Great Recording, Good Score, Sucky Package

I was wanting to go in depth with my review of the new Hair cast album, but there really isn't any need to. The score by Galt McDermot (music), Gerome Ragni and James Rado (lyrics) is superb (well for the most part – act 2 does get bogged down a bit). The cast sounds fantastic (especially Gavin Creel, Will Swenson, and Sasha Allen). Plus, there are a large number of tracks available here all on one disc. Overall the disc really is great.

The packaging blows hard. No lyrics, a flimsy imitation cardboard case (no jewel case here), and some boring essays. Meh.

The original cast recording still packs a wallop but this version is just as memorable. It's worth mentioning that I like about 75-80% of the score from Hair. The rest of the filler is probably enjoyed much more under the influence of purple haze.

Or if drugs aren't your thing, from what I hear the actual live show is freakin' awesome. I was lucky enough to catch the Public's mounting in the park last summer with Jonathan Groff. Loved it then. Apparently it's better now. And check out the Tony award performance or the David Letterman show performance for some electrifying staging. Woot woot.

***1/2 (out of ****)

Affirmation of Eastern Civilization

If you, like me, are one of the many who were intrigued by the Iranian protests that started in June, than you will find the film Persepolis, Marjane Satrapi's autobiographical film based on her graphic novels about growing up during the Iranian protests of the 1970s, to be a formidable piece of world education and an enthralling dramatic entertainment.

The format of the film is a bit unusual for such heavy-handed material: the most unusual characteristic is not that the film is in black and white, nor the fact that it's based on a French graphic novel – but that the film is animated. The liberty animation provides for film is well suited for this story and its directors' vision.

When Marjane's parents (voiced by Catherine Deneuve and Simon Abkarian) tell her of the history of the shah, the Vaudevillian presentation allows for an accurate, if somewhat simplistic, retelling of the past. Even the silhouetted bodies of protesters and soldiers provides an eerie aura about the proceedings. The simple facial expressions of Marjane's world offer clear and concise embodiments. Further evidence of the strength of animation in this film is made when Satrapi and her co-director Vincent Paronnaud travel into the realms of surrealism: the cascading jasmine falling from Marjane's grandmother's bosom is wonderfully beautiful and young Marjane's conversations with God have an emotional impact.

This is a smart film about an intelligent girl growing up under dire circumstances. Marjane is infinitely more interesting than most Western girls growing up in films. Marjane idolizes her mesmerizing Uncle Anouche (François Jerosme), who has been in prison and hiding, but offers up a greater vision of the world; she listens to Iron Maiden as a form of rebellion to the government; she moves to Europe where she discovers all the landmarks of adolescence and adulthood (education, artistry, puberty, love, sex, drugs, and yes – even more rock and roll). Marjane travels back home only to find a country that is as foreign to her as anything in Europe. Her journey to find her place in the world is an engaging one and is marked by more violence and tragedy.

And once again, animation is key. The scenes of torture and depression are not bogged down by melodramatic touches that would have been inescapable in a live-action film. And the whole film benefits from a touch of humor and surrealism that gives a bit of a lightness to the complex and dramatic material at hand which elevates the film.

The middle section of the film, while still highly effective, is a bit of a drag compared to the bookending Iranian segments of the film. Marjane's adventures in Vienna are familiar territory in anyone's growing adulthood. However, Satrapi and Paronnaud illustrate it with wit and energy, still finding value and purpose for Marjane's journey.

The story is a large one and at a slim 98 minutes, the film accomplishes to bring it to a decipherable level. It's powerful, smart, and tender. The film has immense heart and is very entertaining. Enjoy.

***1/2 (out of ****)

Note: make sure and watch the original French version with English subtitles. The voice casting in uniformly great. The English dubbed version is not a bad second choice though, with featured voices by Sean Penn and Gena Rowlands.

So I was supposed to give you a Chess in Concert review and a [title of show] review, but I've been mesmerized lately with all the Iran protests. As a result, first review up by tomorrow morning will be of the film Persepolis.

With all the crazy-ass stuff going on in Iran, now would be a good time to re-watch Perseoplis, Marjane Satrapi's animated memories of growing up under the Shah and the 1979 Iranian Revolution. Or if you have yet to see this excellent movie, do yourself a favor and get a hold of a copy. Or the graphic novel on which it is based. Satrapi has reportedly denounced the election results as a fraud.







And since you can't stand side by side with the protesters, get yourself a green Twitter avatar to show your support here.

Sad news: Agust: Osage County will be closing June 28th. Major bummer.

I was originally planning on posting full reviews today of Chess in Concert (CD & DVD) and the new cast recording of Hair. Looks like things are changing a bit.

I've been listening to Chess now for the past hour and still am bored out of my mind. Early thoughts: Idina Menzel is no Elaine Paige. Adam Pascal has ruined his voice. Josh Groban is giving a good effort with a strong "Anthem." The live mixing and producing isn't as high a quality as other live shows. And this disc has done nothing to change my opinion on the show itself: Chess is still a failure; still a product of its creators and their time. I'm gonna stop listening now and spend the rest of my afternoon/evening enjoying other recordings. I'll tune into the broadcast of the "live" show tonight on PBS and just supply a brief capsule review of the DVD/CD package. Sorry guys, I don't get paid to write here. And I have a pretty strong feeling that most of my readers will understand my case.

As for my upcoming Hair review, well I decided to hold off on it until June 23, the day the hard copy is available in stores, for my official review. The recording is available via downloads right now - and believe me, it's fantastic. However, no matter how enthusiastic I may feel about the recording, I feel I should wait for the entire package - jewel case, booklet, etc. - to dish out a full fledged reccomendation. The quality of the tracks themselves is superb, but the tracks of Spring Awakening were too and as anyone who owns that album can attest, the overall packaging was dissapointing at best (of all things there was no plot synopsis. Really?!?!?). So to be fair, I'll gestate over my digital copy in the mean time. It'll allow me to write more in depth too.

If I get around to it tonight, expect a Chess review and if not, I'll post it tomorrow with a second review that is long overdue - the [title of show] original cast recording.

Now in the meantime, take a look around at the rest of the theatre blogosphere to catch some pretty interesting thoughts. Here's the callboard...

Everything I Know I Learned from Musicals: Chris has a couple of important things to say about file sharing and its effects on the musical recording industry. And the role of the theatre critic seems to be up for debate again. Plus he has a review of the newly restored Criterion DVD release of 1931 film version of The Threepenny Opera.

Adventures in the Endless Pursuit of Entertaiment: SarahB recently caught a production of High Spirits in Mufti at the York and fills us in on the Met's Summer HD Festival calendar of 10 screenings of "live" opera performances.

Steve on Broadway (SOB): While Steve has been taking it easy, he still finds time to post blogs and fill us in on his recent trip to Chicago and tell us the effect a certain pointillisitc painting had on him.

Gratuitous Violins: Esther voices her opinion on a recent New York Times article discussing the DOMA and catches up on her Playbill Radio podcasts with Carole Shelly and Oskar Eustis.

Broadway & Me: Jan gives us her reviews of The Amish Project and Dov and Ali.

Theatre Aficionado at Large: Kevin brings up the MPAA-like ratings of the theatre world and even quotes my personal fave Roger Ebert. We are also treated to some classic "Honeymooners" with Jackie Gleason and Art Carney.

Happy blogging readers!

Still West Side, Still Essential

There’s not much else to say that hasn’t been said about West Side Story and this revival. Therefore this will be a short review. We are all aware of the exceptional Leonard Bernstein score (perhaps the greatest score ever); we are all aware of the influential Jerome Robbins choreography; we are all aware of Karen Olivo’s fantastic performance as Anita. And of course we are all aware of the show's inherent flaws: a couple of low key performances that can’t measure up to their respective costars; and namely Lin-Manuel Miranda’s Spanish foiling of Stephen Sondheim’s wondrous lyrics.

To start, yes, the score is still phenomenal more than 50 years after its debut. Back in the ‘50s it was considered too "dissonant" and "complex" for the mainstream. In retrospect, those who spoke too soon look foolish. There is no denying the sheer beauty of the ballads like “Tonight” and “Maria” and the absolutely influential sounds of “Cool” and “America.” When was the last time you were able to listen to an album all the way through and be able to recognize every single track as a standard? And with the large orchestra accompanying the mostly successful cast, the songs really do sound as equally good as they do on the film soundtrack.



Speaking of quality sounds, Matt Cavenaugh is the best sounding Tony ever committed to disc. It’s a privilege to hear Bernstein’s music for Tony sung by a strong vocalist who can do it justice. Josefina Scaglione is fine as Maria, if not completely powerful in voice at least sweet. Cody Green’s Riff and Curtis Holbrook’s Action do solid work, with Holbrook creating a memorable presence for his minor role.

However one must single out Karen Olivo. The role of Anita has always been a coveted role for actresses of all races, and two of the most influential Latina actresses of all time made their marks performing in the original Broadway cast (Chita Rivera) and the Oscar winning film (Rita Moreno). Here Olivo gives a standout performance among the whole cast. She attacks her songs with confidence and with the sense of an actress. She is also given the opportunity to be the first Anita to be able to incorporate Spanish into her performance, allowing her to distance herself acting wise from Rivera and Moreno. Olivo claims in various interviews and news articles that she embraced that opportunity and was able to be liberated from sticking to the standard interpretation. By doing so, she has laid out a career path for her that is set to take off and go places. Her first major exposure as Vanessa in 2008’s Tony winner for Best Musical, In the Heights, landed her this role. Her own performance and hard work in this revival of West Side Story has paved the way for her to continue the legacy of influential Latina actresses and their connection to Anita. It gives me great joy and pride to predict great things for Karen Olivo in the future. May her career continue to blossom and flourish.



Olivo thanks her good friend Lin-Manuel Miranda for her breakout in In the Heights. It’s no small coincidence that Miranda was commissioned to adapt Spanish-language lyrics to Sondheim’s originals. Fellow blogger Chris writes much more eloquently and intelligently on this subject than I could hope to do so. So please refer to his review of the cast album for reference, particularly in the Spanish translations. I agree for the most part with the naysayers about the unnecessary gimmick. But the execution seems to trump the concept. While it’s kinda cool to hear a different sound, one definitely yearns for Sondheim’s remarkable lyrics in “A Boy Like That/I Have a Love.” Thankfully, the English language tracks of this song and “I Feel Pretty” are available via iTunes and a special edition disc available only at Barnes and Noble. Unfortunately, you do have to buy the entire album on iTunes and the whole B&N disc to obtain the recordings along with some extra bonus tracks. Kinda silly, but if you’re a WSS fanboy and lover, it's worth the (i.e. my) effort and money (this is where a playlist becomes handy for substitutions for key tracks).

Still, this is West Side Story. And a new recording can only do so much wrong. The essential quality of the material is still present and the strong vocal abilities of Karen Olivo and Matt Cavenaugh are jovial. Is this the definitive recording of the show? Maybe not. But neither is the movie soundtrack or the original Broadway cast recording. And the only reason the revival recording isn’t as essential of a disc as the previous two (which were important to bringing new sounds to both film and stage) has to do more with the familiarity of the material than with the disc itself. However, I can say without reservations that the revival recording will perhaps be the most played out of all of them in my life.

I seem to have written more than originally planned for West Side Story. I adore the show and it remains close to my heart as a highly influential landmark to my life. Perhaps I’d forgotten in recent years how much the show actually means to me. This revival has rekindled that love. And for that, I am grateful. Hopefully, I can make it out to New York to catch the show live before it closes. It will be at the top of my list.

***1/2 (out of ****)

Next reviews - Hair revival and Chess in concert