“Falling Skies” TNT – decent sci-fi with too much talk…

If you haven’t tuned into TNT’s “Falling Skies” series, you should give it a try. It’s a family-based drama built around Noah Wyle and his family post-alien invasion, and it’s sort of a mashup of War of the Worlds, Independence Day, and V all rolled into one. A ragtag group of renegades and “fighters” go out to face the aliens who have killed most people, and taken children prisoner to act as servants. It’s all a bit bizarre, really, but it holds together well so far.

I’ve seen three episodes now, and the casting here is terrific. Produced by Steven Spielberg, it has the typical family moments that combine both pathos and humor, and it’s all done straight forward preventing too much camp. There are authoritarian military; mysterious renegades; and a slowly unfolding storyline that is richer than it first appears. Each episode has grown increasingly better.

The CGI work is superb and it really makes you think about how far television effects have come. This is motion picture quality here. If anything, there is a bit too little of it! The creatures are well rendered, but they appear for mere seconds in each episode.

The downfall so far: too much talk. Sure, you need to fill out characters and plotlines in a tv series, but it makes you wonder if this would not have played out better with less talk and whittled down to a 6-hour miniseries rather than a full blown season of tv episodes. Minor characters wax philosophical for five minutes at a time, and it all gets redundant.

Still, its entertaining, and better than most of the tv fare out there this summer. Let’s hope that this one lasts longer than Surface, Invasion and V (to which it has many similarities) and that TNT gives the show a chance unlike NBC and ABC respectively. But we all saw what happened with the superb Defying Gravity last season. Keep your fingers crossed.

HAIRSPRAY at Croswell Opera House (Review)

Hairspray, the Tony winning musical with book by Mark O’Donnell and Thomas Meehan, Music by Marc Shaiman, and Lyrics by Scott Wittman and Marc Shaiman has quickly become the most overproduced musical in the current amateur musical circuit — at last count, this is the 28th or 29th production of it in the state of Michigan alone, with 14 more productions scheduled in the state through the end of the summer — And it’s no surprise that the show has become the darling of the community theater circuit: it has a large cast, more parts for younger folks than adults; and a peppy, upbeat 60’s infused pop score. It’s the Bye Bye Birdie of the new era.

But I can bet that none of them are as super as the production currently onstage at the Croswell Opera House in Adrian.

Leading the way are superb performances by every lead in this production. Bridget Harrington is a fine Tracy Turnblad. Lucas A. Wells a pitch-perfect Link Larkin. Eric Swanson is hilarious as Edna Turnblad, and every other supporting player here is in top form.

The set and lighting design are colorful, professional, and everything moves quickly under the direction of Chris Sancho-Beckman and dances appropriately under the choreography of Debra Ross Calabrese. There are a few minor quibbles — the turnbald household platform is a bit too large and a bit too downstage for several large numbers, making things a bit cramped. The sound varies depending on where you sit in the house — too far right and too far left, you’ll primarily hear the orchestra through the side proscenium speakers at the expense of the vocals. The center seems just about right.

The entire production sparkles and you’ll leave not only remembering the songs, but also the messages behind the show: and that is what has made this show work since its early days, and why it won those Tonys to begin with.

Hairspray continues at the Croswell Opera House through June 26th.

 

Cedar Point 2011 – Live Shows (Review) Updated

Good News, Bad News…and another summer of live shows at Cedar Point

First the Good News: Tropical Heat, Island Beat is back at the Red Garter Saloon, and it’s as ridiculously entertaining as last year. Infused with Island-beat pop rock standards, the cast delivers 25 minutes of energetic, fun music with the best selection of songs at the Point. Grab a drink, enjoy the show, and see what the raves were about (including my own) from last season. This year’s cast brings its own charisma to the show.

Next, more Good News: What a difference a year makes. Grand Ole Country at The Palace Theatre is the show they tried to stage last year, but found undone by the uneven casting. This year, the attractive ensemble cast is terrific, and every performer can not only sing well, but also do the difficult choreography, and do so with a smile on their faces. It’s a whole new creature, and it’s highly recommended this year. Granted, you better like your classic country music, ’cause it’s all about the foot-stomping, clap-along, “know how to hold ’em” variety here.  My one complaint — just like last year, the pre-recorded score is cranked up way too loud for the singers, who at times struggle to be heard over the soundtrack. It looks something like this:

Rockin’ The Point, at the Jack Aldrich, replaces last season’s one-year disaster, Rock Band Live. Thank goodness. This returns the show back to it’s musical theater roots, with a variety of students from around the region performing a 30-minute homage to rock music, from the 50’s to the 80’s. The talent varies from good to very good, and it’s a welcome return-to-form for the standard Broadway-style-review. The show is upbeat, the cast clearly enjoying themselves, and a good way to end your day at the park. The sound inside this theater is uneven. Depending on where you sit, it can be just right, too loud, too echo-y, or too soft. I suggest getting there early and sitting toward the middle to middle rear of the house.

Everybody Loves Snoopy is back at the Goodtime Theater (the old Imax theater) and it is virtually identical to last years show, with the same cast basically intact. That’s good news because it brings back the excellent brother-sister team of Neill and Lara Shelton, with some of the supporting cast also showing improved strength and a few new tricks this year. But the show itself is virtually identical, complete with 7 costume changes and multiple sets. The general consensus on the way out of the theater was “this is the best show I have ever seen in a theme park” and outside of Disney Shows, I would second that.

And now, the Bad News….I have never been a fan of All Wheels Extreme in any of its incarnations, and this year’s is even a bigger mess. It’s loud, chaotic, and everything you see here is done better, faster, and more cleanly on weekend Extreme Sports tv shows — you know, the ones they run in the middle of the afternoon on Saturdays because even the studio sports departments know that nobody watches this stuff. That is not to say that this cast is not athletic, and that they don’t know their craft. The bimbos are back to cheer, clap, and generally serve as obstacles for the stunt performers to swerve around and increase Cedar Fair’s insurance premiums. I suppose if you are a very drunk father of a group of  7-year old boys who insist on seeing this show, they probably serve to make this 25 minutes more tolerable. It’s chaotic, and the direction is poor — you don’t know where to look for half of the production, and the tumbling and bike-riding is well done but overall one-note.

This year one of the bimbos does this:

One of the tumblers does this:

BLECH….

Outstanding “The Last 5 Years” at Encore (Review)

Steve DeBruyne (Jamie) and Thalia Schramm (Cathy) turn in two excellent performances in Encore’s current offering, Jason Robert Brown’s “The Last 5 Years”. These two performers sing-through 75 minutes of intermission-less ballads, pop songs, and story songs to tell the tale of a 5-year relationship;  her tale beginning at story’s end and working backwards, his starting at the beginning and working towards its end. They meet only once, at the middle of the story during their wedding.

With a simple, effective, and very clever set design (Steven V. Rice), the audience is seated on two sides of the black box theater space, and it works very well for this production. Steven must also be mentioned for his outstanding lighting design — possible the best I have seen in an Encore production.

The orchestra, under the nimble direction of Brian E. Buckner sounds terrific — Brian also plays keyboard, joined by Fran Wakefield on Violin, and Alex Massingill on bass. Director Daniel Cooney keeps the action flowing quickly from scene to scene (assisted by Carrie Jay Sayer, and co-directed by Steve DeBruyne). Thalia Schramm’s costume design is simple and efficient, and works just right for the many scenes and the passage of time.

I particularly enjoyed Steve’s story-song “The Schmuel Song” and Thalia’s “A Summer in Ohio” — which contains the funniest lyric in the show, about the “summer in Ohio with a gay midget named Karl playing Tevye and Porgy”. Those unfamiliar with Jason Robert Brown’s superb score will find that it is beautifully presented here, and it’s so good  that you will want to see the show a second time to admire the expert musical craftsmanship at play in this work.

In short, I loved this production. I loved the performances. And I loved that Encore continues to provide some of the better current musical theater pieces available in the modern repertoire. More of this! Less of Annie!

Go see it. Highly recommended.

The Last 5 Years continues at The Encore Musical Theatre Company through June 5th — 3126 Broad Street, Dexter, MI — 734-268-6200 — http://www.theencoretheatre.org

Forever Plaid at Encore is terrific entertainment (review)

Forever Plaid, which opened tonight at the Encore Musical Theater Company in Dexter, will bring you “plaid tidings”, um, you’ll be “plaid you went”, er…you’ll “boldy go where no plaid has gone before”….

Yeah, okay, it’s that kind of show…and it is terrific. The actors are wonderful, the scenic design spiffy, and the entire evening fun and entertaining. There are even a few stage surprises along the way, and tribute Barb Cullen for another great directing/choreography job at Encore. The pacing is swift, the numbers flow from song to song, and it makes for a great evening of musical theater, with emphasis on the music part.

There isn’t much to the story — Plaids die in car crash, mysteriously re-appear for one last concert together, sing, frolic, and generally make mischievous fun with an evening of early 60’s songs sung in tight harmonies, solos, duets, and combinations. There’s a mirror ball, and bubbles. Lights twinkle merrily in the set (sometimes too merrily).

But oh what plaid tidings the actors bring to this production!

Leo Daignault (Jinx) brings years of Plaid lineage to the show having performed in Boston, San Diego, Tokyo, and Chicago with the show. He’s great in a performance that ranges from subtly nuanced to, well, not subtle or nuanced.

Steve DeBruyne (Frankie) turns in another outstanding Encore performance. Serving as the Plaid’s leader he’s a fine entertainer. New York Agents take note — this actor needs representation!

Phill Harmer (Smudge) is hilarious — I couldn’t stop laughing at his takes, facial expressions, and comic timing. His “Sixteen Tons” is ridiculous. I loved it.

But most of all, I liked Sebastian Gerstner (Sparky) in this production. He’s hard to resist throughout — his eyes twinkle with merriment, he’s a fine actor on top of being a great singer and dancer, and were those tears I saw welling up in the final sequence?  The “my mother/my stepmother” sequence between he and Leo was the comic highlight of the show. Great job.

Kudos also to pianist Brian E. Buckner, and Billy Satterwhite on bass.

“Forever Plaid” holds a special place in my theater heart — my nextdoor neighbor in NYC was Jason Graae of the original production, and I can’t count the number of times I saw the original at Steve McGraw’s in NYC. I am happy to say that, while very different from that production, Encore’s is every bit as entertaining. There’s a bit less dancing, but it’s offset by a bit more heart. And the vocal work is tremendous.

The show is not without one or two slow spots; and the arrival of the cast onstage in their plaid jackets for the final sequence does not have enough emotional resonance, but those are minor quibbles. This is a generally zippy intermission-less 90 minutes of solid entertainment.

Go treat yourself to a spring treat at the Encore. Forever Plaid runs through May 15th, and tickets are available online at theencoretheater.org, or by calling 734-268-6200.

Count yourself lucky if you have a ticket to BRIGADOON, University of Michigan Musical Theatre Program (Review)

To put it simply, the best musical theater in the region is consistently presented by the University of Michigan’s Musical Theatre Program. The productions from performance to stagecraft are indistinguishable from Broadway staging and tours (which is as it should be, since this one of the best musical theater training programs in the country). Brigadoon is no exception, and it is one of their finest.

Program artwork by David Zinn

Running one all-too-short weekend at the Power Center, Brigadoon shows what can be achieved when the performance, artistic, and technical aspects of musical theater come together in the perfect combination. The show itself falls into the dangerous territory of veering into light opera (where it is, alas, frequently produced). But this is a production whose grounding is solidly in the world of theater and musical comedy. This particular production could be lifted intact into any Broadway house, and thankfully, not into any opera house.

Thank Linda Goodrich for her fine direction; Mark Esposito for dazzling dance sequences; Catherine Walker Adams for pitch-perfect musical direction; Vince Mountain’s deceptively sparse and beautiful set (which is actually composed of huge pieces of rolling and flying stock); Shawn McCulloch’s colorful costume design (in particular the tartan clan costumes for the wedding); Rob Murphy’s colorful lighting design; and Jim Lillie’s excellent sound design.

Joe Carroll and Holland Mariah Grossman make for excellent time-crossed lovers Tommy and Fiona. Their “Almost Like Being in Love” is an Act I highlight. Will Burton plays a fine sarcastic and comic Jeff; Grace Morgan a fine Meg. Dereck Seay and Laura Reed turn in fine singing and dancing performances respectively as Charlie and Jean.

I particularly enjoyed Sam Lips as Harry Beaton — he has very strong stage presence and his dance skills are exceptional…his funeral brought a tear to the eye because he infused Harry with a like-ability that is frequently missing in this part.

The entire ensemble is excellent from top to bottom. But what makes this Brigadoon stand out from the crowd is Mark Esposito’s choreography — the show moves from beginning to end, fusing Scottish-laden dance sequences with ballet, modern dance, and a fluid movement that makes the show at once rich in dance technique and yet light on it’s feet at the same time. It’s as if the cast is virtually willing us to dance through the heather in the highlands of Scotland and all will be well.

This is a brilliant production of Brigadoon, and those of us lucky to have tickets will cherish this performance for years to come — indeed, it will become one of the landmarks by which future UM Musical Theater productions will be compared.

Charming “My Future Boyfriend” – ABC Family (review)

Ok, it’s not “art”, but it’s heartwarming and family friendly (though maybe not for the under 10’s because of the talk of “sex and lust” although it doesn’t show any of it).  What it is, instead, is a charming, somewhat predictable, and well-acted movie presented by ABC Family.

Sara Rue and Barry Watson play the conflicted couple here — Barry a fish-out-of-water traveling from the future to find the writer of the book he has found in archeological dig that talks of lust, passion, and love a thousand years earlier. That’s the McGuffin for what ends up being a warm family movie about accepting differences, finding the things you like in others, and finding “the one” that speaks to your own passions.

There are fine supporting performances by Fred Williard and Valerie Harper, and the whole thing has the air of an old-fashioned made-for-tv caper like those many of us grew up with in the 70’s and 80’s. There’s a short sequence with a chase scene in a garage that steals gimmicks, lines, and even car ballet moves from movies you will recall from your youth. It’s not all bad.

But in the end, Barry and Sara’s natural chemistry together is what sparks this above most family made-for-tv fare.

One note: DVR this — the entire movie is about 60 minutes long, but it’s padded by ABC Family to 102 minutes with the added 52 minutes of commercials. DVR and fast forward and you will have yourself a fun hour of easy going sci-fi romantic comedy.

Wash it down with a viewing of “Tangled” on PPV, and you’ll have yourself a dandy date night.

 

Special Benefit planned, The Color Purple, Detroit (Press Release)

ALLEE WILLIS MARCHES ON DETROIT!

WHAT: As a special benefit for MUMFORD HIGH SCHOOL, alumna extraordinaire ALLEE WILLIS conducts the MUMFORD HIGH SCHOOL MARCHING BAND through a medley of her hit songs in the lobby of Detroit’s FOX THEATRE, with cast members from THE COLOR PURPLE joining in for a sing-along.
WHEN: Saturday, April 9, 11:00AM to 12:30PM, SHARP
WHERE: The Fox Theatre, 2211 Woodward Avenue, Detroit, MI 48201
WEB: http://www.alleewillis.com/mumfordinvite

GRAMMY, Tony, Emmy, and Webby award-winning/nominated songwriter, artist, multimediaist, director, collector, party thrower—and native Detroiter—returns to her hometown for a special benefit event at the historic and fabulous Fox Theatre in downtown Detroit: “Allee Willis Marches On Detroit! A Benefit for Mumford High!”

An alumna of Mumford High School, Willis will lead the school’s marching band through a medley of her hit songs in the lobby of the Fox. The Saturday, April 9 event takes place during a weekend run of The Color Purple at the theater, and cast members from the touring company of the Broadway smash—of which Allee is a co-author—will join in for a celebratory sing-along. Event will go toward new band uniforms.

The Allee Willis-composed songs comprising the medley—to be played first instrumentally by the marching band, and then with TCP company members singing along—are:  “September,” “Boogie Wonderland,” “In The Stone,” (all major hits for Earth, Wind, & Fire), “I’ll Be There For You” (Theme from Friends),” “The Color Purple,” “Stir It Up” (Patti LaBelle), and “Neutron Dance” (the Pointer Sisters).  The last two songs connect Allee to Mumford beyond her having gone there—they’re featured in Beverly Hills Cop, and on the soundtrack, which won Allee a GRAMMY.  The film, produced by fellow Mumford alum Jerry Bruckheimer, made the school famous when Eddie Murphy wore a Mumford t-shirt throughout.

Allee was inspired to work with the Mumford High marching band after being invited to conduct the 350-piece marching band at her collegiate alma mater, University of Wisconsin, for the halftime show at the 2010 Homecoming football game.  “Allee Willis Marches on Detroit!” is a dream come true for Allee, connecting her songs and The Color Purple to Mumford and her beloved hometown of Detroit—all in the city’s most famous venue.  She also looks forward to working with Mumford students on an ongoing basis.  And, this project builds on work Allee started doing with the school in 2008, when she was on a national radio broadcast as Mumford became the first school in the country to receive 400 hours of historic audio tapes related to African-American history that she helped to restore with Pacifica Radio Archives.

Tickets are $50 each, with attendance limited to 200 guests (not including the band and event facilitators).  Sponsorships are available to help underwrite the event, and will go toward “sponsored” tickets to allow current Mumford students to attend, generating proceeds for uniforms, and covering production costs. Here’s the invite with all the details on how to attend:http://www.alleewillis.com/mumfordinvite

FYI “Allee Willis Marches on Detroit!” takes place just before a matinee of The Color Purple.  Event tickets do not include admission to the show. Attendees may (but are not required to) separately purchase discounted tickets for The Color Purple—in advance—by calling group sales at the Fox Theatre.

Tickets: http://www.alleewillis.com/mumfordinvite
Facebook: https://www.facebook.com/AlleeWillisMarchesOnDetroit
All About Allee: http://www.alleewillis.com

“Allee Willis Marches on Detroit!” is supported by Nickelodeon’s The Big Help Grant Program.

Les Miserables 25th Anniversary tour is, in a word, Perfect (Fisher Theater Detroit) – Review (Updated 11/11/11)

Sometimes you see a show, even a show that is now in it’s 25th year, and you just can’t describe it in any other way except “perfect” — such is the tour production currently on display at the Fisher Theater in Detroit.

With a finely-tuned ensemble cast; spectacular set design that out-Les Mis’s original turntable set; and sound and lighting design that are knockout spectacular, this is a Les Mis to be savored and enjoyed. The production breezes along at a fast-paced 2 hours 50 minutes of sheer Broadway spectacle.

The sell-out crowd at the Fisher was on its feet before the cast had even returned for their curtain call — and its well-deserved. Joe Tokarz (at today’s performance) sang a spectacular Jean Valjean. Andrew Varela turns in a commanding Javert. Betsy Morgan makes a straight-forward Fantine. Shawna Hamic and Michael Kostroff are delightfully nasty as the Thenardiers; Chasten Harmon plays a love-struck but not love-weakened Eponine; Jenny Latimer sings Cosette with lush clear tone; Jeremy Hays is a fine Enjolras; and Justin Scott Brown is one of the strongest performers I have ever witnessed play Marius — his growth from idealistic student to battle-hardened adult makes for a tremendous actors journey, and the audience eats it up.

This is a less-gimmicky Les Miserables than the original turntable production. (For the record, yes you DO miss seeing what’s on the other side of the barricade  in what was one of the original productions most dramatic moments). Here clear white light is used instead for dramatic effect – and it works spectacularly.

This set design would have been impossible 25 years ago — projection and integrated lighting design have come that far in the quarter century since we first saw this show. There were audible gasps from the audience as the projection moves underground, into the sewers, through a chase sequence from shadow to shadow, chamber to chamber. The sequence from the Barricades through the sewers and then onto Javert’s suicide from the Pont on the Seine is pure theater magic. It’s one of the most exciting things I’ve seen on stage in many years.

Do not hesitate to go see this Les Miserables — even if you think you know this show inside out, you haven’t seen it like this. Not only re-imagined, the show feels as new and exciting as it did when it first arrived; you will thank yourself for going. This is riveting theater, and the best tour I have seen in a long long time. Hours later, I am still in thrall of what I saw this afternoon. It’s a once-in-a-lifetime cast and production that is simply stated “perfect.”

UPDATE 11/11/11 — Just a brief update — Les Miserables has returned to the SE Michigan area again, and is currently at the Stranahan Theater in Toledo. J. Mark McVey has returned to the part of Jean Valjean, and he is outstanding — his vocal performance is spectacular, and the new physicality of this production allows him to perform in ways he never did in his 2900 plus Broadway performances of Les Mis. He’s amazing. Unfortunately, the superb Justin Scott Brown in the Marius role has left the tour, and his replacement Max Quinlan is a Joe Jonas sound-alike/look-alike, and he does not bring the same qualities that Mr. Brown did to the part. He’s adequate, but not exceptional. The tour will also return to the area a third time this winter at the Wharton Center in East Lansing. If anything, the physical production of the show looks even better — everything looks tighter, moves faster, and sounds great. The show travels with its own sound system, so no matter where you see it, you will hear the high quality of these performers.