DO WHATCHA GOTTA DO

Since the 90s, I have been a very consistent patron at the Center Theatre Group's productions back when I referred to its collective theatres as The Music Center (before the Kirk Douglas Theatre) back when The Phantom of the Opera was in residence at the Ahmanson (and held the record for the longest running musical in Los Angeles' history.)  After Phantom closed and the theatre was refurbished, naturally I returned to see the musicals that had finally made their way to Los Angeles from the Great White Way from Showboat to The Light In the Piazza and Spring Awakening (in which I was lucky enough to get stage seating); I saw groundbreaking productions like Caroline, or Change and joint productions with Deaf West Theatre Company: Big River and Pippin; there have also been Broadway-bound shows like 13, The Drowsy Chaperone and Flower Drum Song as well. Shows like these have been feeding my theatre-hungry soul for years. Of course there are some unmentioned productions that I didn't love, yet I am still grateful that the theatre can be so accessible and that I have had the opportunity to see what I've seen, good, bad and ugly.

Its amazing that the quality shows that have most recently played at  Center Theatre Group's theatres because all have truly been such satisfying productions.  I have had the pleasure of seeing shows like  Parade, (see my gushing blog entry here), Bengal Tiger at the Baghdad Zoo, The Glass Menagerie and most recently,  Leap of Faith.  I'm typically not as big a play-goer as I am a musical go-er, but the last two plays I have seen have definitely struck a chord with me and made me want to see more plays.

Bengal Tiger at the Baghdad Zoo was not the kind of play I typically run out to see for many reasons including that it is somewhat fantasy based and that it is about war...the Iraqi War.  I have never been so impressed and so amazed at a story about the aftermath of war that is as hauntingly beautiful as it is tragic and funny.  Bengal Tiger at the Baghdad Zoo opened my eyes and gave me a new perspective that I would have never had if I had missed this show.  Prior to seeing this, I had a hard time believing I would enjoy it, but did I ever!  For days, I was left thinking about the story and wishing I could see it again though not sure if I had the energy knowing I would be emotionally exhausted when it was over.  It kept me thinking about it long after I walked out of the theatre's doors.

I saw The Glass Menagerie next - a play that I had read in high school (I think) and college and though I studied it in depth, I don't know if I was ever that taken by its storyline.   This production  however, was different and I left the theatre practically in tears because I had finally seen a production of this show that I understood emotionally and I was open to and able to really understand its characters and the purpose of the storyline.  Judith Ivey as Amanda Wingfield was superb and when I finally saw who the characters of Laura and Tom were; I understood who they were - that they were bits and pieces of a lot of people I knew (including myself); I saw that some of the people I knew could  (and would) have fates similar to Laura's and it just broke my heart.  Every actor in stage was phenomenal and I left the theatre feeling changed by the production.  Somehow, in those three or so hours, something changed in me and I had a new perspective on my own life and career.

Perhaps it was the idea of hope and faith that drew me to the Ahmanson's most recent production (that I hope goes to Broadway), Leap of Faith; maybe it was the beautiful score by Alan Menken, but either way, I really, really enjoyed it.  I loved the energy of the cast when they sang gospel-y numbers like Step into the Light and Rise Up:







I thought the dancing evoked dance numbers from the Golden Age of Broadway and I found myself bopping to the beat of the music in my seat with a silly grin plastered on my face throughout most of the show.  Typically, I am not the biggest fan of movie turned musicals (however I did enjoy Dirty Rotten Scoundrels) but Leap of Faith really delivered.  At one point as I was discussing the show, I even forgot that this was a movie to musical adaptation.  Since I was trying to be open-minded and keep a positive attitude, I walked into the show not really having any expectations.  Prior to seeing it, I didn't read any reviews, I didn't listen to or watch any clips online because I knew if I did see it, I wanted to go in with a completely unbiased attitude.  Even though I wasn't 100% sure I really wanted to see the show, there were finally two factors that finally made me purchase tickets:

1. I figured it was likely going to Broadway sometime soon and I didn't want to miss it.
2. The recent revival of Company with Raúl Esparza as Bobby gave me a new perspective on him as an actor (ok, I thought he was one of the best Bobby's I've seen/heard) and since then, I have been wanting to see him perform live.

Ok, there were three factors, the third was that I have been desperately wanting to go to the theatre to see a good musical...and I was hoping that this would fulfill my musical theatre fix.

Before I go on, I will say that Esparza is nothing short of amazing in this production as Jonas Nightingale and if it goes to Broadway, I am certain that at the very least, he will be nominated for a Tony Award.  He was that good. During the number (the one to the right) Last Chance Salvation, Esparza was so dynamic, I thought he might be getting a standing ovation before intermission.  The character of Jonas Nightingale walks a very thin line between brilliant and completely overdone and  Esparza was perfectly brilliant - a greasy and smarmy showman in the beginning and transformed into a more sensitive morally aware guy.  As an evangelical con-artist with a heart, Jonas Nightingale has to border the overly exaggerated, high energy, showy performer with some humanity (which Esparza does superbly).  As Marva McGowan, Brooke Shields was a perfect mix of strong and sensitive and could be considered to be a stabilizing force in the show.  Sometimes I thought Esparza overpowered her, but I think that he was supposed to.  When I think of the brilliance of this show, it is Esparza who clearly steals the show with a great supporting cast including Leslie Odom, Jr. as Ricky Sturdevant who also made a pretty substantial impression on me. 

Leap of Faith isn't the kind of show that will keep you thinking about the story long after you leave the theatre in an attempt to try to better understand it but it is the kind of show that will make you smile and remind you about life and hope and humanity.  It is a feel-good musical in the truest sense of the word and I really hope this show goes to Broadway.  With a just a smidge of tightening up, I think it will do quite well.  It was well received by audiences when I went even with the technical difficulties in which everyone kept spilling liquids  onstage, the cast had the audience eating it up (not literally).  At one point, Esparza stopped the show to get the spilled lemonade cleaned up since it would be dangerous to dance on a slick stage. Though the fourth wall was broken, the audience didn't care and loved that the actors were breaking on-stage, trying to hold it together. All in all, this show is fantastic with a first rate cast of actors and dancers who all really shine as a company.  BRAVO!

Leap of Faith closes Sunday, October 24. Such a fun show and this cast isn't to be missed!

BEING A GEEK

Since I'm waiting for the Tony Awards telecast to air on the West Coast, I figure why not write about another amazing theater-related event I recently had the privilege of attending. Yesterday, I attended a benefit concert with Georgia Stitt and Jason Robert Brown where the duo presented and performed their songs as a benefit for the Pasadena Presbyterian Church. Tracy Nicole Chapman, Ty Taylor, Lara Pulver, Allie Trimm and Dan Callaway also performed with JRB & GS.

It had been some time since I had seen JRB in concert and I had never heard Georgia's music live before. Georgia played some songs from her recent off-Broadway show, Mosaic as well as songs from other shows like The Water as well as music from her album, This Ordinary Thursday. What I like about Georgia's music is that her lyrics are intelligent, carefully crafted and her always honest music has a gentle calmness about it. As I was sitting in the sanctuary listening yesterday (and as I am listening to her album now), whether her music is based on a sonnet by Shakespeare or President Obama's inauguration speech (which I absolutely loved - what a great idea) or "My Lifelong Love," there is such diversity and range in what she does.

I think it is safe to say that everyone (including JRB himself) knows how I feel about his music. so I will try to refrain from singing his praises. The highlights of the show for me were a few...hearing Music of Heaven live (with a 20 or 30 person choir to boot was just fantastic) because this song describes the awkwardness of my relationship with religion and hearing it in a church was (for me) even more thought provoking. I also loved hearing the opening number (Old Red Hills of Home) from Parade again but the best was hearing songs I've not heard before like All Things in Time & Caravan of Angels.

I am always intrigued when I have an opportunity to hear composers play their music. There is something so intriguing and yet vulnerable about listening and watching a composer perform their work. Last night was no different and maybe even more intriguing to witness the dynamic between two obviously talented composers who also happened to be married. Both Georgia and JRB have their stylistic differences but it is still really magical to be in the presence of such talented songwriters and performers. I know that sounds cheesy, but it really was a fantastic experience and night of music.

Thank you Georgia Stitt and JRB for a really amazing evening of music last night!

* JRB just published the set list for the show on his blog!

PS: YOU DON'T KNOW THIS MAN

This post is a PS to YOU DON'T KNOW THIS MAN

I saw Parade again. I loved it that much, yes I did. I haven't done something like this in literally years but then really there really hasn't been anything here in LA that was that good, that compelling to me and JRB's score is that gorgeous that I can't help but to go. Its a heavy subject matter, sure, but the acting is phenomenal and the music is intricately melodic.

As much as I loved Parade when I saw it in previews, there were some minor issues I had with the show. One of those issues belonged to T.R. Knight. Even though he more than impressed me, I thought his voice wasn't quite there yet...he was a little wail-y when belting, but I heard a definite improvement this time around. I didn't think he struggled vocally to hit or sustain notes as he did earlier on in the run. The other issue I had was in thinking that some of JRB's intricate piano riffs weren't heard (or even being played). I know the show has been tweaked throughout the run and with that I'm sure musically, changes have been made. This time though, I heard every one I expect or wanted to hear.

I am so thrilled that Parade is here in LA...at least until November 15.

YOU DON'T KNOW THIS MAN

Whenever I go to the theater and see something so beautiful, smart & moving the endorphins somehow kick in and I get giddy with excitement. Tonight, seeing Jason Robert Brown's Tony Award Winning Parade at the Mark Taper Forum was one of those amazing nights. Sure, I happen to think JRB is just a phenomenal talent and I seem to connect to some facet of his work more than with any other composer, but...Parade is really, really, really good. I've blogged about Parade before but this is a newer version of the show that has been downsized from the original production when the show was staged at the Donmar Warehouse in 2007.

I have been impatiently awaiting Parade since the Taper announced it as part of the 2009-2010 season. This is another show that I never got to see (until now), but discovered and fell in love with it through its cast recording (for which another was made following the Donmar Warehouse production). In the original cast recording, I liked Brent Carver quite a bit as Leo Frank and wondered who might be cast in this LA version. I had no real reaction when I read about the casting of T.R. Knight.

Parade however, was discussed (more than it would have) since T.R. Knight's casting (his first gig post-Grey's Anatomy). A well-known celebrity blogger who I don't particularly care for even discussed it which I guess makes it a "big deal". I had no idea what to expect of Knight though and went into the show with an open mind. After all, if JRB had any say in the casting of his male lead, he wouldn't have agreed to a schlub of an actor with no singing chops, right? For the record, I haven't seen a single episode of Grey's Anatomy, so I didn't have any opinion towards Knight as an actor much less a singer. Knight's performance was actually quite good - he played a cold yet vulnerable & definitely quirky Leo Frank who opened up by the end of the show (its amazing what an intermission can do, huh)? I completely bought into his character and there were moments when I was completely taken with his performance. There were other times, when I realized that belting isn't so much his forte. There were moments during "Come Up To My Office" and "All the Wasted Time" where he was really selling his performance, singing it incredibly and then...he belted and it was actually a little distracting and pulled me out of the moment. For the most part though, he was fantastic!

In addition...what a cast!!! Wow, wow, wow! I recall being impressed when I read the final casting for the show, but I totally forgot until I took a look at the program. The cast boasts: Lara Pulver (who returns to the role of Lucille Frank from the Donmar Warehouse production) who I just loved (and loved more than Carolee Carmello from the Broadway production), Christian Hoff (Tony Award winner for Jersey Boys) who makes evil look so good, Phoebe Strole (Anna from the Broadway production of Spring Awakening), Michael Berresse (director of my personal favorite, [title of show]) who reunited with his A Chorus Line co-star Charlotte d'Amboise (Tony nominee for her role as Cassie in the revival of A Chorus Line) and Davis Gaines (who was a pleasant surprise to see and ended up being my personal favorite from his long run here in LA as the title role in The Phantom of the Opera). I just can't believe what a strong & amazing cast this is! This production with its high energy, amazing voices and ridiculously talented cast, undoubtedly belongs on the Broadway stage...again. Though I've never seen the Hal Prince staged version of this show (and I am quite an admirer of him), I think Rob Ashford did a hell of a job directing and choreographing the show. There was something so perfect about the dancing throughout the show that emphasized and and captured the meaning that I loved and worked so well.

If you have any doubt...check out the clips of the show courtesy of the Center Theatre Group:



The only problem that I found with the show was that it was extremely hard to hear some of JRB's intricate piano riffs. I could hear them so clearly in cast recordings (and even in the clip above) but found them either difficult to hear or heard what I thought were simplified versions of the music tonight. There was also the issue of almost every actor (except maybe Knight and Pulver) who played multiple roles which made the show just a little bit confusing (particularly if you weren't familiar with the storyline). I quickly got over that fact because I thought almost everything else about the show was so strong.

I guess at this point I should also mention that though my enthusiasm is high for Parade, it is a very, very dark show and perhaps it isn't what people think it will be. As stated from Center Theatre Group:

"A shameful event in American history and a poignant love story are at the heart of Parade…[which] follows the true story of the arrest, conviction and lynching of Leo Frank in post-Civil War Atlanta, Georgia. Mary Phagan, a 13-year-old factory worker, has been murdered on the day of the 1913 Confederate Memorial Day parade. Frank, the factory's superintendent and a Jewish outsider, is immediately cast as a suspect. As the media frenzy ensues, with journalists thirsting for news to boost circulations and ambitious politicians seeking votes, Frank — the transplanted Yankee — becomes the scapegoat. His wife, Lucille, passionately works for her husband's release from jail but public hatred continues to rise to a fever pitch. Despite the terrible circumstance, Leo and Lucille find a renewed commitment to each other as well as a moment of transcendent grace in their tragedy."

I knew this going in, I knew that it wouldn't end happily (its not a spoiler, its a tragic historical fact) and I also figured this show wouldn't be for everyone, but the people who were there I assume wanted to be. Yet when after intermission, I saw huge gaping holes in the theater, I was a little bit surprised. Its hard to say what patrons were thinking walking into Parade. I felt like more people returned after intermission when I saw Spring Awakening at the Ahmanson last year (and there were some pretty graphic scenes) particularly when I looked out and saw that the majority of the audience were 60+ years old). An entire second row I think emptied out after intermission and I really, really didn't understand that. I haven't walked out of any show (I might have really wanted to with some shows) but I guess I don't understand how deeply Parade affected some audience members to warrant leaving. Personally, I didn't leave the theater feeling somber and horrified (though I was horrified at the fate of Leo Frank and this tragic story). I left the Taper feeling revived and grateful to be able to support some of the best musical theater I think LA has seen in years!

At the end of the day though, I think it is it fair to say that for me, aside from thinking that Parade was fantastic and grateful for it fueling my theater-deprived soul, seeing Davis Gaines back on stage also brought back some kind of reminiscence of my youth. As much as I adore JRB and Parade, there is also something familiar and comforting seeing Davis Gaines back at The Music Center...which kind of makes me love the show that much more. All and all, this was quite a satisfying evening spent at the theater...partially because of being seated front row center, but mostly because of this amazingly special show.

SOMETHING TO SAY

The initial statement below may be surprising to anyone who has any kind of relationship or knowledge of who I am. Brace yourself kids...the first blow may hurt (and it even gets its own paragraph), but it gets better!

I realized rather recently that I'm getting really tired of listening to showtunes.

Shocking?!

Yes, I know there are other genres of music out there and yes, I'm listening to everything else out there too. It surprises me though how much I am tiring of showtunes...I'm going through a dry spell I suppose. I have my standard staple of shows that I love and will always love, but you can only listen to those so many times. Then, there is the newer stuff that just...isn't any good. So...the only music from the genre I can tolerate (and rather like) is still JRB's (Jason Robert Brown for you newbies of my blog). I decided to take a re-listen to Parade and guess what, I like it. I never really got into Parade in '99 (the year it was nominated for and won Tony Awards) because it didn't really appeal to me. Now though, after careful listening and an understanding of the story, it has become my album du jour (or des jours...cos heaven knows I'll be listening to it for awhile).


After I stumbled upon JRB's The Last 5 Years (TL5Y) (and loved it), I became absolutely fascinated by his work. I sort of went in reverse order when "discovering" the remaining body of his work -- first came TL5Y then came Lauren Kennedy's album of his songs, JRB's own solo album, then Songs For A New World and finally through process of elimination came the show that first brought him to the greater public's attention: Parade.

Though I've had Parade for sometime now and have listened to it often enough, I never really discovered its sound and its story. On the whole though, everything I've heard that he has composed is just so rich and multi-layered. Listening to his work is like eating a gourmet meal...haha, JRB's work is like a feast for the ears! When JRB writes, what he writes means something. There are few words that are lost in meaning or intent in his shows and songs. Heck, even his blog is interesting! It is witty, intelligent and fascinating...kind of like his songs.

What I discovered from my careful, almost obsessive listening to JRB's work, is that his music has a very distinct sound, and his lyrics for the most part are substantial, meaningful, intricate and carefully constructed. When he writes a song, it makes a statement and its intent is so hauntingly beautiful that it stays with you. Example? This week, I can't stop listening to the song "All The Wasted Time" (click to listen) from Parade. In short, this show is based on the story in Atlanta, GA (1913) of Leo Frank, a Jewish factory owner falsely accused and convicted of murdering young Mary Phagan. The song "All The Wasted Time" marks the emotional climax of the show sung by Leo & his wife just before he is kidnapped and executed.

ALL THE WASTED TIME
Music and lyrics by Jason Robert Brown

LEO
I will never understand
What I did to deserve you,
Or how to be the man
That I'm supposed to be.
I will never understand
If I live a thousand lifetimes
Why you did the things you did for me.
Just look at you -
How could I not be in love with you?
What kind of fool could have taken you
For granted for so long?
All the wasted time,
All the million hours,
Pushing you away,
Building up my walls;
All the days gone by
To glare, to pout, to push you out,
And I never knew anything at all
I never knew anything at all.

LUCILLE
I will never understand
How all the world misjudged you
When I have always known
How lucky I must be.
I will never understand
How I kept from going crazy
Just waiting there till you came home to me.
Now look at me
Now that you're finally here with me -
Now that I know I was right to wait
And everyone else was so wrong
For so long
All the wasted time

LEO
All the wasted time

LUCILLE
All the million hours.
Years on top of years
Still too proud to crawl -
All the days gone by
To feel that I don't satisfy
And I never knew anything at all
I never knew anything at all

LEO
All the wasted time

LUCILLE
All the wasted time

LEO
All the million hours.

BOTH
Leaves too high to touch,
Roots too strong to fall.
All the days gone by
To never show I loved you so
And I never knew anything at all.

LEO
I never knew anything
At all...

Ok, I know that music is personal and that we all connect to sounds, lyrics, etc. based on our own preferences and or experiences etc., but as with every JRB song I listen to (and some I admit I like less than others), I connect to each one. Of all the songs from Parade, I think that this song is probably the most lyrical and maybe even the most appealing to listeners. Maybe that is why he posted it to his website. There is definitely a distinct JRB sound in Parade and it is easy to hear the pop-rock-blues-gospel influences intermixed throughout the show.

Ok, so its obvious to anyone who reads this blog that I have an on-going love affair with the music of JRB. Maybe the reason other modern musical theatre writers (except for Adam Guettel -- he's amazing too) bore me is because they don't have the multidimensional complexity that JRB's music does. For you musical theatre naysayers, JRB is different; he's fresh, modern and doesn't so much possess the schmaltzy quality in his work that some writers (past and present) have been known for.

JRB: I know you'll see this at some point...and I know its usually the crazy people who claim their sanity, but really...your work reminds me how much I love modern musical theatre.