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I have become addicted to the XM satellite radio station Cinemagic. This past Sunday night, they played a tribute to giant-monster movies, featuring selections from all three versions of King Kong, both versions of Godzilla, Gorgo and Cloverfield. While the programmers didn’t include the score of the new movie Big Man Japan (now playing in LA and NYC), what was played served as a perfect musical follow-up to this smart spoof of Japanese entries in the genre.
The Fantasticks — the off-Broadway phenomenon by Tom Jones and Harvey Schmidt that made its debut way back in 1960 and became the world’s longest-running musical — is an odd and somewhat dated show. However, Los Angeles' Reprise Theatre Company, director Jason Alexander and a great cast of gay favorites have done probably the best job possible in making it relevant and enjoyable for modern audiences with a too short-lived revival that unfortunately closes today.
Headlined by Will Truman himself, Eric McCormack, and boasting co-stars Lucas Grabeel (the High School Musical series as well as Milk) and out actor Barry Dennen (Jesus Christ Superstar’s original Pontius Pilate, interviewed here on Easter), this production of The Fantasticks is splendidly sung and acted. McCormack and Grabeel make especially strong vocal impressions as, respectively, the show’s sinister narrator, El Gallo, and its innocent young-man-in-love-with-the-girl-next-door (Alison Woods). McCormack also sports tight leather pants the whole time!
Alexander stages the action on a simple round, raked platform surrounded by gauzy white draperies. The draperies double as scrims, on which are occasionally projected season-appropriate images of autumn leaves, spring flowers and winter snowflakes. Driscoll Otto’s lighting design also utilizes splashes of color and sunlight befitting the characters’ locations and/or moods.
With Jones’ approval, Alexander and company have made at least one significant change to the text: one of the two conniving fathers has become a mother. The change won’t even be noticed by someone unfamiliar with the original version, and Eileen T’Kaye pulled it off perfectly. Stage and screen vet Harry Groener paired well with her as Luisa’s father, Bellomy.
I had the privilege of meeting Eric McCormack after the performance I attended. He’s a very nice, easy-going guy, and is currently filming the period comedy My One and Only with Kevin Bacon and Renée Zellweger. McCormack previously starred in The Music Man on Broadway and has great song-n-dance chops. If not The Fantasticks, hopefully we’ll get a chance to hear him in another musical in the not too distant future.
Headlined by Will Truman himself, Eric McCormack, and boasting co-stars Lucas Grabeel (the High School Musical series as well as Milk) and out actor Barry Dennen (Jesus Christ Superstar’s original Pontius Pilate, interviewed here on Easter), this production of The Fantasticks is splendidly sung and acted. McCormack and Grabeel make especially strong vocal impressions as, respectively, the show’s sinister narrator, El Gallo, and its innocent young-man-in-love-with-the-girl-next-door (Alison Woods). McCormack also sports tight leather pants the whole time!
Alexander stages the action on a simple round, raked platform surrounded by gauzy white draperies. The draperies double as scrims, on which are occasionally projected season-appropriate images of autumn leaves, spring flowers and winter snowflakes. Driscoll Otto’s lighting design also utilizes splashes of color and sunlight befitting the characters’ locations and/or moods.
With Jones’ approval, Alexander and company have made at least one significant change to the text: one of the two conniving fathers has become a mother. The change won’t even be noticed by someone unfamiliar with the original version, and Eileen T’Kaye pulled it off perfectly. Stage and screen vet Harry Groener paired well with her as Luisa’s father, Bellomy.
I had the privilege of meeting Eric McCormack after the performance I attended. He’s a very nice, easy-going guy, and is currently filming the period comedy My One and Only with Kevin Bacon and Renée Zellweger. McCormack previously starred in The Music Man on Broadway and has great song-n-dance chops. If not The Fantasticks, hopefully we’ll get a chance to hear him in another musical in the not too distant future.
With the close of the 2008-2009 Broadway season, it is time take a look back at the four musicals and one play that braved the transition From Screen to Stage and pick your favorite.
Did 9 to 5 punch your clock?
Were you left dreaming of a White Christmas? Did Billy Elliot leave you cheering, or was Shrek more your cup of (green) tea? Or perhaps To Be or Not To Be answered all your questions (yeah, I know, probably not).
Vote for your favorite in the MD Poll located in the right hand sidebar, and check back in two weeks (on June 6, the eve of the Tony Awards) for the results!
Did 9 to 5 punch your clock?
Were you left dreaming of a White Christmas? Did Billy Elliot leave you cheering, or was Shrek more your cup of (green) tea? Or perhaps To Be or Not To Be answered all your questions (yeah, I know, probably not).
Vote for your favorite in the MD Poll located in the right hand sidebar, and check back in two weeks (on June 6, the eve of the Tony Awards) for the results!
The new prequel/remake/alternate-reality version of the venerable (and multiple) Star Trek TV and film series didn’t remind me so much of former incarnations as much as it brought to mind another big screen adaptation of a sci-fi television show from the 1960’s: Lost in Space. Trekkers will likely want to jettison me out the shuttle hatch for saying so, but the current box-office bonanza looks and is plotted a lot like the widely-panned (although I admire it) 1998 movie of producer Irwin Allen’s so-silly-it’s-cool “Space Family Robinson” saga, right down to their shared time-tripping scenarios.
Also similarly, the new Star Trek movie is produced and directed by J.J. Abrams, who, like the late Allen, hops back and forth between feature films and TV series, including Lost and Alias. Readers familiar with his past work can have fun seeing how Abrams’ take on the early years of Kirk, Spock, Uhura, etc., confirms many of the producer-director’s fetishes: long-haired, exotic and/or ethnic women; giant, clawed monsters à la Cloverfield; bone-crunching, mano-a-mano fight scenes; and the reality-bending as well as redemptive possibilities of time travel (as anyone who watches Lost knows).
In the current film, the newly-acquainted and barely-trained crew members of the USS Enterprise are thrown into action against a renegade Romulan, Nero (played by Eric Bana, a fine actor here reduced to glowering menacingly and little more). Nero and his loyal crew possess futuristic technology that enables their squid-like ship to travel through time and turn planets into black holes in a matter of minutes. The villains have a vendetta against Spock, although not Zachary Quinto’s younger incarnation (which is fine) so much as the older Ambassador Spock, a.k.a. Leonard Nimoy.
Nero & Co.’s obsessive hunger for vengeance struck me as more than a bit borrowed from 1982’s Star Trek II: The Wrath of Khan, in which Ricardo Montalban’s genetic superman is blinded by his desire for revenge against William Shatner’s Captain Kirk. Of course, there is no better source to borrow from than Wrath of Khan, generally regarded as the best of all the Trek films.
Also similarly, the new Star Trek movie is produced and directed by J.J. Abrams, who, like the late Allen, hops back and forth between feature films and TV series, including Lost and Alias. Readers familiar with his past work can have fun seeing how Abrams’ take on the early years of Kirk, Spock, Uhura, etc., confirms many of the producer-director’s fetishes: long-haired, exotic and/or ethnic women; giant, clawed monsters à la Cloverfield; bone-crunching, mano-a-mano fight scenes; and the reality-bending as well as redemptive possibilities of time travel (as anyone who watches Lost knows).
In the current film, the newly-acquainted and barely-trained crew members of the USS Enterprise are thrown into action against a renegade Romulan, Nero (played by Eric Bana, a fine actor here reduced to glowering menacingly and little more). Nero and his loyal crew possess futuristic technology that enables their squid-like ship to travel through time and turn planets into black holes in a matter of minutes. The villains have a vendetta against Spock, although not Zachary Quinto’s younger incarnation (which is fine) so much as the older Ambassador Spock, a.k.a. Leonard Nimoy.
Nero & Co.’s obsessive hunger for vengeance struck me as more than a bit borrowed from 1982’s Star Trek II: The Wrath of Khan, in which Ricardo Montalban’s genetic superman is blinded by his desire for revenge against William Shatner’s Captain Kirk. Of course, there is no better source to borrow from than Wrath of Khan, generally regarded as the best of all the Trek films.
Saturday, December 5, 2009
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