I'll skip the tired and repetitive apologies for not posting more lately. I'll get it in gear when I can find the time.
In the meantime, a rare timely Review Preview of Argonautika at McCarter. Not quite the mindblower I was hoping for, but quite interesting and kind of fun to watch.
And what could be better than a visit to Princeton in the spring?
Please all keep my stepson, Cyle, in your thoughts. He left for Afghanistan last week and is now an Army lieutenant in charge of a reconnaissance team, flushing Taliban and other bad guys out of caves and such.
Hell of a way to make a living. Good news (I hope) is after two tours in Iraq, his wife has told him this is the last one.
Mother is with the young Mrs. on that one.
Anyway, on with the show. Talk to you soon, I hope.
If you want to go:
What: “Argonautika”
When: through April 6
Where: Centenary Matthews Theatre, McCarter Theatre Center at Princeton University, 91 University Place, Princeton
How much: $15 to $49
Info: (609) 258-2787; www.mccarter.org
By WILLIAM WESTHOVEN
Daily Record
“Don’t be so literal. You’ll miss a lot.”
That’s the advice from one God to another in “Argonautika,” the latest myth-inspired theatrical experience staged by Mary Zimmerman at McCarter Theatre.
Zimmerman clearly has an abstract eye, as she previously proved at Princeton with “The Secret in the Wings” and “The Odyssey.” The former blended a sampling of lesser-known Grimm fairy tales and the was latter based on Homer’s epic poem. She also won a Tony for her 2002 staging of “Metamorphoses,” based on another Greek poem by Ovid.
Artistic director Emily Mann praises Zimmerman’s ability to “tell a tale by transforming language into thrilling visual life.” “Argonautika,” which visualizes the mythology of Jason and the Argonauts, is certainly evidence of that ability. On a set that resembles a mostly bare wooden crate set on its side, Zimmerman turns “Argonautika” into a gift basket full of visual treats.
Her grasp of language and dialogue, however, is less consistent. She overreaches by tapping into two different interpretations of the tale, which causes some confusion, especially for those people who may not be familiar with the story in the first place.
Fans of Greek mythology know all about Jason, son of a deposed king who is tasked by his uncle and current king to retrieve the mythical Golden Fleece and thereby claim the thrown. Looking on from above, the goddess Hera knows this is a fool’s errand, designed to get Jason out of the king’s hair, and most likely send him to his death.
With Hera and Athena watching his back. Jason constructs a mighty ship, the Argo, assembles a mighty strike force (including Hercules) and sets sail into unknown waters. During their storied voyage, they encounter myriad peril, including vengeful gods, sea monsters, flying harpies, fire-snorting bulls and a liberal dose of sorcery.
In her director’s notes, Zimmerman acknowledges the most popular adaptation of the story, crafted by Apollonius of Rhodes, along with another by Gaius Valerius Flaccus. From them, and two different translations, she rescues the full story of Jason’s lover, Medea, which often has been removed from popular Hollywood adaptations.
Small wonder, since they cast the title hero in a bad light. Medea was a sorceress and virgin daughter of King Aietes of Colchis, keeper of the Fleece. Because Jason needs Medea’s help to accomplish his mission, Hera and Athena convince Aphrodite to get her son, Eros, to shoot Medea with an arrow that makes her fall in love with Jason.
But in this adaptation, once the mission is accomplished, Jason dumps Medea for a politically motivated marriage, setting off a final series of tragedy.
Zimmerman’s narrative is frequently dry and heavy handed, which occasionally anchors the Argo in muddy seas. It also weighs down the actors, who struggle to give their characters a clear sense of identity.
A few actors break through. Soren Oliver plays Hercules as an oafish brute full of bluster, while Atley Loughridge covers a gamut of emotion as Medea. Her giddy giggling early on makes her undeserved fate that much more tragic.
Others struggle, including Jake Suffian as the title character, who has trouble standing out in a crowd of uniformed Argonauts, and Sofia Jean Gomez as Athena, who is saddled with much of the narration.
No matter, because “Argonautika” is more for the eye than the ear, and Zimmerman does not disappoint her fans. Characters drop from the sky and disappear through the floor, while puppets and some stunning costumes bring supernatural characters to more life than some of the human ones. Black grills in the “box” allow for eerie lighting effects, while the entire cast choreographs a spectacular wind storm.
The actors also execute some tricky and physical gymnastics that will remind some of a ballet, and even sing a few entertaining songs.
Zimmerman also has a knack for comic relief, and an odd sense of comic timing that seems delightfully random, so you never know when it might pop up. Allen Gilmore, as the scheming King Pelais, has the most fun as the scheming, two faced King Pelias.
The director also injects brief bursts of profanity to remind you that you are in Princeton, not at a child’s show at the Growing Stage.
Sunday, March 23, 2008
Wednesday, March 12, 2008
Signs of life
A quick check in to make sure you all know I did not go away. Sorry, but I've just been too busy to blog. So much to do at the Daily Record, where we have now started five new weeklies since last summer, including two in the last month. And I'm hip deep in that project. I enjoy it more than most, given my community newspaper background. We're not filling these with trailblazing, first-amendment, watchdog journalism, but rather positive news, including lots and lots of photos and reader-contributed content.
All very well received, and keeping the ship afloat, so to speak. But they are large monsters that must be fed, forcing me to work some weekends and nights in addition to the rest.
Also have been regularly producing auto columns for our new Real Morris magazine for the rich and famous (well,maybe not famous). I've test driven a Porsche Cayenne, a Mercedes I don't remember the number and a Lamborghini Gallardo.
But I hope you've been noticing that I'm still getting tot he theaters and cranking out the reviews. You just need to go to Dailyrecord.com to read them.
FYI, I'll leak word that I've won another first place NJ Press Award for critical writing, although not official until the awards ceremony in April. Guess I'll have to update the profile. If anyone cares, the submitted reviews were for Henry VI, Seven Brides and My Three Angels. I believe all three are posted here somewhere.
I'll get back to Review Previews, etc, soon, but just don't have the time right now. Also,I hear the Gannett NJ papers are going to do some sort of collective blog consolidation or reorg, and I'm still in the mix for that. Perhaps even they'll acknowledge blogging in the job description, which would force them to budget time from your week to do that.
I can dream, can't I?
In the meantime, back to the grind. Talk to you soon.
All very well received, and keeping the ship afloat, so to speak. But they are large monsters that must be fed, forcing me to work some weekends and nights in addition to the rest.
Also have been regularly producing auto columns for our new Real Morris magazine for the rich and famous (well,maybe not famous). I've test driven a Porsche Cayenne, a Mercedes I don't remember the number and a Lamborghini Gallardo.
But I hope you've been noticing that I'm still getting tot he theaters and cranking out the reviews. You just need to go to Dailyrecord.com to read them.
FYI, I'll leak word that I've won another first place NJ Press Award for critical writing, although not official until the awards ceremony in April. Guess I'll have to update the profile. If anyone cares, the submitted reviews were for Henry VI, Seven Brides and My Three Angels. I believe all three are posted here somewhere.
I'll get back to Review Previews, etc, soon, but just don't have the time right now. Also,I hear the Gannett NJ papers are going to do some sort of collective blog consolidation or reorg, and I'm still in the mix for that. Perhaps even they'll acknowledge blogging in the job description, which would force them to budget time from your week to do that.
I can dream, can't I?
In the meantime, back to the grind. Talk to you soon.
Wednesday, February 13, 2008
Review Preview: The Miracle Worker
OK, here's a technically timely Review Preview of "The Miracle Worker" at Paper Mill. Only technically, cause I saw the show two weeks ago. But the review does not publish until Friday, so it's fresh as a daisy.
No play last week and none this week, but following is another busy stretch, I think seven plays in six weeks.
Oy.
FYI congrats to all the new management types at Paper Mill, recently announced. We're all hoping things turn around.
If you want to go:
What: “The Miracle Worker”
When: through Feb. 24
Where: Paper Mill Playhouse, Brookside Drive, Millburn
How much: $25-92
Info: (973) 376-4343; www.papermill.org
By WILLIAM WESTHOVEN
Staff Writer
The New York Giants recently completed a miracle season in the Meadowlands. For additional inspiration, the Miracle in Millburn plays on a while longer.
There’s no denying the power of “The Miracle Worker,” which is enjoying a high-profile revival at Paper Mill Playhouse. William Gibson’s adaptation of the true-life saga of Helen Keller and her teacher is one of those stories that cannot fail to move an audience.
“The Miracle Worker” also is a fairly simple production to stage, making it one of the most frequently seen plays in the United States. So when a company with a large stage and a lot of seats decides to present this important but intimate drama, several questions come to mind.
Practical considerations include how the director will prevent the huge stage from swallowing the story. Another concern shared by prominent professional theaters is how to make a given production stand out among its many predecessors.
Paper Mill takes on this challenge every year about this time. Last year, it was Tennessee Williams’ “Summer and Smoke.” The season before showcased another inspirational classic, “Diary of Anne Frank.” Both were worthy productions that struggled to connect with the audience beyond the orchestra seats.
Paper Mill, like competing stages across the Hudson, sometimes ups the ante with big-name actors such as “Summer and Smoke” stars Amanda Plummer and Kevin Anderson. Director Susan Fenichell has no such ringer in her cast, although the actors all do an admirable job. And to be fair, it’s hard to find a ringer actress capable of playing a 12-year-old, especially with Miley Cyrus busy on her concert tour.
Instead, Paper Mill has split the daunting responsibility of playing Helen between two up-and-comers: fifth-grader Meredith Lipson of Pennsylvania and New Jersey sixth-grader Lily Maketansky.
Lipson drew the assignment of playing Helen for the press opening and was a bundle of energy in a role normally played by an older “young” actress. Her dark, wild hair, tossed back like a lion’s mane, and high forehead made her eyes stand out like the coal nuggets on a snowman’s face. But those eyes never showed any sign of usefulness as she quickly groped her way around the stage, arms flailing and hands dancing over everything she touched.
The untamed nature of her character—left blend, deaf and largely mute by a childhood fever—leads to the entrance of the title character, Anne Sullivan (Annika Boras). Barely 20 years old and graduated from a special school, traumatized as an orphan and with her own limited vision, Sullivan seemed ill-equipped to reach Helen when many other professionals had tried and failed.
But Helen’s wealthy family in 1880s Alabama was running out of options more humane than a mental institution.
As we all know, Sullivan’s unique perspective and stubborn determination proved to be exactly what Helen needed. The rest is popular history — Helen learned not only to communicate, but became an inspirational speaker, advocate for the disabled and a celebrity, and enjoyed a lifelong friendship with her mentor.
Fenichell does a better job than most directors in adapting an intimate story to the large space. Center stage functions largely as the courtyard of the Keller estate. It later gives way to the dining room set for what is sometimes referred to as the longest battle scene in American drama. Boras and Lipson execute the complex and exhausting scene, in which Anne forces Helen through a lesson in table manners, with admirable precision.
Fenichell also emphasizes the subtle humor that Gibson sprinkles through the story, including Anne’s famous line after emerging from her battle with Helen.
“The room’s a wreck, but her napkin is folded.”
Among the supporting cast, John Hickok nicely blends Captain Keller’s mix of compassion and Confederate bluster, while Emily Dorsch, as Kate, is a sympathetically desperate mother. Scenic designer David Zinn, who also designed the costumes, fills the stage with real estate.
Still, there’s very little here to recommend as a must-see. Certainly, if you have not yet seen “The Miracle Worker,” this would be a fine choice to start. But at $95 for top-priced ticket, you’ll want to search the discount schedule for an acceptable admission.
No play last week and none this week, but following is another busy stretch, I think seven plays in six weeks.
Oy.
FYI congrats to all the new management types at Paper Mill, recently announced. We're all hoping things turn around.
If you want to go:
What: “The Miracle Worker”
When: through Feb. 24
Where: Paper Mill Playhouse, Brookside Drive, Millburn
How much: $25-92
Info: (973) 376-4343; www.papermill.org
By WILLIAM WESTHOVEN
Staff Writer
The New York Giants recently completed a miracle season in the Meadowlands. For additional inspiration, the Miracle in Millburn plays on a while longer.
There’s no denying the power of “The Miracle Worker,” which is enjoying a high-profile revival at Paper Mill Playhouse. William Gibson’s adaptation of the true-life saga of Helen Keller and her teacher is one of those stories that cannot fail to move an audience.
“The Miracle Worker” also is a fairly simple production to stage, making it one of the most frequently seen plays in the United States. So when a company with a large stage and a lot of seats decides to present this important but intimate drama, several questions come to mind.
Practical considerations include how the director will prevent the huge stage from swallowing the story. Another concern shared by prominent professional theaters is how to make a given production stand out among its many predecessors.
Paper Mill takes on this challenge every year about this time. Last year, it was Tennessee Williams’ “Summer and Smoke.” The season before showcased another inspirational classic, “Diary of Anne Frank.” Both were worthy productions that struggled to connect with the audience beyond the orchestra seats.
Paper Mill, like competing stages across the Hudson, sometimes ups the ante with big-name actors such as “Summer and Smoke” stars Amanda Plummer and Kevin Anderson. Director Susan Fenichell has no such ringer in her cast, although the actors all do an admirable job. And to be fair, it’s hard to find a ringer actress capable of playing a 12-year-old, especially with Miley Cyrus busy on her concert tour.
Instead, Paper Mill has split the daunting responsibility of playing Helen between two up-and-comers: fifth-grader Meredith Lipson of Pennsylvania and New Jersey sixth-grader Lily Maketansky.
Lipson drew the assignment of playing Helen for the press opening and was a bundle of energy in a role normally played by an older “young” actress. Her dark, wild hair, tossed back like a lion’s mane, and high forehead made her eyes stand out like the coal nuggets on a snowman’s face. But those eyes never showed any sign of usefulness as she quickly groped her way around the stage, arms flailing and hands dancing over everything she touched.
The untamed nature of her character—left blend, deaf and largely mute by a childhood fever—leads to the entrance of the title character, Anne Sullivan (Annika Boras). Barely 20 years old and graduated from a special school, traumatized as an orphan and with her own limited vision, Sullivan seemed ill-equipped to reach Helen when many other professionals had tried and failed.
But Helen’s wealthy family in 1880s Alabama was running out of options more humane than a mental institution.
As we all know, Sullivan’s unique perspective and stubborn determination proved to be exactly what Helen needed. The rest is popular history — Helen learned not only to communicate, but became an inspirational speaker, advocate for the disabled and a celebrity, and enjoyed a lifelong friendship with her mentor.
Fenichell does a better job than most directors in adapting an intimate story to the large space. Center stage functions largely as the courtyard of the Keller estate. It later gives way to the dining room set for what is sometimes referred to as the longest battle scene in American drama. Boras and Lipson execute the complex and exhausting scene, in which Anne forces Helen through a lesson in table manners, with admirable precision.
Fenichell also emphasizes the subtle humor that Gibson sprinkles through the story, including Anne’s famous line after emerging from her battle with Helen.
“The room’s a wreck, but her napkin is folded.”
Among the supporting cast, John Hickok nicely blends Captain Keller’s mix of compassion and Confederate bluster, while Emily Dorsch, as Kate, is a sympathetically desperate mother. Scenic designer David Zinn, who also designed the costumes, fills the stage with real estate.
Still, there’s very little here to recommend as a must-see. Certainly, if you have not yet seen “The Miracle Worker,” this would be a fine choice to start. But at $95 for top-priced ticket, you’ll want to search the discount schedule for an acceptable admission.
Review Preview rewind: TNJ, McCarter
Neglecting my duties again as me and Mrs. Willie go into full home-improvement mode. We're refinancing to lower our rate and grab some cash for renovations. My home has been a revolving door of contractors, while evening conversations center around countertops and door sizes.
But I am getting to the shows. Following is a draft of the review we already published last Friday, which sort of perverts the whole Review Preview concept. But for the record,we post.
I'll follow with my Review Preview of Paper Mill's "The Miracle Worker."
FYI: "Me, Myself and I" closes Sunday, so if the review inspires you to go, move your booty. Also, tickets are tight.
Theater review
What: “Me, Myself and I”
When: through Feb 17
Where: Berlind Theatre, McCarter Theatre Center, 91 University Place, Princeton University, Princeton
How much: $15-49
Info: (609) 258-2787, ext.10; www.mccarter.org
What: “Flying Crows”
When: through Feb 17
Where: Playwrights Theatre, 33 Green Village Road, Madison
How much: $25-$27.50
Info: (973) 514-1787, ext.10; www.ptnj.org
By WILLIAM WESTHOVEN
Daily Record
It’s not every week that you can find two famous writers staging world premieres in New Jersey.
One of these novel stories comes from a novel, “Flying Crows,” by PBS news anchor Jim Lehrer. James Glossman adapted and directed this fascinating mystery.
At Princeton, three-time Pulitzer Prize winner Edward Albee is exploring more familiar territory, at least for him. “Me, Myself and I” is a dark, abstract, absurd comedy, full of confrontation and twisted conversation that would drive a grammar convention to the hotel bar.
“Flying Crows” is more complicated, but easier to follow. It reconstructs the life of a vagrant discovered living in Kansas City’s Union Station in 1997. Detective Randy Benton (Dan Domingues) finds Birdie Carlucci (Anthony Blaha) there during a final inspection before the historic building’s demolition.
When Birdie reveals he’s lived there since escaping from the infamous Somerset Medical Institution in 1933, Benton searches for answers. How did Birdie avoid detection? How did he eat? And what happened to Birdie at Somerset?
Benton’s only clue is the name Josh (Reathel Bean), whom Birdie says escaped with him. As Benton follows the trail, “Flying Crows” becomes a memory play. We see scenes of Josh and Birdie building a friendship and enduring hardships at Somerset, where thug-like attendants kept the peace with baseball bats.
We also see the memories of other witnesses, including a waitress from Union Station’s fabled Harvey House restaurant, who became more than a friend to Birdie back in the day.
There’s no active crime to solve, but Lehrer has crafted some rich characters and pulls you into this world of shadows.
Glossman’s adaptation moves at a brisk pace and covers a lot of ground. He’s also assembled a talented and brave cast. The problem is they are nearly overwhelmed by having to play two dozen characters in at least as many scenes.
Prentiss Benjamin spends the most time donning new skins. She begins as a narrator, although everyone takes turn providing narration that sounds like it came straight from the book. She also plays an aunt, a doctor, an EMT and the “Harvey Girl” waitress, both in flashback and in 1997.
Benjamin and Domingues know the territory, having done similar ensemble duty in Glossman’s “Sunrise at Monticello” on this stage a few years back. They are up to the task, but the audience has trouble keeping up with who’s who, where and when.
Newcomers Bean and Blaha both turn in rich performances in their principal roles. Bean’s calm, country manner and deep voice give Josh the kind of dignity his character never experienced at Somerset. Blaha is a convincing lunatic and a believable ladies man, both qualities essential to the tale.
Glossman adds a video screen with images of the station real structures that serve as the setting for this fictional story, along with datelines to remind you which decade you’re in. It helps, but so would trimming a few scenes and characters.
But as it stands, “Flying Crow” is worthy of an audience that, in the middle of a Hollywood writer’s strike, could use a good story right about now.
In Princeton, Albee’s “Me Myself and I” doesn’t offer much of a story — a mother who named both of her twin sons Otto and can’t tell the evil one from the good one. We never learn why the doctor who delivered them replaced the father who left on their birthday.
But this darkly hilarious gem is a brilliant showcase for the fabulous Tyne Daly (showing off some rarely seen comic skills) and Broadway favorite Brian Murray as the mom and the doc, who have a ball with Albee’s intricate wordplay. Artistic director Emily Mann wisely clears the set of everything but actors and a few beds, and lets them coin phrases, then twist them into knots like Eagle Scouts at a jamboree. Along the way, we learn a bit about maternal bonds, sibling rivalries and individual identity.
Like “Flying Crows,” it gets confusing at times, but the “Me, Myself and I” audience also can enjoy how the characters are as confused as they are.
But I am getting to the shows. Following is a draft of the review we already published last Friday, which sort of perverts the whole Review Preview concept. But for the record,we post.
I'll follow with my Review Preview of Paper Mill's "The Miracle Worker."
FYI: "Me, Myself and I" closes Sunday, so if the review inspires you to go, move your booty. Also, tickets are tight.
Theater review
What: “Me, Myself and I”
When: through Feb 17
Where: Berlind Theatre, McCarter Theatre Center, 91 University Place, Princeton University, Princeton
How much: $15-49
Info: (609) 258-2787, ext.10; www.mccarter.org
What: “Flying Crows”
When: through Feb 17
Where: Playwrights Theatre, 33 Green Village Road, Madison
How much: $25-$27.50
Info: (973) 514-1787, ext.10; www.ptnj.org
By WILLIAM WESTHOVEN
Daily Record
It’s not every week that you can find two famous writers staging world premieres in New Jersey.
One of these novel stories comes from a novel, “Flying Crows,” by PBS news anchor Jim Lehrer. James Glossman adapted and directed this fascinating mystery.
At Princeton, three-time Pulitzer Prize winner Edward Albee is exploring more familiar territory, at least for him. “Me, Myself and I” is a dark, abstract, absurd comedy, full of confrontation and twisted conversation that would drive a grammar convention to the hotel bar.
“Flying Crows” is more complicated, but easier to follow. It reconstructs the life of a vagrant discovered living in Kansas City’s Union Station in 1997. Detective Randy Benton (Dan Domingues) finds Birdie Carlucci (Anthony Blaha) there during a final inspection before the historic building’s demolition.
When Birdie reveals he’s lived there since escaping from the infamous Somerset Medical Institution in 1933, Benton searches for answers. How did Birdie avoid detection? How did he eat? And what happened to Birdie at Somerset?
Benton’s only clue is the name Josh (Reathel Bean), whom Birdie says escaped with him. As Benton follows the trail, “Flying Crows” becomes a memory play. We see scenes of Josh and Birdie building a friendship and enduring hardships at Somerset, where thug-like attendants kept the peace with baseball bats.
We also see the memories of other witnesses, including a waitress from Union Station’s fabled Harvey House restaurant, who became more than a friend to Birdie back in the day.
There’s no active crime to solve, but Lehrer has crafted some rich characters and pulls you into this world of shadows.
Glossman’s adaptation moves at a brisk pace and covers a lot of ground. He’s also assembled a talented and brave cast. The problem is they are nearly overwhelmed by having to play two dozen characters in at least as many scenes.
Prentiss Benjamin spends the most time donning new skins. She begins as a narrator, although everyone takes turn providing narration that sounds like it came straight from the book. She also plays an aunt, a doctor, an EMT and the “Harvey Girl” waitress, both in flashback and in 1997.
Benjamin and Domingues know the territory, having done similar ensemble duty in Glossman’s “Sunrise at Monticello” on this stage a few years back. They are up to the task, but the audience has trouble keeping up with who’s who, where and when.
Newcomers Bean and Blaha both turn in rich performances in their principal roles. Bean’s calm, country manner and deep voice give Josh the kind of dignity his character never experienced at Somerset. Blaha is a convincing lunatic and a believable ladies man, both qualities essential to the tale.
Glossman adds a video screen with images of the station real structures that serve as the setting for this fictional story, along with datelines to remind you which decade you’re in. It helps, but so would trimming a few scenes and characters.
But as it stands, “Flying Crow” is worthy of an audience that, in the middle of a Hollywood writer’s strike, could use a good story right about now.
In Princeton, Albee’s “Me Myself and I” doesn’t offer much of a story — a mother who named both of her twin sons Otto and can’t tell the evil one from the good one. We never learn why the doctor who delivered them replaced the father who left on their birthday.
But this darkly hilarious gem is a brilliant showcase for the fabulous Tyne Daly (showing off some rarely seen comic skills) and Broadway favorite Brian Murray as the mom and the doc, who have a ball with Albee’s intricate wordplay. Artistic director Emily Mann wisely clears the set of everything but actors and a few beds, and lets them coin phrases, then twist them into knots like Eagle Scouts at a jamboree. Along the way, we learn a bit about maternal bonds, sibling rivalries and individual identity.
Like “Flying Crows,” it gets confusing at times, but the “Me, Myself and I” audience also can enjoy how the characters are as confused as they are.
Wednesday, January 30, 2008
Review preview preview: The Miracle Worker
It's a long story, but although I saw Paper Mill's "The Miracle Worker" opening night, my review won't run for more than two weeks. So it's not actually written yet.
And I'll probably see two more plays and write their reviews before I get around to writing "Miracle Worker" up.
I know what I think. I just haven't thought it through a keyboard. But since you have to know, I'll give you this much:
Pretty good.
Suprisingly effective use of the entire stage, something that's alays a problem here for shows better seen in a smaller space.
Cast was fine all around.
But is it one of those productions I go around and tell my friends, "Hey, you gotta go see this"? Not really. It's always an inspiring story to witness, and I've never seen it done better. But I learned nothing new, nor did I see any performances that had to be seen.
So my friends don't need to be paying Paper Mill prices when they can see this wonderful play the next time it plays for $15 at a nearby community theater, which it undoubtably will soon.
Friday I'm at Playwrights Theatre for "Flying Crows." Saturday I'm at Princeton for "Me, Myself and I." Sunday I have two stories to write before I go to a Super Bowl Party.
So glad my schedule has finally let up a bit.
And I'll probably see two more plays and write their reviews before I get around to writing "Miracle Worker" up.
I know what I think. I just haven't thought it through a keyboard. But since you have to know, I'll give you this much:
Pretty good.
Suprisingly effective use of the entire stage, something that's alays a problem here for shows better seen in a smaller space.
Cast was fine all around.
But is it one of those productions I go around and tell my friends, "Hey, you gotta go see this"? Not really. It's always an inspiring story to witness, and I've never seen it done better. But I learned nothing new, nor did I see any performances that had to be seen.
So my friends don't need to be paying Paper Mill prices when they can see this wonderful play the next time it plays for $15 at a nearby community theater, which it undoubtably will soon.
Friday I'm at Playwrights Theatre for "Flying Crows." Saturday I'm at Princeton for "Me, Myself and I." Sunday I have two stories to write before I go to a Super Bowl Party.
So glad my schedule has finally let up a bit.
Review Preview: Almost Maine
Bravo to the Bickford for a good choice and good execution on John Cariani's "Amost Maine." Always enjoy my visits there, and if you haven't seen the changes at the Morris Museum, you need to check them out. It continues to be a curiously well-kept secret that Morris County has a substantial museum that ranks with the very best in the state. The expanded music box exhibition, which we've seen bits and pieces of in the past, is spectacular. Lots of touring exhibits come and go as well, so keep in touch with them at www.morrismuseum.org.
Anyway, here's the draft of my review, which pubs Friday in TGIF. As always, you get it here first.
And for free.
I'm not sure we have this cross-platform thing completely licked.
Theater review
If you want to go:
What: “Almost Maine”
When: through Feb 17
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30, $28 seniors, $27 museum members, $15 students 18 and younger
Info: (973) 971-3706; www.bickfordtheatre.org
By WILLIAM WESTHOVEN
Daily Record
The 2008 theater season in New Jersey is off to a busy start, with big stars, world premieres and an Oscar and Tony-worthy classic all within easy driving distance.
The Bickford Theatre at the Morris Museum counters with the revival of a relatively obscure romantic comedy where the lovers spend most of the evening dressed for the Iditarod.
The very idea is so crazy—and the show is so enjo yable—that it just might work.
Certainly, the large opening-night audience last Friday evening for “Almost Maine” showed their approval for John Cariani’s charming collection of nine unusual love stories, featuring four terrific actors. Most are funny, although at least one starts sadly and ends sadder.
Cariani’s point is that romance always seems to involve a measure of pain, but the author’s clever writing allows us to absorb—and appreciate—his tough lessons while leaving our romantic idealism intact.
He accomplishes his mission with sneaky humor and little twists that adds delightful abstraction to each sketch. It’s as though Rod Serling decided to write an entire extended episode of the old “Love, American Style” TV series.
Cariani’s twilight zone is the town of Almost, Maine, in the far northwest of New England’s frontier territory. It’s really not even a town, which we learn in the first scene.
“To be a town, you’ve got to get organized, and we never got around to it,” a local fellow named East (Michael Irvin Pollard) informs a strange woman who’s camping on his land without permission.
The visitor, Glory (Liz Zazzi), tells East that her heart is broken in 19 pieces. Fortunately for Glory, East is a repairman.
The next scene presents a sad fellow (Daniel Robert Sullivan) whose broken romance, and tragically misspelled tattoo, lead to a surprisingly happy ending. The first act concludes with Pollard as a man who cannot feel pain, and a couple who argue until their love quite literally gives them a soft place to land.
The second act isn’t quite as funny, but Cariani continues to make thoughtful commentary on love. It’s amusing to watch two people who can’t stand up when they fall in love, but bittersweet because neither wants to admit their feelings. In the next scene, neither husband nor wife wants to admit they are miserable. They’re followed by a woman determined to find her lost love, only to learn she waited too long.
It’s almost enough to ruin the warm, fuzzy feelings we banked in the first act, but Cairiani wisely brings us full-circle. The last sketch gives us as longtime friends who finally connect romantically. Their consummation, though, has to hurdle one more obstacle, not a wardrobe malfunction so much as a wardrobe conspiracy.
Cariani closes the book by concluding a prologue that featured Sullivan and Janice Kildea as young romantics with opposing opinions of what it means to be close. Like the best of “Almost Maine,” these bumper scenes are delightfully offbeat, but not so abstract that the most casual observer won’t get it and appreciate the sentiment.
All four actors are well-known on professional stages in North Jersey and can add several lines to their respective resumes with this single show. Regardless of geographical similarity, the many characters they play in “Almost Maine” demand a wide range of skills and every one of them is up to the challenge.
Director Wendy Liscow, another veteran of New Jersey and New York stages, nurtured the actors, and her production, with smooth confidence. The fast-paced show moves smoothly from scene to scene and mood to mood, while the actors appear comfortable in every circumstance.
Scenic designer Jim Bazewicz gives them an appropriately sparse, snowy landscape, with the kind of star-filled sky that attracts lovers and astronomers in equal number.
From Paper Mill Playhouse (“The Miracle Worker”) to Playwright’s Theatre (the world premiere of newsman Jim Lehrer’s “Flying Crows”) to McCarter Theatre (premiering Edward Albee’s “Me, Myself and I”), there’s plenty of obvious choices right now for theater fans. Hopefully, they won’t overlook this charming and worthy show set on the outskirts of U.S. territory.
Anyway, here's the draft of my review, which pubs Friday in TGIF. As always, you get it here first.
And for free.
I'm not sure we have this cross-platform thing completely licked.
Theater review
If you want to go:
What: “Almost Maine”
When: through Feb 17
Where: Bickford Theatre, Morris Museum, 6 Normandy Heights Road, Morris Township
How much: $30, $28 seniors, $27 museum members, $15 students 18 and younger
Info: (973) 971-3706; www.bickfordtheatre.org
By WILLIAM WESTHOVEN
Daily Record
The 2008 theater season in New Jersey is off to a busy start, with big stars, world premieres and an Oscar and Tony-worthy classic all within easy driving distance.
The Bickford Theatre at the Morris Museum counters with the revival of a relatively obscure romantic comedy where the lovers spend most of the evening dressed for the Iditarod.
The very idea is so crazy—and the show is so enjo yable—that it just might work.
Certainly, the large opening-night audience last Friday evening for “Almost Maine” showed their approval for John Cariani’s charming collection of nine unusual love stories, featuring four terrific actors. Most are funny, although at least one starts sadly and ends sadder.
Cariani’s point is that romance always seems to involve a measure of pain, but the author’s clever writing allows us to absorb—and appreciate—his tough lessons while leaving our romantic idealism intact.
He accomplishes his mission with sneaky humor and little twists that adds delightful abstraction to each sketch. It’s as though Rod Serling decided to write an entire extended episode of the old “Love, American Style” TV series.
Cariani’s twilight zone is the town of Almost, Maine, in the far northwest of New England’s frontier territory. It’s really not even a town, which we learn in the first scene.
“To be a town, you’ve got to get organized, and we never got around to it,” a local fellow named East (Michael Irvin Pollard) informs a strange woman who’s camping on his land without permission.
The visitor, Glory (Liz Zazzi), tells East that her heart is broken in 19 pieces. Fortunately for Glory, East is a repairman.
The next scene presents a sad fellow (Daniel Robert Sullivan) whose broken romance, and tragically misspelled tattoo, lead to a surprisingly happy ending. The first act concludes with Pollard as a man who cannot feel pain, and a couple who argue until their love quite literally gives them a soft place to land.
The second act isn’t quite as funny, but Cariani continues to make thoughtful commentary on love. It’s amusing to watch two people who can’t stand up when they fall in love, but bittersweet because neither wants to admit their feelings. In the next scene, neither husband nor wife wants to admit they are miserable. They’re followed by a woman determined to find her lost love, only to learn she waited too long.
It’s almost enough to ruin the warm, fuzzy feelings we banked in the first act, but Cairiani wisely brings us full-circle. The last sketch gives us as longtime friends who finally connect romantically. Their consummation, though, has to hurdle one more obstacle, not a wardrobe malfunction so much as a wardrobe conspiracy.
Cariani closes the book by concluding a prologue that featured Sullivan and Janice Kildea as young romantics with opposing opinions of what it means to be close. Like the best of “Almost Maine,” these bumper scenes are delightfully offbeat, but not so abstract that the most casual observer won’t get it and appreciate the sentiment.
All four actors are well-known on professional stages in North Jersey and can add several lines to their respective resumes with this single show. Regardless of geographical similarity, the many characters they play in “Almost Maine” demand a wide range of skills and every one of them is up to the challenge.
Director Wendy Liscow, another veteran of New Jersey and New York stages, nurtured the actors, and her production, with smooth confidence. The fast-paced show moves smoothly from scene to scene and mood to mood, while the actors appear comfortable in every circumstance.
Scenic designer Jim Bazewicz gives them an appropriately sparse, snowy landscape, with the kind of star-filled sky that attracts lovers and astronomers in equal number.
From Paper Mill Playhouse (“The Miracle Worker”) to Playwright’s Theatre (the world premiere of newsman Jim Lehrer’s “Flying Crows”) to McCarter Theatre (premiering Edward Albee’s “Me, Myself and I”), there’s plenty of obvious choices right now for theater fans. Hopefully, they won’t overlook this charming and worthy show set on the outskirts of U.S. territory.
Friday, January 25, 2008
Over the Hump Day
Last night I "put to bed," as we say in the biz, Part II of the Daily Record Forecast section, which coincided with my three-month anniversary back in Parsippany. An eventful 90 days, to say the least. Very busy, very exciting, very challenging.
Tonight, I'm at the Bickford. Sunday at Paper Mill. Saturday, I'm off for the first time since Jan. 5. I can kick back, play Internet poker, watch movies on the DVR.
Nap.
TV sports are light in the Superbowl 'tween weekend. But I'm that rare bird that watches golf on TV, and both Tiger and Phil are back swinging.
Might even go hit a bucket of balls if the weather's cooperating. Try out that new driver I got for Christmas.
Life is good, is what I'm saying.
So why am I writing this at five in the morning?
Tonight, I'm at the Bickford. Sunday at Paper Mill. Saturday, I'm off for the first time since Jan. 5. I can kick back, play Internet poker, watch movies on the DVR.
Nap.
TV sports are light in the Superbowl 'tween weekend. But I'm that rare bird that watches golf on TV, and both Tiger and Phil are back swinging.
Might even go hit a bucket of balls if the weather's cooperating. Try out that new driver I got for Christmas.
Life is good, is what I'm saying.
So why am I writing this at five in the morning?
Monday, January 21, 2008
Review preview: "B.F.G. (The Big Friendly Giant)"
Told you I would post soon; no reason to wait, I guess.
Abstract: Great fun, very colorful, touches of MontyPython, and most adults should enjoy it as well. Lotta fart jokes, though, so stuffy (and regular) parents should beware: you'll have to explain on the way home why the giant was wrong to do all that "whizzpoppping."
Theater review
What: “The B.F.G. (Big Friendly Giant)”
When: through Feb. 10
Where: The Palace Theatre, 7 Ledgewood Ave. (Route 183), Netcong
How much: $14; $10 seniors and students
Info: (973) 347-4946; www.growingstage.org
By WILLIAM WESTHOVEN
Staff Writer
Last weekend was a good one for giant fans. Not only did the New York football Giants earn a ticket to the Super Bowl, but another big giant made quite an impression in Netcong.
At the Growing Stage, however, the giants are battling each other in “The B.F.G. (Big Friendly Giant),” another stage adaptation of a story by Roald Dahl, better known for “Charlie and the Chocolate Factory” and “James and the Giant Peach.” English, Oxford-educated David Wood adapted the Welsh writer’s story, but this production carries the unmistakable trademarks of longtime Growing Stage designer-director Perry Arthur Kroeger.
Kroeger knows how to delight the children these shows are meant for, but also knows how to twist the action in ways that will keep the parents from squirming in their seats. He pushes the limits of good taste at times — parents may have to review good and bad body noises with their kids on the way home — but Kroeger enlivens this colorful romp with nearly 100 props and some cheeky, Monty Python-inspired silliness.
Dahl dabbled in black humor as well, and “B.F.G.” also reprises one of his familiar scenarios, which presents a single adult who becomes a champion for children persecuted by other adults. At first, we’re not so sure the hero is very nice, since the play begins with the unnamed giant kidnapping a pigtailed orphan, Sophie, and bringing her to giant country.
Sophie is quickly relieved to learn that he is known as the Big Friendly Giant, or B.F.G. for short, and spends his day catching dreams for children. He’s also a vegetarian, in contrast to the other giants, who like to snack on children (one prefers Turks, another favors English).
A plot of sorts develops when Sophie and B.F.G. learn the other giants plan to turn her orphanage into a British buffet. With the help of the Queen of England, they manage to serve up the happy ending that you can always count on at the Growing Stage, the state’s only professional resident company devoted to children’s theater.
Equity professionals anchor the cast, beginning with Jason Szamreta as the B.F.G. Nikole Sara Rizzo makes her Palace Theatre debut as Sophie, while Bill Edwards, a regular on the regional scene, makes his Growing stage debut in a variety of roles.
Szamreta affects a chewy Down Under accent (Dahl hints at Giant Country being west of East Rutherford, in the neighborhood of Australia or New Zealand) that complements the B.F.G.’s colloquial English, full of playful words including snozzcumber (a revolting vegetable) and whizzpopping (a body noise similar to a burp, but originating further south).
Rizzo manages to be convincing as a child without resorting to the whiny, cloying clichés grownups use when acting childish, and operates a small puppet twin that the giant speaks to, which establishes Szamereta’s giant perspective.
Edwards and the remaining ensemble (including another professional newcomer, Rachel Schwartz, along with community artists Caitlin Orvetz, David Yashin and Ralph Wallace) have their share of fun, but the second act belongs to Lori B. Lawrence, who channels her inner ham as the wobbly, warbling Queen of England. Mugging and cooing under a tiara and a purple-grey wig, her portrayal of this silly monarch is more John Cleese than Helen Mirren, and is the comic highlight of a very young 2008 theater season.
Kroeger also takes some inspiration from the British school of broad humor. His cardboard, cartoon-cutout “costumes” used to portray many characters will remind adults of Terry Gilliam’s animated skits on the old “Monty Python’s Flying Circus” and had the audience in stitches.
Black lights, smoke and other effects give this show a slightly psychedelic quality that will appeal to a broad range of ages. Again, Kroeger flirts with the edges of good taste — the whizzpopping jokes go on so long that one character sprays Lysol — but sometimes, it’s worth the guilt to laugh this much.
Abstract: Great fun, very colorful, touches of MontyPython, and most adults should enjoy it as well. Lotta fart jokes, though, so stuffy (and regular) parents should beware: you'll have to explain on the way home why the giant was wrong to do all that "whizzpoppping."
Theater review
What: “The B.F.G. (Big Friendly Giant)”
When: through Feb. 10
Where: The Palace Theatre, 7 Ledgewood Ave. (Route 183), Netcong
How much: $14; $10 seniors and students
Info: (973) 347-4946; www.growingstage.org
By WILLIAM WESTHOVEN
Staff Writer
Last weekend was a good one for giant fans. Not only did the New York football Giants earn a ticket to the Super Bowl, but another big giant made quite an impression in Netcong.
At the Growing Stage, however, the giants are battling each other in “The B.F.G. (Big Friendly Giant),” another stage adaptation of a story by Roald Dahl, better known for “Charlie and the Chocolate Factory” and “James and the Giant Peach.” English, Oxford-educated David Wood adapted the Welsh writer’s story, but this production carries the unmistakable trademarks of longtime Growing Stage designer-director Perry Arthur Kroeger.
Kroeger knows how to delight the children these shows are meant for, but also knows how to twist the action in ways that will keep the parents from squirming in their seats. He pushes the limits of good taste at times — parents may have to review good and bad body noises with their kids on the way home — but Kroeger enlivens this colorful romp with nearly 100 props and some cheeky, Monty Python-inspired silliness.
Dahl dabbled in black humor as well, and “B.F.G.” also reprises one of his familiar scenarios, which presents a single adult who becomes a champion for children persecuted by other adults. At first, we’re not so sure the hero is very nice, since the play begins with the unnamed giant kidnapping a pigtailed orphan, Sophie, and bringing her to giant country.
Sophie is quickly relieved to learn that he is known as the Big Friendly Giant, or B.F.G. for short, and spends his day catching dreams for children. He’s also a vegetarian, in contrast to the other giants, who like to snack on children (one prefers Turks, another favors English).
A plot of sorts develops when Sophie and B.F.G. learn the other giants plan to turn her orphanage into a British buffet. With the help of the Queen of England, they manage to serve up the happy ending that you can always count on at the Growing Stage, the state’s only professional resident company devoted to children’s theater.
Equity professionals anchor the cast, beginning with Jason Szamreta as the B.F.G. Nikole Sara Rizzo makes her Palace Theatre debut as Sophie, while Bill Edwards, a regular on the regional scene, makes his Growing stage debut in a variety of roles.
Szamreta affects a chewy Down Under accent (Dahl hints at Giant Country being west of East Rutherford, in the neighborhood of Australia or New Zealand) that complements the B.F.G.’s colloquial English, full of playful words including snozzcumber (a revolting vegetable) and whizzpopping (a body noise similar to a burp, but originating further south).
Rizzo manages to be convincing as a child without resorting to the whiny, cloying clichés grownups use when acting childish, and operates a small puppet twin that the giant speaks to, which establishes Szamereta’s giant perspective.
Edwards and the remaining ensemble (including another professional newcomer, Rachel Schwartz, along with community artists Caitlin Orvetz, David Yashin and Ralph Wallace) have their share of fun, but the second act belongs to Lori B. Lawrence, who channels her inner ham as the wobbly, warbling Queen of England. Mugging and cooing under a tiara and a purple-grey wig, her portrayal of this silly monarch is more John Cleese than Helen Mirren, and is the comic highlight of a very young 2008 theater season.
Kroeger also takes some inspiration from the British school of broad humor. His cardboard, cartoon-cutout “costumes” used to portray many characters will remind adults of Terry Gilliam’s animated skits on the old “Monty Python’s Flying Circus” and had the audience in stitches.
Black lights, smoke and other effects give this show a slightly psychedelic quality that will appeal to a broad range of ages. Again, Kroeger flirts with the edges of good taste — the whizzpopping jokes go on so long that one character sprays Lysol — but sometimes, it’s worth the guilt to laugh this much.
Getting busy
Nearly over the hump, dayjob-wise, and not a minute too soon. Skipped the big premieres last weekend at George Street and Two River, and will skip the delayed Albee premiere Friday at McCarter. But I did get to the Growin Stage to see a fun "B.F.G. (Big Friendly Giant)" last Friday, cause that was the geographical imperative. Review preview will post very soon.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
In the same spirit, this weekend I'll be at the premiere of "Almost Maine" at the Bickford and "The Miracle Worker" at Paper Mill. I'll catch up with Albee's "Me Myself and I" soon, while the world premiere of "Flying Crows" opens Jan. 31 at Playwrights Theatre.
Hmm ... perhaps I'll do a double-review of the two world premieres, which by my calendar will make the paper by Feb. 8.
There's something for you guys to look forward to. In the meantime, big deadlines still loom, so let me go.
Congrats to the Giants. Like they say in Piscataway, gotta keep choppin'.
Catching up with Paper Mill
I'm a little late in posting this but since I didn't get the exclusive, I guess there was no hurry.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported in part by funds from the New Jersey State Council on the Arts/Department of State, A Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Congrats to Mark S. Hoebee on his elevation from interim to permanent artistic director at Paper Mill Playhouse. He's certainly earned it, staying on the sinking ship while others bailed. Hard to blame many of them, given the circumstances, but the ship didn't sink, so Hoebee appropriately gets to keep steering.
He still faces daunting challenges--and must adjust to a new managing administration--so the future is anything but certain. But we'll be rooting for him and Paper Mill.
The complete release follows.
Hoebee Takes Top Artistic Leadership Post
at Paper Mill Playhouse
(Millburn, NJ) January 17, 2008 – The Paper Mill Playhouse Board of Trustees is proud to announce that Mark S. Hoebee, Paper Mill’s Acting Artistic Director since March of 2007 has been promoted to Artistic Director effective immediately. Mr. Hoebee joined Paper Mill Playhouse in June of 2000 as Associate Artistic Director. Most recently Mr. Hoebee directed the critically acclaimed production of Meet Me in St. Louis at the New Jersey theatre.
Mark S. Hoebee is a director and choreographer whose work has been seen at theaters all over North America. In the fall of 2006, Mark directed the Actors Fund Benefit Concert of The Best Little Whorehouse in Texas at the August Wilson Theatre which starred Emily Skinner, Terry Mann and Academy Award winner Jennifer Hudson as well as Songs For NU York, a benefit for Northwestern University at The Promenade Theatre which starred Tony Roberts, Penny Fuller and Patricia Neal. In recent years he has directed five companies of Victor/Victoria including the first national tour starring Grammy® Award winner Toni Tennille, Almost Like Being In Love: An Evening With Lerner and Loewe which toured the United States and Canada starring Diahann Carroll and regional tours of Company and Dreamgirls. He directed Paper Mill’s highly lauded productions of Meet Me in St. Louis, Hello, Dolly! starring Tovah Feldshuh, The King & I starring Kevin Gray and Carolee Carmello, Dreamgirls, and in 2002 was granted special permission from Sir Cameron Macintosh to direct an all-new production of Miss Saigon for Paper Mill's stage.
In spring of 2005, Mark worked along side Richard Maltby, Jr. and David Shire as he directed and choreographed the new version of their 1983 Broadway show Baby and the following winter he directed and choreographed the world premiere of Tom Jones and Joseph Thalken’s Harold and Maude: The Musical starring Estelle Parsons.
“Mark has been an essential leader during the ‘Save the Paper Mill’ campaign,” says Kenneth Thorn, Paper Mill’s Board Chair. “Mark’s artistic excellence has a national reputation and we are proud to call him our Artistic Director.”
“Mark Hoebee and I have developed a terrific working relationship over the past several months,” says Mark W. Jones, Paper Mill’s Executive Director, “he has a true artistic vision for the theatre that our audiences can relate to.”
“I hope to continue, as well as deepen, Paper Mill’s historic role of providing a stage for excellence in American musical theatre,” says Mark S. Hoebee. “Paper Mill is my home, I understand what our patrons are looking for and I know Mark Jones and I can revitalize this flagship theatre.”
Mark S. Hoebee has over forty shows to his credit as a director and/or choreographer including such standards as 42nd Street, Gypsy, Brigadoon, Singin’ In the Rain, West Side Story and Sweet Charity (for which he was awarded Chicago’s Joseph Jefferson Award as Best Choreographer), as well as rarely produced shows like Grand Hotel (the American Stock Premiere), Baby (starring Liz Callaway), 70 Girls 70, The First, Romance/Romance and Windy City. Mark made his Network television debut as choreographer for the highly rated CBS show Touched by an Angel. The episode guest starred Carol Burnett, Rita Moreno, Carol Channing and Tim Conway.
His performance credits include the Broadway companies of Jerome Robbins’ Broadway, Nick & Nora, Beauty and the Beast, the Menken/Ahrens A Christmas Carol, as well as working alongside Blake Edwards and Rob Marshall in Victor/Victoria starring Julie Andrews. He has also appeared in national touring companies of Guys and Dolls, A Chorus Line – The Broadway Tour of America, Sweet Charity directed by Bob Fosse, Camelot with Richard Harris, and The Best Little Whorehouse in Texas.
Coming up next at Paper Mill Playhouse is the heart-warming mainstage production of The Miracle Worker. Before Helen Keller became a world famous speaker, author, and advocate, she was a blind, deaf, and mostly mute child living in Alabama in the 1880's. Misunderstood, pitied, and consequently spoiled by her family, at the age of six she terrorized the household with her tantrums and tricks. Then, Anne Sullivan arrived. She was merely twenty years old herself, but Anne held the key that would unlock the door between Helen and the world. William Gibson's Tony Award-winning play (adapted into the Academy Award-winning film) unfolds the trials and tribulations Anne and Helen encountered as they forged what would become a 49-year-long friendship. From their isolation in the family cottage house to the watershed moment when Helen finally understood the concept of language and communication, The Miracle Worker is a profoundly moving retelling of the groundbreaking work of two pioneers, as well as the volatile relationship between them. The Miracle Worker will run at the Millburn theatre from January 23, 2008 through February 24, 2008. There are three added student matinee performances on February 6, 13 and 14 at 11:00am. The Miracle Worker is supported in part by an award from the National Endowment for the Arts.
The Miracle Worker will play the following performance schedule: Wednesdays at 7:30PM, Thursdays at 2:00PM & 7:30PM, Fridays at 8:00PM, Saturdays at 2:00PM & 8:00PM and Sundays at 2:00PM & 7:30PM. Single tickets are now on sale and range in price from $25 to $92. Student rush tickets are $20 and are available the day of performance in person with current student ID. Tickets may be purchased by calling 973-376-4343, or at the Paper Mill Box Office on Brookside Drive in Millburn, or online at www.papermill.org. Visa, MasterCard, Discover and American Express accepted. Groups of ten or more can receive up to a 25% discount on tickets and student groups can attend any performance for only $20 per ticket. For more information regarding group purchases please call 973-379-3636 ext. 2438. For all performances from Wednesday, January 23rd through Sunday, January 27th, buy an adult ticket and receive a children’s ticket for half price (some restrictions may apply).
Rounding out the season is the enduring comedy Steel Magnolias (March 5-April 6), the classic Cole Porter Masterpiece Kiss Me, Kate (April 16-May18) and the “freakishly funny” musical Little Shop of Horrors (June 4-July 6). Visit Paper Mill’s website for a complete list of programming at www.papermill.org.
PAPER MILL PLAYHOUSE, a not-for-profit arts organization, is one of the country's leading regional theatres and is supported in part by funds from the New Jersey State Council on the Arts/Department of State, A Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts, in addition to contributions from many corporations, foundations, and individuals. Paper Mill Playhouse is a member of Theatre Communications Group, the National Alliance for Musical Theatre, the Council of Stock Theatres, and the New Jersey Theatre Alliance.
Thursday, January 17, 2008
SNEAK PREVIEW STNJ 20008
Yes, he's still alive.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Sorry for the sporadic posts of late, but just hasn't been any time. Still working on the Daily Record's two-part Forecast business section. Good thing there haven't been any openings since early December (another reason for the lack of posts), since I've been working weekends as well.
That all changes this week. I'll be at the Growing Stage this weekend (while still in full deadline mode). Following week, I've got the Bickford ("Almost Maine") and Paper Mill ("The Miracle Worker").
But the big news of the moment is we got the release on the 2008 schedule at Shakespeare Theatre of New Jersey. I'll post the whole shebang following my notes, but the highlight will likely be Bonnie Monte directing Laila Robins in "Streetcar." Too bad we're going to have to wait many months for that one--reminds me of when I have to buy concert tickets six months in advance, and you just can't wait one more day!
Also should be fun to see "Compleat Works of Wm. Shakespeare Abridged" on the outdoor stage. And, of course, it will be interesting to see who gets the few, but plumb, comic roles this comedy offers. I've got a few ideas (Greg Jackson, anyone? And we haven't seen David Foubert in a while--these guys are funny) but we'll lave it to the professionals.
A few others--"Comedy of Errors," "Romeo and Juliet," are somewhat overdone but typically crowd pleasers, and you have to put fannies in the seats.
Anyway, it's exciting news from what I call the state's most consistent source of top-rate professional theater.
PS: We read this morning in another Paper that Mark S. Hoebee was promoted from acting to permanent artistic director. Congrats to him and well-deserved, after keeping the ship from sinking for the past year. I probably overlooked him in consideration for my 2007 "Hardest Working Man in NJ Showbiz" award.
PPSS: I may have some career and blog future announcements coming soon--all good. Stay tuned.
Anyway, here's the release:
The Shakespeare Theatre of New Jersey
Announces an epic 2008 Season
Increased discounts for subscriptions and ticket packages also announced
Madison, NJ – The Shakespeare Theatre of New Jersey today announced seven of the eight productions of its 2008 Season, on the heels of closing its record-breaking 45th Anniversary Season which saw the addition of a 7th play on the Main Stage. “The 2007 season was extraordinary,” said Artistic Director Bonnie J. Monte who begins her 18th Season in 2008. “In addition to each of our productions receiving tremendous critical acclaim, we saw an increase in attendance including our famed Outdoor Stage which broke all records with a more than 40 percent increase. Our 2008 Season promises to be an equally thrilling one, with an amazing line-up of masterpieces appealing to a broad many generations of theatergoers!”
The Shakespeare Theatre also announced today that the 2008 Season would feature increased discounts on subscriptions and ticket packages—offering subscribers substantial discounts of up to 45% off single ticket prices. “Our priority has always been to make our performances available to the broadest spectrum of audiences as possible. We believe, with these increased discounts, we have a subscription for everyone,” said Ms. Monte. With the new pricing, Complete Works subscriptions, which provide a ticket to each of the seven Main Stage productions of the 2008 season, begin at $105—a savings of more than $90 if tickets were purchased individually. As always, student Complete Works subscriptions are available for $70. In addition to the substantial discounts, subscriber benefits include free ticket exchanges and an exchange policy that even allows for last minute exchanges. “In 2008, we’re starting an exclusive Subscriber email address, so if a patron is stuck at work, or even stuck in traffic, they can instantly send us an email, or, of course, give us a call,” Ms. Monte explained.
Laughter kicks off the 2008 Season on April 29th with William Shakespeare’s The Comedy of Errors. Two sets of identical twins, separated at birth, find themselves in the same city on the same fast-paced, bewildering day in Shakespeare’s riotous farce of wild misadventures and mistaken identities. The Comedy of Errors will run from April 29th through May 18th.
Beginning May 28th and continuing through June 22 will be Amadeus – Peter Shaffer’s thrilling tale of the young and brilliant Mozart and the fanatic malcontent Salieri who plots to ruin his career and smother his genius.
The summer season will also feature the entire Shakespeare canon “under the stars” at the Shakespeare Theatre’s Outdoor Stage – the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. Beginning June 18th and running through July 20th, family audiences will roar with laughter at The Compleat Works of Wllm Shkspr (abridged). All of Shakespeare’s 37 plays are “performed” with lightning speed (sometimes backwards!) in this unique and wildly celebrated romp penned by the popular and zany Reduced Shakespeare Company.
One of Shakespeare’s greatest masterpieces—King Lear—takes the Main Stage July 2nd and continues through July 27th. This production will star renowned classic actor and Tony Award nominee Daniel Davis, known for his brilliant work on Broadway and at the nation’s most prestigious theatres, as well as for his witty and acerbic portrayal of Niles the butler on the television series The Nanny. Davis also starred in the Tony Award winning Broadway revival of La Cage aux Folles and The Frogs.
Noel Coward’s comedy Private Lives begins performances on August 6th and continues through August 31st. A divorced couple, each newly remarried, accidently find themselves in adjoining honeymoon hotel suites in this quick-witted “confection” by the modern master of comedies of manners.
Beginning the Fall portion of the season will be Tennessee Williams’ A Streetcar Named Desire running September 10th through October 5th. Seen for the first time at The Shakespeare Theatre under the artistic direction of Bonnie J. Monte, this American classic will feature Shakespeare Theatre and Broadway veteran Laila Robins as the legendary Blanche DuBois. Robins was last seen on the Shakespeare Theatre stage in highly acclaimed The Cherry Orchard. Her Broadway credits include The Heartbreak House, Frozen and The Real Thing.
The most famous of all love stories, Shakespeare’s Romeo and Juliet, will begin performances on October 15th and continue through November 16th. Seen on the Main Stage for the first time in a decade, this production will also feature special morning performances for students.
The 2008 Season will conclude with a yet to be announced production. Beginning performances on December 3rd and continuing through December 28th, the holiday offering promises to be in the same family-oriented tradition of past holiday productions such as A Midwinter Night’s Dream, As You Like It, and A Christmas Carol.
Advance orders for Complete Works subscriptions, featuring tickets to all seven Main Stage productions, are now being taken. Complete Works subscriptions range in price from $105 to $378. Student subscriptions are available for $70. Call The Shakespeare Theatre Box Office at 973-408-5600. The Complete Works subscription features up to 45% percent savings off the cost of regular tickets, the best seats to all seven Main Stage productions; free, easy and unlimited ticket exchanges should your schedule change; discounts on additional tickets; and the convenience of having your tickets in hand and dates scheduled in advance. Call the box office at 973-408-5600. Look for more information at www.ShakespeareNJ.org
The Shakespeare Theatre of New Jersey’s Main Stage, the 308-seat F.M. Kirby Shakespeare Theatre, is conveniently located in Madison at 36 Madison Avenue (Route 124) at Lancaster Road (on the Drew University campus), just minutes from routes 287, 78 and 10. Parking is free. The Outdoor Stage is located at the Greek Theatre on the campus of the College of St. Elizabeth in Morristown. The F.M. Kirby Shakespeare Theatre is barrier free with access into the Theatre via a ramp and elevator access to all floors. Wheelchair seating and transfer seating is available. Braille and large print programs are available. Infrared listening devices are available free of charge. Some performances are audio described, captioned and sign-language interpreted. Contact the theatre for more information. For more information, or to purchase tickets, call 973-408-5600 or visit www.ShakespeareNJ.org.
Thursday, January 3, 2008
Happy New Year
Greetings from the next year of the rest of your life. Sorry that the posts have been sparse lately, but its been a perfect storm of work, holidays and the lack of new plays opening anywhere west of the Hudson.
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
January's going to be a tough month as it is the busy month for the business editor,including two Sunday forecast special sections coming out at the end of the month. Also a flurry of premieres beginning Jan. 18.
But I'll get through it. Don't I always?
In the meantime, follow the link below to my year-end awards column. And remember, you too, can win one of my unofficial awards in 2008. Just e-mail me and I'll send you a price list.
Just kidding, boss.
http://www.dailyrecord.com/apps/pbcs.dll/article?AID=/20071230/LIFE/712300324/1113
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