Of Mice and Men at Parker Theatre

Last night I went to a stage adaptation of John Steinbeck's Of Mice and Men at the Parker Theatre and I loved seeing this American classic come to life in the very capable hands of this theatre (I have yet to see a performance here that I haven't enjoyed). George Milton (Lucas Charon) and Lennie Small (Brinton M. Wilkins) are migrant workers trying to save money for their own piece of land with a cow, pigs, chickens, and, most importantly, rabbits which George has promised Lennie he can tend. However, Lennie, who is very big and strong but mentally challenged, keeps getting into trouble because of his naive love of everything small and soft. After being run out of their last job, they find work on another ranch near the Salinas River in California and soon discover that many of the inhabitants, including and old-timer named Candy (Brook Robertson) who is forced to part with his dog, Curley's wife (Ashley Slater) who is unhappy in her marriage, and Crooks (Kiirt Banks) who is segregated from the other workers because he is Black, are suffering from a crushing loneliness. Even though George laments the fact that his life would be so much easier without Lennie, he knows that it is this friendship and their dream that keeps him from the same loneliness. Events eventually conspire against them when Lennie is once more tempted by something soft and George loses both his friend and his dream. It is an incredibly tragic story because it is a realistic portrayal of the plight faced by many during the Great Depression and I always find it to be very thought-provoking because the American Dream is still often unattainable for those who are marginalized. This production provides a very sensitive and moving portrayal of these dark themes. Wilkins gives a brilliant performance as Lennie because he is always believable as the character with many subtle bits of business that allude to his diminished capacity, such as looking off in the distance, never making eye contact, and stimming with his fingers. His interactions with Charon are also believable and incredibly touching (I had tears in my eyes during the final scene). I was also very impressed with Robertson, because his response to the death of his dog (which foreshadows future events) is another poignant moment which brought tears to my eyes, and with Slater, because her characterization as Curley's wife is much more sympathetic than I have seen before (she is usually portrayed more coquettishly). I also have to give a shoutout to Apollo, making his stage debut as Candy's dog, because he is very well-behaved and so adorable. I loved the use of Aaron Copland's music, because it is very beautiful and evocative, and I also loved the use of corrugated tin and wood in the sets for the bunkhouse and the barn, because it feels so authentic to the time and place. The entire production is outstanding and I highly recommend taking advantage of this rare opportunity to see one of the great novels of American literature performed on stage. It runs on Fridays and Saturdays through April 27 (go here for tickets).

The First Omen

The second movie in my double feature last night was The First Omen, a prequel to The Omen, and it has such an atmosphere of escalating dread that I was genuinely scared at times (which doesn't happen that often for me).  In 1971 Margaret (Nell Tiger Free), a young American novitiate with a troubled past, travels to Rome at the invitation of her mentor Cardinal Lawrence (Bill Nighy) to work at an orphanage before taking her vows.  Margaret immediately bonds with Carlita (Nicole Sorace), an older orphan who has hallucinations that are similar to those she experienced as a child, and she is troubled by how the nuns, especially Sister Silvia (Sonia Braga), respond to her.  Her unease eventually turns to terror when Father Brennan (Ralph Ineson) warns her that Carlita may be part of a sinister plot to bring about the birth of the Antichrist.  I really enjoyed the story and not just because of how well it leads to the events of the earlier movie but also because of how it incorporates the social and political turmoil of the 1970s as well as the lack of bodily autonomy faced by women (it has themes similar to Immaculate).  I found it very unsettling because of the atmospheric lighting, graphic visuals (that are quite provocative), immersive sound design (I got goosebumps every time I heard whispered prayers), ominous score (which pays homage to the original movie), and body horror that had people in my audience gasping out loud (the birth scene is intense).  The 1970s period verisimilitude is amazing because this looks like it was produced at the same time as The Omen (which I watched again as soon as I got home).  Finally, Nell Tiger Free gives an incredibly compelling performance and there is one scene in particular that is worth the price of admission alone.  This is honestly so much better than I was expecting (it is definitely my favorite horror movie so far this year) and I recommend it to fans of the genre.

Monkey Man

Last night I had a really fun double feature which began with Dev Patel's directorial debut, Monkey Man.  I am a huge fan of Patel so I was very excited to see this and I was definitely not disappointed!  Inspired by the legend of Hanuman (a powerful deity in the shape of a monkey) which was told to him as a child by his mother, an anonymous man (Patel) earns a living wearing a monkey mask while losing to more popular fighters in an illegal ring run by Tiger (Sharlto Copley).  Motivated by revenge, he also takes a job working at an exclusive club frequented by Rana Singh (Sikandar Kher), the chief of police who beat his mother to death while evacuating their village at the behest of a supposed holy man Baba Shakti (Makarand Deshpande) who wanted the land for a commune.  However, his attempt to assassinate Rana is unsuccessful and, even though he is severely wounded, he manages to elude Rana and his men as well as escape from police custody (in some exhilarating sequences).  He is taken in by a hijra, or transgender woman, named Alpha (Vipin Sharma) who helps him recuperate and train by reminding him of who he is and what he is really fighting for.  Inspired once more by Hanuman and aided by Alpha and her group, an epic battle with Rana and Baba ensues.  I loved so many things about this movie!  The action is both incredibly stylish and shockingly violent and the frenetic way in which it was filmed makes it so exciting to watch.  It is an absolute adrenaline rush from beginning to end, especially a training sequence accompanied by drums and the final battle at the club.  Patel is definitely an entertaining action star (he has been my choice to play James Bond ever since I saw him in The Wedding Guest) but I was also impressed by the way his eyes express everything his character is feeling.  It is more than just a revenge action thriller because it is also features a scathing indictment of the corruption and hypocrisy that affects the marginalized people of India (I particularly loved the treatment of the hijras) as well as a moving exploration of Hindu mythology.  It is obvious that this is Patel's passion project (he broke his hand while filming the first scene) so I am really glad that it received a theatrical release.  Go see it on the big screen if you are a fan of the genre!

Pretty Woman at the Eccles

I am not a fan of turning movies into musicals so, when Broadway at the Eccles announced the 2023-2024 season, Pretty Woman was the show that I was the least interested in.  I saw it last night and, while it will never be one of my favorites, I enjoyed it more than I thought I would. Edward Lewis (Chase Wolfe) is in Los Angeles for a week on business when he gets lost on Hollywood Boulevard.  Vivian Ward (Ellie Baker), a young woman down on her luck and working as a prostitute, offers to help him for a price and eventually spends the night with him at the Beverley Wilshire Hotel.  Since he has a number of social obligations while in L.A., he suggests that she be his escort for the week and they negotiate a price.  As they spend time together, they have a positive effect on each other because Edward decides to become a partner in the company he was going to dismantle and Vivian sees that she is worth more than a life of prostitution but will they realize that they love each other?  All of the iconic scenes from the movie are recreated on stage, such as Vivian's shopping trip on Rodeo Drive and when Edward snaps the lid of the jewelry case on her fingers, and they are fun (the subdued audience was the most engaged during these moments).  One of the reasons why I dislike turning movies into musicals is because most of the time the music feels very contrived and is instantly forgettable and, unfortunately, that is the case with this show.  The one exception for me was "You and I" when Edward and Vivian attend the opera.  Who knew that a mash-up of a power ballad by Bryan Adams and an aria from Verdi's La Traviata could work so well?  It gave me goosebumps.  Wolfe and Baker have beautiful voices but their performances are a bit bland, especially their dancing.  However, Adam du Plessis (as the narrator and the manager of the hotel) and Connor Kabat (as a bellhop) are unbelievably entertaining and steal the show, particularly in their interactions together.  Kabat is by far the best dancer in the company and appears in almost every dance sequence (whether a bellhop is needed or not).  The sets are serviceable (they are recognizable as Hollywood Blvd., Rodeo Dr., and the Beverly Wilshire Hotel because there are large signs proclaiming them as such) but I was a little disappointed in the costumes because they pale in comparison to the iconic originals from the movie, especially Vivian's red opera dress.  I never need to see this again but I definitely didn't hate it and I suspect that fans of the movie will love it.  There are five more performances through April 7 with lots of available tickets (go here).

The Lehman Trilogy at PTC

Last night I went to the new Meldrum Theatre (a really cool venue) for its inaugural production of The Lehman Trilogy and it was an incredible experience, both being in the intimate new space and watching this epic story. In 1844 Henry Lehman (Jeff Talbot) arrives in New York City from Bavaria with the hope of living the American dream. He ends up opening a small fabric and clothing shop in Montgomery, Alabama and is soon joined by his brothers Emanuel (William Connell) and Mayer (Seth Andrew Bridges). From these humble beginnings a vast financial institution known as the Lehman Brothers is established. The narrative spans 164 years and three generations of the Lehman family while chronicling the vicissitudes of capitalism in three acts. In Act I, the first generation of brothers eventually consolidate their shop into a go-between for cotton growers in the South and factory owners in the North until their business is derailed by the Civil War. In Act II, the next generation reinvents the business as an investment banking and commodities trading firm until it is almost destroyed by the stock market crash of 1929. In Act III, the third generation achieves spectacular successes but also devastating losses through speculation until they are forced to declare bankruptcy. What I loved most about this play is that the history of 19th and 20th century America is told through the filter of one family and, even though it sounds like it might be tough to sit through (it is over three hours long with two intermissions), it is fast-paced and exciting. I was never bored! In addition to the three Lehman brothers who emigrate to America, Talbot, Connell, and Bridges also portray their progeny and all of the other characters with whom they interact and the performances are absolutely remarkable (just the stamina involved alone is very impressive because the characters are constantly moving). The actors provide both dialogue and narrative descriptions and I really enjoyed this technique because it seemed like I was watching a book about the Lehmans being brought to life right in front of me. The actors also move the minimal props (suitcases, tables, chairs, bales of cotton, ledgers, etc.) around the stage themselves and I especially liked the evolution of their sign over the years. The costumes change to reflect the prevailing fashion of the time depicted in each act but they also include fun additions for the minor characters (my favorite was the fan used to portray Emanuel's wife). Finally, the intimate theatre, which features a thrust stage, is perfect for this production because it gives the audience a chance to get up close and personal with these characters who had such an impact on history (my seat was on the second row and there were moments when I could have touched the actors). I don't think I have ever seen anything like this on stage before and I cannot recommend it enough! In runs in the new Meldrum Theatre through April 13 (go here for tickets and here for more information about the theatre).

Note:  PTC recently announced the 2024-2025 season (Jersey Boys, Prayer for the French Republic, Souvenir, Dial M for Murder, Beautiful: The Carole King Musical, A Case for the Existence of God, and Waitress) and I couldn't be more excited! Go here for more information.