Tuesday, January 26, 2010

OK, about that *Curtains* review ...


Posting a cryptic blog note two days beforehand absolutely was self-promotion. But the details of presentation on the page: photos, headlines, subheads, captions, lede, even placement within the paper and whether the eye falls on what comes right after the second or third drop cap in an article -- all those aspect of "sell" are often extensively debated here at Inlander HQ.

My point being: For any theater article, the point is not to appeal to my fellow theater ho's on the one hand — or to theater-haters on the other — but always to middle-of-the-road, lukewarm-about-theater readers.

The "sell" in this case is that great close-up of Maureen Kumakura, splashed large-size on the page ... the three footer photos with the whodunit? captions were the idea of our art director, Chris Bovey (himself a thesp) ... and the headline was my alternate choice ... and the subhed was mine ("an insult to critics everywhere ... out for revenge"), which is cheeky but chosen precisely because I get the most feedback on reviews ("really liked your review") when they're _negative_.
Not the most comfortable thing about human nature — do we REALLY watch auto racing mostly to see someone crash? — but still the truth.

The review has two weaknesses (others will find plenty more, I'm sure): It's a curve ball, and it's all about me. It's a curve ball because it _seems_ to be entirely negative — until the end. And it commits the error of being more about the writer than what he's writing about.
I decided beforehand that in this special instance (a murder-mystery musical), those weaknesses could be compensated for.

Of course I knew that "What Kind of Man?" pokes fun more at the onstage characters than it does at critics. The four of them sing about how critics are morons and idiots, until just one of the critics says a teensy little positive thing about their show — and suddenly all critics are geniuses.
The satire is aimed at them.
Of _course_ I wasn't offended by the song — I just used the lyrics as an excuse to have some trumped-up "motive" for wanting "revenge" against each and every cast member. It was just a comic set-up.

But the real question here is: Why do we allow critics to have so much power over us? (In a bloggy, tweety era, it's a bit silly, really.)
That is, if the one poster is right, and it was "borderline cruel" to make the poor actors wait two days to find out what the Big Bad Critic had to say, then actors are way too concerned with one guy's opinion.
Yes, Bobo gets to splash his opinion in 50,000 copies. (It's a responsibility and a privilege; I don't forget that.)
And yes, I've been a theatergoer in Spokane for nearly 20 years, a critic here for more than nine years, and I wrote a dissertation that was (partly) on Shakespeare, and I've acted and directed a few shows. So my opinion ought to carry some weight. But it's not definitive. Far from it.

What I want to say to local actors and directors is: If you've worked hard and _you_ know that you've developed a good performance, really what difference does it make what I say? It's a factor, but only one out of many — chief of which ought to be the joy of working with others, the pleasure of perpetuating a theatrical tradition, the fun of collaborating in a work of art, and so on.
I think reviews are worth reading — I love reading old ones, even of production I could never have seen — but they aren't the last word.
I've had some recent opportunities to observe rehearsals, be a part of rehearsals. And every time, it reminds me how much good and intelligent work goes into "just a little comedy" or "just a community-theater musical" around here.

I mean, Yvonne Johnson and Troy Nickerson — how they corral 30 people into a work of entertaining art, I don't know how they do it. I sure couldn't.

Read the reviews, maybe even ponder them a bit. But take satisfaction in your own work. Forget the damn critics. Everybody knows they're all morons anyway.

[ image: from Broadway.com; the poster from the original L.A. production ]

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Thursday, January 21, 2010

Random comments and oversensitive critics



We all form impressions of plays from a variety of sources: previous reviews, audience reactions, word of mouth, press releases and previews, eavesdropped comments, little quirks and accidents in performance, whims and prejudices about matters both trivial and important. And something like that happened to me with Curtains at the Civic. 

Lyn Gardner's comments in The Guardian about critics not working in a vacuum may be relevant here. Her point is that critics are not unbiased and objective; they're unavoidably forming preconceptions about an upcoming show (just like everybody else) from the moment that a production is announced.

Bobo happened to attend Curtains with Dannie, Long-Suffering Wife of Bobo; I reminded her beforehand not to start issuing opinions at intermission or even after the show, because I know from experience that even comments made in passing have disproportionate effects on how I form my own opinions.

But of course there was the drive home, and after two hours in the dark, the topic's kind of unavoidable, and so she let drop that the mystery, as such, was up to the standards of an average mystery. (Red herrings scattered about, lots of suspects; and the writers cheated a bit by revealing a couple of details so late that you could never have realized, but ... all in all, a typical mystery that would satisfy fans of the genre.) This was in response to my saying that it felt like more of an homage to show business than like a classic, well-constructed mystery.
My point: Almost without realizing it, I felt reassured that mystery fans would not scoff at the mystery in Curtains as too simplistic. A couple of days later, when I sat down to write my review (later than usual; life intervened), I overrode my sense that the mystery was on the slim or cheesy side, and had sort of internalized what Dannie, L-SW of B, had said.
And so I didn't criticize the murder-mystery side of the show in the way I would have if I had gone to the show alone. 

And then I read Jim Kershner's review, which opens with three letter grades (and turned to be more critical of the show than my initially critical-sounding review) and thought that in some ways (not for the first time), he had reviewed the show more accurately and concisely than I had.

[image: food critic Anton Ego from Ratatouille, from kera.org ]

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Tuesday, January 19, 2010

Fair warning on *Curtains*


I’ve really struggled with this review. I mean, that one song that calls critics “mentally sick”?
That’s going a bit far.
Sure, there’s a lot of talent on display in Troy Nickerson’s production, but I gotta tell ya, I’ve got some criticisms of several individuals in the show. Sorry.
My review will be out on Thursday.

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Tuesday, January 12, 2010

Audio slide show: *Curtains*


See what director Troy Nickerson and his Krazy Kids are up to here or here.

Curtains, the murder-mystery musical, opens this Friday at Spokane Civic Theatre and runs through Feb. 6.

The minute-long slide show features a voice-over by Andrew Ware Lewis, who plays the role of Lieutenant Frank Cioffi (the role played on Broadway by David Hyde Pierce).

You can view the Civic's self-produced video previews of Curtains and other shows from this season here.

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Friday, November 27, 2009

*Curtains" cast list


Scarcely 18 months after the David Hyde Pierce/Debra Monk production closed on Broadway, it'll be Curtains for musical-theater fans on the Main Stage at Spokane Civic Theater, Jan. 15-Feb. 6. (The Australian premiere of Curtains won't take place until a week after the Civic's production closes, and the U.S. tour doesn't start until March.)

Music by John Kander, lyrics by Fred Ebb
Book and additional lyrics by Rupert Holmes
Original book and concept by Peter Stone

Directed by Troy Nickerson
Music Direction by Gary Laing
Choreography by Troy Nickerson and Jillian Wylie

Boston, 1959
Robbin' Hood: A New Musical of the Old West is the musical-within-a-musical

Lieutenant Frank Cioffi (of the Boston P.D.; a fan of musical theater; the David Hyde Pierce part): Andrew Ware Lewis
Carmen Bernstein (co-producer; the Debra Monk part): Mary Starkey
Niki Harris (the ingenue): Liz Oyama
Aaron Fox (the show's composer): Patrick McHenry-Kroetch
Georgia Hendricks (the show's lyricist, divorced from Aaron Fox): Maureen Kumakura
Christopher Belling (the show's director): Lance Edwin Babbitt
Oscar Shapiro (the show's financial backer): David Gigler
Bambi Bernet (chorus girl): SaraEllen Hutchison
Johnny Harmon (stage manager): Thomas Heppler
Sidney Bernstein (Carmen's skirt-chasing husband; he gets his comeuppance): Gary Pierce
Daryl Grady (the theater critic, so obviously he's a douchebag; see definition 3): Doug Dawson
Jessica Cranshaw (the no-talent leading lady who meets a premature demise): Nova Kaine (no WAY this is a pseudonym, no way)
Bobby Pepper: Henry McNulty
Sasha Ilinski (the conductor; obvious typecasting here): Gary Laing
Ensemble: Cynthia Bauder, Kate Cubberley, Victoria Gatts, Siri Hafso, Craig Heider, Shawn Hudson, Todd Kehne, Daniel McKeever, Ross Mumford, Rachel Packard and Christopher Wooley

Ben Brantley's 3/23/07 review in the New York Times is here

[ photo from newyorkology.com, with David Hyde Pierce — no relation to Gary? ]

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Tuesday, October 06, 2009

audition for *Curtains*



Sunday-Monday, Nov. 1-2, at 6:30 pm in the downstairs Studio Theater at the Civic, Howard St. and Dean St.
Callbacks: Tuesday, Nov. 3, at 6:30 pm
Production dates: Jan. 15-Feb. 6, 2010

by Kander and Ebb (who died in Sept. 2004), with book and additional lyrics by Rupert Holmes
original book and concept by Peter Stone (who died in April 2003 -- my God, is this show cursed?)

directed and choreographed by Troy Nickerson

Cold readings. Be ready to dance. You'll be asked to perform a verse and chorus from a contemporary musical.
Needed: 12-15 women and 12-15 men (everyone appearing ages 16-65)

Çurtains premiered in L.A. in July 2006; it ran on Broadway from March 2007-June 2008. A U.S. tour is planned starting in March, so it's pretty cool that Spokane's getting it in January.

[photo: from broadwayworld.com; composer John Kander (left) and lyricist Fred Ebb]

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Tuesday, March 03, 2009

changes to Civic's 2009-10 season

The Fiddler got Pirated away. And it's Curtains for Chicago.

The Civic has announced changes to the first and third full-run slots in its next Main Stage season.

A touring version of Fiddler on the Roof will be coming through Spokane, so the Civic's season will now open (Sept. 25-Oct. 25) not with Fiddler but with Sullivan and Gilbert's The Pirates of Penzance, directed by Yvonne A.K. Johnson.
(Best of Broadway had no comment, saying that they'll announce THEIR season on April 16.)

The third long-run Main Stage slot (Jan. 15-Feb. 7, 2010) was going to be Kander and Ebb's Chicago, but now it's going to be another Kander and Ebb show, Curtains. (Think David Hyde Pierce investigating a murder in the middle of a musical production.) Troy Nickerson will direct.



Curtain Up reviews of *Curtains* from August 2006 and Feb. 2007 are here.

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