In this world of smart phones, 24/7 cable news, on-demand entertainment and the internet, we tend to live in the “now” with instant gratification and immediate feedback. While these tools and the ability to access and disseminate information instantly can be a powerful thing, we have almost made long-term thinking counterintuitive…and in many ways are paying the price for this shortsightedness.
Those familiar with the Sherlock Holmes stories or even the British television series will know the significance of Reichenbach Falls. It is at this location that the famous detective and his arch nemesis Professor James Moriarty fall to their deaths. Or did they? FYI this review is spoiler-free, so it can be read prior to seeing this show.
There’s a three line exchange about mid-way through the Alley Theatre’s production of THE CAKE that sums up the show perfectly:
DELLA: “I told her the truth.”
MACY: “Which truth is that?”
DELLA: “The only one I know.”
What is the truth? These days, it can be hard to discern. And perhaps, we’re all a little bit wrong in what we perceive to be true.
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.
All nominees, winners and my picks are listed below. Not my best win percentage this year but I went out on a limb for a few of these and lost. Congrats to all the nominees and winners!
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.
“There are moments that the words don’t reach…”
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.
To the Four “Ladies” Seated Directly Behind Me:
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.