Cats in Las Vegas

For Christmas two years ago I was given a season subscription to Broadway Las Vegas.  It was pretty much the best gift ever because I love live theatre and I love road trips!  Unfortunately, I only got to see one show before Covid shut everything down.  The good news is that I was able to apply my remaining tickets to the new 2021-2022 season and I saw the first show, Cats, last night.  I am not a big fan of the musical Cats because I saw it for the first time in London the night after I saw Les Miserables, which was a dream come true, and it suffered unfairly in comparison (and who can forget the trauma of watching the movie adaptation?).  I have since learned to appreciate the show and I was really happy to be back at the Smith Center for the first time since the pandemic started!  The story, such as it is, is based on a collection of poems called Old Possum's Book of Practical Cats by T.S. Eliot and features music composed by Andrew Lloyd Webber.  Once a year the Jellicle Cats meet for the Jellicle Ball where Old Deuteronomy chooses one of them to ascend (in a giant tire) to the Heaviside Layer and be reborn.  Each cat explains why he or she should be the one chosen in big song and dance numbers.  My favorites are "The Rum Tum Tugger," "Bustopher Jones:  The Cat About Town," "Mungojerrie and Rumpelteazer," "Macavity, The Mystery Cat," "Magical Mister Mistoffelees," and, of course, the showstopper "Memory."  The entire cast in this production is insanely talented but my favorite dancers were Hyla Mayrose Perillo as Victoria, Zach Bravo as Rum Tum Tugger, and Paul Giarratano as Mistoffelees.  Tayler Harris, as Grizabella, just about brought the house down with her powerful, yet vulnerable, rendition of "Memory" and I really liked Indalecio De Jesus Valentin's voice as Old Deuteronomy.  The choreography in this show is absolutely brilliant, especially in "Song of the Jellicles and the Jellicle Ball," "Skimbleshanks the Railway Cat" (I loved the way they created the train), and "Magical Mister Mistoffelees," and I really like how it incorporates the mannerisms of real cats. This show will never be my favorite but I have to admit that I got caught up in the excitement of the people around me and I really enjoyed it.  It has been a fun trip!

Note:  After watching the stage version again I was reminded that the movie was such a missed opportunity.

Halloween Kills

I really enjoyed Halloween, the 2018 direct sequel to the original movie, so I was looking forward to the next installment, Halloween Kills.  I saw it last night and, normally, seeing a horror movie on a Friday night in October with a large crowd is a lot of fun but this movie is an absolute mess and I left the theater disappointed.  Immediately after the events of Halloween, Laurie Strode (Jamie Lee Curtis) is taken away from her burning compound to the hospital to treat the stab wound in her abdomen by her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak).  Meanwhile, firefighters inadvertently free Michael Myers (James Jude Courtney) from the basement where he was trapped by Strode and he goes on a brutal rampage through the town of Haddonfield.  Tommy Doyle (Anthony Michael Hall), one of the children Strode was babysitting during the attacks on Halloween in 1978, is celebrating with several other survivors when he hears of Myers' return and vows to kill him once and for all.  He organizes a large mob, including the other survivors and Allyson, and they cause the death of an escaped convict, mistakenly believed to be Myers, before forcing a confrontation with Myers at his childhood home.  This movie is incredibly violent and gruesome, especially when Myers kills a firefighter with a chainsaw, but I would rather be genuinely scared than shocked (the tension, not the body count, is what made the original movie so scary).  I really enjoyed the exploration of Strode's PTSD in the last movie but her story is sidelined in this one in favor of Deputy Hawkins (Will Patton) and his guilt over not killing Myers when he had the chance in 1978 (in some revisionist flashbacks) and a heavy-handed message about mob mentality and the danger of becoming as morally depraved as the monster you seek.  Bringing back several characters from the original movie seems like a good idea in theory but it really just serves to emphasize the sheer stupidity of some their actions.  These characters have dealt with Myers before so they should know better than to approach him with just a pillowcase full of rocks or a baseball bat.  There are some weird tonal shifts, particularly the truly bizarre scenes involving the new owners of Myers' former home.  The dialogue is cringe-worthy, the acting is surprisingly bad, the editing is confusing, especially the slow-motion mob scene at the hospital, and the plot goes nowhere.  Honestly, I feel like this is just a set-up for the next movie and I recommend giving it a miss.

The Last Duel

When I found out that Adam Driver had been cast in The Last Duel I decided to read the book by Eric Jager (upon which the movie is based).  I was absolutely fascinated by the true story about the last legally sanctioned trial by combat in France and I immediately began anticipating the release of the movie.  I was able to see it last night at a Thursday preview (in a packed theater) and I think it is outstanding.  The movie opens with preparations for the duel between former friends Jean de Carrouges (Matt Damon) and Jacques Le Gris (Driver) and then depicts the events leading up to it from three different perspectives.  In the truth according to Jean de Carrouges, he saves the life of his squire Le Gris in battle but, in return, Le Gris ingratiates himself to their Lord, Count Pierre d'Alencon (Ben Affleck), and is rewarded with land that was meant to be a part of his wife's dowry and with a captaincy held by his father than was meant to be his upon his father's death.  He is angry with Le Gris for this betrayal but instigates a rapprochement to keep the peace.  When he returns home from battle, his wife Marguerite (Jodie Comer) informs him that she was raped by Le Gris.  When Marguerite tells him that she wants Le Gris to pay for his crime against her, he demands justice from King Charles VI (Alex Lawther) in the form of a duel.  In the truth according to Jacques Le Gris, he defends Carrouges for disobeying the Count's orders in battle and earns the land and the captaincy for services rendered to the Count.  Carrouges lashes out against him but he instigates the rapprochement because of their former friendship.  He can't help himself from falling in love with Marguerite and believes that she also has feelings for him.  He forces himself on her but asserts that he has done nothing wrong because her resistance is perfunctory.  He protests his innocence but agrees to the duel because he does not want to appear cowardly.  In the truth according to the Lady Marguerite, she has no importance in society beyond her dowry and her ability to produce an heir but she is capable and runs the estate better than her husband during his absence.  She views Le Gris as handsome and intelligent but untrustworthy and, when he attacks her, she fights him but is overpowered.  Carrouges flies into a rage when he hears of the rape because he sees it as an affront to his honor and demands a duel even though it puts her life in jeopardy.  The movie concludes with the duel and its aftermath.  I think the structure is absolutely brilliant because the characters view the same events very differently based on their experiences (Carrouges believes he is the hero, Le Gris believes he is justified, and Marguerite believes that she is a victim of the patriarchy) and it is up to the audience to determine the ultimate "truth."  While the rape scenes are hard to watch, the subtle differences between the two perspectives are very powerful.  My only problem is with Le Gris' version because it deviates from the book.  He always maintained that he didn't attack her at all and there was evidence, albeit disputed, that he had an alibi.  The scenes involving medieval combat are spectacular and I was particularly impressed with the portrayal of the duel.  Finally, I loved every performance.  Damon and Driver are fantastic and Affleck steals every scene he is in but Comer is absolutely amazing!  This might not be for everyone (it could be very triggering for some people) but I loved it and I highly recommend it to fans of historical epics.

Utah Opera's The Barber of Seville

Last night I had so much fun at The Barber of Seville, Utah Opera's first full-length production since the pandemic started, because it is absolutely hilarious!  Count Almaviva (Matthew Grills) has fallen in love with Rosina (Sarah Coit) but her guardian Dr. Bartolo (Matthew Burns) wants to marry her himself and keeps her under constant supervision.  Almaviva disguises himself as a poor student named Lindoro and hires a band in order to serenade Rosina under her balcony.  She falls in love with him, too, but they lament the fact that they cannot be together.  Almaviva enlists the help of Bartolo's barber, Figaro (Michael Adams), in order to infiltrate his household to get close to Rosina.  Figaro devises several plots, including having Almaviva impersonate a drunken soldier with orders to be billeted at Bartolo's house and having him impersonate a music teacher to replace Rosina's regular teacher, Don Basilio (Adam Lau).  Chaos ensues!  This is the funniest opera production I have ever seen and I loved it!  I normally do not like it when the source material is changed for effect but sometimes it works and, since the libretto for this opera is actually quite nonsensical, the changes work really well here.  The setting is now the 1960s and the production design is inspired by the movies of Pedro Almodovar with sets that feature bold patterns and colors and costumes that are reminiscent of the circus (one member of the ensemble is on stilts, another sells balloons and cotton candy, and others throw confetti whenever they are on stage).  The entire cast is incredibly strong and they sing their roles beautifully (Adams is especially charismatic) but I was most impressed with how adept each of them are with the physical comedy!  I especially loved the scene where Almaviva practices yoga and plays the sitar as a hippie music teacher, the scene where Bartolo gives an eye exam (he is an ophthalmologist) to a terrified patient while trying to discover what Rosina is up to, and the scene where the police come to arrest Almaviva for causing a disturbance and then create an even bigger disturbance.  I laughed out loud the entire evening!  I think this particular production is one that most everyone will enjoy (I saw quite a few laughing children in the audience) because it is very accessible.  The plot is easy to follow since it is basically a love triangle, the music is instantly recognizable, the recurring sight gags (mainly involving chickens) are laugh-out-loud funny, and the length is under three hours (including the intermission).  Even if you are not a fan of opera I highly recommend getting a ticket to one of the two remaining performances (go here).

Thriller 2021

I have been attending Odyssey Dance Theatre's Halloween extravaganza Thriller for years and years and it is always so much fun!  It is one of my favorite Halloween traditions!  I was able to see this year's production at Kingsbury Hall (it is being performed in six different venues) last night and I loved it!  I (along with the rowdy and enthusiastic crowd) always look forward with great anticipation to all of the old favorites, including the undead cavorting in a graveyard in "Thriller," a breakdancing mummy and his maidens in "Curse of the Mummy," misbehaving pandas in "Miss Alli's Nightmare," a Pas de Deux gone horribly wrong in "Frankenstein & Frankenstein" (I am always amazed at how flexible the Bride of Frankenstein is in this number), glow in the dark tap dancing skeletons in "Dem Bones," a trio of Jasons who wield various weapons in "Jason Jam" (this gets funnier every year), scarecrows that are not what they seem in "Children of the Corn," a coven of condemned witches seeking vengeance from beyond the grave in "Salem's Mass" (my favorite number in the show), acrobatic vampires in "Lost Boys," and a costume parade in "Trick or Treat."  I am also very eager to see if there are any new numbers in the show and this year there was one called "Annabelle at the Ball."  This involved dancing porcelain dolls inhabited by spirits summoned by a group of schoolgirls and it was really creepy when the lights came on to reveal the dolls in the audience!  As in year's past, artists from Aeris Aerial Arts performed in between the numbers and they were absolutely amazing.  In addition to "Siren of the Sea" and "Phantom of the Opera," which were performed last year, this year included a group of six artists costumed as wolves and one as Little Red Riding Hood performing on a spinning globe in "Full Moon" and two artists costumed as snakes performing on silks in "Slytherin." I have no idea how these aerialists do what they do!  My only complaint with this year's show was the return of Giggle Girl and her comedy routine in between the numbers.  I think she is so annoying and I wish they would bring back Bubbles the Clown!  Otherwise, I thoroughly enjoyed this show and I highly recommend adding Thriller to your list of Halloween traditions (go here for information, venues, and tickets).

Note:  This year marked the return of the undead who wander the aisles before the show.  Do not make eye contact with them!  Trust me on this!