A Transparent Musical is Coming Along!

 It was kind of nice to revisit these characters, even though I stopped watching the TV show a season or two before its finale. As was the problem with the series, these characters are who they are, and their flaws become tiresome. 

The songs by Faith Soloway were really good! More than one showstopper, and all hit that right balance between familiarity and dissidence to make it interesting. I also very much appreciated that I could understand most of the words most of the time. 

Still, there are areas that need work. 

While "You Must Be (Love at the JCC)" is one of the most entertaining numbers of the show, the storyline between Josh and Raquel feels forced and is the weakest subplot of the show. And that's even more evident in "Quartet" when they try to juxtapose the oldest siblings. While a very nice song, the stakes aren't high enough for Josh and Raquel to the more crucial stakes for Sarah and Len. 

"Mom in a Car" desperately needs to be moved to Act 1. Sarah Pfefferman (played by Sarah Stiles) comes across as angry for no reason until that song, and it's a little too late in the show to really care about her and what happens in her relationship. Stiles, an incredible actress and singer, deserves better. 

Also, one minute she makes a hard and important decision, and 2 songs later, changes her mind and makes the opposite decision, which makes her whole storyline seem pointless because there's no sign of change or growth, just sentimentality. 

Unfortunately, Daya Curley's Maura is lacking. This cast has many incredibly strong performers, and Curley gets swallowed by all the talent around her. 

The standout is Liz Larsen's Shelly Pfefferman. Much like Judith Light in the TV series, she's the most fun to watch. Her character (and the actor playing her) has found the right balance of flawed and funny that the audience completely lights up whenever she comes onstage.

There is cutting to be done here. The show doesn't merit the length. Tightening it up all around would be beneficial. 

These criticisms are not meant to steer any audience member away. It was an enjoyable evening, and I think we'll be able to say we saw it when. They're meant to help bring the show to a much broader audience, and with these tweaks, I think they'll get there. 

7.5/10

*These opinions are entirely my own. I paid for my ticket. 

A New Brain told in a New Way

This is a William Finn show that I've never before had the pleasure to see IRL, but have listened to both the original cast recording and the 2015 cast recording starring Jonathan Groff many times. So I was thrilled to buy a ticket to see this at The Davidson/Valentini Theatre at the Los Angeles LGBT Center (a first for me), presented by Celebration Theatre, in association with LALGBTC. 

I have not been in a theatre this small in years, and the intimacy really worked here. The energy was shared between the performers and audience in this beautiful way that can only happen in live theatre. 

This was a different presentation of the show, directed by Khanisha Foster, starting with the casting. Gordon is played by non-binary (they/them) Amanda Kruger, and Roger (Gordon's lover) by Yassi Noubahar (she/her), roles previously played by men. Kruger's Gordon is three-dimensional, and finishes the marathon seemingly with more energy than when the show started! Noubahar's voice is beautiful, which made up for a lack of nuance in character. 

The 4-piece band adds so much to this show, but I was hoping for a moment to actually see them behind their hidden curtain. For the most part, the sound design works, but there were some  moments where the lyrics were lost, particularly with Kruger and Noubahar. 

Sade Ayodele as Rhoda, on the other hand, had no such trouble with her incredible voice! I also appreciated the depth she added to a character that was only outlined on paper. 

What struck me the most is that, even though the center of the story is Gordon's brain tumor, the majority of the 95-minute show is a celebration. The characters may be queer or gender expansive, but that's not the focus of the show. It allows these humans to be just that: humans dealing with love, sickness and demanding bosses, and finding the humor and ways to sing about it. 

While the show is about 5 minutes longer than it should be, Foster keeps the show moving and uses the space inventively. Alli Miller-Fisher's choreography celebrates the body's desire to move, to dance, to be free, and Mitchell Johnson throws themselves into every move with the biggest smile ever!

Every cast member has their opportunities to shine, and they feel like a loving family when they're all on stage together. 

This production runs through June 24, and I strongly encourage you to experience this celebration of life and theatre. 

Sweeney Todd on Broadway: Annaleigh Ashford is Exceptional

I was fairly anxious when Sweeney Todd began at the Lunt-Fontanne Theatre. This has been a favorite of mine, and was my introduction to Sondheim when I was 9 years old and we watched it on PBS. It started late so we’d agreed that we’d watch Act 1 and then go to bed and save Act 2 for the next day. It was agony! 

I’ve seen that PBS version more times than I can count, but I’ve never seen it live! I just felt so lucky that my “first time” was in a Broadway production, directed by Thomas Kail, with Alex Lacamoire conducting, and an incredible company. 

*Disclaimers: I paid for the tickets myself. Jordan Fisher was out for our performance, and we saw the excellent understudy, Nathan Salstone.

While this production doesn’t start with a whistle, the prologue still features the fantastic ensemble, setting the mood. While Sweeney will never be a toe-tapper, the addition of movement, as choreographed by Steven Hogget, enhanced the effect. 

There’s no doubt that Groban can sing this role as good, if not better, than the giants who have previously played the role. What was questionable was whether he had the acting chops. Given that Kail cast him, however, I was hopeful. They’ve clearly collaborated beautifully to create Groban’s Sweeney. He’s almost scarier because his demeanor is less hunched, not a constant frown. More like a sadness that eventually erupts into anger. And his energy and laughter in “A Little Priest,” which is immediately after his beautifully eerie “Epiphany” is impressive. 

Gaten Mattaranzo is pitch perfect as Toby. Not only did he sound great, there was depth in the character’s transition from a naïve boy to his puppy love crush on Mrs. Lovett to the devastated young man in the final moments. 

Let me be clear. Everyone is great. Ruthie Ann Miles (a haunting Beggar Woman), Maria Bilbao as Joanna, and a completely surprising new side to Nicholas Christopher as Pirelli, there's a ridiculous amount of talent on that stage.

And yet, Annaleigh Ashford absolutely steals the show! This was the first time I’ve seen her live, and she’s exquisite. It’s not just her comedic timing, great voice, and electric chemistry she has with each and every scene partner, she includes the audience like no one I’ve ever seen. She’s not pandering, she’s not hammy, she’s just completely there with you and for you. She recognizes the beauty of that one moment in live theatre. I simply could not take my eyes off of her. 

While I’m forever grateful that the PBS version exists, and I will watch it again, this production is what makes revivals worthwhile. There’s no dismissal of what was, but there’s a clear forward progression. I’m thrilled that we’re getting a cast recording of this beautiful production.