Yeah, but that Crystal Gayle, Tom Waits soundtrack for One From the Heart belongs in every collection.
Nice article Chris. I saw this odd film many years ago in college as part of our film club. It's definitely worth seeing again, magnificent failure that it was. Its bastard cinematic stepchild has to be Coppola's "One From the Heart". Another magnificent failure.
I remember this time very well. you guys really rock! You've a way of being for sure!
Hey! I'm Daniel Mueller :)
Hope everything went well for the show! Bob is a genius and I have no doubt it's a beautiful production!
I don't disagree with that at all, RE interest, and say as much all the time. But this Wiz is pretty amateur stuff, and impossible sight lines and poor sound are a matter of fact, sadly, not opinion. I suspect you'll be in a minority with Starcatcher, though, as is always the case with art & entertainment, milage will vary. It's a fine thing. Too glib by half, but still a grand adventure.
Ouch…Fairly harsh review. Interestingly, I absolutely hated “Peter and the Starcatcher.” So much so that my guests and I left at intermission. Afterwards, we had an interesting discussion about whether it was the worst play we’ve ever seen. Different strokes for different folks, as they say. I haven’t seen Hattiloo’s production of “The Wiz.” (No luck getting tickets.) So I can’t defend it. But I would encourage everyone not to be swayed by a critic’s review if a play, movie or anything else interests you.
I hope this productions gets a full house.
Thanks. And sorry, I missed some autocorrect corrections. Even the title was supposed to be "Defining Gravity." I'll adjust the copy to include Diaz, but Muller is listed as scenic designer in POTS online materials. Like here. https://www.youtube.com/watch?v=CXiF0Sc9m_…
Thanks for the review, really glad you enjoyed the show! The part of Boy/Peter was played by Dane Van Brocklin as opposed to David, and Jared Graham is spelled with an H. Also, not sure who Daniel Muller might be but the scenic designer was Erik Diaz
Proud of Cecilia, indeed, but agree that Big winner is the play itself and its writer. Oh, thanks for plugging Chatterbox.
While there is a certain charm to Noel Coward plays, it's been over 100 years since his first days in theater. The ubiquity of his style has created a cascade of players who worship his sensibilities, and are frankly cloying and predictable in their portrayals. As time goes by, the references are lost, and regular people find it harder to identify with either the protagonists or their motivations.
I dunno. It takes something special with which to flavor the cake these days. But it CAN be done. I think you may have done this production a disservice, Chris. I'll have to go see it myself, before I try to compare it to a summer's day...
This was pathetic journalism.
It's not just authenticity. It's also originality (Hairspray) etc. When Felicia tells Huey, "I couldn't have done it without you," I cringe. Maybe not quite as hard as I do when Huey asks, "When did I get blacker than you?" as Felicia contemplates selling out. (Her rejoinder helps, but...). It's a mess in many ways, and a mess of cliches ("drop a dime in a blind man's jar). But its historical gloss and equivocation RE hard times among blacks/whites gives it populist appeal. I saw it on Broadway the week it won the Tony. One of the most enthusiastic audiences I've ever shared O2 with. As a reviewer, I've got to give the shows its props. But it leaves itself wide open for criticism.
I think if a musical about Memphis were as authentic as you, and other critics of this musical wish, then it would have been a big flop. I saw the original production on Broadway and everyone was on their feet well before curtain call. That doesn't mean it was a brilliant piece of art, but it was thrilling to be in the audience that night.
Is that a veiled extortion threat John Hemphill?
I wasn't even there but Mary brought home the Emcee video.
Ive been getting a lot of that.
Wonderful summary, Chris. I think we all agree about Cookie. And I'll never be able to unsee you as the Cabaret MC in last Saturday's performance.
I'd love to see Ghosts too. Killing me a little that I'm probably going to miss this one. I think the company's looking to produce a diverse slate. When I talked to Marler he mentioned several shows ranging from Glengarry Glen Ross to Carousel. A few other Arthur Miller plays were mentioned as well (this was his adaptation).
I wonder if this group will produce other Ibsen works? "A Doll's House" and "Ghosts" come to mind.
By Toby Sells
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