It is a dangerous decision when a creative team decides to “re-imagine” a musical, especially a well-known classic. Certainly CHICAGO and CABARET stand out as recent revivals that were both re-conceived and met with high praise. But it is a risky move and doesn’t always work. When TUTS announced that they would be giving their GUYS & DOLLS revival a Latin flair, I must admit I was a bit concerned. How would this change an already great musical and its story? Would it work? Last night, I got my answer.
I’ve always been a Steve Martin fan. Yes, I enjoy his more zany antics like the Wild & Crazy Guys or King Tut, but I prefer his more understated moments as I find them to be more poignant. Going into PICASSO AT THE LAPINE AGILE, I wondered which Steve Martin would show up in the writing. The answer is: a little of both.
These words, taken from the emotional song “It’s Quiet Uptown” could easily be applied to any review of HAMILTON: AN AMERICAN MUSICAL. What can be said that hasn’t already been written about this juggernaut? This review will take a bit of a different form since there’s not much to quibble with regarding the show itself.
I know being drunk and obnoxious was your primary goal during last night’s performance of CLEO at the Alley Theatre. Since you missed most of the play due to your alcohol-infused antics, I wanted to write this review specifically for you. I hope you enjoy it when/if you sober up.
When I hear the word “concert” I think of a stage with a band and microphones where artists perform their latest hits. Even some of the most ambitious tours I’ve seen (Madonna’s “Blonde Ambition” comes to mind) were bold in their theatrics but were still, in the end, the very definition of a concert. NBC had been billing JESUS CHRIST SUPERSTAR as a concert event. To say that is a dis-service to what was actually presented, although I suspect there is a reason for this somewhat deceptive marketing.
As a kid of the 80s, I grew up with some of the greatest high school rom-coms made, including PRETTY IN PINK, SIXTEEN CANDLES and SAY ANYTHING. These films found the right mix of humor, drama and teen angst to make them classics. LOVE, SIMON attempts to be this generation’s version of such a film, with mostly positive results.
A few weeks ago, I speculated about what shows would play The Hobby Center during the coming Broadway season. Today the official line-up was announced and now we know which shows will visit Houston in 2018 and 2019.
We’ve all admired a performer from a distance. Watching from beyond the footlights or via television, we usually only see what they want us to see. It’s easy to love the persona that is public-facing, but what if we could look backstage or see them when the camera is off? Would we still have the same adoration or would it be tarnished? SATCHMO AT THE WALDORF allows us that access to one of the greatest entertainers of all time — Louis Armstrong. But does that peek behind the curtain make us love this legendary musician even more — or tarnish our views by exposing the real man?