A Happy Birthday Poem, or: the best way I know how to tell you I love you

All my life you've been there
Any time and any where
When I was young
And even now that I am older.

I have always known
You've done the best you could
Circumstances change, lives change
But family ties are strong.

I want you to know how much
I respect what you have done
For me, for others,
And even for yourself.

When problems knock you down
You just slowly, steadily,
adjust your shoulders
And then move on.

Many others would give up,
On love and on life, but you haven't.
You've continued,
Stronger, calmer, and with determination.

That's what you are,
strong, loving, caring, and dependable.
And yet still more
You are my mom.

And I love you.

Happy birthday, Mommy!

No Need for a Gimmick, Gypsy Is Astounding: Broadway Review

Note: My recent trip to New York City allowed me to take in some exquisite shows. Here is my first review from my trip.

Gypsy **** (out of ****)
St. James Theatre
New York, NY

One of my favorite moments in the Broadway revival of Gypsy playing at the St. James Theater comes late in the first act. On stage we have Leigh Ann Larkin and Laura Benanti belting the melodic climax of the wonderful, bittersweet song "If Momma Was Married." In the final measures, both girls downstage center playing to the 4th wall, melodramatically pulsing their outstretched arms in sync with Jule Styne's almost-waltzy rhythms, we notice a quick exchange between the 2 characters. June, almost devastatingly desperate, impulsively grasps the hand of her sister. A subdued and startled Louise glances at the sudden, intimate embrace. Unable to make eye contact with her sister's profile, which is still unflinchingly glaring at the vision in front of her (perhaps a metaphysical condescending apparition of her mother), Louise acknowledges the quiet connection and smiles in acceptance, turning her head once again to that same 4th wall that determined, undistracted June faces (but perhaps to a slightly different vision - a haunting, a fate that she may never escape).


It's a powerful moment, for both characters, and a revelation for the complex relationship they share with one another. It illustrates the almost non-existent bond and relentless connection these two siblings find they have with one another. A moment that is almost missed if strict attention isn't being paid, it provides substantial evidence that the direction under Arthur Laurents is deft, precise, and wise. Detailed to a tee, Arhtur Laurents' staging is an intricate set of paradoxes: at turns both Vaudevillian and method, melodramatic and delicate, visceral and articulate. This is indeed a Gypsy of our times and one of no time: it reaches beyond the scope of past, present, and future to make a production as timeless as the piece itself.

The revelatory direction of Arthur Laurents is just one reason why this revival sparkles. Nay - it doesn't so much sparkle as it does arrive on the Great White Way with such inimitable force and energy. And the same can be said for the unparalleled acting herein present.

Yes, here she is world, the living legend Patti Lupone as Rose. With Lupone you expect a certain gravitas and showmanship that is innately her signature: the seemingly unending lung capacity, the over zealous diction, the nervously fun and dangerous energy of spontaneity, the over-the-top presentation and spectacle of her character portrayal. And she delivers - on all cylinders, full blast. In great voice and aplomb, Lupone clutches the brassiness and confidence of a golden-age matinee idol that is all too-well suited for Mama Rose. Her technical skill in voice lends itself incredibly well to Jule Styne and Stephen Sondheim's catchy, rich melodic score. The music seems custom made for her capabilities as a trained singer and intuitive performer. Had this been all Patti Lupone brought to her long-anticipated portrayal, she would have positioned herself cozily into the pantheon of memorable performances.

However, Ms. LuPone has another agenda. Not content with being a standard Mama Rose, she brings an acutely stylized performance refined with textures of concise and specific characterization, layers of emotional depth and complexity, and undeterred, disciplined focus. For not only is Patti LuPone a platinum-voiced belter, she is a distinguished actress of considerable talent and wisdom that comes from years of hard-working experience. She provides Rose with all the nuanced subtleties never quite afforded to her by the late Ethel Merman (a reportedly flat actress). Avoiding the pitfalls of one-dimensionality and mechanical, cold craftsmanship and technicality, LuPone inhabits her Rose and makes her all at once likable, charming, magnetic, funny, and ferocious, monstrous, discerning, appalling. For once, we understand why Herbie, Louise, June, and the players of her act are not only drawn to her initially, but are willing to stick around and confide in Madame Rose for as long as they do. By supplying just the right amount of vulnerability (watch her firm stance and battle-weary face when she sings of "nothing to hit but the heights" during the always triumphant, now devastating fanaticism of the act one closer "Everything's Coming Up Roses."), and not side-stepping the ugly brutality of criticism (listen to her ice cold delivery and brevity of the word "flat" to cut off June's last note of her happy birthday salute to Louise), Patti LuPone infuses Madame Rose's character arc with tragedy and makes her less pathetic. The victorious rise of Madame Rose and ultimate decline into despair, maybe even psychological instability, shines a luminous, almost Shakespearean, tragic light on Laurents' book and anti-hero... a "pioneer woman without a frontier." And it makes for engaging, electrifying theater.

Had LuPone been the only acting benefit, this would have made for a wonderful Gypsy. But Laurents put as much care into casting his supporting players as he did his star. And by doing so, he has sufficiently given full due to the material and by result has produced the best Gypsy ever. Boyd Gaines as Herbie, Rose's agent and would-be husband, involves us into Herbie's story (never so fully realized than here and by Gaines). His slow-boiling intensity is immensely gratifying, especially when late in the second act he is given the opportunity to express his heartache and disappointment. This moment is delivered with a finesse craftsmanship and is intensely rewarding in its visceral impact.

A truly revelatory Laura Benanti is extraordinary as Louise. Her transformation from meek Louise into powerhouse ecdysiast Gypsy Rose Lee is truly authentic in its depiction. Never before has the transformation been entirely believable, but Benanti provides a deft amount of awkwardness and comic nervousness mixed with rhapsodic anxiety and fear to help the audience believe in the authenticity of the manifestation of Gypsy Rose Lee. She has a gorgeous singing voice, which adds rich and beautiful undertones to "Litte Lamb" previously unheard. One of my favorite aspects of her performance is her changing character voice, especially in song.

Special kudos to Martin Pakledinaz's outstanding costumes which aid tremendously in Loiuse's path. And lest we forget the wonderfully comic and garishly hilarious outfits for Electra, Mazeppa, and Tessie Tura (the outrageously entertaining Marilyn Caskey, Lenora Nemetz, and Alison Fraser). The reinterpretation of the strip done with an older set of women, past their prime, is an indelible imprint on the musical.


Tony Yazbeck makes for a debonair Tulsa, his voice resonating with just enough wide-eyed optimism and innocence to contrast with Leigh Ann Larkin's mind-blowing dark interpretation of Dainty June. Traditionally played more complacent, Larkin's June is a bored, bitter, frustrated, even angry June and it supplies a new angle to all the relationships in the musical. She takes a risk, a big one... and it pays off enormously. She nails it. Not too mention her great skill as a dancer, huge vocal pipes, and wonderful comic timing. This is Leigh Ann Larkin's calling card to the world of Broadway. Expect to see great things from her in the future.

Referring back to that exquisite scene with June and Louise singing "If Momma Was Married:" the song is orchestrated and sung beautifully from a small, almost chamber quality sound (fitting for the prevalent tension and hefty uneasiness between the two characters) and ends incredibly into a cry for desperation. The song ends in operatic scope - almost power-ballad laden; an aria of longing, distant unrealized dreams. For once, June and Louise share the same dream and shout it to the rafters with unified persistence ("Oh momma, get married today!"). Never has the song (and whole score, for that matter) been sung with such intensity and characterization.

Oh, and that glorious onstage 25 piece orchestra! To hear the greatest overture in the musical theatre canon live and full-bodied is an opportunity to savor. Soak it up and let the lush music just wash over. And once again, Arthur Laurents knows when to use that gorgeous orchestra to fully benefit the production in 2 stellar moments of staging during Tulsa's "All I Need Is the Girl" and the finale ultimo "Rose's Turn." Dynamo direction which gave me chills and tears.

The production itself has a modest look and set design by James Youmans which I loved. The simple yet effective design fits with Laurents' Vaudevillian inspired staging. It also helps to emphasize the story and characters and brings them to the centered focus. It's all beautifully realized.

The production is at many times quite moving and awe-inspiring. The closing stage picture is one of eternal words and infinite emotions. The grasp for fading dreams, the disillusion of false confidence, the flickering lights of a soon to be gone era of entertainment. This kind of quality show does not come along very often, and hopefully that last image isn't a sign of a fading musical theatre world. They don't make them like they used to, correct. But thanks to this production, there is now inspiration to those that do make them now to hopefully continue in and contribute to the great American art that it musical theatre. Bravo!

Raped in the Face: Hamlet Will Have His Revenge!!

There is an awesome-ish titled movie coming out today by the name of Hamlet 2. I'll be heading out tonight to see the new comedy flick co-written by Andrew Fleming (Threesome, Dick) and Pam Brady (South Park: Bigger Longer & Uncut, Team America: World Police) and starring British actor Steve Coogan (Night at the Museum, Tropic Thunder), Catherine Keener (The 40-Year-Old Virgin), David Arquette (the Scream movies), Amy Poehler (Saturday Night Live), and Academy Award nominee Elisabeth Shue as herself.

Not to mention the main reason to see the movie (for all us Guilty Ones): Skylar Astin and Phoebe Strole both of recent Broadway show Spring Awakening! The two Springers star as ass-kissing-theater-teacher-pets Rand and Epiphany who perform in the drama class's adaptations of popular films such as Erin Brockovich.

It's so great to see stage actors given a shot at the silver screen. I feel because the Broadway world is so much smaller than that of Hollywood that I have a sort of ownership over these actors. They are my babies and them getting an opportunity to shine in the movie theater makes me a proud mamma.

The film centers around sometime-actor turned worst drama teacher of all time Dana Marschz (Coogan). According to production notes, "Shortchanged in the talent department, Dana still harbors ambitions and passions. At work, that is; his personal life, with his dissatisfied wife Brie (Keener) and their boarder Gary (Arquette), leaves much to be desired. At Tucson, AZ's West Mesa High School, Dana sees himself as an inspirational teacher. But his adaptations of popular films, as performed by his top students Rand and Epiphany (Skylar Astin and Phoebe Strole, both stars of Broadway's Spring Awakening), are not resonating. When his latest — re-creating Erin Brockovich — is dismissed by the 9th grade drama critic and his department is targeted for closure, Dana must reach deep into himself for creativity."

He conceives a musical sequel to Hamlet "that will disdain both political correctness and dramatic credibility. Rallying and rousing his class, Dana casts a wider net by recruiting transfer students like Ivonne (Melonie Diaz) for key roles. With rehearsals underway, objections from school officials and the community are soon raised, but Dana will not be denied his freedom of artistic expression. Dana gets unexpected support from ACLU attorney Cricket Feldstein (Poehler) and his favorite actress, Elisabeth Shue. Above all else, he fervently believes that his opus must be staged, and nothing can break his optimistic spirit."

With song titles such as "Rock Me Sexy Jesus" and "Raped in the Face," this movie sounds ballerific. I'll post a review after viewing the movie.

And this is hilarious (not to mention very timely): When asked in production notes if the movie will encourage kids to put on a show, director Fleming quipped, "If we can prevent one more production of Godspell, we've done something positive." Thanks, Playbill.com!

Ouch... sorry Gavin Creel.

A Cinematic Look Back: 2000 and 2001

Note: In preparation for a future post discussing the uber brilliant film Wall•E, I'm posting my thoughts of some of this decade's most accomplished films.

There have been some absolutely riveting and beautiful films made in recent years. A quick glance back to some of my favorite films of the last decade reveal an astonishing number of cinematic triumphs. Here are some musings on the years 2000-2001.

2000
Crouching Tiger, Hidden Dragon is not only the best film of the year 2000, it holds a place in my heart as one of my most favorite films of all time. It's an absoulutely gorgeous, even sensual cinematic treat. Here lies one of the most heartbreakingly powerful love stories to grace the silver screen amidst a backdrop of a mythical, epic feudal China photographed exquisitely. The fight scenes act as sort of operatic musical and balletic dance numbers in a production full of theatrical qualities. Director Ang Lee captures the best performances of Yun-Fat Chow and Michelle Yeoh's careers and introduces the world to the mesmerizing Ziyi Zhang. But above all, Lee captures the interpersonal human tragedy and quiet beauty of fantasy filmmaking and elevates the martial-arts film to one of substantial quality and importance.

Requiem for a Dream and Almost Famous are 2 more movies from 2000 that have had lasting impressions on me and my view of cinema and life. Requiem is a devastating look into the consequences of drug abuse and addiction. Almost Famous is a nostalgic view of the 60's and 70's with a revelatory performance by Kate Hudson. Look forward to more in depth reviews and discussions of these movies to come in the future.

2001
The year of the Hobbit. Some said it couldn't be done. Some said it would never manifest into reality. But Peter Jackson proved the naysayers wrong. The first of the Lord of the Rings trilogy debuts as The Fellowship of the Ring and the new standard of epic filmmaking is set. While Fellowship remains an excellent picture, the trilogy as a whole is really what has made a lasting impact. The monumental achievement of Peter Jackson's trilogy sweeps us into another realm. With the dawning of 21st century special effects, the trilogy blew people's minds when it debuted with beautiful camera work and visual wizardry. Between the years 2001 and 2003, moviegoers were treated with a Christmas season gift. And they responded in huge numbers. This is epic fantasy movie magic at its best.

Of course 2001 also brought us the return of the movie musical. Some argue that 2000's Dancer in the Dark (starring Björk), in and of itself a strong film, deserves that badge. But I still vehemently choose 2001's Moulin Rouge by Baz Luhrmann as the film responsible for bringing back one of my favorite genres in film. Moulin Rouge is a tour de force for director Baz Lurhman and for his two stars Nicole Kidman (one of my favorite actresses) and Ewan McGregor. The film is at first an almost send up of the genre it later fully inhabits. Taking it's cue from Puccinni's La bohème, the film slows its rapid pacing down to fully explore the tragedy of the Bohemian lifestyle. It says wiser and more mature things of that chosen lifestyle than such overated stage works as 1996's Rent. The movie improves everytime I watch it. And without it, we wouldn't have Chicago, Dreamgirls, Sweeney Todd, or Rent as cinematic offerings.

Other films from this year that I adore are Bully (a Larry Clark film that doesn't shy away from showing us the violent truth behind mob-ish mentality and teen America suburbanite boredom) and In the Bedroom (Todd Field's illuminating portrait of a broken family dealing with guilt and grief).

Stay tuned for 2002-2003 and for deeper discussion regarding all movies mentioned.

Things I've Learned to Love About Obama

"Despite the emergence of the Brown-Lippa-LaChiusa triptych and younger, DIY voices like Lopez/Marx and Joe Iconis and in the post-Larson era, no one writing today even approaches the emotional depth, harmonic complexity and the spiritual clarity evident in the work of the still-living legend Stephen Sondheim. Maybe Adam Guettel, but he supports drilling."

Barack Obama on the late-period musical theatre.

Thanks to Alicia for this tidbit.

Mr. Cladwell's Thoughts on "Little house on the Prairie"

I love Byrd Bonner. Ever since I performed in Urinetown, the Muscial at the Sheldon Vexler Theatre in San Antonio, (still one of the best productions I've ever had the privelege to be a part of) where I met Byrd (a delectable Caldwell B. Cladwell), the man has been nothing but generous with his time with me. He's one of maybe 2-3 people I know personally who I can divulge in major Broadway and theater talk with and have insightful commentary spewed right back at me. I love the man. Not to mention everytime he visits New York City he brings me playbills from all the shows he saw. Little tokens of love.

Well my good friend Mr. Bonner recently took in the Minneaopolis helmed Little House on the Prairie at the Guthrie. In an email sent to a few theater nerds (myself included), Byrd provided his thoughts on the new tuner:

All,

I am in Minneapolis and saw LITTLE HOUSE ON THE PRAIRIE, the Musical last night at the Guthrie. I have to say that the Pioneer Press sums it up
pretty well.

The major problem here is the score. Rachel Portman (Oscar winning composer for "Emma") writes beautifully for film. But underscoring does not a musical make, much less a good one. Much of the score for LHOTP is a series of musical themes or elements that never come together in any compelling or memorable way. The only song in which I could discern anything close to an AABA or conventional form was "Wild Child", Ma's eleven o'clock number that should be the heart of the show in some ways. Although Ma is not the protagonist, the song is about Laura and sums up much about her that is important both to Wilder and to us. It is the song in which Melissa Gilbert causes either grimaces or sighs or both. Unconventional writing is fine if it adds up to an appealing whole. Here it comes off as scraps for a quilt, which would have been a nice metaphor somewhere in the proceedings, come to think of it.

Speaking of quilts, I do like QUILTERS a lot; I thought of it a lot while watching LHOTP. It seems to try to approach the scope of QUILTERS without the invention. I must admit to a smile when I read the Pioneer Press review on Wed. I saw the show Tuesday night and stayed for what was not so much a talk back as a 'chat with the cast'. I smiled because I commented to the cast that there were several moments when director Francesca Zambello (director of DISNEY'S THE LITTLE MERMAID on Broadway) evokes conceits or devices successfully used in other musicals. I specifically mentioned the buggy race take of "Ascot Gavotte". I was surprised that there was a noticeable reaction from the cast. Now I see why.... Kevin Massey (a very good Almanzo) fielded my question as to whether the cast or Zambello ever talked about the derivations during the rehearsal period. I swear he said something like, "I have never seen this MY FAIR LADY thing, but....." Interesting. Very defensive. He said that they hope that they have made it their own. I agreed.

The cast, excepting Gilbert at times, was uniformly very good. Kara Lindsay was an ideal Laura. Jenn Gambatese as Mary was warm and sang beautifully what little she was allowed to sing. Much has been made of "I'll Be Your Eyes", the duet for Laura and Mary that closes Act 1. It is only lovely in comparison with the rest of the mess of a score. It does not sore when the audience begs it to...over and over. One musical motif that perplexingly seems to repeat over and over is one about going faster and faster. At the performance I saw, the program insert listing the songs lists it as "Faster" (what else?) and "Faster II" (there you go). The first one established it (early in the second act) as what I thought would surely be a 'theme' for Laura's courtship with Almanzo. But then "Faster II" inexplicably uses the same theme in Laura's school room in Brewster with the students working up a frenzy about learning faster and faster. Looking back at the insert, I am surprised that there is not a "Faster III", since Mary at the College for the Blind then goes into her own version about getting to visit her family....faster. It all seemed to me to become a mish mash of half baked tunesmithing by the time the curtain fell (...quilt scraps). About half way through the second act I realized that the only thing that I wished would happen faster was the inevitable pairing of Laura and Almanzo so we could all be done with it.
What other MT conceits or devices were used, you ask? One that I saw was a clear attempt to derive the opening number "Up Ahead" that seeks to sum up all of the passion around and against homesteading in the 1800's from FIDDLER's opening sequence. It looked like it could have actually been a performance of "Tradition" for a few fleeting moments, with the men of the cast going through their recitation of the joys of land grants, as I recall. Another lesser derivation was the use of Laura's wedding as the final scene. I did actually think about GUYS & DOLLS for a moment, but realized that we would have needed Nellie (a WOEFULLY misdirected Sara Jean Ford who turns Nellie into such a caricature that it is as if Blondie or Lucy Van Pelt or Miss Hannigan or.....Ursula the Sea Witch!...has suddenly been dropped onto the Dakota prairie) to get hitched as well. If this work goes further, someone should give some thought to that...but who would Nellie marry? Now, I see nothing wrong with copying or building off of brilliant devices of musicals of the past. I would do it too, if I were writing or directing something. Here is just seems to happen a bit too much and with a good bit of dullness...pale derivatives. But it does make for some fun "Guess that device" playing when trying to pass the time (which happens a lot in this show). In that way only, it is sort of like watching a good production of URINETOWN.....but not.

I found Donna di Novelli's lyrics to be often just bad, either missing or forcing several rhymes, especially in Act I. Sheinkin writes what you would expect of such an epic based on a beloved piece of Americana, but she doesn't write what you would expect of Rachel Sheinkin (25TH ANNUAL PUTNAM COUNTY SPELLING BEE). Some of the book is so prosaic and rhetorical that I assumed that she must be quoting Wilder herself.

I'll close by sharing my overwhelming thought as I walked up the aisle to leave the AMAZING Guthrie after this epic mess: '...my, how utterly brilliant Terrence McNally, Stephen Flaherty, Lynn Ahrens and Frank Galati are....'

Seems Byrd knows of a far superiour musical dealing with pieces of Americana.. I know Esther has been trying to keep a positive outlook on this tuner since its inception. All reviews for the show have been mostly mixed-to-negative, including the aforementioned Pioneer Press' view. I hope for nothing but the best for any creative project, but I doubt this new musical is likely to have a lasting impact on the art form. Right now, though, it looks as if though its negatives far outweigh its positive attributes.

Bummer, man. Bummer.

Godspell Postponed. Amen.

I guess it's official now. After many speculations in the past few days, it looks as if though we're gonna have to wait around a bit longer for the revival of Godspell.

Apparently the shitty economy is at it again and has forced a huge backer to drop out. The production, which was to star Gavin Creel and "American Idol" finalist and Hairspray alum Diana Degarmo, was set to begin previews September 29 at the Ethel Barrymore Theatre with an official opening date of October 23.

In addition to Creel and DeGarmo, the announced cast included Joshua Henry as Judas with Uzo Aduba, Andrew Arrington, Sara Chase, Celisse Henderson, Morgan James, David Josefsberg, Telly Leung, Kyle Post, Dana Steingold, Maria Thayer and Daniel Torres.

Daniel Goldstein was scheduled to direct the production with choreography by Christopher Gattelli (Altar Boyz).

Composer Stephen Schwartz says, "I take comfort in my belief that productions happen when they are supposed to. The cast and creative team was poised to create a terrific production and I have no doubt it will be just that when its time comes."

While I'm not a huge fan of the show, I was looking forward to seeing a first rate professional production of the tuner. I guess I'll just have to keep waiting.

All I know is that if the Arthur Laurents directed revival of West Side Story falls victim, I'm gonna wanna shoot a president. Doesn't everybody have the right to be happy? Ok I'm done with the Sondheim puns.

R.I.P.
Godspell
Brigadoon
Nice Work If You Can Get It
for colored girls who have considered suicide when the rainbow is enuf

I'm listening to the new Gypsy recording with Diva Lupone

No lie. It's playing in my mp3 player as I type this. All 25+ tracks. I have it in advance. It is GLORIOUS.

Days Gone By

So years ago, I had a blog entitled Joseph's Thoughts. It was a personal blog that was read by my close family and friends and then after a HUGE DEBACLE, was soon read by EVERYONE IN THE UNIVERSE. It was a ginormous source of therapy for me. Very funny. Perhaps a little mean-spirited, but always managed to make me laugh out loud. It also is responsible for some of the better things to happen in my life (although they seemed disastrous at the time) i.e. contributing to me finally leaving the retail industry.

My first post was written on Wednesday, January 28, 2004 at 12:59AM and my last post was written on Wednesday, December 28, 2005 at 7:12PM. Not very long, but I updated multiple times everyday. There are a LOT of posts.

I've since removed the blog from the internet but have kept a word document file on my personal hard drive for personal reasons. Every now and then, I like to go back and read a few posts that make me laugh and smile.

I've grown up a little now. And a lot of what I wrote still does make me laugh. Although I'm a bit more aware now of some of the offensiveness that some took to heart. I'm still not sorry for what I wrote. I stand by it. For even if it's not the way I feel anymore, it's an accurate barometer for the way I felt at the time.

I'll probably be posting some old posts here. FYI. Just because I can. For the hell of it.

Thoughts on NYC Trip, or: Gray's Papaya indeed has baller hotdogs.

Some thoughts on my recent New York trip… (to be followed by more detailed posts and reviews, I swear!)

• Internet access is a bitch if you don’t plan ahead.
• The George Washington Bridge is every bit as beautiful in real life as it’s onstage replica in In the Heights.
• You can always see actors at the stage door after a show, but if you chill out on 44th Street between Broadway and 8th Avenue around 6:30pm, you’re likely to bump into stage stars before they head into their respective shows… the likes of Whoopi in Xanadu and Laura Benanti in Gypsy were just as exciting to see pre-show as they were post-show.
• Patti LuPone has no reason to be as generous and appreciative with her time and of her fans as she is. The lady is truly a legend. And all diva-like syndromes would be forgiven in lieu of her masterwork performance as Rose. However, she still manages to sign everyone’s playbill and even strike up a short conversation about south-central Texas with a fanboy who could barely hold back tears. Thank you, Ms. LuPone. Thank you.
• Boyd Gaines is really tall.
• [title of show] may be my favorite show right now. But I am intelligent enough to realize that it is not the best that Broadway has to offer. I don’t mean that as a criticism, I mean it as praise for a show that touches my heart and makes me laugh and is a bit fast-food-for-dinner (if not so much doughnuts). I heart it.
• Even with a mostly new cast, August: Osage County still may be one of the best shows I have ever seen in my life.
• The fake lamb in Gypsy doesn’t bug me anymore. As a matter of fact, it makes great directorial sense to me. Arthur Laurents’ vaudevillian take on a show-stopping, showbiz-loving show is fascinating to watch. I love to study how the actors on stage perform in a style that demands them to acknowledge that they are on stage without falling into self-referential mockumentary mugging a la [tos]. (Again, not a criticism.)
• It’s nice to know that the Lyceum Theatre, the St. James Theatre, and the Music Box all have senses of humor when it comes to pre-show curtain warmers like turning off cell phones and unwrapping loud candy.
• Apparently, Jeff Bowen hurt his ankle the night before I went to see [tos]. What a trooper. I had no idea. I couldn’t even tell.
• Cheyenne Jackson’s thighs join the Great Wall of China and the fake Dubai islands as one of the few phenomena to be able to be seen from space.
• A gin and tonic at the Music Box is $10.
• Late-night subway changes confuse everyone in New York City (even New Yorkers), and not just 3 tourists from Smalltown, Texas.
• The Jonas Brothers attract very large, shrieky, pre-pubescents in drodes.
• If you wait, she will come. Thank you, SarahB for the inspiration.
• There’s so much to do in NYC; make sure to plan ahead.

It's the final countdown!!!

About 32.5 hours until NYC.

Woot woot.

Back and Reinvigorated

So I've totally been outty. And I miss this whole blog thing. And the people. Nothing motivates me more than some praise. And someone left a comment saying they loved to read my blog. Thanks Joie!

Now time for some bullet posting!!!

• New York city trip!!!! WOOT WOOT!! I can't wait. I'll be in NYC Aug. 11-15 and I am planning on taking in as much theatre as possible. Thanks to SarahB for being my unofficial guide to non-boredomness. Shows I'm seeing? [title of show], Gypsy, Hair, In the Heights, August: Osage County, and probably Spring Awakening.
• I'm really gonna try and get to Don't Tell Mama for Seth Rudetsky's Chatterbox. That would be so radish. Him and Kristin Chenoweth are the only people in the world guaranteed to make me laugh out loud.
• [tos] stage door. Yeah. I'm gonna try it. Crazy.
• Gypsy stage door. Yeah. I'm gonna try it. Craaaaaaazy.
• I hope Jonathan Groff pulls me onstage to dance with him. Even if he doesn't, I'll make sure to bump wenises with him.

I'm not gonna lie - it feels great to be back. I'm gonna blog everything while I'm in NYC so that I can share my experience with you all. Pictures posts!! YAY!! I'm gonna be there with 3 of my best friends of all time - Adrianna, Olivia, and Michael. What a blessing. And I'm making sure that I'm gonna be really intoxicated a bit of the time while I'm there.

A few other things: totally on a break from my own shows. I've done 5 since the beginning of the year and have been extremely proud of the work I've done. I've accomplished a lot and have grown so much and have realized a lot personally. I deserve a break. What does that mean for you?? More blog posts!!! YAY!! More Joseph for the world!!

Here I am world!!!! (How theater-queenish was that?!?)

YOU ROCK MY SOCKS OFF

SarahB, you're awesome! Thanks!!