NotRightNeverWrong

Glee 3x12 "The Spanish Teacher"

2012-02-08T22:12:00.002-05:00

For the life of me, I can’t seem to string along an entry regarding Smash…I blame blogger’s block. I hope to get to that one before the next episode airs in real-time.

On the other hand, Glee has left me at no shortage of words. Well, that’s not true exactly because the entire time I was watching it, I was like “Whaa…?” and “What the…?” and “Huh…?”

"Wait, why are we singing a duet Naya?"
"Who knows? I just do what I am told. Hit it!

I am sorry, but the show really struck a nerve last night. Like, so bad I put it up there with the all-time worst episodes, right next to the much lamented Christmas episode from right before hiatus. Say what you will about the last two episodes, or even this season in general, but at least they mostly succeeded on the music front. In addition, the plot points, if not actually decent, were at least tolerable or “so bad, it’s good.”

Enter last night’s episode, which for the most part, had neither. Occasionally funny? Sure, no argument there. Mind you, not enough to offset the rest of…whatever that was. Shun me for turning my back on a boundary-breaking show, one I really used to love and I have no shame in admitting that, but who can say with a straight face that last night’s episode had much in the way of highlights? I can’t and I am a pretty good actor.

EDIT: Would anyone have guessed that Ian Brennan wrote last night’s episode? That makes a little sense; there were some funny lines/scenes. But oh man, we are losing him…I need to intervene and save him.

In the bigger picture, I still ‘love’ the show, but for different reasons. I will still watch in real time, taking it all in, making quippy remarks and laughing at the absurdity…that is just my way of loving the show as it tries to recapture the essence it once had. Who knows…they can pull it out if when they want to. I’ll sit through any episode if there is 3 minutes of an epicifed number in the “Smooth Criminal” vein. I’ll even sit through 3 or 4 episodes for a fantastic, jaw-dropping episode in the “Asian F” mold.

Let’s go right to the music and interject with some commentary (and Skype chat with Caroline, the real star of the evening).

Believe it or not, Ricky Martin was not a problem. Usually, when Glee goes the guest star route, the entire episode tends to revolve around him/her, including getting the best lines and musical performances, before dumping them at the end. I smelled the inserted plot contrivance the moment the synopsis hit the Internet, but Martin’s character was at least in-line for the show and did not dominate the entire proceedings.

What is there to say about this number really? Kind of fun and clearly the ensemble had a blast. But I am calling it like it is; a clunky lyric-changed, low-rent version of their much funnier and less pandering “Do You Wanna Touch?” from last year, right down to the celebrity guest star and the chair dancing.

Even so, I can’t complain all that much. It gave Caroline and I all the material we needed.

It's true; my body is ready!

Caroline: KURT’s Face.

Caroline: LOL

NRNW: Quinn’s body is ready

Caroline: Clearly

NRNW: And so is Kurt’s

Caroline: Oh, right, no Blaine again

Caroline: Hahahaha. Good thing Blaine isn’t there

NRNW: So much fan service

Caroline: OOH! Arties sweater!

Caroline: Kurt needs a cold shower

Caroline: Oh god Finn, no

NRNW: Suggestive Mike Chang

NRNW: Passion in his pants
Caroline: Mike Chang can have passion in my pants

Caroline: (Or something)

NRNW: KURT SPREAD EAGLE

Caroline: wait, did Kurt just get up in the last shot, then be sitting back down in the next shot, and then be up again in the shot after that

NRNW: Questions, so many questions

Caroline: Glee, forever creating questions they didn’t consider and don’t have answers to.

NRNW: And story arches with no relevance that would get people arrested in real life

We are accepting media requests for our own show. All inquiries can go to notrightneverwrong@gmail.com

Props to Amber Riley and Chord Overstreet for the effort – and I actually like the idea of “Hero” portion of Sam's number with the tempo runned out – but neither really impressed me and both have had far better performances in the past.

Just so you know, I did not mind the idea of featuring Spanish/Latin-inspired songs. Any episode in which the music is versatile and not a ploy for music sales is A-ok with me (it seems pretty obvious that the core audience of Glee are not rushing to download some of these numbers). However, since the storylines and staging were majorly disappointing, the numbers were just…”there.”

El verdad; me gusta una canta con la lengua Espanol. ("The truth: I like songs in the Spanish language.")...Thanks 9 years of Spanish

Case in point; they did a great job. Not award-worthy, but my clear favorite of the episode.

Pardon my Spanish, but GET THE HELL OFF MY STAGE…CHICO. My eyes and ears may never recover. Matthew Morrison could be one of the best voices on the show if they gave him an ‘actual’ number, preferably a Broadway-belting sort of one. Anything would be better then…whatever that was. Clearly, it is something of performance art or some inside writers joke because the creators seem hell-bent on…nope, no still got nothing on what that was.

There was a time, many many full moons ago, when Will Schuester was not the sleazy, douschebag he is now. Any plotline involving him (and Emma consequently) is ridiculous because they follow the same silhouette. Will gets a plot contrivance {Emma’s folks, engagement, forgot the language he teaches}. Will’s Douschebag comes out to play. Will offends Emma (whether she realizes it or not) or upsets her. Will Apologizes. All is forgiven. Cycle repeats.

You know the episode is a new low when Emma’s adorably hilarious pamphlets become a plot point and upstage everything. That scene in the locker room has me losing it. Again, why complain when we can judge…

Show of hands: who wants to read
all of Emma's Pamphlets?!

NRNW: Taints Misbehavin

NRNW: Emma’s pamphlet…in the locker room…

Caroline: “And when I showed that to my Cooter…”

Caroline: Words I never expected to hear

NRNW: The boys scrubbing…shaving…I don’t know

Caroline: Let’s TALK ABOUT JUNK

NRNW: Coach Bieste brought it to her Cooter

NRNW: Process that

Caroline: I showed my Cooter how to wash it’s junk

Enough said. Entering bullet point mode…initiate!

- Kurt and Finn’s heart-to-heart might have resonated better if this was not the first time they have spoken to each other, in a stepsiblings sense, in who knows how long. The show picks up and drops so many relationship pairings and friendships, but this one is particularly worth saving. They make awesome stepbrothers considering all they have been through and their relationship really is worth examining.

- Sue Sylvester’s strive for motherhood was stupid (in a bad way), just like the time she married herself. Most jokes fell flat, but at least there were some hilariously inappropriate scenarios.

- Can someone get rid of that Housewife girl? You know…bury her or drown her like in a soap opera. Or something. Girl cannot act to save her life.

- A little credit is due…the Sam/Mercedes thing didn’t really go anywhere this week (although this so-called “boyfriend” does exist; that is news to me), but when Emma started in on that texting/instant messaging speech, I thought we were in for another hour of “lesson of the day.” That was mostly avoided…phew.

"Ladies? Got a Tampax you can spare?
It's happening."

- The scene where and Rachel, Mercedes and Kurt are watching Twilight? Let’s go to the chat:

NRNW: PERIODS

NRNW: We are spirit animals

NRNW: I talk about my period all the time

Caroline: Our periods don’t come until the end of the month

Caroline: Kurt has sympathy periods

NRNW: They lost out on an opportunity to have Chris Colfer work a tampon

Caroline: Chris has probably never even seen a tampon

NRNW: Enter Glee

That was love.

- We know Darren Criss was out performing in How to Succeed in Business Without Really Trying, but where was Jenna Ushkowitz this week? Trust me writers; I will never quit her…give her something to do other then play back up.

Photo Credits: Glee/Fox 5

Subtlety Is Golden; Enter "Assistance"

2012-02-05T23:26:00.001-05:00

I can tell the mark of a great production when about halfway through, I realize I am engaged with the story unfolding, even though I can not put an exact finger as to why. That is what Leslye Headland’s Assistance, a Playwright Horizon’s production, did for me when I was in the audience of its first preview this past Friday. The show’s lack of ambition and simple storyline was, to my utter astonishment, how it was pushing boundaries. As far as a show hitting you over the head with subtlety (in a good way), Assistance is unparalled.

The plot seems familiar in the sense that anyone can identify with it. Spanning over three years, give or take, at a New York business, a group of assistants, run ragged by a demanding, unreasonable and insufferable boss, try to get through their days as amicably as possible. At the center of it all is Nick (Michael Esper), the long-standing, slackerish assistant who looks for the humor of his workplace to offset the insanity. As other new hires come and go, including the poised-turned-panicked Nora (Virginia Kull), Heather (Sue Jean Kim), Jenny (Amy Rosoff) and Justin (Bobby Steggert), the entire environment shifts to reflect the melting pot of personalities and their endurances of working under the stresses of a tyrant.

Akin to one of your friends sharing stories over dinner or a cocktail on a Friday evening, what the characters endure and how they cope with the work environment resonates well. The entire production is pitched to those whom have worked in an assistant position, but I feel that anyone, especially 20-somethings in a subservient position, can connect with material instantly. No over-the-top scenarios and no ciphers in place of actual characters…the show impresses with how understated and authentic it was.

You would think that something so realistic and minimal would be boring as a stage piece, but Assistance avoids that fate with some sharp dialogue and the perfect ratio of drama to comedy. Everytime the phone rang, with a strong assumption it was the boss calling, or one of the assistants was on the phone, I lived and died by every word spoken and every transferred call. The new hires, each pending termination, the promotions, the demotions…it all plays out with enough narrative tension that kept me entranced until the final second, with enough laughter along the way to offset the somewhat depressing setup the show could have been

"Ugh guys...what are we doing?"

Even better, because a piece that reveals an unforeseen depth is a welcome sight, the commentary on the state of employment is on-point. All of the assistants, Nora especially, embody this idea of masochism as a means of justifying the ends, the hopeful result being a brighter future. This takes the form of the long work hours and ridiculous demands they go through and evidently, it is not for a simple paycheck. Climbing the company ranks, making the bigger bucks and earning the approval of the boss…that means something to them, some more then others. As the personal lives dwindle to the point of non-existence, an example being Nora losing her boyfriend as she becomes a frenetic, work-obsessed mess, there is this lingering wonder if the sacrifices would be worth it, would the work environment improve in the face of such pessimism or when it would all end.

The show examines each side and potential outcome of the aforementioned questions and while a straight-forward response was not needed (or expected), my takeaway was something of a Social Darwinism integration. When the assistants are pitted against each other for the next promotion, a relatively ongoing plot point, them trying to outshine the others reinforce this idea that work standing and control is practically a primal motivation at all costs. In the face of their self-loathing and manic lifestyles, each characters path’ reaches some moment of catharsis, nearly all of which surprised me…

But no spoilers here; you will have to just see the show for yourself. And recommend it I do, on the grounds of how funny it is amidst the controlled drama, the set of pitied, but likeable characters and the performers who play them. Nary a criticism will come from my mouth regarding Michael Esper considering how well liked he is to the readers and myself alike. It is such a relief that he continues to deliver on the acting front so my take on his character can be unbiased. Bottom line: he plays Nick to perfection mining each situation for laughs or believable drama respectively. From talking about videos on the Internet, playing music as a tension breaker and even mimicking a faux hanging (he had me rolling with that one), his flair for comedy was so natural and well-suited to him.

The show featured Nick and Nora most prominently and to her credit, Virginia Kull was a great counterpart to Esper. The two shared a great chemistry as friendly co-workers with a potential romantic pairing and Kull made Nora’s transition from ambitious new hire to jaded, fatigued employee completely believable. One of the highlights of the show for me was their final exchange before the lights went down; it was theater brilliance unfolding…

A shout out is in order to Amy Rosoff, who shows up about an hour in, and begins chewing the scenery as Jenny, a determined, hilariously outspoken, take-no-bullshit assistant. I thought I loved her upon arrival, but I had no idea until the last five minutes. She has a moment so unexpected, laugh-out-loud funny and just plain awesome that it will send the audiences away smiling. Seriously; the bitch SHUT. IT. DOWN and all I could do was send up air-snaps to her as we shuffled out of our seats.

Opening on February 28 and closing on March 11 (the timeline is a little off, no?), Assistance is a worthwhile night out at the theater. I’ll leave it at that as I go surf the web in an attempt to secure more tickets for my friends and I…oh yes, I feel the show is worth seeing again and I don’t get that inclination often, especially for an off-Broadway show. For such a discreet, little production, it boasts some good comedy, drama and acting and it stuck with me after its viewing. Need I say more?

Photo Credit: Joseph Marzullo, WENN

Glee 3x11 "Michael"

2012-02-01T22:04:00.002-05:00

Tribute episodes are often a subject of divide amongst the Glee commentary and I don’t really understand why. Through some combination of factors, they tend to be some of the better outings for the show. Think about it…there have been five full-on tribute episodes (not including the homages in the vein of Journey, Justin Bieber or even West Side Story) and four have been high caliber {Madonna, Lady Gaga, Rocky Horror Picture Show, Fleetwood Mac’s Rumours} and one disaster {Britney Spears}.

Yes, we are BAMFs!

I always appreciated that Glee introduced music of past decades into the lives of its younger audience. I say that like I am one of the show’s more older viewers, but I am 22 and even so, music has changed a lot in the past 15 years with a shifting emphasis on pop culture. Most of the young ones nowadays probably only have a passing familiarity with Madonna or Fleetwood Mac, just as I have a passing familiarity with Billie Holiday.

A Michael Jackson tribute episode is a great idea because while his untimely (and unfortunate) passing resurrected a nostalgic reflection on his impact in music (and his personal life to a lesser extent), his work as a performer is iconic and timeless that would appeal to many age groups. He has a large body of songs to choose from, a performance style that was ahead of its time, but can be adapted for today’s standards, and some empowering messages worth listening to.

I was not THAT into the episode in that I am not a huge Michael Jackson fan. However, the episode managed to come together and check off some things on my weekly Glee wishlist. Say what you will about Glee, but you know the ensemble can BRING IT when an entire episode devoted to a legend comes their way and there are a lot of eyes on them.

Anyone notice they are really going over-the-top, in staging and performing, with the numbers lately? Personally, that is a welcome sight because a boring number is a greater offense then an overdone, unrealistic one. In fact, Glee is more fun to sit through when all sense of realism is chucked and they embrace a little camp. Even if the out-of-scene commencing of certain numbers took me by surprise…hey, it’s a musical. Surprises welcome!

Even so, I was not particular fond of either of these numbers. The “Bad” number sounded awful with the blend of the different voices and orchestrations. While Darren Criss nailed the dancing and mannerisms of “Wanna Be Startin’ Somethin’”, his vocals were too “by-the-numbers” coupled with his standard performing style. So naturally, Caroline (yep, she’s back!) and I had something else to talk about.

What can I say...Michael gets me excited!

NRNW: Darren is really showing in those pants

NRNW: They missed out on an opportunity to have him in Fiyero pants

Caroline: There is a lot going on with those pants

Caroline: Maybe there’s still time!

I don’t have much to say regarding plot this week, even if I am impressed that Jackson’s music was a good fit for several of the ongoing plot points. That is not lost on me and a much better way to approach the show then the “plot arch per episode” format. I just can’t get worked up over the Finchel drama, Blaine’s injury (oh, Caroline and I had a feel day over that one) or some of the temporary characterizations of Artie or Quinn.

Although I have to admit, the latter two knocked their numbers out of the park.

Artie’s angst came out of nowhere to set-up ”Scream,” but I can’t blame them for wanting Kevin McHale and Harry Shum Jr. to tackle this number. These two have amazing performing chemistry and it shows: this number was FANTASTIC. Pairing up arguably the two best dancers on the show, with some decked out music video fantasy motifs and costumes, was only going to breed amazing results.

Ironically though, I adored Quinn’s number just as much. Dianna Agron doesn’t get too many full-scale numbers due to her limited vocal range, but she looked stunning here and brought an understated, sweet quality the number called for. What really won me over was how well the song fit her storyline and that appropriate montage. Unfortunately, this being Glee, they couldn’t let the subtlety speak for itself and they had to have Quinn give, what felt like, a never-ending speech afterwards. Seriously, that just went on and on and on and I was like, “GOT IT; enough already.”

They really are shoving this couple down our throats and against my better judgment, it is working. Hey, doesn’t Mercedes have a boyfriend…somewhere? Oh well; great number, no?

Bleh, from concept to execution.

Hands down, my favorite number of the episode. I may even opine that this is my favorite number of the season. Seriously; I thought the number was going to end with my television exploding. The show has a history of teaming up performers that play off each other wonderfully {Lea Michele/Idina Menzel, Amber Riley/Naya Rivera, even Kevin McHale/Harry Shum Jr.} and I vote they add this pairing to the list. Just a flawless performance, start to finish, right down to the manic cellists. A credit must be paid to the editors; this was wonderfully shot and edited to reflect both an in-scene performance and a mini-music video.

That is some fierce face Santa-...
I mean, Snicks.

EDIT: Apparently, the cellists are a group called 2Cellos and somewhat well-known prior to last night. Their video of “Smooth Criminal,” which hit YouTube last April, looks familiar, no? Kudos to the gents for being game for this show (talk about some great publicity for them, seriously).

I am starting to feel bad for Grant Gustin because he is getting quite good in a character that is reprehensible at every corner. The guy got in a funny monologue early on in the coffee house and went from a potential antagonist in the Sue Sylvester mold to a reprehensible, sociopath by episode’s end. What a shame; so it goes…

This was going to look weaker compared to the previous number – it was even worse that I thought - but a random YouTube commenter made an even more accurate point that Gustin and Rivera had more chemistry as gay villains then Michele and Cory Monteith have as a couple. Yikes; that does not resonate well…hit it, commentary!

Caroline: “I left out the most important part. THE BAND!”

Caroline: She’s marrying him because she didn’t get into NYADA.

NRNW: As the band stares awkwardly

Caroline: Right

Caroline: Can we…leave now?

Yep; we said it. Moving on...

A solid number to close out the episode, even though the morph montage was a literal overkill.

Much like last week’s episode, they nailed some numbers and delivered a competent plot walkthrough, resulting in a satisfying episode. I am still of the mind that the show needs to step it up in the plot or character departments because it can’t coast on its talented ensemble and on-point music numbers for the rest of the season. This Michael Jackson detour was a worthwhile one, but you cannot haul out an artist tribute every time to distract from the fact that the show remains to be as inconsistent within each episode as it always has been.

Photo Credit: Glee/Fox 5
Screenshot Credit: NRNW

Do You Hear the People Cheering...Swift is Out!

2012-01-31T21:25:00.001-05:00

I was gearing up for tonight’s Glee Michael Jackson episode when…BREAKING NEWS… another Les Miserables film casting bomb was dropped on all of our theater-adoring heads. I would normally never base an entire entry around a small press release; the PR enthusiast in me is breaking out into hives that I am writing about this. However, I did write an entire entry around the casting of the Les Miserables film; in my world, this is a no-bullshit matter. News like this should feel free to interrupt other so-called ‘important news” like the recession, or world affairs, or something involving the upcoming political election…

What else can I say? It’s theater; I live it. Press release and go!

Suck it, Taylor. Hence my
game face and dyed hair.

“Samantha Barks is set to play Eponine in the film version of Les Miserables - the role she played at the 25th anniversary concert.

Cameron Mackintosh announced it live on stage at the Manchester Palace at the end of this evening's performance of Oliver!, in which Barks is currently playing Nancy.

Taylor Swift had originally been linked with the part.”

Does anyone else wish they had special news delivered to them like that? “Samantha, great job in tonight’s show! Oh by the way, we are casting you in one of the most iconic roles of all time in a film adaptation of one of the most iconic musicals of all-time. Take your bow honey and enjoy the rest of your bloody evening!

Anyways, I am legitimately happy for her. I really don’t know anything else about her as a performer other then that she was in the 25^th anniversary concert, which as I previously mentioned, had a really strong ensemble across the board (ignoring Nick Jonas’ Marius, lest we forgot, which is doubtful). Even in that bunch, her talent seemed to be overshadowed by some of the other performers.

But yes, Barks did a good job. Eponine, for such a prestigious role, is nothing more then a female in love who arrives at a barricade (translation: not that interesting) and combine that with the overplayed to the point of cliché songs (See: “On My Own”), there is not much to be done with the character that someone has not already attempted. But still…

Good, no? Or at least passable for the part. Her “On My Own” may be a little too strong for my taste, but she made up for it in other parts. What excites me most about her casting is that they made the ensemble more diverse by throwing in a England theater actress to offset the overwhelming “big name movie star” that is the majority of the cast. Oh sure, we have Aaron Tveit as Enjolras, but still…diversity is welcome and Barks makes a great addition.

And now that this entire casting fiasco has ended (at least I hope it is), can we all call bullshit on Taylor Swift ever being in the running at all? In hindsight, it looks like a publicity stunt to generate discussion and media, especially because anyone with two eyes and ears could tell that Eponine was too much for her and a complete miscast. Well, thanks for that cause for alarm casting/media people…next time, don’t be afraid to announce the actual performer that is going to be featured. We will still talk about your production; you can trust me on that. No need to go causing an uproar like you did; you can’t joke about that stuff with our sensitive, but impassioned musical-craving hearts.

Photo Credit: EmpireOnline.com

Chat It Up: Gerard Canonico, Pt. 2

2012-01-29T23:06:00.030-05:00

Because two is greater then one and at the risk of saying “awesome” more then 4 times in one entry, I’ll just leave you part two of my interview with Gerard Canonico (Check out part one right here). Many thanks to him again for taking some time out to answer some questions and if you are not already, follow him on Twitter! He has been spotted tweeting Matt DeAngelis (Hair alumni, currently on the American Idiot tour) about some pending Superbowl bet…oh, this could get gooood!

Hello Shannon and Gerard...and
Gerard's Shadow.

NRNW: One of your most recent projects, The Talls, had you acting opposite Shannon Esper. What was that like acting with her after you just performed with Michael [Esper] in American Idiot? Did any one thing between the both of them register as an “Esper Trait” or quality?

Gerard Canonico (GC): Hahaha. I mean, they are related. So obviously, there are little things about them that are similar, but as performers they are both very unique. Working with Shannon was a blast. I got to know her while doing Idiot with Michael, so learning that she was playing opposite me was kind of a relief. It made the chemistry a lot easier on stage because we already had good chemistry backstage.

NRNW: After The Talls, you moved on to a reading of Bare. Do you have a knack for getting cast in cult rock musicals?

GC: Hahaha, maybe. It’s just what I’ve been cast in recently, so people know I am a good fit in them (hopefully haha), but I hope to keep branching out and do other things like straight plays, film, or TV in the future.

NRNW: Did you prepare for the reading expecting anything to come of it…would you sign on to the production if it were to have another reading or workshop?

GC: I have been aware of Bare since I was in Spring Awakening and I always loved the music and the story and always wanted to do it. Getting a chance to be in the revival version of it was amazing and if something happens with it in the future, I would love to be considered to be in it again!

NRNW: You, Michael and John [Gallagher] started a band with a revolving name, “Right Now Freak Outs” most recently…how did this idea come about?

GC: Johnny called me a couple months ago out of the blue and asked me if I wanted to play drums for a Garage/punk project that Michael and himself were doing. At the time, we had a 4^th member, but because of scheduling differences, he has since left the band and we play as a trio. We had our first practice and immediately clicked as a group. After our second practice, Johnny got a call from Billie Joe Armstrong of Green Day and he asked if we wanted to open for them at Webster hall 5 days later. We said yes and scheduled about 3 more practices crammed into those 5 days. That show was fucking insane. During our set, the Green Day guys were throwing vegetables at us and stuff so that was pretty funny, but it was our first introduction as a band, so that was rad.

NRNW: You guys have played at Rockwood Music Hall on two separate occasions to lively crowds…is this something you can get used to and we should expect to recur in the future?

GC: Hell yeah! We’ve only just begun. We plan to do more shows in a couple of months and hopefully get a recording done of our songs so far. This is only the beginning and we are all growing to love playing music together. Michael and John are both INCREDIBLE songwriters and musicians, so working with them is fucking amazing. All in all, we want our crowds to get rowdier and play more and more places to bigger and crazier crowds! This is merely the beginning folks!

Oh, if drumsticks could talk...

NRNW: How many drumsticks do you secretly hope to break in a given set? Any amount to indicate that you did your job well?

GC: Ideally none hahahaha…those things are expensive! Hahaha, but I suppose if I break a couple during a set, it means I’m hitting the drums and cymbals nice and hard so therefore, I’m doing my job well. I recently switched over to a Vater 5B, which is a heavier brand of stick, so they last longer and hit harder than my previous sticks I used to use. Any endorsements would be great Vater! Hahahaha

NRNW: You also have done some film in addition to theater and rocking out in bands. Is there one medium of performing that you are more favorable to then the others? Or do you like the balancing act of pursing them all here and there?

GC: I love to stay well rounded. In theater, you get to tell a full story every night, so you feel a sense of completion at the end of the night. In film and TV, you could take all day shooting one scene, so it is COMPLETELY different. But I love all forms of performing. I consider myself a musician just as much as I consider myself an actor, so if an opportunity arose to play in a band for a while, I would gladly do that.

NRNW: Do you have a career milestone or bucket list item you hope to achieve?

GC: I hope to someday make some sort of living off of being a musician. So we’ll see…

NRNW: Any upcoming projects or plans that we should know about?

GC: I am down to final callbacks for an upcoming Broadway show, but I can’t say anything else on the subject. I also don’t wanna jinx it. I suppose if you see it somewhere online, you’ll know I got it! I also booked an upcoming concert of “The Twelve,” which is a rock musical that I did a concert of a while back and they’re doing it again in Montvale, NJ at the end of March. However, if I book a certain job, I unfortunately won’t be able to take part in “The Twelve.” Other than that, just more gigs with Declan Bennett and The Right Now Freakouts! Come on out to a show if you haven’t already. I’ll try and keep everyone posted via Twitter!

Photo Credit: Joan Marcus

Photo Credit: Monica Simoes

Chat It Up: Gerard Canonico, Pt. 1

2012-01-25T22:41:00.036-05:00

Here’s the thing about Gerard Canonico…it was pretty obvious how awesome he is, whether you caught his talented self as Moritz in Spring Awakening, in the ensemble of American Idiot or around the New York music scene. After wrapping up his set with the “Right Now, Freak Outs” at Rockwood Music Hall earlier this month, he chucked his set of drumsticks out in the audience…and the prospect of getting wailed in the head seemed like a great night out (or at least a fun war story).

Gerard, amidst his crazy schedule, was kind enough to answer some questions for me and from the moment he teased me for calling him a “veteran” of theater, I knew this was going to be fun and he would reach a new tier of awesome. Like, so much fun, I needed to split this interview into two separate entries because there was too much awesome for any one post. Like, so much awesome that if he were any taller, his awesome would overtake the world in a rage of fury and leave a trail of fire behind causing the destruction of mankind.

If you are not already, follow Gerard on Twitter to keep tabs on his ventures as a talented performer/musician in and around New York…and while you are at it, send him pro-New York Giants tweets as we lead up to the Superbowl.

NRNW: You first appeared on Broadway in the late 90’s as Gavroche in Les Miserables. Do you feel like a veteran of theater having been apart of it for over 10 years?

Gerard Canonico (GC): For some reason, that word “veteran” seems like such a snooty way of putting it (not your fault obviously, haha), but I suppose so. I certainly feel like I have been lucky to have started performing at such a young age because I got a lot of help from my parents in finding me agents and managers. Also, as a child, there were TONS of opportunities for me. But as a result, I also feel like I took for granted my situation when I landed that role in Les Miserables. That show was such a HUGE production and I was an eight-year-old kid who got to climb around a barricade and sing a couple songs here and there. I had no idea what a huge impact that show had on the Broadway community at that time but as some time passed I started understanding it more and more.

NRNW: Leading up to Spring Awakening, you performed in productions like The King and I and A Christmas Carol. Were you balancing school or some home-schooling schedule amidst performing?

GC: In every show I did as a child, I was also a (mostly) full-time student at catholic schools in New Jersey where I grew up. During The King and I and A Christmas Carol, there were tutors hired for kids who were still in school during the rehearsal period. We were called all day, six days a week, for rehearsals. Whenever we weren’t needed in rehearsal, we were rushed to the tutoring room and we’d do our work that our schools provided for us each week. I remember that A Christmas Carols’ tutoring room was just a basement room with no windows, so trying to get an ADHD child like myself to focus for more than two minutes at a time was a challenge for those tutors. They were so great and patient and somehow I always seemed to get work done ahead of schedule thanks to them, haha. Other than that, once the performances began, my parents would drive me every day to NYC from New Jersey so I could perform each night.

NRNW: Is there any one moment that you were absolutely sure that performing was a great path for you?

GC: Once I got Les Miserables, and got into that performance schedule every week, I was positive there was nothing else I’d rather be doing. I love performing and I love creating. Whether I’m doing that with theater, film, or music, I’m completely content.

NRNW: Moving on to Spring Awakening, which was a monstrosity of a production and high-acclaim, what was it like to be apart of a show and cast that would go on to become iconic for this generation of theatergoer?

GC: It completely changed my life. I have no words to describe how incredible that experience was for me. The creative team was fantastic. The cast was fantastic. The piece was fantastic. I am beyond grateful for having been a part of that show. I wouldn’t have had half the opportunities that I have today if not for that show and I am forever grateful for it.

NRNW: You also played the role of Moritz during the end of the show’s Broadway run. What was it like to play a character of such catharsis and emotion?

GC: When I was auditioning for Spring Awakening, I watched the “Bitch Of Living” music video and immediately connected with the Moritz character in that song. The intensity that Johnny [Gallagher] was putting into that character really inspired me and after watching that video, I knew I wanted to perform that role. When I landed the understudy track that covered it, I worked my ass off to perfect it. I watched Johnny and Blake [Bashoff] perform the character every night for a year-and-a-half and got so familiar with the actual track that I could feel comfortable doing my own thing with it if I needed to be thrown on.

I was offered the role of Moritz six months prior to my 1^st performance of it. The stage managers and Producers and Director called all the understudies in individually to just give us all ideas on what to expect with the big change in the cast that was about to happen. I had NO idea what was about to happen; I was in shock when they told me they wanted me as their next Moritz.

When my opening night came around as Moritz, I had already performed the role a few times so I was sort of comfortable with it already but that night I almost cried thinking, “Holy Shit…. This part that I’ve wanted for so long is mine.” I almost couldn’t believe it. Those next 6 months leading up to our closing night were the greatest, most challenging, heart-wrenching, frustrating, beautiful, and invigorating moments that I have ever had on a stage. That part is FUCKING HARD. But I don’t regret a single challenge because I feel it made me a better performer and definitely humbled me.

NRNW: You moved on from one rock musical to a more of a rock opera-esque show in American Idiot…what was that transition like working with Michael Mayer again?

GC: I owe a huge thank you to Michael Mayer because he and our producers and casting directors all offered me a part in American Idiot without having to audition for it because at that time I was still in Spring Awakening. I got involved during the second workshop ever of Idiot. That’s when we built the show from the ground up basically. Our choreographer Stephen Hoggett left it up to us as a cast to create the choreo (with his guidance obviously). Everything you saw in American Idiot that had to do with movement was created by the original cast and Stephen equally. I learned that I could dance because of Idiot, haha. It was an incredibly special experience getting to take that show from the rehearsal room to Berkeley and ultimately to Broadway.

NRNW: What was a highlight in performing in such a modern, edgier then normal show?

GC: There are tons of highlights. First of all, Green Day has been my favorite band since I was a child. I have idolized them all my life, so getting to do their musical was a no-brainer. Secondly, I got to do something that was so natural to me. I’ve supported the message that “American Idiot” told since the album came out. I played in plenty of punk bands and listened to punk music all the time, so everything that the show stood for, I stood for. The movement that we got to do every night was so much fun and additionally, I never had to go to the gym because it kept me in shape, hahaha.

The biggest highlight for me is knowing the Green Day guys on a personal level. Billie, Mike, and Tre are three of the coolest people you will ever meet. Down to earth, talented, fearless, loving, and amazing individuals. I am proud to call them friends and most importantly call them family. Everyone involved with Idiot holds a very dear place in my heart because we were ultimately a family. We’ve been through EVERYTHING together and have seen the best and worse sides of each other. I wouldn’t want it any other way!

NRNW: Did you find the physicality of the show to be fatiguing performing eight times a week with no intermission?

GC: Yes, I kept telling myself “Maybe it’ll get easier…” It never did; it is a 90-minute concentrated whirlwind tornado of a show. After every show, I’d be WIPED. But honestly, if there were an intermission, then it’d be harder. Having that 15 minutes of downtime in a show that is complete mayhem from the start would just kill me. I would have no energy in the second act, hahaha.

NRNW: Between both shows, any memorable stage door experiences or encounters?

GC: Man there are so many great great great people who I met through the stagedoor. SO many loyal fans and so many AMAZING gifts for random occasions. Spring and Idiot had the coolest supporters, NO DOUBT. They were all pretty memorable; it’s so hard to pick just one. However, I do love all the people that support me and the shows I do. It’s because of them that I get to keep doing what I’m doing and I’m so thankful for it.

Stay tuned for Part Two; there is some good stuff to share...trust me, Gerard continues to bring it!

Photo Credit: GerardCanonico.com

Photo Credit: Walter McBride/Retna Ltd.

Glee 3x10 "Yes/No"

2012-01-18T22:09:00.003-05:00

This Glee write-up is brought to you by NRNW and BFF Caroline’s Skype chat…because our on-the-spot commentary is hilarious, accurate and we are proud of it.

Look, I really was not looking forward to the show’s return from hiatus. Not only because the Smash pilot was released two days ago and I am crazy excited for it, but everytime Glee makes a jihad in the media, my interest in the show continues to decline. Ryan Murphy and company trying to convince us that they know what they are doing and all these twists and shockers and spoilers for the rest of the season and next…ugh, I can’t. I think the entire Glee community would be more forgiving of the show’s misgivings if there was not all of these media mishaps stuffing up our timelines and newsfeeds…it also does not help that nearly everyone dislikes Ryan Murphy.

To their credit, they kicked off the episode well.

Not that this was a set-the-world-on-fire number, but it was fun and the Grease recreation works. Laughed-out-loud at Kurt’s Rizzo impression. This was not really a song suited for Mercedes, but I am glad that most of her numbers this season have departed from her Blues/R&B overdose of last season. Sam, for all of his utter uselessness, can at least carry a number.

Actually on that last point, Sam and Mercedes were not the problem. Yes, I am not looking forward to another love triangle, but their scenes were mostly inoffensive and there is something there that works. In fact, compared to the rest of the episode, their scenes was downright demure.

Okay, maybe not all of them exactly. And now, a chat from our sponsors…

Caroline: THE SWIM TEAM

NRNW: “Swim” team…no speedos. Oh, network television.

Caroline: “I’ve never seen lips like that on a white child.”

Caroline: I miss speedos.

NRNW: Is she supposed to be funny or obnoxious?

Caroline: Not sure.

Congrats Glee; you have now taken another step closer to complete and utter fan service. Also, who on earth thought casting a Real Housewife was a good idea? You couldn’t reach out to one of the other millions of working actresses? She’s playing a version of her reality television “character” playing a version of her “actual self”… one question: why?

I'm Very British!

Another question: why have Helen Mirren provide voiceovers for a character on the lower end of screen time? Actually, forget it…this turned out to be a genius idea. How often does Helen Mirren say lines like these for public consumption?

“I am the hottest bitch at McKinley High School.”

“Lay off haters.”

“Okay; let’s get reals.”

“For instance, Rory grins too much; he looks like an insane person.”

“Is that a mohawk Puckerman or did someone glue a squirrel to your head?”

“No Chang do. I’m no rice queen.”

Absolutely hilarious. Becky Jackson’s inner voice is my new favorite character. Is that even possible?

In this edition of dropped plotlines, we have Coach Bieste who married Cooter off-screen, and off with the episode hook: Will pending proposal to Emma. Again, no character consistency on the former; last I checked, they were not even together and Coach Bieste had serious commitment issues. Caroline? Chime in, will ya…

Caroline: Woah, they just dropped that dude named after a vagina plot line off a cliff

Caroline: “Never mind the plot resolution! WE’RE HITCHED!”

Caroline: But seriously

Caroline: He’s named after a vagina.

Thanks a bunch!

Will and Emma’s pending engagement might have worked, but less a few seconds here or there, they had not had almost any screen time since about 6 or 7 episodes ago. Pfft, it’s Glee…oh well. How about another number?

Also fun! Jayma Mays hardly gets any numbers, but when she does, she really goes all out on them. They were also smart to play this one for laughs, with Emma popping out of the shower, creeping on Will while wearing a princess-esque shower cap. Don’t even get me started on the bridesmaids donning Royal Wedding, Philip Treacy-esque hats.

Sparkly scarves! Oh, the song selections for the evening revolved around the proposal assignment…which means, with its highly vague parameters, almost any number could have been justified. Not that this was staged poorly, but it was really uninspired in that department. Everything else worked though; the mash-up, the arrangement, the styling, the Kevin, etc…

While I liked the idea of this number, it did not really come together all that well. Sounds a little too slow and depressing to me, when I bet the intention was for it to be pretty. Hey, at least the solos got spread around and even Ms. Tina snagged one.

"Nothing weird here. Haven't you ever had
one of your students be your best man? Totes normal."

Finn certainly had a messed-up episode, no? The ring shop scene with Will was weird (thanks to Will), but was kind of sweet once you get passed the complete unrealism of it all. There is a bit of that mentor/protégé. “you taught me how to be a man” relationship going back to season one (Finn virtually said the same thing to him in the season one finale episode).

That scene might have been weird, but it does not hold a candle to that…sit-down with Emma, Will and the Hummel parents that took place afterwards. Feel free to intervene Skype chat…

Caroline: are we having a finn-tervention?

NRNW: WTF

NRNW: what the fucketity fu**

Caroline: oh lord

Caroline: It’s a lot to hear

Caroline: at school

Caroline: in front of your teacher

NRNW: in front of a guidance counselor

NRNW: Oh look…an anti military message

Caroline: we get so many messages!

Clearly, Ryan Murphy has ignored the voicemails I have left him regarding preachy messages/social commentary (Artie’s monologue and Sue’s comments in reference to Becky made me nauseous). To be kind of fair, neither of those moments were as ostentatious and heavy-handed as other moments in the show’s history…but man, what the fu**? The whole “dishonorably discharged, PTSD (suggested, but never mentioned), died of a drug overdose” story came out of nowhere and was so clumsily integrated and played out and…ugh, just all-around bad.

The weird part is…the following scene at Breadsticks (Breadstyx?), by comparison, was exactly what I have been asking for: the emphasis on life-after-graduation. Kurt, Rachel and Finn lamenting over their plans for the future had way more depth, subtlety and a little comedy (“Screw this; I’m getting a whole cheesecake *snaps*…make that 2 Cheesecakes *snaps*). Finn’s concern of post-graduation life has been a legitimate plot point and compelling arch for the entire season. How is it they can get so much right in one episode (Helen Mirren, very good music, great acting) with so much wrong (occasionally too fan service-y, Will being an inappropriate douschebag, preachy/unwarranted messages)?

Whatever, you are up to bat Ms. Berry…

“Without You” feels a little repetitive coming after that last number in that they both have a similar tempo and staging, but I prefer this number. That’s in large part to Lea Michele Leaing this number like she normally does. Also loved that she dove right into the number - just a few opening notes and off she went. Still a sucker for the out-of-scene stuff…

As far as the whole Will’s proposal plot thing…enh, I am underwhelmed and could not care any less. I hate Will, hate Emma’s horribly-written (and horrible) parents and I hate that Emma’s OCD has now become a serious problem when it used to be a cute, light detail about her. Did I mention that I hate Will? His attitude towards Emma and his constant back and forth switching between wanting to “fix” Emma and marry her to wanting nothing to do with her at all (let’s not forget his spotty relationship history)…get rid of it all please.

At least there was this…

AWESOME! But before I explain…

NRNW: did artie just wheel into the pool?

Caroline: this song doesn’t have very many lyrics

Caroline: wtf swimming?

NRNW: wtf artie wheeled into the pool

Caroline: this is stretching what I consider to be plausible

NRNW: artie is dying y’all

NRNW: drop the fu**ing proposal

Caroline: why would they be able to synchronized swim?

Caroline: oh look, one shot of Darren

NRNW: Darren uses people for his surfboard

NRNW: and artie has a chair…okay?!

Pfft, who swims anymore? People surfing is
where it is at.

Once I got over the panic and hysteria of Artie’s safety, this was amazing. Even in hindsight, Artie rolling into the pool like a boss is pretty hilarious. The 50’s pastiche worked (how could it not?!) the song was super catchy and they looked like they were having a blast with it.

The word of the day…"uneven.” While I give them credit for, once again, featuring most of the members of the ensemble, doing a wonderful job on most of the music and letting the ensemble act to their hearts maximum, there are still some issues detracting from the high moments. My overall response to the episode veered wilding between “WTF Awesome” to “WTF was that?”…to be fair, awesome won out in the end, but only by a small margin.

Oh, Finn’s SHOCKING proposal…echo…echo…echo. Take it on home Skype chat (and thank you to Caroline for engaging me!)

Caroline: I like that these people just hang out on stage dramatically

Caroline: Finn should have gone with “oh that; I had a boner”

Caroline: he is not going to propose, right?

NRNW: he is going to

Caroline: he is not

NRNW: he is too

Caroline: please no

NRNW: please no…but he is

Caroline: but I don’t want him to!

NRNW: neither do i…but he is

NRNW: called it!

NRNW: tumblr and twitter is going to explode

Caroline: FINN YOU FU**ING IDIOT

Caroline: say NO!

NRNW: CLIFFHANGER!!!

Photo Credit: Fox Television Glee 3x10 "Yes/No"
Screengrab Credit: NRNW

After "The Book of Mormon," I am Pregnant with Awesomesauce

2012-01-16T23:47:00.001-05:00

Oh yes, I saw it…

When I realized I was going to see The Book of Mormon, after traveling and standing room rushing for almost 7 hours (and meeting some cool theater folk; shout-out to Kelly, Kyle, Nicole and company), I was feeling…well, actually I was feeling exhausted and frozen from chilling (literally) outside the Eugene O’Neil theater. But I did have that feeling of “FINALLY;” I was actually going to see arguably the best and most inaccessible show on Broadway…and it only took nine months!

I somewhat thought I was never going to see the show, at least within a year of so after it won nine Tony awards. Ticket prices are uncharacteristically high (some as much as $477 even) and I am never one to buy tickets more then a month in advance, let alone six months-to-a-year. My proximity to Manhattan affords me many an opportunity, but even rushing the show requires a major commitment and a dream.

Let me preface the rest of my write-up by saying that I was never really a huge fan of South Park or pro-Trey Parker/Matt Stone person. From what I have seen of their work, this is, by far, the most fantastic creation (in my opinion) to come out of their base camp because it is more challenging, well-written, sophisticated (oddly enough) and hilarious then anything I have seen of their’.

The plot revolves around wholesome, ambitious Elder Price (Andrew Rannells) and off-beat, corky Elder Cunningham (Josh Gad), two Mormon missionaries, being tasked with spreading the Mormon religion in Uganda. They run into adversity from the local residents and a warlord named General Butt Fu**ing Naked (somehow, that joke landed…go figure). When Nabulungi (Nikki M. James), one of the female residents, gets intrigued, there is a huge shift in the lives of the Mormon missionaries and the residents of Uganda. Simple enough, right?

Point, blank and simple…the show is mind-blowing in how awesome it is. From concept to execution, it exceeds every expectation and is worthy of every award out there. That is really saying something since the show is put on an unreachable pedestal of raves, awards and positive word-of-mouth. I did not anticipate saying this, but aside from being my favorite musical I have seen in the last year, it is quite possibly one of my all-time favorites. Again, that is saying a lot considering I have only seen the show once and it is already hovering around musicals I have loved for years.

What else I can I say that has not already been said about the show…it’s not just unique, dramatic, uplifting, hysterical, poignant, epic, passionate and creative. It is an enthralling experience that comes out of nowhere with its unconventionalality. It also has nary a low point because it is unique, dramatic, uplifting, hysterical, poignant, epic, passionate and creative. In fact, its “weakest” (using that word as loosely as possible) point is better then most shows in their entirety.

If I had to single one element of the story/music out, it is how masterful the entire presentation is. How they can go from over-the-top camp and gut-busting laughter to an unfortunate shooting and heartbreaking drama, and make it all cohesive and worthwhile, amazes me. The staging of each number is flawless too; not a misstep in the bunch.

In fact, because I clearly wore out my electrical thesaurus in describing Mormon’s flawlessness, I really do not have much to analyze or add. I am trying to resist a fanboygasm urging me to say “ZOMG, IN LOVE WITH THIS SHOW ASHSJSHGNEUJWKJH”

Too late.

Buy tickets, listen to the cast recording on their Facebook page (if you don’t own it already), see it as many times as you possible can, make it an annual or semi-annual tradition…as cliché as it sounds, it really is a “must-see” and I will be going about my days recommending it to anyone willing to listen. With that, I leave you some of the numbers and some highlights in the performing department.

One YouTube commentator called it “The Wizard and I” (one of my favorite Wicked numbers, by the way) of The Book of Mormon, and now I cannot get that accurate comparison out of my head. “You and Me (But Mostly Me)” says a lot about Price and Cunningham and starts to unveil the amazing, comedic chemistry of Rannells and Gad. What a crazy-fun number that really comes alive on stage.

Actually, that last line can be applied to nearly every number, so consider that a given from here on out.

This is basically the “Hakuna Matata” number. I maintain that the show is highly original, but this is the second musical number that is derivative of a number from another hit show. However, I don’t say that as if it were a criticism, especially the latter number because they made numerous references to the The Lion King and treated it like the expected, obvious comparison it was.

Besides, this is a perfectly raunchy and a laugh-out-loud hilarious song. I need a karaoke track and fast; HIT IT!!

Rory O’Malley is fabulous, no argument there, but the show coasts more on Gad, Rannells and even Nikki M. James. Hardly what I would call a scene-stealer (because the other three of the “Fantastic Book of Mormon Four” chew up the scenery like a buffet), but he is still a wonderful addition to the show. “Turn It Off” is a great showcase for him and the addition of sparkly vests is always a welcome sight.

Even with the Tony award, Nikki M. James still managed to stun the hell out of me. Not only because she sustained that thick Ugandan accent without missing a beat, but she blew the roof off with this number and gave us something beautiful (and beautifully sung) that goes back and forth from slight-comedy to dramatic ballad. Is anyone else in love with the orchestrations here? Seems pitch perfect to me.

I came into the show expecting to love Andrew Rannells (which I did, more on everyone’s favorite angelic creature later), but Gad was on the same level as him, comedically and vocally. “Man Up” sealed the deal for me considering how little I heard about him or his singing abilities (also, his last Broadway outing was William Barfee in 25th Annual..., which doesn’t require a strong-ish, belting voice). He surprised me with what he was capable of and how much I would dig his performance. Talk about a fully realized and committed character; major major kudos to him.

You have not lived until you witness this acid-trip of a number, which goes all out on the chorography, staging and costuming. This number is undeniably EPICified!

Believe me, a part of me gasped of excitement that I can embed an actual performance. It is the small things…

We lost at the Tonys.
Hasa Diga Eebowai!

And let’s be honest, I have had this performance on my desktop since I first saw it at the Tonys. After seeing it in person, I started jumping up and down and fist-pumping like a Saturday night at the club after doing a line of cocaine (who says Standing Room does not have it perks!?). It is the perfect combination of character, actor, vocals, staging, comedy…everything really. Absolutely astounding.

Yes, Andrew Rannells, Broadway’s very own porcelain figure, is **Insert list of synonyms for ‘perfection’ here**. Funny, heart-breaking, precise expressions and mannerisms…and he CLEARLY has a blast on stage. The man is made of win; end of story…

Between him and Gad, I have no idea what crack the Tony-people were on to have both of them lose out to ~~supporting actor~~ Norbert Leo Butz for the “Best Actor” Tony award. While Butz’ performance was great, he had a fraction of the stage time and nothing on these two. For my money, the award would have came down to these two (still love you Norbert!), with maybe a slight edge going to Rannells.

They turned the sacrament of Baptism into a heavily suggested sex romp. What else can I say…Life. Is. Made.

I laughed so hard at this number, especially the last two or so minutes, that I could not focus on the show for the following ten minutes. Anyone object? Didn’t think so.

And as I am finishing this entry up, I am blasting “I Believe” and thinking how I can rope in my friends and Brother into seeing the show…that’s the sign it did its job; I want to be a repeat viewer and subject my friends to the crazy-fun. Until the next time…keep a warm chair (or standing area slot) for me Eugene O’Neil Theater. I will be back!

In other news, I just had a good episode of "The NRNW Show" where I got to talking about The Book of Mormon and my positive take-away from the show Smash, which had its pilot episode released earlier well in advance of its Feburary release day. Check it out!

Listen to internet radio with NotRightNeverWrong on Blog Talk Radio

Photo Credit: Joan Marcus
Photo Credit: Sara Krulwich/New York Times

On A Clear Day, You Cannot Escape A Dull Show

2012-01-13T22:51:00.045-05:00

On A Clear Day You Can See Forever was announced to close later this month after only a few weeks of performances. While I tend to mourn the premature loss of Broadway’s children, I can release this one back into the wild. Point blank: I was not a fan.

But…as with my writing style and my adamant refusal of being a bitch, I will explain numerous aspects of the show and offset some of the negative aspects of the show with some of its positive moments. One thing that struck me over Bonnie and Clyde’s closing is that members of the press can exert a strong influence over a show’s future with the power of their word (stating the obvious, I know). As a huge theater fan, I would rather not take part in that and make any waves, nor act like my opinion is the be-all, end-all of whether or not you, as a reader, should see or not see a show. To expand on that, I would hate to have a performer, director or playwright (Nicky Silver once told me he read my review of his show, The Lyons), be upset with me for putting my thoughts out there when they come from a more benevolent place then say, Ben Bradley of the NY Times.

Disclaimer over…on to the show. I’ll state outright that Michael Mayer is one of my all time favorite directors. Spring Awakening and American Idiot are top-notch and I have a feeling the upcoming Smash will be on my television rotary of watching/blogging. My issue with On A Clear Day starts with him…his updated concept has a twist in the proceedings, but very little thought otherwise. Add in some issues of execution and the show’s fate was sealed.

The original show (there have been previous versions of the show, including the original Broadway run and a film starring Barbra Streisand) revolves around a male psychologist hypnotizing a woman, only to reveal that said woman takes on the form of her past life in the 1940s as a jazz club singer. The psychologist pursues the pastlife, the woman pursues the psychologist…and well, there you go. Mayer takes that version and adds his modern spin to it: psychologist Mark Bruckner (Harry Connick Jr.) falls in love with Melinda (Jessie Mueller), the jazz-singing past life of present day patient David (David Turner). Oh, did I mention…David is a guy, a gay florist to be exact and he believes Dr. Bruckner is in love with him.

Speak up, Harry. We can't hear
you over that backdrop.

Thus, the tension is born; Mayer flipped the script by turning the female patient into a gay male. It is not a bad idea per say (and I do applaud Mayer for going outside his rock-show comfort zone and pushing the limits), but after the gender-swap, no thought was put into crafting a storyline into something engaging. The result? The show, even with a reincarnation gimmick, is a total bore. The relationships and character development felt weirdly inauthentic and the takeaway from the central love triangle in the aftermath is one of apathy.

At least the musical score was competent, if a little forgettable. The only number I can single out as iPod worthy, “Come Back to Me,” ironically, revealed to me what the show should have been (in my opinion). After the entire production is played so straight and depressing, “Come Back to Me,” a duet with Dr. Bruckner and Warren (David’s Lover, played very well by Drew Gehling), was played for laughs…and it worked. The staging was great, the vocals and chorography were on point by both actors and the number was fun and uplifting. Had the entire show been directed as a comedic farce (with a little drama), it might have worked out better.

I know I am throwing some shade at a man whom I genuinely respect and has boatloads of talent, but Connick Jr was disappointing. The man has a nice theater reel to his name, but his self-defeating, internalizing and analyzing psychologist was hard to watch just because it bypassed subtle and landed right into dullsville. To his credit, he pulled it together for some of the numbers, showing the audience what a star he is (in the Hugh Jackman or Neil Patrick Harris mold). But since the music was nothing remarkable in my book, his talents, whenever he tapped into them, did not amount to anything.

Mueller, in her Broadway Debut. Talk about scoring
a lead role, no?

Mueller has been getting a buzz going for herself as Melinda, to which I agree to some extent. Yes, she totally rocks the 40’s performer shtick, but I believe her performance crossed the line into overrated territory looking around the interweb to see such enthusiastic raves. C’mon…a 40’s performer is no ground-breaking, original character. Follies and Cabaret have full-on ensembles of them. Within the confines of the trope, she did a great job...but not that great.

Lastly, Turner seemed to just stroll through his role as David in an unaffected daze, but then again, the character was really underwritten and one-dimensional to begin with. He got in a number in the second act - “What Did I Have That I Don’t Have?” - that worked just on David’s (both of them) long overdue moment of catharsis. It was somewhat a relief that he can pull it out; otherwise, I would have begun questioning Turner’s career as a performer.

One last thing of note…Christine Jones, Michael Mayer’s go-to set designer, went over-the-top with the 60’s mod paraphernalia (the show is set in 1974, so the 60’s mod motif was remotely accurate). The result? Astonishing love, even though I am clearly biased towards that aesthetic. The rhyme or reason was not there when compared to her Tony-winning, epic American Idiot set or her minimalist Spring Awakening design, but this set piece had personality and a lot of it. Black and white color-blocking, neon accents…I’d move in tomorrow. My party and I were kidding when we said the mod, black-and-white curtain was the best part of the show…but it was highly memorable and covetable.

Unfortunately, as I hate to kick a show when it is down, On a Clear Day You Can See Forever does not have much going for it and should start packing. At least Raul Esparza will occupy the St James in April with Leap of Faith…that’s a positive thing, right? Oh wait…yeah, that does not speak well of Mayer’s ambitious, if messy and boring show. Don’t worry pal; I will be blogging (and probably loving) the hell out of Smash…come February, you will be hearing from me week-in and week-out.

Photo Credits: Zap2It.com

Chat it Up: Nick Blaemire

2012-01-09T08:00:00.004-05:00

At my last outing at the still-awesome Godspell, I took the stage during the end of the Act I “wine” party. Mind you, I was dressed with some flair - “Fiyero” equestrian pants, boots and suspenders – as if I was a member of the production (which some people did confuse me for…small victories!). I saw Nick Blaemire and George Salazar off to one-side of the stage and went over to say hello. They both took one glance at me and broke out laughing. Nick then proceeded to give me the HIGH-FIVE of all HIGH-FIVES. Seriously, capitalization speaks volumes. I thought I was going to explode like Rocko’s Modern Life.

Clearly a Bro!

You guys…I had a legit “bro” moment. If that does not scream awesomesauce, I do not know what does. Even better, Blaemire was kind enough to get on the phone and chat with me about his 23 projects (or something, I lost count). At any given moment, he is in the Circle in the Square hanging with Jesus and friends, writing music for an EP, recording or mixing in the studio, playing a live show, composing a musical, workshopping a production, taking his girlfriend out on a date, ~~flying overhead and combating crime~~…you know, a typical day in the life.

Do yourself a favor and check out his website to learn more about him and follow him on Twitter (seriously, he tweets a whole lot of funny stuffs). His talents and passion are immediately evident and I look forward to seeing his career to continue its incline.

NRNW: Thank you for taking your time out for this interview; I know how busy you are.

Nick Blaemire (NB): No worries, man; I appreciate it.

NRNW: Well first, we all want to get to know you a little better. So, what was your first soiree into the arts? Any occasion or something that prompted this desire?

NB: When I was really young, there was a really good community theater and I started doing stuff there when I was three. I sort of attached myself to the community aspect of it and it was a venue for having fun. Somewhere along the way - I was in 7^th grade - I did a play at the new middle school where I just started. I didn’t know anybody; I was feeling sort of lonely and immediately, I realized that I had friends in these other characters that I was working on. There was a real connection there with who I was and the idea of making people up.

NRNW: Was it something that just stuck with you all through high school and college?

NB: Yea, it just became more and more fun, the more I learned about it. It is kind of an unlimited reservoir of things learned in terms of all the disciplines of it. It’s been really cool to continue to find myself and the love for the craft and what it has given back to me.

NRNW: It’s funny you said that…I read Playbill’s feature on you and at any given point, you are writing a book [for a show], writing musicals, performing your own music, a reading, workshop…performing in a show eight times a week. Do you actually have any hobbies outside of your artistic ventures?

NB: Yea, I definitely do. I love skiing, I love playing sports…I don’t actually get to do them much these days because I am fortunate enough to be working a lot…but, I have buddies and I used to play softball every Sunday during the spring and summer. I try to get my girlfriend out on a date every so often as well.

NRNW: (Laughs) I’m sure she fits into the picture somewhere.

NB: Exactly.

NRNW: Do you ever foresee yourself putting together a production or a film where you directed, produced, wrote, starred in…did the lighting…?

NB: Absolutely, absolutely…that is absolutely the dream, to try and find something that combines all of these aspects. I would love to write the score for the movie and write the movie, as well as try to find the way to use all of these other disciplines in one unified place.

NRNW: Is it some desire to have creative control over everything or…?

NB: (Laughs) You know, it’s interesting. I was saying before about the loneliness thing when I was a kid. That was a big thing, like feeling kind of socially outside of the circle of the cool kids. One of the things that I realized is that the best part about being in the arts is the community of people who (A) also probably felt like that when they were younger and (B) are really willing to try to find a unified vision. To me, I do definitely have a control freak part of my artistic personality. It really goes with anything I do and working with people who are interested in pushing me just as much as I push them.

Yoga sucks! But c'mon, this photo is hilarious;
of course I'd add it in.

NRNW: That’s great! Now, on to Godspell…did you have any inclination that this revival would become such a hit with its unique staging, its updated score and everything?

NB: It’s been really fun; nah, I am not surprised. I am really proud of it and I think the people that are coming to see it have been really kind and really responsive, yourself included. I am really excited to see how people continue to react to it into the new year.

NRNW: Do you have any weird epiphanies during “We Beseech Thee” like “what am I doing” or “am I actually on a trampoline?” or something?

NB: (Laughs) It’s funny; I definitely spend a lot of my life feeling like I am outside of the moment and that is one where if I am not in that moment, I am gonna fall off that trampoline. The minute I get up, I am like “stay focused, don’t think about anything else or you are going to die.”

NRNW: Yes, that’s true. You know, the entire cast gets up and it is very physical. It looks somewhat cathartic and that is saying something because the entire show has a lot of energy. That moment is like, “oh really; let’s through trampolines into the mix!”

NB: Exactly, as if there was no where else to go. It is really an energetic cast and it has been really cathartic just on the level of…you know, I don’t have to go for runs anymore because I get my cardio at work.

NRNW: Does any other number in the show resonate as a personal favorite? Is there a moment that you are excited for?

NB: I love “Prepare Ye;” I love jumping into that water and I love singing that along with everybody. It really is a defining moment for all of us. I also love “Beautiful City;” I think the lyrics are perfect and I think the staging of it and the way we kind of transition from being kids to being adults in that moment is a real fun one.

NRNW: It’s funny you mention “Beautiful City” because many stage adaptations don’t include that number, even though it was in the movie. The moment I heard Hunter [Parrish] sing it, I thought the song was so perfectly suited for him. The number had to be in the show.

NB: It really was. The moment we first heard him sing it too, we were all “Oh God, this is really gonna work.”

NRNW: Definitely, definitely. So, amongst your other projects, you are recording with The Hustle and is there a release date on the EP?

NB: We do not; I am thinking it will probably be early February. We are in the middle of mixing it right now and it has been incredibly exciting and I can’t wait for people to hear it.. It’s very different then anything else that I have been involved in and it has been awesome. The producers are super smart and do a lot of R&B, funk and soul records. That is what we are going for on this one, so hopefully people will enjoy it.

NRNW: Is there a message or a takeaway you want when people hear your music? From what I have heard on YouTube, it pulls a lot from different genres. It’s very interesting!

NB: Thanks! We are trying to find our own; I mean, I feel like all the people tend to say that. Everyone is blending their influences into hopefully something unusual. For this, it is about the idea that pop music has musical and lyrical merit and not just throw-away songs that have a fast-beat. We are trying to do something that mixes the intricacies of music and has a potential opportunity to say something more.

NRNW: And you’ve played at Ars Nova and stuff; do you have any other live performances upcoming or projects upcoming?

NB: I don’t exactly know; I think we are going to do a couple more shows with The Hustle in the next couple months. We have not picked anything yet…and yea, I am continuing to do a ton of new work, meetings and workshops in the next months and looking to see where that stems off.

NRNW: So, what’s it like to be the busiest man on Broadway?

NB: I feel very lucky!

NRNW: I’m glad, I’m glad. I actually have a friend who texted me wanting to know - does Hunter Parrish gives good hugs?

NB: (Laughs) He is a very friendly, good hugging man. Absolutely.

NRNW: (Laughs) Good, good. Thank you so much again for your time!

NB: Thanks so much man; take care!

Photo Credit: Jeremy Daniel for Playbill.com

Photo Credit: Danielle Levitt for the New York Times Magazine

Nope...Not Tired of Talking About "Les Miz"

2012-01-07T11:45:00.071-05:00

Way behind on my blogging this week, so let me ~~rant~~ rattle off one of the most theater-relevant things on everyone’s mind. Of course, I am talking about the Les Miserables movie-musical slated to open next December.

Admit it, you’ve talked about it with your friends (I know I’ve had, time and time again) and even though you act like you are over it and maybe you have pledged to boycott the movie given *some* of its “questionable” casting…accept the facts: you are seeing it. Let’s not act like you are not…

A movie is naturally going to cast some big name actors/actresses because…well, box office receipts and publicity win out over “unknown, but talented” casting every time. It’s the nature of the business; this should be no surprise to anyone with a pulse. If they wanted to put on the best version of Les Miserables, they probably should have cast the entire 25^th Anniversary Concert ensemble, only swapping out a few *cough* Nick Jonas as Marius *cough* of the main players.

You are not going to find many big name celebrities who can match Norm Lewis’ Javert or Lea Salonga’s Fantine (amongst others). Being a talented, stage-trained performer is a huge advantage for any form of entertainment, but ESPECIALLY for this film considering it is an adaptation of the stage version (as opposed to a direct adaptation of Victor Hugo’s original novel) and the cast is slated to sing live while filming.

Say what you will about this film, you have to applaud their ambition. Especially on that last part; it is a HUGE fu** you to Glee and anything else similar by not having the ~~autotuned~~ pre-recorded tracks to go off of.

Look, I am not expecting this film adaptation to blow me away…and I never was, quite frankly. Even so, casting is only one of the components of any production. They still have to get the cinematography, the direction, the music, the staging, the costuming, etc… on-point for any serviceable feature. Besides, even some of those cast that I am excited for may misfire or the not-so-good cast members, at least in my opinion, may surprise me.

The bottom line: the casting is not the see-all, be-all of the Les Miserables film…but for the duration of this entry and while we still await the announcements for Gavroche and company, let’s act like it is and have some fun commentating on the cast. Hit it, Miserable Folk!

Hugh Jackman as Jean Valjean: Obviously, this is a great one. When the film adaptation was announced, Jackman was the only one signed and who could blame them? He is basically a one-man show – he just had a sold-out one on Broadway for a few months – and he probably could single-handedly carry this film if tasked with the challenge. The man can act and sing with the best of them…who is not on Team Jackman?

I'm going up against Hugh Jackman?
Oy, crap.

Russell Crowe as Javert: This is a wildcard, but I wouldn’t be surprised if Crowe pulled it off. His acting skills are undeniable, but it is his singing that poses some concern. Javert has moments requiring belting power and range, which Crowe seems to be lacking. I hope he is in some vocal training (he probably is), because the Confrontation number really only works with Valjean and Javert are equals on the vocal front. Granted, matching Jackman is a tall order for anyone; regardless, Crowe is actually one of the more understandable casting decisions.

Anne Hathaway as Fantine: I can’t cosign on to this one; regardless, Fantine is only in it for a little while. She can kind of sing, but her voice is not consistently pretty or even controlled. The thing is, she sings “I Dreamed a Dream,” which is one of the most well-known numbers from the show (and even though the song is terribly cliché, it is a great one). While it is inevitable she won’t match Salonga’s outstanding portrayal, I am not convinced Hathaway is going to do the role justice, no matter how small it is. Sure, she can go against type and play disheveled and downtrodden (she stunned me with how good she was in Rachel Getting Married), but Fantine’s sort of innocent, prostituting, fragility seems like it would be lost on Hathaway’s tendency for bombast.

Helena Bonham Carter as Madame Thenardier: I love her and she is an amazing actress, but this is not her role and she should set it free. The Thenardiers are the fun (by Les Miz standards), comic-relief characters…question, does that sound like Helena Bonham Carter at all? While I can admit that Madame Thenardier does not need to be a powerhouse singer, Carter seems to struggle with singing in general. In Sweeney Todd: The Demon Barber of Fleet Street, her “singing” was highly problematic, so much so I put it in quotes. What she did to “The Worst Pies in London” and “Wait” was unforgivable…and some of Madame Thenardier singing is talk-sung just like Mrs. Lovett’s numbers. Uh-oh…talk about a PTSD attack.

Sacha Baron Cohen as Monsieur Thenardier: Now, THIS I love. So much so, I feel like he might bring out the best in Carter as well (even though I am not holding my breath there). Cohen’s performance and singing as Pirelli is Sweeney Todd was great, making this an unusual, but brilliant choice. That joking, thieving schtick of Monsieur Thenardier seems right up Cohen’s alley, without being too obvious about it.

Eddie Redmayne as Marius: The casting of Marius could have been a lot worse, so this was a bit of a relief. I am unsure of what his vocally capable of, but he at least looks the part and can act fairly well.

Even photoshopped Enjolras Tveit
looks fitting.

Aaron Tveit as Enjolras: Many of us Broadway folk may have shed a tear when this was “announced.” I say that quite loosely because Tveit did not get his own press release or media drama, quite the contrary actually. The notice of his casting was a couple paragraphs down in some UK tabloid and just inserted like no one would care. Well, let me tell you something…anything involving Aaron Tveit is in fact, important and worthy of “Breaking News” status. Even his butt is worthy of its own (hilarious) article courtesy of the lovely ladies of The Craptacular.

Yes, he might be a little too All-American looking for a period, French piece. Yes, Ramin Karimloo a.k.a Enjolras in the 25^th Annviersary production, was too awesome for words. But leading a revolution and belting for his life (literally) is no concern for Enjolras Tveit. I fully expect his voice to kill (literally) those who stand in his way.

Amanda Seyfried as Cosette: You know what, I will actually toss my hat in defense of her. Not that there is a large outcry over her casting, like say, some other pop star with a pension for writing songs about men she has dated for five minutes and suffering from a lifetime of heartbreak at the age of 22.

Anyways, I had no idea Seyfried was a trained opera singer, but it does explain why her singing was surprisingly great in Mamma Mia! (even if her acting falls below standard at times). Plus, considering Cosette and Marius date, she and Redmayne look…right for eachother. Bonus points that Seyfried could pass as the daughter of Anne Hathaway if you squint your eyes a little and ignore their three year age gap (thankfully, they don't appear together throughout the entire production).

Taylor Swift as Eponine: I really hate to be vehement with my disgust…but yes, this was an AWFUL decision. Leave it to Kate Shindle to tell it like it should be though...

She really does have a point.

Still, my issue with her casting is quite simple: how do you have three other women in the running {Lea Michele, Scarlett Johansson and Evan Rachel Wood} and wind up with Taylor Swift? Out of all four, she is clearly the one that does not belong. Clearly, the casting director broke out the dartboard for this decision and the darts landed on Swift…either that, or the booze was flowing long enough that they drank Swift into a different actress by the time the hangovers started.

Stop it, Taylor. No one is even near
as excited as you are.

It is also weird that she was considered at all given that Cosette, Marius and Enjolras are all being played by performers age 26 – 30, whereas Swift is only 22. This is Hollywood, where actors are cast to play a character half their age. You can even argue that Swift looks younger then her actual age (even though she is almost six-feet tall). All-around bizarre, I say…

Oh, right…her “singing” also seems ill-fitted for the part, so much so she might give Katie Holmes a run for her money. And that is really saying something…

If I had to throw out my opinion, I would probably have cast Evan Rachel Wood. She just has a quality to her that is perfect for Eponine. In fact, she probably could pass as a boy during the barricade scene, yet appear pretty, vulnerable (and slightly strong), for the well-known (and also cliché) “On My Own.”

Oh, and Lea Michele would do well too, for obvious reasons. But I think the decision to not cast her is justified (if I do not entirely agree) because (1) Too easy (2) No one would think of casting her until she breaks out of the Rachel Berry mold. On the other hand, given that star power and publicity are baked into any movie’s formula, she would have had a bunch of people showing up because they probably missed her during both of her outings, as Young Cosette and as Eponine, in the original Broadway production and subsequent Hollywood Bowl production respectively. Oh, and she is on Glee. Can’t forget that…

Photo Credit: AaronTveitIsMyEdwardCullen.tumblr.com
Photo Credit: mamapop.com

NRNW Central in 2012...Spiderman, What Are You Doing?

2012-01-01T21:02:00.000-05:00

Happy New Year Readers! My holiday was spent glued to Gavin Creel’s drunken tweeting, working on social media-related stuff and texting it up with my dear friend Caroline regarding the #JesusParrish and #HipsterGodspell hash tags on Twitter and our favorite theater OT3s (amongst other things)…good times as always!

I really do not have a hook for this entry other then sharing whats going on in NRNW Central in early 2012…well, that was until I saw the “interesting” Spiderman publicity stunt on CNN and could not pass up the opportunity to discuss…how could I not? That was button-pushing television for so many reasons.

Business First – the New Facebook Page has had some renovations done in the tabs, so feel free to wonder over and share your thoughts. “Like” the page if you are feeling generous.

We have two live episodes of “The NRNW Show” fast-approaching on Blog Talk Radio, the first of which airs tonight at 11:00 pm est. Super excited to gush over some interesting theater developments.

But not as exciting as January 3^rd, where my pal Ali of @BwayNews on Twitter will be my special guest and phoning in. Believe me; you do not want to miss this as we start gossiping about upcoming shows for the spring season.

Anyways…just as Thanksgiving has become an outlet for some national Theater coverage, several New Years-related broadcasts have featured a Broadway show’s latest publicity whoring. So of course, Spiderman: Turn Off the Dark ~~blackmailed CNN, Anderson Cooper or cashed in on a favor~~ ceased the opportunity.

I do not know what is funnier…the fact that they went for a full-out spectacle that lasted a good 7 minutes or the fact that it did not even occur to them to do something like American Idiot did the year before. It is possible that the PR team did not have that much creative control over the process, but a mini-medley seemed a lot more simpler from a production standpoint and indefinitely got the point across better.

Edit: It looks like the American Idiot tour made some media rounds this New Years as well…

Now, THAT is how you deliver on a media appearance (even though the newscaster at the end couldn’t speak for his life…honey, use your words).

Back to Spiderman…look, I am happy that the show itself is running without a hitch and bringing in the big money week after week. Having seen the show, I can bring myself to admit there are some high points and something there worth witnessing. Considering the lambasting the show has had to endure, good for them I say…

But then they do stunts like this, I am like…"what the hell man?” Sure, Anderson Cooper’s “acting” and delivery was comical (LOVED the sidebar comment on Kathy Griffin), but every time I thought the Green Goblin skit was over, he just revved up again. Before I knew it, 7 minutes of my life went bye bye and all I have to show for it is a manic Green Goblin…doing a pseudo-staged take over of...the world or Times Square? Or something; I don’t know.

Hello gratuitous Toshiba product placement!

It makes no sense to me how they think that is going to help their media outreach plan given it was being slammed some months ago with world renown injuries, hasty cast replacements, a stalled opening, Julie Taymor getting fired on her period, suing and whatnot…show of hands: who thinks more favorably of Spiderman then they did before? Anyone? Anyone? I thought so.

Ho hum…Spidey’s publicity campaign would be better sticking to some performances of their better numbers (yes, there are some) and try avoiding anything too ostentatious or anything involving those cracked out costumes. Yes, they are very interesting to look at and a masterpiece of design; however, to quote Tim Gunn of Parsons New York and Project Runway, “it’s a lot of look.” Out of context and with little preparation, it is too overwhelming to appreciate. In fact, that summarizes the whole publicity maneuver itself…too overwhelming (and overly serious) to appreciate when you are waiting for the sparkly ball to drop.

Bang, Bang..."Bonnie & Clyde" is Almost Gone

2011-12-28T11:45:00.070-05:00

Oh, the darkness is upon us. In a few days, we will be losing some of our own from the Great White Way and while I can’t get worked up over Private Lives (Have not seen it) or The Addams Family (Wanted to see it, but had a bad experience at the box office that deterred my desire), we are losing the not-so-bad Bonnie and Clyde.

In short, Bonnie & Clyde was this season’s Catch Me If You Can. A period piece adapted from a movie that had a lot of hype, but was unjustly bashed by critics and will have to settle for a premature closing. Poor Frank Wildhorn; Wonderland should not have run past a single performance (it was that bad, unfortunately), but this one deserved a chance. If you are a non-revival musical on Broadway and cannot match the hype, off to the guillotine you go.

Yes, the show is not perfect. But yes, you should see it before it closes on Friday. The show works on concept and its “updated retro” mantra alone. How to appeal to a modern audience? Draw parallels of The Great Depression alongside the current recession. Live-projecting vintage newspapers/headlines on the stage? Brilliant idea; I’m sold. Throwing some heart-stopping firearm scenes and sound effects? Ostensibly scary and trying a little to hard for bombast and shock value, but it still works.

"I'm Clyde. I enjoy thievery in my spare time."
"You're cute. Nothing else matters, right?"

Moving on…the show might have been better received if it was not so uneven, with scenes veering wildly between high-camp farce, sexy period romance, blazing action romp and…this unnerving darkness of human nature. Nothing explains this more then a scene during the second act, where Bonnie and Clyde rob a bank, only to get into a verbal tussle on whether or not their calling card should read as “Bonnie and Clyde” or “Clyde and Bonnie.” It surprised me that they played it for laughs because it came out of nowhere (literally) and contradicted the previous and succeeding scenes. Hell, even that same scene ended in a violent rage and shoot-out. C’mon now, really? Scenes like that prompted me to believe that the show had no idea what it was or what it is trying to be. The inconsistent characterizations and score followed suit and that was all she wrote.

If there was one thing I vehemently disliked about the show, it was pretty much everyone not the four leads {Clyde, Bonnie, Buck and Blanche Barrow). Oh sure; I had some slight tiffs in regards to them (namely, Clyde), but the rest of the ensemble needed to be set on fire. Young Clyde and Young Bonnie need to take permanent vacations six feet under because no matter how innocently naïve they tried to be, they were a pointless device who’s only purpose was to provide the contrast in the characters Bonnie and Clyde eventually become. You can’t humanize a character by showing a cute and whimsical version of themselves; does that sound like a hot idea to anyone?

"Oh please, arrest us already. Just get us
away from the congregation."

Believe me, it gets worse. The preacher and the congregation (meaning, the obvious shoehorned-in religious subtext to reflect the 1930’s) were AWFUL. Even more pointless then Young Bonnie and Young Clyde, they perform the two least-appealing numbers of the show and are just there for no reason. By the time they finished their second number, which opens up the second act, I literally threw my arms up in the air in horror. The rest of the theater was lucky my lady friend @BwayNews was my company for the show; otherwise, I might have spewed my animosity quite loudly through the theater risking ejection.

Seriously, I couldn’t even bear…

Don’t even get me started on Louis Hobson’s Ted, a rival cop on Clyde’s trail and potential suitor for Bonnie. It was the worst attempt at a love-triangle I have ever seen. Ted walks into the diner he frequents (that Bonnie serves at) and we are supposed to believe he loves her from the 30 seconds the two of them talk to one another. There was clearly not much thought put into this, nor was there any spark between the two. I blame Hobson and his unwelcomed character. Not to mention, Ted’s singing was of the 80’s metal-rock kind, COMPLETELY unfit for the 1930’s score, as he just wailed his lungs out whenever he could.

Yes, Wildhorn’s score suffers from throwing in some random WTF number (every song performed by the preacher and the congregation) in addition to the out-of-place Ted numbers. But the rest of it is not that bad. Sure, some numbers are painfully literal and don’t advance the plot forward (or reveal some character nuance we did not already know). But there are enough great ones (with one or two standouts) that justify a cast recording…and thankfully, I got my wish!

"Check out my abs, Bonnie"
"Mine are better."

Let’s talk about ~~not-Stark Sands~~ Jeremy Jordan’s Clyde Barrow. Believe me; I had the claws out for him while I was watching (because he is not Stark Sands) and in hindsight, I was out-of-line. He is actually quite good in a role that is impossible to pull off (powerful voice at times too). All of Clyde’s great numbers and character development from previous productions of Bonnie and Clyde seemed jettisoned for this mess of a douschebag we are supposed to root for now. The problem…he was being scapegoated as the show’s relentless villain from the moment we are introduced to him and other times, he really was flat-out dreadful.

From what I gathered from YouTube clips and reviews, Stark Sands had this smarmy charm that justifies Bonnie’s and the audience’ affection for Clyde, even in the face of his manic insanity. That was conspicuously absent from Jordan’s take on the role, but I am convinced that is not his fault. The scene when Clyde gets raped (off-stage) and follows that up by savagely murdering an inmate was painful because of the terrible staging. Unfortunately, there was no recovery after that point; it was all over for Clyde.

Regardless of Clyde’s deficiencies, Laura Osnes’ Bonnie is a whirling dervish of fabulosity in one 1930’s vixen. One of my favorite parts of the show, she captures everything Bonnie was – a vulnerable and delicate wannabe actress/writer who gets corrupted by Clyde – and brings the house down everytime she opens her mouth (or reveals her washboard abs to put everyone, including the guys, to shame).

Her renditions of “How ‘Bout a Dance” and “Dyin’ Ain’t So Bad” work on her charisma alone, but she really puts out a pitch-perfect performance. Girlfriend is flawless and you know it to be true…

To add to that, Melissa Van Der Schiff as Blanch Barrow, Clyde’s sister-in-law, was another highlight. She came out of nowhere to stun me with her scenary-chewing character, one that brought a dry sense of humor and heartfelt emotion amidst all the destruction around her. Having to put up with her husband breaking out of and going back to jail, and then following his sidelined mischief into robberies and gun fights is a doozy for any one woman to endure. But you feel every ounce of Van Der Schiff’s heartbreak and disappointment, as well as this blind optimism that everything will get better. Like Estelle Parsons Academy Award victory for Blanche Barrow, Van Der Schiff deserves some supporting actress awards love for her performance. LOVE her!

And what happens when you pair the two lovely ladies together on one number…

You get THAT! “You Love Who You Love” made me swell up in tears; talk about a beautifully done number.

A shout-out also goes to Claybourne Elder, whom was great as Buck Barrow despite a relatively underwritten role. A darn shame, but so it goes…it is also worth pointing out that Jordan, Osnes and Van Der Schiff, in addition to Elder, are all very nice people in person. I am curious to see what is next for each of them (well, we know one joyful thing that Jordan has coming up).

When it comes down to it, it really is worth seeing Bonnie and Clyde from the few moments of greatness the show manages to achieve, as well as the four leads. Many a show close prematurely due to a lack of quality, and while Bonnie and Clyde was lacking in some areas, it really does not deserve the lament it has been receiving and should of had a longer run. Again, one of the more newer shows that was a little underwhelming…anddd off with its head. Meanwhile, I am sure Chicago with its 10^th rate, stunt-cast is as riveting as ever.

As an aside, Bonnie and Clyde, in addition to Lysistrata Jones and Godspell, was the hot topic on the first episode of “The NRNW Show” on Blog Talk Radio. Yes, I just went there and have decided to throw in a radio show as per my social media takeover.

You know what…not too shabby. I had no idea how hard it is to just speak unscripted, on-air and with no feedback or anything to indicate I was doing a good or bad job. Not to mention, my mind was all over the place (clearly) and could not remember things like Meryl Streep’s movie that also starred Hunter Parrish (It’s Complicated) or Morgan James’ number in Godspell (“Turn Back, O Man”). Also, working the studio controls proved to be a little difficult, as is checking Twitter, Facebook and such while speaking.

But…I am glad to see some people tuned in and my first caller was the sweet and lovely Michelle. I seriously have to learn how to balance having a guest, a phoner plus addressing the listening audience (c’mon, how awkward did I sound and what the hell was coming out of my mouth)…On-Air Radio Talent + Technical Directing is basically one large multi-task. Thankfully, Michelle has some brilliant things to say and wonderful input…any mention of Shoshanna Bean or Idina Menzel gets two thumbs up from me.

Hi Santa; I need a word!

2011-12-25T23:27:00.001-05:00

Dear Broadway Santa,

Christmas is almost over. I ate about four families worth of food by indulging in all of the temptations of my “See-Food Diet.” I think we need to run down some last minute Theater-related things on my “Wish List” because there is a lot to discuss. You with me? Cue my entrance music…

I see Godspell another 1, 2 or 11 times

Yes, the story may be lacking in some regards, but it always has. This revival is damn-near perfect in every other possible way to earn one of my most enthusiastic reviews ever and launch the first giveaway on this blog (read the review/details here). It is on my bucket list to be pulled up on to the stage and play the role of Lazarus. Hell, I’ll play charades or Pictionary with Jesus Parrish and that awesome company. Do I need someone to make a marriage proposal in order to make this happen? Should I be writing to you for a significant other to show up on my doorstep? Oh, the things I will do…trust.

Stark Sands returns to the New York theater scene and does…something.

What is this? Stark, look at your life. Look at your choices.

Look, Santa, we’ve seen the photo stills of his upcoming show. While we want to see our beloved All-American non-aging Stark Bunker Sands (even his name has BAMF practically baked right in) on our television screen week after week, the show looks horribly antiquated. Plus, all he seems to be doing is beat people with nightsticks. I am sure there is an audience for that…but that’s not my sort of thing. It does not seem like it is going to be a Generation Kill quality of a show, so why lose one of Broadway’s (and life’s) gifts to the world? He would have been a wonderful addition to Bonnie & Clyde considering he originated the role out of La Jolla Playhouse before ~~porn star~~ Jeremy Jordan swooped in. C’mon…

There is nothing that man cannot do. Absolutely nothing. I would watch him watch someone else watching paint dry.

Hugh Jackman on Broadway gets extended…forever.

Oh, the sadness of a Theater lover. Hugh Jackman’s glorified karaoke hour will be leaving us come January and all I will have to show for it is a metaphorical swimming pool full of my tears and lost dreams that I did not see my favorite Aussie Wolverine in the flesh. Yes, The Book of Mormon is just as inaccessible and taunting with every major critic pronouncing an ovary-bursting good time, but that show’s run is open-ended and therefore, I can forgive (for now, that is). There is still time Santa…the “Les Miserables” movie-musical can wait a little while, right? Is anyone really in a rush to see Anne Hathaway’s attempt to out-Salonga Lea “Fabulous” Salonga? Can’t we just watch the 25^th Anniversary Concert another 25 times on YouTube or our DVRs?

Perish the thought.

Andrew Keenan Bolger vlogs about Newsies so my man-parts can feel alive again.

"Yes, I am convinced my lips are wearing
the rest of my face. Not the other way around."

2011 was not kind to this country in many regards. The recession, shows closing left and right, “Occupy-something” becoming a trend, Michele Bachman…a lot of suck left and right, I get it. However, it did bring us three fine actors doing vlogs for Broadway.com and admit it: some of the best entertainment you have seen all year. I was more invested in Christopher Hanke’s and Nick Adam’s pending strip-off then I was any other television drama. If you are like me, you weep into your pillow every night that the close-ups of Adams’ face and his plump lips will cease to exist as the Priscilla publicity train dies down. I got melancholy the other day just thinking of Hanke reading fan mail and playing with Pez dispensers. Don’t even get me starting on helium-voiced, hyperactive Telly Leung popping Skittles, coffee and Red Bull like his oxygen to survive.

Hey, is that how his voice got so high-pitched (and awesome) in the first place? We need science and a full experiment, stat…

Anyways, you can take this idea for free Santa. My beloved, hard-working, talented ~~shorty~~ Andrew Keenan-Bolger of Submissions Only vlogging about all of his paperboy goodness in the highly anticipated Newsies musical. You just know his would BRING it and it would be the best thing ever. And that is saying something…because the “The Nick Adams Show” was unparalleled in his feathery boa fabulosity.

John Gallagher Jr.’s show succeeds while his fame status remains unchanged.

Is that even possible? Look Santa, you already did us a solid and brought back together the most epic unofficial band for a show (according to Gerard Canonico's Twitter). Believe me, I am grateful. John Gallagher Jr. and Michael Esper’s fingers know exactly what to do once they make contact with guitar strings and their stage chemistry is insane. Not to mention, Canonico is one hell of a drummer (and he needs to be drinking in a wife beater in public more often, just saying). The entire experience is a roller coaster for the ears.

Don't leave us; we refuse to lose youuuu...

But we know the score…and we are not happy. Gallagher Jr.’s new HBO show has bona-fide hit written all over it with Aaron Sorkin at the top of his game and a relatively strong acting ensemble. But I’ve learned my lessons from Glee and when mega-talented Broadway folk get on television, they become overnight sensations and outgrow the theater community. Notice Lea Michele is no longer in a state of inebriation as she performs Joan Jett numbers (to hilarious effect, might I add). Instead, she is singing on FOX ~~once a week~~ whenever. Or something.

Gallagher Jr. is too good to lose as he does his one show per season and plenty of other sets (which by the way, Santa, his CD better be in my Christmas stocking next year). Yes, I would not mind seeing his face on television (and unlike Stark Sand’s cop show, it looks legitimate). But he is one of the few performers I would drop anything to see and he makes for some of the most entertaining (and cost-effective) nights out in New York.

People remember the “correct” version of Rock of Ages

For the uninitiated whom have not seen the ~~hot tranny mess of a~~ trailer for the Rock of Ages film…well, first off, try to hold back on that gag reflex of yours.

To say that this film looks freely adapted is a bit of an understatement. Ignore the fact that Franz and the entire German subplot is left out. Ignore the fact that Regina and her killer maxi-skirt are “replaced” with Catherine Zeta Jones in a hot pink outfit (WTF???) singing “We’re Not Gonna Take It” in a church (WTF???). Ignore the fact that Tom Cruise as Stacee Jaxx looks to be the lead in the film and not Drew or Sherry…yes, let’s just ignore all of that.

Oh Santa. You were so good to me this year. It was on last Christmas Eve when I found out I had won a walk-on role in the show in what was easily one of the highlights of my life, let alone 2011. Please don’t savage the goodwill and hilarious experience of the show with this “movie adaptation” (using that term as loosely as possible). I fully expect after the midnight showing of the film that I will go drown out that bile with an impromptu rock fest at the Helen Hayes Theater and relive the good times. You with me?

How to Succeed becomes a 21 and over show.

Yes, another long shot. But after the temptation to resist the production (after seeing it back in August), I really want to see it with Darren Criss as J. Pierrepont Finch (if not, just to photobomb all of his creepy posters outside the theater). How could I not? He has become one of my favorite actors on Glee (by default nonetheless), A Very Potter Musical is one of my all-time favorite shows and he even writes Alan Menkin-inspired medleys while singing with Lea Salonga. Oh, I kind of find his actually personality to be laid-back and artsy too; I would be best friends with him. In short, he is one of my heroes even though I am convinced he looks like a mustache-less Mario from “Super Mario Bros.”

You know. Just chilling...
ASIO GUITAR!

The show is all, but sold-out unless you want to shell out for some premiums (not happening, don’t like the show that much). But there is a glimmer of hope…it’s called general rush. Sure, I’ll bet the 15 year-old-tykes with no responsibilities and their parents allowance are pitching their tents as we speak hoping…just hoping to score some tickets so they can be the cool kids in homeroom. I figure if I get in line tomorrow, I should be fine by mid-January (hopefully, fingers crossed).

However, things would be made a lot simpler if you, Santa, made some changes to the show. Like say, some full-frontal nudity, some low-rent pornographic scenes or maybe a head gets chopped off and thrown into the audience. Hey, I am sure some of that stuff happened in the 60’s. But please, anything to legally keep away all of the pre-pubescent girls (and some of the boys) with delusions of marrying the Criss out and away from my rush line…please Santa!!!

Thank you for reading my ~~list of demands~~ wish list Santa! Love to the wife; tell her I will call her about playing some mahjong next week with my new iPad app!

Sincerely,

NRNW

Prepare Ye and Embrace Godspell!

2011-12-22T23:47:00.007-05:00

Well, it’s about time.

After slumming through Broadway shows left and right this season, with only a few shows earning faint praise at best, I have found “that show.” The one you find yourself bobbing your head to and applauding like crazy to as it unfolds right before your eyes. The one you recommend to anyone looking to see a show in New York. The one you are rocking out to the cast recording as you write a review of the show.

Ironically…that show is Godspell.

I know, right? Godspell. I couldn’t believe it either that the revival currently playing at Circle in the Square would rise above any other Broadway Show I have seen lately. When it was announced a while back, my reaction was somewhat negative. The show already had two Off-Broadway revivals since the original Broadway production in the 1970’s. It also never struck me as one of those Les Miz or A Chorus Line type shows that have super crazy, worldwide followings and about 15 different productions going on across the globe. Not to mention, this seemed like another revival to throw on top of the pile, with Broadway turning into Revivalway with each passing day.

I never had anything against the show. Stephen Schwartz is amazing and I always had a fondness for some of the songs. My reservations always stem from the story; by that I mean, the lack thereof. Since the show goes off of Parables from the Gospel of Matthew, one has to deal with the religious context (albeit, it’s not a major issue like Fela!’s culture barrier), the shifts in tone and the…well, the vignette style of storytelling. What could possibly be done to make Godspell interesting or even relevant for today’s Broadway going audiences?

Davenport Theatrical Enterprises’ answer to that question was brilliant; update the “stories” with some modern touches, stage the show impeccably and put together one of the best ensembles in many a season. The production goes off without a hitch and has this quiet assurance of “yea, we got this!” The moment you see John blast the horn (following an amazing acapella version of “Tower of Babble”, appropriately updated with some cell phone ghetto smashing), you are along for the ride and enjoying every second.

One of my best and most trusted theater pals, Bway News (her Twitter is definitely worth a follow), and I had a discussion about how the actual theater plays into the show’s experience. It seems like a lost detail, but a show’s run through does take into account the venue, whether it is a small-ish venue or the Wicked Gershwin theater with a full-scale orchestra, mezzanine, rear-mezzanine AND balcony.

Hi! I'm Jesus, what's your name!?!

We somehow landed on the Circle in the Square theater as being one of the best, if not the best, theaters. It has an intimate, “gather around the campfire” feel as the audience wraps around the stage; there isn’t really a bad seat in the house. First row, last row, north, south, east or west of the stage…every one can see and hear every nuance just as if you were on the stage yourself. Godspell takes advantage of what the Circle has to offer; they even go as rewarding pillow-side seating mere millimeters away from the stage to the winners of the pre-show lottery (my personal favorite way to take in the show, also the least costly).

It does not end there though…the cast enter and exit through the aisles, occasionally sitting down (some even interacting) before taking the stage again. What's so impressive about that is the the ensemble does not have much time or opportunity to fall out of character; they are on their A-game from start to finish. Almost no costume changes, no gigantic set pieces to hide behind and some props are used...that's it; that's the minimalist, low-budget guise of the show. I love that; "less is more" was a winning concept here.

Careful guys. This ladder is about
10% of the production budget.

In addition, an audience member is pulled on stage for three different scenes (one of which my Boo Amy had the honor of participating in on our last go around). The first act concludes with a mini-dance party and gathering to drink some ~~juice~~ “wine.” My point…you are not seeing or viewing Godspell, you are living it. You leave the theater feeling as if you were a part of the company.

The staging of the show and the numbers also benefit from pop culture references to make it more timely and in-tune, It is a neat trick as this revival pays careful homage to the source material and past productions, while also throwing a wink to every generation of theatergoer. However, the most highlighted generation is its under 30’s; the Occupy Wall Street, Shake Weight parodying, Facebook/Twitter using American Idiot generation. In fact, Godspell is also similar to American Idiot in how they appeal to that type of audience; an enthralling (and occasionally rocking) experience where music and energy, with some of-the-moment references and amusing bits, are the heart and soul of the show. The talented cast (you are forewarned, that is an understatement) perform so many skits and DEAD-ON impersonations, the comedy (and occasional drama) lands without fail and leaves you wanting more and more.

The same thing can be said for the new musical arrangements; the music pays tribute to the Godspell of yore, while being updated with a heavier alternative influence as a nod to the modern audience. This was smart (and expected; not a criticism, mind you) for many reasons, but above all, the arrangements are a perfect fit for the cast’s virtually unlimited vocal abilities as they get their sing on. The cast recording was released online two days ago (with the physical CD set to be released on January 31^st) and nearly ever song is iPod worthy.

But yes…the cast. I can’t say or type that out without the impulse of screaming “FLAWLESS” or “PERFECTION.” I have not been this impressed with such a raw and colorful ensemble in quite some time. Where to begin? First off, let’s interject with some media appearances!

Ana Maria Perez de Tagle is mighty fine on “Day by Day;” a great role if you are making your Broadway Debut (which several members of the cast are). It is a blast watching George Salazar give a full-on physical performance and “Light of the World” is one hell of a way to close an act.

I’ll get to Hunter Parrish in a bit, but oh man, that Lindsay Mendez is a dynamo, right? She works that Carmen Miranda skirt so hard, it looks like couture by the end of the show. Don’t even get me started on her singing; how she belts out “Bless the Lord” without breaking a sweat, I’ll never understand.

"Ready to blow the roof off, Telly?
"I am mesmerized by your skirt, Lindsay"

A personal highlight is when she and Telly Leung, both of whom have two of the strongest voices I have ever heard, open up the second act with a short mini-diva off. That is amusement and entertainment to the max that you have to be ringside for (preferably “pillow-side”). If these two were to belt-off together any longer then a few minutes, the combined electricity of their voices would pull the Earth out of orbit and send in careening towards the sun with a centrifugal force strong enough to cause the death of mankind.

I’m not kidding.

Yes, everyone’s favorite Asian Warbler takes to the Circle where he sends a massive “Fu** you” to Ryan Murphy for never giving him anything of substance to do on Glee shines. His rendition of “All Good Gifts” is so beautiful, my friend Caroline has professed a desire to marry the song once it becomes legal in the state of Michigan (which I support). Aside from that, his fantastic impressions will leave you in stitches and his energy is so infectiously awesome, you might need a tranquilizer just to calm down after the show. Not to mention, his jackrabbit speed of talking and mannerisms (while rocking a suspenders/high-waisted pants combination) could solve all of the world’s problems. United Nations? Trust me on this.

"We're down on our knees for you Jesus."
Wait, that came out wrong.

What else? Celisse Henderson and Uzo Aduba destroy “Learn Your Lessons Well” and “By My Side” respectively to send shivers down your spine. Morgan James’ sexy, jazzy “Turn Back, O Man” is a four-minute long orgasm for the ears. One of my personal favorites is “We Beseech Thee,” where Nick Blaemire puts his unique voice to great use and jams on a guitar while jumping on a trampoline like the boss he is. When everyone joins in on the fun, you have to take a step back just to applaud the physical aspects and timing of the number. Hats off to Blaemire, who handles it all aplomb like a walk in the park.

Finally, our leading men…we have Wallace Smith chewing up the stage as John and Judas. He has stage presence and a voice that commands attention; the opening notes of “Prepare Ye” could stop people in their tracks. He is like a full service choir in that regard. “On the Willows” will not leave a dry eye in the audience; a number he performs with enough emotion and poignancy to outdo an entire Sam Mendes production (and believe me…that is saying something).

Now we have to talk about the man whose smile could part the Atlantic Ocean…take it away Hunter!

Hunter Parrish nailed “Beautiful City” so hard, the song’s babies are coming out of the womb with a full set of teeth. I really liked the idea of his casting from the very beginning; I never doubted his singing because his live version of “Left Behind” (he played the role of Melchior in Spring Awakening) was fine. His Jesus felt like a progression of his Melchior portrayal; for some reason, I got this idea that Melchior would sing a number like “Beautiful City” (am I alone on that?). Even better, “Save the People” has been my jam the last few days; the perfect harmony, of actor, song and singing voice. To top it all off, he brings a committed and passionate performance as Jesus, smiling all the way into the audience’s hearts.

Seriously, when he smiles, 70 small villages of people smile back.

What’s going on under the roof of the Circle in the Square is a spectacle worth seeing time and time again. Take your idea of Godspell and chuck it because this is not like any other version you have seen. A lively, entertaining, amusing, irresistible good time at the theater. As if that is not good enough, the cast is extremely kind and personable and I may have the honor of interviewing some of them real soon (oh, big time here at NRNW headquarters!). I cannot say enough good things about the production; get your tickets here if it is not already on your holiday wish list.

Giveaway Time!

I picked up an extra signed Godspell Playbill the last time I stage doored, so why not have a giveaway (especially because this is not the last time Godspell will be mentioned here). Fun, right? Maybe I have been hanging out with Bway News too much, but I say that like it is a bad thing (she is great company)…

Who Can Enter:

Anyone! It is nice to see people in Europe amongst other non-US locations visiting my blog. I don’t mind the price of international shipping (for now).

The Prizes in Question:

One lucky winner, chosen at random, will win a Playbill signed by nearly the entire company. That’s right; Hunter, Telly, Wallace, Lindsay and many more (Image shown to the right)

Because one prize is not enough (c’mon, this is a landmark occasion here), two additional winners, also chosen at random, will receive a digital copy of the Godspell cast recording on iTunes. If the winners are not from a US, they will receive a $15 iTunes giftcard redeemable for the cast recording.

The Rules:

For successful entry into the giveaway, the next three points must be satisfied in its entirety.

(1) “Like” the new Not Right Never Wrong Facebook Page.

(2) Follow my Twitter handle, @NRNWAlex, and post the following tweet as you see it:

Follow @NRNWAlex and read his review of “Godspell” to see how you can win a signed Playbill or a cast recording! http://bit.ly/sMbNbi

(3) Post a comment on this blog entry with your name on Facebook and your Twitter Handle so I can include you in the random draw.

Et voila, you have received one entry! Don’t worry if you have already “liked” my page or are already following me on Twitter; your entry is valid as long as the names are in the comments section. You can tweet the above post as many times as you like, but it will only count as one entry (thanks anyway though!).

See below on how you can earn up to an additional three entries into the giveaway.

Remember, you will only receive additional entries if the above three points were compliantly met.

- Join this site courtesy of Google Friend Connect

- Follow this blog on ‘NetworkedBlogs’

- Follow NotRightNeverWrong on Tumblr

Make sure to include your user name on Google Friend Connect, Networked Blogs and/or Tumblr, in addition to your Facebook name and Twitter handle, in order to receive the proper amount of entries. Again, your entry is still valid even if you were already following me on one of these platforms prior to the giveaway.

I am so excited typing this up and I hope all of you are too. See below for more guidelines and the disclaimer. You are also welcome to e-mail me, write on the NRNW Facebook page or tweet me if you have any questions. Thank you in advance for reading and participating; good luck!

The Guidelines

- The contest will begin on December 23^rdat 10:00am EST and will conclude on December 30^th at midnight EST.

- All submissions will be heavily scrutinized for multiple entries by one person or any other notions of cheating/deception. Evidence of said maleficent activity nullifies and voids that individual's entry(s).

- The names of the winners will be posted on the Not Right Never Wrong Facebook page and on the @NRNWAlex Twitter stream within 24 hours after the conclusion of the contest.

- The winners have 48 hours thereafter to e-mail me the mailing address they would like the Playbill sent to or their e-mail address to coordinate successful delivery of the Godspell cast recording. After 72 hours have elapsed, the person is deemed ineligible and another random name will be selected to win the forfeited prize.

- Contest rules and guidelines are subject to change at anytime and without warning.

The opinions of the 2011 Godspell revival at the Circle in the Square Theater are my own with no investment from a third party source. I did not receive any paid endorsement or special treatment from the cast, crew, creative or communications team of Godspell or Davenport Theatrical Enterprises; this giveaway and all pending upcoming interviews with the cast was the idea or property of the Not Right Never Wrong brand and verified social media platforms. I did not receive any special compensation, free tickets or accommodations outside of normal practice. Davenport Theatrical Enterprises, Godspell and iTunes are not affiliated with this giveaway or with this blog in any proximity.

Is "Asuncion" Spanish for 'Awesome'? It should be...

2011-12-19T21:22:00.002-05:00

After a (well-deserved) extension, Jesse Eisenberg’s Asuncion (yes, apparently, our favorite Mark Zuckerberg is a writer) ended yesterday at the Cherry Lane theater. Where do I get the petition circulating for a Broadway transfer? I kind of loved this one.

Not that it was without its flaws; in fact, there was only one, maybe two things I can point out as being sub-par. However, considering this is Eisenberg’s first soirée into writing, MAJOR kudos to him for providing something fresh and amusing.

Enter the premise. Edgar (Eisenberg), a former political/world journalist-turned-nothing, hauls up daily in Vinny’s disgusting, marijuana-laced apartment. Vinny (Justin Bartha), Edgar’s former African studies teacher’s assistant, has this aura of apathy towards Edgar that occasional leads to open loathing. Their relationship reaches a breaking point as Asuncion (Camille Mana), Edgar’s brother’s new Filipino wife, stays with them one weekend. Her presence peaks Edgar’s interest beyond simply getting to know his sister-in-law, whereas Vinny’s flirtation and interest in her causes a disturbance in the already poisonous relationship between him and Edgar.

The characters and relationships were a homerun here, especially because the storyline progression hinged on it. Where it stumbled was in Asuncion’s arrival and her presence. While I recognize that she was the impetus to stir up the pot in Vinny and Edgar’s relationship, they played her off as ‘mysterious’ and intriguing by not disclosing anything about her. It did draw me in and it gave the show a hook - who is this Asuncion, why did Stuart (Edgar’s brother) marry her and why is she hiding out in Vinny’s apartment? However, her reveal at the end - her origins, family and why Stuart dropped her off at Vinny’s apartment - was ULTRA effing lame. Talk about a throwaway; for a character and a relationship study, it was weird that the much-hyped and sought after truth was an uninspired afterthought. In fact, from that point on – namely, the last minutes of the final act – the show went into a downward tailspin.

But that’s it; the rest of it is just about as great as you can find in an Off-Broadway show. I love love love the themes and messages of the show as displayed through watching the interplay of Edgar, Vinny and Asuncion. Edgar, having stumbled to Cambodia by accident and spent two days there, thinks he is post-modern, intelligent and above it all when it comes to world affairs. The apparent reality: he is not as intelligent as he thinks and he is somewhat racist and judgmental.

Awkward Jesse!

Enter a very sly comment on the post-modern 21^st Century. Edgar, with no writing job and his blog long deceased, does nothing but soak up in his entitlement. Sure, he spent two days in Cambodia (by accident); does that make him a connoisseur? He represents all of us under-30s who read and research a lot from a distance and behind the safety of their computers. He thinks he knows all the angles, but his knowledge is more limited then he would admit given he does not pursue any traveling or experience first hand. If that does not sum up this generation, I do not know what does.

Scenes with Edgar and Asuncion are not really played for laughs, but given how oblivious Edgar comes off in a social setting, it was really funny to watch. He assumes Asuncion speaks Spanish given what her name is. Given his animosity towards Stuart, he is convinced that he ‘purchased’ Asuncion and that she is a sex slave. A portion of the show is Edgar observing Asuncion, him trying to goad her into giving him a tell-all of everything she is, scribbling notes in his journal with the idea of writing an expose on the current status of human trafficking.

There is a stereotype and racial component thrown into the mix. When Edgar gets robbed in the beginning of the show, he defends the robbers on account of they came from a poor neighborhood and upbringing. Add that to his increasing judgments of Asuncion and…well, it is somewhat of an (accurate) observation on how the world cannot help but act on stereotypes. Even better, it reflects how oblivious we are in how we perceive others. There were plenty of moments where you cringe thinking, “oh crap…I have said things like that before too.”

Look how not awkward I am being!
Oh wait...

It really was an interesting dynamic to witness, especially because the bubbly, sweet and thick-accented Asuncion just wanted to have fun and live out the weekend care-free. Whether it was dancing to a pop song in the ~~Ke-Dollar Sign-Ha~~ Ke$ha mold (a funny perspective of how foreigners view America, hahaha), eating McDonalds or just having a blast with Vinny, she clearly was not meant to give Edgar what he wanted. I can’t help but love the irony of Asuncion, while naïve, is more socially competent and outgoing then Edgar.

Let’s talk about the character of Vinny…super laid back with a smarmy charm and sex appeal, how he treats and co-exists with Asuncion is far better then he does with Edgar. We are led to believe that Edgar’s interest in him stems from some homosexual feelings (which leads to some scene, more later) towards Vinny, but Vinny’s mistreatment of Edgar seems to be an unjustified reaction to his flaws. There is a moment in the second act where Edgar flat out asks, “do you even like me?” Vinny’s response, where he basically calls out Edgar on all of his stuff, comes from a place of unbiased awareness, not cold-hearted intent. Beneath an apathetic exterior, Vinny does like Edgar even if the attention he gives him suggests otherwise.

Before I address the UH-MAZ-ING performances, let’s talk about the comedy. Namely, most of the dialogue was sharply written, drawings laughs on a pretty consistent basis. One of the funniest things I have ever seen was Edgar talking about his lack of sex in the past few months and how he has turned to masturbation. Every time I went to let loose a loud guffaw, his mini-monologue would not let up. He just kept going on and on, for what seemed like a solid five minutes, but was probably only a minute. But the whole show is peppered with a lot of one-liners and zingers; absolutely hilarious.

Now, the acting…Eisenberg was great, but that is no surprise. That awkward, nerdy, socially messed-up shtick he has been flocking for years is his thing. I would criticize him for playing a version of himself, but he does do it well. Besides, he brought a fully-realized performance to his character on stage (as opposed to film/television), I will give him the credit he deserves. Mana, amidsts her two acting heavyweight costars, was adorable and conveyed Asuncion’s nuances and thick accent like it was second-nature. Seriously; speaking to her afterwards, her talking voice was miles away from the accent the character sported on stage…that’s an actress right there!

In my eyes though, Bartha knocked it out of the park. Yes, everyone knows him as Doug from The Hangover series or maybe Riley in the National Treasure series (or one of his other supporting roles), but that man can lead a show. No matter where he was on the (appropriately disgusting and well done) stage, he seemed to pull focus to him and win over the audience with his blunt observations, hilarious comedic delivery and his charismatic dancing and goofiness (when he was not being a laid-back stoner). Bartha also happens to be very sweet and humble; I could not stop complimenting him on his performance afterwards. Especially with what was coursing through my mind at the time; the homosexual-esque scene that I have teased – well, strap on your seatbelts.

During a scene where Edgar, Vinny and Asuncion were going nuts while doing heavy acid, Edgar begins talking about how, out of his affection for Vinny, he should suck his “thing.” Vinny, in his underwear while wearing an open robe, agrees and pushes that agenda. Edgar, even under acid, seems to realize what he is pledging and decides to back down. A struggle erupts with Vinny forcefully jamming Edgar’s head into his crotch against Edgar’s will and there was screaming and loud noises and Asuncion shrieking and Vinny getting more angry and agressive and Edgar having the fear of God on his face while on his knees… and…and…and

Talk about a mindfu** of a scene, one of the best I have ever seen movies, television and theater all considered. It was something so disturbing and brilliantly bizarre (and impeccably done, all the awards for the actors) that I turned to my friend Tristan with wide-eyed shock all over my face while cupping my mouth with both hands..and stil mouthing WTF?!?. I literally cannot unsee it; I walked around my house for three days, while Facebooking and texting in a British accent “I can’t unsee it.”

I think that says it all. That scene, the fantastic performances, the interesting characters and interplay, the comedic bits, the relevant themes/messages, the overall show…I am on Team Eisenberg now (from a writing standpoint) and would love to see this show resurface again. I have gone on Twitter record during the #BestOf2011 Theater hash tag saying it was one of my favorite shows this year. I meant every word; mission accomplished Eisenberg, stay ~~awkward~~ classy.

Give It Up for Lysistrata...Don't Give Up On It

2011-12-16T20:58:00.003-05:00

I was going to fanboy over my love for the Godspell revival playing at the Circle in the Square theater, but there is always time for that. Besides, Lysistrata Jones opened this week to some better-than-expected reviews (from my perspective), so I feel obligated to throw out my opinion.

I saw this show last weekend courtesy of StudentRush.org for $5 (My second favorite ticket price other then ‘free’). Let me say, I was pleasantly surprised. The show’s premise – a bunch of college cheerleaders, led by recent transfer Lysistrata Jones, withhold sex until their basketball-playing boyfriends end their infamous losing streak – had the makings of a “so bad, it’s good” afternoon out at the theater. Who would of guessed? Instead of being “so bad, it’s good”, it is a good show with some down-ish moments.

Regardless, it does deserve cheers in several different regards; above all, it is a serviceable original musical. I mean, the show’s premise is loosely based on Aristophane’s “Lysistrata Jones,” but by Broadway labels, it is considered an original work. But take a look around Broadway the past season or so. Revivals (Godspell, Follies, How to Succeed in Business Without Really Trying, Anything Goes) and adaptations from movies (Sister Act, Priscilla Queen of the Desert, Catch Me If You Can, Bonnie & Clyde) comprise nearly all theatergoing options (other then the long-running survivors). Look at the upcoming season: Evita, Jesus Christ Superstar, Ghost, Newsies, Porgy and Bess…I think you get the point.

Not that I dislike revivals (unless the original show sucks like Follies) or adaptations from movies, but look at the shows slated to end prematurely. Stick Fly and the aforementioned Lysistrata, both original shows, are on the guillotine with Bonnie and Clyde (Edit: Bonnie & Clyde was just announced to close on December 31…wah wah). And Lysistrata had not even opened yet until this past Wednesday. I know the recession has made investors and producers apprehensive about their Broadway ventures, just as theatergoers are choosing more safer, surefire shows, but c’mon people…take a chance.

It helps that the show succeeds on being of-the-moment and funny. Putting my laugh box into overdrive is a great way into my ~~pants~~ heart, especially since most of the jokes landed. In fact, there was a…sophistication to them and a high-level of wit, as if a young, up-to-date, smart writer with a dry sense of humor emerged to throw out some jokes.

“No news is good news.”

“Try telling that to Amelia Earhart’s Family.”

“Where are we going to find a brothel?”

“Let’s ask Siri”

“I’m sorry; I have the iPhone and for some reason, I sometimes don’t get texts or phone calls.”

Hysterical. Sure, some of these lines seem a little forced, like one about Newt Gingrich, but why bother…I laughed-out-loud multiple times and appreciate the effort in fully-realizing the setting and the tone.

We are strong women!
We put 'X's and 'No' signs on our funboxes.

I also have to give the show credit, whether they intended to or not, for being very subtle with its social commentary. The character of Lysistrata - her spunk, optimism and determination in the face of adversity – stands as an antithesis to all the negativity and capitulation that surrounds her. Whether it is her parents surrendering after their income is downsized (and as a result, forcing her to switch schools) or her boyfriend and basketball team futile efforts at winning a basketball game, she represents the epitome of hope when there is little to no motivation or any support.

Oh sure; that is not groundbreaking message in any way (in fact, it is somewhat of a cliché), but it works as a relevant message regarding the recession, the state of education and the status of the world. Golf claps for Lyssie Jones…

The book and the characters are a different story…average would be the operative word, I suppose. The characters, unsurprisingly, start off as one-dimensional ciphers. Whether it is the acting or the writing, some of them never breakout of their stereotypes. The story plays out with almost no narrative tension; low expectations or not, the story is too slightly too predictable (and derivative of some other teen movies) for the Great White Way.

"Why, yes I am fierce."

I say that like it is a disastrous thing (it normally would be), but the whole package still works. The cast and music is uneven, but they succeed by a small margin. Patti Murin’s portrayal of Lysistrata is a dynamo. The upbeat, perky cheerleader could grate easily, but Murin is so good you want to cheer for her from the getgo. Her “Change the World” number early on in the show was a personal favorite of mine; I was instantly a fan. She has been getting raves for her belting vocals on “Where Am I Now.” Yes, she can sing, but that song was of the “end of the first act ballad” formula,” it could have been substituted for “Defying Gravity” or “Out Here on my Own.” Same old song, same style, slightly different lyrics…but similar meaning.

Of the supporting cast, there were some other standouts. Lindsay Nicole Chambers was awesome as Robin, the insightful and droll feminist poet who introduces Lysistrata to the original Aristophanes story (a nice little meta reference). For a character with a smarter then thou persona, I found her oddly likeable and I do not think I am alone on that. I was also quite fond of Jason Tam’s Xander, a blogger activist turned Mascot under Lysistrata’s reign. He busted out some killer dance moves and energy once he left the laptop behind; he also got a great number with “Hold On” with Lysistrata and Hetaria.

Oh, Hetaria is essentially the narrator of the show (except when she takes the form of a brothel owner). The diva could sing (hence the title of “diva”) but I was unmoved by her character’s purpose. She is just…there; sometimes for no reason, other times for little reason or just to sing a note.

Oh man, I am a Tumblr Fanservice.

Josh Segarra as Mick, Lysistrata’s boyfriend and captain of the basketball team, was mostly inoffensive. He is certainly nice on the eyes, but Mick never really got off the ground until his inner poet and sensitivity emerged late in the second act. To his credit, he picked it up for a beautiful rendition of “When She Smiles.” It was an echo to 90’s pop love songs by solo artists; it turned out to be a great fit for him. He may not be the strongest of singers, but he pulled it off before it was too late. ~~At least he comes with a nod to the estrogen brigade bait fandom in dire need of a sensitive, attractive athlete.~~

The rest of the songs/performances range from okay to unmemorable. The score is consistent and competent (something I am surprised to admit) with a score composed of top-40 with a theater twist, but other then the songs I already mentioned, nothing else registers as a “must-own” song. Still, I definitely would not mind a cast recording.

Aside from one offensively horrible jewish basketball player acting all black and ghetto (great actor, reprehensible character), the rest of the ensemble did not register and does nothing to upend the conventions of their characters. Generally, other then Xander and Mick, the guys were nothing to write home about and were far inferior in quality to the girls.

Trusted theater friend Dan made a comment that Lysistrata Jones could run a course similar to Xanadu (both books are written by Douglas Carter Beane). Both are off-beat, unconventional by Broadway standards and they have a bit of this ridiculous, but irresistible, fun charm. I don’t want to see it close anytime soon - not just because every time a show ends, an angel loses its wings – because there is a younger theatergoing audience whom would chew this show up. I found its appeal even though it fell short in some regards; but overall, it is a fun time at the theater.

If I had any say in the matter, I would have kept Lysistrata Jones off-Broadway (Fun Fact: their off-Broadway run had the audience seating on bleachers) and brought in the field trips of high school and college students. I also support the idea of this show becoming a movie-musical because I think it will become a cult hit like Clueless or 10 Things I Hate About You (if it is done right). However, it is on Broadway and managed to be one of the few times I left feeling satisfied with what I saw this season. Musicals geared towards a younger audience can be thoughtless and ingenuous, but Lysistrata could be this season’s sleeper hit if people open their minds a little and see it.

Glee 3x09 "Extraordinary Merry Christmas"

2011-12-13T23:34:00.000-05:00

Anyone who has kept up with my Glee reviews could probably tell that this episode was inevitably going to disappoint me. I can understand why some people could get a kick out of Glee getting their Xmas on; that factor is pretty much dependent on the music. I cannot stand Christmas songs of any kind, so it goes…

Ugly holiday sweater ambush. My eyes. They burn.

The fact that Matthew Morrison was directing the episode was not exciting me either. Nothing against him, but the problem with Glee was always with the writing (and direction is largely dependent on that). I suppose he did a fine job, but this Christmas special, or a Christmas special by nature, is basically an excuse for Glee to forgo the episodic conventions of which they barely attempt as it is (consistent characterization, tandem music/staging, focused plotlines or extensions by thereof) and just forget about that entirely. Because you know…IT’S CHRISTMAS...Echo…Echo…Echo

There is no greater reflection then that then how the characters were handled this episode. Rachel went back to being an obnoxious bitch (seriously) only to have a turn-around by the end. Artie became a “take-no-prisoners” director again, only to lighten up. Rory and Sam prove their utter uselessness by teaming up together. Above all, Sue, whom has not had a nice, sentimental bone in her body all season (remember, she was a man-eating, sociopath two episodes ago), was all sweet and altruistic once she trotted out a mention of her dead sister. Was I the only one who was nauseous over that? I was going to vomit so much, my neighbors would have thought Linda Blair came over for dinner.

To be fair, that was a great number and the staging was great.

Ugh, did I mention that he is useless? Sorry; I think Damian McGinty’s voice is way overrated.

Loved Lea’s voice here; she has been on her game lately.

Oh look, another original song. It was like Christmas meets Victorious or Camp Rock, with even more autotune and with even more money in Ryan Murphy’s pocket. You could practically hear the sounds of consumer and trend driven teen’s hearts melting as they charge the $1.29 to their (parents) credit card, just because their stud muffin ~~Darren Criss~~ Blaine and their diva ~~Lea Michele~~ Rachel are singing together while manically smiling and flirting like they are trying to hide some serious cocaine addictions. 2 good + 2 be = 4 gotten, ZOMG BFFles forevs and evs…

Sense the tone. Next?

Credit where its due, this was UTTERLY FABULOUS. For the fleeting ten or 12 minutes when a black and white, Judy Garland-inspired classic Hollywood Christmas Special came on, I thought the episode had turned around to be thoroughly entertaining.

All of the jokes landed, the performances were fantastic (“My Favorite Things” was KILLER; how much fun was it watching Lea, Darren, Amber and Chris getting their "Sound of Music" on) and Glee managed to be “in” on the joke and aware of its own absurdity.

Why so sad ~~incongruous~~ little one?

And then Rory entered and the entire sequence died. Can he be deported for killing the fabulousity? I’ll launch the campaign.

Good song; super adorable I suppose...

See you in the New Year Glee. Don’t come back until Santa fixes all of your plot/character problems; they need a lot of help to match the high level of music (ignoring some exceptions) you have been giving us. We can wait...

Wild Animals We Shou-...Oh, Too Soon?

2011-12-12T19:58:00.000-05:00

“Wild Animals You Should Know” closed yesterday and I feel that need to pass my commentary on the show before ~~everyone begins burning the show out of their eyes~~ it goes into the off-Broadway vault and never comes out.

Gideon's facial expression.
Enough said.

Fortunately (or unfortunately), this show will not be making any returns to the public anytime soon. It has some points worth praising, but it fell victim to a classic theater mistake…taking an interesting concept worth examining – the presence of homosexuality in a relationship between best friends in high school, as well as the Boy Scouts – and muddling the message and story down with incongruous filler.

The show opens with Matthew (Jay Armstrong Johnson), an honors student, boy scout and soccer stud, reciting the Boy Scout’s oath while stripping for his gay, awkward best friend Jacob (Gideon Glick) via web cam. The scene continues as Matthew begins spying sexual activity between their scoutmaster Rodney (also his neighbor) with another man.

All of this is the pre-cursor to a Boy Scout trip, where Matthew’s non-outdoorsy father, Walter, and another scout dad, Larry, join the three of them on an overnight camping trip. Armed with Rodney’s secret, Matthew exploits the situation as a means of…well, that is where the already flimsy seams of the show fall apart,

The show attempts to paint each character as nuanced and complex; it is, after all, a character study. Unfortunately, it does not translate all that well; the characters uncertainty of themselves take the fruition of some questionable encounters and development. Take the narcissistic, golden boy Matthew…in spite of having everything, from good looks to a bright future, he has this unexplained need for validation. That desire is compensated by his flirtatious behavior with Jacob and Rodney. One question…why? Where does this character’s insecurities come from? Why does he treat everyone around him poorly? What are his motivations?

But probably the most disappointing aspect of Matthew is his refusal to learn and grow. Not every character needs growth to be interesting (or to make my time worthwhile), but there needs to be…something to keep me engaged. It became clear after a point that Matthew’s stubbornness comes from his narcissism and his jaded perception that he has everything and everyone figured out. All well and good; but Matthew was the same one-dimensional character as we are introduced to him. The closing scene, one where Matthew removes his clothes aware of Rodney watching from outside, mirrors the opening scene exactly. Except, this time, he is more...vulnerable? Great; thanks for your time Matt…

Oh sure, Johnson turns in a great performance (and he happens to be really nice and talented), but that is about all I can say. In the hands of a weaker actor, Matt would have no redemption value other then being a conceded, unapologetic douschebag.

As if that was not bad enough, there is a whole “side arch” regarding Walter and his frustrations with life and his marriage after being laid off from his job. I say "side arch" in quotes because it seemed to take precedent over the initial concept, not to mention is was so slow and long-winded. He has a (overly long) scene with Larry as they start knocking back some beers in the woods…a conversation as to what it means to be a man, a husband and an employee.

I guess there was supposed to be a takeaway somewhere in all of that, but I cannot remember anything that was said or if the whole arch went anywhere. Even worse, the character of Larry and Walter’s wife Marsha (Alice Ripley), were thinly written characters whose only purpose was to promote change in Walter. Sorry writers; he was nowhere as interesting or fun to watch as you thought; the whole thing played out as both a conceptual and execution disaster.

Totally normal. Totally. Totally

One thing that intrigued me the most was the character of Rodney. Jon Behlmann handled the character well with what he was given, but his character was strangely underwritten even though he was the instigator of the entire story. Despite being a homosexual, he finds pride and honor being a troop leader. According to the show (I know squat about the Boy Scouts), they shun that type of behavior. Instead of exploring Rodiney’s closeted homosexuality, why he was a troop leader or life outside of the Boy Scouts, it happened off-stage if it was not dropped entirely. Bad idea.

As far as the rest of the characters/cast, Jacob got in some funny lines, but it was basically Gideon Glick playing Gideon Glick. Maybe because the rest of the show was often times messy, I still preferred the scenes with only Matthew and Jacob because Johnson and Glick had the right chemistry of sexual tension and toxicity. In fact, their relationship was done well all things considered, as suspending my disbelief was not too hard. Let’s face it: popular Matthew and loser Jacob would never be friends. But, with Matthew’s unexplained need for appreciation, combined with Jacob’s apparent lusting for Matthew, it came together better then expected. It was an interesting relationship to watch; I’ll give it that.

As much fun as Alice Ripley can be, ~~especially when she is in one of her moods and stares lasers at everything like she is going to burn a house down~~, this was not her role. Too small and too normal; I miss her as a victim of bipolar going through electric shock therapy. Ho hum…

Off to the vault we go Wild Animals…but thanks for giving us some fine Jay Armstrong Johnson scenes to hold us over until…the next time he scores a role and he has it in his contract to go topless/pantless at least once a show.

Glee 3x08 "Hold on to Sixteen"

2011-12-08T22:26:00.056-05:00

The main storyline of season one was that the Glee club of misfits and outsiders came together and performed their hearts out, in the face of much adversity from parents, spouses, faculty and student peers, in hoping of placing at Sectionals and Regionals to keep the club in business. Sure, it was not the most original thing in the world, but in hindsight, it was perfect for Glee and their whole underdog schtick. Heck, it worked out quite well because nearly every week, they told a similar story – something or someone out to stop the New Directions from succeeding – with only relationship nuances, the comedic bits and the musical numbers swapped out to keep the show from being repetitive.

Well, this is awkward.

Season two did not have that luxury because…well, there really was no point. What was the impetus for the New Directions to succeed? It was supposed to be about going for the gold and getting to Nationals, but that was not enough because there was no real antagonist. The club had 12 members (most of the time) and was not getting cut anytime soon. Given the lackluster finale to the show and the cacophony of direction all season, that initial idea of National glory took a back seat to the relationships, lesson of the week plotlines, the prom queen arch (oh please) and the gay storylines. Basically, the entire show became bits and pieces, only to be re-routed for the occasional competition episode. What also happened is that the characters became so affectless and impossible to care for…after all, why should we?

That’s why I thought this season opened wonderfully. It seemed like the season long arch was going to be New Directions finally grabbing first place at Nationals, while the seniors prepare for life after high school. Sure, not every episode has to be “college application this” or “NYADA that.” Tuesday night’s episode only touched on that a little bit. Sectionals was the major drive of the episode, with the post-high school drama being a secondary option. In an internal sense of the show, the New Directions have purpose and motivation on small and large scales, far beyond a “let’s win nationals; if not, whatever…” attitude that season two had.

I'd kill to see her in a
"Memoris of a Geisha" musical.

What I am trying to say is…keep the focus on life after high school and winning the Nationals trophy. Silly plots, like the presidential campaign, a sex-theme episode, a gay bullying storyline, having Sam come back, having an Irish-exchange student just around for no reason (seriously, Rory is just plain useless) just detract too much from the season long arch and don’t allow us to build an emotional foundation for scenes that are quite powerful. The scenes involving Tina, Mike and Mike’s father worked mostly on the strength of the actors and just barely enough of a foundation laid. Imagine if there was a week-by-week examination of their relationship instead of…what, three scenes under a minute together. That would have been a waterworks moment for nearly everyone (c’mon, who did not love the Mike Chang story this season?). If there is the right amount of build-up for storylines like this, there is a huge reward and emotional payoff for the viewer.

Look, the show is as uneven as it ever has been. I could site many reasons regarding the show’s demise, when it is not some feeble attempt at social commentary, it is its insistence on choosing a plot and character orgy format week in and week out.

Are you pregnant yet? How about now?
My eyes order you to get pregnant.

However – yes, even after that entire diatribe – I am willing to say I liked this episode. For all of its unevenness and given how ill-fitting it is looking at the season as a whole, it was a pretty fun hour thanks to the Sectionals hook, had some great performances (which is becoming the norm for the show, major kudos) and was a welcome departure away from the heavy-handed storylines. The plot and character flaws I am about to address were not THIS episode’s fault; it was more of a result of poor mapping out and execution of the last few episodes. Taking this episode out of context, it is actually pretty good by Glee standards.

Yes, I always feel the show could be better and its potential for fabulosity is always cut-short with some poor choices. For example, Sam’s return might of worked had the seed been planted and the storyline nurtured a bit (even though the cast is large enough as it is). Nope: Finn decides they need Sam to win Sectionals (for some reason) after no one has even talked about him for six episodes. They find Sam in a strip joint (which was pretty amusing, I have to admit), he has a sweet scene with his parents (wouldn’t mind seeing them again, even though my reaction was “where did they come from?”) et voila...he is back at McKinley, getting into nonsensical fights with Blaine, singing a mega-fugly number and trying to get Mercedes back, resulting in yet, another Glee love triangle. That last point does not excite me at all; it is the go-to solution for character devices. Enough already…

It is just so odd and displaced; Kurt and I shared the same reaction. Sam really is a useless character; it is not Chord Overstreet’s fault, but I really did not miss him.

But here is why I am willing to defend this episode and why a part of me thinks they can course-correct after the season’s amazing opening episodes have subsided…as I mentioned, Glee has always been an episode-by-episode show because overarching character and plot archs have never been the forte of the show. It is damn-near impossible with this large of a cast. But, in a very subtle manner might I add, they may have set up the rest of the season with the pending graduation and post-McKinley plans of the seniors ready to take precedent.

I'm confused by your underaged talent. What nonsense.

Kurt, Blaine and Rachel have always had their heart set on performing professionally. Throw-in Mercedes and Santana constantly clamoring for the spotlight. Add-in Tina and Mike Chang’s pursuit, now that father Chang is supportive. Quinn also had her epiphany about going to Yale to act/sing. Artie loves performing even with being relegated to a wheelchair, but has expressed an interest in directing. Finn loves Glee club, even though he thinks he is nothing spectacular (which he is right). Pretty much everyone except Brittany (who never has it together upstairs, if you know what I mean), Sam (who clearly has larger issues to deal with) Damian (whom does not matter because the character is as useless as Sam) and Puck, have expressed or strongly implied that performing is a part of their future.

Believe me, there is a point to all this…all of the plotlines addressed in this episode were wrapped up too sweetly and perfectly. I would have loved to have see the tension of Mike’s family played out an entire season, but it was wrapped up and now it Mike and his destiny to get into performing arts school (thanks girlfriend of the year, Ms. Tina). Blaine and Finn’s relationship could have had more time focused on it, but that is all wrapped after coming to fruition in a too sweetly wrapped up scene. Props to my friend Caroline for telling the boxing scene like it is: a fan-fictionized Blaine overtook canon Blaine. Absolutely hilarious.

We're like total Betty's.

Quinn is no longer a crazy bitch intent on destroying Shelby and getting Beth back. Shelby is no longer the erratic mess finding a need to bump uglies with Puck. The Troubletones rejoined the New Directions after their loss, pretty much resetting the status quo back to normal. In fact, nearly every development is. Oh sure; we can expect more of the Coach Bieste/Cooter/Sue love triangle, as well as more of the Kurt/Sebastian catfight (which bred some laugh-out-loud lines this week; welcome back sassy Hummel). Maybe there will be some President Brittany and definitely more of Santana’s lesbian story (given the recent casting news), but out of the 30 or 40 plot lines, mini-character arches and secrets the show accrued, it seems like there are only a few that remain heading into the (assuming) non-important Christmas episode and another hiatus before Spring. This being Glee, they will probably throw all the balls up in the air again romantically and plot speaking when they return…but, maybe they will learn that the overarching plot should be the priority. They wrapped up all the distractions, so the stage is set. Please, Glee folk, trust me.

Besides they have been nailing the music, left and right. Maybe everything else can fall into place now...

I’ll give them credit for selling me on Lindsay Pierce’s two-episode consolation prize. She is basically Sunshine 2.0, but at least the plot did not go out-of-the-way to give her unnecessary screentime. She had two or three lines in both of her appearances and completely destroyed her two numbers. In fact, if television conventions were chucked, the Unitards would have been my choice for the top prize.

Not that the Troubletones did not bring it…they BROUGHT it. A sassy, fun and fitting mash-up. I would be remiss if I did not point out their costumes were mega fugly. Still, a solid second place.

I think this medley is way over praised, but they did a great job. Let’s face it: however much they manipulate the plot to have Rachel forbidden from participating (they won Sectionals last year without her singing a solo, um hello?), it was a foregone conclusion that New Directions would win. I am not complaining because they at least made a case.

I do appreciate the solos being passed around to nearly everyone, especially to the under-utilized Tina. LOVED her this episode; Jenna Ushkowitz looked stunning, sang well (which was relevant considering only she and Dianna Agron packed the lady voices for New Directions) and had some great scenes. “ABC” was cute and sappy and a great showcase for Mike as well. I thought they had forgotten all about Artie, but there he was; putting his soulful good voice to work. The guys don’t have any real belting power (compared to Mercedes or Rachel), so ‘Control” and “Man in the Mirror” will have to settle for being good and entertaining (if adhering to close to the originals). The dancing and staging was all-around fun.

SUPER-good and awesome. Lea’s voice is suited for most numbers, but I absolutely love it here. A nice, heart-warming scene to close out the episode. Who did not want to jump in on all the fun they were having?

Gavin Creel is Telling You to Make Some NOISE!!!

2011-12-07T20:47:00.000-05:00

This was never the type of place where I would post a video or a photograph and call it a day. In true NRNW-fashion, there must be a story or a point to make a blog entry and keep it away from “Tumblr-territory” (even though I do have one of those too).

Let’s call our attention to my new favorite song obsession and the accompanying music video. Take it away Gavin Creel!

Wow…wow…just wow. Not only is Creel’s voice so powerful, five angels get their wings every time he hits a note higher then a B. Not only did he write this song (with his writing partner Robbie), which is one hell of an anthem for equality. Not only does every cent from each iTunes download go to charity, they go to Broadway Impact (where Creel is a co-founder).

I think I got it all. In short, Gavin Creel is awesome and one of my heroes for many reasons. This video is even more important to me because…well, if you saw my name in the credits or could identify my flailing arms (I don’t expect you too), I was apart of the rock concert filming.

Creel and company put the call out on Facebook and Twitter regarding extras for the shoot in late October. This shoot was to take place at Ars Nova in New York and the only dress code suggestion was that all extras show up looking “rebel chic” (by the way, that is an awesome style label). I’m sold; who would not want to be in a Gavin Creel music video?

The calm before the "Noise" storm.

It was such an awesome experience (as you can tell from the music video). After everyone arrived, Gavin and Robbie got to talking about the song, its history and their inspiration. Their aspirations were simple; they want the message of equality to come through the power of their song, to inspire the LGBTQ community to speak up regarding their rights and for the music video to reach 1,000,000 views on YouTube. Simple, no?

The beauty of being apart of this filming was that Gavin performed “Noise” straight through numerous amounts of times, trying out different camera angles and having the audience do different things. Actually, on the last point, the most important direction was that the audience just crescendo with the energy of the number and act like they normally would at a rock concert. Other times, we were asked to fist-pump, chant, jump up and down…you know, just get really into the song (which was was not an issue at all). Do you know what is better having one of your favorite singers WERQing an epic number to within an inch of its life? Having him perform the same number an additional ten more times. I cannot really describe how much fun and what a great feeling it was to be there.

The song is available on iTunes, so consider downloading and Facebooking, Tweeting and Tumblring the video/iTunes link your friends. I know some of you get your music from *other* places or rip the audio from YouTube. It’s 99 cents, it goes to a great charity and…well, listen to it. Don’t you want to fist-pump and mosh for worldwide equality? This is a middle finger song to all haters and homophobics if I have ever seen one.

Nice guy much? Oh yea...

Also, credit must be paid to Andrew Keenan Bolger (right, a well-rounded and talented performer/director currently in Mary Poppins and slated for the Newsies Broadway transfer) for directing the music video and editing it. We got hints as to how the music video would go; namely, the concert space would be empty and “BAM!” The audience suddenly appears. Even so, I did not forsee the mix of LGBTQ-related videos and newsreels to be mashed together with the concert footage and the in-studio filming; the entire package just works. He was super-nice on shoot and very professional as well. All of them were.

A lot of talented, sweet people coming together to generate awareness for a cause and raise money for a charitable organization, not to mention throwing a bone to the theater crowd that loves them dearly. What could be better then that…

Glee 3x07 "I Kissed a Girl"

2011-11-30T22:48:00.052-05:00

Best friend Kay made an entry about Glee in a recent post in her LiveJournal. Of the many dead-on things she said, there is one thing above all that is worth pointing out…

“I don't get joy from the show anymore.”

Sing it, sister. Call me sometime…

Keep that in mind for a second and let’s play another round of “Nostalgic Glee.” Think back to when Kurt came out of the closet to Burt early on in the show’s run. That episode, and Kurt in particular, was hilarious (“I’m Kurt Hummel and I would like to audition for the role of kicker”), appropriately dramatic and sweet. Remember, this show was once the feel-good show of the year.

Naya Rivera just burns through
camera lens like matches.

By comparison, let’s look at “The Santana Show” this week. Was she hilarious? Not really; her bitchiness in the face of so many people trying to help her was a new level of low (even for her) and really depressing.

Oh sure, there was some sweet scenes. But let’s get the ugly out of the way…that scene with Santana’s grandmother was AWFUL. It’s fine for the show to indulge in stereotypes and clichés, but Abuela was every possible one wrapped into one character. The entire scene, the whole three minutes, was such an obvious, cheap trick resulting in Santana in tears. Was anyone engaged or particularly interested in this scene, given the seriousness of the subject matter? I wasn’t; underwhelmed and bored is more like it. Santana just rambled while Grandmother sat there stoically. Really?

The show also has a history of parents and teachers, pretty much everyone except Burt and Carol, being immature, inappropriate, pathetic or flat-out terrible. Enough already; we get it. Why they did not show Santana’s parents is beyond me; talk about a missed opportunity. Oh right, having supportive, kind parents is not melodramatic enough; silly me…

As bad as that was, there was actually an even more cringe-worthy scene and a piece of dialogue. Take it away Finn…

"I don’t want you to die."

Oh boy. Let me remind you again, this was once a feel-good show with a darkly-comedic undertone. Last season, the heavy-handed use of social commentary and a too serious gay-bullying storyline had a hand in the show’s precipitous fall. What should we make of this? When “heavy-handed” is an understatement, you know there is a glaringly bad issue. Some writer somewhere wrote the scene, an entire crew, actors included, made the scene and the scene made it through the entire editing process to wind up in the final reel. Did anyone ever say “what the hell is this?”

Apparently not.

Our accents may sometimes trip up.
It is Glee though, so it does not matter.

More venting…yes please. I do not know what to make of Finn this episode; but then again, this character was always jostled around when it came to the gay storylines. For the most part, he gets unfairly treated what with him being antagonized to the extreme (Kurt’s initial fawning/scheming and Santana’s nastiness most notably). With screaming the “F” word to Kurt, being scapegoated during Karofsky-gate right before the Burt/Carol wedding, his animosity towards Blaine and outing Santana last week, he is, by default, made to look anti-gay (despite some brief moments of redemption). That was clearly not the intention because this week, he was all but one step away from getting a tattoo of a rainbow flag on his body with his affection towards Santana. Wait, what…

I love that the show addresses many angles of teenage homosexuality in such a mainstream platform, but Kurt and Santana, after they both had some amazing scenes before, during and shortly after coming out, irritate me and weigh the show down with the dourness of it all. It was way better back when they were supporting characters and scenes exploring their situation were a real treat. Now, they spearhead a good portion of the show and the mediocrity of their character arches reflect that the Glee creators are incapable of incorporating the subject manner without the need to teach a lesson or shoehorn in a recent newspaper headline or statistic. You want to make a point Glee creators? Give the characters believable dialogue, let the scenes flow naturally and let subtlety speak volumes. Don’t try to create melodrama and churn out clunky scenes with the hope that the audience wants to be educated.

Suggestive Cha-Cha Train/Conga Line!

I think I have run my mouth off enough. No; wait, one more issue. Sorry; my word vomit is catching up with the show. Every plot wrapped up off-camera and even the storylines that could have long-term potential, all wrapped up by the episode’s end. Talk about a pacing problem; it is like the anti-The Walking Dead. It is obvious why; the folks of Glee are always insistent on concluding most of the plots before Sectionals, while leaving us with a cliffhanger or two (in this case, Rachel’s DQ and Puck telling Quinn about his affair with Shelby).

Bad ideas all around; the production of West Side Story lasted an episode, which was very weird considering auditioning and casting took up more time then rehearsing and opening night. Santana’s coming-out wrapped up after all that build-up; not to mention, it was only a fraction of the length (and depth) of Kurt’s story. Both elections wrapped up (although to be fair, the student election ran its course), but the Burt vs. Sue throw down ended before it ever really began. Where did this Burt winning come from?

Ugh, hit it musical numbers a.k.a the episode’s saving grace. No kidding; the music and staging has been on point for nearly the entire season.

Cute outfits and a cute number. I may have ragged on the “Kurt & Bullying” thing, but I do sympathize for him losing the election and his application looking weaker as a result (even though they act like his acceptance damn near hinged on it).

My favorite Puck number in a long time. I also love the glances and cut-shots; each reaction in itself advances the plot forward.

Puck and Shelby sleeping together was something, wasn’t it? Also, when did the former become the wise one of the group, calling out Quinn and Shelby left and right. I mostly agreed with him on everything, like Shelby’s tough exterior crumbling down and Quinn’s downfall from the moment he impregnated her.

This is a brilliant reimagining of “Girls Just Want To Have Fun,” even though I am not a fan of the number itself. Cory Monteith sounds like he took a valium and started singing. Santana’s reaction throughout the song was good; that is one department Rivera really excels at.

Love the staging and love the number. Team Bieste for the win.

The idea of another love triangle forming does not excite me really. However, I can give it some time; for one, Cooter is a nice guy and Coach Bieste would let her insecurities put a halt in the romance. My only issue is that the writers constantly belittle her with her protein consumption, constant weight-lifting and…butchness. It would not kill them to lay off her a little; it is getting way to repetitive.

Fierce as hell and a lot of energy. Katy Perry should ~~blow~~ kiss the cast of Glee for constantly doing her numbers justice.

And another one of Tina’s solos is covered again. If they redo “True Colors,” I might weep.

Also good, but I was more impressed with how the number not only fit Santana’s story, but Shelby’s and Kurt’s.

- I do not give the ensemble enough credit; the cast is filled with a lot of acting talent. Home-runs all around, I say…

- Now that the electon is over, what does that mean for Sue, other then eating up Coach Bieste’s man? Jane Lynch continues to be underutilized, but then again, Sue Sylvester’s glory days have been long behind her.

- I did like the twist that Rachel is off the New Directions for Sectionals. I have to admit, them winning at Sectionals does not seem like such a foregone conclusion now. That is a major credit to the show.

- Yes, I saw the preview for next week. No, I was not excited for Sam’s return; but my attitude is shifting…him being a stripper, exotic dancer or whatever looks ridiculous and amusing. Considering the show defers to overly serious, if not dull, that can only be a welcome sight.

The Walking Dead 2x07 “Pretty Much Dead Already”

2011-11-29T07:51:00.000-05:00

This should not take to long. Aside from a masterful final ten minutes, this episode hammered home everything that the show should not be doing. With the exception of maybe Glee at the end of last season, this is the only time I am actually happy to take a break from a show that I watch fairly regularly.

"Yo man; I got this!"

Let’s run down the riveting stuff that we have never seen before on the The Walking Dead. Dale and Andrea have a tense disagreement, where the former is overbearing and concerned, while the latter is having none of it. We also have Rick and Hershel talking about the group leaving vs. staying, as well as the morality of murdering vs. preserving the walkers. Let’s not forget Maggie and Glenn; the former began the episode frustrated and pissed, only to have an attitude change and make-out with the latter after some sweet moments. Shane is a narcisstic a**hole and has another stare down with Dale.

Done, done, done…and done.

We had one major plot ~~movement~~ reveal; the reappearance of Sophia in zombie form. It harkens back to the show’s glory days as the group had to eliminate one of their own; a disturbing, yet emotional moment comparable to when Amy died. My issue is that I, and probably some of you, had no idea it was Sophia emerging from the barn. She only had a few lines all series and I could not even recall what she looked like as a human. The only reason I knew it was her is because of the camera angles and the editing (before the gasps and horrid reactions, that is).

AAHHHH...wait, who are you again?

Even worse, the entire storyline, as in the group relocating to the farm, hinged on her disappearance and subsequent searching. Oh sure, a lot of stuff happened in-between; but considering the drag of a pace the show has become, her re-appearance was more of a “FINALLY” moment instead of shock or horror. The way I see it - her death is likely to propel the action forward because (1) it was one of the few remaining anchors to the farm and (2) Hershel is hard-pressed to keep the group around after such a violent display of shooting (Thanks in part to Shane).

It did not have to be like that; I should have cared that sweet, little innocent, Sophia was a walker and just had a bullet shot into her head. I should have been caring about Carol’s lament (even if the actress’ acting was not up to par). This scene took way to long to arrive and caused it to fizzle out a little; this whole farm detour and Sophia’s disappearance should not have occupied more then 3 episodes.

We are now 7 episodes into the season and pilot episode aside (and maybe one other exception), no other episode has matched the high-caliber of last season’s proceedings. The showrunner, Frank Darabont, got cut from the show at some point during the filming of the first episode this season and that has had a huge part in the show’s demise. Sure, the show is based on a Comic Book series; but TWD is definitely more complex then your average zombie flick. Besides, there has been some discussion that there has been some major deviation from the book. Regardless, with the success of last season and an overwhelming dislike for this season, Darabont is sorely missed.

I’ll resume watching the show when it returns in February. I am hoping they can right many of the wrongs because the goodwill of the show was somewhat restored in the final few minutes. Not enough to justify the previous 5 episodes of Little House on the Prairie with a zombie scene cut-in, but just a small glimmer of hope that the tension and pace that propelled the show to stardom will return after some time off.

Final thoughts and recaps before bidding adieu…

- I am all for character development in a drama like this, but they need to step it up a notch. Lori, Shane and Rick are fine; but nearly everyone else, what with the repetitive conversations and motives, has hardly changed or disclosed something interesting this season.

- Although, I do have to admit, Daryyl is awesome and a budding romance with Carol makes sense and also happens to be interesting. I do like Glenn and Maggie too; I do not mind them having more to work with.

- By the way, can we have the crazy, grenade-hiding Carol back? I think we lost her, but I am not giving up on the under-the-surface crazy she has floating around.

- What about the rest of Hershel’s family? Does anyone even know the son’s name that kept popping up (or is it a nephew or friend perhaps)?

- I have not forgotten about Otis-gate. Despite Dale’s rambling, the cat is not yet out of the bag and it is only a matter of time before Shane is completely exposed.

- I also have not forgotten about Morgan and his son. Or Merle Dixon. Or even Guillermo and his gang back in Atlanta. Or the question of what Dr. Jenner said to Rick at the CDC. I really hope these moments do not get left behind with Darabont.

- I love a good flashback, but most of TWD’s range from useless to forgettable. Looking at some of my favorite television shows, Nikita and Dollhouse particularly, flashbacks can be deployed to achieve certain plot and character moments that the present cannot.

- Get off the farm, and the show will be instantly better. Just saying…