Results tagged “dominic papatola” from Drama Queen
Finally made it to New York yesterday (first time this season) and saw The 39 Steps. The show, a farcical, campy, reimagining of Alfred Hitchcock's 1935 romance/suspense/thriller, won one of the five Tony Awards for which it was nominated (Best Lighting) and was praised effusively by Ben Brantley in the New York Times. I settled into my seat with high expectations and the lingering frisson of excitement that still hits every time I head into the business end of the Lincoln Tunnel.
So all the greater was my disappointment when the production was halfway as good as it could have been, with a set design halfway as creative as several Philly Fringe shows I'd seen, and with a halfway committed cast running on autopilot. At intermission, my companion (and provider of my ticket) St. Paul Pioneer Press theater critic Dominic Papatola, remarked, "Well, this is a strange little show for Broadway."
Strange indeed, and not in a good, gatecrashing, Passing Strange, kind of way. Rather, it was strange that of all the shows in the English-speaking world to choose to pick up and mount on Broadway, why should this bit of West End escapist fluff that seems plucked from the rounds of regional repertory theaters--an Irma Vep with a bigger cast and less ingenuity--be anointed? Mind you, I have nothing against fluff, even if it arrives during an era ripe for meatier fare (witness August: Osage County's success on that front). But this fluff? Really?
Following the show, we indulged in a discussion of Broadway's current impotence and regional theater's growing virility, which is all well and good, considering we're both covering theater in our respective regions. But while it's nice to be smug about your city's healthy theater scene, the power of the regional theater inferiority complex is such that you still wonder if in the face of the Manhattan machine, your hometown triumphs are merely the result of boosterism and provincial pride.
Well, guess not. In this weekend's announcement of the closing of Forbidden Broadway, its founder, Gerard Alessandrini cited plain old boredom as the reason for shuttering his nearly 30-year-old star-skewering satirical institution.
"When Broadway becomes too theme-park-like, it makes it difficult, and it just looks like it's becoming overly commercial the next couple of years," he said.
When it's not even fun to make fun of Broadway anymore, something is terribly wrong. Visiting New York should be like opening a compendium of the best new American plays and musicals instead of walking down memory lane, or even worse, walking straight down the middle of the road to Broadwayland. A revival here and there is fine, but you don't end up getting a Gypsy or All My Sons in the first place by only banking on the tried and true. One look at the 1956 Tony nominations (or even the 1976 nominations), packed with original productions of original ideas and well, compared to this season's lukewarm musicals and revivals of revivals, perhaps it's best to avert your eyes. Or hey, look elsewhere--like to regional producers--for guidance.
In this year's presidential election, "political theater" is getting a literal spin. And why not? Elections--and their behind-the-scenes machinations--are always events of high drama. But with this race's epic, historic themes it appears the temptation toward artistic license was too much for editors and pundits to resist.
Way back in April, Newsday columnist Ellis Henican interviewed me for his radio show about the Clinton-Obama debate, asking for a theater critic's interpretation of the proceedings (I was a Clinton supporter, and thought the Obama camp was hoping to portray her as Lady Macbeth. It seems ultimately, she managed that feat on her own.)
Now the thespian angle seems to really be catching on. The Wall St. Journal's Andy Jordan posted a bit of video reportage (see below) from the DNC with this title: "Democratic Convention: Nomination as Theater." And though Jordan is more conversant in the language of film than of stage, he puts in a valiant effort to describe the event's mise en scene.
Today, a piece by playwright Christopher Durang appeared on the New Republic's site, parsing speech by speech, the DNC's dramatic appeal. The best part, to me, of Mr. Durang's endeavor is that it really serves as a reminder to readers and editors everywhere that neither arts journalism nor theater criticism are as easy as they look. Though Durang is a fine playwright (and something of a Philly local, too; he has a home in Bucks County), Walter Kerr, he ain't.
On Monday, my friend Dominic Papatola, theater critic for the St. Paul Pioneer Press, will cover the Rebublican National Convention for his paper--a pretty exciting turn of events for a guy more accustomed to the sedate halls of the Guthrie than the Xcel Energy Center's hockey- or RNC-fueled mayhem. I'm hoping his coverage will include more than a few dramatic references, as the Republicans, with their Deus ex Machina--otherwise known as Sarah Palin--and Shavian cast of characters lend themselves particularly well to cynical interpretations of their performance. Not that I'm, you know, biased or anything.
And hey, maybe this shifting of duties will turn out to be a good thing for all those arts critics clinging desperately to their jobs. I turns out our perspective just might be useful after all.
Seen any other examples of political coverage as arts coverage? Send me a link.
Update: Brendan Kiley, an arts writer for Seattle weekly The Stranger, is taking his campaign coverage to a new level--by getting pepper sprayed at protests.