I am assisting John Henry Davis on Babes in Toyland with the Little Orchestra Society, performing in Avery Fisher Hall at the Lincoln Center on December 19th. I am also an Assistant Director/Stage Manager for the Looking Glass Writer/Director Forum, working on three short plays with lots of talented women.
Winter prospects are assisting May Adrales again on Lauren Yee's play Ching Chong Chinaman at Pan Asian Rep and assisting John Henry again on an opera of The Golden Gate, composed by Conrad Cummings, adapted from the novel by Vikram Seth.
One of these days I will direct something... I'm working on it. :-)
Onto the shows:
Here is a picture to describe my third trip to IN THE HEIGHTS on Broadway. Our sincerest thanks (and compliments!) to Paul Tazewell, the costume designer (and my best friend's cousin) who got us these tickets for free! Seeing it from so close was a completely new experience, and I could not take my eyes off of William B. Wingfield as Graffiti Pete. It almost makes me want to watch So You Think You Can Dance.The new revival of RAGTIME on Broadway was stunning. The most beautiful piece of theatre I have ever seen. I remember now seeing it for the first time at Theatreworks in 2002 and falling in love, but this was 10x everything that was. Every moment was like it's own play, and the storytelling (directed by Marcia Milgrom Dodge) was phenomenal. I think this production's strength lies in the simplicity of the design, but is strongly supported by having a true ensemble cast, rather than a few stars and the ensemble. Even the "star numbers" were not presented as such, and were rather presented as a part of the story. I can't really express my thoughts any further, I was that blown away. Go see this show. There is just so much to love.
MEMPHIS on Broadway was fun, but the book dragged a bit. The show is kind of a cross between Hairspray for the politics and Jersey Boys for the bittersweet musician storyline. The music and dancing were fantastic, however, and the lead woman, Montego Glover, is a phenomenal singer and performer. It was also great to see James Monroe Inglehart, a Bay Area native, originating his first Broadway role (after replacing as Mitch Mahoney in 25th Annual Putnam County Spelling Bee). Crazy to think that the show started at Theatreworks 6.5 years ago. The design for this was also beautiful, using projection, two tracking columns (which turned) and a catwalk for 90% of the scenes (the only other major set piece being a flying radio box where we could see into the control room of a dozen radio stations). Plus more fabulous costumes by Paul Tazewell.
So I may have been quite spoiled seeing 3 Broadway shows for a total of $60 last month, and that wasn't the end of my theatrical adventures.
IN THE RED AND BROWN WATER (Part 1 of the Brother/Sister Plays) by Tarell McCraney, directed by Tina Landau at The Public is another simply stunning piece. The ensemble was constantly involved in the storytelling even when they were in the background, and the power of rhythm and movement they led was tangible in the room. The theatricality of this piece makes it so unique, which is a combination of the writing and the direction, as well as beautiful yet simple set, light and sound design. The show is so textually and visually rich that I could allow my eyes to drift to the chorus to take in their intensity without losing the story, which was key in the thrust of the Anspacher, where it is not always possible to watch all parts of the stage at once. I am in awe of Tina Landau and will no longer be able to pass up Superior Donuts. I believe this is a perfect piece for the Public, because it delves into a world unfamiliar to us and brings out the politics and the humanity, characterizing actions we can not imagine within the scope of our emotional understanding. That sounds pretentious, but it's not meant to be.
