2009 in NYC

I figured in this specific post, I'll just continuously update the shows that I've seen and post miniature reviews. All other posts will be editorial-style:

Speed-the-Plow- January 6

I saw this production with Norbert Leo Butz bravely stepping in for the douchebagg-y Jeremy Piven (go eat a fish, buddy) with two weeks rehearsal time. Not only was he fantastic, he made the show. I would not have gone but Norbert Leo Butz and Raul Esparza starring opposite one another? There's no way I could have missed this. Their chemistry was absolutely incredible. I've never seen anything like it onstage before. Not only that, but the raw energy pervading the air was incredible, I could feel everything. Everyone was on their toes ready to step in should Butz flub. I saw his third performance off-book and he played it like a champ. Wish he had been in the show for its entire run, I would have seen it again. Incredible. Absolutely incredible.

A+

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Billy Elliot- January 13

This performance starred David Alvarez as Billy (a young boy who, despite his Dad's intentions for him to box, wants to dance ballet) and Frank Dolce as Michael. Unfortunately, my least favorite Billy and Michael. This doesn't mean bad, though. They are both incredible performers. Just not my favorites. The production was high-quality as usual. This being my fourth time seeing the show, I had seen every Billy and Michael by then, David Alvarez twice as Billy. The production is not to be missed. Greg Jbara, Haydn Gwynn and Carole Shelley were a solid supporting cast as usual. They never miss a beat. The show is so strong. With a score by Elton John, the rock music and incredible, INCREDIBLE dancing from these 14-year-old boys is unlike anything I've ever seen before. I am always brought to chills at this show. It really is for everyone. Laughter, tears, excitement, an amazing score, stellar choreography. Easily the best new musical of the 2009-2010 season. GO SEE IT!

A-

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Avenue Q tour- January 17

Easily the best tour I've ever seen. AVENUE Q is a great show, but with a bad cast, you could really fuck it up. Comedic timing is everything, but this cast was top-notch. The production is easy to tour, being such a non-existent and easy set. The production translated very well to this stage and the touring scaled-down production was virtually exactly the same as the Broadway production.

B+

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Equus- January 20

With EQUUS, you either hate it or love it. Starring Daniel Radcliffe of HARRY POTTER fame, as a young boy in a series of therapy sessions due to a court order fter he blinded six horses. I was honestly just curious to see what he would be like onstage with his on-screen HP uncle, Uncle Vernon. I was very impressed with the young actor's Broadway debut. He was the most professional out of all of them. I have a great deal of respect for Radcliffe, as he never missed a single performance in NYC or when the production played on the West End in London. The cast of the (now closed) SPRING AWAKENING, could take a thing or two from this man. They miss shows like that's their job, not actually performing. Other than that, a strong production of an either like it or hate it show. I liked it, it left me feeling, but not the way I'm used to feeling coming out of the theatre. In the final scene, Richard Griffiths really changes you in his monologue. It has since closed, but a good production. Not for everyone, though.

B

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Billy Elliot- January 24

Starring Trent Kowalik as Billy and Frank Dolce as Michael. Trent is a class-act. A true performer who is just so charming as Billy. His "Angry Dance" is somethin' fierce. I can't get over it. The production is still stop notch (11 days later...)

A

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Billy Elliot- February 21

Starring Kiril Kulish as Billy and David Bologna as Michael. My two favorites. Easily the best performance of BILLY ELLIOT I've ever seen. It was out of this world. Everyone was on. EVERYONE. I saw it from third row center and it was just incredible. I started the standing ovation in the middle of the show for Kulish's "Electricity" and soon enough the entire theater was standing up with me. Amazing. Absolutely amazing.

A+

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Blithe Spirit- February 27

A charming show starring Rupert Everett, Angela Lansbury, Christine Ebersole and Jayne Atkinson about contacting the undead. You know how it goes. S'eance is held, madness ensues. All good fun. Sounds good, yes? Well, it was. Unfortunately, the illustrious and ever-famous Ms. Lansbury was incredibly disappointing. I really could not believe the line flubbing that was coming out of this woman's mouth. I really hope she gets it together for opening, but after talking to a friend who saw it last Wednesday, it doesn't sound like she has. The script is strong, a little dated as it was written a few decades ago, but ripe with wit and, as I said, very charming. Everett, Atkinson and Ebersole were fantastic. I was looking forward to seeing Everett as he is a favorite actor of mine, and he did not disappoint. I'd recommend seeing this a little bit later in the run. Finances allowing, I will return to see this production again, because it has the potential to be great.

B-

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Mano Felciano at Joe's Pub- March 2

Mano has been a favorite of mine ever since I saw him in his Tony-nominated performance as Tobias in the 2005 revival of SWEENEY TOOD. I've seen two of his "gigs" and his solo music is incredible. Not only that, but he loves the audience, and including them. Adding anecdotes in between every song and explaining their meaning made the songs even more enjoyable. I recommend buying his first CD, Moonshot, as it is fantastic (www.cdbaby.com/manophonic). I truly had a spectacular time hearing the debut of his new music and cannot wait to hear more from him. He stars in RAGTIME in DC this May. Wish I could be there...

A+

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Billy Elliot- March 6

Starring David Alvarez as Billy and David Bologna as Michael. Strong as usual. At this point, I had bought the tix so far in advance and had made so many impromptu visits that I know that I have to take a break from the show (yes, I know I have an obsession). The highlight of the show was Leah Hocking's take on Haydn Gwynn. She has big shoes to fill whilst Gwynn is on medical-leave, but she does not disappoint. Playing Mrs. Wilkinson younger, it really adds a fresh twist to the show. Of course, I recommend it, and my grade merely reflects that based on the performance, it could get better, but I've just seen it so much that I get critical. The show is still incredible, though. I look forward to returning later this summer.

B+

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Hair- March 15

HAIR, the 1960s rock opera that changed a generation is back (with a vengeance!). I'm sorry, I had to. One of the most entertaining nights of theatre I have ever had. I could not have been smiling more. The cast is top-notch. I literally could not find a weak link in the entire ensemble and the music and updated score is out of this world, toe tapping, head bopping fun. The audience, compiled of original fans from the 1960s and recent fans like myself, ate it the fuck up. I have never heard such thunderous applause and the way the audience leapt to their feet as the curtain went down on Act II was unlike any ovation I've ever seen, and the audience was on its feet clapping their hands for the entire six minute finale. This production is all about the audience, and it makes you feel special and wanted. Spectacular. Absolutely spectacular. Buy tickets...NOW!!! I urge you.

A+

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South Pacific- March 28

I have to post a lot about this particular production because I have so many feelings:

It was...in a word (sound)...eh...

It's not that the cast was bad. Paulo Szot is not in it due to commitments in the opera community and Kelli O'Hara is on maternity leave. The cast that I saw were all talented and the production values were really high. The sets, lighting, all wonderful and deserving of the Tony. I can see why it won best revival over GYPSY. GYPSY'S production itself was really...cheap and crappy. What made it good were the actors, and they all won their Tonys, but the production itself? Not that good. SOUTH PACIFIC'S production was really, really good. Well thought out, great sets and lighting. From what I can tell a great original cast based on the awards its won and its reviews. Maybe I just saw it at a bad time. But, like I said, I'm not interested enough in it to give it a second chance.

It's just that the show itself is so...dated. And a lot of the issues it touched upon when it was first written are either not relevant anymore or just make the lead character seem like a total bitch unless you were alive during that time. It left me cold. Plus, parts of it were so unbelievable.

It's that Rodgers and Hammerstein way. I mean, CAROUSEL is fantastic, but they have this formula that they never ever break. It starts off right in the middle of a conversation that is either not relevant to the plot in any way, or makes no sense whatsoever unless you're familiar with the play already. Man and woman fall in love. Woman runs away from man. END ACT 1. Then next act, happy entr'acte, exciting first number, they make up-- blah blah happy ending. FINALE.

Lamesauce.

The most interesting part was the backstage tour I got after the show. The stage is HUGE. It's only 15 feet smaller than the house! Which is ABSURD. There's a lot of freaking room backstage at the Vivian Beaumont. I think the BILLY ELLIOT backstage team would be pleased with that much room.

Anywho. It was alright. (I could have said that and saved anyone reading this a world of trouble).

FIN.

C+

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Coming up:

Daily Show Taping- April 8
Exit the King- April 14
Colbert Report Taping- May 14
Billy Elliot -June 9 (Day after Tonys)
Billy Elliot- August 2

Touch down turn around...

So while in the city Monday I noticed an interesting phenomena. People walking with complete purpose in one direction, stopping abruptly, and turning around and walking in the opposite direction. I wonder what suddenly possessed these people to turn around from a mission that they appeared to be so hell-bent on completing. Did they leave their child in a carriage in the middle of Central Park? Do they have to go to the bathroom? Lock their keys in the car? I am so curious about this.

That's all I have to say. Any thoughts?

One more thing: a letter to the letter Q

Dear Letter Q,

I take issue with you. You sit 6/8 of the way through the alphabet, mocking me. I read things that are alphabetized and am constantly foiled by the fact that you come before, R, S and T. Those letters are actually, oh, I don't know? USED. Your existence is merely to make the other letters look good. Plain and simple. I hereby, respectfully, ask you to move yourself to the end of the alphabet with your brethren: reject letters: V, W, X, and Z (Y is cooler than you guys, though. Tough neighborhood).

Sincerely,
Lizzie Poo

Upon reading this, the following conversation was had between Dylan and myself:

Dylan: No way. Q is a surprise "fuck you!" to the overused building blocks of the latin-based vernaculars in propinquity. I really just needed a word with a q...)
It's fightin the man.

Liz: "Q" did give us so many influential words such as "Quaker Oats" and "Quail Man." I wonder how the world would be different without them. I give you that, my friend. I do feel, however, that it should be banished to the end of the alphabet. (I also think you're biased because your name includes two of "q's" allies, "Y" and "W." Think about it).

Dylan: That also explains your bias, what with two "A"s that are enemies to my "Y" and "W". Your "Z" is paralleled by my "D," therefore their polarities are negated. "S," "T," "I," "M," "E" are neutral because they are all often used and dotted generally throughout the alphabet.
I wish my name were Dylan Qwest. Then I could just piss you off by existing. Much like I'm doing right now :).

Liz: Clearly you have an insatiable appetite for letter play as evidenced by the serious amount of thought going into your last comment. It took me a moment to analyze your statements and find that there is one major fallacy and mistake you made in hiding a key character trait which, until today, I had not detected in you. (Detailed below). I do admire your moxie, however.
"S" "T" "I" "M" "E" spells out, "stime" (Google it). Which just so happens to have been named the "universal clock". Now, think about this for a moment... your use of those letters, in that order, although sneakily placed, just points to me that you are a communist.

Goddesses

That's all that needs to be said on THAT topic.

George Michael and blogs and madness

So, due to the unstoppable persuasion forces of Kerrie Bond, I have created a blog. I've been listening to George Michael and pondering the meaning of his song lyrics. Seriously? "Father Figure." Do you want to be her father, or do you want to bone her? You can't do both. That's just wrong and incestuous. I sat at my computer for quite some time just wondering. Playing the chorus over and over getting increasingly more and more upset.

So, I decided to go to the Mecca of all knowledge: Wikipedia.

""Father Figure" is a sharp and sensual tale of seduction which is more than five minutes long and epitomized the sexual nature of Michael's writing which he had adopted since the latter years of Wham!."

Oh, fuck yaself. WHAT DOES THAT MEAN? Foiled again by George Michael's layered lyrics, sometimes mullet and inappropriate facial hair, I sit before you completely dumbfounded. I tried to listen to other songs, but "Careless Whisper" is too easy and "I Want You Sex"? How much more obvious can you get? George Michael: Touche my friend. This round goes to you.

BTW blogspot FTW.