Well, this is about the nicest review anyone (who isn’t my mother) has ever written about anything I’ve done on stage. “Roy Sexton is outstanding as Buddy. He has some of the most complex songs exploring the most complex emotions. His takes on ‘The Right Girl’ and ‘Buddy’s Blues’ are vocally strong and emotionally engaging as he conjures up a dialogue with his girlfriend while still yearning for the love of his wife.” Read more: https://pulp.aadl.org/node/399787. Theatre Nova’s Follies in Concert runs ONE more weekend, starting Thursday: http://www.theatrenova.org
“Follies” continues Thursday-Saturday, Nov. 14-16, at 8 pm and Nov. 17 at 2 pm. Theatre Nova, 410 W. Huron St., Ann Arbor. For tickets, call 734-635-8450 or go to theatreNOVA.org.
Follies’ premise – aged alumni of the Weisman (think Ziegfeld) Follies reunite at their derelict theatre to relive their youth and ponder their life choices just before the place is leveled for a parking lot – is challenging to stage for any theater because of the intermingling of time, but Theatre Nova carries it off. …
Dramatic highlights of this show are “Losing My Mind,” a solo performed by Sue Booth, as Sally, and “Live, Laugh, Love” by Thomas Murphy, as Ben, and the ensemble.
Comic highlights are the rollicking “Buddy’s Blues” by Roy Sexton as the sad sack traveling salesman Buddy Plummer, and “I’m Still Here,” performed by Olive Hayden-Moore as Follies veteran Carlotta.
Diane Hill, who directs the play and co-stars as Phyllis Rogers Stone, also performs two of Follies’ funniest songs, “Could I Leave You” and “Lucy and Jessie” with spot-on comic timing.
Follies’ famous mirror number, “Who’s That Woman,” is given nice treatment by Carrie Jay Sayer, as showgirl Stella.
The most effective time-splicing number in the show is probably “Waiting for the Girls Upstairs.”
Eddie Rothermel, Kryssy Becker, Connor Thomas Rhoades, and Annie Kordas do a fine job of portraying Ben and Phyllis, Buddy and Sally in their younger years.
Theatre NOVA presents “Follies in Concert” book by James Goldman, music & lyrics by Stephen Sondheim Nov. 7 – 17, 2019
ANN ARBOR, MI (Oct. 8, 2019) – Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a limited engagement of “Follies in Concert” book by James Goldman, music & lyrics by Stephen Sondheim.
Sondheim’s Broadway smash-hit musical concerns a reunion in a crumbling Broadway theatre of the past performers of the “Weismann’s Follies” that played in that theatre between the World Wars. Presented in concert, Follies is a glamorous and fascinating peek into a bygone era, and a clear-eyed look at the transformation of relationships over time, with countless songs that have become standards, including “Broadway Baby,” “I’m Still Here,” “Too Many Mornings”, “Could I Leave You?” and “Losing My Mind.”
Directed by Diane Hill, with Music Direction by Brian E. Buckner, “Follies in Concert” features Sue Booth, Thomas Murphy, Diane Hill, Roy Sexton, Annie Kordas, Kryssy Becker, Eddie Rothermel, Connor Rhoades, Harold Jurkiewicz, Olive Hayden-Moore, Carrie Jay Sayer, Emily Rogers-Driskill, Gayle Martin, and Edith Lewis.The production and design team includes Monica Spencer (scenic design), Jeff Alder (lighting design), and Briana O’Neal (stage manager).
“Follies in Concert” will run for two weeks only, Nov. 7 through Nov. 17, 2019, at Theatre NOVA (410 W. Huron, Ann Arbor), a downtown performance space. Performances are Thursday through Saturday at 8:00 p.m. and Sunday matinees are at 2:00 p.m. Theatre NOVA features free parking for patrons, as well as quick access to the city’s restaurants, bars, bakeries, and coffee shops.
Tickets are $30 for this limited engagement fundraiser for Theatre NOVA. For tickets, visit TheatreNOVA.org, call 734-635-8450 or buy them in person at the box office one hour before showtime.
Theatre NOVA is Ann Arbor’s resident professional theatre company. Its mission is to raise awareness of the value and excitement of new plays and playwrights and provide resources for playwrights to develop their craft by importing, exporting, and developing new work.
Stephen Sondheim wrote the music and lyrics for “Saturday Night” (1954), “A Funny Thing Happened on the Way to the Forum” (1962), “Anyone Can Whistle” (1964), “Company” (1970), “Follies” (1971), “A Little Night Music” (1973), “The Frogs” (1974), “Pacific Overtures” (1976), “Sweeney Todd” (1979), “Merrily We Roll Along” (1981), “Sunday in the Park with George” (1984), “Into the Woods” (1987), “Assassins” (1991), “Passion” (1994), and “Road Show” (2008). Sondheim also wrote lyrics for “West Side Story”(1957), “Gypsy”(1959), and “Do I Hear a Waltz?”(1965) and additional lyrics for “Candide” (1973). Anthologies of his work include “Side by Side by Sondheim” (1976), “Marry Me a Little” (1981), “You’re Gonna Love Tomorrow” (1983), “Putting it Together”(1993/99), and “Sondheim on Sondheim” (2010). He composed the scores of the films “Stavisky” (1974) and “Reds” (1981) and songs for “Dick Tracy” (1990) and the television production “Evening Primrose” (1966). His collected lyrics with attendant essays have been published in two volumes: “Finishing the Hat” (2010) and “Look, I Made A Hat” (2011). In 2010 the Broadway theater formerly known as Henry Miller’s Theatre was renamed in his honor.
James Goldman was born in Chicago and graduated from the University of Chicago; he did postgraduate work at Columbia University. He has written numerous plays, including “Blood, Sweat and Stanley Poole” (1961; co-written with his brother, William Goldman), “They Might Be Giants” (1961) and “The Lion in Winter” (1966). In addition to “Follies” (1971), he has been the bookwriter of “A Family Affair” (1962; co-author with William Goldman, music by John Kander), the television musical “Evening Primrose” (1967, music and lyrics by Stephen Sondheim) and “Follies” (1987, London – a re-conception of the original piece). His screenplays include “The Lion in Winter” (1968 – Academy Award; British Screenwriters Award), “They Might Be Giants” (1970), “Nicholas and Alexandra” (1971), “Robin and Marian” (1976) and “White Nights” (1985, co-writer). Goldman’s work for television has included an adaptation of “Oliver Twist” (1982), “Anna Karenina” (1985), “Anastasia: The Mystery of Anna Anderson” (1986). He is also the author of a novel, “Waldorf.”
Diane Hill (director) is a Producing Artistic Director at Theatre NOVA and was founder and Artistic/Executive Director of Two Muses Theatre, a nonprofit, professional theatre in West Bloomfield. Diane was a professor at University of Detroit Mercy and Oakland Community College, where she originated and designed the Theatre degree program. She has a Ph.D. in Theatre from Wayne State University and a Bachelor of Music and Master of Arts in Theatre from the University of Michigan. She has performed at many professional theatres in southeast Michigan, including the Fisher Theatre, Meadow Brook Theatre, Masonic Temple, Michigan Opera Theatre, Detroit’s Gem Theatre, Purple Rose Theatre, Tipping Point Theatre, Encore Musical Theatre, Croswell Opera House, Open Book Theatre, The Ringwald, and Cherry County Playhouse. She was awarded a Wilde Award for her portrayal of Professor Vivian Bearing in “Wit,” a Rogue Critic’s Award for her work as Mama in “’night, Mother,” both with Breathe Art Theatre Project, and an Ann Arbor News Award for her work as Agnes in “I Do! I Do!” at Kerrytown Concert House. At Theatre NOVA, she directed “Clutter” and “Kill Move Paradise.” Theatre NOVA audiences saw her play Olympe de Gouges in “The Revolutionists” (Wilde Award Best Production), Zelda in “The How and the Why” (Wilde Award Best Actress), and Penelope Easter in “The Totalitarians.”
Brian E. Buckner (Music Director) is an active actor, pianist, composer, arranger, vocal coach, choreographer and music director based in the Ann Arbor, MI area. A versatile talent, he works comfortably in all genres and is director of music of several local ensembles including Wild Swan Theater and the Episcopal Church of the Incarnation, in addition to having performed in Canada, China, and Mexico. Favorite recent productions include “Murder Ballad” (The Penny Seats Theatre Company), “The Devil’s Music” (Theatre NOVA), “Peter and the Starcatcher” (University of Michigan) and “Rock of Ages” (The Dio). Brian composed the original music used in Theatre NOVA’s production of “Kill Move Paradise.”
FACT SHEET WHO: Cast: Sally Durant Plummer: Sue Booth Benjamin Stone: Thomas Murphy Buddy Plummer: Roy Sexton Phyllis Rogers Stone: Diane Hill Young Sally: Annie Kordas Young Ben: Eddie Rothermel Roscoe, Young Buddy: Connor Rhoades Young Phyllis: Kryssy Becker Dimitri Weismann, Theodore Whitman: Harold Jurkiewicz Hattie Walker, Carlotta Campion: Olive Hayden-Moore Emily Whitman, Heidi Schiller: Edith Lewis Stella Deems: Carrie Jay Sayer Young Heidi: Emily Rogers-Driskill Solange La Fitte: Gayle Martin
Sondheim’s Broadway smash-hit musical concerns a reunion in a crumbling Broadway theatre of the past performers of the “Weismann’s Follies” that played in that theatre between the World Wars. Presented in concert, Folliesis a glamorous and fascinating peek into a bygone era, and a clear-eyed look at the transformation of relationships over time, with countless songs that have become standards, including “Broadway Baby,” “I’m Still Here,” “Too Many Mornings”, “Could I Leave You?” and “Losing My Mind.”
Directed by Diane Hill, with music direction by Brian E. Buckner, “Follies in Concert” features Sue Booth, Thomas Murphy, Diane Hill, Roy Sexton, Annie Kordas, Kryssy Becker, Eddie Rothermel, Connor Thomas Rhoades, Harold Jurkiewicz, Olive Hayden-Moore, Carrie Jay Sayer, Emily Rogers-Driskill, G-jee Martin, and Edie Lewis. The production and design team includes Monica Spencer (scenic design), Jeff Alder (lighting design), and Briana O’Neal (stage manager).
Thursday, Friday and Saturday @ 8 p.m. Sun. @ 2:00 p.m. Click here for tickets! Sunday, Nov. 10 is SOLD OUT Special $10 off Preview Thursday, Nov. 7 at 8:00pm
Opening night ticket includes an afterglow reception with the cast and crew!
There is a perfect comedic moment – amidst countless such moments – at the end of Steve Martin and Martin Short’s current touring production An Evening You Will Forget for the Rest of Your Life. Short is serenading the audience with Sondheim’s cliched classic “Send in the Clowns” while sitting atop the grand piano on which Steve Martin accompanies him.
For the first (and last) time in the show, Short is playing for sincerity, employing his surprisingly effective and beautiful singing voice to wring ironic pathos out of the lyrics, albeit with that omnipresent puckish twinkle in his eye.
Roles suddenly reversed, Martin editorializes shamelessly, interrupting the flow with delightfully pointed barbs (“Where are those godd*mned clowns?!” … “NARY a clown!”). Martin croons, “One who keeps tearing around [gestures to self], one who can’t move [flits a hand toward Martin].” Martin stops playing, looks at Short with believable exasperation, and spits out a perfectly timed: “F*ck you.” Cue audience howls of delight.
That moment of camaraderie and candor is an exquisite representation of the show in its entirety: a streamlined and contemporary homage to the unhinged yet cerebral comics stylings of, say, a Steve Allen or Victor Borge, the leave-it-all-on-the-field heart of a Sid Caesar, the button-down mind of a Bob Newhart, the buddy/buddy tension of a Martin and Lewis in their prime, and the glib showbizzy glitz of a classic Bob Hope Oscar hosting gig (sans those pesky awards).
While those influences are obvious and intentional and openly acknowledged by Martin and Short, the show is very much its own special creation, as much a reflection of and capstone to the storied careers of its two featured stars as it is a celebration of the artistic influences on these two talented baby boomers.
Performing at Fort Wayne‘s historic Embassy Theatre on Friday, May 18 to a sold out crowd (which became a witty aside in itself at the expense of performers who “never learned to save” and who “sell out” doing such latter-career runs), An Evening You Will Forget for the Rest of Your Life is a warm, intimate, clubby, utterly charming fireside chat of a production: expertly paced, professionally mounted, and consummately memorable. To describe this as a Broadway caliber show would not be hyperbole.
There are some fantastically bonkers surprises I will dare not spoil in this review. Just be aware that, while both performers exhibit a lovely, moneyed, Carsonesque cool, calm, and collected demeanor throughout, that poise is a big ol’ ruse … their trademark crazy is just one banjo, bagpipe, or leaf blower away. Oh, and Jiminy Glick. As a hand puppet.
This is a beautifully balanced evening, leveraging video, music, talk show formats, monologues, vintage photos, and sketch comedy to weave a compelling narrative of how these two performers found success (and occasional failure) in Hollywood and how their infectious bromance evolved over four decades. “Donny and Marie without the sexual tension,” Short quips at one point.
Also, as evidence of the graciousness and wisdom of these two performers who endeavor to give every patron his or her money’s worth, to celebrate the talent of others, AND to take a well-deserved mid-show break, the production features a kind of concert-within-a-show as frequent Martin musical collaborators Steep Canyon Rangers take to the stage and offer a bluegrass inferno the likes of which I’ve never seen. Imagine the titular character in “The Devil Went Down to Georgia” bum-rushing a Lollapalooza mosh pit inside Studio 54.
So. freaking. good.
As my mother observed (we were there to celebrate her birthday and Mother’s Day): “It was like Steve Martin and Martin Short were in my living room, and we just got to listen to them and laugh without talking to them or without them hurting our feelings. Martin and Steve performed atop a grand piano at one zany point and referenced #MeToo in a hilarious, subtle fashion. What a show the Martins created…a real gift for two hours which flew by. I feel like I know those guys now.”
Amen to that. Nary a clown? Pshaw. Absolute geniuses? Indubitably.
One day you wake up, and you find you relate to characters and situations that just the other day felt safely, pleasantly distant and remote. In our home, we have a nightly ritual of watching an episode of a (now) classic sitcom right before going to sleep: Everybody Loves Raymond, Will & Grace, Friends, and increasingly The Golden Girls. I always had finite patience for the self-absorbed whimsy of Friends, and, now, I can barely stomach the show. Once, I thought Raymond’s Marie and Frank Barone were an affectionately nuanced portrayal of meddlesome parents; now, I completely relate to their affable frustrations over “young people” who don’t appreciate their elders’ hard-won advice and perspective. And The Golden Girls? Well, let’s just say, someone get the lanai and the caftan ready. I’m on my way.
It is through this lens, then, that I approached TippingPoint Theatre’s Michigan premiere of Ripcord!, a comedy by David Lindsay-Abaire (Pultizer Prize-winner for Rabbit Hole). Ripcord!, on its surface, is Whatever Happened to Baby Jane? if written by someone who actually likes women. Similarly, the narrative is an escalating emotional arms race between two grand dames, aging in place and trapped in one location (in this instance, one of those “high end” independent senior living facilities). However, unlike Baby Jane, the women have agency from having “seen it all” (think Elaine Stritch’s seminal performance of Sondheim’s “I’m Still Here”); they wear some kicky resort clothes (think Golden Girls with better tailoring and fewer shoulder pads … fun costume design by Shelby Newport); and no one gets served a pet parakeet on a platter (although there is a LOT of business with food being brought up from the cafeteria … I kept waiting).
The Blanche and Baby Jane of Ripcord! are Abby (played with broken glass sparkle by Ruth Crawford) and Marilyn (a heartbreakingly impish Susan Craves). Abby has lived in the same room for four years, mostly alone, as her brusque bravado drives off anyone unfortunate enough to be assigned her roommate. Along comes Marilyn, a ray of sunshine with an iron will – Little Orphan Annie as designed by Sun Tsu. In the 80s, yes, Abby would have been played by Bea Arthur, and Marilyn by Betty White. In this contemporary milieu, Crawford and Craves couldn’t help reminding me of Jane Lynch and Carrie Fisher, respectively. I’m uncertain whether that was intentional on the part of director James Kuhl and his production team or just happenstance, but that dynamic contrast in type and in look works really well.
Marilyn is determined to melt the permafrost around Abby’s cold heart, and Abby is hell-bent to get this bounding golden retriever puppy-meets-Marquis de Sade jettisoned from her life forever. Or,at least have her relocated to a newly vacated room downstairs. Consequently, they place a bet. If Marilyn can scare Abby (who claims no fear), she gets the better bed in their room with an epic view of the park and all the sunlight she can stand. If Abby succeeds in making the relentlessly chipper Marilyn angry, Marilyn vacates the premises, only to be seen at the occasional bingo night. Hijinks ensue.
As plays go, Ripcord! is, in fact, more sitcom than Broadway. The narrative is too episodic by half, and thinly drawn supporting characters come and go primarily as forgettable story beats and harmless complications. However, Abby and Marilyn–built as they are on familiar, near-mythological archetypes (broken monarch, trickster god) – are the show. Lindsay-Abaire wisely commits the lion’s share of the piece to exploring the debilitating isolation and the liberating joys of aging, as evidenced through the pranks, shenanigans, and outright cruelty these women exact upon one another.
At the end of the day, neither Abby nor Marilyn much gives a rat’s-patootie what anyone thinks of them. That is refreshing. Otherwise, we would have yet another tired male-crafted narrative pitting one woman against another. Ripcord! pulls just shy of that, offering a study of two humans who have suffered devastating setbacks, chiefly at the hands of their own spouses and/or children, and who find themselves thrown together like randomly assigned college roommates in their “golden years.” Together, they discover their authority and their appreciation for each other through the artificial tension such circumstances naturally bring.
All of that said, this is the kind of show that TippingPoint does so well. Acerbic, witty, expertly paced, and polished, Ripcord! rarely misses a beat. At Saturday night’s performance, there were some minor flubs here and there, and an actor or three stepped on each other’s lines–all of which will disappear as the run progresses and this already incredible ensemble tightens the performance. Director James Kuhl has cast the show expertly, with two leads who take the sitcom tropes the script hands them and turn in masterfully crafted, compelling character turns – believable humans who are as delightful, maddening, confounding, and damn funny as any family member you may get trapped with at a Thanksgiving dinner.
Dez Walker is great deadpan fun as Scotty, the nursing attendant and foil for the worst these two rivals can dish out. I don’t want to spoil the surprises, but let’s just say their warfare may or may not include skydiving, haunted houses, surprise relatives, muggings, CraigsList phone pranks, and drug-laced peach cobblers. Walker’s reactions to it all are priceless and pleasantly understated. At times, I felt I was watching a Tom and Jerry cartoon brought to life.
Vanessa Sawson, Jason Bowen, and Patrick Loos round out the cast, playing an assortment of family members and haunted house performers (there is an ironic joke in there somewhere). They all do fine work and have some sharply comic moments. Bowen is comedy gold as said mugger who devises an unfortunate and hysterical use for the “legs” in his pantyhose mask.
The ensemble suffers at times, however, from tonal inconsistency. Whereas Craves, Crawford, and Walker imbue their characters with a believability and a subtlety that contrasts nicely and, at times, poignantly with the proceedings, the other performers occasionally devolve into a broader comic style that felt a bit jarring. It’s a minor quibble and is as likely a function of the play’s construction as the performance itself.
The cast is aided and abetted by clever, kitschy, surprising production design. As noted, the costumes by Newport are divine. The efficient and evocative set by Monika Essen is comprised of a series of modular units that can serve as the independent living facility, haunted house, park, etc. Essen supplements the physical set with some eye-popping projections and some nifty animation, all of which creates a captivatingly immersive experience.
Sonja Marquis has a blast with the sound design, weaving techno, hip hop, and some delightfully daffy dance remixes (Carmina Burana? BRILLIANT!) into the musical cues. I would love to download that soundtrack. I particularly appreciate that Marquis resists the urge to employ “age appropriate” music (whatever the hell that would even mean) and delivers a rocking score that gives as good as it gets and adds a fantastic level of manic urgency to the leading characters’ conflict. I also geeked out that the poster and program cover (by graphic designer Quintessa Gallinat) go for POP! over lace doilies, with a fab Roy Lichtenstein spin on the play’s iconography. Well played, TippingPoint!
If, like me, you feel your age every time you read a headline, turn on the radio, or just get out of bed in the morning and if you wonder sometimes whether all this running about and people-pleasing we do in life really matters, you will loveRipcord! If you think these experiences and feelings are still tucked away behind the nebulous and protective curtain of “your future,” then you must see Ripcord! Now. Let’s kick ageism in its collective ass. This isn’t a play about “old people.” This is a play about all of us and the need for kindness and empathy and acknowledgment in. the. moment. Attention must be paid
And presenting: ALL of Jake’s Women. His girlfriend, his therapist, his sister, his wife, his late wife, his daughter aged 21 and 12. Through December 7. [Photo by Melissa Tremblay of Platinum Imagery.]
Playwright Neil Simon has always seemed to me like a man adrift in a sea of male menopause. The man sure can write a very funny line (I often think his work is best served in a musical comedy setting), yet he seems preserved in Swinging 60s amber, a throwback to another time when the whole country fantasized about living on the Upper East Side of Manhattan and found humor in delicatessen euphemisms and sitcom-sexualized comedies of error.
Simon’s semi-autobiographical memory play Jake’s Women, thereby is an interesting conundrum. First produced in 1990 and starring Alan Alda, the show is Simon’s post-mid-life-theatrical-crisis-writ-large. Simon literally and figuratively exorcises the the ghosts of women who have influenced and shaped his work. Take that, Joan Baim! And that, Marsha Mason! And that … Elaine Joyce?!? In the wrong hands, the play could be an exercise in misogyny at worst or farcical foolishness at best – a kind of Borscht Belt version of Fellini’s 8 1/2 (itself later staged/musicalized by Maury Yeston as Nine).
I am happy to report that the sparkling ensemble in Two Muses’ current production of Jake’s Women (directed by Bailey Boudreau) hits all the right notes. Given that Two Muses’ mission is to promote and celebrate the artistic contributions of women, this play is an inspired and intriguing choice. In lead actor Robert Hotchkiss, the production gives us a sensitive and grounded Jake, informed and haunted as much by modern life/sensibilities as he is by any kind of cooked-up gender war.
Jake’s marriage to whip smart corporate warrior Maggie is failing as he has never gotten past the death of his first wife Julie. The past and present collide as Dickensian specters (wives, daughter, therapist, sister, paramour) shadow Jake’s every move, given vibrant, intrusive life by his crumbling mental state. Jake as a writer is forever trapped in his own head, revisiting the past as a means of understanding the present yet never truly living in any moment. Jake’s laptop computer is an omnipresent stage symbol of the wall he puts between himself and the rest of humanity. I suspect anyone with a smart phone can relate to that.
As Maggie, Amy Morrissey provides the perfect counterpoint to Jake’s neuroses. She has a tricky task of playing Maggie both in the present day and as an idealized Maggie from the early days of their relationship. The actress shows great warmth and humor for the material but is never sidelined by Simon’s more misogynistic tendencies. Maggie is a person first and foremost, as she intones to Jake in one of their later conversations.
The ensemble work is particularly strong in this production. Charlotte Weisserman as Jake’s 12-year-old daughter Molly beams with a mischievously angelic presence – as does Barbie Weisserman as Jake’s sister, the chaotically big-hearted filmmaker Karen. (No shock there I supposed as Charlotte clearly has inherited some lovely, natural stage gifts from her talented real-life mom Barbie.)
Some of the production’s most emotionally affecting moments come from the theatrical mother-daughter team of Meredith Deighton as Jake’s late wife Julie and Egla Kishta as college-age Molly. The familial dynamic achieved between Alexander, Kishta, and Hotchkiss during the play’s second act is remarkable – deeply felt with a comfort and ease rarely seen on any stage.
It wouldn’t be a Neil Simon show without some broad comic relief. Margaret Gilkes is sharp-edged fun as Jake’s saucy therapist Edith, aided and abetted by some of the script’s best zingers, which Gilkes nails with Elaine Stritch-y aplomb. Luna Alexander as Jake’s of-the-moment mistress has the show’s most raucous scene (think The Odd Couple‘s Pigeon Sisters by way of The Jersey Shore‘s Snooki and Jwoww), and she wrings every bit of rimshot glee from her second act moment.
Like the majority of Two Muses’ output, the production values are spot-on, with clever and efficient use of the space, detailed but never overdone set dressing, classic character driven costuming, and an evocative lighting plot.
Back to Jake: Hotchkiss builds his character beautifully, giving us a broken soul who is not just relatable but a lot of fun to watch. Jake’s journey is a difficult one to convey on stage, rife with potentially self-indulgent pitfalls, but Hotchkiss is very smart, warm, and wry and never panders to the audience or to his character’s many, many flaws.
Jake follows a similar arc to Company‘s Bobby, never sure who he really is and only finding motivation by pinging off the input of others. Unlike Sondheim, however, Simon offers Jake a bit more redemption. Hotchkiss does a fine job walking Jake’s circuitous path as he realizes that snark and witty wordplay do not healthy flesh-and-blood relationships make. The play’s script leaves us with an ambiguously happy ending, as Jake and Maggie set off to resolve their differences, but the rich performances by Hotchkiss and Morrissey overlay that denouement with a believable and honest sense of the couple’s future chances.
The play runs through December 7 at Two Muses Theatre. Two Muses Theatre performs in the Barnes & Noble Booksellers Theatre Space, 6800 Orchard Lake Rd, West Bloomfield, MI 48322, South of Maple (15 Mile). Enter the bookstore, and the theatre is on the left. Tickets can be purchased online here or by calling 248.850.9919 (Box Office Hours: By phone: 10am-5pm. In person at the theatre, 60 minutes prior to all performances.)
You’re never too old to learn, I suppose. At least that was the lesson I gained today during Seth Rudetsky‘s wonderful master class taught at Farmington Players in Farmington Hills, Michigan. Thanks to the group and specifically to Amy Lauter for organizing the event, which saw local performers go through the exercise of auditioning before Mr. Rudetsky as well as an appreciative audience of approximately 130 people.
Sitting there, starting at noon, all of us guinea pigs lined up in the front row, nervously awaiting Seth’s appearance, not sure what to expect. Would he be more Simon Cowell, all glistening fangs and catty remarks, or Mr. Rogers, full of affirmation and delightful support?
Blessedly, he was more the latter, but not without insightful critique which inspired immediate improvement from all of us performers.
Seth opened the session with a brief overview, along the lines of this YouTube video – practical (and funny!) advice about how to prepare music, how to get ready for an audition, and how to put yourself in the proper head-space to succeed …
Following that intro, Seth began drawing our names from a hat … well, a decorative bowl … and one by one, we marched up on the stage, allowing Seth to a rifle through our prized binders of sheet music and to select a cut or two for us to perform. The age of the performers ranged from 11 to “we’d-rather-not-say,” with an array of songs from Broadway canon, pop, and beyond – Sondheim, Rodgers & Hammerstein, and … er … General Hospital. You had to be there.
(I sat there nervously for hours wondering if my name was even in the bowl at all, but, finally, next to last, my name was called. I futilely tried to step directly on the stage from the front row – who needs stairs? At which time, I did this awkward army crawl/roll center stage. Yup, I know how to make an entrance. Sigh.)
Seth took his time with all of us, stopping at key points in our songs and offering us direction on how to improve our delivery: “be in the moment,” “what are you thinking about there,” “why hold that note and what are you conveying emotionally if you do so,” “plant yourself,” “take a position of strength,” “there are no songs that shouldn’t be used in auditions, but you have to find the song that features you and your talent best.” Pretty great life advice, let alone fabulous guidance for an exceptional audition.
I sang Pajama Game‘s “Hey There,” after fumbling disastrously with my own notebook, like a nervous junior high school kid. I blushed when Seth said he really likes my old-school songs (all raided from my mom’s exceptional sheet music collection). And I was a dutiful student, taking his advice on a song that I had sung so often it had become akin to “Jingle Bells” or “Happy Birthday” in my head … musical wallpaper. I was struck by how different the final performance was that resulted – thanks, Seth!!
Thanks to “Legally Blonde the Musical” pal Amy Poirier for grabbing that quick clip from this afternoon, and enjoy the following video, taken by my cousin Alexandra Poor, of my performance of the song in Spotlight Players’ 2009 production of “The Pajama Game” …
Seth said I may be a little too old to sing “Real Live Girl” or “Corner of the Sky” any more … phooey, and I would have been very curious for his reaction to my take on Tom Lehrer’s “Masochism Tango” from Tomfoolery. Maybe next time!
Thank you, Seth! I may never make it to Broadway, but I feel like Rudetsky brought a little bit of Broadway to the future of my local performing.
But me being weird ol’ me,the highlight of the afternoon for me was this … Seth encouraged all of us to sing as if we were serenading a beloved rescue pet – sing every song thinking of an animal we love, bringing out all the authentic, vibrant colors of that pure emotion. He also let us know that Roberta Flack dedicated “The First Time Ever I Saw Your Face” to her cat! I like that song so much better now! Seth is an active Facebooker and sprinkles his promotional efforts with many, many posts to help our animal friends. Be sure to check out and follow his Facebook page, and if he comes to a town near you, go to his live show, sign up for his class, and thank him for all his generous and gracious work.
Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view.