Lin-Manuel Miranda directs a fantastic new version of tick, tick…BOOM!, making a theatrical nerd’s wet dream out of this Jonathan Larson musical
“Everything you’re about to see is true…apart from the bits Jonathan made up”
Some musicals you see and you think yeah, this could possibly change a sceptic’s mind about the artform. And then some you see and you think, this really is just playing to the crowd. tick, tick…BOOM! definitely falls into this latter category, hugely enjoyable but so densely suffused in the world of musical theatre that it might be too much for newbies to unpick.
It is directed by Lin-Manuel Miranda (Hamilton) and adapted by Steven Levenson (Dear Evan Hansen) from Jonathan Larson’s (Rent) semi-autobiographical musical about writing a musical. And structurally, we follow Andrew Garfield’s Jonathan as he delivers a one-man-show (called tick, tick…BOOM!) whilst flashing back to his attempts to finish his magnum opus, a musical called Superbia. Continue reading “#AdventwithClowns Day 20 – tick, tick…BOOM! (2021)”
The Inheritance, by Matthew Lopez
Heroes of the Fourth Turning, by Will Arbery, Playwrights Horizons
Cambodian Rock Band, by Lauren Yee, Signature Theatre
Greater Clements, by Samuel D. Hunter, Lincoln Center Theater
Halfway Bitches Go Straight to Heaven, by Stephen Adly Guirgis, Atlantic Theater Company/LAByrinth Theater Company
A Strange Loop, Playwrights Horizons/Page 73 Productions
Octet, Signature Theatre
The Secret Life of Bees, Atlantic Theater Company
Soft Power, The Public Theater
The Wrong Man, MCC Theater Continue reading “Nominations for the 2020 Drama Desk Awards”
“In my experience, whenever somebody says ‘the truth is’ that usually means it’s not”
Lots to love in The Good Fight, not least its very existence as a female-led, POC-heavy US drama, unafraid to tackle the most modern of issues, as its parent show The Good Wife did in its prime. And over the 10 episodes of its first season, it has proved an engaging and entertaining watch in the midst of finding its feet about the kind of show it actually wants to be. (You can read my thoughts about Episodes 1 and 2 here).
The Good Fight tried to achieve a lot – establishing a large new ensemble, delivering enough storyline for three lead characters, paying adequate but not overbearing fan service to Good Wife devotees, and coming up with up-to-the-minute cases-of-the week. And I think we can say it did most this fairly successfully. Christine Baranski’s Diane Lockhart and her statement necklaces remaining a shining beacon of light in our cold, dark world. Continue reading “TV Review: The Good Fight Series 1”
“Diane, when did you get so cynical?”
I hadn’t intended to write about this spin-off from The Good Wife but its opening two episodes were just too full of insane goodness impossible to ignore – I mean just look at that poster art for one. The earlier seasons of The Good Wife were fantastic, US network television close to its best, but the show definitely lost some of its sparkle as its core ensemble collapsed and none of the replacement cast members were able to deal with the unchecked gravitational vortex of its key star Julianna Margulies as Saint Alicia Florrick.
Two victims of this were Christine Baranski’s Diane Lockhart, in there from the beginning and much abused by the end, and Cush Jumbo’s Lucca Quinn whose arrival in the seventh and final season promised much but ultimately suffered from writing that would not, could not, allow her independence from Florrick. So it is tempting to see The Good Fight as an apologia from series creators Robert King and Michelle King as, along with Rose Leslie’s newcomer Maia Rindell, they form the three leads of a brand new ensemble show that is serving up life! Continue reading “TV Review: The Good Fight Episodes 1 + 2”
The end-of-year lists of favourite plays and performances should be on their way soon, once the food coma has abated, but to tide you over, here’s my list of 9 of my top moments in a theatre over 2016, the things that first come to mind when someone says ‘what did you enjoy this year’. For reference, here’s my 2015 list and 2014 list. Continue reading “9 of my top moments in a theatre in 2016”
“I feel something needs to change”
It’s funny how your relationship to a show can change so dramatically. When I first heard Sara Bareilles’ concept album for her musical adaptation of Waitress, I thought it was pleasant without being particularly memorable. And whilst seeing it on Broadway, my mind got preoccupied with what I found to be pretty big issues in the book to the exclusion of pretty much everything else.
But getting the cast recording in my hand and spending a rainy afternoon just listening to it over and over, I realised I had missed out on just how musically special it is. The lushness of the harmonies flesh out the songs in the most gorgeous way imaginable and somehow, it feels easier ignore the apparently lifelong questionable decision-making of our heroine and her lack of agency. Continue reading “Album Review: Waitress (Original Broadway Cast Recording 2016)”
“She is all of this mixed up and baked in a beautiful pie”
Hailed as the first Broadway musical with an all-female top-line creative team – music and lyrics by Sara Bareilles, book by Jessie Nelson, choreography by Lorin Latarro, and direction by Diane Paulus – Waitress marks something of a watershed moment. And even if it based on a film, that film was also written by a woman, the late Adrienne Shelly. One might wish for a slightly more substantial slice of something to take that credit but it’s still a rather lovely thing, not least for the slices of pie available to buy in the Brooks Atkinson Theatre.
Its saving grace is a superb leading performance from Jessie Mueller as Jenna, a waitress at Joe’s Pie Diner somewhere in the South in a town off of Highway 27. Married and pregnant, and not particularly happy about either, her dreams of opening her own pie shop (she bakes all 27 varieties on offer herself) seem increasingly far away. Until that is, a baking contest in a nearby county opens a window of opportunity, as does an affair with her unexpectedly handsome gynaecologist. Continue reading “Review: Waitress, Brooks Atkinson Theatre”