Blogging about blogging about theater, in a theater

If you're free this Sunday night, The Brick is putting together something called The Impending Theater Blogging Event. It's part of their Pretentious Festival (the most important theater festival on earth), and here's their description:

"The New York community of theater bloggers blog about blogging as a theatrical event, live, at the theater or anonymously at an undisclosed location. All blogs are projected onto a large blog screen. Audience members are encouraged to join the blogosphere conversation on laptops provided at the theater for this event."

And by "anonymously at an undisclosed location", they do mean that Moxie will be in the batcave, surrounded by high-tech flatscreen blogging equipment. That, or in my pajamas, with my laptop and a bag of cheetos. Haven't decided yet.

The participants include Rocco of What Blows, Isaac Butler of Parabasis, Jaime of Surplus, The Playgoer, and a bunch of other great theater bloggers. You can actually go to The Brick and sit in the audience alongside the bloggers, or check it out from home as the event progresses. The site that we'll all be conversing on is here, and The Brick's website is here.

The Lyttelton Goes Green

Across the pond, British artists Heather Ackroyd and Dan Harvey have covered the National Theatre's Lyttelton flytower with grass. Along with 20 assistants, they covered the thing with clay, seeded it, and watched the thing turn green. Just when you think the National can't get any cooler, they turn around and do something like this. It's such a neat idea that non-theater folks are taking notice - design blog Apartment Therapy features the project today. Check out their website for a short documentary about the project.

So TAN!

Eeeech!

Crazy Mary in previews

Crazy Mary was a bit of a mess when I saw it on Saturday night. After just a week of previews, a review isn't really appropriate - especially since I like A.R. Gurney and Jim Simpson so much, and really want this show to be good. So instead of a review, here are a few ponderings on how I hope it improves over the course of previews.

I hope that Sigourney Weaver finds the center of her character, and stops waffling around in search of specific choices. I'm a big fan of hers, and believe she can do much better than what I saw.

I hope that Gurney is able to make some revisions that indicate an understanding of the humanity in Michael Esper's character. Give us some real reasons why he does the stuff he does, or better yet, cut some of the most nutzo stuff. Despite talented Esper's best efforts, right now he seems crazier than Crazy Mary.

I also hope Gurney makes some cuts to the script, which dilutes its genuine funnyness and sensitivity with cliche and sitcom-style jokes.

I hope they're able to find some wigs for Kristine Nielsen that don't look like they're cutting a horizontal line across her forehead. Aside from the unfortunate forehead bisection, Nielsen's performance is pretty darn magical and very worth seeing.

Looking forward to revisiting Crazy Mary after opening.

Gypsy Casting

Maryann, one of the more reliable of the chatterati (bitchosphere?) is reporting that Boyd Gaines will play Herbie in this summer's Encores! production of Gypsy. Having just seen Gaines in Journey's End last week, I feel more than confident saying that he's as ideal as they come. He's charming, sympathetic, and warm, and he's both strong and soft enough to stand up to Rose, but eventually fail at being her equal. Exciting!

Update: They're also saying that Laura Benanti will play Gypsy Rose Lee. Eh.

God's Ear

Christina Kirk is a tasty actress. I know that sounds weird, but her performances are so delicious and satisfying, and I just want to savor every bit of each one. In God's Ear, she shines as a grieving woman who is trying to decipher how to go on after losing a child. She leads a first-rate cast of actors who represent downtown theater at it's best - particularly Annie McNamara as a sexed-up alcoholic professional type who is about as neurotic as they come, and Matt Montelongo as a trannie flight attendant and a sprung-to-life G.I. Joe.

The signature element of God's Ear is Jenny Schwartz's stylized dialogue, which employs cliche and repetition to dig away at what lies beneath the mundacity of our daily lives. Schwartz doesn't provide an easy answer at what is lurking beneath it all, but the tone suggests that it's hopeful and ominous at once. It's a kooky, funny, sad, scary play, and though Schwartz's style feels feels just a touch heavy-handed throughout, the play succeeds at being eloquent, engaging, and massively affecting. Jenny Schwartz is definitely going to be one to watch, as many reviews have noted.

T.R. Knight probably not calling it quits

For all y'all who are landing here by searching for "is T.R. Knight leaving Grey's Anatomy," I did a bit of sleuthing, and my crystal ball is telling me that he's sticking with the show. Isaiah "Dr. McDouchebag" Washington's status on the show remains to be seen.

Above is a picture of T.R. in Amadeus, to remind us all that he can do a lot more than look cute in scrubs.

Hey, maybe McDouchebag will become available just in time for the Debbie Allen Cat On A Hot Tin Roof revival! That is, if 50 Cent isn't available.

Will Roger Bart play Dr. Frankenstein? Yes, he will.

At least I think so. Variety's Gordon Cox says that "word on the rialto" has Roger Bart as Dr. Frankenstein, and Christopher Fitzgerald as Igor, in the new Brooks/Stroman/Meehan musical behemoth Young Frankenstein.

I spoke with Bart's agent last week, who said that Bart will not be available this winter because of an unannounced project on Broadway. Variety confirms my suspicion that the project is Frankenstein. That is, unless he's playing Shrek.

The supporting cast will include Megan Mullally in the Madeline Kahn role, Sutton Foster in the Teri Garr role, and Shuler Hensley as Frankenstein's monster.

Journey's End: Review, and Closing Notice Reactions

After finally seeing the terrific, devestating Journey's End last night, I came into the office this morning to find its closing posted for 6/10. It's very sad... Journey's End is a lovely play that manages to posess plenty of the archetypal war drama plot points, while also seeming fresh, unexpected, surprising and shocking. Written in 1928, it's a beautifully told story of a just a few of the millions of soldiers lost to war, beautifully and lovingly performed by Boyd Gaines, Jefferson Mays, Stark Sands, Hugh Dancey, and a very fine ensemble.

After seeing so many sweeping, epic war films with thousands of CGI soldiers and extras storming beaches and deserted cities, how refreshing and simple to see the experience through the lives of these few guys. Much of the action takes place while the men are waiting for news of an imminent attack, and the opportunity for sitting and talking allows an intimate, raw look inside the terror of being at war, the love and respect between the soldiers, and most of all, their simple humanity. Whereas the big war epics find maximum drama in maximum slaughter, often missing the human element (or being so heavy-handed with emotion that you can't take it seriously), the audience at Journey's End is given a whole first act just to fall in love with these guys, to understand exactly who they are, where they come from, what they care about, and what they fear. I have never seen and felt so clearly that these boys could easily be my brother, my dad, my boyfriend, my schoolteacher.

The raw and beautiful humanity present in the play may, in fact, be it's downfall. Before the curtain rose, I chatted with the woman seated next to me about how empty the house was - even on the day after the Tony nominations. The show has been selling 30, even 20% recently - unbelievable for such a critically lauded show. We wondered aloud if the poor attendance was due to stiff competition from more fun/punchy/exciting plays like Talk Radio, Radio Golf, Frost/Nixon, and other vehicles with more star pull, like The Year of Magical Thinking, Inherit the Wind, and A Moon for the Misbegotten.

Though I'm sure the bevy of alternatives hasn't helped at the Journey's End box office, at the play's conclusion, I had a different theory: it's too difficult, and too painful. During the lead-up to the most emotionally difficult parts of the play, I found myself checking out, even rolling my eyes. "Come on," I thought, "Will we really have to suffer through these boys getting killed?" I couldn't engage in the world of the play, because accepting it's reality was akin to accepting the reality of war. I feel utterly horrified by what our country has engaged in in Iraq, and what we're putting our troops through - no, what we're putting our sons, daughters, dads, moms, boyfriends, girlfriends, brothers, sisters through (not to mention the people of Iraq, or course). My horror and anger is usually back-burnered, however, in favor of escapist cynicism that allows me to keep the terrible truth at bay. When I realized how the connection between this WWI setting and current events was making me keep the play at arm's length, I decided to gently push myself into the play, open up, and accept these characters that you can't help but care immensely for. Of course, that was when I really started enjoying the play, in spite of the waterworks that made me feel like I was back in 8th grade at Les Miz. However, I wouldn't be suprised if many people aren't ready to get in the trenches for 2 1/2 hours via this play. I have a cousin and a few friends at war, and certainly wouldn't blame their families for not wanting to go through this.

This brings up a lot of questions for me - Can a war drama be effective during wartime, or would this play be more useful cathartically if it were staged after the war in Iraq ends? Art certainly can't be put off while war goes on, but we clearly don't have a climate in which Journey's End can survive. Stuff Happens, on the other hand, was a huge success. Perhaps the answer in this case is both - some need to see this play now, and some just can't go there yet. It's just too bad that more people won't get to experience the fine performances in this small, intimate, beautiful play. Here's a link to some discounts - catch it before June 10th if you can.

"It's been too hard livin', but I'm afraid to die"

Here's a fun diversion: spinner.com's eclectic lineup of the 25 Most Exquisitely Sad Songs in the Whole World. Highlights include Sam Cooke's "A Change is Gonna Come", Sinatra's "In the Wee Small Hours of the Morning," Jeff Buckley's cover of Leonard Cohen's masterpiece "Hallelujah"... well, I won't spoil all the fun (misty-eyed fun, in this case). The best part is that you can listen to them all for free.

Good News for NY Actors

The actors of New York are likely breathing a collective sigh of relief today: NBC has announced that all three Law & Orders will be back with new episodes this fall. Criminal Intent will move to NBC's cable channel, USA, while "original recipie" and SVU will remain on NBC.


NBC brings more good news with the full-season pickup of new series Lipstick Jungle, based on the book by Sex and the City author Candace Bushnell. The series will tape here in NY, and stars Kim Raver, Brooke Shields, and Lindsay Price as numbers 8, 12, and 17 of "New York's 50 Most Powerful Women", according to the NY Post. If it stays true to the book, one is a fashion designer, another is a high-powered film executive, and the third is editor-in-chief of an important magazine. Some familiar names are involved - Scott Cohen (Losing Louie), the adorable lil' Sarah Hyland of Grey Gardens, Andrew McCarthy. David Alan Basche and Matt Morrison are both listed as playing the same role - wonder who the real "Mike Harkness" is. Also featured is my friend, the very funny Seth Kirschner, who people seem to recognize from web-based show We Need Girlfriends. I'm learning from him that a LOT of people watch this show via youtube and myspace - more than I ever thought were watching webisodes. Is web tv finally approaching the tipping point?

The novel Lipstick Jungle is a fun jaunt, and I still (embarassingly) find myself watching the reruns of SATC on TBS, even though I've seen each episode approximately eleven millionty times. Could this be a made-in-New-York show with sticking power? Fingers crossed.

Full cast of Romeo and Juliet announced

The full cast of R+J in the park has been announced, and it's pretty exciting on two counts: one, because it's a lot of really rocking actors, and two, because it looks like they're doing full-on colorblind casting. Here's the full list:

Juliet - Lauren Ambrose
Romeo - Oscar Isaac
Nurse - Camryn Manheim
Lady Capulet - Opal Aladdin
Lord Capulet - Michael Cristofer
Lord Montague/Apothecary/Cousin Capulet - George Bartenieff
Paris - Dan Coleman
Lady Montague - Saidah Arrika Ekulonah
Tybalt - Brian Tyree Henry
Benvolio - Owiso Odera
Friar Laurence - Austin Pendleton
Mercutio - Christopher Evan Welch
Prince Escalus - Timothy D. Stickney
Ensemble - Ari Brand, Anthony Carrigan, Tiffany Danielle, Seth Duerr, Quincy Dunn-Baker, Christian Felix, Susan Hyon, Orville Mendoza, Jeff Omura, Lucas Papaelias, Mary Rasmussen, Michael Rossmy, Cornelius Smith, Jr., Alexander Sovronsky.

Awesome! I always love me some Saidah (anyone who was in The Thugs can do no wrong by me), and it's exciting to see so many really typey, charactery actors in one place. I didn't like Orville Mendoza in Adrift in Macao, but that's hardly his fault - I love Chris Durang, but that play was a S.T.I.N.K.E.R. Lucas Papaelias was my favorite part of Essential Self-Defense (besides the rollerskating dream sequence). Mary Rasmussen is a Juilliard grad from a year ago, and I've never seen her work be as good as it was in the showcase, but I hold firm to my belief that girl's got a hell of a lot of talent and potential. Also keep an eye out for Cornelius Smith, Jr, who is fresh out of the NYU grad acting program, and has been blowing me away in all of their shows this year with his knock-out character performances.

For some reason I'm betting that Mercutio was the last to be cast. I like Christopher Evan Welch okay, and he made a lot of lemonade out of Theresa Rebeck's sour lemons in The Scene, but he's doesn't seem like top-of-the-list Mercutio material to me. Here's hoping he proves me wrong.

Photo of patient line-waiters by Epiphany, via Flickr.

Ignorance Central: Who the hell was Antoinette Perry?

My college education wasn't very good. This was probably my fault - I had a little problem with finding studying very, very boring, while things like browsing the produce aisle at Wegman's, watching Iron Chef, producing my own shows, and playing beer pong were quite interesting to me. Fast forward a couple years, and my keen ability to bullshit my way into a passing grade has been an asset in the workplace, but my lack of actual knowlege of stuff like, oh, theater history has been a pesky little problem. So with that in mind, I'd like to share with you the answers to a few questions that I'm always wondering, courtesy of the slacker's best friend, Wikipedia. This may be a continuing column, since the breadth of my ignorance can be pretty expansive at times.

Who the hell was Antoinette Perry, of the Antoinette Perry "Tony" Awards?

Well, she helped found the American Theater Wing (which, for thoroughness' sake, started and runs the Tony awards, gives grants and scholarships, and also has a number of programs supporting the arts, like SpringboardNYC). Perry started as a teenage actress in the very early 1900's, and became a successful director and producer, responsible for the Pulitzer-winning play Harvey. She died in 1946, during the play's long Broadway run. After her death, her friends and colleagues commemorated her contributions to the theater, and her producing partner, Brock Pemberton, suggested a series of awards be created in her honor. Thus, we've had the Tony Awards since 1947.

Life Before Art

To close out a long week of work, here are two quotes from Vincent van Gogh, an artist who didn't exactly have his shit together, but had some good words nevertheless.

“I put my heart and my soul into my work, and have lost my mind in the process.”

“The more I think about it, the more I realize there is nothing more artistic than to love others”

I've always liked the idea of "life before art," but the execution is deceptively tricky. Every Friday afternoon's excitement and relaxation is tinged with anxiety about the week to come. What I like about the second quote is the idea that you don't have to put the art outside your mind, but instead embrace the art-love connection (love in the larger sense, the kind that includes barbeques with friends and sunny afternoons in the park), and feed off the art that lies within those moments, rather than being consumed by the stricter definition of art, you know, the kind you produce as your job, the "important" kind that you study and debate.

Happy Friday!

Photo of Sakura Matsuri Festival at the Brooklyn Botanical Garden by PSF via flickr.

Jonatha Brooke at The Highline Ballroom

I'm a little late to the Jonatha Brooke party. The folk/rock singer-songwriter has been around since the 80's, performing first in a folk duo called The Story, and playing solo since the mid-90's. My musically-inclined boyfriend introduced me to her (via mix tape, *sigh*), and I've been overplaying her cover of God Only Knows for months and months. Last night, I finally got to see her live at the brand new Highline Ballroom on West 16th Street. (I think it's actually in the exact spot where the old Atlantic Theater Company offices were - can anyone confirm?)

Jonatha is a breathtaking, awesome performer. There probably aren't enough adjectives in the dictionary to fully describe her, but you could start with empowered (why is it that that word always has some kind of 90's feminist aftertaste?), sexy, honest, soulful, different, special, and extremely, fiercely intelligent. Her songs have all the soul-baring emotional brutality you might expect from Tori Amos, but Jonatha seems a lot more together than Tori. This is a woman who has seen a shitload of life, and though it's clear that experience has weathered her, she nevertheless glows from within like a lantern. The result is a 43-year-old woman with the effusiveness of a 16-year old and the command and quiet, humble authority of someone who's seen it all and lived to tell the tale. She also looks fucking amazing. Some describe her as "sex on a stick", which feels reductive but also pretty accurate. She also speaks French, and was in the circus for a while. Her awesomeness would make me want to puke, if I wasn't so busy admiring her.

Not to mention, woman knows how to rock. The concert was LOUD, in the good way, and someone remarked that Jonatha "plays guitar like a man." Yeah, it's off-putting when you say it like that, but it kinda gives the right impression - rarely have I ever seen a woman take the stage in such a commanding, nothing to prove, get-comfortable-because-I-am-about-to-blow-your-mind sort of way. It's also notable for music junkies that she plays in all kinds of crazy alternate tunings, even using two capos at once to create a sound that is totally new and beautiful and unforgettable.

Theater tie-in: AnneMarie Milazzo played in the band and sang back-up for Jonatha Brooke for a long time, and she also happens to be responsible for all those soaring vocal arrangements that make Spring Awakening's score so haunting. You can hear the influence - Spring Awakening's harmonies are often similar to Jonatha's in their dissonant beauty.

The Highline Ballroom was just ok. The space is, in no uncertain terms, hip, with ever-shifting lights splashed onto the walls, and high, airy ceilings. It's nice to sit at tables, but they were cramped, the mixed drinks were not so hot, and a $10 plate of mixed canapes arrived on a crappy white plastic plate, consisting of eight nasty freezer-to-fryer treats, like crabcakes and mini-spanikopita. Scary. There's a lot of potential there, though, and I'm thrilled to see an actual new music club opening up, when it seems like they're all closing down for the viral luxury condos.

So yeah. Check out her music here. And buy all the albums, happy that you're supporting Jonatha's own little indie label, and not some beheamoth money-grubbing company. You're welcome.

Catch Leo Bloom If You Can

Looks like the Catch Me If You Can musical is happening. Tom Wopat (currently on tour with Chicago) says he's been cast, along with Nathan Lane. From canada.com:

Between musicals and cutting CDs, Wopat lives in Manhattan and has a getaway cabin on a lake in upper New Jersey. He cooks, gardens and plans for his next role, one in the musical version of Catch Me If You Can, with Nathan Lane.

We can only presume that Lane will play the Tom Hanks role, and that Wopat will NOT be playing the Leonardo DiCaprio role. My bet is that Wopat will play Leo's dad, the Christopher Walken character in the movie. So, who do we think will be cast opposite Lane? Matt Morrison might be able to do it, or how about (ooohhh...) Steve Kazee, or Christian Hoff? Whoever ends up nabbing it, Moxie's got one note to the producers: Please, please, please do not bring this to Broadway: