Jeff Davis - Page 10

Over the course of his fifty year career, Stephen Sondheim has written shows of a predominantly darker hue. He's tackled stories about showgirls who are past their prime, a barber turned serial killer, a giant who destroys a fairy tale kingdom, presidential assassins, and an entire country selling out to the western world. Still, his unassuming 1981 musical about the slow demise of a three-pronged friendship may be the saddest thing he's ever written. If that sounds like an indication that you should skip Merrily We Roll Along, keep in mind that no one does sad like Sondheim. In other words, roll along to St. Edwards University, see this show, and enjoy the emotional sucker punch.

A word of caution to writers everywhere. Never use a word as bland as 'ordinary' in the title of your work. Its use will either be prophetic or grossly inaccurate. In the case of Ordinary Days, it's a bit of both. While Penfold Theatre's production of the new chamber musical features some of the greatest talent that the Austin theater community has to offer, the material itself isn't up to par. The show is extraordinary, but the material is not.

I remember seeing the world phenomenon that is Cats back in the late 90s, and my response then could be summed up in four words: 'I didn't get it.' Sure, the set was cool, the costumes were fun, and the choreography was outstanding, but Andrew Lloyd Webber's score was among his worst and the 2 and a half hour show failed to have a point. How the hell did this show get nine lives and an 18 year run on Broadway?

There are two types of people in Austin: those who have seen a Trouble Puppet show, and those who have not yet seen a Trouble Puppet show. Regardless of which one you are, The Crapstall Street Boys is certain to be 75 minutes of pure entertainment.

Honesty may be the best policy, but it's not the most fun one. Thank God 16th century playwright Pierre Corneille and modern day playwright David Ives have an affinity for the truth-challenged. Ives's modern take on Corneille's classic French comedy The Liar is an exhilarating and side-splitting mix of the old and new, and Austin Playhouse's production of it reminds us just how exceptional the Austin theater community is.

Whether at their best or worst, Erica and Ben are always honest and authentic, and that honesty and authenticity is what The Boys Next Door revolves around. As Tom Griffin's outstanding text requires that 'normal' actors play the four central roles, getting that sense of honesty is tough. The actors must show how quirky and unique these men are but must keep the characters from becoming offensive caricatures.

Upon entering Hyde Park Theatre for a chick and a dude's current production of The Whale, you get several clues about the central character of Charlie. His apartment, designed by Michael B. Raiford, is absolutely disgusting. Pizza boxes and KFC buckets litter the floor, and the couch, which has seen better days, is propped up on cinder blocks. Between the set decoration and the title, one can guess that Charlie's going to be on the larger side, and he is. Thanks to an extraordinarily believable fat suit constructed by Kelly Ruiz, Charlie (Shanon Weaver) is a 600 pound man. But The Whale, which could easily be a play about a fat suit, has far more to it.

BroadwayWorld recently had a chance to catch up with Jim Rado, co-writer of Hair, to discuss the show's history, its groundbreaking contribution to musical theatre, and the revisions made for the current touring production…

Earlier this season, I did something slightly unorthodox when I attended and reviewed Bonnie and Clyde at McCallum Fine Arts Academy. Over the past months, I've been asked about that review on more than one occasion, and the questions have typically been regarding why I'd review a High School production. The answer: McCallum Fine Arts Academy doesn't do High School theater. They do Theater. With a capital T. The quality of the work from these young performers and designers is just as strong as what you'd find from other Austin-based theater companies, and that tradition of quality continues with their current production of Les Miserables.

I had a very interesting experience in a theater the other night. I was sitting in one of Austin's traditional theater spaces waiting for a show to begin, and two ladies sitting directly behind me were talking about a different show, Circle the Wagons, The Exchange Artists' exploratory, original, site-specific scene cycle about car culture in the United States. I absolutely loved Circle the Wagons (more on that later), so naturally I listened in on the conversation behind me. "Ugh. I wanted to like it," one of them whined, "but I just didn't get it. The scenes were too short. I didn't really get what was going on in any of the scenes or who the characters were." Her companion, equally whiny, responded with, "Me too! And wasn't it weird sitting so close to the actors? Man, that was uncomfortable."

Early on in the first act of Company, the classic Stephen Sondheim musical now playing at The Playhouse, single guy Robert asks his married pal Harry a loaded question: "Are you ever sorry you got married?" Harry smiles and responds with, "You're always sorry. You're always grateful," and continues with several other paradoxical statements. Those puzzling, polarized statements are mirrored throughout the production of Company itself. For every element and performance that hits the mark, there's another that misses it.

When Austin Shakespeare announced that their 2013-2014 season would feature a production of Othello, my immediate response was "Why?" After all, Austin's City Theatre produced the show just last season, and it was, as I mentioned in my review, "the highlight of the City Theatre's season."

As part of a Jewish family, I have had to sit through my share of Passover Seders, some of which are more bizarre and uncomfortable than others. That said, a Seder between two once enslaved black men and their former owner just days after the end of the Civil War takes the matzo cake. Matthew Lopez's period drama The Whipping Man, now enjoying its Texas premiere at Austin's City Theatre, certainly has a thought provoking subject matter and a trio of incredible actors, but sadly Lopez's text is a bit underwhelming and overdone.

BroadwayWorld is thrilled to share rehearsal photos from Les Miserables which opens at McCallum Fine Arts Academy tomorrow, Thursday, February 27th.

BroadwayWorld is thrilled to share with you the final installment of our two part interview series featuring the cast and crew of Les Miserables which opens at McCallum Fine Arts Academy tomorrow, Thursday, February 27th.

BroadwayWorld is thrilled to share with you the final installment of our interview series featuring the cast of Woodlawn Theatre's current production of Into the Woods.

Wicked certainly has an interesting reputation among theatergoers. Some theater fanatics love the show. Others hate it. I've always found myself somewhere in the middle. Wicked certainly has both flaws and merits, but to those who only see its flaws, I have this observation to share. Of all the long running shows currently on Broadway, there are only three that feature more than one female lead. Of those three shows, only one involves female leads who aren't merry murderesses and aren't singing ABBA tunes. So kudos to Wicked, and kudos to the touring production currently in Austin for making it easier to see the shows merits and more difficult to see the show's flaws.

It's entirely appropriate that the first syllable of Audra McDonald's name is pronounced "awe." Anyone who's heard a recording of her voice knows how incredible she sounds, and anyone who's seen her in concert knows how engrossing she is. With her gorgeous, crystal clear soprano voice, incredible stage presence, and charismatic, engaging persona, Audra McDonald is one of the best Broadway performers of all time, and despite her self-deprecating jokes about her age and career, it's doubtful that she'll slow down soon if at all.