January 2011 Reviews - NYC

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ERinVA
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January 2011 Reviews - NYC

Post by ERinVA »

Here's a new thread for January reviews.
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angelenroute
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Re: January 2011 Reviews - Broadway

Post by angelenroute »

Not a January review, at least yet, (maybe there's hope for me still haha) but I just FINALLY completed the review of the second Thommie Retter dance workshop we fan friends attended. And I posted it in the October 2010 reviews area:

http://www.billyelliottheforum.me.uk/fo ... 437#p47437

Sean

"Good writers define reality; bad ones merely restate it." -Edward Albee
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Re: Jacob Clemente

Post by cws8998 »

Despite the horror show in returning to South Bend, IN...two flight cancellations; diverted to Minneapolis and then Detroit, including having to stay overnight in the Twin Cities, and two delays...my frustration [if not anger] was easily tempered by what I saw at the Imperial during this past weekend. I attended the Matinee on Sat., and Sunday nights performance. What a delight, and which soothed the nerves of any potential problems in returning home.

Allow me to say first of all, how impressed I am with the intimacy of the Imperial Theater. It seems to me to be so much more conducive to this musical than the large auditoriums found at the Oriental in Chicago and the Orpheum in Minneapolis, both where I saw multiple number of shows. The Matinee on Sat., 1/15, in my opinion, was about as perfect a production as Billy Elliot can get, given comparisons to dozen of shows I've seen from NYC, London, Minneapolis, and Chicago. Having read so much hype and reviews on Peter Clemente, I had to be careful of being overly critical in anticipation of seeing him perform, thinking there had to be some cracks in the wall somewhere. My goodness, there were none, and I was immediately won over by his glorious Billy interpretation. This youngster presents such a presence of class as an actor and dancer, one could not be mistaken that you were witnessing a seasoned pro in action. His facial expressions, his engaging smile, frequently shared directly with the audience, gave one the impression he was communicating with you personally. It was as though he were directing the whole production, as the tempo, his own audio when speaking or singing, and that of the cast, allowed for such a clarity, it was an experience I had never enjoyed with all the other productions I had see over the years. I was never left with a question of what was just said or sung by anyone in the cast and despite the Gourdie[sp] dialect.

I have to say, a bit of that was lost during the Sunday evening's performance. In contrast, some of the dialogue seemed rushed, often executed through laugh lines from the audience which would cause you to miss a subsequent line or two. Not that it affected me so much since I know the dialogue and the show practically by heart. But, it was a reading I felt by those siting around me during intermission and after the show. I sat in row B, so, I can't imagine what those in back of the auditorium or in the balcony were feeling. There was a reasonably large cast change for this show from Saturday's matinee, so, I rather trust that may have contributed to the sense of unevenness I was feeling. I will just say, there appeared to be a distinct difference when comparing these two productions. By the way, both shows appeared to me to be sellouts. I'm so delighted the musical seems to be holding its own amongst all others on Broadway. Being from Chicago, I was devastated when it closed early due to a lack of support

But, as always, Billy and Michael carry the day, and the combination of Harrington/McCafferty, Clemente/Schwenke, did exactly that. Emily Skinner was even more impressive this time around than I remembered her in Chicago. I felt Will Chase's performance at brother Tony was tempered perfectly, not over played as some I've seen. Joel Hatch was the dad for both the performances I saw.

Saturday evenings performance was carried by Joseph Harrington who I felt exuded an initial warmth of vulnerability which would capture anyone's heart, and which seemed to me to provide deeper meaning to his transition during the first act. If I'm not mistaken, he is one of the younger Billies out there, and given his blond, toe-headed youthful looks, one might think there is no way he could execute the Angry Dance or Electricity, with any measure of command. What a mistaken assumption and what an enormous surprise one receives with his powerful performances in each number. Sitting in that second row seat, and observing the intensity of his involvement given the perspiration on his face and brow, mouth agape as he danced, wow, one could not help but be drawn in by all the skill, passion, and energy he showed given that initial impression of what appeared to be such a vulnerable kid.

It may seem insignificant in the total scheme of things, but I have always been one who felt the Billies have never been given their just dues in individual curtain calls...particularly in allowing the audience enough time to show their appreciation not only then, but following Electricity, as well. As the curtain was raised for Joseph's curtain call, I thought I was seeing things when he was faced away from the audience, silhouetted by a large lighted back drop of "BILLY." He allowed the audience ample time to rise out of their seats in cheers and applause, before turning around with the brightest eyes and smile for his bow and which literally captivated everyone in that house. It was a magnificent moment which I have never seen executed before, anywhere, and I sincerely hope they will provide that for every venue where this show is played. It was a nuance I always felt was deserving of the performances of these extraordinary youngsters, and I can only imagine the thrill it must give each one of them in the process.

Anyway, on to Tampa when the road show hits that city during February. Just can't seem to get enough, I guess. Like I've always said, seeing it another time is like seeing it for the first time. Why fight it? Regards to everyone, Colin
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Re: Jacob Clemente

Post by mrmikerocks »

cws8998 wrote: Having read so much hype and reviews on Peter Clemente, I had to be careful of being overly critical in anticipation of seeing him perform, thinking there had to be some cracks in the wall somewhere.
I noticed you mentioned seeing Peter Clemente. Did you see Jacob Clemente or Peter Mazurowski? Also I think the correct spelling is Geordie. Thanks for the in-depth review. Sounds like a really fun time.
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Re: January 2011 Reviews - Broadway

Post by cws8998 »

Indeed, Mrmikerocks, I meant to say Jacob Clemente, and I apologize profusely for the confusing mistake. I should have known better having even missed the mistake upon reviewing my posting. I become more "mental" with advancing age, I guess. Thanks for your notification and kindest regards, Colin
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Re: Jacob Clemente

Post by angelenroute »

cws8998 wrote:Having read so much hype and reviews on [Jacob] Clemente, I had to be careful of being overly critical in anticipation of seeing him perform, thinking there had to be some cracks in the wall somewhere. My goodness, there were none, and I was immediately won over by his glorious Billy interpretation. This youngster presents such a presence of class as an actor and dancer, one could not be mistaken that you were witnessing a seasoned pro in action. His facial expressions, his engaging smile, frequently shared directly with the audience, gave one the impression he was communicating with you personally. It was as though he were directing the whole production, as the tempo, his own audio when speaking or singing, and that of the cast, allowed for such a clarity, it was an experience I had never enjoyed with all the other productions I had see over the years.
Wonderful review, Colin, especially what you say about Jacob. I found him to be absolutely delightful too both times I saw him (still hope to see him again). He made me cry more in his letter scenes than any other time and he's just got a fun, friendly, very realistic presence on the stage. He owns the role and maybe because he sometimes comes across as tougher than the others (he used to be a wrestler), makes for a very endearing Billy. I'm glad you got to see him perform and thank you again for reminding me how great he is!

Sean

"Good writers define reality; bad ones merely restate it." -Edward Albee
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Re: January 2011 Reviews - Broadway

Post by cws8998 »

My appreciation for your comments, Sean, as it's always reassuring knowing someone else besides oneself, may have had the same impressions of a particular performance. And your comment regarding Jacob's letter scene was absolutely on target, something perhaps, in my review, I failed to mention strongly enough. In the second row, orchestra, just right of center, looking almost directly into his face, I actually got the impression Jacob was crying at his conclusion,"...and please Billy..." He was so realistic in his acting, I was just deeply moved, unlike I have ever experienced from other Billies given the umpteen times I have observed this scene. His painfully sad, tearful expression I would think would break the heart of the best of us. His particular emotional emphasis just seemed more profound than anything I had seen before.

Another observation you made about which I failed to make reference. Jacob's wrestling experience, about which I had read sometime ago, indeed, may have had a great deal to do with his training, preparation and the classic toughness as the seasoned pro he seems to exude on stage. This is just a personal opinion, given I was a high school and collegiate wrestler myself, and have been a wrestling coach in Indiana for 40 years, to complement my teaching and singing careers. Trust me, however, at 13 or 14 years old...I would trade places with Jacob in a heart beat. Best regards, Colin
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Re: January 2011 Reviews - Broadway

Post by cainmac »

Saturday, January 23 7:30 p.m.
Peter/Jake
I’m sitting at JFK writing this as I wait for my flight back to Florida. It’s my first review, so please be patient with me.
Got into Manhattan early yesterday, so I decided to see if I could get into the matinee. When I saw that the youngest Billy, Joseph Harrington was up, I was hopeful, but no such luck. The show sold out and I was one ticket away in the cancel line.
From Peter Mazurowski’s first line in “The Stars Look Down”, I saw a seasoned Billy, He belted his lines clearly and was thoughtful in his scissor steps (I’m sure its not the correct term, but the best I can come with) across the stage. This has become my favorite scene as it’s a preview of the entire show. Zachary Maitlin surprised me in the boxing scene by calling George a b******* as he left. Didn’t expect that from the youngest cast member; maybe it’s always been there, but my last 3 shows were iat the first tour in Chicago where the language has been taming down a bit (which I’m not all that happy about).
Emily Skinner never disappoints me and she didn’t this time in “Shine. I admit, when she first replaced Haydn Gwinne, I thought she had some big shoes to fill, but no complaints here. Carole Shelley’s grandma was good as ever. It never fails to amaze me the audience reaction to Grandad being called a “right b******”.
When Mrs. Wilkinson asks Billy for 50 pence, Peter clearly says “rip off” which sets the tone for the beginning of “Solidarity”. Another favorite, with the dichotomy of the dancers, the miners, and the police dancing together. Brilliant! I has an assignment to complete; I told Ellen I would listen closely for Mrs. Wilkinson singing a harmony of “Shine” at the end. I caught it in the midst of all of the activity this time. Peter was especially good at showing his progress from a beginner to a prodigy.
Expressing yourself was a real treat. Readers might help me here, I didn’t quite catch Jake's replacement for the “I dream of Jeannie” ad lib. Peter and Jake appeared to have fun with the number and Jake ended by encouraging more well-deserved applause from the audience.
In “The Letter, Emily Skinner seems especially compassionate with Billy. You could hear in her voice and see in her face that she knew that she was entering Billy’s intimate emotional world, as she asked for and received permission to read. This is a tough one to sing, and I’ve heard several Billy’s struggle with it. I remember that David Alvarez read the words instead of singing and have heard that others have, too. I remember an interview with Elton John where he says he wasn’t looking for Billy’s to be polished singers and personally, I think it adds to the character of the role.
From the sad to the funny, “Born to Boogie” was good as ever, Thommie Retter’s Mr. Braithwaite drew increasing laughter as he strips piece after piece of his wardrobe and stuns the audience with his dance moves. The jump rope scene is another scary one, but Peter handled it masterfully. He deliberately messes up the first couple times, even swearing about it once. But, again he progresses masterfully as he demonstrates that he’s just learning to do this step and now he’s got it! This is something I’ve never seen any Billy do and to me is more realistic. Peter jumps rather than flips off of the piano at the end, which is just fine with me. My heart always skips a beat when I see this, and I wonder if any Billy’s have been hurt doing it?
Emily Skinner is a great Debbie. When she asks Billy, in the bathroom scene, if he wants to see her “hoo hoo”, Peter is a master at the pregnant pause before answering. You could see in his facial expressions that he was thinking about it. Trent Kowalik’s “Angry Dance’ has always been a favorite, and Dayton Tavares was the master of the “F” word in the dance, but I think Peter nails it in every way. I especially like the way he doesn’t just get up and walk out at the end. He stares the audience down, as if to say, “What are you looking at,” before he leaves.
A short intermission (not short enough with the people behind me complaining about how long the show was), then on the Christmas Party. The audience must have been slow to sit down because the children had to dodge and swerve several people to get up on the stage. Gregory Jbarra then sings “Deep into the Ground” and leads “He Could Go and He Could Shine” Gregory is one of the last of the original Broadway cast.
Older Billy was played by Grant Turner in the dream sequence. This requires such teamwork and it looked like they danced it together every day. I always notice the contrast of experience between younger Billy and Older Billy, which demonstrates the progression at the School of Ballet. At the end, I really see Peter noticing that his Dad has entered the room before he dances up to him.
Peter has the audience’s attention now, several commented about what a great dancer he is. His performance of “Electricity was excellent, the audience applause went on and on at the end. When it comes time for the “Post”, love it when Grandma flips the bird, and again Gregory’s pregnant pause at “esquire”, something that the second tour never did when I saw BETM in Chicago.
I remember Elton John said to Oprah that “once We Were Kings” was his most emotional number. It was fun to watch Dad toss shirts onto Billy’s head as they packed. Peter does something new (to me): he does the scissor steps for a bit before he jumps into Dad’s arms. This brought me back full circle to “The Stars Look Down”. Brilliant move, Peter! On the road tours, the miners don’t drop slowly into the stage (and Billy’s bed doesn’t go up and down, but I divert). It is so moving to watch them return to the mines with their lights shining into our faces.
The Letter Reprise is right on target. I like it when the Billys show emotion and Peter does a good job of this. (I forgot to mention the sigh when Mom leaves the stage after her first visit.) I had an aisle seat on Aisle 3 and began to get concerned with all the feet sticking out in the aisle as it neared time for his exit. I was glad to seat the bright light shined down the aisle (good thinking). Hadn’t noticed this in other parts of the theater. The, an incredible Company Celebration and I was on my way to my favorite part of the night: the stage door.
Autographs have filled one program, so I bought another. Even thought to bring a Sharpie this time. First out was Jake (Evan), who was very humble and acted surprised that I knew his name. Then, Ben Cook came out, who also acted surprised that I knew he was Tall Boy/Posh Boy (after I mistaked him for Joseph Harrington). Is Ben an understudy for the Billy role? Several of the ballet girls came out…I always ask for their autographs, too. I feel that they get left out of the spotlight at the stage door and theirs is a tough role, dancing almost every night. Didn’t see Zachary come out, but then Peter arrived. He was gracious as everybody seems to be at the stage door. Something I’ve never seen, one of the handlers gathered programs and gave them to Billy. I’m sure he was trying to help move things along, but it seemed to create a barrier between Billy and the fans. Peter stayed out for some time standing for photos and signing more autographs. I was off to the side talking with a couple other fans when I noticed that all of the handlers had gone back inside the stage door and Peter appeared to be left alone with the fans. Just as I started to be concerned for him, his Mom called to him to meet a friend of hers. I hadn’t noticed her standing with a group a few feet away. Okay, so they left him in Mom’s care. It was then off down the street with the fans that I’d been talking to.
Just want to say thanks to my wife Alyson and son Chris that put up with their groupie husband/father and have even been to see it with me a couple times. They ran out of ideas for birthday and Christmas gifts, so they have actually sent me to NY and Chicago as gifts. I love you both.
Michael
p.s. Sorry this was so long. I’ll make it shorter if you allow me to do another for the Tampa shows.
Broadway X 4, Chicago X 3, Tampa X2 next month, and London someday…
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Re: January 2011 Reviews - Broadway

Post by porschesrule »

Hi cainmac. Great review. Thanks for taking the time to write down your thoughts and share them with us. A few comments...
cainmac wrote:Zachary Maitlin surprised me in the boxing scene by calling George a b******* as he left. Didn’t expect that from the youngest cast member; maybe it’s always been there, but my last 3 shows were iat the first tour in Chicago where the language has been taming down a bit (which I’m not all that happy about).
Yes. From all reports, while they may have toned down the language on Broadway a tad from what it is in London, it's still quite a bit more prevalent in NY than either Chicago was or the National Tour is.
cainmac wrote:Emily Skinner never disappoints me and she didn’t this time in “Shine. I admit, when she first replaced Haydn Gwinne, I thought she had some big shoes to fill, but no complaints here.
Not sure if you just meant to compare Haydn's interpretation of Mrs. W to Emily's, but of course Emily didn't directly replace Haydn -- Kate Hennig did. And then Emily replaced Kate.
cainmac wrote:The jump rope scene is another scary one, but Peter handled it masterfully. He deliberately messes up the first couple times, even swearing about it once. But, again he progresses masterfully as he demonstrates that he’s just learning to do this step and now he’s got it! This is something I’ve never seen any Billy do and to me is more realistic.
That's the first time I've heard of this and I like it a lot. It makes sense that Billy wouldn't be perfect at it the first time and that being the prodigy he is, he would soon master it.
cainmac wrote:Thommie Retter’s Mr. Braithwaite drew increasing laughter as he strips piece after piece of his wardrobe and stuns the audience with his dance moves.
Thommie Retter is "da man". Everything I've ever read about the Broadway B2B number is that Thommie makes it with his hilarious interpretation of Mr. B and his stunning dancing for a big man.
cainmac wrote:Peter has the audience’s attention now, several commented about what a great dancer he is. His performance of “Electricity was excellent, the audience applause went on and on at the end.
Glad to hear Peter's skill was recognized by the audience and they showed their appreciation for it.
cainmac wrote:Emily Skinner is a great Debbie. When she asks Billy, in the bathroom scene, if he wants to see her “hoo hoo”, Peter is a master at the pregnant pause before answering.
If Emily was playing Debbie in this performance, that scene takes on a whole new meaning :lol: :lol:
cainmac wrote:Is Ben an understudy for the Billy role?
Ben is actually the u/s for the role of Michael.

Your review was definitely not too long, I enjoyed reading it immensely and look forward to your Tampa review.
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Re: January 2011 Reviews - Broadway

Post by cainmac »

Thanks, Porschesrule, for the great feedback.
porschesrule wrote:Not sure if you just meant to compare Haydn's interpretation of Mrs. W to Emily's, but of course Emily didn't directly replace Haydn -- Kate Hennig did. And then Emily replaced Kate.
You're so right...and I saw Kate Hennig in the role (twice). Realized when I looked through the Chicago playbill that I saw Emily there and confused the two.
porschesrule wrote:Ben is actually the u/s for the role of Michael.
I look forward to seeing him in that role one day.
porschesrule wrote:If Emily was playing Debbie in this performance, that scene takes on a whole new meaning
You caught me in a major mistake there. Thanks for being so forgiving. Meant to write Aly Brier...but you probably already know that!

Again, thanks for your comments.
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