“It’s pure, brash silliness, presented with gusto in a bar setting.” The Penny Seats production of Tomfoolery opens October 2

Tomfoolery

Tomfoolery

Yup, I’m in this! Come see it!

(Rehearsal photos here.)

Penny Seats press release …

The Penny Seats return to the stage this October with the musical revue Tomfoolery, celebrating the words and music of satirist, mathematician, and cult favorite, Tom Lehrer. The production also includes an opening short—a 5-minute mini-musical called Volcanoes!!—composed by Ann Arbor’s Zach London, who cites Lehrer as an early inspiration.

Brent, Roy, Laura, & Matt

Brent, Roy, Laura, & Matt

 

The show will run on Thursdays, October 2, 9, 16 and 23, at Conor O’Neill’s Irish Pub and Restaurant, 318 South Main Street, Ann Arbor. The two companies are partnering to offer a dinner theatre-style show, with dinner seatings available starting at 6:30 pm, and performances each night at 8:00pm.

Pollution!

Pollution!

Audience members can purchase tickets for the dinner-and-show package for just $20, or for the show only, for $10. Advance tickets (which are encouraged) are available online at pennyseats.org or by phone at (734) 926-5346.

Lauren ... Charisse?

Lauren … Charisse?

Featured performers are Ann Arborites Matt Cameron, Laura Sagolla and R. Brent Stansfield, and Roy Sexton of Saline (ME!).

 

Lauren London (of Ann Arbor) directs the show, with musical direction and accompaniment by Rebecca Biber (also of Ann Arbor).

Victoria Gilbert (of Ypsilanti) oversees choreography, and Stephen Hankes (of Ann Arbor) designed the set and will stage manage the show.

Penny Seats LogoLauren says of the piece, “This show is a guilty pleasure for us. It’s pure, brash silliness, presented with gusto in a bar setting. So many of us remember Tom Lehrer’s songs from our childhood. In particular, we recall that feeling of not knowing whether our parents would approve, but presuming the worst. We snuck around, giggling and singing these songs to each other eagerly, reveling in their mischievousness; it’s wonderful to celebrate them loudly now, in all their glory. And Zach’s short piece, Volcanoes!!, is a fitting opener. It pays homage to Lehrer in its tone and staging, and will, I think, get patrons in the right frame of mind for the evening.”

Be Prepared!

Be Prepared!

The company is also thrilled to partner with Conor O’Neill’s, a cornerstone of Ann Arbor’s downtown scene. “Conor’s has been a delight to work with,” says Lauren. “We’re thrilled at the support they’ve given us at every stage, and can’t thank them enough. It’s gratifying to be able to offer theatre patrons the incredible food, personalized service, and value that make Conor’s such a satisfying place. We can’t wait.”

Bright College Days

Bright College Days

 

 

The show continues a successful 2014 season for The Penny Seats, who presented an acclaimed production of Elektra this July in West Park. The group is now in its fourth year of operation and continues to be overseen by a volunteer staff from the Ann Arbor area. (Later this fall, The Penny Seats will re-team with 826 Michigan for their annual Five Bowls of Oatmeal performance, featuring short plays written by local schoolchildren in the Ann Arbor and Ypsilanti area.)

For more information, visit the group’s website, pennyseats.org, or call 734-926-5346.

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London and Biber, LLC

London and Biber, LLC

Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Huge shoulder pads and big earrings and the heyday of the wealthy in Beverly Hills…” Midwest Premiere of At the Bistro Garden

www.twomusestheatre.org

Cheyenne (played by Carrie Jay Sayer) sees her daughter’s new look when Destiny (AlissaBeth Morton) emerges from the dressing room at Neiman Marcus.

Enjoy this interview I did for my pals at Two Muses Theatre – they are about to present the Midwest premiere of the musical “At the Bistro Garden,” and the following article features the show’s creators Deborah Pearl and David Kole as well as director Jules Aaron.

“You aren’t inventing the wheel, but you are putting in the spokes. And you hope that wheel will carry the show!” observes Los Angeles-based theatrical director Jules Aaron, currently in Metro Detroit to helm Two Muses Theatre’s Midwest premiere of the new musical, At the Bistro Garden.  It’s an apt metaphor for the Motor City and an even more appropriate one for such a collaborative effort as launching a new theatrical work. Written by fellow Angelinos, the book by Deborah Pearl and music/lyrics by David Kole, the show, which runs from September 26 through October 19 promises to surprise and delight Michigan audiences.

At the Bistro Garden is a sharply funny and touching look at the lives of three friends from Beverly Hills who lunch weekly at the famous Bistro Garden restaurant, circa 1987. Their friendship keeps them from shattering and helps them get through infidelities, betrayals, a daughter going astray, love lost, and love found. Winner of the 2005 ASCAP Best New Musical award, the show was previously work-shopped in L.A.

“The idea came originally from David Kole. He started out with five songs and a clear sense of who these women were. He asked me to sing – I also sing professionally- on the demos. He had no book, so I created the story, and wrote scenes that give the women distinctive voices, while also helping identify where additional songs would be needed. I love that it’s about the strength and vulnerability of women – and what’s behind the facade that we see – because these women are every woman underneath.   We started on this a while ago, and the 80s are cool again, so it’s perfect timing. Huge shoulder pads and big earrings and the heyday of the wealthy in Beverly Hills give us a good context for the comedy,” explains Pearl, a longtime television writer/producer, whose credits include Designing Women. “Over the years, working in television, I learned so much about comic timing – what works and what doesn’t. And since I’m a singer as well, I hear the human voice as melody. That’s how I write. I hear the characters speak in my head and it’s like I’m taking dictation. Sometimes I can’t type fast enough. When it comes to you, you listen.”

Kole adds, “People ask how I write from a woman’s perspective. It’s from observing. I got this idea while having lunch at the Bistro Garden. I went there the first time with Cloris Leachman – I do her orchestrations, including her stint on Dancing with the Stars. I realized what a great restaurant it was and I’d see all these ‘Old Hollywood’ folks and I’d get a sense of the lore. Flynn, Sinatra all used to go there. I wrote five songs to define the characters I’d invented. I wanted to make a small show. And no one was writing for women, particularly women in their 40s. I was going to write the book myself, and I knew Deborah as a studio singer. She sang on the demos, and I ran into a wall writing the actual stories. I had five characters with developed backgrounds – middle names, children, wardrobes – but I didn’t have a real story. Deborah came up with the story arc.”

Pearl then met Aaron, who was in New York directing a play starring a mutual friend. As all great showbiz stories go, they struck up a conversation, she told him about this new work, and he was intrigued.

“I’ve gotten to the point in my career where I specialize in new shows. I’ve done 70 plus new shows. I’m currently working on three new shows. Deborah asked me to look at their musical and I liked it very much. When the Two Muses opportunity came up, it seemed like a great fit,” elaborates Aaron. Aaron’s mother, who, at 95, still lives in Oak Park in the house where he grew up and is an active writer and director herself, was “the marriage broker. She had seen several shows at Two Muses that she liked a lot. She said it would be so nice if I could do a show out here and we could spend some time together. Barbie [Amann Weisserman, one of Two Muses’ co-founders] and I spoke about a year ago, and I said let’s find something that we both like. Six months later we landed on Bistro Garden, and we started specifically to look at schedules. And here we are. It was one of those things. It’s such a treat to spend this time with my mom and to work with a theatre that is a real up and comer. They produce well. They are very sharp.”

Aaron, a Wayne State graduate who also holds a Ph.D. from New York University, isn’t the only member of the creative team with ties to Metro Detroit (or, for that matter, with an influential mother). Kole was born and raised in Grosse Pointe where he attended high school, leaving at 18 to tour with Fred Waring’s Pennsylvanians, eventually landing in Beverly Hills where he has worked as a film composer in addition to his theatrical work. “Nathan Judson was my band teacher here. Big influence – taught me music, theatre, opera. My mother introduced me to musical theatre. My mom is from New York and we’d go in the summer and see all the original productions. Anything Rodgers and Hammerstein – King and I, South Pacific – and then Sondheim – both had profound influences. I’ve been accused of being Sondheim-esque. I was immersed in A Little Night Music when I was working on Bistro Garden. Jonathan Tunick’s pointillistic orchestrations speak to me.”

For Pearl, though, working on this show has been her introduction to the wolverine state. “This is my very first trip to Michigan. It’s so beautiful. Reminds me of where I grew up in Pennsylvania. I so miss the green from my years of living in L.A. I actually had an intro to Detroit by my friend Allee Willis – composer of Earth, Wind, and Fire’s ‘September’ among other of their hits. She has a music video and movie in process called – I Love Detroit. And I see why. It’s such a creative place. I’m moved by the commitment to the arts here. Everyone in our production is so into it. And talented. And really happy to be working.   And they like my material!” Pearl laughs heartily. “I always love people who love my material. And I played one of the roles in the workshop, so it’s fun to see someone else playing that role. It takes a huge amount of work to mount a show. People don’t appreciate that. Musicals are a ton of work and an equal amount of fun. That’s what I hope people who come to the show will leave with.   An evening of fun.   At the Bistro Garden is a joyous experience.”

www.twomusestheatre.org

At the Bistro Garden, BJ (played by Diane Hill) gossips with best friends Abigail (Amy Lauter) and Cheyenne (Carrie Jay Sayer) while the Maitre D (John DeMerell) listens in.

Pearl is an active volunteer back home, somehow finding time between all her artistic endeavors to sing a monthly jazz service at her synagogue, perform at high holidays at Cedars Sinai Medical Center, and co-found and direct a collective of professional and non-professional singers called “The National In Choir” who’ve been entertaining at hospitals and senior centers every December in L.A. for over thirty years.   Her Jewish identity is important to her as an artist. She spent years studying Torah with Jewish writers and producers (in a group funded by “Avi Chai”). “Art is transformative. The most joyful use of my voice and my writing is in a spiritual context. There’s nothing better than lifting people up with your work,” she notes.   “And everyone here is happy to share in the creative lifting.”

Aaron echoes Pearl’s enthusiasm for their newfound Michigan friends, “This cast is a really great group of people. They have talent and a wonderful attitude and sense of dedication. So sweet to be around. I have high hopes that we are going to have a very strong show. When you work in New York or L.A., the amount of talent is overwhelming and you are working with casting directors. When we finished casting in Detroit, I was very pleased.”

But how does Kole, with whom the central concept of Bistro Garden first began, feel about the process so far? “I look forward to handing my little child over to other people. I love seeing their takes on these characters or how they sing a melody I wrote. I love people attaching their own bits to my germination of an idea. It always makes it better than what I had in mind. I’ve literally worked with thousands of musicians and hearing what they do with my work, how they phrase a line is always a pleasure,” he relates.

“I had never done theatre in Detroit. My expectations have been so exceeded from my time here in Detroit. Diane [Hill, Two Muses’ other co-founder] and Barbie are phenomenal. And I love their families. Observing Jules work with the actors and the wonderful choreographer [Allyson Smith] and musical director [Daniel Bachelis] is phenomenal. Jules is not on a power trip but is very encouraging, supportive. He understands my characters. These characters … they are like my children. Deborah is their adoptive mother, and Jules really understands them. They are real now.”

Kole concludes, “What’s really great is I’m looking around this rehearsal space and I see all these people – actors, production team, audience – and it started with this little idea I had and now everyone is here taking part in this. It’s such an honor. Their lives are being changed by this little idea. It’s so gratifying.”

Two Muses Theatre, recent recipient of an operational grant from Michigan Council for Arts and Cultural Affairs (MCACA) and the NEA, performs in the intimate 150-seat theatre inside Barnes & Noble Booksellers, located at 6800 Orchard Lake Road in West Bloomfield (south of Maple).   Performances are Sept 26-Oct 19 on Friday and Saturday evenings at 8:00pm and Sunday afternoons at 2:00pm. Advance tickets are available for $23 for adults and $18 for students and senior citizens and are available at the door for an additional $2. Group discounts are also available. Doors open 30 minutes prior to each performance. There is ample free parking and handicap accessibility. For tickets and information, please call 248-850-9919 or visit twomusestheatre.org.

Founded in November 2011 by Diane Hill and Barbie Amann Weisserman, Two Muses Theatre is a nonprofit, professional theatre dedicated to increasing opportunities for women in theatre. All funds raised from performances and educational workshops go directly into maintaining the theatre and contributing to charitable organizations centered on women and families.

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Postscript! The show I’m in  – Tomfoolery, starting October 2 at Conor O’Neill’s in Ann Arbor – now has a super-cute poster … and here it is (to the left). More info at pennyseats.org.

Celebrating the words and music of Tom Lehrer, with an opening short by Zach London, The Penny Seats will perform Thursdays, October 2, 9, 16, and 23. Dinner starts at 6:30pm; show at 8pm. Dinner and show are just $20 per ticket; show only $10 per ticket!

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Save the date for cheeky ribaldry! Tom Foolery (Ann Arbor, October 2, 9, 16, and 23)

[Image Source: Wikipedia]

[Image Source: Wikipedia]

Save the date for cheeky ribaldry! After a self-imposed 18-month theatre hiatus, I am going to be in the musical revue Tom Foolery at Conor O’Neills Ann Arbor with The Penny Seats the first four Thursdays in October (October 2, 9, 16, and 23)!

More info at pennyseats.org.

The show, originally conceived by Cameron Mackintosh (Phantom of the Opera, Les Miserables), celebrates the music of Tom Lehrer, a comic misanthrope who makes Lewis Black and Jon Stewart seem like Mr. Rogers and Spongebob Squarepants.

 

 

Gen X knows him best as having written the songs for Electric Company (“Silent E”) but he also wrote a number of satirical songs in the 50s and 60s for shows like That Was The Week That Was, The Frost Report, and The Steve Allen Show as well as his own concert performances.

Lehrer observed, “I know it’s very bad form to quote one’s own reviews, but there is something the New York Times said about me [in 1958], that I have always treasured: ‘Mr. Lehrer’s muse [is] not fettered by such inhibiting factors as taste.

Along with yours truly, the show features talented pals Laura Sagolla, Brent Stansfield, and Matt Cameron and is directed by Lauren London with music direction from Rebecca Biber and choreography by Victoria Gilbert. You can check out all of Lehrer’s music at his YouTube channel here.

 

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

…but movies transport me

Spider-Roy

Spider-Roy

Nina Kaur (thanks to fellow Farmington Player Amy Lauter for connecting us!) asked me to contribute a guest blog entry to her fun and interesting blog Thirty Something Years in Ninaland. Here’s what she wrote about me – “Every Monday I will have a guest blogger. Today I am featuring a wonderful Movie Reviewer named Roy Sexton. He is witty, charming and great critic! Enjoy reading about his journey!” Wow! Thanks, Nina! Click here for the original post on her blog.

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By yours truly …

Movies have always been an important part of my life.

I like to read books (more accurately comic books these days, as I seem to now have the attention span of a tsetse fly), and I adore music. Television is fine, and I’ve spent many hours traipsing the boards of theatres across the Midwest. But movies transport me.

I love the fact that a film is an encapsulated medium. Whether 90 minutes or three hours, a movie tells one story – beginning, middle, and end – introducing you to new friends and enemies and locales in an efficiently designed delivery mechanism. With a good film, you get the experience of reading a novel (whether or not the film is in fact based on any work of literature) in a highly compressed fashion.

Nina Kaur

Nina Kaur

Your brain leaves your body for a bit, you take a mini-vacation to places you might not otherwise ever see, and you return to your regularly scheduled life a bit changed, perhaps enlightened, and hopefully re-energized.

I stop reading email, answering calls, or monitoring social media…and just blessedly check out…for a bit.

My parents cultivated appreciation for the arts by filling our home with movies and music and books and love. I’ve groused in the past about wanting, as a child, to play with my Star Wars action figures in the solitude of my toy-lined room and being forced instead to sit in our den with my parents and watch some creaky B&W classic movie on Fort Wayne’s Channel 55. And I am so grateful now for that.

My appreciation for classic cinema resulted from these years basking in the glow of our old RCA color TV. And when we could finally afford a VCR and could now watch any movie of our choosing, I was already hooked on the story-telling of vintage movies with their requisite arch wit, dramatic stakes, whimsical joys, and belief that anything was possible.

However, not everything was high art in our house. The advent of HBO in the early 80s and its repetitive showings of whatever junk Hollywood had most recently cranked out shaped my tastes for better or worse as well. I’m a sucker for the movie train wreck – the more star-studded, over-budget, under-written, and garish the better. Some of my most beloved films are among the most notoriously awful of all time: Xanadu, Sgt. Pepper’s Lonely Hearts Club Band, The Wiz, Popeye, Flash Gordon. The Black Hole, Raggedy Ann and Andy’s Musical Adventure, Willy Wonka and the Chocolate Factory, Return to Oz, Battle Beyond the Stars, Krull, The Neverending Story, and so on.

If it was a flop and it was shown ad nauseum one mid-afternoon following another on HBO in the 1980s, then I fell in love with it. Like self-imposed water torture on my nascent aesthetic.

As time went by and I stomped through my high school and college know-it-all years (some might argue I’m still stuck in them), I learned from both my parents and some wonderful teachers the tools of critique and criticism. What is the intent of the piece? What is the context for its creation? How effective is its structure, composition, impact? Where did it go awry or where did it cross over into something classic?

It’s all highly subjective and a bit arrogant, I suppose, but I can’t help it. I’m entertained by the act of analysis.

In more recent years, Facebook gave me an outlet to connect with my inner-Ebert. I started posting status statements summarizing in glib, condensed fashion my take on whatever flick we had just enjoyed … or endured. My kind-hearted and patient partner John has suffered through a lot of movies over the years, many he enjoyed … and even more he did not.

Jim and Lyn's Wedding

At wonderful Jim and Lyn’s beautiful wedding

We still bicker about his departure from Moulin Rouge after twenty minutes with nary an explanation. I found him after the movie in the lobby reading a newspaper – I don’t know what is more telling: that he was too kind to want to ruin the movie for me by alerting me how much he hated it, or the fact that I stayed to the end without checking on his safety and security!

My friends and colleagues enjoyed these little “squibs” I posted on social media. I suppose I was aspiring to capture the grace and insight of Leonard Maltin’s “micro reviews” that I consumed voraciously as a child every January when we bought his latest edition. (The paper on those early volumes was always of some strange newspaper-esque stock prone to smudging and was pulpily aromatic. I will never forget that musty, fabulous smell.)

John always asks plaintively, “Didn’t they know this movie was bad when they were making it?!”

Perhaps I keep trying to solve that riddle, with the false confidence that my $10 movie ticket entitles me to a shot at armchair quarterbacking. Perhaps the failed actor in me is still trying to reclaim some artistic glory. Or perhaps I’m just a wise-ass with too many opinions and without the good sense to keep them respectfully to myself.

My pals told me, “Set up a blog. Capture these Facebook reviews for future reference. They’re great; they’re fun! Blah blah blah.” I have to admit that eventually my ego got the better of me, and, one late night, I explored the wonders that WordPress holds (albeit not that many) and set up ReelRoyReviews as a diary of sorts, detailing my adventures in the cinema.

Here’s the funny thing. Nobody read them. Nobody. At least for quite a while.

Well, that’s not entirely true. My mom was an avid reader and supporter and was always the first to offer an encouraging comment: “My son writes the best reviews and everyone should love them.” So there!

But you know what? Something interesting happened along the way. I stopped caring and just started writing for myself. And I started having fun. And people started reading.

Life is way too short (and exasperating) to get too intense about entertainment, so I try to take a light and conversational approach with my reviews. And I try to respect that (for the most part) these are show business professionals putting (ideally) their best feet forward and that they are human beings with hearts and souls and feelings. I hope I never seem cruel. I don’t mean to be. These writings are off-the-cuff and journal-style and come from as positive a place as I can muster.

Approach everything and everyone honestly and with positive intent and offer candid feedback with an open heart and as much kindness as possible.

Please check out my latest reviews hereDawn of the Planet of the Apes, Transformers: Age of Extinction, Edge of Tomorrow, 22 Jump Street, The Fault in our Stars, and Tammy and more …

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

 

 

“We love a good ghost story. How about you?” Never Can Say Good-bye film in development PLUS Slipstream Theatre event AND Shih Tzu res-cue!

Never Can Say Goodbye

Never Can Say Goodbye

I’ve said it before, and I’ll say it again (particularly for those provincial social media naysayers … who aren’t listening anyway), the internet brings the world together in fun and surprising and interesting ways, breaking down geographic boundaries and uniting people by affinity (as opposed to arbitrary constructs of place and time). Read The World is Flat. No, really. Go read it.

Writing this blog has introduced me to a documentary filmmaker in Toronto (click here) and allowed me to review a short film by an animal advocate whom I’ve never met but feel as though I have (click here). It has helped me connect with and learn from fellow bloggers (click here) and has given me the opportunity to assess the work of local theatre groups (click here). I even got a shout out from JB Bernstein, the subject of the Disney film Million Dollar Arm, over my review of that fabulous flick: “It means a lot to hear a review like this. This was a very personal story, and to know that I was able to reach even one person with our message it was worth all the work.”

Ok … enough patting myself on the back …

My downright caustic review of the latest Transformers installment caught the attention of Traverse City-based independent filmmaker Theresa Chaze (click here for her website). She is also a published author, experienced video producer, and accomplished communications professional, and she is hard at work launching her new film Never Can Say Good-bye. I was honored when she asked if I would read her script and offer my thoughts.

(And the animal lover in me adores this part of her impressive bio: “As the media specialist for Angel Protectors of Animals and Wildlife, she produced several public service announcements and micro-documentaries. The messages remained informative and promoted positive action to save our nation’s wildlife.” Yes! Another of her potential projects is a TV show about equine therapy for veterans – Horses and Heroes.)

Theresa Chaze

Theresa Chaze

Never Can Say Good-bye reinvents the reincarnation conceit (Christopher Reeve’s/Jane Seymour’s 1980 film Somewhere in Time, Ellen Burstyn’s 1980 film Resurrection) in the guise of gothic paranormal psychodrama (Nicole Kidman’s 2001 film The Others, Julie Harris’ 1963 film The Haunting, Deborah Kerr’s 1961 film The Innocents). The plot concerns two families united by a doomed marriage in the 1950s and explores the dissonant legacy that familial discord has had on subsequent generations. (See the Stephen King/John Mellencamp musical Ghost Brothers of Darkland County for another take on this thematic concept.)

I finished reading the script earlier this week. It is so well done and layered and clever. I love the notion of turning a ghost story on its head through the lens of reincarnation. I thought the characters were all clearly and thoughtfully drawn, and the script is definitely a page turner in the best sense. The disparate threads cohere in a denouement that is both chilling and poignant. The dialogue is believable, and the insular college-town setting (somewhere in northern Michigan, I believe) lends a nice chilly, hierarchical vibe.

Different actors are reported to have been attached at various points, including Lauren Holly, Bill Hayes, and Dyan Cannon. Stanley Livingston is connected to direct. Obviously, “name” performers would bring added attention to the project, but I daresay a cast of unknowns would keep audience attention focused on the narrative and the dense web of challenging relationships therein.

And, as in seemingly all creative efforts these days, there is a crowd-source funding campaign afoot through Indiegogo – you can donate here. From the campaign’s page …

We love a good ghost story. How about you? We are not talking about films that gross out the audience or are so dependent of special effects that the producers forgot to give the characters personalities or have plots that are based on clichés or simply don’t make any sense. Much like Dark Shadows, Never Can Say Good-bye is based on suspense and plot twists that will scare the socks off the audience and make them suspicious of the dust bunnies under their beds.

Best of luck, Theresa – hope this script makes it to the silver screen soon – it’s a keeper!

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Slipstream LogoMy pal Bailey Boudreau (with whom I appeared in Farmington Players’ production of Legally Blonde the Musical last year) has launched the Slipstream Theatre Initiative here in Metro Detroit, and they have a fun event this weekend. Here’s an excerpt from the press release:

Slipstream Theatre Initiative is proud to present a one-weekend staged reading festival of new, local works! The festival is a fundraiser for both Slipstream Theatre Initiative and Two Muses Theatre, and promises to provide non-stop entertainment.

Slipstream

Slipstream

Featuring new short plays by Playwrights Cara Trautman, Bailey Boudreau, Emilio Rodriguez, Kim Carney, Emily Fishman, Barry Germansky, Margaret Edwartowski, Katherine Nelson, Lori Reece and Josie Kirsch, this two day event offers a wide variety of material and subject matter.

Bailey Boudreau

Bailey Boudreau

The actors include Scott Romstadt, Steve Xander Carson, Miles Bond, Cara Trautman, Jennifer Jolliffe, Cindi Brody, Katie Terpstra, Alexander Henderson Trice, Claire Jolliffe, Maxim Vinogradav, Nick Kisse, Joshua Daniel Palmer, Josie Kirsch and Bailey Boudreau.

All proceeds will go to the 2014-2015 seasons of Slipstream Theatre Initiative and Two Muses Theatre, both non-profit organizations.

  • What: Original Works Weekend
  • When: Saturday July 19th, 7:30 pm & Sunday July 20th, 5:00 p.m.
  • Where: Two Muses Theatre inside the West Bloomfield Barnes and Noble
  • How Much: $10, additional donations accepted (tax-deductible)
  • Contact: InsideTheSlipstream@gmail.com , www.SlipstreamTI.com

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And this is just something that I needed to capture – and why not put it in this particular crazy quilt of a blog entry …

Shih TzuSo, I’m going to lunch yesterday with my colleagues Mike and Jan and I see a Shih Tzu or something (no tags, but a collar) running about the busy traffic on Middlebelt. We lure the dog into a yard with a rattle-y container of gum, and the people who live in the house say, “We saw him running around.”

Really? And you didn’t do anything?

They give us some twine which we fashion into a leash. I wander about this neighborhood while Jan and Mike go to the drugstore to get a real leash (which of course they don’t carry – my mom always says, “Always have a leash in your car.” I will now).

As I stumble around using this dog like a divining rod to see if he will lead me to his home (he didn’t – he was kind of a cute dingbat), up rolls from within the neighborhood a Grand Marquis painted an ugly orange red and on tires the size of small boulders. The gentleman driving the car, not saying “thank you,” grumbles, “My dog.” I say, “What’s his name?” Surly reply, “Bear.” (Really, a Shih Tzu named “Bear”?) The dog did indeed reply to the name, at which time the man got out of the car, lifted the dog roughly by the collar, smacked it on its side, and said, “We’re goin’ home.”

So, who wants to kidnap a Shih Tzu with me? Yes, we drove back through the neighborhood to confirm that he and “Bear” do live there. And, after work yesterday, I drove by the house again where the dog lives, and I met the teenage boy who clearly loves him very much. Let’s hope for the best.

If you want to know where I got this love for all creatures great and small, please check out my mom’s latest wonderful blog entry “that is my medicine” here.

And read about friend Beth Kennedy’s adoption of “Nacho the Cat” here!

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“Well, you brought your family and that is terrible parenting.” Transformers: Age of Extinction

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Have you ever seen a movie so astoundingly awful that you find yourself overwhelmed, gobsmacked, dumbfounded to the point you don’t even have words?

Yeah, Michael Bay, that’s the impact of your latest creation Transformers: Age of Extinction.

I knew going in that this would be a dumb, loud b-movie. I even relished the potential for mindless fun. I’ve seen the other three, forgettable as they are – though I don’t mind Dark of the Moon too much (either as a Pink Floyd album or as a Transformers flick). And, yes, Michael Bay has gotten to a point where every film he makes is him flipping the proverbial bird at liberal Hollywood … and at good taste.

But, good googly moogly, this installment may be final evidence that Bay’s cinematic nervous breakdown is totally complete.

I don’t even know if it’s worth bothering to summarize the plot. Mark Wahlberg, looking like a sad and puffy plumber in T-shirts two sizes too small, plays a down-on-his- luck single dad and robotic engineer (yeah, I know) in Texas who discovers a dilapidated semi-truck embedded in a dilapidated movie theater (yeah, I know). Of course, every shot is art-designed to look like a sepia-toned Abercrombie & Fitch ad … or a Buick commercial … all grungy, wholesome Americana.

Well, duh!, the truck turns out to be Autobot leader Optimus Prime hiding out from big bad CIA operatives led by Kelsey Grammer (yeah, I know) who is hunting down all the Transformers to mine their metal skin for something called “Transformium” (yeah, I know) that Stanley Tucci (shamelessly aping Steve Jobs) will use at his fabulously appointed tech company in Chicago/Hong Kong to create America’s own army of robots to defend us from future alien incursions (yeah, I KNOW).

It’s just not even any fun to ridicule this movie. The film is so self-consciously horrid that it’s like shooting rubber bands at a Teflon skillet.

The movie runs an interminable three hours, more or less, and is an unending series of chase scenes and things-blowed-up-real-good and tin-eared dialogue. I thought Zack Snyder was my go-to cinematic caveman, but I’d forgotten about Big Daddy Bay, whose male insecurity manifests itself in an avalanche of phallic images and orgasmic explosions and flag waving (?), not to mention some rather kinky torture scenes. Is this a kids’ movie? Ah, Michael Bay and his angry inch.

It goes without saying, that the heroes (whomever or whatever they are exactly) win the day and leave things wide-open for the inevitable sequel. This involves murdering a gaggle of CIA agents (cause the gubment is BAD, see?), destroying pretty much all of Hong Kong (cause no one is supposed to like the Chinese but they spend a lot of money going to movies so we’ll blow up Hong Kong cause it’s all sorta British and doesn’t really count), planting or not planting or destroying or flying away with some cosmic “seed” (subtle metaphor there!), and assorted other mayhem and corny one-liners all too inconsequential to delineate.

This movie is like comic book porn for FOXNews aficionados.

I suspect the next movie will be four hours long, with even more randomly racist, sexist, homophobic, xenophobic images and themes all edited together in the most confoundingly inept way possible.

(I suspect some internet trolls will tell me I’m mixing personal politics into my “objective” review. My blog. My site. Never said I was objective. What reviewer is? Viewing a film is a subjective, singular experience. Neener neener neener.)

And, in the inevitable fifth (!) Transformers movie (yet, only three Godfathers!), another A-list actor undoubtedly will be slumming it. At least in this “film,” Stanley Tucci (unlike franchise vets Frances McDormand and John Turturro) wisely realizes he is in a completely bonkers enterprise, allowing his character to just start screaming out obscenities like he’s having a Tourette’s-fueled meltdown.

Watching this film, I felt like joining him. It was pretty much the only joy I had the whole three hours.

I take that back. The greatest joy was that friends Jim and Sean braved this crap with me. And that, between our rounds of church pew giggles and guffaws (we weren’t the only ones doing so, I might add), they were jotting down all the godawful lines they couldn’t wait for me to include in this review. (In fact, I kept getting texts from Sean today asking, “When are you going to post it?!?!”)

  • From Sean: “I think you should definitely note that, thankfully, the movie is left with a cliffhanger, paving the way for Transformers 5! ‘When you look at the stars, think of them as my soul…’ – Optimus Prime.” Even Gary Cooper couldn’t have sold that clunker of a line.
  • From Jim: “Here’s your title … you know that quote thing you do? When Wahlberg is roughing up Tucci, blaming him for all the turmoil, Tucci replies, ‘…Well, you brought your family and that is terrible parenting.'” Tucci is a touch wittier than a CGI robot, so at least that gem elicits a chuckle or two … and is a nice little indictment of anyone who brings their kids to see this dreck.
  • From me: at the film’s conclusion, Nicola Peltz, who plays Wahlberg’s Lolita-90210 daughter, intones, “We don’t have a home, dad. It blew up.” No kidding.

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SUP YogaOn a totally unrelated note, my pal Alli asked me to give a plug to her yoga practice here in Ann Arbor. In fact, maybe this is the perfect antidote to the pain of seeing Transformers: Age of Extinction. That, PLUS you should go adopt a homeless animal (or two or three) – truly! THAT is some joy!

Here’s what Alli wrote …

“This is a little something to get people hopefully interested in SUP yoga. It’s a fun new activity and I really would like to see people get into it. It’s changed my life for the better. SUP Yoga is the art of moving and finding your center on a paddle board. I specialize in beginner classes. It is all done on water and it is an excellent opportunity to realize that one isn’t broken and that you can still do the most amazing things at any point in your life. It’s fun to float around and see the world from a new perspective. Thanks, Roy :)More info at (734) 680-0904 or yoginifadia@hotmail.com  

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Tongues in Trees*: Ignorance is not bliss – a new appreciati​on for Ann Arbor’s Summer Festival

Ignorance is Not Bliss

Ignorance is Not Bliss

When Pat and Marjorie Lesko approached me after my recent book-reading at fabulous local treasure Bookbound and asked if I would like to be a regular contributor in their pages, I was thrilled.

[Alas, this is likely the last contribution I shall make. Another story for another day.]

However, their movie review slot was already taken. (Phooey! but if you want to read my views on popcorn epics, please check out my blog at www.reelroyreviews.com…oh, right, you’re already here!) So they said to me, “How about culture? You’re a theatre guy. You must love to write about culture. I mean, this is Ann Arbor!”

“You got it!” I sheepishly replied, fearful to reveal my true colors as a pop maven who prefers “The Harlem Shake” over Shakespeare, The Mighty Thor over Jane Austen, and Kathy Griffin over the ballet.

[You can read my first contribution to The Ann Arbor Independent about Ann Arbor's Performance Network Theatre by clicking here.]

Pat, ever the good journalist, could see right through my ruse. “You haven’t gone to anything here, have you? No festivals, no art installations, no opera?” The jig was up. I suspected that my seven-year-successful-dodge of anything of artistic substance was about to come to a crashing halt.

Her next comment surprised me even more: “Good! Then you’re a blank slate. Write about that!” And like rat-a-tat Rosalind Russell from screwball classic His Girl Friday, she gave me a quick “Off you go!” and clicked off the receiver.

So … here I go. May as well start at the top … Top of the Park, that is.

Entering its 31st season, Ann Arbor’s famed Summer Festival was founded in 1984, and Top of the Park, the free outdoor cornucopia of movies and concerts and activities is arguably the fest’s most famous component. Of course, the festival is so much more, running from June 13 to July 6 with many ticketed offerings sprinkled about Ann Arbor, in addition to the outdoor events. (You’ve already read about Lily Tomlin’s opening weekend concert in The Ann Arbor Independent – I wonder if Pat would let me do those interviews in the future? Hmmm. I better be a good kid!)

If you want to find yourself overwhelmed, just check out the festival’s comprehensive website at www.a2sf.org – talk about sensory overload.

Ann Arbor Summer FestivalIf I have any (feeble) defense to offer for our household’s neglect of this Ann Arbor mainstay, it may be that, for a Tree Town neophyte, all of this activity can shut down a person’s central cortex. If you don’t know where to start or even how to navigate the various locations and parking challenges therein, you might be tempted to just to head to the Rave or Quality and watch the latest Channing Tatum/Michael Bay/Pixar offerings with their predictable start times, easy access, and pre-digested storylines.

However, the evil geniuses at the festival must have anticipated this quibble, and they have introduced a mobile app (free!) that can be your pocket guide to all things Fest related. Having done a quick spin through the app, they nailed it. It’s easily searchable, responsive, social, interactive and with just the right amount of content to help you have a good time. Kudos!

So, now that I have no excuses, I turn to the people who may shake their heads in shame at my ignorance but love me anyway – my long-time Washtenaw County-based pals – for some much-needed guidance and advice. (I won’t divulge who, but I did have one comrade-in-arms who emailed, “I have never been there [Summer Fest] either. Don’t tell anyone!”)

Rebecca Hardin, associate professor at U of M’s School of Natural Resources and Environment (not to mention someone who has suffered playing my spouse in The Penny Seats’ production of What Corbin Knew and helps host the fabulous radio show It’s Hot in Here on WCBN, Friday from 12-1 pm), offers,  “Highlights of past summer festivals, for me, include the acrobats from Australia towering over assembled crowds on enormous stilts, swaying among the roofs of Rackham, the Michigan League, and the Alumni Center, in brightly colored clothes. I also loved the eruption of local talent ‘from the ground up’ during a Bollywood flash mob dance moment…just look for ‘Bollywood flash mob connects communities’ on YouTube. Nothing compares to the chance to see local bands like Hullabaloo, eat local brands like Sylvio’s Organic Pizza, and just be, together with so many other Ann Arborites, grateful for the beautiful evenings.”

Clearly, Rebecca’s comments get to the heart of what makes Ann Arbor – and any of its various activities like Summer Fest – so special: spontaneity, creativity, involvement. And what a wealth of opportunities there are.

Beth Kennedy, Ann Arbor teacher and blogger (check out her witty ididnthavemyglasseson.com for a nostalgic yet fresh look at life in Michigan), concurs, “I love the music, people of all ages getting up to dance together, uninhibited,  feeling the rhythm. I love that they moved it from ‘top of the park’ on top of the parking structure down to street level and never went back up to the cement wasteland. That change alone puts people in a very festive and friendly mood. The beer garden is nice … I have never seen anyone unruly while there … a good thing. Most events are free, except for a few headliners. As a teacher, I adore that they have had the children’s bands perform here, giving them a friendly open space to play, with a receptive audience. I do wish there were more food stand choices, but those seem to be growing each year. Free movies at dark are great with classics and cult films. I will add that family ones are challenging because most kids are asleep by that time but that is just a consequence of Daylight Savings Time, alas!”

The challenges of kids, movies, and late sunsets seem to be a common refrain.

Ian Reed Twiss, an Ann Arbor resident and the pastor at Saline’s Holy Faith Church, remarks, “When the weather’s good, Summer Fest is a lot of fun to hang out and just listen to music. They have had some great high-wire and circus-type acts out on the green as well.  When we were childless, we used to go for the outdoor movies too, but haven’t done THAT in a while. We haven’t participated in any of the ticketed items at, say, The Power Center, but the offerings look great.” (As an aside, Ian mentioned another event to pass along. Summer is a month of fun but it can also be a great time to re-establish community. “et al,” a group aiming to create an inclusive and affirming environment for LGBT individuals and families in the Saline community through education and legislative advocacy and support, hosted a Gay Pride event on June 20, at Mill Pond Park in Saline.  It was a meet-and-greet, and local political leaders attended. It was co-sponsored by the Saline High Gay Alliance “Spectrum” and Diversity Circle. Thanks, Ian!)

Top of the Park definitely is the gateway for most attendees to Summer Fest’s offerings overall. One downside is that there seems to be some disconnect between the ticketed fare and what people commonly think of when they hear the words “Ann Arbor Summer Festival.”

Rebecca Biber, local music instructor, pianist, and conductor, remarked, “Is that where they have Top of the Park?  I have enjoyed an outdoor movie on occasion, because there is beer for the adults and the audience tends to have good camaraderie, yell out lines, and so on.  And some of the local bands are good.  Actually, this month on my birthday, the Fest is featuring two bands I have been meaning to see for years: The Crane Wives and the Ragbirds.  If you are up for some on-site research, I would love to drag you along.”

[Note: I did attend and it was fabulous!]

Well, look at that? My Summer Fest dance card is starting to fill up.

Linda Nyrkkanen, founder (and baker) at Flour Lab, Inc. (if you see her at the farmer’s market in Kerrytown, you must buy her cookies, eat immediately, and then buy some more), echoes Rebecca’s perspective, “I must confess that I am not a regular attender either, although I have been to a few of the free movies at Top of the Park.  The first one was the Wizard of Oz back when I was in college, and it was pretty magical seeing my favorite childhood movie under the stars with my friends. And fast forward to current times – we saw E.T. The Extra-Terrestrial a few years ago with our friends Sean and Rachel.  So fun! I don’t know if this helps you or not, but just wanted to share my limited experience.  I know the musical performances are great too, but it’s the outdoor movies that hold the most memories for me.  I think you and John should definitely try to catch one this year.”

Now that I have my marching orders, keep an eye out – you may just see us wandering about, iPhones in hand, scrolling through the many offerings, looking bedraggled, possibly dehydrated, but with big smiles on our faces as we’ve finally immersed ourselves in one of Ann Arbor’s signature events: “The Ann Arbor Summer Festival’s mission is to present a world-class celebration of arts and entertainment that enriches the cultural, economic, and social vitality of the region.” Well, all right – sounds good to me! See you next fall, Channing Tatum!

[P.S. Wonder what the heck "Tongues in Trees" indicates? One of the first monologues I ever delivered on-tage 20 years ago in Wabash College's production of "As You Like It" directed by Michael Abbott - click here ... not me reading it, but you get the drift.]

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

“I act because it compels…” The Penny Seats’ upcoming production of Elektra

“…The audience is being given the gift of live theater. Films do not ask from us in their enacting, a film can merrily play out to an empty room, but the very beauty of live theater is the human exchange. Without that sense, it is dead.”

– Emily Miller Mlcak

(Mlcak is a beloved professor from my undergraduate days at Wabash College, and she wrote this in response to “scha·den·freu·de.”)

Elektra cast photo by Dawn Marie Kaczmar

Elektra cast photo by Dawn Marie Kaczmar

These words rang in my ears the other week when I crashed a rehearsal of The Penny Seats’ summer production Elektra (as adapted by Ann Arbor’s own Anne Carson) for a sneak peek of the glorious mayhem that is sure to delight audiences at the West Park Band Shell July 10 – 26.

In the spirit of transparency (oh, how I do hate that overused expression), I am one of the founders of The Penny Seats, and I held featured roles in the company’s first slate of offerings: Goodnight Desdemona (Good Morning Juliet), What Corbin Knew, She Loves Me, and Little Me. However, to reclaim some balance in my personal life, I stepped off the board last year and am just a blissfully unencumbered theatre-goer this summer.

(I think I’d be pretty lousy in Greek tragedy anyway – my cheesy musical comedy shtick would likely grate in the world of Sophocles.)

“The very beauty of live theater is the human exchange.” From what I saw of Elektra’s opening scenes, that quality is evident by the bucket-ful. Portraying the title character, Ypsilanti’s Emily Caffery, who recently appeared onstage at both Performance Network and Two Muses Theatre, captures the visceral heartache of a daughter betrayed as her family unravels before her very eyes.

For those unfamiliar with the tragedy, Elektra details the revenge scheme the title character and her brother Orestes exact upon their mother Clytemnestra and step father Aegisthus, in retribution for father Agamemnon’s murder. The action takes place in Argos, shortly after the Trojan War.

Caffery, a student of the Eugene O’Neill Theater Center’s National Theater Institute, notes, “This translation is not stuffy. The piece is very recognizably human. It is immediate and real, and I am using the text as much as possible to bring each image to life.” Indeed, her Elektra is violent yet empathetic, adrift yet fierce, inconsolable yet laser-focused … Dorothy Gale by way of Katniss Everdeen.

The yin to Caffery’s theatrical yang is Sonja Marquis as Elektra’s soccer-mommy-from-hell Clytemnestra. Marquis, a resident of Brighton, has worked at Tipping Point, Purple Rose, Encore, Two Muses, and The Ringwald among many other local theatre companies. “Don’t be scared of the Greek mythology. You’ll find lots to enjoy,” Marquis observes. “Clytemnestra is painted as a villain, but I don’t judge her. As an actor, I look for the justification … Elektra’s father killed my child [Iphigenia, sacrificed to the gods before the play begins]. Obviously, Elektra sees it differently, but why wouldn’t Clytemnestra be angry?”

Marquis quickly adds, with a hearty laugh, “But don’t worry … I definitely haven’t identified with my character’s villainy that much!”

Remaining cast members include Samer Ajluni (“Old Man”/“Aegisthus”), Scott Wilding (“Orestes”), DeAnnah Kleitz-Singleton, Sarah Lovy, Katherine Nelson, and Kez Settle. Like Marquis and Caffery, these accomplished thespians have all appeared in venues across Southeast Michigan: Hillberry Theater, Abreact Performance Space, Waterworks, Wild Swan, Planet Ant, JET, and more.

Director Russ Schwartz along with assistant director JP Hitesman are mining the material for contemporary resonance – familial discord, jealousy, anxiety in wartime, sexism, ageism – and are layering in a light amount of cheekiness to keep their audience engaged (and to highlight the darkness that much better). For example, keep your ears open for Ajluni’s marvelously witty take on the expository tale of Orestes’ “death” by chariot race – imagine Ben-Hur as told by an announcer at the Belmont Stakes.

Ajluni, who calls Farmington Hills home, is savvy to the challenges of outdoor theatre. (Elektra will not only be performed outdoors, but the production will take full advantage of all the space surrounding the West Park Band Shell.) “I once did a show in Central Park, and you get a different feel every show. Focus is key,” notes the actor, adding that playing two very different characters “lets you do something far from yourself. … I love when the Old Man gets to be the voice of the audience, telling the characters, ‘Stop giving so many speeches!’”

Lovy, who plays Pylades, a mute boy, chuckles, “I like that they gave me a chance to do drag! Seriously, though, plays like this are important for education. I was introduced at a young age to the classics. That exposure has helped me relate to daily life, family dynamics, and themes. I’m really grateful for that. … I’m the eyes and ears of the show, and I can’t let on what I know or the whole family will blow up”

Settle, one half of the show’s Greek chorus, concurs, “We are there to influence the outcome. We have a job to do … but we are ethereal beings performing a delicate dance between justice and vengeance.”

Nelson, Settle’s fellow chorus member, elaborates, “Ancient Greece is where theatre started, and it continues as a source of great drama with plots as extreme as any summer blockbuster. In our daily lives, we are all so worried about being calm and polite, but a show like this? You can really cut loose.”

With such a fun, fizzy, and damn erudite cast, Schwartz is grateful for this summertime collaboration and echoes his actors’ perspectives. “This show and this cast are so perfect for the space. This is different than anything The Penny Seats have done before, and we wanted to expand our direction a bit.”

Hitesman adds, “This is challenging stuff … very active. The relationships are so intense, like a real family, and working on this reminds you how much the Greek classics have influenced today’s theatre, film, TV.”

Schwartz concludes, “Carson’s adaptation gets to the spirit of what modern audiences will appreciate. It is very immediate and draws you in. If you’ve been away from Greek drama for a while, this show is a great way to reconnect … and if you’ve never seen a Greek tragedy, this is the one for you. Immediate and relatable.”

In the play’s opening scene, Elektra declares, “I act because it compels.” In the context of the play, this proclamation indicates an urgency of movement, but, witnessing this intrepid band of actors exercise their talents, these words take on double meaning. Indeed, they do act because the very doing compels – compels the hearts and minds of both performers and audience. And I, for one, can’t wait to see the finished results!

Elektra opens July 10 and runs through July 26. Shows are Thursday, Friday, and Saturday at 7 pm, and tickets are $10 per person. You can purchase tickets at www.pennyseats.org or by calling (734) 926-5346. Patrons may want to may want to bring blankets or camp chairs to sit on, as the tiered seating around the pavilion does not have back support. The company has partnered with a local caterer to have food on-site, and picnicking (beginning at 5:30 pm performance nights) is encouraged.

[This piece first appeared on BroadwayWorld here - I appreciate their wonderful support!]

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Don’t pass go. Don’t collect $200: Edge of Tomorrow

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

All You Need is Kill was the original title of Tom Cruise and Emily Blunt’s cheeky summer epic Edge of Tomorrow. Changing the film’s name to something akin to a 1950s NBC soap opera is the only misstep the movie makes.

I’ve heard folks describe this slyly smart sci-fi bon-bon as Groundhog Day meets the video game Halo, and there is truth to that. The movie does use a “Live. Die. Repeat.” narrative structure (Edge of Tomorrow‘s marketing slogan, in fact … which also would have made a better title), and it cannily turns video game tropes on their collective head: bloodless mayhem; squiggly, skittery, unrelatable enemies; trash-talking mercenaries; Starship Troopers-esque chunky, scruffy battle gear; and, most importantly, the ability to replay a scene over and over until you get it right and can move onto the next.

Here’s the thing: director Doug Liman (so good with popcorn fare that’s a witty cut above the rest – Mr. and Mrs. Smith, Swingers, The Bourne Identity, Jumper) is not glorifying violence but rather using genre elements (not unlike the aforementioned Starship Troopers does) with such crafty juxtaposition (including the endless, intentionally mind-numbing repetition) to emphasize the colossal absurdity, and ultimate futility, of warfare. More 50 First Dates meets Dr. Strangelove.

While the rest of the world seems to have abandoned their golden boy Cruise, I actually find him rather interesting these days. From his gonzo cameo in Tropic Thunder to his sozzled musical turn in Rock of Ages to his caustic antihero Jack Reacher, Cruise appears to have finally embraced his twitchy, sweaty inner-hooligan and jettisoned his alpha male leading man aspirations. He has given up on winky, grinny charm … and has become authentically charming in the process. He finally feels like one of us – welcome to the poor schlub club, Tommy – you always belonged here.

Cruise’s character Major William Cage is a PR wonk who has somehow talked his way into a cushy military job as Europe is overtaken by long-legged-y beasties that make ominous hissing noises like a Slinky descending stairs. The always perfect Brendan Gleeson plays a Euro-general who has seen it all and isn’t buying Cage’s line of BS, sending the yellow-bellied marketer directly to the front-lines … don’t pass go, don’t collect $200.

And this is where the movie takes off like a rocket ship. Bill Paxton, in yet another wry summer movie turn (see him equally genius in a very different role in Million Dollar Arm) is Cage’s commanding officer with a bad 70s ‘stache and an even (intentionally) worse 70s swagger. Cage ends up thrown on a beach-y war-zone (a la Normandy) alongside a crew of misfits. He gets sprayed with some icky purple alien blood, and gains the gift (or curse?) to repeat this day over and over and over.

Cruise’s performance is so unexpectedly nebbishy, sans any annoying Woody Allen eccentricities, that he has the audience in the palm of his hand instantly. We are right there with him in this comically nightmarish bad dream.

Eventually, Cage survives long enough to meet Joan of Arc-super warrior Sergeant Rita Vrataski (Emily Blunt playing splendidly against type – see Devil Wears Prada, The Five-Year Engagement). Vrataski once had the same affliction as Cage, doomed to repeat the same day in an endless loop until a blood transfusion took her power away. Consequently, she becomes his Obi-Wan Kenobi, Mr. Miyagi, and Ellen Ripley all in one. Blunt uses her crack timing, soulful eyes, proper British cynicism, and cut-glass cheekbones all to great effect, giving us an intimidatingly likable  a**-kicker who suffers no fools gladly.

By the time the third act starts to wrap up with its inevitable “save the world by blowing up the source of all alien incursions” denouement, your patience with the film’s conceits may be worn thin. I suspect that is by design. The audience’s mental posture mirrors Cage’s/Cruise’s at that particular cinematic crossroads, and the overlap of viewer and viewed is a gas. (At least it was for me.) And this film is one of the rare examples of an ambiguous non-ending ending that works like a charm. I won’t spoil it, but I think you’ll agree.

Kyle, Steve, Jim, Sean, Roy and John

Kyle, Steve, Jim, Sean, Roy and John

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P.S. Viewing this movie was the capstone to our pal Jim Lynch‘s Big Day of Fun.

Guardians of the Galaxy with interlopers Charlie, Steve, Jim

The Guardians of the Galaxy with interlopers Charlie, Steve, and Jim

In anticipation of Jim’s upcoming nuptials to Lyn Weber, we had an afternoon of silly (great!) activities:

 

 

 

Hudson Museum (with genuine Tucker car) and Sidetracks in Ypsilanti, SkyZone and GameStop in Canton, Putterz (with a Z!) in Ypsilanti, and Carlyle Grill and, yes, Edge of Tomorrow in Ann Arbor.

The day was less Hangover more Little Rascals.

Assorted thunderstorms and a leaky limo roof only enhanced the fun, never dampening (pun intended) the hijinks! Enjoy these photos …

Jim, Roy, and John

Jim, Roy, and John

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view.

Sean makes a friend at Putterz

Sean makes a friend at Putterz

In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

Jim, Kyle, Sean, and  John at Sidetracks

Jim, Kyle, Roy, Sean, and John at Sidetracks

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

 

 

scha·den·freu·de: chasing after the same last scrap of bread

Thanks to the Ann Arbor Independent Newspaper which is now including me (semi-regularly) as an arts and culture contributor. My first piece appeared last week as part of their “Culture Vulture” series. A scan of the article is captured below, and the text follows. Enjoy!

Schadenfreude

 

scha·den·freu·de

 noun, often capitalized \ˈshä-dən-ˌfrȯi-də\

: a feeling of enjoyment that comes from seeing or hearing about the troubles of other people

By now, we’ve all digested the news that beloved, award-winning Ann Arbor-theatrical mainstay The Performance Network abruptly shuttered its doors (and fabulous floor to ceiling windows) on May 22. Possibly between the time this glib little opinion piece was composed and when you are holding it in your hot little hands, more info has come to light, but, right now, we are woefully in the dark, other than one cryptic press release and some social media nervous breakdowns that I will be courteous enough not to repeat here for all parties involved.

(Does PNT not have a PR person worth their salt to manage this situation? ‘Cause there are a lot of accusations flying about the interwebs, hot-blooded musings from troubled artists … the kind of things that make lawyers either shudder or salivate and leave the rest of us just shaking our heads in collective sadness.)

Here’s the official word: “The board of directors of Performance Network Theatre has determined that the theater is not currently financially viable and suspends all operations, effective immediately. The board wants to thank the community, actors, directors, designers, donors, and subscribers for their long-standing support of the theater.”

This is not a lot to go on, and it certainly leaves the stage door wide open for theatre pros and amateurs across the land to conjecture all kinds of tomfoolery and Shakespearean intrigue.

In the spirit of disclosure, I’m one of those rubberneckers. I’m not one of the theatrical “cool kids” in Southeast Michigan. I’m not one of the 12 performers who always get mentioned in Encore (the weekly newsblast that goes out summarizing local theatre) and I will never be nominated for a Wilde Award (especially not now). It sounds like I’m bitter. I’m not. At least not much.

PNT ClosedHowever, I respect deeply the work of those 12 performers. We have such talent and such creativity in the theatre community here. It needs to be cultivated and supported, and these are folks who have given their life’s blood (quite literally) to create some beautiful things in Southeast Michigan.

But, here’s the thing that happens with all artists at the local level, and I’m seriously armchair quarterbacking as someone who has helped found a theatre company, has acted in a lot of amateur and semi-professional productions, and who writes frequently about the arts here: artists talk a good game about supporting each other, but they still tend to behave as if they are all chasing after the same last scrap of bread.

The very profession lends itself to this cutthroat behavior: audition for a role, show up and there are 100 other talented people all wanting it, give it your best shot, dig at the other performers, shake their confidence, get the part (or don’t). And, even when you do get the part, subsist on little to no compensation, give it your all, get knocked around by critics, perform for non-existent audiences, rinse, and repeat.

I can’t speak to the business decisions at the Performance Network or what debts were racked up or how unforeseen calamities (like a burst water pipe) may have been the proverbial straw. But I do wonder about what creative hubris may result from living in perennial fear that some other artists will come along and eat your box office lunch.

A successful creative enterprise must know the audience and be sensitive to changing tastes and styles. I saw a number of shows at Performance Network, and I was always so impressed technically but I also always felt like I was outside looking in. The proceedings felt a bit hermetically sealed … like being assigned really interesting homework.

And I’m enough of a plebian that, ultimately, I’d probably rather spend my entertainment dollars to go see The Avengers than an avant garde treatment of Richard III. That is totally unfair, and really crappy of me to type … but it’s a market truth. Was Performance Network actually competing against The Avengers? Of course not, but did the company reach a point of insularity, inaccessibility, and cliquishness? Possibly.

There does seem to be some hope ahead as a new venture is rising from the ashes – something called Theater NOVA, the mission statement of which (according to their Facebook page) reads: “Creating a more sustainable model of non-profit theatre, through innovation in production/administration, commitment to artists, and true accessibility.” It’s that last word that rings truest. And I hope they mean it – accessibility … of content, for talent, for audiences. That is key. I wish them luck and hope that this momentary crisis has blown out the cobwebs, popped the pretensions, and lit a fire for improved business management. [Check out the latest developments - all seemingly positive - here. And the final resolution from the board as reported here.]

The preceding opinions are not likely to make me very popular in Southeast Michigan’s theatrical community. In fact, they may get me banned for life. I hope not, but, from monitoring social media, I seem to be alone in this perspective. That’s depressing. Successful artists know how to set up the “big tent” and invite everyone in. A closed ecosystem that just cycles through the same resources will always stagnate.

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.