theater Archives - Page 4 of 5 - Ramblin' with Roger

The Curious Incident of the Dog in the Night-Time

Bermel was “inspired by tempestuous letters written by Hungarian composer Bela Bartok, [reflecting] on the struggles of living as an immigrant in an unfamiliar country,” the United States.

The family went to the Wednesday, November 23, 8 p.m. showing of The Curious Incident of the Dog in the Night-Time at Proctors Theatre in Schenectady. It won the 2015 Tony Award for Best New Play, and is now on its first North American tour. Simon Stephens has adapted Mark Haddon’s best-selling novel.

Fifteen-year-old Christopher is extraordinarily intelligent but has difficulty with everyday life. “When he falls under suspicion for killing his neighbor’s dog, he sets out to identify the true culprit, which leads to an earth-shattering discovery and a journey that will change his life forever.”

Though the words autism or Asperger’s are never used, it’s evident that Christopher is on the spectrum. The point of the play is that WE, the audience likewise experience it, which is loud, occasionally confusing, compartmentalized, and, sometimes, oddly symmetrical.

We thought it was astonishing what could be conveyed with light and sound, and intentional misdirection worthy of a magician. The mostly black set was a three-dimensional grid with concepts and locations written up it. (And if that did not make sense, I understand.)

The two people behind us thought the play was terrible, and they left at intermission, and I doubt they were the only ones. But we thought it was worthwhile, as did a relative of mine and one of her daughters, who saw the matinee that day.

Interestingly, before the performance, we ran into a couple of people who would be performing signing for the later shows, one of whom was a friend of ours. The other person, who grew up with sign language, sometimes has trouble with similes, metaphors, and other figures of speech. Coincidentally, the character Christopher feels the same way.

But, I was told later, this made the assignment easier because one could just sign the words, devoid of contextual meaning, that being how the word salad would feel to a person like Christopher.

ASO

The Wife and I went to hear the Albany Symphony Orchestra at the Troy Savings Bank Music Hall the weekend before. This was the fourth concert of David Alan Miller’s 25th Anniversary Season. He and the orchestra have been “nationally recognized for his adventurous programming and commitment to giving voice to new works by living American composers, [enticing] Capital Region audiences to explore new and diverse repertoire.”

After a half dozen selections from Handel’s Water Music, the Symphony played Christopher Theofanidis’s A Thousand Cranes for Harp and Orchestra, “inspired by the unique story of Sadako Sasaki, a young girl who was sickened by the atomic blast in Hiroshima, Japan; despite the intense and dark impulse of the event, Sadako’s story and A Thousand Cranes is a reflection of hope and faith in the future.” It was a very touching and lovely piece.

After the intermission, we heard Derek Bermel’s A Shout, A Whisper, and a Trace. It was a wonderfully energetic piece that featured three percussionists. Bermel was “inspired by tempestuous letters written by Hungarian composer Bela Bartok, [reflecting] on the struggles of living as an immigrant in an unfamiliar country,” the United States; it was a timely reflection. The program ended with a fine rendition of Schumann’s 4th Symphony.

We would go to the symphony more often except that it generally involves getting a child sitter. Fortunately, we got the tickets from Lee at church, who could not use them.

Polina, Michael Butler and connection

But nothing is graphic. Everything is inferred.

Thursday, November 12, my long-time friend Karen, who lives in New York City, emails me that Michael Viktor Butler is premiering a play called Polina (poh-LEE-nah) the next evening and that she’s coming up to see it. In Albany. About three and a half blocks from my house, at the Madison Theatre, primarily, but not solely, a movie house.

Michael and I know each other very peripherally, but he, who was a friend of one of Karen’s older siblings, became a muse to Karen, as he ran the experimental television in Binghamton in the mid-1970s, before returning to NYC himself, and she’s kept in touch with him.

I had no idea about this production until I perused this description on the movie theater’s website:

In This sensational scorcher, adapted from Butler’s novella of the same name, will be presented in the tradition of 19th Century Grand Guignol theater, complete with live salon orchestra and spectacular special effects. The title role is played by Madame Irene McMahon. Butler assumes all other parts, spectacularly interpreted in Delstarte Technique.

Polina also featured puppet master Erica Johnson.

Then I read Amy Biancolli’s preview about it in the Times Union, where Michael explains that Polina, “literally… steps out of paintings to snack on the man-parts of virgins… But nothing is graphic. Everything is inferred…”

Walking to the Madison Friday, I just happened to see Karen disembark from her car. And we and a couple of her friends she knows from a local radio station sat together.

Briefly: Polina really is a dark comedy. The first act’s too long, and the second much too short, but it’s the first production, so one discovers these things. Also, there were a few technical glitches, but nothing major.

Something I did not remember is that Michael Butler was living in my area, presently about six blocks from my house. We became reacquainted, and I got to see Karen for the first time since my birthday in March.

July rambling #2: Northwest disasters and Taxman v. Batman

Last Week Tonight with John Oliver: Stadiums, a ripoff for taxpayers; bail; and poisonous mandatory minimum prison sentence.

Laci Green (no relation): Systemic Racism for Dummies.

Muslim Groups Step In To Help Black Churches Burned In Wave Of Arson.

Why it’s never ‘the right time’ to discuss gun control.

Wil Wheaton: living with depression and anxiety.

Jeff Sharlet: I went to Skid Row to report on Charly “Africa” Keunang, “an unarmed homeless man held down and shot six times by Los Angeles police. I had to get to know the people of whom I was asking these questions.”

Conquering 100 fears, one at a time.

‘I’m No Longer Afraid’: 35 Women Tell Their Stories About Being Assaulted by Bill Cosby, and the Culture That Wouldn’t Listen.

Of all people, Jimmy Kimmel on Cecil the lion I was also hoping it wasn’t an ugly American.

Jaquandor: Keeping Ahead of the Smiths: Random Thoughts on the Minimum Wage.

Daylight Saving Time Is Terrible: Here’s a Simple Plan to Fix It. “Losing another hour of evening daylight isn’t just annoying. It’s an economically harmful policy with minimal energy savings.”

12 Lost American Slangisms From The 1800s. Slangisms?

An earthquake will destroy a sizable portion of the coastal Northwest. The question is when. Obviously, in response, a dildo epidemic hits Portland (OR) power lines.

Cousin Lisa discovers Finding Friends Through a Shared Vision.

Patti LuPone Offers Five Rules of Theatre Etiquette, Starting with “Respect”. 1, 2, and 5 also apply to the movies.

Ringo Starr turned 75 this month. Other drummers talk about him, from Ringo’s 2015 Rock and Roll Hall of Fame presentation on HBO, plus Ringo Reveals The Secret Of His Distinctive Rhythm from CONAN on TBS, 2012.

“For half a century, Beach Boys songs have promised unending summers of fun in the sun — not at all like the life founding Beach Boy Brian Wilson actually led for many years.”

Woodstock 69: The Lost Performances. The Band, Canned Heat, Joan Baez, Crosby Stills Nash, Janis Joplin, Melanie.

Amy has resharpened her poetry pencil: Bossa (Getz, Gilberto, Jobim).

SamuraiFrog’s Weird Al countdown: 30-21.

The Beatles’ Taxman Vs. the Batman theme song (Mashup). Yes, The music of the Harrison piece was inspired by the theme song for the popular 1960s TV series.

God Bless America, sung by John Wayne, the cast of Bonanza, Rowan & Martin, and many others, some of them actual singers.

Evanier didn’t like the movie version of Driving Miss Daisy but linked to the new Angela Lansbury-James Earl Jones version on PBS.

“Loosen the Ties and Put Some Sweat on Them”: 12 Angry Men (1957).

Ken Levine writes a spec Dick van Dyke Show script, found in Part 1, Part 2, Part 3, and Part 4. Levine’s snarky response to the reader feedback, DVDS writer Bill Persky’s comments, and Levine’s final thoughts.

Happy 75th Birthday, Alex Trebek! His 6 Funniest Moments on Jeopardy!

Speaking of natal days, the claim that “Happy Birthday to You,” a song written in 1893, is somehow under copyright until 2030, is very likely hooey.

Chuck Miller on Reading the movie Ant-Man. It seems that ADD enjoyed the film.

The Unknown Assistant of Carl Barks.

Just Another Day at Hanna-Barbera.

Now I Know: Why Do Coupons Have a Cash Value of a Fraction of a Cent? and The Big Bang Theory, in Theory and Pop Goes the Kernel and Control-Alt-Delete.

When did I become “that” neighbor?

Muppets: Rain fall and Federal Housing Administration ads and The Muppet Show opening, in German, and, most importantly, the 10-minute pitch reel for the ABC TV show coming this fall.

This is troubling: I remember the lyrics to theme of The Real McCoys, a TV show I haven’t seen in well over 40 years.

GOOGLE ALERT (me)

Arthur@AmeriNZ answers my questions about closeted gay performers, in a different era, and flags and national discussions and candidates for US President, with a specific Hillary scenario.

The Renaissance Geek was complaining about what he thought was a boring post, so I asked him a question. This turned into THE FIRST EVER ASK EDDIE ANYTHING!

SamuraiFrog likes But It’s Alright, too.

Jaquandor on Neil Simon on how to finish a day’s work. He also tells bad jokes.

40 Years Ago: How “Boys in the Band” saved my life

I didn’t know there WAS a gay bar in Binghamton.

When I was a janitor in Binghamton City Hall, cleaning up after the cops, and living in my Grandma Williams’ shack of a house, there was very little to look forward to. I’d see my friend Carol a few times a week, and a good thing too, because I would have been totally crazy otherwise.

My sister Leslie was in town, but she was busy in college and spending time with her boyfriend Eric, whom she would marry on Halloween of that year, 1975.

She was also in a few productions, including “A Funny Thing Happened On The Way To The Forum,” at the Civic Theater. The lead in this play was a guy named Charlie.

Charlie’s next theatrical gig would be directing a play called Boys in the Band. It was first performed in New York City in 1968, and made into a movie in 1970. The storyline was about a birthday party one gay man named “Michael,” was throwing for a friend of his, “Donald.” One of the characters, “Bernard,” was specifically black.

When I met Charlie after a performance of “Forum,” he wondered if I were a thespian, like my sister, and asked me to audition. I hadn’t acted since high school, five years earlier, but I got the part; I suspect there was little or no competition for the role.

The six weeks of rehearsal were great. I had time to memorize my lines; because I really had little else going on in my life, the play became the primary focus. The cast hung out a few times, once at someone’s house, where a debate of the strength of Joni Mitchell’s Ladies of the Canyon album raged; I probably should have played side two first.

We went to a gay bar in Binghamton, only a couple blocks from where I went to high school. I didn’t know there WAS a gay bar in Binghamton; it might have been established while I was away in college. In any case, a few guys there seemed interested in me, and I was oddly pleased.

The lead character “Michael” was played by a guy named Bill, one of the straight men in the cast. He usually gave me a ride home after rehearsal, and we often talked about the nascent sociopolitical gay rights movement, which in its own small way, the play was part of; and stereotypes.

We probably discussed the fact that “Bernard” was supposed to greet “Emory” with a kiss. I acknowledge that I resisted this the first four weeks of rehearsal, but not the last two, or the two or three presentations, by which point it was no big deal. I’m sure it helped that I had gotten to know the other actor, a guy named Mickey.

There’s a lengthy scene between “Michael” and his old friend “Alan”, while “Bernard” was passed out, drunk. I would feed Bill lines during rehearsal from memory because I was just lying on the stage. At one point, director Charlie, perhaps flattering me, or annoyed with Bill, said he wished I could have played the lead but couldn’t because he needed that black supporting character. I was perfectly happy with my relatively small part.

As I recall, the review in the local paper was less about the play or the performance, and more about the “cultural phenomenon of gay life” writ large on stage. One of my high school friends told the aforementioned friend Carol that it was “too bad” I was gay; Carol retorted, “He’s not gay!” But this perception was pretty widespread, as there was a black minister I met subsequently who expressed an unrequited interest in me.

There were guys I knew in high school who were gay, but only one who I knew was out. Performing in “Boys in the Band” was not only a great way to spend a few weeks but was a tremendous learning experience for me.

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.

It’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