Medium: Blood, Sex, and Tears – The Queer Theater of Little Shop of Horrors

Originally published on Medium.

I found myself with an unexpected case of “the feels” last night at Little Shop of Horrors at Encores! Off-Center, so I sat down to word-vomit a bit on Tumblr to see if I could make some sense of the show. I received an enthusiastic response, so I thought I would clean my words up a bit and share them here.

Ellen Green and Jake Gyllenhaal in Little Shop of Horrors. Photo: Joan Marcus

Ellen Greene and Jake Gyllenhaal in Little Shop of Horrors. Photo: Joan Marcus

Little Shop feels like a show I’ve known my entire life, but I know that’s not true, because I remember that my first encounter with the show, which like most people my age and younger, was an encounter with the movie. The film premiered in December of 1986, when I was almost nine years old. I loved monster movies but was scared of horror movies, so I think I skipped this one in the cinema until someone could assure me it wasn’t gory. I know my older brother had seen the stage production and loved it — although that might have been later. Memory is funny. I remember him telling me about the end, where vines from the plant descended from the rafters over the entire audience, and I was enrapt with the magic of theater, even though it was only theater of my imagination. Continue reading

CastAlbums.org: REVIEW: Life of an Actress: The Musical – Soundtrack

Originally published on CastAlbums.org.

lifeofanactressIt’s always a little suspicious when a film’s soundtrack gets a wider release or more notice than the film itself. Suffice it to say, I had never heard of the 2014 film Life of an Actress when I received my review copy of the soundtrack. Normally, between that the even more glaring red flag of a film that was written, composed, directed, and produced by the same person — Paul Chau, a former banker whose only previous artistic credits of note were a previous documentary film of the same name and producer billing on a couple of revivals — I wouldn’t even bother. But with a cast including Orfeh, Taylor Louderman, and Allison Case, I figured it was worth giving the album the benefit of the doubt.

How much you’ll enjoy this soundtrack depends entirely on how much you’re able to let some great performances carry you past other shortcomings: pleasant but undistinguished music set with leaden lyrics (sample: “I want to be an accountant / that’s my dream / the first in my family / with a college degree”), and a four piece, synthesizer-heavy band that would sound cheap in a tiny off-Broadway setting. (The band is particularly egregious given how far forward in the mix it is, with its single violin often overpowering the singers.)

Maybe this is the kind of album that coheres a bit more once you’ve seen the film, but I can find no trace of it existing beyond single screenings in New York and Los Angeles last year. The project’s website speaks of an in-development stage version, and you’ve got to admire Paul Chau’s pluck, if not his talent.

CastAlbums.org: REVIEW: Marin Mazzie: Make Your Own Kind of Music – Live at 54 Below

Originally published on CastAlbums.org.

marinmazzieFor years, when you polled Broadway fans for their choices of singers they wished would record a solo album, Marin Mazzie‘s name would always top that list. Thanks to the good people at Broadway Records, the wait is over, and once you hear Make Your Own Kind of Music, recorded live at 54 Below, I’m sure you’ll agree it was worth the wait.

The album, recorded in live in February, 2015, takes us on a musical journey through Marin’s childhood, starting with a few numbers she recalls from her parents’ record collection (“Come On-A My House,” sexier than Rosemary Clooney ever imagined it, “That’s All,” and a Sammy Davis, Jr.-inspired “Begin the Beguine,” the set’s only show tune). From there, it’s all ’70s, from the Partridge Family to Barry Manilow, and Mazzie manages to avoid camp to give us knock-out renditions of each and every song. Continue reading

Flavorpill: REVIEW: Anime, Gaming & Theater Combine in “Kapow-i GoGo”

Originally published on Flavorpill.

Kapow-i GoGo

Take one part 8-bit RPG, one part serialized anime, add some cardboard props and a dash of comedy, and you might have something resembling Kapow-i GoGo, a thrill-ride of a marathon theater event created by Matt Cox.

An ideal evening out for those of us raised on The Legend of Zelda and Toonami, Kapow-i GoGo started life as a popular series of brief plays at #serials at The Flea, now reconceived into three somewhat stand-alone plays (Kapow-i GoGo Gooo!!!, Kapow-i GoGo Z, and Kapow-i GoGo RETURNS) best experienced in an orgy of back to back to back madcap adventure theater.

Continue reading

CastAlbums.org: REVIEW: Dames at Sea – Original London Cast Recording

Originally published on CastAlbums.org.

damesDames at Sea is the quintessential “little show that could,” growing from a sketch to a nightclub show to a proper off-Broadway musical to an international hit that’s spawned multiple cast recordings, a television production, rumors of a forthcoming Broadway revival, and, oh, it helped launch the career of an ingenue by the name of Bernadette Peters. Originally performed with two pianos and percussion, the original off-Broadway cast recording featured sumptuous new orchestrations by Jonathan Tunick.

Ironically, the presence of those gorgeous charts and the unmistakable Peters are two of the best arguments for adding the London Cast Recording to your collection. The London production, which opened a year after its off-Broadway progenitor, features no such breakout performance, enabling the entire ensemble to shine. (Sheila White, who plays the part originated by Peters, does a fine job, but her biggest credit was Brigitta in The Sound of Music.) The London cast recording doesn’t return to the show’s two-pianos-plus-drums orchestrations, but the new charts by Bill Shepherd are closer to the “let’s put on a show” aesthetic of the show. Continue reading

Flavorpill: Athleticism and Aestheticism Combine in “Séquence 8″

Originally published on Flavorpill.

Séquence 8, Russian Bar @ Lionel Montagnier

Séquence 8, Russian Bar @ Lionel Montagnier

At the intersection of dance and athletics, you might find Séquence 8, the “nouveau cirque spectacular” at City Center through April 26. This show from the Montreal-based troupe Les 7 Doigts De La Main (better known in New York as the circus troupe from Pippin and Traces) feels closer to Mark Morris than Ringling Brothers, presenting eight young performers whose skills combine juggling, acrobatics, dance, and even  a bit of singing, beatboxing, trumpet-playing, and comedy. There is no shortage of talent in this group. Continue reading

CastAlbums.org: REVIEW: Jack the Ripper – Original London Cast Album

Originally published on CastAlbums.org.

jackIf you ever wondered what Sweeney Todd might have sounded like in the hands of Lionel Bart, you should give Jack The Ripper a spin. The long-lost cast recording — recorded in 1975, but unreleased for 40 years — has finally been given its due by Stage Door Records, and if it’s not exactly an undiscovered gem, it certainly has much to recommend it. Composer Ron Pember names Bart as a primary influence in the liner notes of this release, but that’s evident from the first note of the jaunty opening number, “Saturday Night.” Pember and his co-lyricist/co-bookwriter Denis De Marne chose the music hall as a setting for exploring the infamous murderer, and the festive nature of the setting trumps the dark nature of the story, making for a tuneful if perplexing collection of songs. The lack of a plot summary in the liner notes doesn’t help. Continue reading

CastAlbums.org: REVIEW: The Fortress of Solitude – Original Cast Recording

Originally published on CastAlbums.org.

050413I’ve had The Fortress of Solitude cast album on my phone for a week and I can’t stop listening to it. Michael Friedman has given us one of those scores that offers new delights on each visit, brought to life through fantastic performances by Adam Chanler-Berat, Kyle Beltran, Kevin Mambo, André De Shields, Rebecca Naomi Jones, and the rest of the cast. Continue reading

Flavorpill: Jose Llana Thrills at American Songbook at Lincoln Center

Originally published on Flavorpill.

jose llana

Jose Llana’s American Songbook concert had no title or theme. He sang songs from shows he’s appeared in, a few pop numbers from the likes of Billy Joel and George Michael, and one ballad in Tagalog from his uneasy attempt at pop stardom in the Philippines. Despite the fairly standard cabaret structure, there was nothing ordinary about what happened on the stage of The Stanley H. Kaplan Penthouse at Lincoln Center on Thursday night. Llana demonstrated that he is an exceptionally versatile performer, thrilling the audience with contemporary pop songs and Broadway standards alike. Continue reading

Flavorpill: Soho Rep’s “An Octoroon” Challenges Audience to Laugh at Slavery

Originally published on Flavorpill.

octoroon1

Last season, Soho Rep’s An Octoroon by Branden Jacobs-Jenkins was one of those plays that everyone was talking about and not enough people got to see. Theater for a New Audience has brought it back, to their beautiful new Polonsky Shakespeare Center in Brooklyn, with a run that extended before it even opened.

An Octoroon has so much going for it, it’s not hard to understand why. The play is a deconstruction of an 1859 racist melodrama rethought through the viewpoint of a black playwright, BJJ (Austin Smith), who happens to share the initials of the actual author of the show.

The play begins with BJJ questioning that very label, and from then on An Octoroon leaves little unchallenged, including the very nature of reality versus fiction. Continue reading