A(nother) world premiere musical at Virginia's Signature Theatre

                So, even though I live in Raleigh and I love North Carolina to pieces, I am and will always be a Washingtonian.  I was born and raised in Arlington, VA – I love DC, and my parents still live there, so I make a habit of visiting as often as possible.  One of my main reasons for visiting is that DC’s theater scene is crazy awesome.  My personal favorite is the Signature Theatre in Arlington, which does plenty of Sondheim and even more original work.

It’s no secret that I see a lot of theater.  My “Broadway” playlist on my ipod is well over 1,200 songs and growing.  I love it all.  Yet, seeing new work is always a special thrill for me – I don’t already own the original cast recording, I don’t already know all the lyrics, I’m not already familiar with the plot, and I don’t know how it’s going to end.  It’s a different experience from a lot of the shows I see.

                Signature puts on a lot of new material, and I love it.  I saw Sycamore Trees there a while ago, which was the world premiere of a new Ricky Ian Gordon musical.  So, for my birthday, my parents took me to see the world premiere of the brand new musical And the Curtain Rises by Michael Slade, Joseph Thalken, and Mark Campbell.

                My past positive experience with new work was echoed at And the Curtain Rises.  I very much enjoyed the thrill of seeing a plot, entirely new to me, unfold musically.  I especially enjoyed the second act.  I felt it moved very smoothly – perhaps because I was more familiar with the context by then, or perhaps because it actually was more smooth, I really can’t tell.  I’m now enamored with the idea of a musical about the birth of the musical.  I must admit, a hot shirtless man every now and then really didn’t hurt their cause either.  I found the subject matter interesting and the story fitting.

                Ultimately, I find myself glad that it was the Signature at the helm of this premiere.  They know how to premiere works.  They know how to handle new material.  I fear that had I seen this production anywhere else, I may have been disappointed.  I’m not sure the show is quite Broadway-ready, but it was enjoyable and worthwhile, thanks to the capable (and Tony-winning ) Signature.

Seeing Shrek the Musical with the next generation of Broadway superfans

I used to be a nanny, and the oldest kid I took care of is now a kindergartener, and he and I used to listen to the original Broadway cast recording of Shrek the Musical in the car all the time.  He’d even make us do parts – he’d say, “Okay, now I’ll sing Shrek and you sing Fiona.”  It was such fun.  He knew all the words – he was five years old and he knew words like “asunder” because of Shrek the Musical.  Even having never actually seen a musical, he would put on his own musicals for me, or make me star in them.  I told him all about Broadway.  I got him a Broadway kids CD for Christmas.  He even once told me “I’m going to be on Broadway some day.  If you’re still alive then, you’re invited.  You can sit in whatever seat you want.”  Despite the assumption that I might no longer be alive, I was touched by the sentiment.

When I saw that Shrek the Musical was coming to DPAC, I knew we had to be there.  I asked his mom if it was okay, and I took him to see it.  It was such a cool experience getting to take a kid to his first real musical.  He loved it all.  When we got inside the theater, he said “I didn’t know it was going to be this big!”  He enjoyed learning about how you behave at such a special event as live theater.  We talked about how even though we know all the words, we aren’t allowed to sing along during the show.  I noticed during “I Know It’s Today,” that he was mouthing the words along with young Fiona.  He bought (with money he had saved up) Shrek ears and a Shrek whoopee cushion.  If you ever get the chance to take a kid (it doesn’t even have to be your kid) to the theater, do it!  It was such an amazing experience for me and him.  And I know that that Monday in kindergarten, he was telling all of his friends about Shrek the Musical – and for good reason!

In my opinion, Shrek the Musical has it all.  You may think this is strange coming from someone who has seen Spring Awakening seven times, but I really think it’s true.  Shrek the Musical is funny, it’s touching, and best of all, it works hard to make it worthwhile for everyone in the audience.  They knew they were going to get the kid crowd – they made it kid-funny (which is very different from adult-funny).  They knew they would be getting parents – it has that kind of double-layered humor which adults love and kids don’t know what they’re missing.  They knew they would get musical theater fans, and even musical theater aficionados who were skeptical of the likes of Shrek on Broadway – they included some great musical theater references: The Lion King, Wicked, and the old standby, Les MIserables, and won people over the old-fashioned way: great music, and a quality book, and excellent performers.  Every reason a person could have for buying a ticket to the show was met with a well-crafted response.  I will continue to recommend Shrek the Musical to all the kids, adults, and fellow musical theater junkies in my life. 

Broadway Royalty, Here in Raleigh - Idina Menzel and the NC Symphony

                 A few weeks ago, my friend Brandon asked me if I wanted to go with him to see Idina Menzel in concert with the North Carolina Symphony here in Raleigh.  Clearly, I said yes.  I saw Idina at Wolf Trap last summer in concert with Marvin Hamlisch and the National Symphony Orchestra.  She was so good there, and the Meymandi Concert Hall in Raleigh is a much more intimate venue than Wolf Trap, so I knew it would be awesome.  I saw Amadeus there recently, so I knew it was the ideal location for a symphony performance.  Plus, Idina is pretty much Broadway royalty – everybody who knows anything about musical theater knows Idina Menzel.

                I think I should mention before I go any further that, while I am certainly a big fan of Idina Menzel, I don’t think anyone is as enthusiastic of a fan as Brandon.  Our seats were in the mezzanine, and we had a really good view in a great venue.  Brandon started freaking out pre-show, and I’m pretty sure that he didn’t stop until hours afterward.  I admit, we were both pretty stoked to see her, and to know that she was in the building.  Highlights included “Poker Face,” joining in as they whole symphony hall sang “No Day But Today,” and hearing a snippet of “Over the Moon.”  She even sang “In Cyberland, we only drink…” and turned her microphone to the audience for us to complete the line.  I’m pretty sure the two of us were the loudest ones, yelling “DIET COKE!”

                What I love the most about seeing Idina Menzel in concert is that you get a mix of amazing music and great stories.  The audience really feels like they get to know her as a performer and a person.  Her anecdotes about her family are great, and I love that she opens a window into her life.  She also knows what the fans want to hear.  She sings stuff that she’s chosen and keeps the fans happy.  She knows that if she didn’t sing something from Rent and “Defying Gravity,” the crowd would be disappointed.  But she also throws in some unexpected gems – from The Wild Party, Cole Porter (mashed-up with The Police… who knew?), and Finian’s Rainbow.

                Idina was so gracious, and came out and signed autographs after the show (by the way, she’s taller than I thought she’d be).  She couldn’t take pictures, which was understandable, since she had to get up early the next day and it was already late.  It was so cool of her to even come out the stage door at all, something performers aren’t actually obligated to do.  I was a little concerned by some fans who I think got overwhelmed with excitement and were desperate for pictures – it’s easy to forget that even Broadway royalty need sleep, and probably don’t like camera flashes going off in their face all the time.  However, Idina was so gracious, and I really appreciated that she signed my program.  She even came prepared with her own sharpies – both black and silver!

                So, now I’ve seen Idina Menzel live twice.  My conclusion is that any time she comes to a venue near me in the future, I’m so there.  I love the shows she puts on, and seeing her live is such an amazing treat for Broadway addicts like myself.

There's no such thing as too much Spring Awakening!

                I’m going to apologize in advance for how long this blog post is.  I have a lot to say.  Bear with me, it’ll be worth it.  It’s pretty evident that I love Spring Awakening.  It’s my favorite musical.  I saw the first national tour four times: twice (from house seats) in Durham, and twice (from on-stage seats) in Greenville, SC.  I can’t ever seem to get over how awesome it is.  So, I bought myself an on-stage seat for each of the three performances of the second national tour’s gig here in Raleigh.  So awesome!

                I was unsure of what to expect, exactly, in terms of how things would be different, since the second national tour is non-equity.  I know that traditionally, sets and lighting are scaled down for non-equity tours, due to the fact that they do much shorter engagements, often lasting only one performance, and need to be able to take apart and rebuilt the set very often.  I once saw a non-equity tour of Hairspray and the set was practically non-existent!  Luckily, Spring Awakening doesn’t have a particularly involved set – however, the complex lighting is crucial to the design.  There were only a few things which were different.  They kept all the brilliant lighting.  The side walls became imaginary walls with lights and pictures midair, and one row of stage seating was removed.  The stage didn’t move, and there was no elevated hayloft.  The back wall was the same, and the set had the same feel as the first national tour.  I feel that nothing essential was compromised in terms of the set – especially since all the lighting was still present.  The only thing I truly missed was the fog for “Those You’ve Known.”  I don’t see why they couldn’t travel with a few fog machines.  Oh, well.  The show was amazing – fog or no fog.

                I was quite disheartened by the low attendance at all three performances.  The house was barely even half full on Saturday night, and that was the largest audience of the three performances.  It’s clear that live theater is a tough sell, especially for performances which aren’t part of someone’s season tickets.  It also appears that people are still unwilling to step outside their comfort zones – and I’m most disheartened by the fact that people will leave Spring Awakening during intermission.  It’s not a cultural experience unless you experience all of it – and you miss out on a lot by missing Act II.  This being said, I do have to mention that Spring Awakening is not a show for everybody.  For example, I don’t think it was appropriate that there was a four-year-old girl in the audience.  I saw her sitting there the entire show – inappropriate!  For the price her mom paid for the ticket, she could have easily paid for a babysitter!  No small child needs to see simulated sex or hear a musical number called “Totally Fucked.”  So, in summary: go see Spring Awakening, but leave the little ones at home.

Despite the low attendance, I was quite encouraged by the enthusiasm of the small crowd.  The audience at all three performances was excited, energized, and engaged (excepting, of course, those who mistakenly chose to leave at intermission).  There was plenty of cheering, applauding, and head-bobbing – and a standing ovation every time.  Those who were there truly appreciated and enjoyed the show.   On stage, the energy was palpable.  I couldn’t help but nod along, tap my feet, and get really into the musical numbers. 

In addition, there was a tight core group of stage-sitters, and we all got to know each other pretty well over the course of three performances.  What I love about Spring Awakening is that I knew beforehand that I wouldn’t be the only person with stage seats for all three Raleigh performances.  This show creates such a loyal, dedicated following.  Sitting on stage was such a blast – I loved it so much!  It’s the coolest way to experience such an amazing show.  The experience was made that much better by Paris, the adult women understudy and assistant company manager, who was in charge of on-stage seating.  She was, in a word, awesome.  If you’re with the production company, give Paris a raise – the fans demand it!  She helped get us and the crowd pumped up and reminded us that it’s up to us to create the energy for the show.

Having seen the show several times before, I took the opportunity of sitting on stage to glance out into the audience every so often.  I’m glad I did.  On Saturday night, I couldn’t help but watch an older gentleman (probably in his sixties) who was so into the show.  I first noticed him during “Left Behind.”  I couldn’t help noticing the fact that he was practically sobbing.  He was clearly very affected by (SPOILER ALERT!) Moritz’s death.  And then, throughout the rest of the show, I couldn’t help but peek over at him.  He absolutely loved ”Totally Fucked,” he was grinning ear to ear during “Song of Purple Summer,” and he was giving perhaps the most enthusiastic standing ovation of all during the curtain call.  I’m so glad I got this window into someone’s Spring Awakening journey.

My friend Caleb and his boyfriend Sean came up from Savannah, GA to see the show on Friday night.  Caleb had never seen Spring Awakening before!  I love getting to see how much Spring Awakening virgins love the show, but I will admit that it was very hard for Sean and me to not give away important details beforehand.  I am overjoyed to report that not only did it blow his mind, but his world was rocked so hard that he got tickets for both Saturday performances as well!  I told him he would love it, and I was right, of course.

Spring Awakening has such a reputation for fan loyalty and cast gratitude.  The three of us were at the stage door after each performance, just to chat with the cast and tell them how much their performances meant to us.  The sheer amount of talent in this non-equity cast blew my mind.  They were such an amazing group of talented young performers.  Caleb and Sean kept talking about how great they were.  I’m not exaggerating here: the talent of this cast as a whole was Broadway-caliber.  They brought their own new quirks to these roles, and did such a good job.  I loved all the little things they did – the girls nodding in unison as they tried to convince Wendla to attend Greta Brandenburg’s wedding, the boys’ on-beat glances at one another when Melchior stands up to Herr Sonnenstitch.  They were so genuinely nice at the stage door, and it was so cool to talk to them about the show.  I could tell that they were truly grateful to be in such a groundbreaking piece of musical theater.

I had been vacantly pondering getting a Spring Awakening tattoo for some time now.  I have other tattoos, but none which are musical theater related.  However, between the Saturday matinee and evening show, Caleb, Sean, and I walked past a tattoo parlor in downtown Raleigh, and I decided to go for it.  I’m so glad I did – it really sums up the meaning of the show, and how I want to incorporate those lessons into my life.  After the evening performance, I was able to show it to some of the cast members, which I thought was pretty neat.  I guess I’m now committed to being a theater nerd for life!

Filling big shoes: The national tour of In the Heights

                Okay, I admit it: my obsession with theater has gotten serious.  I told my mom I was only seeing In the Heights on tour at the Durham Performing Arts Center twice, so she wouldn’t remind me about being responsible about saving my money.  I saw it three times.  Don’t tell her.  I was in the front row twice, and the other time I was in the second row.  But it was so worth it.  I also spent a sizable amount on merchandise.  I don’t regret any of it.  I loved it.  I got to see one of my very favorite musicals three times (for a total of four), and I got to talk to some truly awesome theater fans.

                To be honest, I was hesitant at first to even see the national tour.  I just saw it on Broadway in December, and Lin-Manuel Miranda, Christopher Jackson, and other original cast members were there.  It was so amazing and I was worried that with this entirely different cast, I wouldn’t love it as much.  But the second I heard “lights up,” all that worry melted.  I was instantly immersed in that world, and I loved every second of it.  It was a testament to the material itself – as long as there are quality actors, it will be amazing!  I mean, clearly it was amazing enough for me to buy tickets to two more performances.  The actors had some big shoes to fill – I mean, it’s tough to take on a role which was originated by the super-talented Lin-Manuel Miranda.  I must say, Joseph Morales and the other actors filled those big shoes wonderfully!  I didn’t find myself missing those actors I had seen in New York at all.

                In addition to the amazing talent on stage, I met some really cool people in the audience.  At the Wednesday performance, my first of the week, I was sitting next to an older couple who were a little nervous about whether or not they would like the show.  However, they told me that their grandson goes to Wesleyan University (alma mater of Mr. Miranda himself), and he had seen the show in New York and insisted that they see it as well.  I told them that it was one of my three favorite musicals, which is saying something because I see a lot of shows.  I told them it would be different than musicals they’d seen before, but that In the Heights is high-quality, Tony Award-winning theater.  After that, they seemed prepared to see it.  I’m happy to report that they really enjoyed it!  On Sunday night, I met up with a gentleman who has season tickets at DPAC, had seen the show on Wednesday, and just had to see it again.  There were two ladies there who really love theater, and were eager to hear my opinions on In the Heights, especially about seeing it on tour and in New York.

                My favorite people I met were an older couple sitting behind me.  They were a Cuban-American couple who gave me new insight into the show.  Since they are fluent speakers of both English and Spanish, they wanted to know how the show was for someone who doesn’t speak Spanish.   I told them that I grew up in an area which had a sizeable Spanish-speaking population, and I had picked up enough to generally understand the Spanish in the show.  They said they loved being able to understand the whole thing.  I had already known that the actors take care to pronounce things using the specific accents of their characters’ regions, but I learned something new.  This couple told me that even the music itself fits the characters’ countries – like when Abuela Claudia sings, the music sounds Cuban.  When Daniela sings, the music sounds Puerto Rican.  I don’t know the difference between Cuban, Dominican, and Puerto Rican music, but it was so cool to hear, from people who know, about the music in the show reflecting the different characters’ national heritages.  I have even more respect for the genius of Lin-Manuel Miranda.

                I think that now it’s safe to say that I will never, ever, ever get tired of In the Heights.

Pondering Life and Death at Triad Stage

                It’s no secret that I love Triad Stage.  They consistently put on high-quality theater, and my most recent visit to Greensboro proved no different.  I went this past weekend to see The Sunset Limited, a Cormac McCarthy play, and the talkback after.  It was great.  Also, having season tickets to Triad Stage is a great excuse for me to visit my best friend, who lives in Greensboro.

                I think it’s time you knew about the thing that really gets under my skin.  My secret pet peeve is when actors pretend to eat and drink while on stage.  I can’t stand it when I know that there’s not actually any coffee in their mugs or soup in their bowls.  It bothers me to no end.  I realize that I shouldn’t let it get to me, but I do.  I really do.  That being said, I have to hand it to Triad Stage for avoiding committing this faux pas.  The thing I perhaps loved the most about the show was that the kitchen on stage was a working kitchen, the characters actually made and drank real coffee, and cooked and ate real food.  Thank you!  I realize that this may seem small, but to me, it’s important.

                So, the show was interesting.  I don’t have a lot of insight this time into the subtext of the play – I think it pretty much speaks for itself.  I have a very firm opinion about what happens in the moments following the conclusion of the play, but I don’t want to ruin it for anyone.  If you really want to know what I think about the matter, send me an email.

I think the way the actors brought the characters to life was phenomenal.  There was so much text for them to memorize, and very little in the way of movement about the stage.  With a two-character play, the chemistry between the two characters/actors is essential.  These characters were believable without being dull.  Bravo.

I absolutely loved the talkback – it really helped me wrap my head around the play and the production.  I recommend that anyone buying tickets to a Triad Stage show get tickets for the performance with the talkback.  You won’t be sorry.

The Threshold of Revelation - Seeing Angels in America at Playmakers Rep

                When I saw that the PlayMakers Repertory Company was doing Angels in America, I knew without hesitation that I had to be there.  I saw their production of Fences, and absolutely loved it.  I had never seen Angels in America performed on stage, and I was chomping at the bit for an opportunity to do so.

                Several years ago, I saw the HBO movie, and my then-roommate and I still can’t get over the fact that Meryl Streep was the rabbi.  I didn’t remember too much from it, except I remembered the line “my religion doesn’t believe in Mormons,” because I thought it was pretty hilarious.  I also remembered Patrick Wilson, because ever since then, I’ve had a huge crush on him – but I think the rest of America has, too.

                Back in December, when I was planning my whirlwind trip to New York City, there was a brief moment in which my friend Cliff and I thought we would go see Angels in America Off-Broadway.   Of course, tickets were sold out, and the way their schedule was running, we wouldn’t have been able to see both parts in order anyway.  But, when I was at PlayMakers Rep, it was like the distance between New York and North Carolina dissolved, and the difference between regional and Off-Broadway disappeared.  It was apparent from the get-go that I was seeing high-quality theater.

                First of all, the set was spectacular.  Appearing minimalist at first, it became clearer as the course of the play went on that it was a carefully thought-out design which really provided a lot for the telling of the story.  I really like how the pieces of the set slowly come apart, showing at the same time this sort of paradox between destruction and revelation.  The scenes change rapidly in Angels in America, and I appreciated how smoothly the actors and the set transitioned between scenes.

                I think my absolute favorite thing about this production was the sound.  I’m not a technical theater expert or anything, but I thought the placement and content of the sound design was phenomenal in what it brought to the show.  The set was pretty minimal, so sound was what really defined place for me.  The city noises, the nightclub music, all of it was perfect.

                Of course, the acting was great.  It is shows like this that make me wish I were an actor – I’d give anything to be onstage in a production like this, bringing these amazing characters to life.  All of the characters were so believable, which is tricky in a show like this.  The characters could easily be portrayed as over-the-top or larger-than-life, but the actors in this production were so controlled and tuned in to who these characters really are.  I appreciated their attention to Kushner’s words, and it was obvious that a lot of thought and work went into bringing those words to the stage.  I also appreciate the amount of time it must have taken to memorize all those lines!

                 I also loved the inclusion of the AIDS quilt in the lobby.  I grew up in DC, so my parents took me to see the AIDS quilt on the national Mall when it was there in 1996.  I was only ten, but I knew I was seeing something important.  The AIDS quilt is such a fascinating piece of American history, and I’m glad that a part of it was able to be in the lobby of the theater.

                So, all in all, this production of Angels in America is must-see theater.  I logged a total of 120 miles traveling to and from the show (30 miles each way, two round trips), and each mile was completely worth it.  It was all the little things that made the show remarkable.  Of course, the acting was great, something I expect of PlayMakers Rep, and the writing was great, but I knew that already.  It was the details that made it stellar – the subtle scenery, the sound cues, the scene transitions, the lighting, the AIDS quilt in the lobby… the list goes on.

The Lion King at DPAC!

            I have been remiss about posting lately, but I have good excuses.  January was a slow theater month for me.  After my Broadway whirlwind at the end of December, I didn’t have any theater tickets at all until January 26^th, which is when I saw The Lion King national tour at the Durham Performing Arts Center.  Also, I’ve been so busy that I’ve been falling asleep before 9 pm most nights – atypical for a theater devotee, I’m sure.

At first, I was skeptical about whether I actually even wanted to see The Lion King.  I think the Disney production credit through me off track, and I was worried it wouldn’t be entertaining for adults.  Logic set in, however.  I thought to myself, if I love Ragtime, and this show beat Ragtime for the 1998 Tony Award for Best Musical, then it has to be beyond amazing.  I’m so glad I listened to logic. 

Anyway, after my recent revelation that I’m totally willing to pay the extra $60 for orchestra-level seats, I managed to get a killer seat for The Lion King, right in the front row, in the center section on the aisle.  It was awesome, and also a little bit scary.  I’m sure I looked quite silly with a giant grin on my face for about the first thirty minutes as I tried to take in the splendor of the show.  When the curtain came up, it seemed like Rafiki was singing right to me.  I could see everything so wonderfully.  I loved every second of it.  Except for the hyenas – they were slightly frightening.

                Sitting in the front row was perfect and completely worth every penny I spent!  There were only one or two occasions when I thought that sitting a little further back would have been beneficial, specifically to see the tableau created by the masterful puppetry, but overall, I wouldn’t have traded that seat for anything.  Simply put, it was phenomenal.

                I keep wanted to compare the quality of The Lion King to other shows I’ve seen, but I really don’t have a basis for comparison because it is such a different kind of musical than anything I’ve seen.  I suppose I could try to compare it to Avenue Q because they both have puppets, or to another musical produced by Disney.  Ultimately, comparisons of this nature are unfair to both parties because what The Lion King offers is truly unique.  I was in awe of the bird puppets flying inches above my head, startled by the giraffes who leaned all the way across the orchestra pit to look me in the eye, dazzled by the wickedness of Scar, touched by the friendship and love of Simba and Nala, and I identified with the quest for belonging.

                I can’t wait to see it again.