Charm City Call Board - June 2007
By: James Howard Jun. 26, 2007
Welcome to Charm City Call Board for June 2007! Below are pertinent articles from the month. For current local theatre listings, discounts and news, please see the Charm City Call Board for July 2007.
BACKSTAGE BABBLE! (News, Book, CD, DVD Reviews, etc.)
READERS WRITE! (New 06/26/2007)
Barton from Pikesville writes: When you review a show, do you have different standards for professional theatre versus community theatre and everything in between? What do you look for? Well, Barton, whole books have been written on that very subject - theatre criticism. I suppose the first part of your question, for me at least, is yes and no. Yes, I expect a lot more from a show say on Broadway or even touring at the Hippodrome compared to a local show put on by folks who do not have performing or technical theatre as a profession, but rather as an avocation. But, on the other hand, I have the same standards for any production that charges the public money for the privilegde of attending their production, which sort of answers the second part of your question. There are minimum standards that I expect any production to meet, and they have little to do with level of talent or money spent on a show. And that, I think, is my job - to let the public know if what is being presented is a decent return on their investment of time and admission price. First, no matter what, the production should be well-rehearsed enough that the cast knows their lines, songs, and blocking. Second, it should be apparent that some thought was given to the technical requirements of the show. Now, that, of course is relative, because most theatres can not afford top of the line lighting, computers, etc. But, regardless of budget, have the technical needs been addressed? One of the best productions of Company I have ever seen, the recent revival on Broadway, employs no scenery, no exceptional lighting tricks, and no costume changes, while another version I have seen was so overdone with scenery and special effects that the meaning of the show was totally lost. A fortune was spent, I'm sure, but it was not a successful interpretation. Overall, I try to remember: for centuries, plays were performed on bare platforms outside with a couple of props and a mask or two. Those plays are still performed and studied today, so they must have done something right! Third, it should be apparent that the play has been directed. I'm not just talking blocking - most acting editions have minimal stage directions in them - I mean has there been an attempt (at least) to make the production meaningful as the playwright intended and something for the audience to remember. Finally, and this I think is what a lot of people do not understand, effort does not necessarily equal quality. Anytime anyone steps foot on a stage, I understand that effort has been made (see items 1- 3 above). However, just because a cast has rehearsed and worked for weeks on a show doesn't mean the show is good. If that were the case, every single show on Broadway would run forever. People who present shows at that level often mortgage homes and run up incredible debt (ask the people who presented High Fidelity last year), and people spent years of their lives writing, directing and readying it for Broadway. I don't think anyone could argue that much effort was made, and yet, it flopped, closing in just 10 days after opening. That is an extreme example, but it applies at any level. A cast of thousands putting on Oklahoma at Podunk Performing Arts Center may work for weeks, but if Aunt Eller isn't funny or Curly can't remember the lyrics to his solo, the show isn't good. Period. Still, the most important thing to remember is that a critic's point of view is only one. No one can like everything! I hope that answers your question, Barton! Thanks for writing.
NEW BROADWAYWORLD.COM FEATURE FOR BALTIMORE! (New 06/12/2007)
Thanks to all of you, who have made Baltimore the NUMBER ONE regional site on BroadwayWorld.com, the editors have decided to make a feature only availble previously to New York and London available to Baltimore/DC - our very own Events Calendar! That's right, Baltimore/DC joins only two other cities - LA and Chicago - to having their own events calendar. That feature, found under "Insider Info" down the left side of your screen can be accessed with a simple click. (You will need to be on the Baltimore page to get the Baltimore Events Calendar.) Print one out each month, and be sure to check back frequently as events are updated as they come in. If you are involved in a theatre related event in Baltimore (or, separately, DC) and you don't see it on the calendar, let either Charles Shubow or me know and we'll post it right away! And if you see an error or know additional information, let us know that as well. NOTE: When you go to the Events Calendar, it appears that you can submit events yourself. However, that is not the case. Charles and I have full, real time posting and editing capabilities. Please submit information and/or corrections through one of us. My email is jameshoward@broadwayworld.com. Or you may contact Charles at cgshubow@broadwayworld.com. We can add to both the Baltimore AND DC calendars. We hope you enjoy this latest feature - all of Baltimore theatre at your finger tips! And thank you for making the Baltimore page such a huge success that we can bring you more features!
FELLS POINT CORNER THEATRE PRESENTS ITS 12th CHALLENGED ENSEMBLE WORKSHOP! (New 06/12/2007)
Local theatre legend Bev Sokal sent me information about one of Baltimore theatre's little gems, now beginning its 12th annual session - The Challenged Ensemble at Fells Point Corner Theatre. She writes: "We are planning our 12th CHALLENGED ENSEMBLE Workshop to begin July 5th. and running through July 29. Barry Feinstein, Speech Pathologist, Director and Teacher with us and the Community, leads this program which is for participants of all ages, able and disabled. The goal is to create an original play for touring and performance on our FPCT stage, July 29th. Last December the play, THE SIX JEWELS, created by the Ensemble was adapted as our annual HOLIDAY PRODUCTION. We do not charge. We meet Mondays through Thursdays each week from 10:00 A.M. - 12:30. The last week we tour such venus as the Kennedy Krieger Institute, The League for People with Disabilities and the United Cerebral Palsy Center." For more information, contact FPCT at www.FPCT.org or call 410-276-7837. This is a program definitely worth supporting!
PUMPKIN THEATRE OFFERS TWO YOUTH SUMMER CAMPS! (New 06/12/2007)
Another big name in local theatre, Todd Pearthree (his sister, Pippa Pearthree is currently appearing on Broadway in Inherit The Wind), sent this information: Pumpkin Theatre, celebrating it's 40th year, has 2 summer theatre camps for young people.
the public on July 20 and 21 at 7:30 pm. Tuition is $1,350.00.For the younger, more inexperienced performer (ages 8 to 12) - we have MULAN, based on the Disney film. Directed and choregrahphed by LaurenSpencer-Harris with musical direction by R. Christoper Rose. The program runs July 23-August 3 from 9 am. to 3 pm. with performnaces August 3 and 4 at 7:30 pm. This is a total performance camp with all time spent rehearsing. Tuition is $900.00.
HERE WE "GROW" AGAIN! New Theatre Company JOINS BROADWAYWORLD.COM - PRESENTS Elton John'S AIDA! (New 06/12/2007)
I am very pleased to announce a New Theatre Company, ArtsCentric, to the Baltimore BroadwayWorld family. Friend of the site, Kevin McAllister, known to local audiences for his performances in Ragtime and The Full Monty at Toby's of Baltimore, sent me this exciting information about their upcoming production. Later this month, ArtsCentric will be presenting Elton John and Tim Rice's AIDA at the Carl J. Murphy Fine Arts Center, Turpin-Lamb Theatre located at 2201 Argonne Drive in Baltimore. This production features direction by Mr. McAllister, musical direction by Cedric Lyles, choreography by Anwar Thomas and set design by Jeff Harrison. The cast includes Ashley Parker (Ragtime at Toby's Baltimore), Barron Singleton, Mary Searcy, Michael Robinson, Shonda Gladden and Andre Simmons. There will be one preview, Thursday, June 28, with opening night on June 29. The show runs Thursdays at 11AM, Fridays and Saturdays at 8PM, and Sundays at 5PM, through July 8th. Tickets are $20 general, $15 seniors (55+) and $10 students (with ID). Tickets may be reserved online at www.artscentric.org or by calling 443-870-3669. Let them know at ArtsCentric that you heard about them on BroadwayWorld.com!
THE 2007 TONY AWARDS: A FEW FINAL THOUGHTS
Well the 2007 Tonys are history. (In fact, history was made by The Coast of Utopia, winning 7 awards, the most ever for a non-musical.) Here, for what it's worth, are my thoughts on Sunday's presentation, the winners, the losers, and my own picks...
- The opening of the telecast: I loved it! What a cool way to introduce a theatre awards show in a truly theatrical way! I especially loved the way the casts of the performing shows were "called" to the stage. And of course, the headshots of the presenters were great, too! And, of course, the use of "I Hope I Get It", segueing into "One" really showcased A Chorus Line, didn't it? Which brings me to my next thought...
- Understudies get their moment on Tony TV: Both the casts of A Chorus Line and Spring Awakening included their understudies in their entire performance, which I think is really classy. True the understudies actually appear on stage in both shows, but it was nice to see all of them kicking in "One", and such an integral part of "Totally F'ed"! Which brings me to my next thought...
- Spring Awakening: Not only did it win the most Tonys on Sunday, it really showed why it is the best musical. Are those kids talented or what!!?? Lea Michelle, Jonathan Groff and Tony-winner John Gallagher, Jr. all looked so natural on screen. It won't be long before some smart movie guys snatch all three of them from the stage! And their presentation nicely nailed what the show is about. Isn't it odd though that "bitch" is ok, but "breasts" isn't? I liked the new lyrics for "The Bitch of Living", though. They really fit. And what a subtle "FU" to the censors during the "Totally F'ed" portion! Classy, classy, classy!
- Best Acceptance Speech: Frank Langella for Frost/Nixon. How graceful, honest and to the point. The man has class...
- Non-nominated shows performing: While I did like the little montages they did for "The Season in Plays and Musicals", they were too fast, and only really understandable for those of us who either saw them all or REALLY keep up with the Broadway season. But considering the stink that happened when the non-nominated shows Legally Blonde and LoveMusik were offered a chance to perform, then had it taken, I think it really stinks that both The Color Purple and Jersey Boys were given prime performance spots. I mean, come on! Who are they kidding tying The Color Purple to the ALLIANCE THEATRE, when we all really know the Tony people wanted to cash in on the American Idol thing by getting Fantasia to sing on the show (she was great, even if she didn't take a bow, but that is beside the point) and does Jersey Boys need more publicity? Next year, when Legally Blonde is STILL running and Grey Gardens is but a memory, maybe they'll let Laura Bell Bundy do a number because a hair dye is sponsoring the show!
- No Company for Company: What the heck!!? Why couldn't the cast perform with Raul? Heck, they could have even worn their Tony gowns and tuxes...
- My picks vs. what won: First of all, congratulations to all the nominees and winners. See our "Picks" article for the results. What I learned from that is to go with my gut, and not think about the politics as much. As my friends who went to Spring Awakening and The Little Dog Laughed with me will tell you, at both shows I said right then and there that John Gallagher, Jr. and Julie White would win Tonys for their performances. (John Gallagher, Jr. was an especially bold statement, as I said it at the Atlantic Theatre before there was even talk of it coming to Broadway!) Both of them are my Favorite Tony Wrong Guesses! I have to say, though, that I am still shocked that Bill T. Jones won. I am a HUGE Spring Awakening fan, if you couldn't guess, but really! Ok, his work is subtle, blah, blah, blah... but every other show that performed (save Company and Grey Gardens, which have little choreography to begin with) showed the superior quality of the dancing in their shows, even in their little snippets. Mary Poppins and Legally Blonde were robbed, I tell you! Speaking of robbed...
- Worst Oversight in a Year: Raul Espraza. That award should be his, and everyone knows it. David Hyde Pierce is great in Curtains, but Espraza redefined a legendary role. He is this year's Patti LuPone, similarly robbed for her virtuosa perfromance in Sweeney Todd. What? The Tony voters can really see subtlety in masturbatory choreography, but not in masterfully subtle performances, both of which redefined classic interpretations? I don't believe it!
- The one thing I learned from watching the Tonys: Sin Has a New City. Did we learn nothing from Cop Rock?
Comments
Videos