Tuesday

Last night I went to another double feature at the Broadway starting with Tuesday.  I was really intrigued when I saw the trailer for this but, unfortunately, it was not what I was expecting.  Death, in the form of a size-shifting talking macaw (voiced by Arinze Kene), appears to a terminally ill teen named Tuesday (Lola Petticrew).  Death is accustomed to hearing all of the inner thoughts of everyone who is about to die but, when he meets Tuesday, all of the noise stops and he is so grateful he allows her time to say goodbye to her mother Zora (Julia Louis-Dreyfus) before she dies.  Tuesday comes to view Death as a friend (in some truly bizarre sequences) but Zora, who has distanced herself emotionally from Tuesday because she is unable to cope and is in deep denial about her prognosis, is angry and lashes out at Death.  However, her interactions with Death (in some even more bizarre sequences) help her find understanding then acceptance and, finally, peace.  Louis-Dreyfus gives a powerful and affecting performance in a more dramatic role than we usually see from her and I liked the use of a bird as an allegory for death (even if the CGI is sometimes messy) because it is very imaginative.  I also loved the message that death is just a natural part of life and that we honor those who have died by living life to the fullest in their memory.  My biggest problem is that the tone is very inconsistent with some scenes that are so jarring they took me out of the emotional core of the narrative.  I liked the concept of this movie more than the execution.

Firebrand

I am a huge fan of historical dramas and I have always been strangely fascinated by the Tudors so I was really excited to see Firebrand last night.  It is definitely a revisionist take on Katherine Parr but I enjoyed it.  While King Henry VIII (Jude Law) is away fighting in France, his sixth and final wife Katherine Parr (Alicia Vikander) is appointed regent and she takes this opportunity to promote her radical Protestant beliefs which are shared by Edward and Thomas Seymour (Eddie Marsan and Sam Riley, respectively). When Henry returns early because of the worsening of a previous leg injury, he is angry, humiliated, and paranoid.  He takes it out on the radicals and burns Katherine's childhood friend Anne Askew (Erin Doherty) at the stake.  She must now suppress her beliefs because courtiers with anti-Protestant sentiments, such as the Bishop of Winchester Stephen Gardiner (Simon Russell Beale), suspect her of conspiring with Anne.  After her relationship with Henry breaks down after a miscarriage, Gardiner begins investigating her and, when conspiracies and betrayals threaten her very survival, she must take matters into her own hands.  What I loved most about this narrative is all of the palace intrigue which is portrayed very well with close-up camera work that shows the claustrophobia of being watched constantly, especially in a dance sequence between Katherine and Thomas, and with a tension-filled score that definitely had me on edge.  Adding to the unease is an outstanding performance from Law who is almost unrecognizable and fully embodies Henry's mercurial moods and debauchery.  Vikander gives a much more subdued performance but it worked for me because, even though Katherine is very progressive for the time period, she is still trapped by the dangerous whims of the king.  The costumes and production design are as stunning as you would expect from a period drama.  However, the pacing gets bogged down with a subplot about Katherine's influence on Henry's children, particularly Princess Elizabeth (Junia Rees) and her future reign, that isn't developed very well.  Also, the screenplay definitely makes use of *ahem* dramatic license with the ending.  This is a very serviceable historical drama with compelling performances and gorgeous visuals but I recommend waiting to see it when it streams.

Silent Sky at the Empress Theatre

I enjoyed HCT's production of Silent Sky a few years ago so I was really excited to see it again at the Empress Theatre last night. This is a much more stripped down version than the one at Hale but it is just as moving (maybe more so). It tells the true story of Henrietta Leavitt (Alyssa Powers) who begins working at Harvard University in 1900 as a human computer in the astronomy department along with a "harem" of women, including Annie Cannon (Carina Dillon) and Williamina Fleming (Stacy Mayren). She is very eager to use the university's refracting telescope to find answers to all of her questions about the universe but she is not allowed to because she is a woman. She may only use the images on glass photographic plates taken from the telescope in order to map the stars and she must keep her analysis to herself. Despite these obstacles she is able to make an important discovery that allows future astronomers to calculate the distance between galaxies but her dedication to her work puts her at odds with her sister Margaret (Madison Moretti) over family obligations and with her supervisor Peter Shaw (Alexander Richardson) over their romantic relationship. This is a simple story but what makes it so compelling for me is the juxtaposition between the two sisters. Margaret believes in home, family, and religion while Henrietta believes in hard work, exploration, and science but they both look to the sky to find the light they seek. The entire cast is outstanding but I was particularly impressed by Powers because she is able to portray so many different emotions very convincingly, such as exasperation at her lack of opportunity in the department, single-minded determination to succeed, giddiness at the possibility of love (I loved it every time she twirled), and wonder at the infinite nature of the universe. I also really enjoyed Dillon's imperious manner as a martinet in the office, Mayren's sassy Scottish brogue and hilarious facial expressions and gestures, and Richardson's awkwardness as he tries to get Henrietta's attention. I loved the staging because there are so many little moments that have a big impact, especially when the actors stand under a spotlight to read the letters between the characters. The minimal set consists of several tables and chairs that are reconfigured to become an academic office at Harvard, Margaret's home in Wisconsin, and Henrietta's apartment in Cambridge. There are no props because the actors pantomime handling various objects, including the glass photographic plates (these are painted on the stage and they are an incredibly dramatic focal point), and I loved this bold choice because I think it emphasizes the theme of discovery. I also loved the use of dramatic images from space shown on screens during scene changes. This production is outstanding and I now count it as one of my favorites from this theatre. I highly encourage getting a ticket (go here) for one of the remaining performances through June 22 because it deserves to be seen by a large audience.

Inside Out 2

My sister and I crossed another movie off her list last night by seeing Inside Out 2.  The theater was absolutely packed and we heard both kids and adults laughing out loud the entire time.  Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Tony Hale), Anger (Lewis Black), and Disgust (Liza Lapira) believe they have done a good job creating a Sense of Self for Riley (Kensington Tallman) by moving all of her bad memories to the back of her mind.  However, when Riley turns 13, a new group of emotions appear, including Anxiety (Maya Hawke), Envy (Ayo Edibiri), Embarrassment (Paul Walter Hauser), and Ennui (Adele Exarchopoulos), and they disrupt Headquarters.  Riley is invited to a hockey camp with her friends Bree (Sumayyah Nuriddin-Green) and Grace (Grace Lu) but, when they tell her that they will be going to a different high school, Anxiety takes over to make sure that Riley does whatever she can to make the hockey team at her new school so she won’t be alone.  This includes shunning Bree and Grace in favor of Val (Lilimar), the team captain, and other actions that corrupt her Sense of Self.  As Joy fights to regain control, she realizes that all of Riley's emotions are necessary to create a more authentic Sense of Self.  What I loved most about this sequel is that the angst of being a teenager is shown so authentically.  I was particularly struck by how well Anxiety is portrayed, particularly when Riley is compelled to hide who she really is in order to avoid being rejected because I think almost every teen experiences this at some point.  Several scenes really resonated with me personally, such as when Riley is kept awake at night by the projections of everything that could possibly go wrong before a game and when she has a panic attack (this is very well done and reduced me to tears), because I have certainly experienced both many times.  I also really loved a scene where Riley chooses Joy as she rediscovers the real reason why she loves playing hockey (I also cried during this whole sequence) because I think doing things simply for the joy it brings rather than for a possible outcome is an important message.  In addition to feeling all of the feels, this made me (and my sister who is very reserved) laugh out loud because it is so funny and so clever.  The animation is incredibly vibrant, particularly the hockey sequences, and the voice cast is excellent (with Poehler and Hawke as standouts).  I loved this (I think I might love it more than the original) and I highly recommend it!

Girl from the North Country at the Eccles

The latest Broadway touring production to hit the Eccles Theatre stage is Girl from the North Country and the reaction from SLC audiences has been pretty negative (to say the least).  I decided to try and have an open mind when I went to see it last night and I am so glad that I did because I found it to be very well done and very moving.  The story is set in Duluth, Minnesota in 1934 during the Great Depression.  Nick Paine (Joe Schiappa) owns a guesthouse, occupied by his family and a group of other lost souls struggling to find a way to survive their dire circumstances, but it is about to be foreclosed on by the bank.  His wife Elizabeth (Jennifer Blood) is suffering from a form of dementia and is becoming more and more difficult to handle, his son Gene (Ben Biggers) is an alcoholic trying to find himself and is devastated when his girlfriend Kate (Chiara Trentalange) leaves him for someone with better prospects, and his adopted daughter Marianne (Sharae Moultrie) is pregnant and not forthcoming about the identity of the baby's father but does not want to marry the older man (Jay Russell) her father has arranged for her.  The residents include Mrs. Nielsen (Carla Woods), a widow waiting for her husband's estate to be settled and dreaming of the life she will have with Nick (with whom she is having an affair) once she receives the money, Mr. Burke (David Benoit), who lost his business during the stock market crash, Mrs. Burke (Jill Van Velzer), who is struggling with her loss of status, and Elias (Aidan Wharton), the Burkes' feeble-minded son.  One night during a storm, Joe Scott (Matt Manuel), a boxer recently released from prison who is trying to get back on his feet, and the Reverend Marlowe (Jeremy Webb), a suspicious bible salesman, arrive looking for shelter.  This is more like a slice-of-life depiction of the different ways in which people cope with adversity during a tumultuous time in history rather than a straightforward narrative and, while there are some very heavy themes, the message is that, no matter how difficult life may be, you must continue to press on (there is a glimmer of hope for several characters).  The musicians, including members of the cast, perform on stage using instruments from the 1930s and the new arrangements of over 20 songs written by Bob Dylan are beautiful (this won the Tony Award for Best Orchestrations).  Dylan's music is particularly well suited to this narrative because much of it is about protesting against injustice or fate but it is used more to showcase a character's state of mind rather than to advance the story.  The performances are all beyond amazing and it is hard to single anything out but my favorites were "Tight Connection to My Heart (Has Anybody Seen My Love)" by Moultrie, "Slow Train" by the Company, "I Want You" by Biggers and Trentalange, "Like a Rolling Stone" by Blood, "Hurricane"/ "All Along the Watchtower"/ "Idiot Wind" by Manuel and Moultrie, and "Pressing On" by Woods (this was a powerful moment).  I really liked the sets and I loved the staging of this show because the characters step away from the action to sing with old-fashioned microphone stands and I think this is a very effective way to portray their innermost feelings about their situation.  I can definitely understand why people might not like this show but I am really glad that I gave it a chance because I liked it (the more I think about it the more I like it).  It runs at the Eccles Theatre through June 16 (go here for tickets).