Penny Seats Theatre Company and University of Michigan’s Environmental Biotechnology Group unite for water conservation

Brendan Kelly

Brendan Kelly

A local collaboration between Ann Arbor’s Penny Seats Theatre Company and the University of Michigan’s Environmental Biotechnology Group will feature the musical Urinetown: The Musical! and water conservation research in a creative way during the next three weekends starting July 30.

This art and engineering collaboration will be featured on the radio show It’s Hot In Here 88.3 WCBN FM (www.hotinhere.us/) on Friday July 31 at noon, with the recording to be posted shortly thereafter on the Penny Seats’ website and Facebook page. An Environmental Engineering research team from the University of Michigan is studying how human urine and products derived from it need to be processed to safely fertilize food crops.

Roy Sexton

Roy Sexton

The University of Michigan is one of five institutions involved in this first large-scale pilot project of its kind in the United States. They will be providing mobile restrooms during the Penny Seats’ performances of Urinetown in hopes that patrons will help with this unusual project.

“This is a fun and unique partnership to be sure. We are thrilled with the opportunity, and this aligns with the Penny Seats mission … it’s educational, it benefits society, and it brings value to our loyal patrons who are so kind to brave the great outdoors every summer for our shows,” comments Lauren London, Urinetown’s director and the Penny Seats’ president.

Urinetown: The Musical! The Tony-award-winning hit from 2001, will be performed by The Penny Seats Theatre Company July 30, 31, Aug 1, 6, 7, 8, 13, 14, and 15 (all shows at 7 pm).

Ensemble

Ensemble

Set in an admittedly absurd dystopian future where one must pay to pee, the show lampoons corporate bureaucracy, pie-in-the-sky optimism, revolution without a plan, and the musical theatre genre itself. With a full pit orchestra (led by Richard Alder) on the band shell stage, the action takes place around the audience in the park. Featured performers include Brendan August Kelly (Ypsilanti), Roy Sexton (Saline), David Francis Kiley (Ann Arbor), John DeMerell (Walled Lake), Sarah Ann Leahy (Ann Arbor), Paige Martin (Ann Arbor), Cathy McDonald (Plymouth), Christina McKim (Albion), Jenna Kellie Pittman (Waterford/West Bloomfield), Linda Rabin Hammell (Detroit), Jeff Stringer (Jackson), Maika Van Oosterhout (Ann Arbor), and Daniel Bachelis (Howell). Production photos taken by Scarlett London.

Maika Van Oosterhout and David Kiley

Maika Van Oosterhout and David Kiley

London says the piece is a natural for the group: “Since its turn on Broadway, Urinetown has been a favorite of performers, for its snappy score and hilarious, wink-to-the-audience feeling. It’s a perfect show to place in our park, where the cast can interact up close with the audience, and take them into the show’s silly world. Our cast is filled with performers who excel at just this type of theatre, and we’re thrilled to bring it to the park.”

Advance tickets are available at the group’s website, www.pennyseats.org. Although the curtain goes up at 7:00pm each evening, pre-show picnicking is encouraged, and the group will sell water and concessions at the park as well. All performances will be at the West Park band shell.

Roy Sexton and Paige Martin

Roy Sexton and Paige Martin

Patrons are encouraged to bring a picnic dinner to enjoy at the park before or during the show.  Lawn chairs, hats, bug spray, and other outdoor gear are also encouraged. Alcohol may also be brought and enjoyed responsibly.  Water and concessions will be available for purchase. More information about tickets, parking, and available packages, is available on the company’s website, www.pennyseats.org.

Photos by Scarlett London

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Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

Urinetown: The Musical! opens THIS Thursday – yours truly as a mean cop! (Photos!!)

Roy Sexton as Lockstock

Roy Sexton as Lockstock

Urinetown: The Musical! The Tony-award-winning hit from 2001, will be performed by The Penny Seats Theatre Company July 30, 31, Aug 1, 6, 7, 8, 13, 14, and 15 (all shows at 7 pm). Set in an admittedly absurd dystopian future where one must pay to pee, the show lampoons corporate bureaucracy, pie-in-the-sky optimism, revolution without a plan, and the musical theatre genre itself. With a full pit orchestra (led by Richard Alder) on the band shell stage, the action takes place around the audience in the park. Featured performers include Brendan August Kelly (Ypsilanti), Roy Sexton (Saline), David Francis Kiley (Ann Arbor), John DeMerell (Walled Lake), Sarah Ann Leahy (Ann Arbor), Paige Martin (Ann Arbor), Cathy McDonald (Plymouth), Christina McKim (Albion), Jenna Kellie Pittman (Waterford/West Bloomfield), Linda Rabin Hammell (Detroit), Jeff Stringer (Jackson), Maika Van Oosterhout (Ann Arbor), and Daniel Bachelis (Howell). Production photos taken by Scarlett London.

Some additional coverage today at Encore (here) and MLive (here – five things to do in Ann Arbor this weekend).

Maika Van Oosterhout as Hope Cladwell, Linda Rabin Hammell as Pennywise, and Brendan August Kelly as Bobby Strong

Maika Van Oosterhout as Hope Cladwell, Linda Rabin Hammell as Pennywise, and Brendan August Kelly as Bobby Strong

Director Lauren London (who also serves as The Penny Seats’ President) says the piece is a natural for the group: “Since its turn on Broadway, Urinetown has been a favorite of performers, for its snappy score and hilarious, wink-to-the-audience feeling. It’s a perfect show to place in our park, where the cast can interact up close with the audience, and take them into the show’s silly world. Our cast is filled with performers who excel at just this type of theatre, and we’re thrilled to bring it to the park.”

Advance tickets are available at the group’s website, www.pennyseats.org. Although the curtain goes up at 7:00pm each evening, pre-show picnicking is encouraged, and the group will sell water and concessions at the park as well. All performances will be at the West Park band shell.  Patrons are encouraged to bring a picnic dinner to enjoy at the park before or during the show.  Lawn chairs, hats, bug spray, and other outdoor gear are also encouraged. Alcohol may also be brought and enjoyed responsibly.  Water and concessions will be available for purchase. More information about tickets, parking, and available packages, is available on the company’s website, www.pennyseats.org.

This is Urinetown number from Urinetown

Urinetown ensemble

Urinetown ensemble

Roy Sexton as Lockstock and Paige Martin as Little Sally

Roy Sexton as Lockstock and Paige Martin as Little Sally

Roy Sexton as Lockstock and Brendan August Kelly as Bobby Strong with Ensemble

Roy Sexton as Lockstock and Brendan August Kelly as Bobby Strong with Ensemble

Mr Cladwell number from Penny Seats production of Urinetown

“Mr. Cladwell” number from Penny Seats production of Urinetown

John DeMerell as Fipp

John DeMerell as Fipp

Jeff Stringer as Joseph Strong and Linda Rabin Hammell as Pennywise and Brendan August Kelly as Bobby Strong

Jeff Stringer as Joseph Strong, Linda Rabin Hammell as Pennywise, and Brendan August Kelly as Bobby Strong

Linda Rabin Hammell as Pennywise with ensemble

Linda Rabin Hammell as Pennywise with ensemble

Linda Rabin Hammell as Pennywise

Linda Rabin Hammell as Pennywise

Maika Van Oosterhout as Hope Cladwell and Paige Martin as Little Sally and Brendan August Kelly as Bobby Strong

Maika Van Oosterhout as Hope Cladwell, Paige Martin as Little Sally, and Brendan August Kelly as Bobby Strong

Hello Hope

“Hello, Hope!”

Ensemble

Ensemble

Daniel Bachelis as McQueen and Jenna Kellie Pittman as Josephine Strong and David Francis Kiley as Caldwell B Cladwell

Daniel Bachelis as McQueen, Jenna Kellie Pittman as Josephine Strong, and David Francis Kiley as Caldwell B Cladwell

Christina McKim as Soupy Sue

Christina McKim as Soupy Sue

Cathy Skutch McDonald as Mrs Millennium

Cathy Skutch McDonald as Mrs. Millennium

Cladwell gang

Cladwell gang

____________________________
Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

Life in an aquarium: Tipping Point Theatre’s “Invasive Species” (world premiere)

Invasive SpeciesI’m certain it breaks some unspoken critics’ oath to review a show featuring one of your dearest friends, so don’t consider this a review of Tipping Point Theatre’s world premiere Invasive Species, starring Aral Gribble (whom I don’t know) and Melynee Saunders Warren (whom I most assuredly know and with whom I may or may not have shared a stage … or two).

But this play is so good that I have to write something.

Joseph Zettelmaier’s intimately inventive script, making its debut here in Michigan, details the misadventures of a lonely widower schlub Earl Hobbs (Gribble) whose life is transformed when he discovers an exotic creature in his favorite fishing hole and takes said specimen (soon dubbed “Toothy”) home as a confidante and pet. Warren portrays a well-intentioned DNR officer Eden Selkirk, plagued by her own personal tragedies, who ends up (spoiler alert!) aiding and abetting Hobbs in his efforts to keep Toothy alive and thriving.

A theatrical pas de deux like Invasive Species is no easy task, and, under the sure-handed direction of Joseph Albright, Gribble and Warren keep the laughs (and the poignancy) flowing in the show’s crisp 90-minute running time. “Life in an aquarium” is a recurring theme in the production as both Hobbs and Selkirk find themselves drawn together by the confines of small-town, small-state, small-life. The smart set design by Jennifer Maiseloff and lighting design by Alex Gay ably assist the cast in this endeavor, providing them a beautifully insular series of indoor/outdoor levels with which to play. The efficient use of space is as breathtaking as it is lean, mean, and, well, perfect.

The script, perhaps at times a bit too rapturous about rural Michigan’s charms (particularly in its closing monologues), is incisive and deeply affecting. Zettelmaier has a keen insight into heartache and loneliness, but never for one moment devolves into cloying condescension. Hobbs and Selkirk are broken souls seeking kinship from nature and from each other, and their painfully heartwarming collision is as moving as it is horrifying.

The animal lover in me appreciated the central  metaphor in Hobbs’ adoption of the contraband Toothy: sometimes the unlikeliest friends can unlock our shattered psyches. And the delicate acting work of Gribble and Warren is a charming wonder, their deeply human connection transformative and empathic, showing how the rigidity of rules and regulations can melt away to compassion and understanding. This show is a gem, and runs through August 23 – don’t miss it: http://www.tippingpointtheatre.com/

____________________________
Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

You’ll never look at Thomas the Tank Engine the same way: Marvel’s Ant-Man

"Ant-Man poster" by Source. Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:Ant-Man_poster.jpg#/media/File:Ant-Man_poster.jpg

[Image Source: Wikipedia]

So, for us comic book nerds, the fact that an “Ant-Man” film even exists is a remarkable achievement. If you’d asked me at age 11 – the absolute peak of my superhero, four-color mania – whether I could envision a day when a character this seemingly obscure to mainstream America would one day get the big budget blockbuster treatment by no less than the Walt Disney Company (by way of Marvel Studios), I would have passed out in a fit of hyperventilating giggles.

Well, geeks do grow up. And make movies, apparently.

So how does Ant-Man, Marvel Studios’ latest cinematic installment (number 12 in the official “Marvel Cinematic Universe” which began with Iron Man), fare with this now-middle-aged, possibly-more-jaded, arguably-cape-and-spandex-fatigued comic fanatic?

Blessedly, its off-kilter quirks ultimately outstrip its more pedestrian corporate intentions, culminating in a zippy fourth-act that marries Marvel’s trademark frat boy jollies with a more subversively refreshing sense of play.

So, said with less pretension, I (more or less) dug it.

The film began life in the hands of celluloid anarchist Edgar Wright (Shaun of the Dead, Hot Fuzz) who eventually walked away from the picture, no doubt when the oppressive merchandising hounds at Disney likely felt things were getting too gleefully weird. In stepped director Peyton Reed (Bring It On, Down with Love – wtf?!?) and screenwriter Adam McKay (Anchorman, Talladega Nights) to bring the film to completion.

Strangely, what we all predicted would be a stylistic train-wreck works better than it should. The bro culture of McKay, the TV-movie pacing of Reed, and the middle-finger-to-the-sky of Wright have yielded the Reese’s Peanut Butter Cup of superhero films: a little salty, a little sweet, utterly predictable, and pleasantly forgettable.

For the uninitiated, Ant-Man is a character from the early days of Marvel Comics, and his claim to fame (other than being one of the founding members of The Avengers) is that he can shrink to microscopic size and command an army of friendly ants to do his bidding. Now if that isn’t a natural fit for a multi-million-dollar motion picture, what is?

Fortunately, Wright was savvy enough to cast Paul Rudd in the lead role, Rudd’s shaggy dog Gen X entropy having calcified in his 40s into chiseled leading man cynicism and loopy dyspepsia. Rudd’s skewed charms work beautifully in this minor epic, stitching together the otherwise meandering script and giving the proceedings a wide-eyed, mischievous sparkle.

The film is less save-the-planet-from-obliteration (though no film in the genre can totally escape that cliched trope) as it is bonkers heist film. Rudd’s Scott Lang, recently released from prison on a burglary conviction, falls back into old (bad) habits in the hopes of catching up on child-support payments for his estranged daughter. Lang’s ex-wife, portrayed by Judy Greer (again, criminally underused in a big budget tent-pole), is playing house with a cop (Bobby Cannavale – why is this ham still cast in anything?), and Lang takes up with his old gang of misfit toys (led by a preciously addled Michael Pena) to try to set things right.

Eventually, their hijinks lead them to scientist Henry Pym (Michael Douglas being all Michael Douglas-y … boring) and his daughter Hope (a luminous – but tragically bewigged – Evangeline Lilly). Y’see, back in the day, Pym invented the Ant-Man suit to fight big, bad Russkies in the Cold War (or something); Lang steals the suit to make a quick buck (’cause Pym secretly wants him to … of course); and then they all set out together to defeat the real big bad Darren Cross (Corey Stoll, all meaty, glistening sleaze), Pym’s former protege who has taken over Pym’s company and wants to make teeny tiny super soldiers to take over the world.

Good googly wooglies, that is a convoluted plot to try to synopsize. Definitely a script written by a schizophrenically focus-grouped committee.

Regardless, there is more goodhearted fun in any five minutes of Ant-Man than in the entire bloated excess of Avengers: Age of Ultron (a film, by the way, which I didn’t hate … but I don’t remember liking very much three months later either). Ant-Man‘s cast (with the exception of Douglas who just comes off stiff and constipated) is all loose-limbed fun, reveling in a succession of tart and tasty character moments and never taking one damn bit of it too seriously.

The film ends with a Tex Avery high-wire-act of a fight sequence, mining all the comic tension possible from having a hero (and antagonist) who can hide among carpet fibers. You will never look at Thomas the Tank Engine the same way ever again. I only wish the filmmakers (any and all of them) had been so creative, so brave for the entirety of the film. Maybe the next set of Marvel Studio focus groups can offer that feedback for the inevitable sequel(s).

____________________________

Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital)In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

Final weekend for Penny Seats’ Complete Works of William Shakespeare (Abridged)

Artun Kircali and Leanne Young and Matt Cameron in Shakespeare

Artun Kircali and Leanne Young and Matt Cameron

Penny Seats Theatre Company ends its successful run of The Complete Works of William Shakespeare [Abridged] this weekend July 23, 24, and 25 at 7:00pm. This hilarious parody features three actors attempting valiantly to perform every Shakespearean work in a mere 90 minutes.

It was first performed by its authors, Adam Long, Daniel Singer, and Jess Winfield, at the Edinburgh Festival Fringe in 1987, and it has gained meteoric fame in the years since, becoming one of the world’s most popular shows. The actors move frantically from piece to piece, donning and doffing costumes and wigs, hurling well-timed insults at one another, and frequently interacting with the audience.

Artun Kircali and Matt Cameron

Artun Kircali and Matt Cameron

The show stars Matt Cameron, Artun Kircali, and Leanne Young, and is directed by Anne Levy.  Advance tickets are available for $10 at www.pennyseats.org, or at (734) 926-5346. They will also be available at the door.

Immediately the following weekend, Penny Seats will open Urinetown: The Musical! The Tony-award-winning hit from 2001, will be performed July 30, 31, Aug 1, 6, 7, 8, 13, 14, and 15 (all shows at 7 pm).

Matt Cameron and friend?

Matt Cameron and friend?

Set in an admittedly absurd dystopian future where one must pay to pee, the show lampoons corporate bureaucracy, pie-in-the-sky optimism, revolution without a plan, and the musical theatre genre itself. With a full pit orchestra (led by Richard Alder) on the band shell stage, the action takes place around the audience in the park.

Featured performers include Brendan Kelly (Ypsilanti), Roy Sexton – ME! (Saline), David Kiley (Ann Arbor), John DeMerell (Walled Lake), Sarah Ann Leahy (Ann Arbor), Paige Martin (Ann Arbor), Cathy McDonald (Plymouth), Christina McKim (Albion), Jenna Kellie Pittman (Waterford/West Bloomfield), Linda Rabin Hammell (Detroit), Jeff Stringer (Jackson), Maika Van Oosterhout (Ann Arbor), and Daniel Bachelis (Howell).

Urinetown ensemble in rehearsal

Urinetown ensemble in rehearsal

Director Lauren London (who also serves as The Penny Seats’ President) says the piece is a natural for the group: “Since its turn on Broadway, Urinetown has been a favorite of performers, for its snappy score and hilarious, wink-to-the-audience feeling. It’s a perfect show to place in our park, where the cast can interact up close with the audience, and take them into the show’s silly world. Our cast is filled with performers who excel at just this type of theatre, and we’re thrilled to bring it to the park.”

Sarah Ann Leahy as Barrel and Roy Sexton (ME!) as Lockstock

Sarah Ann Leahy as Barrel and Roy Sexton (ME!) as Lockstock

Advance tickets are available at the group’s website, www.pennyseats.org. For the first time this year, the group is also selling package tickets, where patrons can purchase tickets to both shows and save a dollar per ticket. Although the curtain goes up at 7:00pm each evening, pre-show picnicking is encouraged, and the group will sell water and concessions at the park as well.

All performances will be at the West Park band shell.  Patrons are encouraged to bring a picnic dinner to enjoy at the park before or during the show.  Lawn chairs, hats, bug spray, and other outdoor gear are also encouraged. Alcohol may also be brought and enjoyed responsibly.  Water and concessions will be available for purchase. More information about tickets, parking, and available packages, is available on the company’s website, www.pennyseats.org.

____________________________

Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

La Cage Aux Mormons: Derek and Julianne Hough and The Move Live Tour at the Fox Theater, Detroit

11221501_10206285578157274_7488430663654299396_oSo, for those of you hoping for a review this week of, say, Marvel’s Ant-Man or even Amy Schumer’s Trainwreck? You are getting neither.

Nope, you are getting an (albeit brief) overview of Mormon siblings/Dancing with the Stars alumni Derek and Julianne Hough’s Move Live dance extravaganza at the Fox Theatre in Detroit. 905771_10206285578077272_4772899360683282822_o

Yup, you read that correctly. 11109697_10206285578117273_4376833428147160117_o

John’s birthday present this year consisted of tickets to tonight’s show, given that last year ago he saw Derek on an episode of MTV’s Ridiculousness and got a kick from the Y-chomosomed Hough’s joie de vivre. And I, being the nice, thoughtful soul that I am, bought us tickets.

10985489_10206286234733688_4257423839131278927_oSo, how was it? Not bad. In a Donnie-and-Marie-meets-Magic-Mike-why-are-we-still-so-weirdly-repressed-it’s-2015 sort of way. It’s basically a two-hour episode of DWTS with blessedly little commentary and a few too many inspirational pep talks, all glitz and glamor, fox-trots and lip syncing – a K-Tel cornucopia of pop music and flash-dancing.

11217826_10206285578197275_1372892054322846085_o(And let me add that the whole time I was watching the show, I was also engaged in a social media debate with my hometown newspaper, an organization that seems to think pig wrestling – yeah, I know – is a signpost-worth-defending in America’s ongoing culture wars. Either that or they are just darn afraid of the local 4-H mafia. Or both. Click here … before they delete it.)

11707816_10206286323015895_3521239936071060505_o

Move Live

Back to the show? It is so Branson, Missouri-meets-Baz Lurhmann that I kinda dug it. Move Live is high-energy, filled with up-to-the-minute pop hits, and the Hough siblings can move – no pun intended. Hence, the show is aptly named.

Downside? Julianne (d*mn painful in one of the lead roles in the recent film adaptation of Rock of Ages) insists on singing. A lot. And her voice (charitably put) is like hearing two latex balloons rubbed together. Someone needs to intervene.

However, as a dancer, Julianne is divine … albeit she does remind me of desperate-for-validation cheerleaders with whom I went to high school, so I found her a wee bit exuberantly repulsive at times.

(Some of those aforementioned cheerleaders are firmly in the camp of those who think “pig wrestling” is really awesome now, so that didn’t much help Julianne’s cause. My worlds are colliding in a really unfortunate way this evening.)

11713854_10206286222093372_7765995984257500901_oDerek on the other hand is pretty darn charming. I hadn’t warmed to his gifts from that one episode of Ridiculousness, but, watching him in Move Live, I thought, “Yeah, there’s a star. He has the face of a rat and the body of Michelangelo’s David, but that’s a star.”

Derek sang as often as his sister, and, while his voice isn’t going to put Andrea Bocelli out of work, it’s stronger than Julianne’s.

He also has an engaging presence that had the DTWS-sycophants in the audience eating from the palm of his hand.

Move Live

The numbers ran the gamut from Bruno Mars’ au courant “Uptown Funk” to Christina Aguilera’s pastiche “Candy Man” to Elvis Presley’s moldy chestnut “Jailhouse Rock.” All were delivered with a polish and a joy that one only sees in a Broadway-caliber musical revue. 10873632_10206286215893217_1080407561164823413_o

My snide sh*tty snark aside, the Hough siblings are really d*mned adorable, and I enjoyed myself greatly. I felt like I’d time-traveled to 1979, watching a super-special, family-friendly episode of Solid Gold, starring Donny and Marie, The Carpenters, and Captain and Tennille. 11705498_10206286714585684_924200078516691853_o

And you know what? That’s just fine. If that’s the niche these fabulously talented siblings are destined to fill, then I dare say that this sad and troubling era could use a touch of their Me Decade-inspired sparkle.

#LaCageAuxMormons ____________________________

Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

“Oh, facts and opinions, who can tell them apart?” Pixar’s Inside Out

[Image Source: Wikipedia]

When it comes to Pixar, I’m a sucker for their more esoteric/existential offerings: Up, WALL-E, Ratatouille, and The Incredibles. If you had told me twenty years ago that there would be an animation super-company that synthesizes the works of Sartre, Camus, Beckett, Chaplin … and Abbott & Costello for mass-market, blockbuster consumption, well, I would have simply replied, “Why are we here?” (Cue existentialist rim shot.)

No film in the Pixar canon, though, can compare for sheer WTF meaning-of-life audacity to their latest Inside Out. I loved this movie for its gentle heart, its minimalist humor, and its sly message that all emotions are valid and essential, not just that most-favored nation: technicolor, buoyant, “have a blessed day” joy.

The film details the awkward transition of a sweet, beloved only child (Riley, charmingly voiced by Kaitlyn Dias) as she and her parents relocate from their small-town home in Minnesota to the big city life of San Francisco. The transition isn’t an easy one, as the family’s belongings are lost mid-transit, Riley finds herself missing friends and activities from her previous life, and her new school offers little reprieve. Complicating (or causing?) these challenges are a series of misadventures from the voices living in Riley’s head.

When I saw the first preview several months ago, I admit I was dubious about the central conceit: that our emotional inner life can be distilled into five warring character traits: Joy (Amy Poehler), Anger (Lewis Black), Disgust (Mindy Kaling), Fear (Bill Hader), and Sadness (Phyllis Smith). From the looks of things, I feared that Pixar had swiped the concept of that odd 70s construct Mr. Men and Little Miss, whereby we Me-Era kindergartners learned about our thorniest of emotions and the need to share and play well with others via a series of easy-to-read, infinitely merchandised board-books. And lest we not forget the acid trip “Free To Be You and Me” musings of holiday specials from Rankin/Bass and Sid and Marty Krofft where the fight for one’s psychological well-being could be enacted through feuding Claymation characters representing weather fronts or trippy sea monsters and Phyllis Diller witches. How we Gen X’ers survived, I’ll never know.

(We also had the short-lived, early 90s sitcom Herman’s Head, likely crafted by someone weaned on the animated output of the Children’s Television Workshop but with a naughtier spin, in which a young writer had every decision dictated by a group of wise-cracking Jiminy Crickets cohabiting in his cranium. Interestingly, that show, like Pixar’s Inside Out, was executive produced by Disney.)

How wrong I was! (And apologies for the digression into artifacts of my childhood – Inside Out is so good, you can’t help but plumb the depths of your youth upon exiting the theater.)

The film does share its DNA with earlier cinematic/television efforts to explain psychology to kids and adults alike, but it is also very much its own unique creation. Director Peter Docter (who helmed Up as well as Monsters, Inc.) is in his element constructing richly detailed mythology for us all to understand and appreciate the colors (quite literally) of our emotional responses. With Inside out, the primal depth of Up (I dare you not to watch the opening sequence of that film and find yourself in poignant Ingmar Bergman puddle) finds a new home in the Rube Goldberg whimsy of Monsters, Inc. as Docter and his team give us an Oz-like travelogue through the various geographies in one’s brain.

After a mix-up involving some precious long-term memories, sending Riley on a prepubescent spiral of self-doubt, Joy and Sadness find themselves on the unlikeliest of road-trips, navigating Riley’s id, ego, and superego in order to right a sinking ship.

There are many clever asides and surprises along the way, and I dare not spoil a one. I will note, however, that I guffawed loudest at a bit where Joy stumbles over what appears to be a large box of placards, jumbling them all. She comments, “Oh, facts and opinions, who can tell them apart?” In these contentious times, truer words may have never been spoken in an animated film.

At the halfway point, the heartbreaking soul of the film makes his shaggy, sad-sack appearance. Richard Kind is exceptionally voice-cast as Riley’s elephant-nosed, cotton candy-bodied, cat-tailed imaginary friend Bing Bong. As Riley’s life has evolved, Bing Bong has become a stranger in a strange land, a Didi/Gogo whose tears take the form of cellophane-wrapped candy pieces. As he assists and occasionally misleads Joy and Sadness from the dark recesses of Riley’s brain, he insinuates his way into the audience’s heart, and his ultimate sacrifice (not saying what) is as devastating a moment as you’ll see in cinemas this year. (At least it was for this weirdo who still personifies all of his childhood toys and can’t bring himself to part with a one.)

The film’s final message for us all? (One I find so very important.) Every feeling is valid and shapes who we are. Sadness is as crucial as joy, anger as essential as fear or disgust. To force happiness when it isn’t immediately evident is to cause even greater sadness and disruption. Embrace who you are and how you feel in the moment, and embrace that honesty in others as well. We will all be that much happier as a result.

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Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

“To a canary, a cat is a monster. We are just used to being the cat.” Jurassic World

"Jurassic World poster" by Source (WP:NFCC#4). Licensed under Fair use via Wikipedia - https://en.wikipedia.org/wiki/File:Jurassic_World_poster.jpg#/media/File:Jurassic_World_poster.jpg

[Image Source: Wikipedia]

Regarding this weekend’s big summer blockbuster release Jurassic World, my animal advocate mom posted this on my Facebook wall earlier today: “But are they mean to dinosaurs? Are the dinosaurs the villains? Is it a glorified hunting movie? Inquiring minds want to know these things? Would Sarah Palin approve and reignite girls to wear clean sportsy clothes and hiking boots? Posing with bears and rabbits and deer and giraffes pretending they killed them? Because if so, my friend… ha!”

I can pretty safely say that it’s not a glorified hunting movie, and I don’t think the Sarah Palin-types would like it, as most of their stand-ins in the film get eaten pretty quickly by roaring, teeth-gnashing dinos. However, the film is a typically schizophrenic Steven Spielberg production (he executive produced this installment but directed the original Jurassic Park way back in 1993). Is the film making a satiric point about how horrible humans are to the environment, how we reap what we sow, and how we deserve any and all climate change payback which results from our rampant over-development of land, air, and sea? Or is Jurassic World just more yuppie disaster porn designed to sell Happy Meal toys, glistening Jeeps, and Patagonia safari gear? I’m still scratching my head. I just don’t know.

When you look at Spielberg’s filmography, as both director and producer, from Jaws to Close Encounters, E.T. to Gremlins, Poltergeist to, yes, Jurassic Park, he returns time and again to themes of man’s infinite ineptitude and limitless arrogance in the face of a planet, nay universe, full of mystery, wonder, and violent counterbalance. For Spielberg, karma is a four-color funny – build a beach home, destroy a burial ground, feed a cooing creature after midnight, genetically modify a reptile for an overpriced amusement park? You’re gonna get sliced, diced, and eviscerated, all to the strains of a symphonic John Williams score.

And you know what? That is ok by me!

The problem with Spielberg’s films is he wants to have his sardonic cake and eat it too. Spielberg’s movies are expensive and they make a lot of money; whether directed by Spielberg or under the auspices of Amblin Entertainment or DreamWorks, these big budget boogers are sold to every demographic quadrant an army of polished marketers can dream up, so ultimately the flicks dare not go too far. We don’t want to alienate any viewer, slurping over their Mr. Pibb and Kit Kat bites (yeah, that’s what I had today), and, consequently, any unique and incisive POV gets diluted in a gauzy haze of product placement, no matter how postmodern and ironic said placement may be.

No, Spielberg did not direct Jurassic World. Those honors (?) go to Colin Trevorrow (Safety Not Guaranteed), but Spielbergian DNA is all over this sucker. Sorry, Colin. I can only imagine this must have been like being hired for a dream design job at Apple, only to find they really just want you to arrange, into artful displays, the new Apple Watches when they arrive in stores.

Jurassic World does its job efficiently and effectively. It entertains, and it will make a mint … but it has no real raison d’etre. (Yeah, I got all fancy. It doesn’t need to exist.) It basically lifts the very plot from the first film, but this time we get Bryce Dallas Howard (how is this mugging, one-note actor still making movies? oh, right, Ron Howard’s kid) instead of Richard Attenborough and Chris Pratt instead of Sam Neill. Jeff Goldblum is now Irrfan Khan, and Wayne Knight is now Vincent D’Onfrio. B.D. Wong? Still B.D. Wong – that man must be an automaton as he hasn’t aged one freaking bit.

Seriously, these actors may be playing different characters (obvi) twenty-some years later (natch) but their narrative functions are still the same.

Portraying a grizzled velociraptor trainer (and apologist), Pratt is the best thing in the film by far. Wearing a steady exasperation that seems to suggest he wishes he had a better script with which to work, Pratt does a fine job channeling Neill’s gravitas: just because you can make a dinosaur does mean you should make a dinosaur. Pratt is a delight, one of the few actors in the film who seems to believe where he is and what is doing and who has a genuine affection for the misunderstood creatures in this world (dino or otherwise).

Howard fares less favorably as the Isla Nubar theme park’s chief executive who in sexist Hollywood shorthand is an out-of-touch, controlling, insecure ninny with a severe bob, impractical shoes, and an ever present iPhone. Ugh. It doesn’t help that her emotions range from sweaty to panicked to rigid to … sweaty.

D’Onofrio is a kick in an underwritten role as a nebulous InGen contractor who wants to use these “assets” (that’s how mean people refer to animals in this cardboard world) for military purposes. Boo hiss. Blessedly, he has the chops to fill in the mile-wide gaps the script allows. He exudes the oily opportunism of those post-millennial types who see our natural resources simply as walking/breathing/pooping dollar signs. He may as well have had Monsanto painted on his backside.

At one point, Wong’s character (you may recall he is the ethically-dubious geneticist who figured out how to fabricate dinos from whole cloth in the first place) intones what passes for a philosophical thesis in the film: “To a canary, a cat is a monster. We are just used to being the cat.” Yup, amen to that.

There is a perverse joy in seeing blank-faced, cornfed tourists hoisted by their own petards, tossed like beach balls from one pteranodon to another above Jurassic World‘s Starbucks/Margaritaville/Pandora encrusted main street. I also loved the jab at Sea World with a dino sea creature (mosaurus?) that grudgingly entertains a nautical football-arena-size stadium of onlookers but gets the last laugh when he/she gobbles a few vacationers down.

Ultimately, by the final act, when the Frankenstein’s monster dino “Indominus Rex” (cooked up by Howard and Wong to sell more t-shirts and key chains) has shredded the park top to bottom and is now fighting a pack of velociraptors and a t-rex for no real explainable reason, I was in a Mr. Pibb/Kit Kat coma. I just didn’t care.

And the adult in me kept thinking … Who is going to put these dinos back in their paddocks? Is the Hilton corporation going to rebuild their opulent hotel on Isla Nubar for future product placement? Who is going to clean up this mess, and will Starbucks return to sell more mocha-choca-lattes? And why didn’t the dinos just finish off all the humans? That’s a movie I’d pay $10 more bucks to see.

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Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

“Do you want me to say I’m from the Midwest? Where’s the buffet? How do I find the Blue Man Group?” Spy (2015)

[Image Source: Wikipedia]

Melissa McCarthy is a comic alchemist, spinning comedy gold from the insidious politics of gender, age, and physical stereotypes. When she defies expectations, simultaneously embracing and undermining our collective desire to pigeonhole and judge (see Bridesmaids, The Heat), she provides a master class in laughter as medicine. With her sparkle and her heartache and her anarchy, she seems to say, “I dare you to limit me, and I’m going to make you laugh so d*mn hard that you won’t realize I just re-wired your pea brains for tolerance, acceptance, and kindness.”

When she hews too closely to self-deprecation over self-actualization (see Identity Thief, Tammy – the latter of which is better than we all remember it to be), she runs the risk of self-satire, becoming co-opted by the Hollywood marketing machine and reinforcing the gender- and body-shaming that Tinseltown has foisted on generations.

I am happy to report that Spy, her latest collaboration with director (and, I suspect, fellow free-spirit) Paul Feig, is firmly a home run in the former category, not the latter.

Never devolving into Austin Powers-hackery, Spy gently lampoons the James Bond genre and its misogynistic tropes with a depth and breadth that keeps the enterprise from being an overlong Saturday Night Live sketch. Working from Feig’s script, Feig and McCarthy have created the strongest showcase yet for McCarthy’s seemingly effortless, wildly diverse, rich character work.

McCarthy’s Susan Cooper is a sharp, eagle-eyed, kind-hearted desk operative in the CIA whose unrequited affection for Jude Law’s field agent Bradley Fine has derailed the unrelenting moxie she once showed in her basic training days. When Fine is seemingly murdered on a mission – a mission guided from afar by Cooper – she sees no choice but to take his place and track down his assassin Rayna Boyanov (an epically bewigged, riotously toxic Rose Byrne, channeling Sarah Brightman’s wide-eyed, new age Baroque bullsh*t, that is if she’d been raised by Donald Pleasance’s Blofeld).

With the exception of this Legally Blonde-esque narrative impetus (woman in love leaves her comfort zone to ultimately triumph over self-imposed, patriarchal limitations), Spy is a tart feminist meringue. McCarthy (not to mention her crackerjack sidekick Nancy, smartly underplayed by Miranda Hart) makes the absolute most of every moment, mixing supreme self-confidence with bat-sh*t anxiety to offer us an accomplished master-spy finding her voice and her power, nevertheless wondering how the hell she ever got into this mess in the first place. It is the most charming, heartfelt, and hysterical performance she’s yet given.

In addition to Law, Hart, and Byrne (all of whom are spot-on delightful), the ensemble cast also includes a frisky Jason Statham (like McCarthy, playing both to and against type) as a bumbling alpha male agent who is utterly convinced McCarthy’s Cooper has no business being on this (or any mission) and who, in his every effort to help, makes things ten times worse. (Typical male.) Allison Janney (always so darn present) is the CIA chief who wrings every bit of funny right out of her character’s exhaustion heading a male-dominated ship of fools. Hammy Bobby Cannavale has a small but pivotal role as a nuclear arms buyers, and Morena Baccarin is a hoot in a cameo role as a glamazon agent whose mean girl tendencies are masked by a hair flip and a smile.

What the partnership of Feig and McCarthy (from Bridesmaids to The Heat to Spy) does so well is run headlong into the very ugliness of men’s mistreatment of women, women’s mistreatment of women, and people’s mistreatment of people. The best comedy in these films comes from the quiet slight, the reaction shot, the response said through gritted teeth.

While scoping out the kind of sleek, sleezy high-end Eurotrash casino so prevalent in these kinds of films, Statham sniffs at McCarthy that she couldn’t possibly function as a successful agent because of her look, her gender, her demeanor. She just doesn’t fit in. She responds, with the kind of wounded/wounding line delivery only she has mastered, “What?! Do you want me to say I’m from the Midwest? Where’s the buffet? How do I find the Blue Man Group?”

And this exchange occurs well after her character has demonstrated a competence – no, excellence – that defies anything evidenced by any of her male colleagues. The commentary is hilarious and sad, exhilarating and maddening for, in one line, McCarthy’s Susan Cooper highlights how far we’ve yet to come, but in so doing reclaims power for herself by also pointing out just how stupid and blind we all can be. Go, Melissa, go.

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Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.

Coming out of the woods: Taylor Swift’s 1989 Tour at Detroit’s Ford Field

Taylor Swift at Ford Field

Taylor Swift at Ford Field

We had a debate about Taylor Swift at brunch today … well, not a debate so much as friendly banter, but, yes, about Taylor Swift. You see, I saw her stellar 1989 concert at Detroit’s Ford Field last night, and it seems to shock/awe/flabbergast that a grown (sort of) man appreciates the glittering pop output of one Ms. Swift. But I really do. Swift seems to be a polarizing force. Either you adore her or you really don’t ever, ever, ever like her style of wholesome-with-an-edge, high-waisted-Wonder-Bread-dominatrix, let-people-be-people, sh*tcan-the-jerks-in-your-life-with-a-smile jukebox jive.

Shake It Off

Shake It Off

I don’t think it’s easy to transition from child star to adult phenomenon in the public eye. I don’t mean the drug-addled, gin-soaked misadventures of a young (baby) Drew Barrymore or a slipping-down-the-rabbit hole Lindsay Lohan/Amanda Bynes. Rather, it’s probably worse for someone like Swift, whose Amazonian work ethic and drive for world domination must never give her a moment’s rest and which seems to make her a perennial target for critique.

Charlotte, MY chaperone for the evening

Charlotte, MY chaperone for the evening

The 1989 show, named after the year a wide-eyed Taylor (now 25 years old, natch) powered into this unsuspecting world, brings all of the pop (formerly country) powerhouse’s disparate influences into sharp relief. And it makes abundantly clear just how profound her transition has been from kiddie cult to global superstar. Watching last night’s show, I was struck by Swift’s confident swagger (and I normally hate swagger) but she wears it well.

She is not limited by gender, age, public perception, nor a cavalcade of A-list ex-paramours. NO.

She has reverse engineered the formula for inevitable, relentless singularity: one part Mick Jagger, two parts Madonna, a pinch of Janet, with a healthy sprinkling Carly Simon, Joni Mitchell, Alanis Morissette, and Tori Amos self-mythologizing confessional. Well-played, kid. No one else quite cracked that code – not Britney, not Rihanna, not Gaga. Not even sure Beyonce did it … but watch your back for Miley. Most important? Last night’s show was fun. (And, yeah, I might have been one of the oldest and fewest Y-chromosomed attendees – but if the Church of Swift teaches us anything it’s “haters gonna hate, hate, hate, hate.”)

Welcome to New York

Welcome to New York

The set list is essentially the 1989 album (from last fall) in its entirety with a few other now-classics (strange to say of songs not even five or so years old) thrown in (“I Knew You Were Trouble,” “We Are Never Ever Getting Back Together,” “Love Story”). Performance highlights included: a glitzy 42nd Street take on opener “Welcome to New York” with its swirling, infectious message of universal inclusion; a little Fosse in the stylized shadow-dancing of hypnotic “Blank Space;” some sweaty Velvet Rope-era Janet stylings on a molasses-throbbing “I Knew You Were Trouble” and a Rhythm Nation twist on rival-skewering “Bad Blood;” and straight-up Courtney Love guitar-raging on “We Are Never Ever Getting Back Together” (arguably the strongest reinvention of the bunch).

Bad Blood

Bad Blood

Before her (literally) soaring encore of the ubiquitous “Shake It Up” (staged as a can-can kick-line atop a spinning/floating catwalk), Swift closed with a stadium-rattling take on my personal 1989 favorite “Out of the Woods.” Against a kaleidoscopic backdrop of twisting Grimm Brothers trees and underneath giant spiraling paper airplanes, Swift nailed this Simple Minds/Tears for Fears/Kate Bush-homage, an anthem of empowerment and self-actualization and her ultimate thesis for this sleek, epic pop evening. You are you. Own it.

Out of the Woods

Out of the Woods

There were many surprises in an already jam-packed evening. Dan Reynolds of Imagine Dragons popped up for a frisky duet on his own hit “Radioactive” that had the crowd in a frenzy. (Admittedly, it wasn’t hard to get the 50K plus, sold-out crowd in a frenzy. They were going nuts over trivia questions about Taylor’s cats in the pre-show warm-up period.) Other members of the Swift celeb mafia put in video and live appearances – models GiGi Hadid and Martha Hunt walked the catwalk in “Style” to wish their singer-songwriter pal well, and Girls‘ Lena Dunham and the band Haim (not to mention, yes, Taylor’s cats Olivia and Meredith) offered their greetings from the big screens. (Is Swift the new Sinatra – and it’s not Jay-Z after all? Food for thought.)

Shake It Off

Shake It Off

The spectacle of the show was tasteful – more old-school Vegas than stadium bombast – with minimalist choreography, a series of subtle costume changes (all spangles and mini-skirts), a lot of rear-screen projection, and Taylor’s fabulously perfect 1989-bobbed haircut. (Seriously, she should never wear her hair any. other. way.) The niftiest touch of all? Every member of the audience was given a light-up wrist-band (RFID-powered?) that flashed and pulsed and changed colors to the stage activities. Such a simple thing, but had such a profound effect on the overall experience. The huge room at Ford Field looked like a twinkling galaxy, and all of us – young and, ahem, old – were gobsmacked by the clever inclusion of every one us in the concert staging.

The galaxy of wristbands

The galaxy of wristbands

The show is a reverent homage to an era which Swift couldn’t possibly remember – the late 80s. I do. Unlike Katy Perry’s Prismatic Tour (which I enjoyed), Swift is not winking at the Day-Glo era. She is embracing it and exploring those musical influences she never knew she had. I was 17 in 1989, and it was the year I started loving pop music from Janet Jackson’s Rhythm Nation to Madonna’s Like a Prayer to, yes, Prince’s Batman. I still treasure those albums as they transport me to a simpler, maybe sillier, possibly less socially divisive time when a lifetime of opportunity still extended before me. Whether she knows it or not, Swift captured the summer fun of listening to pure pop escapism on my little red boombox on the sundeck of my parents’ house in 1989. Thank you, Taylor.

Linda's daughter Laura (right) with Taylor's mom Andrea

Linda’s daughter Laura with Taylor’s mom Andrea

P.S. Taylor loves Detroit. She first sang the National Anthem at a Lions game at Ford Field years ago, and she even brought her mom along last night to help usher ecstatic fans backstage. My pal Linda Cameron, mom of frequent Penny Seats cast-mate Matt Cameron, was there as a belated holiday present from her family, and Linda even got a chance to meet Mom Swift whom Linda described as a  “sweetheart.”

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Reel Roy Reviews 2

Reel Roy Reviews 2

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital) In addition to online ordering at Amazon or from the publisher Open Books, the first book is 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.