Jeff Davis - Page 5

There's a good reason why the work of Dr. Seuss still remains part of American pop culture. His wit, humor, and iconic style are timeless, and his stories engage kids of all ages. If you don't believe me, go to Zach Theatre and see their stage adaptation of The Cat in the Hat. While kids will love the silliness of the titular feline, adults will be astonished and thrilled by the cleverness of the stagecraft.

To borrow from my favorite boozing broad, I'd like to propose a toast: To Austin Theatre Project. With their production of Company, ATP shows once again why they are a new theater company to watch. By tackling Stephen Sondheim's beloved show about the ups and downs of both marriage and bachelorhood, ATP once again showcases their ability to tell a story and entertain.

I have no doubt that selecting a theatrical season must be an incredibly challenging task. Making a last minute change to your season must be even worse. Different Stages, one of Austin's most consistently impressive theater companies, was posed with such a problem this year when they were forced to forgo one of their initially announced production, Child's Play.

There's a great Hollywood myth about the film version of The Color Purple. The beloved classic about African-American women was directed by the very male and very white Steven Spielberg, but he allegedly almost quit the project days before shooting was to begin. According to legend, Steven called the film's producer, Quincy Jones, a few days before shooting to voice his doubts about the project. 'I don't think I should direct this,' Steven said. 'I'm a white Jewish guy from California. What do I know about African-American women from the South?' To this, Quincy replied, 'Steven, are you an alien? Because you directed E.T., and I think that was pretty good.' Spielberg stayed on as director, and the film was a huge success that earned 11 Oscar nominations.

It's tough to decide what I like more, a great production or a great new theater. Thankfully, I got both during my recent trip to Texas State San Marcos Department of Theatre and Dance. Their current production of Anything Goes is stunning, as is the new Patti Strickel Harrison Theatre.

Over the course of his fifty year career, Stephen Sondheim has written shows of a predominantly darker hue. He's tackled stories about showgirls who are past their prime, a barber turned serial killer, a giant who destroys a fairy tale kingdom, presidential assassins, and an entire country selling out to the western world. Still, his unassuming 1981 musical about the slow demise of a three-pronged friendship may be the saddest thing he's ever written. If that sounds like an indication that you should skip Merrily We Roll Along, keep in mind that no one does sad like Sondheim. In other words, roll along to St. Edwards University, see this show, and enjoy the emotional sucker punch.

A word of caution to writers everywhere. Never use a word as bland as 'ordinary' in the title of your work. Its use will either be prophetic or grossly inaccurate. In the case of Ordinary Days, it's a bit of both. While Penfold Theatre's production of the new chamber musical features some of the greatest talent that the Austin theater community has to offer, the material itself isn't up to par. The show is extraordinary, but the material is not.

I remember seeing the world phenomenon that is Cats back in the late 90s, and my response then could be summed up in four words: 'I didn't get it.' Sure, the set was cool, the costumes were fun, and the choreography was outstanding, but Andrew Lloyd Webber's score was among his worst and the 2 and a half hour show failed to have a point. How the hell did this show get nine lives and an 18 year run on Broadway?

There are two types of people in Austin: those who have seen a Trouble Puppet show, and those who have not yet seen a Trouble Puppet show. Regardless of which one you are, The Crapstall Street Boys is certain to be 75 minutes of pure entertainment.

Honesty may be the best policy, but it's not the most fun one. Thank God 16th century playwright Pierre Corneille and modern day playwright David Ives have an affinity for the truth-challenged. Ives's modern take on Corneille's classic French comedy The Liar is an exhilarating and side-splitting mix of the old and new, and Austin Playhouse's production of it reminds us just how exceptional the Austin theater community is.

Whether at their best or worst, Erica and Ben are always honest and authentic, and that honesty and authenticity is what The Boys Next Door revolves around. As Tom Griffin's outstanding text requires that 'normal' actors play the four central roles, getting that sense of honesty is tough. The actors must show how quirky and unique these men are but must keep the characters from becoming offensive caricatures.

Upon entering Hyde Park Theatre for a chick and a dude's current production of The Whale, you get several clues about the central character of Charlie. His apartment, designed by Michael B. Raiford, is absolutely disgusting. Pizza boxes and KFC buckets litter the floor, and the couch, which has seen better days, is propped up on cinder blocks. Between the set decoration and the title, one can guess that Charlie's going to be on the larger side, and he is. Thanks to an extraordinarily believable fat suit constructed by Kelly Ruiz, Charlie (Shanon Weaver) is a 600 pound man. But The Whale, which could easily be a play about a fat suit, has far more to it.

BroadwayWorld recently had a chance to catch up with Jim Rado, co-writer of Hair, to discuss the show's history, its groundbreaking contribution to musical theatre, and the revisions made for the current touring production…