Memories.

Oh, Cats. I spent most of my teenage and young adult years mocking this musical. It was my first musical in 1993, when I was 7, but I didn’t remember much about it except that a ‘cat’ walked past me across the front of the mezzanine and I thought that was SO COOL. I also definitely rolled my eyes when I heard it was being revived. But I bought my mom tickets for Christmas and we went in mid-January. And I really enjoyed it, as did she. 

So there’s really, truly no story being told, but a vague plot about a bunch of stray cats that come together on one night every year. Then there’s a former glamorous cat that is old and ragged, Grizabella, who I felt really bad for. There’s a small white cat, who I remember was my favorite back in the early 90′s. And there’s Mr. Mistoffelees, the magical tuxedo cat! He was, obviously, my favorite. Lastly, there’s the large old cat who is basically the sage, Rum Tum Tugger, the role Terrance Mann originated on Broadway (yes, that’s what I associate with this role). 

All of the cats have backstories and I felt so bad for all of them. Because I am a bleeding heart for stray cats now. I’m a crazy person. Anyways, the choreography was really phenomenal. So was the cast. 

I will totally admit that I had to eat my hat because I loved Cats and I’d definitely go see it again. I probably won’t, but I enjoyed it enough that I totally would. 

Snow Day!

I honestly don’t know anyone in the city who loves a good snowfall like I do. I mean, obviously it’s ideal to be able to sit in your apartment and watch it fall, rather than commute to work in it, but I love it regardless. All you need is a good pair of boots and you’re set. It gives you an excuse to go buy (or make!) hot chocolate or extra coffee because there is no better time for hot chocolate and coffee than a snow day. 

I am currently sitting in my living room watching some light, but consistent, snowflakes fall from the sky while my cat sleeps on the windowsill and I’m trying to decide whether or not to go to a yoga class at 11am. I’ve been trying to let my strained knee heel for the last week and a half before teacher training starts (on Monday, OMG). Shockingly, constant yoga classes weren’t helping, so I took Friday off and my knee is feeling a bit better (it hasn’t been in excruciating pain, just extra sensitive). 

Annnnnnnd I think I’ve just talked myself out of going. Thanks, blog and free-writing mind. I’m going to do some light flow and stretching in my apartment before I go to help to administer a survey at In Transit’s matinee (90 minutes, no intermission!). It should be an interesting piece, or at the very least it’ll be different.

And I hadn’t planned on it, but Anjellicle Cats was at a loss for a volunteer tonight so my bleeding heart for cats said yes, so I’ll trudge back out in the snow later tonight to play with some cats that are waiting to find their furrrrever homes. (Have you adopted a cat lately? If not, I seriously think you should.)

In the meantime, get a good pair of boots and enjoy your snow day. 

2016 in Numbers

I’m late in doing this but here goes. 

10 Movies: LaLa Land, Star Wars: Rogue One, Arrival, The Girl on the Train, The Purge: Election Year, Independence Day: Resurgence, Captain America: Civil War, 10 Cloverfield Lane, Macbeth, The Big Short

20 Books: The One and Only (Emily Giffin), Griftopia (Matt Taibbi), Revenge Wears Prada (Lauren Weisberger), On Writing Well (William Zinsser), American Psycho (Bret Easton Ellis), Your Brain At Work (David Rock), The Woman I Wanted to Be (Diane von Furstenberg), Wherever You Go, There You Are (Jon Kabat-Zinn), The Nest (Cynthia D’Aprix Sweeney), The Girls (Emma Cline), The Universe Has Your Back (Gabrielle Bernstein), The Couple Next Door (Shari Lapena), First Comes Love (Emily Giffin), Good As Gone (Amy Gentry), Behold the Dreamers (Imbolo Mbue), The Confidence Effect (Grace Killelea), The Woman in Cabin 10 (Ruth Ware), The Joy of Less (Francine Jay), Night (Elie Wiesel), Born For This (Chris Guillebeau)

29 Shows: The Encounter (2x), The Illusionists, The Cherry Orchard, Heisenberg, Beautiful, An American in Paris, American Psycho (2x), Long Day’s Journey Into Night, Waitress, The Color Purple, Blackbird, School of Rock, Eclipsed, Our Mother’s Brief Affair, Noises Off, Snow White, Marie and Rosetta, Small Mouth Sounds, Oh Hello, She Loves Me, Avenue Q, Tuck Everlasting, The Woodsman, Vietgone, Seen By Everyone, Fiddler on the Roof, The Crucible (There are probably a couple that I’m forgetting.)

I need to see more theatre this year. 

The Stapler in the High Castle, Season 2

If you understand the reference to the title, you’ve seen The Office. And the second season of The Man in the High Castle. If you don’t understand it, and it’s because you haven’t seen season 2, I wouldn’t exactly go running. 

Season 1 had this “OMG what’s going to happen next?” tension to it because it was this whole new world in which America didn’t win the second world war and we were mostly Nazi territory now. They obviously left season 1 open so they could make a season 2, but season 2 felt unnecessary.

Besides Julianna’s wardrobe and the use of Cabaret’s “Tomorrow Belongs to Me” in the final credits of the last episode (and their use of “Edelweiss” from The Sound of Music in the opening credits, I suppose), I was bored. The episodes felt really slow and a lot of it was really boring. By the last couple of episodes, they had you cheering for obergruppenführer Smith, so yes, we were cheering for a hypocritical Nazi. This didn’t feel right. It’s like rooting for Mike Pence. At any time. You’d feel dirty.

But Julianna’s wardrobe? Give. me. all. of. it. now.

The Only Way to Fill the Palace…

Is magic. Literally. 

Last Friday night, I went to see The Illusionists at the Palace Theatre. I’ve seen so many shows at the Palace over the last couple of decades because the place is so friggin’ huge that nothing can fill it. I mean, take a walk down from the balcony and you’ll feel like you’re walking to the bowels of the Titanic. It’s insane. And sitting in the balcony? You’ll get vertigo. But all that aside, I was interested in seeing The Illusionists to see what exactly they’d show me. 

I assumed the theatre would be mostly empty because The Illusionists isn’t even a real Broadway show and who the hell is coming to see this?! Turns out: everyone is coming to see this. Well, probably mostly tourists, but the theatre was 80% full at least, and this is a really hard thing to do for most shows that are in that theatre. 

I knew it’d basically be a magic show and not an actual Broadway show. I knew the skeptic in me would basically look for the first opportunity to say, “Oh I can see the string that it’s hanging on,” but whatever. I’m a New Yorker, what do you expect?

I have to say I was most impressed with The Clairvoyants, Thommy Ten and Amelie Van Tass, and The Daredevil, Jonathan Goodwin. I am still dying to know whether or not The Clairvoyants acts were set up but if they weren’t, they were really impressive. Impressive like picking a random person out of the audience, guessing they had a cell phone and what color and service provider they used. 

And Jonathan Goodwin, well, he was absolutely insane. He’s known worldwide as the closest thing we have a real life super hero and for a good reason. He’s an escape artist with a love for Houdini. One of his acts included handcuffing his hands behind his back, holding onto a sharp object with his teeth, while being raised over 3 foot spikes and trying to free himself from the handcuffs. Oh, and the rope that was suspending him over the aforementioned spikes was on fire. 

There was also a short scene by a puppeteer, Justo Thaus, with a marionette doll that was really adorable, and Charlie Frye, The Eccentric, who has a knack for juggling and acrobatics, as well as Dana Daniels, The Charlatan, who loves balancing things (like chairs) on his face. 

I yawned and thought it was super cheesy any time a ball was “floating” in the air (pretty sure it wasn’t) but other than that, I found all of the acts really impressive. Did the show need to be two acts? No. An hour and forty-five minutes would’ve sufficed. But if you find yourself looking to be entertained with an unconventional show in midtown, The Illusionists might just be the ticket you’re looking for. 

Vietgone closes today at MTC, but, nevertheless, I thought it was important to write about it. It is about the Vietnam War, yes, but it is also an insanely timely moment in American history to be remembering how the Vietnamese refugees who were relocated to America were treated.

First, let me address the pink elephant in the room, the rapping. I wish all of the rapping had been turned into monologues, but it’s there and it’s reminiscent of Hamilton and there’s nothing that Vietgone or we, the people who saw Vietgone, can do about it. I will just say that it came off as a little cheesy.

Anyways, the play opens up with Paco Tolson as the playwright, Qui Nguyen, explaining how the story is about how two Vietnamese refugees met in America after the Vietnam War, and no, no, no they’re definitely and totally not based on his parents. He explained how the refugees would talk (kinda ghetto), how the elderly Asians would talk (stereotypically), and how the Americans would talk (basically southern accents saying nonsensical words).

Vietgone was told nonlinearly, skipping back and forth between the present day in refugee camps and back in Vietnam before it fell. We needed to be reminded just how much the Vietnamese refugees were hated and distrusted when they got here. Their faces were the faces of the enemy. (Kind of like today with Syrian refugees.)

Quang (Raymond Lee) is a refugee who wants to get back to Vietnam to continue fighting (he was a fighter pilot in Vietnam who was trained in America) and get back to his family who was left there during the fall is Saigon. He meets Huong (Samantha Quan), an elderly Vietnamese lady who was forced to leave Vietnam when her daughter Tong (Jennifer Ikeda) had an extra ticket (perks of working at the embassy) in one of the refugee camps in Arkansas. Huong is over America with no desire to learn English and upon meeting Quang, plans to make her escape with him, to the disbelief of her daughter. 

Obviously, Quang and Tong meet and fall in love, eventually, to both of their dismays. Jon Hoche, who plays a friend of Quang’s, convinces him that he needs to just let his family in Vietnam mourn him because he doesn’t know if they’re even alive and when he steps off the boat, he will be immediately arrested and detained for being an American-trained pilot. The two eventually marry, work really hard to make a life for themselves in America, and give birth to the playwright. 

The final scene really brought everything together. It’s between the playwright and his father and he’s still asking him about the war, while at the same time dismissing it, saying that American had no business getting involved. His father looses his temper and dresses down his son, telling him that the only reason either of them are alive is because the Americans got involved. It really makes an American, and we so easily dismiss the war, rethink their opinions on the Vietnam War. 

This was the perfect show to see before the upcoming revival of Miss Saigon, rapping or not. The cast was fantastic and versatile, with some playing a half-dozen characters. I hope Vietgone has a second life somewhere. It deserves it.

Pre-Thanksgiving Fun @ The Cherry Orchard 

I couldn’t think of a more appropriate play to take in before the Thanksgiving holiday than The Cherry Orchard by Anton Chekhov. I knew it was be pretty dry, but the cast sounded too great to pass up. I showed up to the American Airlines Theatre last Wednesday around 2pm and took my seat in the last row of the orchestra. 

I read the description in the Playbill, and the breakdown of the family members, so I had some idea of what I was getting into (tl;dr: A Russian family is going broke and losing the estate that they’ve lived on for generations). Sadly, Joel Grey was out that day, but I was still really excited to see Diane Keaton, as well as Tavi Gevison and Celia Keenan-Bolger. Oh, and Chuck Cooper, too. 

The script was as dry and depressing as expected. The sets and lighting were lovely and mesmerizing. The performances were stellar. I can’t decide whether Keaton was great or overacting, because her character is a little delusional and crazy (think: a Russian Blanche duBois) so it was hard to tell. I still enjoyed watching her regardless. Keenan-Bolger and Gevinson were more compelling, though that might be because their characters were just more interesting to me. Then there was Chuck Cooper. who played a Russian businessman who knows the family. I love him in any and everything and he can do no wrong. Philip Kerr, who was on for Joel Grey, was whimsical with great comedic timing. Honestly, I can’t figure out why Grey would take a small, supporting role, but as great as he may be, I enjoyed Kerr a lot. 

Roundabout has put on a stunning production with a stellar cast of a slightly boring Chekhov play. But hey, I knew what I was getting myself into when I took my seat. If you love this kind of play, this is a great production to see. 

Oh, Hello! (aka We Laughed So We Wouldn’t Cry.)

Little did Kristen and I know that when we purchased our tickets to Oh, Hello! how much we would need a laugh that night. It was the day after the election and we were in shock, like much of the country. I’d been told that it was about two old guys talking about theatre for 90 minutes. I thought this sounded great – like The Drowsy Chaperone minus the plot line with Sutton Foster. Just perfect. 

I have to say, we laughed our asses off. The irreverent, inappropriate humor written by Nick Kroll and John Mulaney was just what was necessary to end such a depressing day. Now before you come at me and ask why it’s OK for a Broadway show to include crude and somewhat-racist humor but not our President-Elect, I’ll tell you: These comedians weren’t (and aren’t) running for president of one of the most powerful countries in the world. Thank you very fucking much.

“It’s the day after the election and Donald Trump has just won. LET THAT SINK IN.”

I can’t remember any of the jokes now, and I’m pretty sure at least 50% of the show is improvised. They commented on the election apologizing in advance to people who thought they’d have a night of escapism after it, but no such luck. They categorized the audience as theatre nerds, New Yorkers, tourists, and “old men who haven’t admitted to their wives who they’d voted for yet.” They played two old men who shared an apartment on UWS, one of whom is a “Tony Award-viewing playwright.” 

I had no idea that there was a special guest that they interview each night, but there was and it was Geraldo Rivera, who is a friend of Trump’s and it was perfect. 

I had no idea what kind of humor I was getting myself into when I walked into the theatre that night but I’m sure glad I walked in because I needed it. Mulaney and Kroll were fucking incredible at improv comedy, and acting, too. I hope to see them again onstage in the near future. 

This is the one show on Broadway that had me walking away thinking, “You know, I really want to see that AGAIN,” because I’m sure it’s different every night. As are all shows, because that’s what’s so amazing about the theatre. 

Heisenberg @ MTC

Last Friday night I went to see Heisenberg at Manhattan Theatre Club’s Samuel Friedman Theatre starring Mary Louise Parker and Denis Arndt. I’ve only seen Parker onstage once, years ago in The Snow Geese. She’s brilliant. I think we all know that.

Heisenberg was about two people in London who meet at random when Georgie (Parker) thinks that Alex (Arndt) is someone she knows and rushes him from behind. Despite the fact that Alex wants to be left alone, Georgie keeps talking to him about nothing in particular. She discovers there is 30-something years between them. The play takes place across various locations over a few weeks. They develop something like a relationship and it feels kind of awkward.

I was kind of confused about what I was watching. I don’t know what the playwright was trying to say. That said, I enjoyed both Parker and Arndt immensely and the pointless, sometimes funny banter in the script.

If you have any idea what this show means, please feel free to leave me a comment and let me know. 

The Encounter // 10.4.16

Last Tuesday I saw The Encounter at the Golden Theatre on 45th Street. Transferred here directly from London and a tour, I had literally no idea what to expect so I was super surprised to see headphones on every seat when I arrived. Conceived by (and sometimes performed by) Simon McBurney, the first line in his note to the audience in the Playbill is, “We only see the version of the world that we want to see.” How true is that?! Having spent the last week or so reading Gabby Bernstein’s book, The Universe Has Your Back, I was totally onboard with the fact that what we concentrate on is what we manifest and see in our lives. I was into this play so far.

It was a Tuesday night, so Richard Katz was stepping in for McBurney. We took our seats, put on our headphones, and Katz came out and began the show. The first part of the show was was about how our brains assume a lot and fill in gaps with what we think is most logical. There’s a standing microphone onstage which leads directly into our ears, so as he moves around the microphone it sounds like he’s in back of us, or to our right or left, etc. The concept of seeing what we want to see is very Buddhist and I would’ve enjoyed if the entire 90 minutes were about that, but Katz eventually started telling a story.

The story of The Encounter was about an encounter that the protagonist of the story has with a rarely seen tribe in a Brazilian rainforest whom he is trying to photograph. He uses various sound effects and looping machines (which he produces using his own voice or various inanimate objects) to tell a simple story in a very compelling way. I found the beginning part of the story to be a bit slow, but the last half was more entertaining and quicker paced.

Richard Katz is an unbelievable storyteller. I can’t help but wonder how different it would be to see the creator, McBurney, perform the show, too. 

This is an unbelievably creative and unique piece. Clocking in at 90 minutes (no intermission – score!), it’s totally worth seeing. I mean, when else will you be wearing headphones during a show and thus unable to hear a cell phone go off? That alone is wroth the price of a ticket.