The Great Gatsby on Broadway

When I saw Jeremy Jordan in concert earlier this year, he performed "For Her" from his forthcoming musical The Great Gatsby and I loved the song so much I decided then and there that I wanted to see it!  Since I was already going to be in New York for Hold on to Me Darling, I got a ticket for Saturday night and I considered seeing Jeremy Jordan as the cherry on top of an epic day!  Unfortunately, Jay Gatsby was being performed by the understudy that night but, even though I was a bit disappointed, I still really loved the show.  The musical is based on the novel of the same name by F. Scott Fitzgerald and tells the story of how an eccentric and mysterious self-made millionaire named Jay Gatsby (Austin Colby) attempts to rekindle a romance with his former lover Daisy Buchanan (Eva Noblezada) by throwing lavish parties to get her attention.  It is narrated by Gatsby's neighbor and Daisy's cousin Nick Carraway (Alex Prakken) as he becomes more and more disillusioned by the careless behavior of Daisy, her husband Tom (John Zdrojeski), and her friend Jordan Baker (Samantha Pauley) which leads to tragedy (there were so many audible gasps at the conclusion it made me wonder how many people in the audience had read the book).  The musical emphasizes the romance between Nick and Jordan a lot more than in the book and the role of Meyer Wolfsheim (Eric Anderson), who engages in bootlegging with Gatsby, is expanded and includes interactions with George Wilson (Charlie Pollack).  In addition to "For Her," which is my favorite song from the show, I also really liked "My Green Light," when Gatsby and Daisy find each other again, "Past is Catching Up to Me," as Gatsby tries to recreate a party he once attended with Daisy, and "Beautiful Little Fool," where Daisy hopes her daughter will only aspire to be a rich man's wife.  The dancing in "Roaring On," "New Money," and "La Dee Dah With You" is absolutely spectacular and I loved the dazzling costumes and opulent sets (the costumes and sets reminded me of Baz Luhrmann's 2013 movie).  I was also really impressed by all of the effects used in the party scenes and the use of real period cars.  Colby, Prakken, and Pauley are fantastic but Noblezada absolutely blew me away, especially in "For Better or Worse" and "Beautiful Little Fool."  There are some comedic elements, particularly in "The Met" and "Only Tea," that didn't really work for me and create some wild tonal shifts but I enjoyed this show and would definitely recommend it (I'm sure there will be a touring production eventually).

Hold on to Me Darling Off-Broadway

Adam Driver has been my favorite actor ever since I saw Kylo Ren remove his helmet in The Force Awakens and it has long been a dream of mine to see him perform on stage.  When I heard that he would be in a play called Hold on to Me Darling by Kenneth Lonergan (he wrote Manchester by the Sea which is a favorite of mine) at the Lucille Lortel Theatre for a limited engagement this fall, I really wanted to go but I didn't do anything about it and every show sold out very quickly.  I was disappointed to be missing out so I kept randomly checking the website and, when I saw that some isolated single tickets had been released for a few shows, I found a date that would work for me and bought one.  I was able to get a flight and a hotel for a good price (the stars definitely aligned for this trip) so I left for New York last Friday and I had the best time!  I saw a matinee of the play on Saturday and I was on the fourth row!  I let out an audible sigh when Driver first appeared on stage (I was struck by how much he dwarfed the other actors on stage with him) and the three cute ladies sitting by me thought that was hilarious!  Driver plays Clarence "Strings" McCrane,  a country music star who is in the middle of an existential crisis brought on by the sudden death of his disapproving mother.  In an attempt to finally make her proud of him he decides to move back to his hometown in Tennessee, open a feed store with his estranged brother Duke (CJ Wilson), get married to his current fling Nancy (Heather Burns), and hopefully start a family.  His plans go awry when his notoriety disrupts life in his small hometown, when he is sued for dropping out of his current movie production and his upcoming world tour, when Nancy decides she would rather be married to a global superstar than the owner of a feed store, when he becomes reacquainted with his distant cousin Essie (Adelaide Clemons), and when someone (Frank Wood) from his past suddenly appears.  I really enjoyed the story because it is both funny and very moving with an interesting take on the price of fame and how it distorts one's view of one's self.  Driver is amazing in a role that requires sexy charisma one moment (he really delivers here!) and petulant narcissism the next with an emotional reckoning at the end that blew me, and my audience, away.  I also loved seeing him play the guitar (and get undressed *ahem*).  The rest of the cast is also outstanding (but it was sometimes hard for me to take my eyes off Driver because he has such a compelling stage presence) and I loved the rotating set, which consists of a funeral parlor, various hotel rooms, assorted living rooms, and a feed store, because it makes great use of the small stage.  I am still on a high from seeing this show and I am so glad that I was able to go!

Note:  Driver doesn't come to the stage door for matinees so I wasn't able to interact with him.  It was amazing just to see him perform so I wasn't too disappointed and, honestly, it was probably for the best because I'm sure I would have hyperventilated!

Memoir of a Snail

The second movie in my double feature at the Broadway last night was Memoir of a Snail and I was surprised by how often I laughed out loud during a movie that is so melancholy.  After the death of her eccentric friend Pinky (Jacki Weaver), Grace (Sarah Snook) releases her favorite snail into Pinky's garden and begins telling it her life story.  She has a series of misadventures, the worst of which is when she and her twin brother Gilbert (Kodi Smit-McPhee) are separated after the death of their parents and she is sent to live with a pair of swingers in Canberra while he is sent to live with members of a religious cult in Perth.  As her life becomes bleaker and bleaker, she retreats into herself just like the snails she obsessively collects hide inside their shells.  It is only when she receives a posthumous letter from Pinky that she finds the courage to come out of her shell and begin living her life (after so much trauma there is a happy ending).  I really loved the stop-motion animation because the style (all of the characters look like blobs of clay with exaggerated features) really suits the dark themes while providing so much comedy (I was laughing so hard I couldn't breathe when Grace gets a perm).  I also loved the voice cast, especially when Magda Szubanski and Bernie Clifford (who play Gilbert's abusive foster parents) speak gibberish during their religious ceremonies.  The humor is incredibly dry and I loved it whenever I would notice something hilarious seemingly hidden on the screen (pay attention to everything, especially the names of books and what is written on all of the signs) and the messages are poignant (my favorite one is that kindness will eventually be repaid).  This strange little movie is one of my favorites this year and I highly recommend it!

Blitz

I had another double feature at the Broadway last night and I started with Blitz because I am a huge fan of Saoirse Ronan.  I have heard this criticized for being too episodic with themes that are introduced but never explored fully but that is why I like it because it is a slice-of-life portrait of the people the two main protagonists encounter, many of whom are often underrepresented, while trying to survive the Blitz.  Rita (Ronan) is a single mother of a biracial nine-year-old boy named George (Elliott Heffernan) who works at a munitions factory and lives with her father Gerald (Paul Weller) in east London.  She makes the difficult decision to evacuate George to the countryside for his safety and tearfully puts him on a train.  However, he doesn't want to leave her and jumps off the train at the first opportunity and then finds himself lost in London.  George undertakes the journey to get back home, experiencing both adventure and terror, while Rita does whatever she can to find him.  I really loved George's encounter with an air-raid warden originally from Nigeria named Ife (Benjamin Clementine) because not only does he help George find safety but he also helps him find his identity.  I also loved Rita's interactions with a firefighter named Jack (Harris Dickinson) who helps her search for George because he represents the spirit of community during dark times.  It was fascinating to see events portrayed through a different lens because I never knew about the looting that occurred after buildings were damaged (it seems obvious to me now) nor did I know that people were denied access to underground stations during the bombings (almost every other movie about the Blitz depicts people sheltering there).  The action sequences are absolutely visceral, especially the opening scene of firefighters trying to control a blaze, and the camera work is incredibly immersive, particularly the closing scene when the camera pulls back from Rita and George to reveal the devastation all around them. Ronan gives a very affecting performance (she also does a great job singing) but I was really impressed by Heffernan because he is captivating.  I really liked this and highly recommend it.

Heretic

The second movie in my double feature at the Broadway last night was Heretic and to say that I was excited to see it would be an understatement.  It is deeply unsettling but I found it very entertaining (for reasons).  Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are missionaries for the Church of Jesus Christ of Latter-Day Saints who are invited in to give their message to Mr. Reed (Hugh Grant).  They are initially hesitant because the rules stipulate that they cannot be alone with a man without a woman present but they are told by Reed that his wife is there baking a blueberry pie and are reassured when they smell it baking.  They begin a discussion with him but soon become uncomfortable when he mentions some problematic points of doctrine.  When Sister Barnes realizes that the smell of the blueberry pie is coming from a candle, they try to leave only to discover that Reed has locked them inside.  Thus begins a terrifying cat-and-mouse game in which Reed forces them to examine their beliefs.  This is psychological horror at its best and I found Reed's thesis that all religions are just iterations of the same idea to be fascinating (the use of "The Air That I Breathe" by the Hollies and "Creep" by Radiohead to prove his point is brilliant) and his assertion that belief is really a surrender of control is disconcerting (to say the least) because it is so true.  The production design (I loved all of the religious iconography), lighting design, and sound design are all incredibly atmospheric and the cinematography emphasizes the claustrophobia.  Grant is so menacing as Reed because he is playing against type (I am really enjoying his villain era) and delivers the most disturbing monologues with his usual charm and charisma.  Thatcher and East also give outstanding performances because their escalating dread is entirely believable.  Watching this with a crowd in Utah was absolutely wild and I highly recommend it.