Posts Tagged ‘Theatre’

Theatre Is Easy: “Groovaloo”

BOTTOM LINE: An incredible dance show, unlike anything you’ve seen before.

The Groovaloos are a dance company from LA. They’re hip-hop dancers with diverse backgrounds who came together a while back as a community of freestylers who liked to jam with one another. They’re perhaps the most talented group of hip-hop dancers out there, at least as far as I’m aware. You’ve probably seen them on TV in one way or another, as they’ve been featured on several of those reality talent shows over the past couple of years (Fox’s So You Think You Can Dance, MTV’s America’s Best Dance Crew). Their autobiographical show, Groovaloo, has grown and changed since its inception in 2003, and it now comes to New York to play at the Joyce Theater after a successful run in LA. After its brief stay in New York — it plays though September 27 – Groovaloo will tour the country beginning January 10.

Performance-wise, Groovaloo is an athletic, energy-packed 90 minutes that gets the audience’s attention and doesn’t let go. Each of the 14 dancers is better than the next, and with men and women of all cultural backgrounds, the cast is totally captivating. Each dancer gets a solo moment, and as the show reveals itself, the audience learns each dancer’s story and how they got to where they are now. Although there are many featured moments for each dancer where they can break and freestyle and do their own thing, there are also many synchronized and choreographed moments where some or all of the dancers perform the same steps or tricks in smaller groups or as bigger production numbers. The variety keeps the production moving along at a nice pace.

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Theatre Is Easy: “The Bereaved”

BOTTOM LINE: Effing funny and freakishly relatable (at first, anyway). This play is a prime example that high-quality downtown theatre does still exist.

If one were to see a play called The Bereaved, written by a playwright named Thomas Bradshaw, one might expect a solemn tale; = perhaps a depressing story about death or coping with loss. One could not be more wrong. The Bereaved is indeed a story about death, a broken family, and coping with tragedy. But it’s also hysterically funny in an “I can’t believe that just happened” kind of way. The audience laughs in spite of itself, and very quickly the humor trumps anything intrinsically sad.

The premise is really quite depressing: Carol (McKenna Kerrigan) is a high-powered Manhattan attorney-slash-wife-and-mother. She suffers a heart attack and spends the subsequent weeks in the hospital. During that time, she makes sure to finalize plans for her family so that when she dies (she’s not optimistic about her recovery) her part-time professor husband Michael (Andrew Garman) and 15-year-old son Teddy (Vincent Madero) will be cared for. As Carol anticipates the end, her family and best friend Katy (KK Moggie) try to cope with the situation. And it’s perhaps in those coping mechanisms that they lose sight of any responsible decision.

The Bereaved is an appreciated theatrical mindfuck that holds the audience’s attention; you think you’re seeing one play and it turns out to be another. As the characters disengage from reality, you wonder if they were always batshit extremists or if their situation is a result of their trauma. The tale Bradshaw weaves builds brilliantly: at the beginning the story is relatable, albeit on an extreme level. But as it unfolds, the characters unhinge and their antics, once quirky, exaggerate to the unpredictable. This provides for tremendously fun storytelling as the absurdity escalates and the audience wonders what could possibly happen next.

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Theatre Is Easy: “Burn the Floor”

BOTTOM LINE: Just like Dancing With the Stars. With more dancing. And fewer C-Listers.

Let’s say you’re a major celebrity like oh, Elton John. And let’s say it’s your 50th birthday and you’ve recently become a big fan of contemporary ballroom dancing. Maybe you like the sparkly costumes. So your peeps decide to honor your special day by hiring amazing dancers to create a show for you to be performed at your soiree. Now let’s say you’re a power-player with money who happens to be a guest at Sir Elton’s birthday party. And you see this show and you think “this is both awesome and potentially lucrative.” You put your monacle back in your eye, take out your checkbook and adapt the show into a worldwide hit called Burn the Floor.

I’m not totally positive that’s how it all went down, but suffice to say this show got its roots in 1997 in Sir Elton’s honor. After a decade of developing and re-working, it has played in England and pretty much traveled the rest of the world on various tours. Burn the Floor has now set up shop at Broadway’s Longacre Theatre for a limited engagement through January 2010. (more…)

Theatre Is Easy: “The Wiz”

BOTTOM LINE: Alvin Ailey meets Disney-on-Broadway meets the sale rack at JC Penney.

Ashanti and James Monroe Inglehart in The Wiz

The Wiz is an urban musical version of The Wizard of Oz with an all-black cast. It originally opened on Broadway in 1975, with Stephanie Mills as Dorothy, and did well in the Me Decade, playing for four years and spawning a movie in ‘78 that starred a way-too-old Diana Ross as Dorothy and Michael Jackson as the Scarecrow (it was directed by Network’s Sidney Lumet, of all people). The Wiz was revived on Broadway in ‘84 but received a less stellar response the second time around — it closed after only two weeks. And herein lies the problem with The Wiz: you’d better have an incredible production, because in the end it’s just not a very good show.

The newest version, playing through July 5, is part of New York City Center’s Encores! Summer Stars series, with the potential for a future Broadway run. Encores! employs high-caliber casts and creative teams to produce musical revivals; with somewhat minimal sets and a limited three-week run, the point is to put a staged but unfinished version of a show in front of an audience, then evaluate the response and potential future for the production. For example, the 2007 production of Gypsy with Patti LuPone started at Encores! and went on to a spectacularly successful run on Broadway. I’m not sure The Wiz will make the transfer, but I’d love to see this cast together again. For all the ways in which the production misses the boat, there are some truly wonderful moments as well.

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The Popdose Interview: Brian Yorkey

yorkeyBrian Yorkey is not an asshole. The playwright of the new Broadway musical Next to Normal would never write disparaging comments on a blog post critical of his show. He actually welcomes intellectual discussions about Next to Normal and is much more humble than proud. So it was obviously disconcerting when he discovered an impostor was posting offensive comments as “Brian Yorkey” on a handful of websites this past spring as Next to Normal opened on Broadway.

That’s actually how I met Brian. Faux-Yorkey posted a snotty comment on my review of Next to Normal, and Brian contacted me to do some apologetic damage control. Since the Internet feeds the fire of anonymous trash-talking, it’s hard to know Faux-Yorkey’s intentions. Deeply defensive of any semi-negative feedback about the show, he (or she) is either a creepy, obsessive fan or rather someone with whom the show resonates strongly. Writing a critically acclaimed rock musical about mental illness is sure to attract a passionate following, after all.

Next to Normal is a breakthrough original musical, receiving astonishing praise from both critics and fans. The show opened at the Booth Theatre in April and is up for a whopping 11 Tony Awards, including Best Musical, at this year’s awards (airing June 7th on CBS). The show details the life of bipolar mother Diana, played by Alice Ripley, and how her debilitating mental illness effects both her and her family. The touchy subject matter is delicately and passionately deconstructed while a thumping rock score accompanies the characters’ struggles. It’s certainly an emotional musical, and one that offers a connection to its audience as everyone takes the journey together. (more…)