Archives for November 2010

Here’s my list of recommended Broadway, off-Broadway, and out-of-town shows, updated weekly. In all cases, I gave these shows favorable reviews (if sometimes qualifiedly so) in The Wall Street Journal when they opened. For more information, click on the title.

Warning: Broadway shows marked with an asterisk were sold out, or nearly so, last week.

BROADWAY:

• Bloody Bloody Andrew Jackson (musical, PG-13/R, reviewed here)

• La Cage aux Folles (musical, PG-13, adult subject matter, reviewed here)

• Driving Miss Daisy * (drama, G, possible for smart children, closes Jan. 29, reviewed here)

• Fela! (musical, PG-13, adult subject matter, closes Jan. 2, reviewed here)

• A Life in the Theatre (serious comedy, PG-13, closes Jan. 2, reviewed here)

• Lombardi (drama, G/PG-13, a modest amount of adult subject matter, reviewed here)

• Million Dollar Quartet (jukebox musical, G, reviewed here)

• The Pitmen Painters (serious comedy, G, too demanding for children, closes Dec. 12, reviewed here)

OFF BROADWAY:

• Alfred Hitchcock’s The 39 Steps (comedy, G, suitable for bright children, original Broadway production reviewed here)

• Angels in America (drama, PG-13/R, adult subject matter, closes Feb. 20, reviewed here)

• Avenue Q (musical, R, adult subject matter and one show-stopping scene of puppet-on-puppet sex, reviewed here)

• The Fantasticks (musical, G, suitable for children capable of enjoying a love story, reviewed here)

CLOSING SOON IN CHICAGO:

• Night and Day (serious comedy, PG-13, extended through Nov. 14, reviewed here)

“I don’t think in any language. I think in images. I don’t believe that people think in languages. They don’t move their lips when they think. It is only a certain type of illiterate person who moves his lips as he reads or ruminates. No, I think in images, and now and then a Russian phrase or an English phrase will form with the foam of the brainwave, but that’s about all.”
Vladimir Nabokov, Strong Opinions

A rare video of the Thad Jones/Mel Lewis Jazz Orchestra playing Jerome Richardson’s “The Groove Merchant” in 1969:

(This is the latest in a weekly series of arts-related videos that appear in this space each Wednesday.)

“I believe that through discipline, though not through discipline alone, we can achieve serenity, and a certain small but precious measure of the freedom from the accidents of incarnation, and charity, and that detachment which preserves the world which it renounces.”
J. Robert Oppenheimer, letter to Frank Oppenheimer (March 12, 1932)

If you follow this blog regularly, you know that Paul Moravec and I are working on our second opera, Danse Russe, which has been commissioned by Philadelphia’s Center City Opera Theater and will be premiered in April. It’s a backstage comedy–we call it a vaudeville–about the making of Igor Stravinsky’s The Rite of Spring. The four characters, accordingly, are Stravinsky, Sergei Diaghilev, Vaslav Nijinsky, and Pierre Monteux (who conducted the first performance of The Rite of Spring in Paris in 1913).
I haven’t had anything to say about Danse Russe in this space since the initial announcement of the commission because I’ve been too busy writing the opera to write about it, but I’m delighted (and relieved) to report that the libretto is now finished and Paul has drafted all but one scene of the piano score. That’s more than enough for Center City Opera to mount a workshop performance in Philadelphia next week.
On Friday, November 5, Paul and I will take part in a discussion of Danse Russe at Philadelphia’s Knapp Gallery. The workshop performance will take place the next afternoon. Both events are open to the public. To find out more and purchase tickets, go here.
Last week I was interviewed about Danse Russe at my New York apartment by Center City’s Mary Knapp. Excerpts from that interview have just been posted on YouTube, and you can view them here. Mary edited her questions out of the video, but they were good ones. If I do say so myself, I think my answers will tell you quite a bit about what Paul and I think we’re up to:

“People can foresee the future only when it coincides with their own wishes, and the most grossly obvious facts can be ignored when they are unwelcome.”
George Orwell, “London Letter,” Partisan Review, Winter 1945

In the Greater New York section of this morning’s Wall Street Journal, I review the Broadway transfer of The Scottsboro Boys, the new John Kander-Fred Ebb musical whose off-Broadway incarnation was one of last season’s most highly praised shows. I loathed most of it. Here’s an excerpt.
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I suspect that most of the younger people who come to see “The Scottsboro Boys” won’t know much about the Depression-era case that inspired the show, infamous though it once was. Very briefly, then, nine black boys from Georgia and Tennessee (one was 12, the others in their teens) who were riding the rails in search of work in 1931 were pulled off their train in Alabama, arrested by a local posse and accused of raping a pair of white girls who had been riding the same train. A few days later, having barely escaped lynching, they were convicted and sentenced to death. Their case became a nationwide cause célèbre, and the Supreme Court ruled that they had been denied due process and would have to be retried. But even though one of the women subsequently recanted her original testimony, five of the now-grown boys remained behind bars for years to come, the last one being paroled in 1950.
In “The Scottsboro Boys,” Messrs. Kander and Ebb and David Thompson, the show’s librettist, have compressed this complicated sequence of events into a lengthy one-act musical that makes use of all the theatrical conventions of the old-fashioned blackface minstrel shows that were popular well into the 20th century. (Mr. Kander, who is 83, actually directed blackface shows at a Wisconsin boys’ camp in the Thirties.) Except for Mr. Cullum, who plays the master of ceremonies, the performers are all black, and most of the songs, which are written with a grasp of period style that will surprise no one familiar with such earlier Kander-Ebb shows as “Cabaret” and “Chicago,” are staged as grotesque parodies of the eye-rolling shuffle-and-grin style familiar to anyone who has seen films of Stepin Fetchit and Mantan Moreland…
“The Scottsboro Boys” would have been courageous had it been mounted on Broadway, or anywhere else in America, in the Sixties. In that long-gone decade, the prospect of watching a stageful of black men perform a “comic” minstrel show about so hideous an event would have stung like a flogging. But the intervening half-century has seen not only the election of a black president but the mounting of musicals like “Ragtime” and “Assassins” in which broadly similar theatrical techniques are used to identical ends, thereby robbing the caricatures in “The Scottsboro Boys” of their shock effect. I suppose there are places in America where such a show might still jolt its viewers, but to see “The Scottsboro Boys” on Broadway is to witness a nightly act of collective self-congratulation in which the right-thinking members of the audience preen themselves complacently at the thought of their own enlightenment….
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The print version of the Journal‘s Greater New York section only appears in copies of the paper published in the New York area, but the complete contents of the section are available on line, and you can read my review of The Scottsboro Boys by going here.