Category Archives: Theatre

Reflection: Why Do I Write (Reviews)

This was a question that has been percolating in my mind for quite some time and caused a lot of soul searching for a vast multitude of reasons. I go and see shows and support people I know, friends, etc… just like most anyone else, but not everyone writes their thoughts down… so why do it?

I think the better question is “why am I questioning myself?” Afterall I already have a bit of a following on the Pure Dancing with the Stars blog with my predictions and not everyone is going to agree and really opinions shouldn’t have to agree. Take it with a grain of salt and move on that is the constant mantra over there. (You think I’m kidding? There are a lot of passionate fans over there and they get offended by everything big and small… it is getting rather ridiculous if you ask me.)

But predicting who is going to get what score is very different from reviewing a production that your friends and acquaintances are in. There are more (familiar) egos at stake and are much more prone to bruising… everything is so subjective. Over in the Pure TV Network it is a series of media sites with several writers with differing opinions, while this is a blog of my own thoughts.

So how did I get started in reviewing in the first place…?

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Review: BrightSide Theatre’s God of Carnage

So technically this was written a month or so ago, and even though it is probably a moot point to post this, I decided instead to just wrap it up and post it anyway since I enjoyed this production regardless:

Show: GOD OF CARNAGE
By: Yasmina Reza
Translated By: Christopher Hampton
Location: BrightSide Theatre
Director: Derek Bertelsen

Several days ago I found myself seated and waiting for BrightSide Theatre‘s God of Carnage to begin. Front row… dead center, which for a lot of stage setups would have been perfect, except for this particular set up it wasn’t, not exactly anyway.

But before I go on… the quick and simple:
Acting: Like
Set Design: Like
Staging: Love
Directing: Love
OVERALL: Like

After this particular production there were so many thoughts running through my brain that I truly couldn’t find a way to organize it all. So for the sake of simplicity before going into detail, here are a little bit of what I was thinking when the show ended:
- The men felt more consistent than the women
- Veronica showed a lot more subtlety and layers
- The gag was obvious than I would have liked
- There was a lot of material added that fleshed out the characters, comedy, and story
- It never once felt like this was on stage and I was watching from the audience. It felt like I was there in the living room with the characters and just watching this unfold in front of me.

That last one is probably the most significant of all the pieces. The feeling that you are a part of the conversation without having to utter a word. That feeling of being a part of the conversation, of the chaos between the two families is what sets this production apart from others…
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Reflection: Sense & Sensibility the Musical

Now that I have had a few days to really let Denver’s production of Sense & Sensibility musical by Jeffrey Haddow and Neal Hampton sink in I could give details of what I liked and didn’t like, etc…

CHARACTER / ACTOR BREAKDOWN
The first thing I noticed was that aside from six characters:
- Elinor Dashwood
- Marianne Dashwood
- Mrs Jennings
- Edward Ferrars
- Colonel Brandon
- John Willoughby
Everyone else in the cast was playing dual (if not triple) roles… most as an ensemble-ish group similar to the Liebeslieders (or the Quintet) of A Little Night Music. Though unlike in A Little Night Music, the ensemble fluctuates from as little as four players to as many as eight/nine (I do not remember which).

However, there are two others within the cast who are not necessarily part of the general ensemble but do play multiple roles on stage.

This ingenious casting piqued my interest because it gives performing arts groups the flexibility of having a medium sized cast of 16 actors (maybe less depending on how things break down) to as large as need be for high school groups… and yes I am thinking very far ahead.

Anyway!!!!!
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Review: Sense & Sensibility World Premiere in Denver

Wow, it was almost a year ago that I was listening to the music clips on the Sense and Sensibility the Musical website and was drawn into the show… Draw into it enough to want to see the production upon its arrival in Denver.

It has been a year and well… I did end up making that trip to Colorado specifically so I could see this production live. Don’t judge me.

First… the quickies:
- Acting: LOVE
- Vocals: LOVE
- Music / Orchestration: LOVE
- Set Design: LOVE
- Directing: LOVE
- OVERALL: LOVE!!!

I was seriously considering buying another ticket for the matinee production on Sunday but thought better of it.

But where to begin? Well to start the one thing I like is that there isn’t some massive ensemble in addition to the cast, there is a group of five to seven actors/actresses who help move the story along (a la A Little Night Music). Why five to seven? Because not only do they help move the story along, but some of them also play smaller parts in the production when needed:
- Lucy Steele
- Thomas (Dashwoods servant)
- Peter (London servant)
- Miss Grey (Willoughby’s bride)
- John and Fanny Dashwood
And others, but the above are the most “obvious” I would say.

Personally I didn’t notice when each of the above players were in the “ensemble” so to speak until much later in the production… which was a good thing… otherwise I would have to watch the show again just so I could see if I had missed anything.

Since this is my impression / review of the production itself I won’t go into detail about changes from the original novel… that is going to be a post in and of itself. However what I will say is this:

When it comes to the storylines of the Dashwood sisters the stage adaptation is fairly close to the novel (with a few changes here and there). When it comes to where a lot of where particular points of the storyline happens, there are far more changes that a total purist may not be too keen on, but for me being a purist… I find that the changes made were probably the best ones that could have been done.

But again that’s another post for another day.

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Review: VTG’s A Hatful of Rain

Show: A HATFUL OF RAIN
By: Michael V. Gazzo
Location: Wheaton Drama
Director: Jeni Dees

Now, let’s be honest, I really wasn’t planning on going to see this show at all… I didn’t have the time (all things considered) and I didn’t want to watch a post-war drama about soldiers living with PTSD and trying to survive. Why? It’s not because I’m heartless… it is because I have seen and read many of those stories from friends who were deployed and their extended circles.

But since a friend of mine wanted to go… I carved out a timeslot in my crazy schedule and went with her.

So… this was an interesting show, tugs at the heartstrings at moments… though in a different way and there are moment that are so comedic that you can’t help but laugh.

However at the core of it all is the young man from war who has been hiding a drug addiction from all those who love him except one.

First the quickie thoughts:
Acting: Like
Staging: Like
OVERALL: Like

So what now? What is there to say?

This story of a young man who was terribly injured in the Korean War provides a look at drug addiction through the eyes of society in 1955, and how it can tear a family apart or bring them together. This emotional drama can be related to soldiers of today with PTSD.

Yeeeeaaaah.
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Review: Profiles Theatre’s The Dream of the Burning Boy

Yes, another Profile Theatre production, and yes I went to go and see it… why make the trip? Because, first and foremost I am a friend, and as a friend I make sure I support (a select number) my friends in their endeavors…

So since one of my friends happens to be filling in as understudy for one of the leads of Profile Theatre’s current production of The Dream of the Burning Boy… I made sure to squeeze in time in my crazy schedule to make a trip to see him with the original cast (though i suppose I would make the trip to understudy night as well but I digress).

Upon entering the “alley stage” of Profiles Theatre I was struck by the classroom setting and am immediately intrigued by the ambience and environment of a production I am walking in knowing nothing about.

Well considering that this is a matinee show (and as much as it pains me to say it) the pacing felt slow right at the beginning. This isn’t always the fault of the actors or the production team, because I find this to be an issue for professional theatre productions as well as on Broadway… matinee shows just don’t have the same kind of energy as the evening shows. Period.

From the Profiles Theatre website:

Since the sudden death of his favorite student, high-school teacher Larry Morrow has been falling asleep at his desk and dreaming. Steve, the school’s guidance counselor, hangs inspirational posters designed to help everyone “process their emotions” while the student’s sister and friends find little solace in their schoolwork. The Dream of the Burning Boy is a bittersweet story of choices made, opportunities lost, and finding the strength to move on.

That being said…

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Fleeting: Miss Saigon Characters (Wish List: Round Two)

Last month, I started a character breakdown of potential major roles in a possible Miss Saigon adaptation of the musical for film and started with the non-Vietnamese characters and even included “The Engineer” into the round up.

Next up we have the Vietnamese characters which includes Kim, Thuy, and the callgirls from Dreamland… so let’s start with the elephant in the room: Kim.

Oh… and as a fair warning… I am going to be on a major soap box when it comes to Kim. So please just bear with me and humor me while reading this…

KIM
As mentioned in my original Miss Saigon Wish List, I will (personally) only be content with the casting of Kim iff (if and only if):

[...] The future production team of the Miss Saigon film takes a page from the Memoirs of a Geisha film production [...] Although there is a lot of hype surrounding Jessica Sanchez and she has the blessing of Lea Salonga it will not work if the characters that are suppose to be Vietnamese natives are speaking near-perfect English.

How is that not appropriate? Well according to Kim herself:

I’m seventeen, and I’m new here today
The village I come from seems so far away

Not only that but when “The Engineer” introduces Kim to the other callgirls he also mentions:

Surprise!
I found this new girl, get her dressed
From the country untouched

She is fresh from the country where (for anyone that has ever been to Việt Nam) chances are high that her English is not only weak, but her accent is very strong. Granted… if EVERYONE in the film was one nationality (like how everyone in Les Miserables was French) I wouldn’t be jumping off the deep end with everybody have to have an accent or weak English… because everyone is from the same cultural background… in this case, we have two very different cultures colliding. What works for the stage isn’t going to work for film from my vantage point.

So what would I consider to be the most appropriate? Looking back at my original post:

A Vietnamese American, perhaps someone along the lines of Jacqueline Nguyen the believed first Vietnamese-American to ever play the role of Kim in Miss Saigon. If a touring production was able to find Jacqueline Nguyen there must be someone comparable or better if the net was tossed wide enough.

There are major Vietnamese communities in Chicago, Orange County (there is after a several block radius also know as “Little Saigon” there), and Texas. Tap into those areas… you’d be surprised with the results. Granted, considering that Memoirs of a Geisha did not cast the lead with a Japanese actress they did have a point as to why:

A director is only interested in casting someone he believes is appropriate for a role. For instance, my character had to go from age 15 to 35; she had to be able to dance, and she had to be able to act, so he needed someone who could do all that. I also think that regardless of whether someone is Japanese or Chinese or Korean, we all would have had to learn what it is to be a geisha, because almost nobody today knows what that means–not even the Japanese actors on the film.

Anyway… I’m getting off my soapbox.

THUY
He eventually becomes part of the Việt Minh, which would mean that his English could be pretty poor. Also he is most likely a Vietnamese national… not only that but according to the lyrics:

KIM
[...] We were promised at thirteen
The woman I’ve become is not the same

THUY
That promise made by your father I will claim when we win
To break a vow of your parents is worse than a sin

KIM
My parents got themselves killed in the week you changed side
If there were promises all of them died when they died

Typically country folk arrange marriages with their neighbors… and taking a similar approach as with Kim above there really isn’t much question as to how Thuy should be cast. Anyway… I am not touching that soap box.

CALLGIRLS: Gigi, Mimi, Yvette, Yvonne
How much do you guys want to bet that the callgirls’ names are no where near what their real names probably are? In any case there is a lot of flexibility that can happen with casting here. Yvette and Yvonne are French in original so they could be closer to “The Engineer” in the sense that they look Eurasian.

They all appear to have been part of Dreamland for quite some time, so their “mastery” of the English language is stronger than that of Kim’s or Thuy’s. However, their accents still need to be rather strong… though one could get away with them having a weaker accent than that of Kim’s and Thuy’s. It might even been their worthwhile to have Yvette and/or Yvonne to have more of a French accent since there were schools throughout Việt Nam where French was the primary language (how do I know this? I have family members whose primary education were in a French primary school… so don’t rail at me. :D ).

Then again there isn’t much that we know of the callgirls of Dreamland, except for “The Movie in Their Minds” as it were, this could be rectified in the film with a couple of additional songs, or a reworking of the script / book… but really as long as they stay true to what I mentioned with Kim above and apply it to the callgirls (with a little more flexibility thrown in) it will be ok… for the most part.

So this is round two of the Miss Saigon Character Wish List… which all the main characters / players already mentions what’s left? Well I am sure you guys are curious as to what other parts could be available for the taking? In Miss Saigon Characters (Wish List: Round Three), I will personally take the time to look through the scripts I have on hand and point out cameos that are worth a look-see.

Until then…