| What a privilege - 4 recent shows | |
| Last Edit: Shutterbug 11:38 pm EST 12/22/21 | |
| Posted by: Shutterbug 11:19 pm EST 12/22/21 | |
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| Since Broadway reopened earlier this fall, I’ve had the privilege of seeing 4 shows. I say privilege deliberately. After the preceding year and a half, I realize how lucky I am to have access to live theater of this quality. It is a privilege. Now that the omicron variant has reared its ugly head and we have so many shows (and sone entire runs) cancelled, it’s clear how quickly we can lose the access to this art form that fulfills those of us who love it so. After all this, I won’t ever take it for granted. Some thoughts on the shows I’ve seen: COMPANY: So much has already been said about its polarizing concept and the production itself. Count me among those who loved it. Aside from Lenk being miscast (in my opinion), the rest of the cast is very strong. I want to mention a few of the outstanding supporting performances. Jennifer Simard is absolutely, side splittingly hilarious. Matt Doyle, Bobby Conte, and Claybourne Elder particularly shine and leave an indelible imprint on their roles. Then, of course, there is the sublime Patti Lupone who is perfectly cast, sings the hell out of her songs and single handedly brings the house down. She is a force of nature and not to be missed. If only for these delicious performances - don’t miss this COMPANY. CAROLINE, OR CHANGE: I’d forgotten how much I love this score. It was great to hear it performed live again. I adored the original production and enjoyed this one very much as well. However, I was a teeny tiny bit disappointed in the great Sharon D. Clarke’s performance. Yes, she has a remarkable vocal instrument - and she uses it to great effect (her Lot’s Wife is searing) - However, she projects great strength, at least that’s how she came across to me. What I loved so much about Tonya Pinkins definitive performance is how world weary she seemed. You could feel the weight of the world on her shoulders. Whatever vocal challenges Ms. Pinkins faced during the run only added to this effect, When she summoned the rage and pain that poured out of her in Lot’s Wife, it was unexpected and unforgettable, almost shocking in its intensity and honesty, Ms. Clarke’s Lot’s Wife seemed like a natural expression of her inherent strength rather than the catharsis you didn’t see coming. Definitely recommend the show, though. It’s creatively staged and very well done. It’s also really great to have this original, serious musical back on Broadway CLYDE’S: Funny, mysterious, somewhat slight, but very entertaining. Great ensemble acting from a uniformly solid cast. I must mention Uzo Aduba and Kara Young as doing especially fine work here. I’ve been following Ms Young from Syncing Ink to Halfway Bitches to The New Englanders. She is a star. Uzo Aduba is great fun to watch. She may not eat in this show set in a diner, but she chews the scenery in the best possible way. She is a formidable presence on stage, and her comic timing is flawless. No spoiler here, but, for the astute, there is a neat tie-in to Ms. Nottage’s previous Broadway outing, SWEAT. TROUBLE IN MIND: Absolutely astounding. This play is so timely, so prescient - it's almost impossible to believe it was written as long ago as it was. It is so very of our present moment. It’s a sad commentary on our society that we continue to grapple with the same issues for so many decades and haven’t come all that far. LaChanze and Chuck Cooper are both wonderful. It was a real treat to hear LaChanze sing a capella. Highly, highly recommend this play. It does require a bit of patience. The first act is largely set up. It coheres in the second half and packs quite a wallop. Now with omicron, I’m sadly taking a break from live theater until after the holidays. Let’s see what winter brings. I look forward to returning to the theater again. Can’t wait, actually. |
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