila - and Daj, of course, who made sure everything was extra extra special.  I can't wait to see you when I get home!!!

Just as an aside, here's the latest poster out for the upcoming film version of Sondheim's Sweeney Todd: directed by Tim Burton and starring Johnny Depp and Helena Bonham Carter.  The whole prospect of Burton handling the project excites me, but I have my reservations about how the singing is going to turn out.  I guess we'll find out in December.  JM just posted the full trailer on his blog so hop on over there to watch it.

Well, it looks like i've finally decided to blog a bit after an extended hiatus from multiply.  Fall is creeping in and the weather should keep most of us indoors more often so you might expect a few more entries in the near future.

I caught the first preview night of MTC's 'Mauritius' at the Biltmore Theater, which I thought was very promising at first.  The new piece by playwright Theresa Rebeck plunges into a rather odd but pleasurable cocktail of philately, sibling tension, and the shifty dark waters of the underworld.  The plot revolves around the Mauritius stamps - the 'crowned jewels' of the collectors world -that happen to fall into the hands of a young girl as part of her grandfather's stamp collection.  The tremendous value of the discovery leads to a tug of war between her sister, who stakes her own claim against the stamps, two sleazeball enthusiasts, and a jaded local stamp expert for their acquisition.  The writing is for the most part entertaining as Rebeck attempts to focus on an exposition of 'bad behavior' as one of her central themes, but her work falls apart in places where she walks a line between comedy and suspense. 





The big cop out sadly arrives at the show's end, with a rather awkward resolution.  All in all the actors were impressive, however, with Will and Grace's guest star Bobby Cannavale and Allison Pill putting forth the strongest performances.

On an alternate front, HEROES is back!!  The pilot episode for this season aired last week on NBC, with the introduction of a new flying boy (heheh) and a peek into new twists.  Catch it tomorrow!!

hey people! sorry i haven't been blogging a lot lately. i've been experimenting with shifting to multiply. there's this thing about incorporating my livejournal posts straight into the multiply blog by 'crossposting', but i haven't been able to do that. so some of my latest posts are on my multiply site. arrrgh struggling, struggling struggling: catch me at leckyd.multiply.com. there's also a bunch of pictures and other cool stuff.

god i hate doing nights. well its actually fun ploughing through five admissions at a time - and i am learning a whole lot more than i actually expected to - but its just being out of the day-loop that blows. majorly. i mean on a normal day you get off work and you have time to go see a movie or show before you settle down to sleep. but night float is just outrageously wrong. i'm glad there's a whole bunch of people like mike and abet and cindy around who kinda fill parts of the meager time i have off. but AAAAAAAAAAAAAAAH! and to top it all off, i'm working christmas eve and christmas christmas. the only good thing though is that i'm flying home soon and staying up like this is kinda like pushing yourself into a premature jetlag.

the packages are starting to roll into 515 one by one, though i'm a bit nervous about a few that haven't arrived. i'm probably bringing home a suitcase 3/4ths full of presents. but that's fine. i'm always kinda excited to give out my gifts at christmas.

i'm seeing an inordinate amount of 'soft' cancer cases these past few days, thanks to wen, my resident, who dumps the heme-onc patients on me by request. nothing exciting, mostly people needing a malignancy workup for brain or bone lesions - one of them possibly a myeloma case. i should be following their courses but at this point its next to overwhelming. covering close to 60 inpatients at night and doing admissions is just crazy.

merry christmas to me. :)

p.s. just got the spring awakening album and its A-W-E-S-O-M-E