Oklahoma! Is "Doing Fine" in More Ways Than One

As the lights came up at the end of the St. Ann’s Warehouse production of Rodgers & Hammerstein’s Oklahoma! last night, I had to make sure I picked my jaw up off the floor before I left. I have loved this show in its classic form for many years, but I never could have dreamed the story could be made so relevant to America today. The original production of Oklahoma! opened on Broadway in 1943 at the St. James Theatre and was deemed the first “book musical”, where songs and dances would be integrated into the dialogue and used as storytelling devices. Oklahoma! was the first collaboration of the iconic writing duo of Richard Rodgers & Oscar Hammerstein II. The choreography of Agnes DeMille changed the game for musical storytelling, particularly through the concept of the “dream ballet”. I consider myself a bit of a purist when it comes to this show, so I was skeptical the buzz about this production has people saying it’s dark and edgy. All I could think was “How dark and edgy could Oklahoma! be?”. The genius in concept of director, Daniel Fish, was very apparent as this production took what we knew, and flipped it on its head.

When you enter the space, designed by Laura Jellinek, it’s like you’ve just entered a barn with risers on each side of the alley stage. The space was fit for a gathering complete with festive streamers hanging from the ceiling to about a dozen crock pots of chilli on the tables around the front row (which the audience is treated to at intermission). The orchestra is swapped out for a seven-piece ensemble that embraced the new country/bluegrass orchestrations and became a part of the whole show. There was no overture, nothing to cleanse your palate and transport you into the world of the show. A simple entrance by all the actors who take a seat onstage and take a moment to just stare, followed by a strum of a guitar to prompt the classic opening lines: “There’s a bright golden haze on the meadow/there’s a bright golden haze on the meadow”. By that alone, I knew I wasn’t in for a production of your grandparents’ Oklahoma!. Instead of toting a gun, Curly is equipped with a guitar, which in this case is just as dangerous since we are seduced by the sexiest rendition of ‘Surrey with a Fringe on Top’ I have ever witnessed. I’m getting all hot and bothered just thinking about it. Don’t believe me? Here is a snippet of proof. The more detail Curly goes into, the more hypnotized we get into this magical night he is painting for us. He makes it hard to say no to him, until he tells us he made the whole thing up. Now I finally understand why Laurey gets annoyed and decides not to go with him: no one likes a fuckboy.

As the plot unfolds, I noticed that many topics may have been overlooked originally were highlighted and heightened whereas now, they’ve become relevant themes of mental illness, gun violence and sexual assault and came to the forefront of the piece. The beauty of stripping the set down to bare-bones is that is eliminates the bells and whistles and lets the audience really listen to the words and almost heightens your senses since you’re able to take more in and also extend your imagination further into interpretation. The moments with Jud I found particularly stirring, as these scenes happened in literal darkness. It made me feel uneasy and yet engrossed in what what happening.

Finally, the female characters were depicted so intelligently since they are commonly portrayed as archetypes of women. Laurey’s usual hysterics were replaced by a stoicism and intensity that made the plot more exciting and allowed for her songs to really crack her open on a more emotional level. When Ado Annie is usually made to feel guilty for loving more than one man at a time, suddenly it became an education in polyamory. Aunt Eller wasn’t the crazy old lady who is there mostly for comedic relief, but a respected and intuitive matriarch. The women were equally as complex as the male characters in this piece and for that, I am delighted.

The only aspect I found disappointing was the “dream ballet sequence”, which they moved it to open the second act, a choice I felt was a surprising yet welcome change. Although the whole smelling salts situation is, in my opinion, a little dumb, as a purest, I love the storytelling that happens in that sequence. What the audience is subject to instead is fifteen minutes of anti-climactic modern dance with no sense of storytelling whatsoever. Unless I missed the point entirely, I felt this was an unnecessary addition as the play is long enough as it is (although I can appreciate the attempt to update the movement to a more contemporary style of dance).

Although there were risks taken that may have gone over my head or I’m still trying to unpack in my analytical mind, it is so evident and goes without saying that the performances are top-notch. The intimate nature of the production allows the audience to pick up the subtlety in the choices made by the actors. I could pick up on small facial expressions, the rise and fall of the breath and even tears that were welling up in their eyes. The company established the connection of these people so clearly and didn’t miss a beat. The final chorus of the title song took on new intention as it bridged the tension of the final scene through its the rousing

Overall, this production was excellent as it was exciting, surprising and edgy. I was rattled by the end and felt that the few changes made an incredible strides to make this story accessible and resonate with today’s audiences.

Oklahoma!
St. Ann’s Warehouse in Brooklyn
Music by: Richard Rodgers
Book and Lyrics by: Oscar Hammerstein II
Directed by: Daniel Fish

Cast:
Damon Duanno as Curly McLain
Rebecca-Naomi Jones as Laurey Williams
Mary Testa as Aunt Eller
Ali Stroker as Ado Annie
James Davis as Will Parker
Patrick Vaill as Jud Fry
Michael Nathanson as Ali Hakim
with: Mallory Portnoy, Anthony Cason, Mitch Tebo, Will Mann and Gabrielle Hamilton

Head Over Heels: A Jukebox Musical that is as Refreshing as it is Relevant

This season on Broadway has very much been about commercialism and pastiche, so going into Head Over Heels, the Go-Go's jukebox musical last night, I set myself up for another night of being made fun of for something I love: musicals. When I left the Hudson theatre a couple hours later, I felt so happy and had the best time. 

Head Over Heels is loosely based on Philip Sidney's story, Arcadia, and features the music of The Go-Go's. It follows King Basilius of Arcadia (Jeremy Kushnir) on a quest to prevent a oracle predicted by Phythio (Peppermint) and brings his family along on this journey. His eldest daughter, Pamela (Bonnie Milligan), must find a suitor and get married, while his younger daughter, Philoclea (Alexandra Socha), is secretly in love with the shepherd boy, Musidorus (Andrew Durand). After being forbidden to see Philoclea again, Musidorus follows the family on their quest but realizes he must disguise himself in order to conceal his true identity. He finds an Amazonian frock and wig and becomes Cleophila in order to tag along with the group which leads to lots of farcical insanity to ensue. Woven into the book by Jeff Whitty, which is cleverly entirely written in iambic pentameter, is the music of the all-female rock band The Go-Go's. The music lent itself quite well to this silly but not non-sensical plot. It played-out like a Shakespeare comedy but dealt with many contemporary topics and issues in a way that was tasteful and didn't make a mockery of them. 

The entire production was so well thought out, very creative and clear, thanks to the show's director, Michael Meyer. It had hints of playfulness strung through out and, although had many aspects that made it feel like a farce, the story never felt false. The members of the ensemble were highlighted and used so well, they were able to very much be individuals but excelled as a unit as well. The choreography by Spencer Liff was exciting to watch but the constant use of arm choreography, kicking-your-face and cannons got stale and repetitive as well as moments that pulled focus from plot-driven ones, which made me miss a few Each top-notch performance was enhancing by the exquisite lighting design and intensely detailed costumes, which mashed-up traditional Elizabethan garb with contemporary edge and rockstar glam. The principal performances were excellent and all had incredible moments to show off what they do best. Bonnie Milligan's performance is so perfectly hilarious and, yet, so touching. She is perfectly cast in her Broadway debut as her comedic chops are showcased perfectly as well as her effortless belting. Alexandra Socha draws your eye to her on stage as she radiates sweetness and makes a role that could easily fall into the ingenue trap one that has substance and heart. Peppermint, who is the first transgender woman to originate a principal role on Broadway, was fierce and held their own in a cast of Broadway vets. They filled the stage with an exciting presence that I think will grow as the run continues. 

Ultimately, this show was one of the best times I had at a show in a long time. and you can't help but leave the theatre feeling great. The concept is ambitious but is successful. It's safe to say that the work in Head Over Heels has renewed my faith in the future of the Broadway musical. 

SKINTIGHT: All raw and nothing superficial

The prospect of Idina Menzel in a non-musical was something I had a hard time wrapping my head around since her powerhouse voice is expected when you see her perform live but, I happy to report, she did not disappoint.

Skintight, playing Off-Broadway at the Laura Pels Theatre follows Jodi (Idina Menzel), a recently divorced mother of two in her mid-40's, who has just flown across the country to surprise her father, Elliot, (Jack Wetherall) for his 70th birthday. She has invited her 20 year-old son, Benjamin (Eli Gelb), who has been studying abroad in Hungary, to join in the festivities. When she arrives to discover that her father is "partners" with a younger man, Trey (Will Brittain), who is the same age as her own son, tension can't help but build. 

The piece takes on the concept of the modern family but plays out like drawing room play, where Jodi is forced to navigate this new man in her father's life and where exactly she fits in. The conversations mostly revolve around age and beauty, both topics that affect us in our daily lives, but given our current political climate, seem trivial. Playwright Joshua Harmon keeps the story simple as to be able to touch on many topics he can between these characters. He is great at writing relatable characters since these people he writes are flawed, but we still root for them and the dialogue between them sounds authentic. With Jodi being the only female principal character, there were some quibbles with the female perspective and I felt that he missed the mark a bit on the complexity of her emotional state. Luckily, Menzel brought depth and clarity to a role that could easily be villainized amongst all men in the show. Her comedic chops are in check and felt reassured that she didn't need her powerhouse voice to carry her performance and her acting alone held her own. Another note, something that I love about Harmon's work is that he often writes characters that are gay but doesn't use their homosexuality as a plot point, which is taking a step in the right direction. I wanted to mention the performances of Stephen Carrasco and Cynthia Mace as two of the best examples of physical comedy I have seen. I don't mean physical comedy in a slapstick way, but just in the way that they would have the audience laughing without even saying a word. 

As superficial as focusing of age and beauty can be, there were some really poignant and refreshing conversations had in this piece on those topics. Although there were missed opportunities with the character of Jodi, having men discussing things often given to women was a different and appreciated. 

Straight White Men: It's both everything and nothing that you were expecting it to be

The Helen Hayes Theatre - Monday July 2nd, 2018

I thought I knew what to expect from a play called Straight White Men but when I saw that the play was written by Young Jean Lee, a Korean-American female playwright, and directed by Anna D. Shapiro, a female director, all my expectations suddenly dissolved into excitement and curiosity. (It's also worth it to mention that this is the first time the work of an Asian-American woman is being performed on Broadway).

When I wandered into the lobby of the Helen Hayes Theatre, I could hear a pulsing beat of club-like music. As I made my way up the stairs and into the theatre the music got progressively louder until I actually did feel like I was in a club (I even danced my way to the usher because I couldn't help myself.) The music was matched with colourful disco lighting and a shimmery silver curtain. I definitely thought this play was going to start in a strip-club or something. It made sense: straight white men, strip club. Some audience members, like me, were having fun with this unexpected pre-show but others, namely the older patrons, were just very confused and mildly irritated, so much so that there was someone dressed in a funky coveralls handing out earplugs for those who weren't comfortable with the decibel level. When I read my Playbill, I saw that the person handing out the earplugs was in fact an actor in the show, Ty Defoe. Shortly after this realization, Ty and another person in a matching costume took to the stage and addressed us, the audience, directly. They introduced themselves: Ty Defoe and Kate Bornstein, although in the Playbill, their characters are listed as "Person in Charge". They briefly explain their gender identities (Ty as two-spirit; Kate as non-binary), comically poke fun at the notion of discomfort in a place audience members are used to feeling comfortable and, with a wave of their arm, begin the play. The shimmery curtain goes up and we see a set that looks like a basic family room, except there is a wood frame around the set with a gold name plate on the bottom that said the title of the play, making it look like a life-sized diorama or a museum display. Again, my expectations were put into question. The People in Charge place the Straight White Men in their places on the set, the first being the star-draw, Armie Hammer so his big cheer from the young women in the audience can get out of the way right off the bat. They get set and the real play begins. 

We find ourselves witnessing a family Christmastime that consist of a father and his three adult sons. We learn the mother has died within the last few years, the eldest son, Matt (Paul Schneider), lives at home with his father (very recently re-cast by Denis Arndt, but was played by Stephen Payne at this performance), the middle son, Jake (Josh Charles) is recently divorced and the youngest son, Drew (Armie Hammer) has found success in teaching at a college. Things slowly unravel and get revealed as their personalities and philosophies on life clash and conversations about and alluding to privilege take place (including a crafty re-make of Monopoly called 'Privilege', which two of the brothers play for a brief moment). There's lots of play-fighting, confrontations and testosterone, making the absence of female energy very apparent, which is perhaps is part of the point. I'm sure a question most people want answered is: how was Armie Hammer? You know, he was pretty good. We know he's a great actor, so I wasn't going to be disappointed with that, although I will say, in the particularly dramatic moments, he resorted to a more film style of acting (performing from the shoulders up). He wasn't "in his body" in the way that you need to be on stage, which to me, made for a little bit of disconnect. The show is still in previews and the physicality may come with the comfort of being on stage. Josh Charles on the other hand felt like he was right at home. He was devilish and funny (like most roles I have seen him play on TV) but had some moments of tenderness that changed how I saw this guy by the end. None of these characters are particularly likeable but I think that's the point. The title of the play is almost scrutinizing and these characters are set up to "fail" just based on that and have to work extra hard to redeem themselves.

Many aspects of the play were very performative, which had me thinking that there's no way this is real but the frame around the set was a good reminder that this play isn't realistic nor is it meant to be. The presence of that frame made me think that perhaps this play takes place some time in the future, when gender and race become obsolete. The idea of the People in Charge had me thinking that at this at this point in the future, we have to demonstrate this kind of person and the "challenges" the Straight White Man faced in another time. That was the only thing that could tie all the aspects of this play together in a clean package since the presence of the People in Charge and the actual play with the Straight White Men were completely disconnected. This play ultimately left me with a lot of questions, with the big question being what brought Young Jean Lee write this piece and make this her story to tell? 

Escape to Margaritaville: 'Lacks substance but is abundant with substances and a laid back love of life'

"It's five o'clock somewhere": a phrase that has been present my whole life, commonly uttered by my Dad on a hot summer evening, before 'happy hour' has officially started. Beer (or G&T) in hand and parked in an adorondak chair, having just changed into comfy clothes that usually consists of one of his favourite Jimmy Buffett t-shirts, my Dad relaxes after a long day. 

Before it closes on July 1st, I made a point to see Escape to Margaritaville at the Mariott Marquis Theatre, mostly to indulge my Dad. I was already familiar with some of the classic Buffet tunes and the lifestyle that goes along with it, so I was ready for a show that wasn't going to have a whole lot of substance. From the moment I walked through the glass doors from the lobby of the hotel the theatre is located in, you're brought to a world of tiki-bars (serving Margaritas, both on the rocks and frozen, of course), ushers in Hawaiian shirts and all around fun. With my tropical printed skirt making me feel like I fit right in, I had my expectations for the show itself set very low. This show isn't meant for the theatre-goers and that is quite obvious by the atmosphere created. It had a laid-back quality and feels a bit like a cruise ship. I will say that I was pleasantly surprised by how much I enjoyed this show since it fulfilled that titular expectation of 'escape'.

photo by: Matthew Murphy

The show is set in a cheap vacation hotel in the Caribbean, Tully (played cool and effortlessly by Paul Alexander Nolan) is a guitar-toting singer at the hotel. When environmental scientist Rachel (Alison Luff) and her soon-to-be-wed best friend, Tammy (the delightful vocal-powerhouse, Lisa Howard), check-in to the Margaritaville hotel, where after spending a couple of days, they leave changed women. 

With that being said, the plot was rather simple and indeed thin. Book writers Greg Garcia and Mike O'Malley didn't miss a single opportunity to incorporate a lyric reference into the characters and storyline, making your experience of the show either richer if you were in on the jokes or the laughter lost on you if you didn't. Any time I started to enjoy the show, the plot would take a weird turn and I do think it was to try and fit it just one more Buffett-ism (for example, as much as I love a tap number, this show was not one that needed one or was something I was looking for in it. It had one). It was also a safe assumption that the show was written by men as the two female characters had disappointing. Alison Luff's character, Rachel, is a scientist who is constantly chastised for loving her job and career and for being beautiful and single. Lisa Howard's character is Rachel's best friend whose main plot points centered around her weight. In this show, both of these women need men to make their lives more full. Suffice it to say, this show did nothing to progress female stories this season since every character is driven by sex and not intellect. 

It shouldn't go without saying that despite the story lacking in substance, I enjoyed the performances and the "vibe" of the show. The show as a whole oozed the Buffett life-style from the costumes complete with a variety of tropical prints to the . The show was led by Paul Alexander Nolan who makes his performance seem as effortless and free as his the way his character, Tully, lives his life. Also, shout out the the constantly changing and moving ensemble of this show. The dancing is no joke and they are onstage, transforming from character to another and another all within minutes, not to mention they look like they are having the best time doing it.  

Ultimately, out of all the shows about volcanoes this season (*cough, cough* Spongebob), this one was my favourite. I had fun recounting the show to my Dad was who busting a gut laughing at all the references they managed to fit in there. Although 'Escape to Margaritaville' didn't ultimately find its place on Broadway, I do think it will find its place on tour next year year across America. 

Emotionally caught between two magnificent Melting Pots - A Reflection on New York: The Melting Pot (Soulpepper)

There is no other city outside of New York that inhabits being a melting pot better than Toronto. Being born and raised (and constantly homesick) for my hometown in the true north, I have everything that Toronto offers right here in New York City, but to varying extremes. I see extreme wealth and poverty, extreme light on one street and extreme darkness down another, an extreme metropolis and extreme greenery, extreme cleanliness and extreme filth. It's all there. 

Soulpepper Theatre Company, a place where I was fortunate enough to begin to develop my theatrical palette at a young age, has taken over the Signature Theatre on 42nd Street for the month of July and has brought some of their best work, not to mention some of Canada's most gifted artists, to share these stories with New York audiences. One of my all-time favourite pieces, Of Human Bondage, is selling tickets like hot cakes, as well as a life-affirming musical revue of the American classic Spoon River, which I was delighted to finally see this week after missing it the first three times it was mounted in Toronto. With that is the hilarious yet touching overnight hit, the family dramedy Kim's Convenience, and the TYA adaptation of the kids book Alligator Pie (which I have yet to see but hear is delightful), along with many smaller productions and concerts, showcasing the incredible talent this company has temporarily imported. 

Tonight, I got to see the first instalment of Soulpepper's New York concerts called The Melting Pot. Each instalment showcases the musical influences the landed, thrived and have been influenced by the habitants of the lower, middle and upper parts of the borough of Manhattan, with tonight's performance showcasing the Lower end (the other two parts were teased to be coming next year upon the company's return). The audience is taken on a musical grand tour through time and towards uptown, from many places between Pearl Street to W 23rd Street. Working our way through the landing of our ancestors, guided by the riveting and knowledgable emcee, Artistic Director Albert Schultz, we discover the foundation of tap dance (with floor-burning dancing by two incredible local dancers, sadly uncredited in the program) as well as the roots of some of our favourite Golden Age showtunes of Berlin and Gershwin. Of course, it is a challenge to talk about the foundation of New York City without mentioning Alexander Hamilton "who is still dancing today" quipped Mr. Schultz during one of his insightful, historical spoken interludes. With powerful performances of traditional African, Irish and Jewish melodies, I was moved by each of the pieces, enhanced by the stunning and beautifully curated projections behind the performers, which showed historical photographs of the real people who came before us and built this city, often with their bare hands and hard labour. I could feel the blood running through my veins as I listened to the music that our immigrant ancestors brought with them and all that they could carry in one duffle bag. As we are taken through time, we get to listen to incredible and heart-stirring renditions of songs by some of the best artists of the last century arranged by the musical genius, company member Mike Ross. We are also graced by the musical talents of the versatile Hailey Gillis (she shows off all her vocal chops from classic opera to classic rock within minutes), the vocally rich Troy Adams, Andrew Penner who is not only a gifted guitarist but also captures a depth vocally that I have never experienced in a concert, and of course, one of Canada's national treasures, Jackie Richardson, whose unique and soulful voice draws you in with every note she sings and brings tears to your eyes as she fills each note with incredible emotional intent. With each piece, I felt these performers truly embodying the spirit of those whose music they are sharing and allow those spirits to borrow the bodies and voices of these artists to seep into our own spirits to remind us of what came before. I felt myself reacting emotionally to these pieces due to the deep passion these artists were able to capture with each song, everything was incredible truthful, which struck a chord with me. I felt both my American and Canadian heritage very strongly with this show and felt equally proud of each side respectively. This concert was also an incredibly beautiful Canadian presentation of that perspective of being enchanted and also influenced by this city. 

On a more personal note, not too long before the show began, I was lamenting to my friend my trials and tribulations of my experiences living in the city and my increasing desire to leave it and go back home for good. After having an emotional experience taking in this show, I left the theatre feeling changed and felt oddly full with great excitement of the promise that our art to last and have a profound impact on the future, as shown with the incredible selections in the concert. Once I was spat back out into this city that I have been having a tough time befriending, I was able to see it in a new light. The Melting Pot was a kind reminder of what makes New York so great and fantasied about and why people flock here in planes, trains and automobiles to get a taste of it. I too, with the help of some fellow Canadians, can see this wild city with a new perspective and feel a little more hopeful that I will be okay.