Richmond Reviews

kport
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Re: Richmond Reviews

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porschesrule wrote:This writer, from the Richmond Times-Dispatch, absolutely hated the show. One of the worst pans of the show in memory:

http://www.timesdispatch.com/entertainm ... b5887.html
'.....Peter Darlin....'
This reviewer cannot copy a name from the program..or proofread his work?
'........ and to the actors’ brogue accents.........'
This reviewer has placed the setting in Ireland?
'Hall’s script, also, marries an odd hybrid of realism, caricature and symbolism: In “Solidarity,” the constabulary dance in a cartoonish manner incongruous with the musical’s realism; and in “Angry Dance,” Darlin juxtaposes Billy’s expressionistic ballet sequence against the miners’ rebellion, symbolizing the convergence of the plot’s conflicts: Billy’s pursuit of ballet; the miners’ pursuit of justice.....'
These ARE the exact points!
'But the image leaves little room to appreciate what could be admired: the ballet as an art form. Instead, the script parlays from delicate ballet to family dynamics to social uprising frantically.'
Again, this is exactly the point. BETM is not a ballet, or even about ballet. It is about one boy's search to find - and become - himself against all the odds!
True, what the musical lacks in an engaging dramatic structure it makes up for in a progressive social consciousness: In “Expressing Yourself,” Billy and his cross-dressing friend Michael (Jake Kitchin) perform a snazzy tap-dancing ballad with life-size dancing dresses.
The aforementioned 'Solidarity' and 'Angry Dance' 'Merry Christmas Maggie Thatcher' and others numbers are about progressive social consciousness: of all the numbers to exhibit social consciousness (conscience?), this is the least relevant. 'Putting on women's clothing' is a personal choice, not a social one.
Still, perhaps ballet is at its best when at the ballet — and not in cinema-inspired musical theater.
With that remarkably inane quote, I have nothing else to add; except perhaps that some people should not be reviewers!
kport
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Re: Richmond Reviews

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Perhaps we could buy that reviewer another ticket to see the show again?!?!? Maybe their views would shift a little.
I think he could see it a dozen times and write nothing better.

I just read the same reviewer's glowing review (in the same paper on Jan 28th) of 'Cotton Patch Gospel'. I will make no comment (I certainly have one!) but will let you make your own:

http://www.timesdispatch.com/news/local ... c87a6.html
kport
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Re: Richmond Reviews

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ERinVA wrote:Given the situation that I described in my review of the first show above, with all the subs in, and the show running overly long, I am not that surprised by the Times Dispatch review. It's a shame, but sound issues and glacial pace, not to mention glacial temperatures outside, as I described, could not help but affect the critic's take on the show. Of course, the criticism of the music is just what we have heard many times before. But to call the choreography "limp" is a new low, and to ignore Drew's talent makes no sense.

I can not help but think how much better the show would have come across had it been performed at the Carpenter Center down the street, a much more appropriate venue for a show of this scale.
I will say this and expect a lot of flack, but the show should still be in Clearwater, where the capacity crowd loved it!
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angelenroute
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Re: Richmond Reviews

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ERinVA wrote:Mrs. W. was played by Molly Garner, who is normally Dead Mum. Wow, she is good! I mean seriously good! Excellent acting, singing and dancing. I want especially to compliment her delivery of the “very f**ing special” line. It did not get a laugh. This is a positive, not a negative, in my book. When Mrs. W. can pull that off and make the audience feel what she’s feeling, which I felt she did admirably, then my hat is off to her!
I know what you mean, very cool!
ERinVA wrote:I mentioned above that the audience was muted. Well, where this really showed was in the response to Sam’s Michael. Poor kid! He was working his buns off without a payoff. The audience was simply not feeling the love for Michael. I have never seen such a dead response to the ending of “Expressing Yourself” in all the performances I have seen. I am completely mystified by this.
I experienced the same thing in Baltimore on a very dead-audience night. So weird and sad. Michael shouldn't have to make them clap when he comes back for that encore, he should only be urging them to cheer louder than they already are. I hope the Michaels have learned by now that some audiences are just gonna be better than others.
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Re: Richmond Reviews

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angelenroute wrote:
ERinVA wrote:Mrs. W. was played by Molly Garner, who is normally Dead Mum. Wow, she is good! I mean seriously good! Excellent acting, singing and dancing. I want especially to compliment her delivery of the “very f**ing special” line. It did not get a laugh. This is a positive, not a negative, in my book. When Mrs. W. can pull that off and make the audience feel what she’s feeling, which I felt she did admirably, then my hat is off to her!
I know what you mean, very cool!
ERinVA wrote:I mentioned above that the audience was muted. Well, where this really showed was in the response to Sam’s Michael. Poor kid! He was working his buns off without a payoff. The audience was simply not feeling the love for Michael. I have never seen such a dead response to the ending of “Expressing Yourself” in all the performances I have seen. I am completely mystified by this.
I experienced the same thing in Baltimore on a very dead-audience night. So weird and sad. Michael shouldn't have to make them clap when he comes back for that encore, he should only be urging them to cheer louder than they already are. I hope the Michaels have learned by now that some audiences are just gonna be better than others.
I think that is part of the extremely comprehensive training these young actors receive. That not every performance will be well received, but to soldier on nonetheless. I suspect the young cast members are pretty immune to this sort of thing (but always appreciate a responsive audience!). If nothing else, they can do their best for the rest in the cast, and put the audience out of their minds.
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atreyu
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Re: Richmond Reviews

Post by atreyu »

Bah. A Billy-thon without a new Billy starting or a veteran Billy retiring. Bah, I say.

But I jest. ;) My Richmond Billy-thon started yesterday with Noah and ended with Drew. I'd have to call that a Super weekend. Ironically this was my XLVII-th time seeing BETM. And with these wonderful Billys, the day still can't come soon enough when I get to see them in action again.

Don't have time to write much since I have a 6:20 AM flight tomorrow morning. So for now I'll report on one item from today's performances that provided great amusement to BETM veterans such as Ellen and myself.

The packing of the suitcase during "Once We Were Kings" is normally a choreographed routine. Dad shows Billy how to fold a shirt, they each do another shirt, then Dad shows Billy how to fold pants as Billy folds blue shorts.

With Joel Blum (normally George) playing Dad for both performances Sunday with Ben, then Drew as Billy, it was a little different. It became very evident just who has done the suitcase packing many times and who hasn't. Joel was fumbling around quite a bit, looking for the right item, then finding exactly where to hold it just the right way and then going through the folding. So the Billys were consistently beating Dad in speed and effectively showing Dad how to fold the items. :lol:

The irony was not lost on Ben in particular. We know how Ben likes to have fun and he took full advantage, appearing to be teasing Joel after they got halfway through. How we wish their mics could have been on there today. Ben's interaction with Dad in this scene was just priceless.
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ERinVA
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Re: Richmond Reviews

Post by ERinVA »

rob_hanson1979 wrote:I'm glad to hear the audience didn't laugh at "really F***in special" They usually do, but to me, this comes out of the emotion that Mrs W feels for Billy, and its not meant to be funny. It should almost be a moment where the audience gets choked up. But alas, anytime you use the F word, you'll likely get giggles.

Perhaps we could buy that reviewer another ticket to see the show again?!?!? Maybe their views would shift a little.

Erin, I've spent a good deal of time in the south, and even lived in Florida (although Florida is not "the south") but I won't pretend to know all the the attitudes and views of everyone in Virginia. However, when I was reading what you wrote, one thing crossed my mind. Do you think maybe the response for Express was so muted because the audience isn't really open to the idea of two young boys crossdressing?
Actually, I think the reviewer might have liked the show better a second time, but perhaps that is giving him too much credit, as what it seems he didn't like was the show itself (10 Tony awards notwithstanding), as opposed to the particular performance. Someone should really zing him with a comment to that effect. Who wants to volunteer?

No rob... I don't think there was an attitude problem with the cross-dressing that could be attributed to Southern roots. Those folks do exist in the South, as they do everywhere, but they are not the ones that buy season tickets to Broadway in Richmond, or individual tickets to theatrical events in town. One couple I met on Friday evening were telling me about the lively local theater scene in Richmond, with several professional and semi-pro companies around town. The homophobes and rednecks buy tickets to events like Monster Truck rallies and tobacco spitting contests. (I'm kidding.)
Ellen



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rob_hanson1979
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Re: Richmond Reviews

Post by rob_hanson1979 »

haha those are good points. I'm sure Rush Limbaugh's fans wouldn't be caught dead at a broadway musical!
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Re: Richmond Reviews

Post by Todd »

angelenroute wrote:
ERinVA wrote:I mentioned above that the audience was muted. Well, where this really showed was in the response to Sam’s Michael. Poor kid! He was working his buns off without a payoff. The audience was simply not feeling the love for Michael. I have never seen such a dead response to the ending of “Expressing Yourself” in all the performances I have seen. I am completely mystified by this.
I experienced the same thing in Baltimore on a very dead-audience night. So weird and sad. Michael shouldn't have to make them clap when he comes back for that encore, he should only be urging them to cheer louder than they already are. I hope the Michaels have learned by now that some audiences are just gonna be better than others.
Funny, it was pretty much the same reaction at some of the Kansas City performances, too. It seems like whenever I've seen the show in London or on Broadway, "Express Yourself" draws one of the biggest reactions of the night. I don't remember ever seeing Michael have to beg the audience for applause there, but in Kansas City, the clapping had already ended and Michael had to encourage the audience to start it up again before he left the stage. I find the audiences to generally be more subdued on the tour for some reason, although you occasionally do get an especially responsive audience.

I remember one time in Chicago - where I experienced some of the deadest audiences I've ever seen for BETM - at the end of "Angry Dance," the audience gave a short smattering of applause and had already stopped clapping and was getting up to stretch their legs before Billy had even finished walking off the stage. I always feel bad for the performers with audiences like that, as I'm sure they wonder, "Geez, what do we have to do to get this audience to wake up ?"
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Re: Richmond Reviews

Post by ERinVA »

Saturday evening

Mitchell Tobin as Billy
Jake Kitchen as Michael
Molly Garner as Mrs. W.
Craig Bennett as Dad
Susan Haefner as Grandma

If you didn’t know better, you might think that Mitchell was the Small Boy and Cal was Billy. But of course you would be wrong. I don’t think I’ve ever seen a tinier Billy, including Harris Beattie in London when he started, but Oh.My.Goodness! The package may be small (the Billy bag is almost as big as he is—seriously), but there’s a 20-carat diamond in it. Mitchell’s performance on Saturday evening was polished professional perfection. He is simply a terrific actor, singer, and dancer. Acting-wise, I would call his Billy “sassy.” Singing-wise, I would put him in a boys’ choir, and dancing-wise, I would send him to YAGP’s finals in NY this spring. You might think his “Electricity” would have less complicated choreography than some of the others, but no. The strength and precision were right there in that aerial, those jetes and the spins at the end. I might add that he got huge applause even before the final section of the number, and then even huger applause at the end that went on for quite a long time. The kid is a true triple-threat, and he’s only going to get better.

After what I would call a rocky start on Friday evening, as mentioned above, and an under-appreciated performance to a slow audience on Saturday afternoon, the Saturday evening show attracted a more animated audience. Perhaps the improvement had to do with the steadily warming temperature outside. Whatever the case, I thought the whole cast turned in an excellent show. I have already talked about Jake as Michael, Samantha as Debbie, and the adult principals elsewhere, so I won’t add any more to that discussion. Instead, I will just say that the ballet girls are consistently brilliant, as are all the members of the ensemble. I thank them for having the stamina and the dedication to do this show eight times a week.

Saturday was a very enjoyable two-show day for me on another count as well because I had two friends with whom to share the experience: a friend from home who came into town to see the matinee with me, and atreyu, who had arrived from Boston for the Saturday and Sunday shows. It's much nicer when you have folks you know to share your Billy enthusiasm (and meals in restaurants) with. :D
Ellen



"I don't want people who want to dance; I want people who have to dance.”
-George Balanchine 1904 -1983


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