Mary Poppins at the Terrace Plaza Playhouse

I really love the musical Mary Poppins so I've been looking forward to seeing it at the Terrace Plaza Playhouse for quite some time. I had the opportunity last night and, other than some wonderful performances from the main cast, I though it was a very amateur production that was often disorganized and messy. Mary Poppins (Annie Ferrin) comes to 17 Cherry Tree Lane to look after Jane and Michael Banks (Daphne Dixon and Owen Talbot, respectively) but, after a few adventures with Bert the chimney sweep (Josh Curtis) to teach them a lesson, she ends up saving their father, George Banks (Jon Talbot), as well. I really enjoyed Ferrin's performance as Mary because she has a beautiful voice, especially in "Practically Perfect," "A Spoonful of Sugar,"and "Feed the Birds," and she has wonderful chemistry with Dixon and Talbot, who are adorable as the Banks children, especially when she is being stern with them.  Curtis is extremely charismatic as Bert and I really liked all of his facial expressions. Talbot is quite sympathetic as Mr. Banks, even when he is being disagreeable, and Karlie Ady portrays Mrs. Banks's character arc from a woman who does not know her role to one who provides strength for her family very well. While the main cast is outstanding, there are some additions to the cast that seemed very odd to me. There are a trio of characters in colored costumes with hair to match (they reminded me of the fairies in Sleeping Beauty) who seem to serve no purpose other than standing around (or sitting) on stage. Even more perplexing are the toys (a Raggedy Andy, teddy bear, ballerina, and toy soldier) that come to life when Mary has the children clean the nursery and appear throughout the entire show with their stuffed counterparts rather than briefly during "Playing the Game" as they usually do (I could never figure out what they were doing). The ensemble is incredibly large and even seems to include the very young children of ensemble members (who do nothing but stand there and look cute). It is almost as if anyone who auditioned was allowed to be a part of the show. The choreography for the big song and dance numbers "Jolly Holiday" and "Supercalifragilisticexpialidocious" is really good but the staging, with so many cast members on such a small stage, is chaotic. I was sitting in one of the side sections and I could hardly see Mary, Burt, or the Banks children (who are meant to be the principals in these numbers) because there are so many people blocking them. I was most disappointed by "Step in Time" because it is usually a show-stopper involving Burt, Mary, the Banks children, and the chimney sweeps tap dancing on the roofs of London. In this production the entire cast is used, including the statues from the park, the fairies, the toys (a break dancing teddy bear definitely took me out of the moment), as well as Mr. and Mrs. Banks (which makes no sense because they are supposed to be angry when Mary and the others return through the fireplace) and it is so messy. Once again, I couldn't see Mary or Burt at all which was frustrating. The set consists of the nursery and the bank on either side of the stage above the seats (I am always impressed with how every part of the theater is used) but the sitting room and kitchen are located down stage so the large fireplace and chair block everything that happens up stage.  Furthermore, the chair, inexplicably, faces away from the audience so Mr. Banks is frequently hidden from view. The costumes are great, especially Mary's iconic dress in "Jolly Holiday" and all of the Edwardian dresses worn by the female ensemble, but I do not understand the reasoning behind having Mrs. Banks wear large hoop skirts (a more Victorian silhouette).  Finally, I certainly do not expect a community theater to have the same special effects as the production I saw recently at Tuacahn but this is a show that requires some magic. I do not think it is unreasonable to expect Mary to fly because it is one of her defining characteristics (I've seen high school productions, including Hunter High, with characters flying) but at the very least the kites should fly in "Let's Go Fly a Kite." I know that it sounds like I am being overly harsh but after seeing outstanding productions of Seven Brides for Seven Brothers and The Scarlet Pimpernel at this theater I was definitely expecting more from this show.

The Phantom of the Open

Apparently I like true stories about quirky British underdogs because I really enjoyed Dream Horse and The Duke and, after watching it yesterday, I can now add The Phantom of the Open to that list.  Maurice Flitcroft (Mark Rylance) has many dreams and ambitions but he gives them up and works as a crane operator at a shipyard like his father and grandfather, marries Jean (Sally Hawkins), adopts her son Michael (Jake Davies), and raises his twin sons Gene (Christian Lees) and James (Jonah Lees) instead.  When he hears a rumor that there might be layoffs at the shipyard after decades of working there he decides that the time is right to find a new dream.  He inexplicably picks golf despite never having played the game before and buys the cheapest golf clubs available, finds a second-hand argyle sweater, practices a bit on his own, and receives permission to play at the British Open due to a little white lie on his application.  He plays the worst round of golf in the history of the Open which gets him banned from competitive play for life and embarrasses his son Michael but he also becomes a folk hero to the masses who think of golf as an elitist sport and encourages his sons Gene and James to follow their dreams.  This is a stand up and cheer story with the unusual message that it is just as important to take part as it is to win and I found that to be incredibly refreshing.  Rylance plays the character straight with an affable naivete and this is absolutely brilliant because you never doubt for a moment that Flitcroft believes in what he is doing and that he has a chance to win!  Hawkins shines as a loving wife willing to do anything to support her husband and Rhys Ifans is hilarious as the snobbish official who runs the golf course for the British Open.  I liked all of the needle drops, especially "Build Me Up Buttercup" by the Foundations during the ubiquitous training montage and "Ride Like The Wind" by Christopher Cross as Flitcroft steals a golf cart to elude capture.  The sequences involving magical realism are fun and really effective in establishing Flitcroft's belief that anything is possible.  This charming movie is perfect for a Sunday afternoon and I recommend it to those who like true stories about quirky British underdogs as much as I do!

In the Heights at West Valley Arts

Before Hamilton, Lin-Manuel Miranda wrote and starred in another Tony Award winning musical called In the Heights. I have seen it several times (two different productions at PTC as well as the Broadway touring production in San Diego) and I really love it (maybe not quite as much as Hamilton) because it is a very powerful story about community and the family you make with the people around you. Last night I had a chance to see it at the West Valley Performing Arts Center and I think it is their best production yet! The story revolves around a woman named Claudia (Sonia Maritza Inoa-Rosado Maughan) who acts as an abuela (grandmother) to everyone in a small neighborhood in Washington Heights. Usnavi (Pedro Flores) owns a bodega beset with problems, such as a broken refrigerator, while trying to keep his wayward nephew Sonny (Scotty Fletcher) in line. He dreams of returning to the cool breezes of the Dominican Republic. Vanessa (Micki Martinez) is hoping to escape the barrio, and her abusive mother, to move downtown but a credit check for her new apartment stands in her way. Nina (Beatriz Melo) is the pride of her parents (Monte Garcia and Sophia Davis) and the whole neighborhood because she received a scholarship to Stanford but college is a lot harder than she thought it would be, especially since she has to work two jobs to make ends meet, and she is thinking of quitting. Abuela Claudia has looked after them all of their lives and she just might find a way to help them make all of their dreams come true. The entire cast, which is entirely made up of POC, is incredibly strong and I really enjoyed every performance.  However, my favorites were Luseane Pasa as Daniela because she is so sassy in "No Me Diga" and she just about blows the roof off of the theater in "Carnaval Del Barrio" and Melo because you can really feel her pain for disappointing everyone in the neighborhood in "Respira (Breathe)" and her rendition of "Sunrise" (with Kiirt Banks as Benny) is lovely. I was also struck by how much Flores sounds like Lin-Manuel Miranda but I also appreciated that he made the character his own.  Besides the cast, I was also quite impressed with the choreography by Izzy Arrieta and I loved the big ensemble numbers "In the Heights," "96,000" (which was a big crowd-pleaser), "Blackout," and "Carnaval Del Barrio." I also loved the staging of "Alabanza" (my favorite song in the show) because the candlelight processional is incredibly beautiful. The cast executes the choreography very well and it was really fun to watch them dance with so much energy and exuberance! Finally, I think the set by Jason Baldwin is fantastic and does much to enhance the story. The main stage is a courtyard with brick walls covered in graffiti and the dispatch, salon, and bodega are located in the corners (with additional set pieces rolled on as needed).  The aisles function as streets and are used by the cast for entrances and exits. The areas above the wings are configured as fire escapes (I loved the laundry hanging across the windows). This is definitely one of my favorite productions this year (and I have seen quite a few) so I highly recommend this wonderful show (go here for tickets).

Note:  I was so happy to see such a large crowd last night!

Elvis

I am a huge fan of Baz Luhrmann!  I didn't especially care for Australia, but Strictly Ballroom, Moulin Rouge, and The Great Gatsby are some of my favorite movies.  I have lost count how many times I have watched them but I am sure that it is an embarrassingly high number!  I have been looking forward to Luhrmann's latest project, Elvis, for so long and my excitement only grew after it was screened at Cannes to positive reviews.  I finally had the chance to see it last night and it is everything I expected from a Baz Luhrmann movie (and that is a good thing)!  The story of Elvis Presley (Austin Butler) is told through the filter of his troubled relationship with his manipulative manager Colonel Tom Parker (Tom Hanks).  Parker narrates from his deathbed to set the record straight about his perceived responsibility for Elvis's death.  He meets the young Elvis while managing Hank Snow (David Wenham) and Jimmie Rodgers (Kodi Smit-McPhee) on the carnival circuit and, after seeing a performance in which Elvis captivates the audience, he convinces his naive parents Gladys (Helen Thomson) and Vernon (Richard Roxburgh) to let him take over his management and business affairs.  He forces Elvis to tone down his provocative act to be more family friendly, to be drafted into the military rather than be arrested for indecency, to appear in a series of third rate movies, to appear in a Christmas special, and to perform exclusively at the International Hotel in Las Vegas rather than tour.  He also alienates Elvis from the two woman who love him:  his mother Gladys and his wife Priscilla (Olivia DeJonge).  Elvis defies him as often as he can to be true to himself and his roots and, in so doing, he becomes the King of Rock and Roll.  However, he eventually ends up bloated, addicted, and alone after a final capitulation.  Luhrmann is known for his dazzling over the top style and the visuals are absolutely gorgeous even if some of his signature montages are a bit frenetic.  The narrative, which may or may not be completely accurate, is incredibly compelling and I was particularly interested to learn that Parker manipulates Elvis into the Las Vegas residency to cover his own debts.  I loved how all of Elvis's performances are staged, especially his first performance of "Baby Let's Play House" as the girls in the audience lose their minds over him, his 1968 comeback special performance of "Jailhouse Rock" (the black leather outfit!), and the Las Vegas performance of "Suspicious Minds."  Butler gives a performance that is nothing short of amazing, especially when he is on stage (he even sings as the younger Elvis), and I am sure that he will be in the running for every Best Actor award.  Hanks gives one of the most bizarre performances I've ever seen with weird prosthetics and an inconsistent accent (which is unfortunate because he is the narrator) but I appreciate the fact that I never once saw the actor in the character.  Every other character, including Priscilla, is relegated to the background but it almost doesn't matter because you simply cannot take your eyes off of Elvis!  It is an entertaining spectacle and I absolutely loved it!

The Black Phone

Horror movies are a hard sell for me but I was really intrigued by the trailer for The Black Phone so I decided to see it last night.  Despite a few decent jump scares and an unhinged performance from Ethan Hawke, this is not really a horror movie (as the marketing campaign implies) but more of a psychological thriller and I really enjoyed that aspect.  A serial killer known as The Grabber (Hawke) is responsible for the disappearance of five teenage boys in a suburb of Denver.  His next victim is Finney (Mason Thames), a shy thirteen year old who is often bullied at school and terrorized by his alcoholic father (Jeremy Davies).  After being kidnapped, he wakes up in a soundproof basement with an old fashioned  phone that suddenly begins ringing despite being disconnected.  All of the former victims of The Grabber begin communicating with Finney through the phone to help him escape their fate.  Meanwhile, Finney's sister Gwen (Madeleine McGraw) has had unsettling dreams about all of the crimes and, when her brother is kidnapped, she also receives clues from the victims which she uses to help the police with their investigation.  All of the elaborate instructions given to him do not seem to work at first until, in a brilliant final act, Finney finally learns to stand up for himself.  I really loved the message about self-empowerment (it was much more emotionally satisfying than I was expecting) which is why the subplot involving Gwen's dreams didn't really work for me (I wonder if her character was expanded from the short story by Joe Hill for the movie).  Because Gwen rescues him from a bully in the first act, I think his character arc would have been a lot stronger if Finney had not had to rely on her once again to lead the police to him.  The sepia toned cinematography adds much to the sinister atmosphere and the 1970s period details are nostalgic in an unnerving sort of way.  Hawke, who wears a creepy mask most of the time, is absolutely terrifying because he creates volatile shifts in tone by using just his body language and voice.  Thames does a great job conveying so many different emotions as he discovers his inner strength and McGraw shines, especially in an incredibly powerful scene, even if her character feels superfluous to the story being told.  While this isn't as scary as expected, it is compelling and I would recommend it.