“Bring It On, the musical” tour (review), Chicago March 11, 2012
Posted by ronannarbor in Broadway Musicals, Broadway Tour, musical theater, Musicals, Theatre.Tags: Bring It On the musical, Broadway in Chicago
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BRING IT ON, the new musical now on tour across North America aiming for Broadway is, in short. a very good musical waiting for a great musical to emerge. Seen at a Saturday Matinee at Chicago’s Cadillac Palace (the closest the show is coming to the area), the musical is none-the-less a standing-ovation, sold-out-house hit at the venue, and I have to admit, I and my theater partners had a great time.
Starring University of Michigan student Taylor Louderman, the cast is exceptional — in fact, they are better than the source material throughout. Most of the young (and hot) cast are on stage the entire two and a half hours. Comprised of Broadway veterans and a lot of new talent (much of it from the cheerleading/dance team/gymnastics circuits) the show concerns two rival cheerleading squads heading to regionals, and then nationals.
Any resemblance to the movie version of Bring It On stops at the name of the show and characters. This productions has an original book that combines equal parts Footloose, Legally Blonde, and every other teenage musical you have ever seen. It also borrows generously from All About Eve. The libretto is by Jeff Whitty (Avenue Q), the Music by Tom Kitt (Next to Normal) and Lin-Manuel Miranda (In The Heights), and Lyrics by Miranda and Amanda Green (High Fidelity). The score is strong. The book needs a little tightening in Act I, but in all reality, from the moment the show leaves lily-white Truman High and heads to rival more-diverse Jackson High, the show takes flight (and often stays there, 20 feet off the ground).
The entire cast is energized by Andy Blankenbuehler’s direction and choreography. Let me come clean right here — I was a university cheerleader, and the moves and routines in this production are genuine, accurate, and well-adapted into musical numbers. The aerials (sometimes more than 20 feet in height) are higher than regulation of course, but they are breath-taking on stage. Otherwise, it pretty much represents what it is.
Co-billed with cheerleader Louderman (as Campbell) is the superb Adrienne Warren, as tough-girl-with-a-heart-of-gold Danielle. Also worthy of attention is overweight Bridget (an exquisite Ryann Redmond) and uberbitch Eva (Elle McLemore). The men have less interesting roles (but much more to do). Charisma-free Jason Gotay needs to be replaced pre-Broadway as Randall. But watch the ensemble — for example Dahlston Delgado (himself a multi-award winner in cheering) is in virtually almost every scene. The other men and women of the ensemble change costumes as quickly as possible to become various members of the rival squads.
The set design by David Korins seamlessly integrates video, and the Lighting Design by Jason Lyons is eye-popping. The entire production is designed to move as quickly and as energetically as the performers on stage – often integrating live stage movement with video and screen movement across the stage. A particularly nice effect is the ticking countdown clock on-stage that merrily blinks to life 6:38 before the top of the show and counts down to the very first scene with dazzling effect — the crowd actually counts down the seconds during the last half minute, and it’s an exciting effect at 0:00 — in another brilliant example, one of the actors lets out an outraged scream up stage left and the video screens and lighting take it from there as the animated scream travels in concentric circles across the various elements of the set. Brilliant work.
So — here’s the scoop. The show does need some work prior to Broadway, in particular in giving the first half hour of the show a speed-pill to zip the action along; granted it’s used to introduce characters, but they are so paper-thin here that not that much exposition is required to get the ball rolling. The current effect is in essence that the first 25 minutes or so kind-of follows the original movie version of Bring It On; and then it suddenly veers off into its own delerious universe and never references the original again…so why start there?…
Second — this score is terrific. It really is. What isn’t so great is the constant interruption of Lin-Manuel Miranda’s rap into the songs, where exposition and a lyrical line would work better. Sure, its designed to offset the suburban school from the urban school, but it doesn’t work. The hiphop numbers themselves are excellent. Where rap was used to define specific character traits in In the Heights, here it just gets in the way and makes the whole thing feel fake. I suppose this is where my own bias comes into play, since I hate rap.
Finally, the script needs to give Louderman’s Campbell a touch more of heart. Kirsten Dunst in the movie had it to spare, and it made you feel something when the rival teams go at it in the climactic final sequence. Here, it’s a rather dull finish to what has been a fast race to the Nationals.
But let me conclude by saying that this show is virtually critic-proof. It has a built-in fan base already, and the rowdy, cheering, screaming teenagers at the performance I saw are probably indicative of the general reception this show will have nationwide and eventually on Broadway — Give the audience some funny characters to laugh at; some brilliant dance routines to cheer for; and some fine-looking technology to back it all up, and your target audience will eat this show up for years.
For more information, and tour schedule, see http://www.bringitonmusical.com/
Season’s first must-see musical: Grey Gardens at Ann Arbor Civic Theatre March 9, 2012
Posted by ronannarbor in Ann Arbor, Broadway Musicals, musical theater, Musicals, Theatre.1 comment so far
Ann Arbor has its first must-see musical of the season — and it is brought to you by way of Ann Arbor Civic Theatre and their production of GREY GARDENS at the Arthur Miller Theater at the University of Michigan.
In a mesmerizing star-turn as Edith Beale/Little Edie Kathy Waugh turns on the charm and vocal highlights necessary for this very difficult dual-role and it is spectacular. You can’t keep your eyes off of her. Matching her blow-for-blow in Act II, Laurie Atwood plays the now-aged Edith Beale with both humor and pity so essential to this piece.
Under the direction of Edmond Reynolds, the remainder of the cast is generally strong — Thalia Schramm as Young Little Edie is particularly good; Sebastian Gerstner both charming and catty as George Gould Strong, and Charles Sutherland steady and able as Major Bouvier. The rest of the cast is comprised of Christopher Joseph (as Brooks Sr and Jr); Maeve Donovan and Audrey Wright as the Bouvier children; and Kevin Douglas Jr as Joe Kennedy and Jerry.
A true standout here is the superb orchestra work, under the direction of Tyler Driskill and a virtual who’s-who of Ann Arbor musicians in the 11-piece ensemble. It’s one of the strongest orchestras I have heard locally for a musical, professional or otherwise.
There is the rare stumble that reminds you that this is not professional theater — Leo Babcock’s well-designed set is sloppily painted; there are a few light cues that take a bit too long; and the costume design is hit-and-miss, especially a particularly glaring gaff in Young Edie’s engagement dress, which my theater partner last night turned to me and said “should be burned immediately”.
There are other things that make you sit back in surprise that this is indeed community theater: the lighting design by Tiff Crutchfield is sharp and the use of the haze system to make the light beams pop at the beginning of Act II something you rarely see at the amateur level; the sound design by Bob Skon is exceptional. The set dressings and props by Brenda Casher and Martha Montoye are spot-on. Stephanie Buck and Heather Wing supply beautiful wigs and hairstyles; and Rachel Francisco’s choreography is fun and character-driven.
But that brings me back to Kathy Waugh. Go see this show.
GREY GARDENS continues at the Arthur Miller Theater on North Campus through Sunday March 11th. Tickets are available at a2ct.org. As with all shows at the Arthur Miller, let this serve as warning: parking is not plentiful and there is a parking charge. Get there early, as seating is general admission, but mostly because parking is not sufficient and you might have a long walk to the theater from elsewhere on North Campus if the lot is full by the time you arrive.
Godspell comes to the Encore Musical Theatre Company in Dexter March 8, 2012
Posted by ronannarbor in Ann Arbor, musical theater, Musicals, Theatre.add a comment
The cast of Godspell is hard at work at The Encore Musical Theatre Company in Dexter!
With music and new lyrics by Stephan Schwartz (composer of Wicked, and Pippin), Godspell is one of the biggest off-Broadway and Broadway successes of all time, with the song “Day by Day” reaching #13 on the 1972 Pop Billboard Chart.
Based on the Gospel according to St. Matthew, and featuring a sparkling score, Godspell boasts a string of well-loved songs, led by the international hit, “Day By Day.” As the cast performs “Prepare Ye the Way of the Lord,” “Learn Your Lessons Well,” “All For The Best,” “All Good Gifts,” “Turn Back, O Man” and “By My Side,” the parables of Jesus Christ come humanly and hearteningly to life. Drawing from various theatrical traditions, such as clowning, pantomime, charades, acrobatics, and vaudeville, Godspell is a groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. This production is directed by Encore co-founder and Broadway actor Daniel C. Cooney, music directed by Brian E. Buckner, and choreographed by Encore favorite, Barbara Cullen.
This fantastic cast of local professional Equity and non-Equity actors include: Rusty Mewha (Jesus), Brian Thibault (Judas), and an ensemble of Brian E. Buckner, Keith Kalinowski, Charles Lindsay, Sonja Marquis, Angela Kay Miller, Fatima Poggi, Amy Smidebush, and Tara Tomcsik.
Patrons who attend the official opening night of Godspell on Friday, March 30th, are invited to attend the Opening Night After Glow with the cast and crew of the show. Complimentary hors d’ oeuvres will be provided, as well as a cash bar!
Tickets for all performances are on sale now, and may be purchased by stopping in, calling our box office, or visiting our website.
The Encore Musical Theatre Company, 3126 Broad Street, Dexter, MI, 48130 (734)268-6200
Box Office Hours: Monday through Friday, 2pm to 6pm.
Performance Dates: Thursday, March 29th – Sunday, April 22nd , 2012
“Noises Off” – University of Michigan Theatre – is hilarious fun (review) February 19, 2012
Posted by ronannarbor in Ann Arbor, Theatre.Tags: hilarious play, John Neville-Andrews, Noises Off, UM Noises Off, University of Michigan Theatre and Drama
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Okay, so its not the first time you have probably seen Michael Frayn’s “Noises Off” in Ann Arbor (it makes regular appearances on our various stages)– but its by far the best production you’ll see, thanks to John Neville-Andrews hilarious staging currently on-stage at the Lydia Mendelssohn Theater, presented by the University of Michigan, Department of Theatre and Drama.
Comprised of student performers, and guest performer Equity actress Naz Edwards, the farce flies by in what seems much shorter time than it’s 2 hour 40 minute running time might otherwise suggest. In three acts, the first sets the stage at the final rehearsal of a British farce “Nothing On” pre-tour (in the best insider joke in the show, the actors don’t know if it’s a dress rehearsal or a tech rehearsal); the second Act takes place during a performance a week into the run from the vantage point of backstage as personal relationships begin to unravel and the sight gags start to fly fast and furious; and Act Three seven weeks into the tour, from the audience vantage point, as the show has started to unravel. It’s tremendous fun and this is a five-star production.
Naz Edwards turns in a pitch perfect Dotty Otley, preparing plates of sardines and forgetting blocking for important props (like the phone). Reed Campbell plays overwrought director Lloyd Dallas, and his meltdowns are a joy to behold. Philip Maxwell and Sophie Hindley play Garry and Brooke, the couple around which the pending sex-farce revolves. Maxwell’s physical comedy is grand, and exchange student Hindley is simply marvelous in (and out) of clothing, She is the funniest Brooke I have ever seen play the part, and every single blocking motion is wrong. What makes it even funnier, is that when things are falling apart 7 weeks into the tour, her blocking remains identical to that at final dress. Shannon Eagen plays peppy “Poppy” with a sense of self-knowingness; and Casey Hanley brings a warmth and hilarity to trouser-dropping Frederick. A pants-dropped hop up the long staircase earns well-deserved applause. The same voyage down those same steps later by Maxwell tripping over a misplaced box earns him the “Dick Van Dyke” physical comedy award for this production. Stage manager and Assistant stage manager are played well by Zoe Kanters and Eric Krawczyk, and old-man Selsdon is well-acted by Avery DiUbaldo (never an easy feat for a young student to play an aging character on stage — carried off here with great skill.)
John Neville-Andrews keeps the action moving swiftly. This is a very difficult show to direct and this production is a Neville-Andrews masterwork of slamming doors, perfectly timed sight-gags, and some brilliant personal touches. He does a particularly good job with the women in this production, never allowing them to disappear into the background which can happen with this show. Those who have never seen the show before (hard to imagine in Ann Arbor, but obviously the case from some of the blank reactions of the senior older folks sitting around me) might need a second viewing to take it all in. Gary Decker’s set is terrific (and the backstage view marvelous). Katelyn Rouse’s costumes look great, and Andrew Lott’s lighting design looks clean and crisp both onstage, backstage, and offstage – in particular when the set revolves and the occasional glimpses of the show “onstage” shine through the central window from “backstage” without ever losing focus on the action backstage.
Finally — do not bypass the program insert — a hilarious spoof of the program for “Nothing On”. There, you will learn that “Cinemagoers saw Brooke in The Girl in Room 14, where she played the Girl in Room 312″, and that Selsdon had “several good supporting roles in Hollywood, including stand-in to Robert Newton”. Hilarious stuff that — and the funniest evening I have had at any theater in years.
Slick “Smokey Joe’s Cafe”, Encore Musical Theatre Company (review) February 5, 2012
Posted by ronannarbor in Detroit, musical theater, Musicals, Theatre.Tags: Encore Musical Theatre Company, Lieber and Stoller, Smokey Joe's Cafe
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This is a good news-bad news review. Before I go further, let me just say that the very talented cast in Encore’s SMOKEY JOE’S CAFE sings well, dances well, and has stage presence to spare. The set looks great. The lighting right on target. The band sounds great. So what goes wrong?
Well…nothing that Encore could do about it, besides maybe pick a better show. I’m not a fan of revues, and that is what Smokey Joe is…two hours of Lieber and Stoller songs in a hodgepodge revue that has no storyline and which resorts to lights-down-lights-up scene changes for transitions. And not all of those songs are good. In fact, many of them are not.
It’s all sort of like watching a cruise ship show — no, it’s exactly like watching a cruise ship show — slick; well done; but ultimately unsatisfying as you head out of the theater and back to the ship’s casino.
The very talented ensemble cast sing, dance, and work very hard to please. It’s hard to single out any exceptions, so let me just say that the (entirely non-equity) cast is composed of Brian E. Buckner, Steve DeBruyne, Sebastian Gerstner, Cara Manor, Terrence D. Owens, Jr., Fatima Poggi, Thalia Shramm, and Amy Smidebush. Mysteriously missing is the 9th cast member the show is written for.
Most of the show glides along just great, with solos, combos and group numbers that feature each cast member individually, as well as in boy and girl groups. Missing is any sense of who these people are, except for very broad strokes that don’t hold as the show progresses. Might as well be variety show numbers following one after the other. I had that same sense after seeing the Broadway production (which inexplicably ran almost 5 years in the 90′s), so it’s not the fault of the hard-working folks at Encore. Some numbers work better than others: “Jailhouse Rock” and “Stand By Me” smolder….while “On Broadway” falls flat, not only because of the over-involved choreography, but also because the vocal mix just doesn’t work (it didn’t work on Broadway either, where it looked like the guys were going to swallow their body mics).
But that’s another thing — if ever a show calls out for body mics, it’s Smokey Joe. Soloists here are sometimes overwhelmed by the (offstage) band, and at other times by their own cast mates. They all sound great, and the blend is very good — but you lose the soloists entirely in places.
Leo Babcock has designed a dandy set with two sweeping curved staircases. Sharon Larkey Urick’s costumes are serviceable without ever really evoking the 50′s or early 60′s. Matthew Tomich’s lighting design is generally spot on (except in one instance where beautifully spot-lit Steve and Thalia are suddenly aglow in full stage brightness that made my pupils spin).
All in all, I would always prefer a book musical (although Encore’s upcoming season of community theater type fare doesn’t make me want to run and buy tickets to any of them), but Smokey Joe’s Cafe is a well-done, well-produced musical revue. In her program note, Barbara F. Cullen states that the show is “so much more than a musical revue”. I beg to differ, and would actually say its the worst kind of musical revue – the type that has nothing but musical numbers and very little heart. That is not to slight this production which is top notch, but exactly what you would expect of a production of this show.
Smokey Joe’s Cafe continues at the Encore Musical Theatre Company through February 26th, 3126 Broad Street, Dexter, MI 734-268-6200 or www.theencoretheatre.org
Surprise! To fix “The Addams Family” musical get rid of Nathan Lane (review – tour – Wharton Center, East Lansing) February 4, 2012
Posted by ronannarbor in Broadway Musicals, Broadway Tour, Entertainment, musical theater, Musicals.Tags: The Addams family Musical, The Addams Family tour
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When I originally reviewed The Addams Family musical, I was among the minority that enjoyed it a lot. Now on tour it’s a much better show, and its not just because the script has been reworked.
The tour, currently passing through East Lansing at the Wharton Center, is significantly different from the show seen in pre-Broadway Chicago, and from a design standpoint very different from the Broadway Rubik’s Cube set that assembled and re-assembled itself in fulll view of the audience. It’s passable, but not as good design-wise.
But from an acting point of view its stunningly different, and who would have thought that getting rid of Nathan Lane would make such a huge difference — but it does. Douglas Sills makes for a superb Gomez, while Sara Gettelfinger holds her own as Morticia. The rest of the tour cast is excellent, and its a virtual who’s who of University of Michigan musical theater graduates.
I’m not sure why Broadway never warmed to the musical (although it did run 725 performances and 34 previews despite generally lackluster reviews). It’s funny, it’s tuneful, and the characters are outrageous. There’s a funny book (even if it is a direct rip-off of La Cage aux Folles), and plenty of topical references to keep you on your toes, and it’s all fun. Clearly, Broadway is not currently in the mood for fun — but audiences sure are, as witnessed at both performances I have see.
But, wow — let me get back to Douglas Sills — where Nathan Lane dropped lines, dropped his accent throughout the show, and generally mugged-it-up, Doug has a natural humor; a great voice; and no need to mug — the part plays itself, and he makes the most of his lithe body and quick facial expressions to change the character completely from what Lane brought (did not bring) to the part. There is also chemistry between he and Sara as Morticia, something that Lane never achieved with Bebe Neuwirth. Sills performance completely changes the entire feeling of the show, and the cast responds remarkably.
Are there problems — well, yeah. Besides the aforementioned dumbing-down of the set, there is the ongoing problem of an ensemble chorus that doesn’t do a heck of a lot but hover around in the background as ghosts. Nothing has been changed more from the original Chicago production than the use of the Ensemble, and I am not sure it is any type of improvement. A sequence in which they hide behind cutout trees is just embarrassing.
But those who have not seen The Addams Family will enjoy the show – all the small things that make it such a fun night out are still there (including the curtain tassel that falls off the act curtain and runs away). You could do a lot worse than to spend a few hours with this hilarious family.
The view from Macworld iWorld 2012 January 29, 2012
Posted by ronannarbor in Apple, Gizmos.Tags: Macworld iWorld 2012
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It’s the ultimate Apple/Mac geek fest — the annual Macworld conference in San Francisco’s Moscone Center….this year re-named “Macworld iWorld” to emphasize the role that the internet now has. There was fear a few years back that Apple (who chose to stop attending the conference) would sound the death knell for Macworld — far from. There were more exhibits this year than ever. The emphasis on music, art, and writing increases yearly, and the even has become a “must attend” for Mac geeks like myself.
So, what did things look like this year? Well, there was a much larger emphasis on apps than in the past, for all versions of iOS (iPhone, iPad, and Lion). There was also a significant decrease in hardware presence, and much more on software. Xerox and HP, for example, while maintaining booths really had trouble attracting visitors — most flocked to the nearby scanner displays instead (Scansnap was doing swift business). Let’s face it — when was the last time you actually printed a photo instead of sharing it with friends by email, iPhone, or Facebook? There was also a heavy emphasis on social events — evening parties, concerts, jam sessions heavily geared toward tech support folks who know what phrases like “the grapefruit is pink” means…
There was also a de-emphasis on the servers/work stations hardware, and much more emphasis on iPad/iPhone accessories (the ubiquitous iPhone and iPad cases, bumpers, and hard shells were omnipresent, ranging from the superb to the deranged).
What stood out? Well, folio keyboards for the iPad were big — and had huge draws. Zagg had a strong presence, and they were selling their iPad 2 zagg folios at discount….myself, I went directly for the new clamcase for iPad 2 and am waiting for its delivery in a few days — see clamcase.com
Input devices were also big — there were two separate pen/paintbrush-type styli for the iPad and iPhone and both even won best in show 2012 – check out the Jot Touch pen, for example — these were selling like hotcakes right off the floor… http://adonit.net/product/jot-touch/ But it wasn’t just limited to physical input — microphones for the iPhone and iPad were also hot this year, and several won best in show honors.
Want to see possibly the most jaw-dropping new application ever?….and its free on iTunes — check out TourWrist for iPad….it’s seriously the most amazing photo software you could imagine, creating 360 degree panoramas that look drop dead gorgeous on the iPad.
Also a big breakthrough — Smile software has adapted it’s PDFpen software for Mac to the iPad — PDFpen will allow Mac users to finally say goodbye to Adobe forever — something that didn’t go unnoticed at Macworld/iWorld — there was no Adobe presence at the conference at all.
Finally — and this is always a big part of Macworld — there was the camaraderie — thousands and thousands of Apple Mac fans found a place to share all that tech geek knowledge; nobody thought twice about meeting new friends with a simple “what’s your favorite app?”; and Moscone Center came to life with the world of iPhones and iPads and Lions…and nobody blinked when a Mac geek from Ann Arbor got up on stage on the second floor concourse and helped jam to some Coldplay songs on a iPad-keyboard while others from Iowa, Berkeley, and San Jose jammed on their iPad “guitars”…although ultimately it did remind me of that classic “HIMYM” scene in which Barney eggs on Ted who is dancing a rain dance with a “still funny….still funny….and now it’s just sad.”
Will America buy “Smash”? – NBC – Pilot episode (review) January 18, 2012
Posted by ronannarbor in Broadway Musicals, musical theater, TV.Tags: Smash NBC, Smash pilot episode review
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Your going to love it or your going to hate it, but there isn’t anyone that will be able to say that SMASH isn’t slick, well-produced, and professional when it comes to musical numbers. It’s no GLEE (thankfully); but will America buy into a show about creating a Broadway show?
In the pilot episode, (to air February 6th), Debra Messing and Christian Borle play musical theater writers/composers/lyricists of a new Broadway musical based on the life of Marilyn Monroe. Those of us of a certain age will remember there actually WAS a Broadway flop musical in the 80′s called Marilyn: A Musical Fable (which Frank Rich called “incoherent to the point of being loony”). That flop is referenced here in passing by Messing’s husband, played by Brian d’Arcy James. He’s the biggest Broadway star in the show – here delegated to a thankless non-singing character.
WIthout having written a script, and with only a song to demo, they somehow get picked up by producer Anjelica Huston, who may or may not have enough money to produce the show. But she’s in it to get back at her in-process divorce from her husband, another Broadway producer. Within the first 15 minutes of the pilot, they suddenly have three songs and a draft of the script (um, yeah)….and by the midway point, they are auditioning director/choreographer Jack Davenport (yes, that Jack Davenport, who has yet to find a suitable role in any U.S. television show — someone please find this man a decent part!) – who is set up to be the antagonist opposite Borle’s writer/composer.
Bring on the auditions — Likable American Idol loser Katharine McPhee and “Wicked” veteran Megan Hilty step up to fill the bill as two actresses competing for the part of Marilyn. Throw in a subplot right out of Dynasty involving director Davenport, and you have the basic makings of SMASH.
The show is designed to follow the workshop development of the show in NYC over the course of the season, and in its climax this spring move to Boston for an out-of-town tryout.
Yes, the show is entertaining. The musical numbers are well-staged, and the use of fantasy sequences to suggest what rehearsal songs might look like “on stage” work well. There is a lot of dancing here, and it is professional and slick, the exact opposite of the haphazard GLEE sequences.
It’s also all overwrought and somehow wrong. Auditioners are not even given three bars of piano-accompanied audition when a full orchestra already sweeps in, as if to say “this is a really big budget show, kinda like Glee, but for adults, so listen and enjoy, and buy our soundtrack.” I have never in my years of theater ever heard of a producer picking up a show based on one song, and no written script. While there is a casting couch at work on Broadway to be sure, it certainly doesn’t work the way its implied in this show either. Messing seems out of place, and Borle here is reduced to a sniping gay stereotype — so good in Legally Blonde and Angels in America on Broadway, here he’s wasted in a part that virtually falls apart before your eyes.
The show is filled with a virtual whose who of Broadway performers — so watch backgrounds carefully to spot your friends. Most are appearing as line-less studio assistants and errand-boys. A few get to dance and sing.
In short, it’s an entertaining pilot, that should keep theater folks arguing about realities vs exaggerations, while the rest of the country makes a decision as to whether a show about Broadway actors, producers, and creative teams will be interesting enough to viewers to keep this novelty going. I’m going to tune in again — albeit the next night since NBC has very unfortunately decided to put the show on opposite Castle and Hawaii-5-0. I suggest they move it pretty fast if they want to pick up a tv audience. I dunno about you, but most of my theater friends watch Castle at that time, and personally 5-0 has become a guilty pleasure. On Comcast, two shows at a time and that’s it — making no room even to DVR Smash…
A word of warning — if you download and view the pilot (free) on iTunes, please DO NOT watch the “coming season” trailer at the end of the pilot episode. If you watch it carefully, it gives away who will get the role, and how the show will develop. Don’t watch it – it’s already partially ruined it for me…if you want a nice insider snapshot of the show, read the Brian d’Arcy James interview on IMDB – he carefully describes what the development of a Broadway musical is really about, and very carefully avoids talking about the unrealistic elements depicted in Smash.
The show has already created a stir in the NYC Broadway community in forums such as All That Chat, where multithread topics discuss the lack of reality of the creation process depicted here, as well as the shear fact that only one of the auditioners for the Marilyn part is appropriate for the role and there is zero doubt who would get that part in reality. I repeat — DO NOT watch the coming season trailer which gives it away and will cause even more controversy when it is revealed a few episodes into the series.
Will America buy it? There are a lot of theater fans out there — if the show avoids the pitfalls of playing for personal drama instead of the inherent drama in the actual development of a show itself, it might stand a chance. But I bet with NBC’s track record this show will quickly veer off in the wrong direction.
2011 Holiday Release Movies – Capsule Reviews January 1, 2012
Posted by ronannarbor in Movies.Tags: Holiday movie releases 2011
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In lieu of full reviews for each of the following films as I have done in past holiday seasons, this year the movies are so well known and so thoroughly reviewed elsewhere that I will merely add capsule review summaries….From the sublime to the terrible:
THE ARTIST, currently front runner for Best Picture, and deservedly so, is a throwback to silent movies of the 20′s, with a modern sensibility. It ends with a three minute tap sequence that is easily one of the movie highlights of the year. I loved this movie top to bottom, and if you enjoy the craft of movie making and story telling, then don’t miss it.
Hand in hand is its modern partner HUGO, Martin Scorsese’s paean to the creation of film making. Based on the children’s book, it faithfully captures the spirit of the novel, while adding a depth of artistic celebration of all things good in films. Highly enjoyable, moreso for adults than children.
WAR HORSE galloped into movie theaters on Christmas Day, and it’s a splendid adaptation of the book by Spielberg and company. Sure, it’s more magical on stage at the Vivian Beaumont theater at Lincoln Center with those gorgeous Handspring Puppet Company horses, but the story shimmers on the big screen. Filmed for family audiences, Spielberg’s violence quotient is toned down, while never eliminating the horrors of the war story beneath. Highly recommended.
MISSION IMPOSSIBLE 4: GHOST PROTOCOL is easily the best of the lot, and easily the best action movie of the holiday season. Jeremy Renner turns in an excellent performance, and Tom Cruise is tolerable. The action sequences are staged with brio and playfulness. You’ll have a great time, and woe-be-to-you if you have a fear of heights, because the centerpiece sequence of the film on the exterior of the world’s tallest building is brilliant – and nausea inducing, especially if seen in IMAX.
George Clooney scores another hit in the drama THE DESCENDANTS, which owes more than half it’s storyline to Terms of Endearment. The acting here is brilliant, and the film is a subtle study of grief, forgiveness, and those coincidences that give life meaning. Look for a Best Picture nomination. But don’t think it’s a fluff piece. This is serious drama, and its well acted and played, and the cinematography transports you to a Hawaii that most of us have never seen.
Also dealing with grief is the woefully misnamed WE BOUGHT A ZOO, which is really more about death, letting go, and moving on, and much less about the “hilarious zoo story” the movie is advertised to be to suck in your 7 year olds. There is little here for them, other than some adorable animals that make cameo appearances. But it’s really a family drama about learning to move on after the death of your spouse. I loved this movie, despite its schmaltz, and continue to admire what Cameron Crowe is able to do with minor material, and how good of an actor Matt Damon is becoming.
If you’ve already seen the Swedish version of GIRL WITH THE DRAGON TATTOO you’ve already seen the better of the two versions, although this is a perfectly good adaptation. Mostly you leave thinking that this was only the first third of the trilogy, and it’s a long one at that. The jarring Swedish accents by its international cast are also somewhat offputting. Its worth a viewing, but there are other films I’d see first.
THE MUPPETS is a perfectly awesome work of whimsy, thanks to Jason Segal and those hilarious Jim Henson creations. You’ll most likely find yourself tearing up often during this film if you are old enough to remember the original tv show and movies, and guaranteed during “Rainbow Connection” near the end of the film. Are you a Muppet of a Man, or a Very Manly Muppet? Go see this movie.
SHERLOCK HOLMES: GAME OF SHADOWS is basically a remake of the first movie, with a slightly more interesting story. Guy Ritchie has created a perfectly entertaining movie, while creating a London that is soul-less and bland. The sequel travels outside the UK for a good portion of the film, and its better for it. A decent evening out, but you won’t remember any of it the next morning.
THE ADVENTURES OF TIN TIN is mind-numbingly dull…most of us in the US did not grow up with this character, and its evident twenty minutes into the movie when you are on your third chase scene (all brilliantly drawn), when the under-12′s start gabbing, running around the theatre, and heading to the refreshment stands. The movie does nothing to create new fans, and doesn’t do much to keep those who are fans happy either.
Even worse is the mind and eye-numbing NEW YEAR’S EVE — in fact, you’ll want to stick a fork in your eyes by the time the twentieth major actor is introduced about fifteen minutes into the movie. In all honesty I lasted another 15 minutes and walked out at the half-hour mark, right around the time the film begins to get even more gag-bysmal. It’s the second worst reviewed movie of the year for very good reason. You have been warned.
YOUNG ADULT is a perfectly presentable movie if you a) like snarky and borderline psychotic lead characters; b) like Jason Reitman movies (yuck), and c) really have a love of those “go home to find yourself” movies…This is the second most feel-bad movie of the year. You won’t hate yourself for seeing the movie, but you might find yourself going home and deleting lots of old high school acquaintances from your Facebook contacts.
Several smaller films are still hanging around: MELANCHOLIA (the most feel-bad movie of the year) continues to show that Lars Von Trier is one of the best story-tellers around, and that his movies continue to become more depressing as the go on. MARGIN CALL is a brilliant look at the world of finance that most of us would never know about otherwise: it stars an excellent Zachary Quinto and ensemble cast, and views more like a play than a movie. Both Melancholia and Margin Call, while available at movie theaters, are also available on iTunes for rent or purchase, as well as Netflix. Also still hanging around are the less-than-blockbuster J. EDGAR, which has some excellent performances, and MY WEEK WITH MARILYN which seemed like it was a week too long to me.
ARTHUR CHRISTMAS is a decent enough Christmas movie, with creepy CGI-based animation that still hasn’t figured out how to make human faces workable. The story is lightweight and funny, and although it is far from the “instant Christmas classic” that it is advertised to be, it will keep the “Prep and Landing” crowd satisfied.
One more for your consideration — mostly because it will certainly be considered for Acadamy Awards this year….on DVD and download is the August release THE HELP. If you have not seen it yet, rent it or buy it now. You’ll thank yourself for going back to watch this feature. In a similar boat is 50/50, the largely unseen fall release about a young man with cancer that is among my top 5 movies of the year.
And that’s the capsule summary for the holiday season. The only movies I did not go see are any of the horror movies, which I do not go to see, and any movies geared to the under-10 crowd (i.e. the Chipmunks movies).
My choices for the Best 5 Movies of the year?
1. THE ARTIST
2. 50/50
3. WAR HORSE
4. THE DESCENDANTS
5. HUGO
and I have to add a sentimental sixth: THE HELP
Funniest TV Quotes 2011 December 27, 2011
Posted by ronannarbor in Entertainment, TV.Tags: funniest tv quotes 2011
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It’s that time of year again! Granted I have not seen every single minute of every tv show this past year — but its been darn close…So here they are, this year’s Funniest TV quotes….
“I did not know you are not allowed to say “suck it” to security at the airport” – The Middle
Sue: “Dad, you don’t have to medicate with alcohol.” Mike: “Look around, I think I do.” – The Middle
“I told you all about these bells….” – The New Girl
“I have complete faith in you”….”Oh, that’s what everyone says, at first” — Last Man Standing
“Our house is where fun comes to die” — The Middle
Leonard: “Do you think we can outrun him?” Sheldon: “I don’t need to outrun him, I just need to outrun YOU” — Big bang Theory
“Who might be up for a wee bit of mischief?” ”Leprechauns?” — Rules of Engagement
“How long are you going to ignore me?” ”Until the shame cloud clears” — Modern Family
“Hey, what now? – Happy Endings
“Want to play Librarian?….I’ll read and six hours later you tell me the Library is closing” — The Middle
“in my country, its considered really bad luck if the house burns down” – Modern Family
“Ever since Dalia failed her career aptitude test we’ve been working really hard to make sure she has one.” ”A career?” ”No, an aptitude” — Suburgatory
“He’s a total Matthau” — The New Girl
“It’s just that when I hear him say things like “I want a Divorce” and “You Disgust me” I begin to think that something is wrong.” — Rules of Engagement
“Yours is a true Cinderella story. You stayed in the ball for eight weeks, now it’s midnight and it’s time for you to go home.” — DWTS
“Okay, that went a little too far” — Grimm
“At our age it’s not things that make us happy….its cigarettes and booze” — The Middle
“We’re a family and families talk about things” ”No, No they don’t. They ignore them until they go away”….The New Girl
“There are a lot of things I’m not into…I’m not into kale, but it keeps showing up on my dinner plate” — Last Man Standing
“Oh, Heavens to Gretzky!” – Canadian Barney, How I Met Your Mother
“What gave you the idea for my Day of Beauty?” ”All the Other Days” — Rules of Engagement
“There’s something about an underdog that really inspires the unexceptional” — The Office
“Sweetheart, I would love to be wrong…I just don’t live with the right people for that” — Modern Family
“Next thing you know, there’ll be stop signs at every corner…go ask Canada how that worked out?” — Modern Family
Howard: “Ma, do you mind if Bernadette sleeps over tonight?” Mother’s Voice: “Frankly after all your sleepovers with the little brown boy, a girl is a relief” — Big Bang Theory
“Fiber makes me….sad”…Fiber One commercial
“My circus-like childhood makes the most bizarre things seem normal” – Wizards of Waverly Place
“Lemon, you risked everything for the show that TV Guide once called “Still On”…30Rock
”I want them to share clothes, do each others hair and gossip about boys. Like i did with Mitchell.” ~Claire, Modern Family
“The idea of all of us vacationing together is so bad I’m making up a new word — ‘gagbysmal’ ” — Grayson, Cougar Town
“You are not giving him that…” ”Even if he drinks his other gift first?” — Modern Family
“What’s happening people? Our hubris will be our undoing” – Modern Family
“Why did you bring him, he’s harshing my buzz” – The Big Bang Theory
“Sir, if you say one more syllable, that’s a haiku” — 30Rock
“I could hardly drink my morning shower scotch” — 30Rock
“What is this multi-billion dollar system missing?” ”Multi-billion dollars” — Modern Family
“It’s OK Jack — you made a bad decision and bought something you didn’t understand…like when I bought tickets to “Black Swan” — 30 Rock
“Reese Witherspoon is just a like-able version of me” — Jenna, 30Rock
“I’ve pretty much reached my target weight….the problem is I haven’t yet reached my target height” — Manny, Modern Family
“You pierced Lily’s ears??” ”Did you see both sides? I didn’t just do the gay ear…” — Gloria, Modern Family
“Is it hot in here, big man?” — Better With You
“Number of days without work related injury: 0″ – Mike’s Office, The Middle
“How are we going to take care of that? Look around — this is where things come to break” — The Middle
“It’s America Night, and It’s so good to see Cheryl showing off the Rocky Mountains there” — Len, DWTS
“Should vaginatorium be capitalized?” — 30Rock
“Years from now some of these children will still be talking about the way I Sondheim-ized them.” — Modern Family
“If you pester celebrities long enough eventually they have to notice you”…Mr. Sunshine
“You are a devourer of dreams…You are PacMan in cargo pants…” – Danny to Steve, Hawaii Five-0
“Here we go, your loud and proud, you have your dumplings boiling over” …DWTS Bruno to Wendy Williams
“Dancing is movement to music…well, you did move, and there was music”… DWTS Len to Mike Catherwood
“I need to look good for my party, and I refuse to wear anything in my size or appropriate for my age”…Angie, 30Rock
“We are beyond blotting and rubbing, we’ve moved on to sweating and crying.”…Modern Family
“You want to put me in a Rudy-mindset?” – Perfect Couples
“Oh Dude, Scooby got out.”…HIMYM
“It’s like the Apple Store…without the ethnic diversity” — Outsourced
“I’m fired? Great…this is the CandleShack at the mall all over again.” — Will Forte, HIMYM
“What’s wrong with Canada???…Your milk comes in bags…bags!…and your Pavilion at Epcot doesn’t have a ride!” — 30Rock
“I’ve had three chances. Floyd, then Carol, and I was once in an elevator with Tom Brokaw. And I blew all three… Opportunities!” — Liz, 30Rock
“I could never pretend to love my beautiful daughter, Emily Dickinson the cat.” – Liz Lemon, 30Rock
“My work has been stressful too…I have a big memo due by the end of the month” — The Middle
“He certainly wasn’t a Swiss prostitute that Martha Stewart recommended to me.” — Jack , 30Rock
“I just try to be really really honest with people when I think that they suck” — Glee
“What do your ears hear when we talk??” – Rules of Engagement
“Don’t harsh on Smith, he just bought you all drinks” – Cougar Town
“If I can dance on woodchips at camp, I can dance on Anything!”…The Middle
“It’s not you, its me…thinking you can do it…I’m a tough coach, there’ll be tears…from both of us”…The Middle
“Hey, look at you square dancing in the garage…where the neighbors can see”…The Middle
“What scares you about riding a bike?” ”Losing control and falling down” — Gloria, Modern Family
“Clare was furious….she said I had betrayed her on every level. So I called the florist and ordered a dozen mylar balloons. Good luck staying mad at that” – Phil, Modern Family
“Laser Tag knows no age restrictions…kind of like strippers in the midwest” – How I Met Your Mother
“I have a fire drill tomorrow…If I’m going to keep my hands to myself and line up in an orderly fashion I am going to have to get my sleep” – Brick, The Middle
“Why does fun always have a price?” The Middle
“I want to hear all about Mitchell in High School….did he have a beard?” ”You’re looking at her” — Modern Family
“Why do I have to watch a French movie?….I didn’t do anything wrong”…Phil, Modern Family
