Significant Other

Despite my better judgment, I went to see Significant Other, the new play by Joshua Harmon that recently transferred to Broadway from Roundabout, this past Sunday with my significant other, my best guy friend, and his significant other. I saw this shortly after I met J in 2015 while it was off-Broadway and it hit me hard in the emotions. I walked out of the Laura Pels thinking Gideon’s character surely killed himself after the lights went down. And to be honest, I kind of wanted to kill myself after the lights went down on Sunday afternoon, regardless of my relationship status. My friends concurred.

I want to start by saying that Gideon Glick is brilliant as the protagonist Jordan, a late twenty-somethings city-dweller. He gives a flawless performance of an extremely flawed character. He has genius comedic timing and I was exhausted watching him exert himself onstage for two and a half hours(ish). I would watch this guy read the phone book because he could make it entertaining. He has monologues that are pages long but he makes it look effortless.

Sas Goldman, who plays the first bride of the night Kiki, reminded me in a weird way of Tracee Chimo in Bachelorette. But in a totally good, weird way. Lindsay Mendez plays a wonderful best friend to Jordan, Laura, who gets caught up in wedding madness when she finally gets engaged. She was able to be strong even when hurt by Jordan’s page and a half tirade on the evening of her bachelorette party. And, last but not least, Rebecca Naomi Jones is the hilariously dark Vanessa who gives no fucks about anything until the day of her wedding.

The men in this show are not at all the focus. Hence why two actors play all six male characters (in addition to Jordan). John Behlman and Luke Smith both do a lovely job playing the various boyfriends and husbands and coworkers of the four main characters.

Because of its incredibly depressing tone, and it’s suicide-inducing ending, I’m not sure it’ll find it’s audience on Broadway, but I know that a lot (most) people could probably relate to Jordan’s feeling of being alone and feeling hopeless. There are lots of parts to make you laugh, and many to also make you feel all the feels. Like any good play should.

Film Review: The Book Next Door (or: Broadway Spotted: Kristen Chenoweth Shows Up in a Pixie Cut)

The weather has been kind of shit in New York this week – meaning my favorite kind of shit because aside from my laziness after work or yoga, it’s a lovely “excuse” to stay in and do nothing. And watch shitty movies on HBOGo! Last night’s shitty movie was The Boy Next Door, another infamously shitty JLo movie. (The most epically shitty and epically-amazing-because-of-how-shitty-it-is will always be Enough.)

The film was shit – totally flawed eye-rolling film filth. There’s no reason why anyone should ever watch this. Ever. (Promise me you won’t, okay?) It’s 90 minutes of cliche lines and an unbelievable bullshit plot that would probably never in a hundred years happen. #escapism 

But who is JLo’s co-star? Kristin Chenoweth! I had absolutely no idea she was in this and I bet she wishes she hadn’t been (unless she just had to pay her mortgage, then whatever, I get it). She plays the principal of the school that JLo teachers literature and she also happens to be her bff. She also happens to have a horrendous pixie cut. Who put her in that awful wig? Spoiler alert: KChen dies and her dead body falls JLo when she arrives and starts looking for her bff. 

Sidenote: Luckily though, her adorable cat, who is really in the movie for no reason at all other than to perpetuate the theme of Unmarried Cat Lady, goes unharmed. The cat is also in the room when KChen is tied up and screaming. Give me a break. That cat, any cat, would’ve been out of there so fucking fast. This is probably the most unbelievable part of the movie.

Conclusion: Unless you want to see Kristin Chenoweth say shitty lines in a pixie cut, never watch this movie. Ever.

It Only Takes a Taste

Last Wednesday I went to my final show of a marathon (for me nowadays) of 7 shows in 2.5 weeks, Waitress. I hadn’t (and still haven’t, though it’s on my queue) seen the movie, hadn’t listened to any of the music, and I don’t know any of Sara Bareilles’ music (maybe a partial lie – I’ve heard, like, one song before), but I heard it was good, and the last row of the mezzanine is super cheap (and actually not awful, take note!). I’d also not yet had the pleasure of seeing Jessie Mueller in a leading role so I was quite excited for that, too. 

I arrived at the theatre to the scent of baked goods (good job, producing team, that was the right choice), immediately became hungry, and took my seat. The rear mezzanine seats at the Brooks Atkinson are not bad at all. It’s not like the St. James where you feel miles above the stage (that’s the balcony, I guess, but still, they’re awful seats). I looked at the cast and only recognized a few of the names in addition to Mueller’s. A cast of unknowns – awesome!

I knew the basic plot of the show – waitress in a redneck town gets knocked up – but not more than that. It’s a pretty typical plot as far as plots about girls getting knocked up in redneck towns go. Abusive husband? Check. Witty group of friends/colleagues? Check. The boss who’s also a semi-father figure/advice giver? Check. A new love interest? Check. 

Jenna (Mueller)’s friends at the diner Dawn (Kimiko Glenn) and Becky (Keala Settle) were both hysterical, and super talented. I realized at intermission that Kimiko is So-So from Orange is the New Black and she has a terrific voice and she’s a great actress. Drew Gehling (who plays Jenna’s new love interest, and her OBGYN, Dr. Pomatter) was just delightful. He was nervously awkward but very genuinely sweet. Dawn’s love interest, Ogie (Christopher Fitzgerald), totally steals every scene he’s in. Give him an honorary Tony Award for comedy or something. 

The show’s conclusion is logical, but disappointing. I guess such is life, too. I really enjoyed the score (good job, Bareilles), as well as the lighting. To be honest, I don’t remember much of the choreography. Side note: the sets are all automated. At the end of the first scene of the second act, an announcement went over the PA system saying they were taking a 10 minute break for technical difficulties. Shortly thereafter we got back on track. #livetheatre

I’m not sure whether it was the short pause in the second act, or the overall length of the show, but although I really enjoyed it, it felt it was 15-20 minutes too long. It definitely worth a visit though, especially if you like Sara Bareilles. 

Last thing: I totally bought the $10 pie-in-a-jar at intermission. You just want some baked goods, any baked goods, after the first act. Nom.

Throwback Thursday: Wicked Edition

Do you remember that time when Idina Menzel had to miss her final performance in Wicked because she fell through the trap door the day before and fractured her ribs? Well, almost, she came on for the last moments of the play in a red Adidas track suit and the audience lost their minds for a good few minutes. 

I was in the house that day and this is a photo from after the curtain call during the speeches. Shoshana Bean went on for Elphaba and crushed it. 

Even though I was never a hardcore Wicked fan, this was a fun moment in musical theatre history that I will never forget. 

Noises Off

I knew Noises Off was a comedy. I remembered when Peter Gallagher was in the last revival in the early 2000′s, but I had no idea how slap-stick it was. I was excited to see this revival because: Tracee Chimo, Rob McClure, and even Megan Hilty. 

The set rotated and was pretty remarkable. Megan Hilty has become an amazing actress since her Wicked days. Rob McClure is better than ever. Tracee Chimo is frumpy and entertaining. The entire cast is ace: you have to be to perform such a cheesy, comedic script.

I started the first act thinking it was going to be one long night of stupidity, but by the end of act 3 (yes, act 3), I could’ve laughed myself to an early death. (Okay, maybe an exaggeration, but you get it.)

The expertly choreographed physical comedy alone is enough of a reason to buy a ticket. 

Sylvia

Last Friday I went to see Sylvia, the new play about a man and his dog. I’d heard Annaleigh Ashford was killing it and I expected nothing more than a performance of a bored fish from Matthew Broderick, because let’s be honest: phoning it in is what he does best nowadays. Love him, but it might be time to retire now. 

Ashford brilliant portrays a poodle found wandering around Central Park who is adopted by the meek and equally as lost Greg (Broderick). Greg’s wife Kate (the marvelous Julie White) is bordering on fuming when he brings Sylvia home. Greg is warned by a fellow dog owner (played by Robert Sella, who plays multiple roles throughout the night) to get ready for trouble with his wife because his wife doesn’t want a dog and because it has a human name (which has some kind of psychological effect on a person). The premonition comes true but don’t worry, there’s a happy ending

Robert Sella, killing it in front of my eyes since at least 2005, was perfect in his many roles that night. He’s a brilliant comedic actor. Julie White, another favorite of mine, although not at her funniest, got lots of laughs (not her fault, but not every script can be Little Dog Laughed-level of comedic brilliance). 

I actually thought Broderick was kind of adorable. He still used that same, sort of annoying, whoa-is-me Charlie Brown voice, but it kind of worked. 

The star of the night was, of course, Ashford. She saved the revival of Rent as Maureen and I don’t think she’ll ever disappoint. She is one of the great character actors of my generation. Her physicality as a dog was perfect. I really have nothing else to say expect: perfect. And: hilarious.

It dragged a bit and it could easily be shaved down to an hour and 45 minutes with no intermission, but nevertheless, if you have a free night, go laugh out loud at Ashford. 

Taking Her Tony Home

This article, about Jessie Mueller, was really adorable. I highly suggest you read it. I’m sure she was totally excited to do this interview this morning after partying all night at the Carlyle 😉

The top moments from last night:

1. A Gentleman’s Guide winning Best Musical. Obviously. (Full disclosure: my current office of employment works on the show so we were all incredibly happy.)
2. Hedwig’s performance. it was the best (GGLAM following a close second!). Hedwig is going to be sold out for their entire run soon. Mark my words.
3. Lena & NPH winning their much deserved awards.
4. Bryan Cranston and All the Way winning. Love that show. 
5. Jessie Mueller’s acceptance speech. She was so sincere. 

Let’s see, last night’s WTF moments were as follows:

1. The Wicked performance. That was the best they could do? Come on. Idina Menzel was in the house – throw her $10k to perform Defying Gravity. She’s a single mom now, so she could probably use the extra money, right? (No, I’m just being an asshole and I’m completely kidding. I think she makes upwards of $20k/week for If/Then, she’s fine.) This performance was a waste of time and a dishonor to a show that’s been on Broadway and selling out for 10 years. 
2. The Music Man rapping. WHAT WAS THIS? Everyone at the party was speechless. We had no idea what was going on. 
3. Nikki James in Les Miserables. Jesus christ. When is she scheduled to go on vacation because I cannot sit through a production of Les Miserables for three hours where Eponine sounds like a, and I quote, bag of dying babies. Miscast, indeed.  
4. Celia Keenan-Bolger and The Glass Menagerie losing. WHAT? This was not supposed to happen. Wires got crossed somewhere.
5. The opening number. Look, I get it, I read online today why Hugh Jackman was hopping, but even if I’d gotten the reference when I was watching it, it was still incredibly boring. It was one of the most lackluster openings in a while.

It wasn’t the best Tony’s, but it had it’s moments. I was exhausted and made my way home around midnight. It’s always worth the exhaustion. 

Taking Her Tony Home

A Time to Kill, a new play, is opening on Broadway this season – October 20th to be exact. It’s based on the best selling John Grisham book of the same title and it has an amazing cast to boot: Tonya Pinkins, Sebastian Arcelus, and Patrick Page, to name a few. 

John Grisham’s book has “captivated readers with it’s raw exploration of race, retribution, and justice,” and now it’s time for one of YOU to also be captivated… but on Broadway.

So, to enter to win a pair of tickets, all you have to do is reply with your favorite John Grisham novel, follow my Tumblr, or reblog this post. 

Winners will be notified next Monday! Until then: don’t forget to follow the show on Twitter here. 

https://www.tumblr.com/audio_file/thatgirlallison/37690444783/tumblr_meukyl98kO1qzs9hr?plead=please-dont-download-this-or-our-lawyers-wont-let-us-host-audio

I went to a lot of benefits when I was in college. I mean A LOT. I saw a lot of shows, and ever more benefits. I don’t go to many, if any, anymore, so when my office offered to buy whoever wanted to go tickets to tonight’s Hurricane Sandy benefit at the Gershwin Theatre, I was excited. 

And then I saw Julia Murney was performing and I remembered back to 2005. It was the beginning of my rush of benefits, and she performed this song first at the Hurricane Katrina benefit (also at the Gershwin Theatre – though I didn’t attend that one) and later at a benefit (also for Katrina) at Joe’s Pub (which I did attend). She performed “Amazing the Things That Float” at both and the above MP3 is from her performance of the song at Joe’s Pub.

I tweeted at Ms. Murney earlier today when I remembered her and this song, and I almost immediately got this response. I tried not to get my hopes up too high, but I had a pretty good feeling she’d sing it.

And sing it she did. I got chills. And it was lovely.

The entire benefit was lovely, but especially this song. Now go and enjoy this song.