Hunchback of Notre Dame; Ring of Fire

Josh D. Smith, the music director of Ring of Fire, was music director at Mac-Hadyn for nine years.

ring of fireIt’s obviously for my own sake, not yours, that I review shows that my family sees ON THE LAST DAY OF THE PERFORMANCE.

We went to Mac-Hadyn Theatre in Chatham on August 5 to see The Hunchback of Notre Dame. My daughter kept correcting my wife’s pronunciation of the last word in the title; it DOESN’T rhyme with Mame.

Odd thing about the story. I’ve never read the book. Somehow, I had never seen the Disney adaptation BUT I own the soundtrack on CD. I’m fond of that music, particularly The Bells of Notre Dame and Hellfire.

The production was great, as usual. But what I should mention more often is the fact that when the minor characters are in the aisles leading to the tiny stage, they remain in character, not just waiting for their entrances.

And these people can SING! And, seemingly, singing right to the audience, and enjoying our appreciation of their vocal prowess.

On August 12 at Capital Rep downtown, we saw Ring of Fire: The Music of Johnny Cash. Coincidentally, Josh D. Smith, the music director of the show, was music director at Mac-Hadyn for nine years.

There were six musicians (plus the drummer, cordoned off) on stage, singing, playing multiple instruments – at least three of them played the upright bass. I was surprised to see a choreographer, Freddy Ramirez, listed, but there WAS a lot of movement on stage.

The first act was more biography, using the songs to tell John R. Cash’s story – and the latter, more of a jukebox musical. But the second act had the a cappella The Far Side Banks of Jordan, which was stellar.

I didn’t know this until afterwards, but there was a
1996 Broadway version of this show, which flopped after less than five dozen performances. This iteration has been whittled down in length, and from various reviews, for the better.

I was personally disappointed that Hurt, Johnny’s last great song, didn’t make the cut, but Ring of Fire. having nothing to do with volcanoes and earthquakes, was a monumental achievement.

Musical review: She Loves Me

I’m really surprised that I was totally unaware of She Loves Me, the musical that my wife, my daughter and I saw at Capital Rep in Albany on Christmas Eve. I recognized only one song, the title tune.

It was first performed on Broadway in 1963, with the late, legendary Barbara Cook in the lead role of Amalia and a guy named Daniel Massey, son of Raymond Massey of Dr. Kildare fame, as Georg. The lecherous Steven was played by Jack Cassidy, father of David and Shaun. There have been three revivals, most recently in 2016.

Moreover, the music was by Jerry Bock and the lyrics by Sheldon Harnick, the composers of my second-favorite musical ever, Fiddler on the Roof. She Loves Me is based on a 1937 play called Parfumerie by Hungarian writer Miklos Laszlo.

Before She Loves Me, there was the 1940 movie The Shop Around the Corner with Margaret Sullavan and James Stewart. Then was the movie In the Good Old Summertime (1949) with Judy Garland and Van Johnson, music by George Stoll and Robert Van Eps. The 1998 movie You’ve Got Mail, with Tom Hanks and Meg Ryan, mines the same basic plot.

And that is: guy meets gal, who pretty much dislike each other from the get-go, as she is hired to work in the perfume shop where he’s been working for a decade and a half. Yet they’ve been corresponding fervently through a lonely-hearts club.

The Cap Rep production featured a nifty set, terrific costumes, and great, often stylish songs that generally advance the plot.

Amalia is played by actress Julia Barrows. Independently, my wife and I decided that she reminded us a little of Cate Blanchett physically. In the story from the local paper, Barrows said she first saw She Loves Me at a performing arts high school that her older sister attended.

“I have always wanted to do this show,” she said. “It’s the musical that made me fall in love with theaterand say, ‘This is what I want to do with my life.'” And it showed.

Our month of theater, or theatre, if you will

“‘Beautiful’ could have easily been nothing more than another cliched jukebox musical gathering together the hits by songwriters of the Brill Building era.”

We go to the theater a fair amount, but the first half of April 2017 was quite the outlier.

Sunday, April 2: The Little Mermaid – Catskill High School (three of us)

One of my nieces was in her fifth production, and the three of us have seen them all. This was her largest role yet, playing Flounder. She was quite good, actually, and I say this not out of familial loyalty.

In general the girls were better singers than the boys. Ariel’s sisters were fine as were Ursula’s assistants. But the hits were Sebastian (Edward Donahue), Ariel (Ade Spencer) and especially Ursula (Anna White).

Thursday, April 6: The Sound of Music – Proctors Theatre, Schenectady (three of us)

Proctors has had Broadway-quality productions for a number of years, and this was no exception. The trick with the musical is that the movie is so imprinted in the brain. My Favorite Thing is sung at the abbey, Do-Re-Mi at the Trapp villa, and The Lonely Goatherd in Maria’s bedroom, when she calms the children freaked out by the thunderstorm.

While the two leads (Charlotte Maltby, Nicholas Rodriguez) are fine, and the children are amazingly good, the largest applause went to Melody Betts as Mother Superior after she sang Climb Ev’ry Mountain.

We bought tickets for next season’s shows, including Fun Home, The Color Purple, Finding Neverland and On Your Feet! (the Gloria Estafan story). Buying a subscription THIS year will mean getting dibs on buying toicxkets for Hamilton in 2018-2019.

(Only somewhat off topic: Alison Bechdel is Vermont’s cartoonist laureate. She created Fun Home.)

Saturday, April 8, 2017: They Built America: The Workers of the Erie Canal – local school (two of us)

This is a Capital Rep show commemorating the 200th anniversary of the groundbreaking of the engineering feat that went from Albany to Buffalo. “Meet the real men, women and children, the politicians, farmers, merchants and laborers who…[built] the Erie Canal.” There are four actors, and three of them, the two men and one of the women, play multiple parts. It was quite good, about an hour long and suitable for children.

The Daughter should have come.

Sunday, April 9: Oliver! – Albany High School (two of us)

This was, aside from some occasional sound problems, extraordinarily good. I was’t familiar with the story, though I sang Consider Yourself in glee club in high school. It’s a dark, sordid, violent tale.

The standout were the terrifying Bill Sykes (Ackazemas Myers), the show-stopping singer Nancy (Williemae Fiddemon), and the shifty Fagen (Raphael Cohen), who had a fun bit with the violinist in the orchestra. Oliver was played by sixth-grader Hassan Laing who was good, but occasionally miked badly.

Saturday, April 15: Beautiful: the Carole King Story – Proctors Theatre, Schenectady (two of us)

I saw this on the calendar months ago and said, Who scheduled this for Holy Week?” It’s only on the Wednesday through Sunday. I have to sing or rehearse or travel the other days. Based on the packed house for this matinee, many folks were in the same boat.

Just from casual conversation with the folks around the Wife and me, it was clear that almost everyone knew the Tapestry album from 1971 but few were familiar with the songwriting of Carole King (the wonderful Julia Knitel) with husband Gerry Goffin (Liam Tobin) well before that, competing to get their songs pitched to the right singer or group that might make their songs #1.

As Greg Haymes noted in Nippertown: “‘Beautiful’ could have easily been nothing more than another cliched jukebox musical gathering together the hits by songwriters of the Brill Building era, i.e., ‘Smokey Joe’s Cafe’ (Leiber and Stoller) or ‘Leader of the Pack’ (Ellie Greenwich). But thanks to some smart, comic dialogue by Douglas McGrath, deft direction by Marc Bruni and strong, all-around performances by the cast, ‘Beautiful’ is a snappy musical that rises above the level of the usual jukebox musical expectations.

“But it’s not all about King, and the title of the show is something of a misnomer. The secondary couple – portraying the songwriting team of Cynthia Weil (Erika Olson) and Barry Mann (Ben Fankhauser) – and their music is crucial.”

Yes, it wasn’t just a Kingfest, as the early “1650 Broadway Medley” had songs from Neil Sedaka (singer of “Oh, Carol”), Leiber and Stoller, Phil Spector and many others. The Mann/Weil hit You’ve Lost That Loving Feeling was a standout.

But Act 2 belonged to the former Carole Klein. I LOVED this show.

Agent Orange versus my optimism/pessimism

The Trump adult male scions – THEM I need a name for; any ideas?

Arthur could hardly find any questions at all to ask me for Ask Roger Anything:

What the hell should we call the Orange Guy? I personally don’t want to use his surname, title, or anything else that would indicate respect for him that I don’t have. What’s the alternative(s) without being too childish?

I think this is a personal decision. I’ve seen Drumpf (based on the family name) which carries over to the proto-Nazi activities such as vilifying the press, and I briefly used that, but it’s a pain to spell. Others drop the T from the surname and refer to him as Rump because he’s such an ass.

I was quite taken by Hair Furor, but it works better in writing than in spoken word, because it sounds exactly as it’s SUPPOSED to sound.

Currently, I’ve settled on Agent Orange, a defoliant used during the Vietnam war to destroy the enemy’s plant life but which managed to harm or kill innocent civilians and American troops, because I find him toxic. A guy named Michael who I knew for only a short time died from it in the early 1980s. I’m not married to that term, but it’ll do for now.

All things considered—interpret that as you want—are you optimistic or pessimistic about the future? If pessimistic, what are a couple things that if they changed might make you more optimistic? And if you’re optimistic, what’s your secret?!

Yes. I mean I’m optimistic because my faith requires it. I don’t mean this in a doctrinaire way, but rather how I take being a Christian. I believe, honestly, that people can change, that we all have a shot at redemption. I’m pessimistic because, despite my faith, that’s what I tend to default to, from painful experience.

Melancholy gets in the way too, and it’s not just me: Americans who voted against AO are feeling unprecedented dread and despair.

I’d be more optimistic if I thought we were all dealing with the same facts. There was this story about the Trump adult male scions – THEM I need a name for; any ideas? – involved in some unsavory pay-for-play scheme, for the second time since the election.

Someone, who I know personally, chimed in and said it was “Fake news. Fake news. Fake news.” And she said, “Research it.” I said, I did. And she said, “Please, check with Trump sources,” by which time the boys were backpedaling, not knowing HOW their names showed up on the invitation.

I wrote, “They realize they’ve been caught doing something egregiously wrong and try to change the narrative, to be kind. You do not seem to understand the definition of ‘fake news,’ which [contains] articles that are false, written to deceive. These are mainstream news sources [TIME, the Wall Street Journal] playing the appropriate role as the fourth estate, ignoring a politician’s spin…”

I also cited Mark Evanier, who noted: “You get the feeling we’re facing four years where the response to every single criticism of the Trump presidency will be that it’s a lie, the evidence is phony and even it were true, we don’t care what anyone says.”

And it went on from there.

John Ziegler, conservative radio host: “Over the years, we’ve effectively brainwashed the core of our audience to distrust anything that they disagree with.” The quote was in a New York Times story about how conservatives are now using the term “fake news” for anything they disagree with. And even educated people are buying into it.

We can’t fight climate changeGLOBAL WARMING if we can’t agree it’s happening. Plus the nominees for Cabinet positions under Agent Orange are anti-environment, anti-labor, anti-education, et al. How optimistic do you want me to be? Still, we try.

Only slightly off topic: NO one should ever use the phrase “Do your research” on social media without a link to the research THEY are referring to. As a librarian, I need to know WHAT sources someone is quoting that I need to investigate. I’m sure I’ve written that before, but after the aforementioned incident, I feel the need to reiterate it.

Jaquandor asks a similar question:

Is it just wishful thinking that I increasingly see Trump as the somewhat accidental victory of a dying worldview?

I find in AO’s victory, and some right-wingers in Europe, including the Brexit vote, a return to tribalism. When the world is scary, with bombings and shootings and stabbings and trucks being used as weapons, I suspect that there will be a certain desire for a “good old days” that doesn’t exist, that closing the borders ultimately won’t fix.

I would like to think of it as a dying worldview, but I’m not convinced I’m right.

I think things are likely to get pretty cruddy short-term

Now THAT I agree with!

The family saw a production of Camelot at the Capitol Rep in downtown Albany on Christmas Eve afternoon. It was EXTRAORDINARILY good, with knights and ladies and even the leading lady doubling as instrumentalists. But in the end, I was incredibly sad.

That ideal of working things out under the rules of law, and brainpower, lost! War won out. And this was a day or two after Agent Orange called for a nuclear arms race.

…but I remain optimistic long-term. Am I dumb to think that?

Well, no, you’re not dumb. Without hope, what is there?

At our most recent Christmas Eve service, I read aloud Isaiah 11: 4a, 5-9, which contains the familiar, albeit misremembered, passage about the wolf and the lamb. Either it is a prophecy, or it is an entreating that we help make it happen. Either way, I am not without hope.

 

The Theater!

The Mac-Haydn Theatre is a 350-seat theater in the round, the stage is not huge, yet they use it and the various entrances and exits so well.

skd283131sdcIt’s peculiar that I hardly ever write about plays and musicals, given the fact that I go to them quite often, at various venues.

One great location is Proctors Theatre in Schenectady, pretty much the next city over from Albany, in the once a rundown vaudeville house that’s now a refurbished gem. Shows that had been on Broadway and are now touring show up here. It holds about 2700 patrons.

The Wife and I saw at least two shows in the 2010-11 season:
February 2011: Lion King. Astonishing, starting with the entrances from throughout the theater
May 2011: Hair. The story doesn’t age well, but it was still fun, with a lot of talented vocalists.

2011-2012:
Mar 2012: Jersey Boys. The story of The Four Seasons gave me a lot more respect for the singing group. Well done.
April 2012: Memphis. Apr 12 This is why I watch the Tonys; I wouldn’t have known what this award-winning show about music and race was about had I not seen it on the awards show. Good stuff.

As a result of these, we decided to get 2012-2013 season tickets:
October 2012: Mary Poppins. The one show we took The Daughter to, it was colourful and charming. We saw this only a few months after we saw the movie, the Daughter and I for the first time.
November 2012: Wicked. As good as was promised, and much more interesting than the book. The one musical I did review.
January 2013: Million Dollar Quartet. The heavily fictionalized story of a recording session with Presley, Cash, Lewis and Perkins. It was pretty good, but the performances at the end were great. There’s a chat with some of the actors after some Thursday afternoon performances, and these guys were particularly charming.
February 2013: Priscilla. Very entertaining, occasionally provocative show I enjoyed. No, I never saw the movie.
May 2013: Les Miserables. I had never seen a theatrical production. The movie I found to be tiresome. This production, though, I found wonderfully compeling, with some great singing, and touching acting performances.
An extra show we saw that season-
June 2013: Billy Elliot. While it took some wide swings between comedy and pathos, I did enjoy it quite a bit, and it was ultimately effective storytelling.

After watching the previews of the 2013-2014 season back in March, which included a singer from Sister Act, we signed up again. I was sold not just by the fact that Book of Mormon was on the roster, but by seeing the War Horse horse, live on stage. You can see the three people controlling the large puppet, yet you buy into the horse’s actions. The neighing comes from them making three different pitches.
September 2013: Ghost. This was the first Proctors show that I thought was an outright disappointment. It was as though they still needed to work out the pacing bugs. Worse, I never really believed the romance of the two main characters. But the woman playing the Whoopi Goldberg role was great. I liked, didn’t love the movie. Here’s the Broadway World website.
October 2013: Matthew Bourne’s Sleeping Beauty. Was it dance? Was it theater? Good chunks of the story made no sense to me. It LOOKED great, but left me cold. The Wife liked it more than I. Here’s the Nippertown review.
January 2014: War Horse. This is an extraordinary event, this horse who is thrown into war, and his owner who fights to find him. Quite intense sat times. There may have been something in my eye at the end.
February 2014: Sister Act. I had very low expectations of this, another Whoopi Goldberg movie made into a musical. But it was GOOD! Entertaining, funny. Arguably better than the movie.
March 2014: Book of Mormon. I did not see. I was in the hospital with The Daughter. The Wife went – I told her if she had to stay all night at the hospital, I’d stay all day. She thought BOM was too raunchy for her taste.
May 2014: Phantom of the Opera. This was a new production, but since it was a totally unknown commodity, it didn’t matter. While we liked it quite a bit, we were both confused by a few things that maybe would have made more sense to a veteran of the musical.

Thus, for the 2014-2015 season, we opted out of getting season tickets again. It’s not that some of the shows were disappointing. It is that too many of the shows are familiar.
Newsies • Oct 11-17, 2014 – The Daughter and I saw this on Broadway in February 2014, only her second trip to NYC. It was really good, especially the second act, but I don’t need to see it again. Maybe The Wife will go with a friend.
Jersey Boys • Jan 13-18, 2015 – Saw this a couple years ago, and don’t need to see it again so soon.
The Illusionists Witness the Impossible • Feb 17-22, 2015 – Have no feel for this, whether it’d be interesting to me.
Annie • Mar 3-8, 2015 – I’ve seen no fewer than three iterations of Annie in the past four years, including my niece in a high school production. Even though this will be “new”, I’ll pass.
Pippin • May 26-31, 2015- Now THIS I’ve wanted to see since seeing the TV ads for the original production 40 YEARS AGO.
Kinky Boots • Jun 16-21, 2015 – And I’d see the recent Best Musical.

Another great venue is the Mac-Haydn Theatre, about 45 minutes away from Albany in Chatham, NY. It’s a 350-seat theater in the round, the stage is not huge, yet they use it and the various entrances and exits so well.

In June 2011, we saw The King and I, and the aforementioned Annie, and they were quite fine. This year, in June, we saw The Music Man, and Fiddler on the Roof. The former was quite good, but the latter, incredible. I can’t believe the number of people traveling on the stage without bumping into each other or falling off. This is my second-favorite musical, and it was a very worthy production. BTW, lyricist Sheldon Harnick, who just turned 90, tells his story.

There have been plays in Washington Park in Albany for over a quarter-century, with the Park Playhouse, and I’ve seen 80% of them. The last two productions I recall seeing were West Side Story, my favorite musical, which I pretty much hated, especially the intermission huckstering; and Cabaret, which was considerably better.

Steamer 10 is a little community theater within walking distance of our house. It has a mixed fare of serious plays and things such as Robin Hood and the Good (& Bad) Fairies of Nottingham, which we took in back in March. But they’ve branched out; their production of Romeo & Juliet, outside near Lincoln Park, was quite fine, despite the incredible wind the day we saw it. Fortunately, my man Dan reviewed it.

For several different periods, but not in the past five years, I went to Capital Rep, an Equity theater. I know I saw these, and I may have forgotten one or three:
Dreaming Emmet by Toni Morrison (premiere)
The Search for Signs of Intelligent Life in the Universe by Jane Wagner
Glengarry Glen Ross by David Mamet
Fences by August Wilson
Halley’s Comet by John Amos
A Tuna Christmas by Williams, Sears & Howard
The Grapes of Wrath by John Steinbeck, adapted by Frank Galati – a particularly clever staging
Dancing at Lughnasa by Brian Friel
The Importance of Being Earnest by Oscar Wilde
To Kill a Mockingbird by Harper Lee (adapted by Christopher Sergel) – still powerful
Always…Patsy Cline by Ted Swindley
Over the Tavern by Tom Dudzick
Our Town by Thornton Wilder
Pretty Fire by Charlayne Woodard
Forever Plaid by Stuart Ross
Charles Dickens’ A Christmas Carol adapted by Maggie Mancinelli-Cahill
Picasso at the Lapin Agile by Steve Martin
I Love You, You’re Perfect, Now Change by Joe DiPietro and Jimmy Roberts
Menopause The Musical! by Jeanie Linders
Jacques Brel is Alive & Well & Living in Paris Words & Music by Jacques Brel, Conception, English Lyrics and Additional material by Eric Blau & Mort Shuman

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