Women Talking

I have been anticipating the wide release of Women Talking for months and I was so happy to finally have a chance to see it at the Broadway last night!  It is incredibly powerful with performances that should be generating a lot more awards buzz.  Many women in an isolated Mennonite community have been drugged and raped but, despite waking up bruised and bleeding, they are not believed until there are eyewitnesses.  All of the men go to town to post bail for those accused and the women are admonished to forgive them or else face being exiled from the community and excommunicated from their faith.  While the men are gone the women take a vote about whether they will do nothing, stay and fight, or leave the colony but there is no clear winner.  A group of women, including Ona (Rooney Mara), Salome (Claire Foy), Mariche (Jessie Buckley), Mejal (Michelle McLeod), Agata (Judith Ivey), Greta (Sheila McCarthy), and an older member of the congregation known as "Scarface" (Frances McDormand) who disagrees with the process, are elected to come to a decision and they meet in the hayloft of a barn to debate the merits of each option.  A sympathetic schoolteacher named August (Ben Whishaw) is asked to join them to record the minutes because the women are illiterate.  The themes are incredibly compelling, especially the notion of forgiveness.  There is a phenomenal scene during which Greta realizes that her teachings may have encouraged the violence against her daughters and granddaughters because forgiveness can sometimes be misconstrued as permission.  The performances are outstanding because my attention never wavered from the dialogue-heavy narrative.  Foy and Buckley have the showier roles, portraying fiery women who eventually have their opinions challenged, but Mara gives a beautiful performance as a woman trying to reconcile their decision with their faith.  I have heard many complaints about the color grading but, in my opinion, the gray tones reflect the despair the women have been living with and serve to keep the time and place ambiguous.  Finally, I loved the score by Hildur Gudnadottir because it is tense during the flashbacks that hint at the violence but haunting during scenes showing the children the women are fighting to protect at play.  I was very moved by this sensitive depiction of a heavy subject and I highly recommend it.

Ain't Too Proud at the Eccles

Last night I had the chance to see Ain't Too Proud at the Eccles Theatre and it was so good!  It is a jukebox musical about The Temptations and it reminded me a lot of Jersey Boys (a musical I love).  It obviously features all of the wonderful music by the group (and others) but I also really enjoyed the story because I didn't know a lot about The Temptations.  After Otis Williams (Michael Andreaus) has a brush with the law, he decides to form a music group so he can rise above the streets of Detroit and never lose his freedom again.  He recruits Al Bryant (Devin Price), Melvin Franklin (Harrell Holmes, Jr.), Eddie Kendricks (Jalen Harris), and Paul Williams (E. Clayton Cornelious).  Bryant is soon replaced by David Ruffin (Elijah Ahmad Lewis) and they are signed by Berry Gordy (Jeremy Kelsey) to Motown Records where they begin working with Smokey Robinson (Omar Madden) as a songwriter and producer.  The show features the creation of their biggest hits, their rivalry with The Supremes (Amber Mariah Talley, Shayla Brielle G, and Traci Elaine Lee) at Motown, and how personal conflicts and tragedies as well as racial tensions in the United States threaten to tear them apart.  The entire cast is unbelievably talented because the singing and dancing in this show is absolutely brilliant!  I especially loved Lewis because, just like David Ruffin does in The Temptations, he often steals the spotlight and dazzles with his vocal performance!  Andreaus is also outstanding because he narrates the show from beginning to end and provides many of the emotional beats.  I really enjoyed the staging of the songs, especially when they would seamlessly transition from city to city while performing a song on tour through choreography and the changing of the marquee above them.  I also enjoyed the recreation of their performance of "Ain't Too Proud to Beg" on American Bandstand because the cameras become part of the choreography.  My favorite numbers were "My Girl" and "Get Ready" (I may or may not have been singing along) but I also liked how many of the songs mirror what is happening in the story such as "If You Don't Know Me By Now" when Josephine (Quiana Onrae'l Holmes) leaves Otis, "I Wish It Would Rain" when Martin Luther King is assassinated, "Ball of Confusion (That's What The World is Today)" when the group wants to record more politically charged music, "Superstar (Remember How You Got Where You Are)" when Ruffin and Kendricks insist on joining the group for a reunion tour, "Papa Was A Rollin' Stone" when personal tragedies befall the group members, and "What Becomes Of The Brokenhearted" when Otis Williams is the last original member left.  I didn't really know what to expect from this show but I enjoyed everything about the production and I highly recommend getting a ticket for one of the remaining performances (go here) at the Eccles.

EO

When my nephew and I were at the Broadway for Babylon, we saw the trailer for EO and he was fascinated by it.  He asked me if I would take him to see it so we went last night and, while he thought it was incredibly thought-provoking (we discussed it the whole drive home), I found it to be one of the most heartbreaking films I've ever seen.  EO, a small gray donkey with expressive brown eyes, is a circus performer in Poland and is lovingly cared for by his handler Kasandra (Sandra Drzymalska).  When an animal rights organization protests outside the circus, EO and the other animals are removed and thus begins an odyssey throughout Europe where EO experiences both kindness and cruelty from the people he encounters.  One of the most amusing sequences turns into one of the hardest to watch when EO inadvertently becomes the mascot of a soccer team when he distracts an opposing player kicking a penalty shot but is then viciously beaten by fans of the losing team.  There are so many ideas presented but the ones that resonated the most with me are the ways in which humans have disrupted the natural environment with technology so animals no longer have a habitat (birds are killed by wind turbines and foxes are shot in the forest by hunters using laser sights) and the ways in which humans exploit animals (using them as beasts of burden or for sport) and view them as disposable (herding them off to slaughter).  The imagery is incredibly striking, particularly the use of red which evokes very strong emotions, and the editing and sound design are disorienting but effective at portraying EO's place in the world.  I found this to be both incredibly beautiful and profoundly upsetting (the ending made me cry) but I recommend it.

Note:  I asked my nephew what drew him to this movie and he told me that he prefers creative storytelling.  I have turned him into a cinephile and I couldn't be prouder!

Corsage

I became fascinated with Empress Elisabeth when I visited the Sisi Museum in the Hofburg Palace on a trip to Austria so I have been looking forward to Corsage for months.  I finally had the chance to see it last night at the Broadway and I absolutely loved it!  I loved everything about it!  The narrative follows a year in the life of Empress Elisabeth (Vicky Krieps) beginning with her 40th birthday.  She is wild and restless but is constrained by her husband Emperor Franz Joseph (Florian Teichtmeister), who refuses to give her a voice in politics, her children Rudolf (Aaron Friesz) and Valerie (Rosa Hajjaj), who implore her to behave in a more dignified manner, her duties, which she finds tedious, and her image, which is becoming harder and harder to maintain.  She is also literally constrained by corsets (the title Corsage is in reference to the German word for corset) as her ladies-in-waiting pull the laces tighter and tighter.  She attempts to rebel by fleeing the palace every chance she gets, spending hours riding and fencing (which are considered unseemly for a woman), flirting with her riding instructor (Colin Morgan) and her cousin King Ludwig II (Manuel Rubey), finding ways to avoid her duties (there is a hilarious scene where she fakes a swoon), and, finally, cutting her hair because it takes hours to braid every day.  She finds a kind of freedom in the final scene, which is fictionalized (as is much of the narrative) but incredibly powerful.  Krieps is absolutely brilliant in the role because her performance never becomes a caricature and she embodies so many emotions even when she is completely still.  I loved the use of anachronistic details, such as contemporary music (I especially enjoyed the cover of "Help Me Make It Through The Night"), because they suggest that Elisabeth is ahead of her time and I loved the opulent interiors inside buildings that look to be crumbling and abandoned because Elisabeth is trapped in a society that is soon coming to an end.  This is very atmospheric and episodic so it might not be for everyone but I was mesmerized and I highly recommend it!

Note:  I also recommend The Empress on Netflix which has just been renewed for a second season.

The Marvelous Wonderettes at the Terrace Plaza Playhouse

My first live theatre production of 2023 was The Marvelous Wonderettes at the Terrace Plaza Playhouse last night. It is a really fun jukebox musical featuring songs from the 1950s and 60s and I thoroughly enjoyed it. The Springfield High School Class of 1958 is having their senior prom but the leader of the boys glee club originally scheduled to perform was suspended for smoking so the songleaders, known as the Marvelous Wonderettes, are asked to provide the entertainment at the last minute. In between the musical numbers, Betty Jean (Emily Richards), Cindy Lou (Jessica Andrus), Missy (Jenni Cooper), and Suzy (Katie Swainston) engage in witty banter about the rivalries within the group and their boy troubles as well as vie with each other to become prom queen (the audience gets to vote using a ballot distributed before the show). After the intermission, the Class of 1958 has their ten year reunion at Springfield High School and the Marvelous Wonderettes are, once again, asked to perform. They each have a chance to catch their classmates (the audience) up on what has been happening in their lives during the past ten years. The best part of this show is the amazing music (I grew up listening to all of these songs) and my favorites were "Mr. Sandman," "Lollipop," "All I Have To Do Is Dream," "Dream Lover," "Stupid Cupid," "Hold Me, Thrill Me, Kiss Me," "You Don't Own Me," "It's In His Kiss," "I Only Want to Be With You," "It's My Party," "Son of a Preacher Man," "Leader of the Pack," "Rescue Me," and "Respect."  Richards, Andrus, Cooper, and Swainston have great four-part harmony and sound fantastic but they also do a good job with the choreography and the physical comedy. My favorite was Cooper (I voted for Missy to be prom queen) because her facial expressions are hilarious, especially when she confesses her crush on one of their teachers (Mr. Lee is played by someone picked out of the audience each night and our Mr. Lee got really into the choreography). The costumes are a lot of fun (each character has her own color) with elaborate tea length prom dresses made of tulle in the first act and sheath dresses and go-go boots in the second. The stage has been transformed into a high school gym decorated for the prom, complete with crepe paper streamers, posters advertising the candidates for prom queen (the posters correspond with each character's color), tables full of punch and cookies, and a bandstand with shimmering door curtains and standing microphones. The Terrace Plaza Playhouse is sometimes hit or miss with me but I feel like they really shine with smaller productions and this one is outstanding.  It is a delightful way to spend an evening and I highly recommend it (go here for tickets).