Tag:

broadway

EntertainmentTheater

Review: Broadway’s ‘Spamalot’ Revival

by Bianca Brutus
written by Bianca Brutus

There have been dozens of parodies of the story of King Arthur. However, “Spamalot” stands as one of the most unique due to its comedic nature and its downright absurdity. 

Based on the 1975 film “Monty Python and the Holy Grail,” the musical has been brought to life multiple times over the years since its debut in 2004.  Now, after almost twenty years, the musical is back on Broadway with a star studded cast, and an updated script that truly does the original material justice. 

Director John Rhodes is truly at the center of this revival. Each staging and performance aspect is a remarkable choice that leverages the entire story in general. From the first moment the curtain opens, the audience is taken into the realm of Camelot through the assistance of the Historian (Ethan Slater).  Irony is strong along with a major amount of symbolism and analogies in the plot. One enjoyable aspect of this revival is its nods to current pop culture. The musical tries to stay relevant by referencing some of the biggest headlines, products, and people of 2023 which added greatly to the humor. 

“Spamalot” is filled with exceptional performances. Each actor brings their unique comedic timing and talent to the stage, capturing the essence of the beloved King Arthur characters. James Monroe Iglehart is the perfect King Arthur. His portrayal of a “narcissist” king is magnificent. Each scene and song number featuring King Arthur is witty. Leslie Rodriguez Kritzer as The Lady of the Lake is one of the brightest performances of the show. Kritzer uses improv unlike any other cast member in the show. It added an element of spontaneity that resulted in many memorable moments. In all honesty, this production has a solid cast. The entire cast, which includes Taran Killam, Michael Urie, Nik Walker, and Ethan Slater, exudes a spirit of determination that would enable them to effectively create a fantastic production even if there was an absence of a solid script or director. It is evidence of the collective skill of all the entire production.  

 

Overall, the set design was quite enjoyable to view. It bore a campy vibe while emulating 5th century architecture.  The costumes are intricately designed, fully bringing life to each character even more.  However, the entire show’s musical core occasionally lacked impact. Even if there are several witty numbers and humorous tunes, the overall musicality and choreography missed a sense of allure. Kritzer is possibly the most striking performer. But given that the sarcastic lyrics are supposed to be the main attraction, it’s understandable that the musical quality would be less important than the entire presentation. 

The second act was another area where the production fell a bit flat. The tale is set up quite well in the first act, but there is a lack of coherence in the second act when the knights are divided. Although their attempt to reconcile is believable, the second act devolves into unimportant subplots that ultimately added nothing to the production. This small criticism, nonetheless, does not take away from the musical’s overall genius.

There is a noticeable focus on maintaining the essence of the Monty Python classic throughout this entire production. The musical truly lives up to to it’s source material while also making room for modern elements. The cast is strong, while the creative aspects of this production flourish. Though there are moments when the second act lags, overall it’s a wonderful experience fit for a king. 

Tickets to “Spamalot” are available now. The play is now running at the St. James Theatre

0 comments
0 FacebookTwitterPinterestEmail
EntertainmentTheater

Review: Roundabout Theatre’s “I Need That” on Broadway

by Bianca Brutus
written by Bianca Brutus

 “I Need That” is a work that takes its title literally. 

Directed by Moritz von Stuelpnagel and written by Theresa Rebeck, the Roundabout Theatre production is a new play that stars the immensely talented Danny DeVito, Lucy DeVito, and Ray Anthony Thomas. The play follows a widower named Sam with an addition to hoarding. He refuses to fix his  problem until his home becomes at risk of being demolished. With the help of his friend Foster (Thomas) and his daughter Amelia (DeVito), Sam learns that there’s value in the things around him, but he must let them go to move forward with his life. 

As the narrative begins, we are immediately thrown into Sam’s world of chaos. Items spanning decades consume his house. There’s books, newspapers, games, clothing items. You name it, the house has it. The beauty of this production is that although there’s so much on stage, the character’s actions and feelings aren’t overshadowed. We understand that these items aren’t any more valuable than Sam, and even more we come to understand these items are a response to grief. It is revealed early on that Sam has lost his wife years prior. As we witness Sam explain why he keeps the items, there’s a sense of sadness masked behind delusion ad fear. The portrayal of hoarding as a result of emotional trauma was examined flawlessly. 

Furthermore, the relationship between the three characters was refreshing to watch. They rely on each other heavily, but over the course of the narrative gain some independence. This especially goes for Amelia. Her role was always to be her father’s caretaker and the audience views how this unfortunately leads to a bit of resentment of both of their parts. However, she watches as her father transforms both his home and his mindset, and she becomes less inclined to worry about him. The two additionally learn that they’re not as different as they seem. Both are still grieving over the loss of their loved one. This shared journey is accumulated in cleaning the house which acts almost a a device of reconciliation.  

The play explores human connection and empathy brilliantly. Foster acts as a guardian for Sam. He offers support and assistance where needed and he never bares immense judgment of how Sam lives. The two even bond over their shared experience as old men who seem alone in the world. Moreover, the choice of how their relationship shifts in the climax of the play was wisely done. Foster betrays Sam, but the latter learns to forgive him almost instantly. And even with this betrayal, you can’t be angered by Foster’s actions. Sam knows he can’t survive without Foster and vice versa. This codependency made the story even more heartbreaking. In the end, both men find strength and healing through their shared experiences. This strength allows them to live their lives separtely, but their brotherhood lives symbolically through a guitar. 

Nice moments, but nothing essential in Broadway's I NEED THAT | Utah Theatre Bloggers
Danny DeVito truly shines as Sam. No other actor can invoke a sense of raw sorrow while also making an audience laugh as he does. DeVito’s portrayal is uniquely him, and that is what makes the production so special. It felt as though this role was crafted for him. And with his daughter Lucy as Amelia, it’s even more apparent. Both have a recognizable chemistry that is a no brainer.  Adding in Thomas makes them a perfect unit. 

In terms of aesthetics, “I Need That” is visually strong. The set design nails the essence of the chaos and clutter of a hoarder’s home which greatly reflects the inner turmoil. Additionally, when certain items are highlighted in the show, you can’t seem to forget them. Your eyes tend to wander to see if they’re still in their spot, and they are. There’s a great amount of consideration for how hoarders are able to accumulate items. Everything is woven together, and “I Need That” reflects heavily on that sentiment. The lighting was another major key to the story. Low dims and striking balances of colors for certain scenes enhanced the overall emotional impact. It wasn’t only the performances you were moved by, but the entire creative direction of the show. 

The most beautiful part of “I Need That” is that Sam’s stuff is not matter, but memory. For example, a board game holds the memory of his late wife. It’s not just in this board game, but every object that surrounds him. Sam learns though her memory is not only in material things, but in Lucy as well. It’s this revelation that allows him to finally take back his life, and step outside. This play is an emotional tale that reminds us that trauma manifests itself in different ways. A lesson we can learn from this is to always lead with empathy. 

Tickets to “I Need That” are available now. The play is now running at the American Airlines Theatre

0 comments
0 FacebookTwitterPinterestEmail
EntertainmentEventsMusicThe Latest

Timberland Celebrates Hip Hop’s Big 50 with Lola Brooke, Kaytranada and More

by Chris K. Singh
written by Chris K. Singh

11-17-23 For what feels like a lifetime, Timberland has been a staple within the New York music scene. Whether it be the shoe that has defined the city itself or the hand in hand work that the brand has done with countless artists of the past. Regardless of the context of reference, Timberland has played their part.
In recent times, things have not changed as they announced the Timberland STOOP – a mobile pop-up tour celebrating the 50th anniversary of hip-hop and the Original Timberland® Boot – honoring and giving back the communities that have helped make the brand what it is today.
 The event started off with a bang as the Greenpoint Terminal was excited to see hometown girl Lola Brooke hit the stage. Her set did not disappoint as her summer anthem with Bryson Tiller “You” was clearly a favorite of those in attendance.
Following Brooke was Long Island native Roc Marciano who dropped a project last year with legendary producer and artist The Alchemist called “The Elephant Man’s Bones”. Watching Marciano’s set it is abundantly clear that he is well on his way to establishing himself as one of the most consistent artists in the city. 

One thing was clear mid-way thru the set list- each artist that was booked was quality and had a strong catalog and fan base to boot.
After Marciano’s set was over, fans had the pleasure of seeing Aminè- an artist out of Portland that has a huge catalog of mixtapes and projects that have made him successful over the years. His set was full of energy and if he was not someone you were familiar with you would at least find yourself vibing because of his hit friendly sound. 
Closing off the event was none other than grammy award winning DJ Kaytranada- well known for his smooth and eclectic sound. If awards are not something that moves you, I assure you that his set would. Just a few songs into the set it was clear that he was a professional in his world of music. Those in attendance could not help but dance as he had the warehouse rocking.
 Timberland has been a staple within the music community for generations- and if they continue to celebrate the artists and the community in this fashion it will be no surprise that they keep thriving the way they do.

0 comments
0 FacebookTwitterPinterestEmail
EntertainmentTheater

Mayor Eric Adams and Broadway Stars Celebrate the Grand Opening of Empire Steak House

by Lenique Vincent
written by Lenique Vincent

Empire Steak House welcomed Mayor Eric Adams, long time supporters, Fox 5 and more to celebrate the opening of their newest location on October 25th.

Snuggled between Times Square and Rockefeller on West 49th Street, at the Pearl Hotel, the family owned restaurant was filled with a sentimental crowd, many of who supported the Sinanaj brothers since the beginning of their journey; or the part most were able to witness.

A 40 year labor of love, Jack, Russ and Jeff made their way from Montenegro to Brooklyn’s Peter Luger where they were able learn the restaurant business before opening their own: NYC’s Chazz Palminteri Italian Restaurant and Empire Steak House, which also has a location in Tokyo.

Over cocktails and bite size servings of the restaurant’s chops, steaks and skewers New Yorkers celebrated the restaurant alongside Broadway stars, including Purlie Victorious cast members, New York City Hospitality Alliance Executive Director Andrew Rigie, and more. Commemorating Broadway, resilience and good food, Mayor Adams, a plant based eater, came out to support the restaurant for what it symbolizes. “Their story is our story,” the Mayor said in a speech prior to the ribbon cutting.

0 comments
0 FacebookTwitterPinterestEmail
EntertainmentThe Latest

Gutentag, Gutenberg! Welcome to Broadway!

by Melissa Edelblum
written by Melissa Edelblum

Talk about wearing many hats! Rather than attempting to explain the (convoluted, yet surprisingly relevant) plot of Gutenberg! The Musical! – I’m going to give you the top 5 reasons you should shuffle on down to the James Earl Jones Theatre and say Gutentag to this unique, intentional, and zany show that’s loosely about Johannes Gutenberg and the invention of the printing press (kinda…sorta)

1.) Andrew Rannells and Josh Gad. 

Need I say anymore? This super smart casting should be enough of a reason in and of itself – this is the first time the duo has been back on Broadway together since originating their Tony nominated roles of Elder Kevin Price (Rannells) and Elder Arnold Cunningham (Gad) in the 2011 original cast of The Book of Mormon. And I can confirm, Gad & Rannells are not only at their 2011 comedic finest, but they bring a matured and refined level of expertise to the roles of New Jersey best friends, Doug Simon (Rannells) and Bud Davenport (Gad). Using their impeccable comedic timing, remarkable physicality and raw talent, the duo invites and engages the audience to join them on this wild ride of a show, full of twists and turns galore.

2.) It’s giving early 2000s UCB, in the best way. 

Gutenberg! The Musical! Originated in the same way that a lot of my favorite cultural highlights from the early 2000s pop culture starts – at the United Citizens Brigade. Everything about Gutenberg reeks of experimentation and abides by the ever-famous improv philosophy of “Yes, And!” – The various places that the plot goes, the use of historical fiction and 10+ roles that each actor on stage plays in the duration of one performance allows the production to own these creative choices. Whether it initially makes sense, it all calls back togethers, as any UCB show would make sure of. Since one of the show’s main themes appears to be history, here’s a brief history of Gutenberg! The Musical! The show was written by Tony nominees Scott Brown & Anthony King (Music, Lyrics, Book) and was originally a one act that premiered and was developed at the UCB there inn 2005 and then a two-act version premiered in London in 2006, followed by a production in the New York Musical Theatre Festival in 2006, followed by an Off-Broadway run later that year, where it won both Lortel & Outer Critics Awards for Best Musical. Which then brings us to our next point…

3.) Alex Timbers

It is rare that a show goes 17 years between productions and they can share the same director. Tony Winner Alex Timbers directed both the 2006 Off-Broadway production (for which, he won Best Director of a Musical at the Drama Desk Awards) and the current Broadway production. Coincidence that the Broadway production is as successful on a larger stage? We think not. Timber’s direction provides a necessary structure, but offers plenty of room for Gad and Rannells to play and bring their own personal flares to Doug and Bud (and all the other characters they take on). In short, the show is about attempting to put on a show and the choices that are made to get to the very moment that the audience is seeing. To Timbers’ credit, he clearly trusts his actors wholeheartedly and his direction allows for Gad & Rannells to shine for the choices they have the agency to make in the moment, while moving the storyline along and making it all make sense in the end.

4.) Relevance

Yes, this is a kind of show about nothing and also all the things. (Seinfeld energy, anyone?) but what might have surprised me most was its relevance to current events and themes.

Literacy and illiteracy are at the forefront of this musical. Both highlighting the importance of reading, informing oneself of secular viewpoints and world happenings – more or less, the duty to do your societal due diligence and educate yourself and others. And dually exploring the perils of a lack of education and a lack of conversation amongst generations and those with opposing viewpoints. It boils down to one of the main morals that we can all take with us – communication and education are key.

Throughout the duration of the show, another common theme that was addressed was antisemitism. And while there are jokes written satirically poking fun of antisemitism, seeing “antisemite” (who were illiterate, by the way) on one hat felt oddly, even more relevant now than when this was written in the early 2000s.

5.) You Never Know Who Your Producer May Be

Without giving away too many details, let’s just say there’s a surprise guest at the end. A magical producer, who appears just in time to miraculously save Bud and Doug’s dreams with a big Broadway contract in hand. But that savior of dreams could be anyone. The night we went, it was Steven Gutenberg (meta; I know) – you’ll just have to go to a performance of Gutenberg! The Musical! To see who yours is.

Gutenberg! The Musical! Is playing at the James Earl Jones Theatre on January 28th, 2024. Visit https://gutenbergbway.com/for more information and tickets.

0 comments
0 FacebookTwitterPinterestEmail
EntertainmentTheater

Review: ‘Purlie Victorious: A Non Confederate Romp Through The Cotton Patch’ is A Must Watch Revival 

by Bianca Brutus
written by Bianca Brutus

As the actors of “Purlie Victorious” step onstage in the first few minutes of the show, we see them set up furniture, share glances at each other, and talk so low that words can’t be made out.  While that moment is brief, you begin to understand a great deal about them.

The original production of “Purlie Victorious” ran in 1961 and has never been revived until this year. Ossie Davis’ satirical comedy may seem a bit outdated, but the themes behind it are just as impactful as they were in the 60s. 

Purlie Victorious Judson (Leslie Odom Jr.) is simple preacher who hires a woman Lutiebelle Gussie Mae Jenkins (Kara Young)  to dress up as his long-lost cousin to trick harsh cotton plantation leader Ol’ Cap’n Cotchipee into giving them money to save the community church Big Bethel.

The revival, directed by Kenny Leon, is a marvelous tribute to Davis. Leon stays true to the original material completely from dialogue to overall creative direction. It’s a refreshing choice for the revival to remain on par with Davis’ vision. Furthermore, Leon proves his ability to translate a work from the past to be taken as something of our present. “Purlie Victorious” is about how communities are the catalyst for change, In this production, the community bonds over rebuilding Big Bethel, and today we come together though common interests and fighting for social issues that will change the future. 

“Purlie Victorious” isn’t only about community, but it’s additionally about hierarchy and masculinity. Ol’ Cap’n is a white Southern man and his position in society is far greater than Purlie’s. Therefore, it’s up to him if the church shall be built.  Ol’ Cap’n son Charlie (Noah Robbins) is viewed as shrill by his father. Their relationship is quite rocky as a result with Ol’ Cap’n often pressing Charlie to “man up.” Ol’ Cap’n represents the old-fashioned perception of manhood as bearing control over others. This is additionally personified by a leather whip he carries. Ol’ Cap’n’s ideology permeates into his relationship with his employee Gitlow Judson (Billy Eugene Jones). Ol’ Cap’n sees him as less than due to his whiteness and furthermore his manhood. The play examines traditional notions of masculinity and interrogates the ways in which power dynamics operate within society. “Purlie Victorious” challenges societal norms and invites the audience to critically reflect on the intersections of race, gender, and power.

Leslie Odom Jr. as Purlie Victorious | Photo by Marc J. Franklin

Leslie Odom Jr.makes an excellent returns to Broadway in “Purlie Victorious.” Odom Jr. brings depth and authenticity to every moment of the production, leaving a feel of awe throughout the audience. His delivery and nuanced expressions made the character come to life onstage. Davis originated the role, and Odom Jr. gives a touching tribute to the writer and performer. It was a true pleasure to see the award winning actor on stage since he left Hamilton seven years ago. 

Odom Jr. and Kara Young truly outstanding together. Their chemistry on stage is palpable, bringing sheer authenticity to the story. Their communication with each other created a captivating dynamic that kept the audience engaged throughout the entire performance. Young’s dramatic portrayal of Lutiebelle, combined with her impeccable comedic timing, made her one of the standout performances in the show. She isn’t alone though, the entire cast delivered. It’s no surprise as they’re a number of eminent actors part of the production including Sanders, Jones, Heather Alicia Simms, and Vanessa Bell Calloway. 

With its intricate set and historical costumes, “Purlie Victorious’” production design successfully transports the audience to the Jim Crow era. One noteworthy aspect was the attention to detail within the setting. Shelves are filled with props that exactly mirror the time period. The plot is made more vivid by the attention to detail, which also improved the immersion factor overall.

Purlie Victorious…' on Broadway is pure joy

The entire cast of “Purlie Victorious” | Photo by Marc J. Franklin

All things considered, “Purlie Victorious” is an excellent production that deftly combines history, humor, and social criticism. It offers a thought-provoking and enjoyable experience while illuminating the difficulties experienced in a post-slavery society. The production design is striking, the script is brilliant , and the performances are outstanding. “Purlie Victorious” is a real gem that will make you think about the nuances of our shared past while also leaving you with a smile on your face.

Purlie Victorious will run until February 2024 at the Music Box Theatre. Tickets are available now.

0 comments
0 FacebookTwitterPinterestEmail
Newer Posts
Older Posts