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Text of the page (random words):
fundamental rules by which musical theatre played they inevitably shaped the musicals and plays that came after them and they were themselves a perfect reflection and crystallization of their own times each of these three shows in particular oklahoma company and hamilton was and is being lauded for the way it dramatically altered the structure of musical theatre writing and expectations of what a broadway musical could be what now seems old fashioned in oklahoma with its dream ballet dramatic and dangerous love triangle plot and use of an unaccompanied soloist cowboy to open the show rather than a chorus of dancing girls was audacious and daring in 1943 its focus on story first theatre put every aspect of the show from design to choreography to songs at the service of the dramatic narrative earning the accolades of critics who saw in this new work the dawning of a new american lyric theatre rodgers and hammerstein s style only seems old fashioned from our contemporary vantage point precisely because it so thoroughly changed the fundamental forms of its genre not just its content that it was promptly imitated by its successors and created a new standard for the american musical the same thing happened with company in 1970 which ushered in a new era of the concept musical which played with the story telling structure that had become the assumed default creating a whole performance out of fragmented discrete pieces songs vignettes dance numbers that revolved around a central concept as with oklahoma company s non linear structure seems less risky and less audacious today but only because company itself existed to re create the norm hamilton is happening now it opened at the off broadway public theater on february 17 2015 and made its broadway debut july 13 2015 so we can t say yet what tremors it will cause in the standards of the canon but the exuberance awe and sense of inevitability found in the critical and audience reception alike demonstrates that this is not a moment it s the movement already the imitations are getting underway and the rules by which the broadway musical has operated for the last few decades have been rewritten musical theatre is a live performance form that seems obvious but the temporal nature of the form has implications on its historical preservation a painting a statue a book can be physically preserved and can be more thoroughly reproduced put in galleries and museums and libraries and taken care of to be enjoyed in its original form for generations to come a theatrical production can be re mounted but never truly re created or exactly preserved song dance the words and movements of live actors in the same space as their audience are by their nature ephemeral finite immediate the closest we can get is through video recordings but even recording current shows with the best technology at our disposal does not create the same effect as the presence of live actors and a live audience in theatrical communion still it s certainly better than losing and forgetting the work entirely there is more to a show than just the 1 3 hours of performance seen by an audience member the creative and rehearsal process the marketing and critical reception the external sociocultural context and the historical ramifications created by the show are just as relevant and just as much a part of its vital historical record this can all be documented and preserved through video and audio recordings photographs newspaper clippings blocking scripts advertising materials letters and journals design sketches and physical artifacts like set pieces costumes props scripts just to name a bare minimum caring for and sharing these resources and information this is the work i want to do with my life i envision something between a museum a library and a performance space where guests can experience these materials read scripts and reviews listen to audio recordings and watch both video and live performances a place where emerging fans who may not know anything about musicals can enjoy a sampling of what the art form has to offer and a place where scholars and dramatists alike can find resources information and inspiration for their work in continuing the art a place where the vitality of american musical theatre history is both archived and preserved and presented in a multitude of media comment someone tell the story someone sing the song assassins at the mysterium filed under musical theatre reviews leave a comment july 2 2013 someone tell the story someone sing the song assassins by john weidman music lyrics by stephen sondheim mysterium theatre prod marla ladd dir john massey http mysteriumtheater com an intelligent and engagingly homespun production of stephen sondheim s all american musical assassins just closed this weekend at the mysterium theatre of santa ana ca while the show is not as polished as more elaborate higher budgeted productions what it lacks in sophistication it more than makes up for in thoughtfulness and well executed vision john massey s direction borrows heavily from the 2004 revival crafting an intimate chamber musical for mysterium s tiny space a former chapel which retains architectural details such as pews and a wonderful lofty ceiling the religious sensibility lends itself well to assassins giving some moments a particular resonance such as guiteau s manic glory hallelujah cake walk to the gallows when the balladeer nicholas palmer sings charlie guiteau drew a crowd to his trial led them in prayer we the audience are that praying crowd in any production but how much more so in an actual church another moment strengthened by the production site is the transformation of the palmer from balladeer into lee harvey oswald this moment of sheer theatricality becomes in this space clearly an act of conversion the gathered assassins led by the proprietor john blaylock a substantially augmented role in this production ganging up on the balladeer to persuade and force his transformation into the most infamous member of their merry band many of the production s strongest elements this transformation the use of a compact fairground set and the projection of video footage of president kennedy s assassination onto lee harvey oswald s white t shirt are drawn directly from the 2004 revival however they are played here with clarity and insight not just purposelessly mimicked as is too often the case this does also mean however that some of the earlier production s weak points are also on display here the script is not flawless sarah jane moore sarah meals is not a great character acting more as a catalyst for others than someone with motivation of her own in short despite adding some wonderful comic relief she lacks an emotional trigger if you ll excuse the ahem gun pun additionally the song something just broke added for the 1992 london production and part of the licensed version since then a heartwrenching lament for a shattered camelot gives the audience too much distance from and too much condemnation of the otherwise persuasive convincingly un monstrous assassins however these are problems with the musical and its script problems which massey worked around but did not entirely fix for the most part the cast is not one of these problems they sing complex harmonies with comparative ease and there are some real stand out performances including kayla cavaness as woman 1 whose voice is frankly too good for how little we get to hear it and duane thomas channeling kevin spacey in house of cards as the irrepressible charles guiteau palmer s performance as the balladeer is by far the show s weakest link and his disconnected acting is combined with a hoarse voice that sounds like an unfortunate illness however while the role is usually given far more weight the balladeer s position as witness and interpreter of history seems diminished by the overwhelming presence of the proprietor played deftly by john blaylock similarly the importance of john wilkes booth as the pioneer and ringleader of the murderous company though the role is performed with strength and finesse by garrett chandler is somewhat reduced by the proprietor s constant presence and delicately controlling air still though the cast is sometimes uneven and designer haley schwalbe s lighting is a hit or miss joke at best massey s strong directorial hand does shine through the rough patches the end result has more insight power and focus than many technically stronger productions 33 765773 117 797145 tags assassins musical theatre musicals mysterium theater review stephen sondheim comment til the prohibition of little girls annie matilda and tony filed under actors broadway musical theatre uncategorized leave a comment may 3 2013 so here s something worth thinking about with regards to this year s tony award nominations which were announced on tuesday morning the quartet of young actors who play the title role in matilda were deemed ineligible for the award for reasons not forthcoming but easily guessable and to make up for their ineligibility were given special honorary awards to recognize their work fair enough i had problems with the trio from billy elliott being nominated winning together last year as did many others questioning whether the award was being given for the acting work really are all three identically uniformly worthy or for the role as written not all nominators voters could see all three young performers and the same problem would have occurred had the matildas been eligible this was a slightly awkward but probably least awkward way of handling the issue for 2013 but the young actress playing the title role in the 2012 revival of annie lilla crawford performs the role by herself unlike either the billys or matildas nothing against them it s simply a different casting directorial decision and no reflection on the individual performers all of whom must be highly talented as well as fortunate to be acting on broadway at such a young age the controversy over last year s decision to award the tony to three performers for a single role didn t affect crawford s initial eligibility she was deemed eligible for the leading actress in a musical category and there is certainly precedent for a child actor to take home the tony see daisy eagan who won the tony for best performance by a featured actress in a musical when she was 11 the secret garden 1991 and frankie michaels who was only 10 when he received his tony for best performance by a featured actor in a musical mame 1966 the fact that eagan was put in the featured category rather than lead is a different issue the trio from billy elliott won in 2012 in the leading performance category as crawford might have had she been nominated this is the category sought by the producers of matilda for their four stars the tonys aren t the only theater awards in town of course and crawford has been recognized by a nomination for the distinguished performance award in the 2013 drama league awards for one the eponymous stars of matilda were not it may be worth noting perhaps for the same problem of multi casting can you call it an award for a distinguished performance if all four share it yet how do you single out one of the four and say yeah you matilda 3 you were better than the others still the tony awards are the best known and most mainstream theater awards it s worth thinking about the fact that likely to avoid a repeat of last year s controversy the tony eligibility committee gave one set of young performers a special award to avoid even nominating or not nominating them then gave nothing not even the nomination to the hard working young star of annie i haven t seen any of these actresses in their snubbed performances myself so for all i know maybe lilla crawford is terrible as the famous little orphan and the quartet of matildas thoroughly deserving of every tony or not quite tony award offered them either way though it s worth thinking about 0 000000 0 000000 tags actors annie billy elliott broadway daisy eagan frankie michaels lilla crawford mame matilda musical theatre musicals the secret garden tony awards comment she me matilda mermaids and masculinity filed under broadway gender issues musical theatre she me dialogues 2 comments april 30 2013 so i have this friend she s a little smarter than me maybe more than a little she also writes about theatre feminism and generally gender and social issues in theatre and other entertainment media and we often talk about this stuff in written form because we don t live near each other and then i sit back and think gee i wish i d written that as a blog post instead of it just being a chat between two nerdy friends can i just copy and paste these conversations and call it a blog and then she because she is a little smarter than me or maybe just more willing to sound pretentious you decide says things like hey if diderot did it side note say that sentence out loud once or twice wasn t that fun in conclusion dialogues between she and me are now a thing today we talked about the broadway adaptations of matilda and the little mermaid and what it means that the character of miss trunchbull is portrayed by a male actor in drag bertie carvel nominated for a tony for his performance while ursula whose animated origins were inspired by a drag queen is given to a female performer me i don t know much about matilda the musical apparently trunchbull is a drag role that sorta sucks big brassy tough women need roles too she well i think that it is highly british in tradition because it s like a panto role speaking of which the trunchbull from the matilda movie is in call the midwife me i ve never seen the movie i kind of refuse i just have too many feelings about the book she oh well it has its moments it s weird because it s american but the trunchbull playing an american character in this movie is actually this british woman but i agree with you about drag roles generally me there s also this whole vibe in the book i m not sure i can articulate i m sure it s been written about many many many times but something about different kinds of female power because trunchbull obviously and matilda s physical powerlessness being overcome by her intelligence channeled into a physical force and then miss honey s powerlessness in her own situation but her strength of character helps her there and then in matilda s family the dynamic with the mother and father affects that message too and making trunchbull a drag role doesn t necessarily make that message go away or undermine it even but it does change it i don t know much about the show like i said so it might be that the creators thought about that realized it wanted to make it a drag role because of that to emphasize something about misogyny the patriarchy female agency power etc because trunchbull is the one primarily keeping down both matilda and miss honey she is the manifestation of oppression so okay make her a man on one theatrica...