Are we ready for the pandemic musical? Musicals, unlike straight plays, almost always inherently demand that we sit inside the internal experience of a singing character, as song elongates and amplifies each emotion it depicts. Not everyone will be ready to stare into the maw of our memories from four years ago. And if individual mileage for audiences reliving shared horror may vary, the more pressing question may be whether the pandemic musical is ready for us. To judge from Dave Malloy’s Three Houses, by far the most unflinching depiction of life in lockdown on a New York stage yet, the answer is: not quite.
It’s not that Malloy, the multi-hyphenate creator of works like Natasha, Pierre, & The Great Comet of 1812 and the a cappella choral-theatrical Octet, is afraid to plunge rawly into the depths of isolation. Rather, Three Houses, in wading through its excesses of ideas and often free-associative images,...
It’s not that Malloy, the multi-hyphenate creator of works like Natasha, Pierre, & The Great Comet of 1812 and the a cappella choral-theatrical Octet, is afraid to plunge rawly into the depths of isolation. Rather, Three Houses, in wading through its excesses of ideas and often free-associative images,...
- 5/21/2024
- by Dan Rubins
- Slant Magazine
"Why didn't they bring out the brontosaurus?" is an esoteric demand only comprehended by theatergoers who devoured nearly all of the Broadway season. The Tony Awards ceremony missed its opportunity to parade the ginormous James Ortiz-designed Brontosaurus puppet in the sprawling epic revival of Thornton Wilder's "Skin of Our Teeth," unlike the time the event galloped out Neil Patrick Harris on the horse puppets of "War Horse" at the 65th Annual Tony Awards ceremony.
But anyway, the 75th Tony Awards, broadcast from the Radio City Music Hall on CBS, may have been a succession...
The post The Tony Awards Hits and Misses: Ariana DeBose Hosts, A Strange Loop Wins, and a Brontosaurus Puppet Fails to Make an Appearance appeared first on /Film.
But anyway, the 75th Tony Awards, broadcast from the Radio City Music Hall on CBS, may have been a succession...
The post The Tony Awards Hits and Misses: Ariana DeBose Hosts, A Strange Loop Wins, and a Brontosaurus Puppet Fails to Make an Appearance appeared first on /Film.
- 6/13/2022
- by Caroline Cao
- Slash Film
Acclaimed ‘Into The Woods’ Encores! Production Will Move To Broadway In June, With Some Cast Changes
One of the spring’s hottest Off Broadway tickets will make the move to Broadway this summer: The acclaimed, sold-out Encores! production of the James Lapine-Stephen Sondheim classic Into The Wood will transfer to Broadway’s St. James Theatre on June 28 for a strictly limited eight-week engagement.
Making the move from New York City Center to the St. James will be Sara Bareilles (as the Baker’s Wife) and Gavin Creel (as the Wolf/Cinderella’s Prince). Not along for the ride: Neil Patrick Harris and Heather Headley.
Taking over the role of the Baker from Harris will be Brian D’Arcy James, while Patina Miller will play the Witch, taking over for Headley. Phillipa Soo will play Cinderella (Denée Benton at City Center) and Joshua Henry will take over for Jordan Donica as Rapunzel’s Prince.
Also making the move to Broadway will be City Center cast members Ta’Nika Gibson as Lucinda,...
Making the move from New York City Center to the St. James will be Sara Bareilles (as the Baker’s Wife) and Gavin Creel (as the Wolf/Cinderella’s Prince). Not along for the ride: Neil Patrick Harris and Heather Headley.
Taking over the role of the Baker from Harris will be Brian D’Arcy James, while Patina Miller will play the Witch, taking over for Headley. Phillipa Soo will play Cinderella (Denée Benton at City Center) and Joshua Henry will take over for Jordan Donica as Rapunzel’s Prince.
Also making the move to Broadway will be City Center cast members Ta’Nika Gibson as Lucinda,...
- 5/26/2022
- by Greg Evans
- Deadline Film + TV
A Brontosaurus and a Woolly Mammoth taking up residence among the mid-century modern trappings of a middle-class New Jersey household will now and forever make a theatrical impact – that, at least, hasn’t changed since playwright Thornton Wilder’s days – but so much else has, not least of all the ability of The Skin of Our Teeth, a seminal post-modern avant-garde winner of the 1943 Pulitzer Prize, to beguile merely on the strength of the post-modern avant-gardeness of it all.
Lincoln Center Theater’s major new revival of the play, directed by Lileana Blain-Cruz, with additional material by Branden Jacobs-Jenkins and the tireless efforts of an exemplary cast, does, in fact, afford some newfound vitality for a work so often more admired than loved. An exercise in endurance – for the cast, for the audience – The Skin of Our Teeth long ago passed along the novelty of its time-tripping, allegorical flourishes to subsequent heirs, from Caryl Churchill to Tony Kushner to the Wachowskis, so any attempt to meet and rise above the play’s inherent challenges would seem to require a vision, maybe a ruthlessness and certainly a firm grasp of the play’s continued reason for being.
Blain-Cruz does in fact display occasional moments of just those things, and so this Skin of Our Teeth, in fleeting sequences, lifts itself from the play’s traditional slog.
With a Black cast, loving references to bell hooks and allusions to youthful rage that seem as ferociously essential as the Black Lives Matter protests of 2020, Blain-Cruz reshapes Wilder’s universe just enough to encompass the Black experience, placing it firmly within the sweep of Wilder’s epoch-spanning tragicomic history of humanity.
As always, The Skin of Our Teeth opens with Sabina, maid to the upwardly mobile Antrobus family of Excelsior, New Jersey. Sabina nervously tidies the attractive house while catching us all up on the who’s who and what’s what – Mr. Antribus (James Vincent Meredith) has been very busy at the office of late, consumed as he is with inventing the wheel, while Mrs. Antribus (Roslyn Ruff) fusses protectively over the kids, little Gladys (Paige Gilbert) who is picking up some bad lipstick habits from the girls at school and young Henry (Julian Robertson) who just can’t keep his hands off rocks and other boys’ skulls any more than he can outrun the real name – Cain.
And on top of everything, the Ice Age is heading toward New Jersey, and not even the friendly
Bronto who lumbers around the living room – a marvelous and massive hand-operated puppet designed by James Ortiz – or the orange mammoth who romps like a puppy are likely to survive.
And so they don’t. Come Act II, when the action and the Antrobus Family finds itself on the boardwalk of Atlantic City during what appears to be both the 1920s and the Biblical Flood, the mammoth and the dinosaur will not be among the chosen two-by-twos to take refuge on that big boat just off the Jersey Shore. Violent Henry is still causing trouble, Sabina now calls herself Lily and Mrs. Antrobus has all but had it with her pathetic excuse for a husband, but, hey, family’s family, and that storm is coming hard.
When Skin finally arrives at Act II, the Antrobuses have been torn asunder by war – the blue and gray uniforms and antebellum dresses leave no doubt which war – and the long-in-coming, but never resolving, conflicts between father and son, husband and wife, mother and daughter, reach both a zenith and, Wilder suggests, a sort of equilibrium that can only exist in forgiveness. The next calamity is always in the offing, so stop squabbling.
Except of course that Wilder couldn’t have imagined nuclear holocaust or existential climate change, so The Skin of Our Teeth is always going to feel a bit, well, quaint in its ancient disasters and feel-good proposals. As theater, the Lincoln Center staging makes impressive use of the puppetry and the projections of hurricanes and a gorgeous evocation of the Atlantic City boardwalk as a modern-day Sodom and Gomorrah – which, by the way, looks like terrific fun, with loads of cool people, not least the all-knowing fortune teller played, in a relatively brief but wonderfully commanding performance, by the great stage star Priscilla Lopez. In a lovely final image, human wanderers follow the sun through distant fields. Here’s hoping they get where they are going – it’s been a long hike.
Lincoln Center Theater’s major new revival of the play, directed by Lileana Blain-Cruz, with additional material by Branden Jacobs-Jenkins and the tireless efforts of an exemplary cast, does, in fact, afford some newfound vitality for a work so often more admired than loved. An exercise in endurance – for the cast, for the audience – The Skin of Our Teeth long ago passed along the novelty of its time-tripping, allegorical flourishes to subsequent heirs, from Caryl Churchill to Tony Kushner to the Wachowskis, so any attempt to meet and rise above the play’s inherent challenges would seem to require a vision, maybe a ruthlessness and certainly a firm grasp of the play’s continued reason for being.
Blain-Cruz does in fact display occasional moments of just those things, and so this Skin of Our Teeth, in fleeting sequences, lifts itself from the play’s traditional slog.
With a Black cast, loving references to bell hooks and allusions to youthful rage that seem as ferociously essential as the Black Lives Matter protests of 2020, Blain-Cruz reshapes Wilder’s universe just enough to encompass the Black experience, placing it firmly within the sweep of Wilder’s epoch-spanning tragicomic history of humanity.
As always, The Skin of Our Teeth opens with Sabina, maid to the upwardly mobile Antrobus family of Excelsior, New Jersey. Sabina nervously tidies the attractive house while catching us all up on the who’s who and what’s what – Mr. Antribus (James Vincent Meredith) has been very busy at the office of late, consumed as he is with inventing the wheel, while Mrs. Antribus (Roslyn Ruff) fusses protectively over the kids, little Gladys (Paige Gilbert) who is picking up some bad lipstick habits from the girls at school and young Henry (Julian Robertson) who just can’t keep his hands off rocks and other boys’ skulls any more than he can outrun the real name – Cain.
And on top of everything, the Ice Age is heading toward New Jersey, and not even the friendly
Bronto who lumbers around the living room – a marvelous and massive hand-operated puppet designed by James Ortiz – or the orange mammoth who romps like a puppy are likely to survive.
And so they don’t. Come Act II, when the action and the Antrobus Family finds itself on the boardwalk of Atlantic City during what appears to be both the 1920s and the Biblical Flood, the mammoth and the dinosaur will not be among the chosen two-by-twos to take refuge on that big boat just off the Jersey Shore. Violent Henry is still causing trouble, Sabina now calls herself Lily and Mrs. Antrobus has all but had it with her pathetic excuse for a husband, but, hey, family’s family, and that storm is coming hard.
When Skin finally arrives at Act II, the Antrobuses have been torn asunder by war – the blue and gray uniforms and antebellum dresses leave no doubt which war – and the long-in-coming, but never resolving, conflicts between father and son, husband and wife, mother and daughter, reach both a zenith and, Wilder suggests, a sort of equilibrium that can only exist in forgiveness. The next calamity is always in the offing, so stop squabbling.
Except of course that Wilder couldn’t have imagined nuclear holocaust or existential climate change, so The Skin of Our Teeth is always going to feel a bit, well, quaint in its ancient disasters and feel-good proposals. As theater, the Lincoln Center staging makes impressive use of the puppetry and the projections of hurricanes and a gorgeous evocation of the Atlantic City boardwalk as a modern-day Sodom and Gomorrah – which, by the way, looks like terrific fun, with loads of cool people, not least the all-knowing fortune teller played, in a relatively brief but wonderfully commanding performance, by the great stage star Priscilla Lopez. In a lovely final image, human wanderers follow the sun through distant fields. Here’s hoping they get where they are going – it’s been a long hike.
- 4/26/2022
- by Greg Evans
- Deadline Film + TV
Hercules, the Public Works’ stage adaptation of Disney’s so-so 1997 animated musical, improves on its source not so much on the strength of its characters or the charms of its leading man – though it accomplishes both those feats – but through sheer energy. This Hercules, with songs both old and new by Disney hitmakers Alan Menken and David Zippel and an occasionally clever new book by playwright Kristoffer Diaz, makes for a fine end-of-summer evening in Central Park’s Delacorte Theater, even if it doesn’t add much of great significance to the Disney canon.
Less innovative and enticing than Shaina Taub’s Twelfth Night – last year’s Public Works contribution to Free Shakespeare in the Park’s summer season – Hercules still succeeds where it counts: In the enthusiasm generated both by its lead cast of professionals and the 200-plus ensemble of amateurs (ages 5 to 80+) recruited from partnering community organizations from all five New York City boroughs.
With five new Menken/Zippel songs added to the film’s short-sheeted line-up of semi-memorable musical numbers, this Hercules goes a way – a small way, but a way – in fleshing out the thin, mid-level-Disney narrative of the ’97 film. The musical padding, if not contributing anything of spectacular worth to the Disney oeuvre, nonetheless contains at least one affable tune appropriate for a late summer evening – a sultry jazz number called “A Cool Day in Hell,” sung by Bart and his two impish minions with the laid-back nonchalance of a “Fever”-ish Peggy Lee.
Plotwise, Diaz’s new book adheres closely to the movie’s narrative, minus a few film characters and subplots (no Pegasus sidekick for Hercules). Via a gospel-music infused prologue – actually, the entire production is gospel-infused, a nice modern twist on the Greek chorus – the audience learns that the divine Zeus and Hera have had a son, Hercules, a looming threat to Hades’ evil schemes and, so, a target. The lord of the underworld sends his two comic minions – Pain (Nelson Chimilio) and Panic (the scene-stealing Jeff Hiller) to kidnap and poison the babe. In classic fairy tale style, the would-be killers bungle the job, succeeding only in making Hercules mortal.
The foundling is raised by a loving, and entirely human, mom and dad, but the boy’s demi-god nature grows more troublesome with each and every packed-on muscle. A routine trip to the market square inevitably turns into wreckage and disaster as the clumsy teenager, unaware of his own strength, invariably knocks over a Grecian column or two, upends food carts, and generally wreaks unintentional havoc.
Understanding he doesn’t belong in this human world – this Hercules spotlights themes of self-discovery and find-your-place journeys – the extra-strength, if otherwise standard-issue teen beseeches the gods for help, and gets an answer. In the deft, Diy approach favored by Public Works, two large masks – one for Zeus, one for Hera – boom out the revelation that Hercules was born a god, but made mortal, and in order to return to his rightful place on Mount Olympus will have to prove his heroism
Under the training of James Monroe Iglehart’s Philoctetes – Phil for short – Hercules sets out to do some monster-slaying, a mission soon accomplished (the colorful Chinese dragon-style foes are provided by puppet creator James Ortiz).
But the Hydra-killing antics do little to impress the townsfolk, whose true needs are more along the lines of affordable housing and income equality. Diaz’s Hercules – vibrantly staged by director and Public Works founder Lear deBessonet – asks, In a world such as this, what makes a true hero?
We’ll find out, of course, as Hercules becomes one with his human community, saves his true love Megara (Krysta Rodriguez) from the grasp of Hades, makes a final choice between divinity and humanity, concluding there’s not really much difference.
Yes, it’s predictable and pat, with broad-strokes messaging that serves the children’s theater vibe and community-embracing goals of the production. Diaz’s book includes its fair share of the pop-culture wisecracks and fourth-wall-breaking quips that have been Disney de rigueur at least since Robin Williams conjured his style-setting Genie in 1992’s Aladdin.
Iglehart, a Tony winner for his performance as the Genie in Broadway’s Aladdin, does a clever, contemporary spin on a Burgess Meredith-style athletic trainer. Bart, as usual, is a stand-out, but even he gets a run for his money from the devilish imp played by Hiller. As the anti-damsel in distress Meg, Rodriguez (NBC’s Smash) brings a leather-jacketed rock & roll defiance to the party, hitting few other notes.
A sequin-bedecked quintet of Muses serves as Greek chorus, lending full-throated gospel power and, here and there, girl group harmonies to the show, soaring above the colorfully costumed 200-plus amateur cast. Endearing even when not quite up to the fast-paced demands of Chase Brock’s tireless choreography, the stage newcomers add an appealing all-in-this-together enthusiasm familiar to anyone who saw last season’s superior Twelfth Night.
As good as so many of the supporting players are, though, Hercules belongs to its hero, so well played by Alladin. Buoyant and athletic, the actor (he originated the role of Kristoff in Broadway’s Frozen), has an aw-shucks quality that suits the teenage Herc, and, being a black actor, Alladin’s brief on-the-street take-down by a couple Centurions can’t help but project a contemporary relevance to the otherwise comic proceedings. It’s brief and passing, but there if you look.
Will the newish Hercules, complete with the film’s demi-known songs “Go The Distance,” “Zero To Hero,” “One Last Hope” and “A Star Is Born,” travel beyond this Central Park staging? No plans have been announced, or even hinted, and it’s difficult to imagine this sprawling, charmingly unpolished endeavor in a Broadway theater. Hercules has never been a Disney classic – likable enough, but minor. The new production doesn’t powerlift the tale beyond those limits.
Hercules’ limited engagement at the Delacorte Theater in New York’s Central Park ends Sept. 8.
Less innovative and enticing than Shaina Taub’s Twelfth Night – last year’s Public Works contribution to Free Shakespeare in the Park’s summer season – Hercules still succeeds where it counts: In the enthusiasm generated both by its lead cast of professionals and the 200-plus ensemble of amateurs (ages 5 to 80+) recruited from partnering community organizations from all five New York City boroughs.
With five new Menken/Zippel songs added to the film’s short-sheeted line-up of semi-memorable musical numbers, this Hercules goes a way – a small way, but a way – in fleshing out the thin, mid-level-Disney narrative of the ’97 film. The musical padding, if not contributing anything of spectacular worth to the Disney oeuvre, nonetheless contains at least one affable tune appropriate for a late summer evening – a sultry jazz number called “A Cool Day in Hell,” sung by Bart and his two impish minions with the laid-back nonchalance of a “Fever”-ish Peggy Lee.
Plotwise, Diaz’s new book adheres closely to the movie’s narrative, minus a few film characters and subplots (no Pegasus sidekick for Hercules). Via a gospel-music infused prologue – actually, the entire production is gospel-infused, a nice modern twist on the Greek chorus – the audience learns that the divine Zeus and Hera have had a son, Hercules, a looming threat to Hades’ evil schemes and, so, a target. The lord of the underworld sends his two comic minions – Pain (Nelson Chimilio) and Panic (the scene-stealing Jeff Hiller) to kidnap and poison the babe. In classic fairy tale style, the would-be killers bungle the job, succeeding only in making Hercules mortal.
The foundling is raised by a loving, and entirely human, mom and dad, but the boy’s demi-god nature grows more troublesome with each and every packed-on muscle. A routine trip to the market square inevitably turns into wreckage and disaster as the clumsy teenager, unaware of his own strength, invariably knocks over a Grecian column or two, upends food carts, and generally wreaks unintentional havoc.
Understanding he doesn’t belong in this human world – this Hercules spotlights themes of self-discovery and find-your-place journeys – the extra-strength, if otherwise standard-issue teen beseeches the gods for help, and gets an answer. In the deft, Diy approach favored by Public Works, two large masks – one for Zeus, one for Hera – boom out the revelation that Hercules was born a god, but made mortal, and in order to return to his rightful place on Mount Olympus will have to prove his heroism
Under the training of James Monroe Iglehart’s Philoctetes – Phil for short – Hercules sets out to do some monster-slaying, a mission soon accomplished (the colorful Chinese dragon-style foes are provided by puppet creator James Ortiz).
But the Hydra-killing antics do little to impress the townsfolk, whose true needs are more along the lines of affordable housing and income equality. Diaz’s Hercules – vibrantly staged by director and Public Works founder Lear deBessonet – asks, In a world such as this, what makes a true hero?
We’ll find out, of course, as Hercules becomes one with his human community, saves his true love Megara (Krysta Rodriguez) from the grasp of Hades, makes a final choice between divinity and humanity, concluding there’s not really much difference.
Yes, it’s predictable and pat, with broad-strokes messaging that serves the children’s theater vibe and community-embracing goals of the production. Diaz’s book includes its fair share of the pop-culture wisecracks and fourth-wall-breaking quips that have been Disney de rigueur at least since Robin Williams conjured his style-setting Genie in 1992’s Aladdin.
Iglehart, a Tony winner for his performance as the Genie in Broadway’s Aladdin, does a clever, contemporary spin on a Burgess Meredith-style athletic trainer. Bart, as usual, is a stand-out, but even he gets a run for his money from the devilish imp played by Hiller. As the anti-damsel in distress Meg, Rodriguez (NBC’s Smash) brings a leather-jacketed rock & roll defiance to the party, hitting few other notes.
A sequin-bedecked quintet of Muses serves as Greek chorus, lending full-throated gospel power and, here and there, girl group harmonies to the show, soaring above the colorfully costumed 200-plus amateur cast. Endearing even when not quite up to the fast-paced demands of Chase Brock’s tireless choreography, the stage newcomers add an appealing all-in-this-together enthusiasm familiar to anyone who saw last season’s superior Twelfth Night.
As good as so many of the supporting players are, though, Hercules belongs to its hero, so well played by Alladin. Buoyant and athletic, the actor (he originated the role of Kristoff in Broadway’s Frozen), has an aw-shucks quality that suits the teenage Herc, and, being a black actor, Alladin’s brief on-the-street take-down by a couple Centurions can’t help but project a contemporary relevance to the otherwise comic proceedings. It’s brief and passing, but there if you look.
Will the newish Hercules, complete with the film’s demi-known songs “Go The Distance,” “Zero To Hero,” “One Last Hope” and “A Star Is Born,” travel beyond this Central Park staging? No plans have been announced, or even hinted, and it’s difficult to imagine this sprawling, charmingly unpolished endeavor in a Broadway theater. Hercules has never been a Disney classic – likable enough, but minor. The new production doesn’t powerlift the tale beyond those limits.
Hercules’ limited engagement at the Delacorte Theater in New York’s Central Park ends Sept. 8.
- 9/3/2019
- by Greg Evans
- Deadline Film + TV
Disney’s 1997 animated film “Hercules” was a box office underperformer, and the film landed only a single Oscar nomination, for Alan Menken and David Zippel’s upbeat anthem “Go the Distance”.
But now, Disney Theatrical Group has unearthed the fan favorite for the stage — and the first production, playing for a brief run at the Public Theater’s outdoor Delacorte Theatre in Central Park, works better than bigger-budgeted recent efforts like “Frozen.”
For one thing, director Lear deBessonet’s homespun production runs about as long as the original film — just over 90 minutes — despite the addition of five mostly catchy new songs.
Also Read: 'Bat Out of Hell' Theater Review: How to Turn a Musical Into Meat Loaf
But the show also captures the bouncy energy and fleet storytelling of the original, which adapted the Greek myth of half-God, half-human Hercules for the Disney storybook set. Kristoffer Diaz’s new script...
But now, Disney Theatrical Group has unearthed the fan favorite for the stage — and the first production, playing for a brief run at the Public Theater’s outdoor Delacorte Theatre in Central Park, works better than bigger-budgeted recent efforts like “Frozen.”
For one thing, director Lear deBessonet’s homespun production runs about as long as the original film — just over 90 minutes — despite the addition of five mostly catchy new songs.
Also Read: 'Bat Out of Hell' Theater Review: How to Turn a Musical Into Meat Loaf
But the show also captures the bouncy energy and fleet storytelling of the original, which adapted the Greek myth of half-God, half-human Hercules for the Disney storybook set. Kristoffer Diaz’s new script...
- 9/2/2019
- by Thom Geier
- The Wrap
Jelani Alladin, a star of the Broadway musical Frozen, will take on the title role in this summer’s new stage adaptation of Disney’s Hercules, with Roger Bart (Broadway’s The Producers) cast as the villainous Hades.
Casting was announced today by The Public Theater for the previously announced adaptation of Disney’s 1997 animated film. The musical, to be presented as part of the Public’s Shakespeare in the Park season, will feature six songs from the Oscar-nominated Alan Menken/David Zippel film score in addition to new songs by the songwriting team.
Hercules will include a new book by Kristoffer Diaz (Glow), choreography by Be More Chill choreographer Chase Brock, and direction by Lear deBessonet. The musical will run for seven nights – Aug. 31-Sept. 8 – at Delacorte Theater, concluding this summer’s free Shakespeare in the Park season.
Also in the cast announced today: Jeff Hiller (Panic), James Monroe Iglehart...
Casting was announced today by The Public Theater for the previously announced adaptation of Disney’s 1997 animated film. The musical, to be presented as part of the Public’s Shakespeare in the Park season, will feature six songs from the Oscar-nominated Alan Menken/David Zippel film score in addition to new songs by the songwriting team.
Hercules will include a new book by Kristoffer Diaz (Glow), choreography by Be More Chill choreographer Chase Brock, and direction by Lear deBessonet. The musical will run for seven nights – Aug. 31-Sept. 8 – at Delacorte Theater, concluding this summer’s free Shakespeare in the Park season.
Also in the cast announced today: Jeff Hiller (Panic), James Monroe Iglehart...
- 6/20/2019
- by Greg Evans
- Deadline Film + TV
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