"Fair is foul, and foul is fair."
- The Three Witches, Macbeth
Corey Stoll in Macbeth. Photo: Joan Marcus.
What did Erin think?
Macbeth is a play that can easily get out of hand. Witches, murders, and a semi-psychotic title character can quickly devolve into a blood bath starring a raging tyrant, with a side show of Satanic rituals.
But that's not the approach John Doyle takes in directing Classic Stage Company's Macbeth. Starring Corey Stoll and Nadia Bowers, the production remains grounded and thoughtful even in its most dramatic moments. Subtly powerful, it's a play about the duality of human nature and the fragility of virtue, emphasizing the uncanny within rather than the supernatural without.
Rather than a raging tyrant, or perhaps in spite of being a raging tyrant, Corey Stoll's Macbeth somehow preserves a shred of humanity and civility right up to the end. From his dilemma over killing Duncan to his realization of his coming defeat at the hands of Macduff, each step in his descent toward ruin occurs so naturally that we might miss it if we're not paying attention.
Yet the difference between his character at the beginning and at the end is staggering. After his brutal string of murders--Malcolm, Banquo, Macduff's wife and children--Macbeth has very nearly lost his humanity entirely. And yet, there's still something deeply intriguing and even likable about him. At the height of his corruption, he sits on the floor and quietly speaks the famous "tomorrow and tomorrow and tomorrow," in tones that suggest immense suffering and pathos.
Nadia Bowers' Lady Macbeth is the perfect counterpoint to her husband: ambitious at whatever cost, but clear-headed enough to play the game with more subtlety--and to know when to stop. Her lines are sharpened to a razor point (and often cut her husband), but always delivered with such presence of mind that it's clear this woman knows exactly what she's doing. Of course, this sharpness and presence of mind make her mad scene all the more striking.
The costumes (plain black clothing and gray tartans) and set (a simple wooden stage with a huge throne) suggest a timeless setting and a story that could happen in any period of the earth's history. Like Stoll's sensitive portrayal of Macbeth, the simplicity of the set and costumes eliminates any distractions, pointing us again and again to what's actually happening before our eyes: a shattering of the fragile divide between sanity and madness, virtue and depravity, ambition and perversion.
Even the three weird sisters melt into the crowd, with the role played by the entire company (minus Macbeth) speaking in unison. Perhaps their semi-absence suggests that we don't need occult powers to spur us on in committing atrocities--we're perfectly capable of spurring on ourselves.
Meanwhile, that Macbeth is an almost likable tyrant forces us to question what we think we know of good and evil, who we are prepared to offer our sympathy to, and what hidden demons lurk inside our own selves: simply waiting for the right opportunity to make an appearance.
Subject to availability, CSC also offers $30 rush tickets one hour before the performance (and $20 student rush tickets with an ID), in person at the box office. Limit is one ticket per person.
How long is it?
1 hour and 40 minutes without an intermission.
What else do I need to know?
Macbeth runs from October 10 to December 15.
Is it appropriate for all ages?
It's Macbeth. That being said, while it is violent, there's very little blood, and no sex or nudity.
Hello demigods! To celebrate The Lightning Thief Musical's Broadway opening, I'm going to attempt to post something Lightning Thief-related every other Friday for the remainder of its Broadway run. Some of it will be old content, some new.
To start us off, here's an album review I wrote of The Lightning Thief Musical's Off-Broadway Cast Album for StageBuddy.com, back in 2017:
Once upon a time, there was a book that everybody loved. A short time later, this book got turned into a movie which everybody hated. Finally, the book got turned into an Off-Broadway musical which everybody loved, and everyone lived happily ever after (except that no one could ever quite forget that terrible movie).
The book is The Lightning Thief: Book 1 in the Percy Jackson and the Olympians series by Rick Riordan. The Musical is The Lightning Thief: The Percy Jackson Musical. The movie is best left unidentified.
Percy Jackson fans can rest assured that The Lightning Thief is the Percy Jackson adaptation they've been looking for. With a plot that follows closely the original story-line, all the sass and humor from Riordan's book, and a score that's electrifying (pun intended), The Lightning Thief: The Percy Jackson Musical delivers. And if you didn't get the chance to see it Off-Broadway before it closed, now you can experience the show through the newly released soundtrack, which captures all the humor, heart, and havoc of the play.
If you're looking for a quick listen-through or trying to decide whether or not to buy it (the answer is yes), here's StageBuddy's pick of the Top 5 songs from The Lightning Thief Original Cast Recording:
1. My Grand Plan
Also known as the song when Annabeth Chase (a.k.a. Kristen Stokes) totally steals the show, this song is so catchy you may just find yourself singing it in your sleep. But you'll never sing it as well as Kristen Stokes. Her voice oscillates from soaring pop vocals to beautifully tender notes that perfectly express her character's depth. A daughter of Athena, Annabeth "has always been a smart girl" but times are tough for demigods (offspring of a god and a human), and the poor girl always seems to slip under the radar (it doesn't help that her mom gave her a hat that makes you invisible). Despite that, Annabeth just knows that someday, she's going to make herself noticed. You may find yourself thinking of Idina Menzel when her voice gets up into that high register. But I think this song holds its own and then some in a stand-off with "Defying Gravity."
2. Good Kid
"Good Kid" is Percy's theme song. He'd like to be a good kid, and gods does he try, but for some reason, things never seem to work out the way he intends. Strangely enough, his "angsty" song is one of the most fun in the show, with a great electric guitar part and strong percussion. (You might find yourself singing this one in your sleep, too.) It's also a great song because it perfectly describes through music Percy's inner conflict and climactic turning point: all he needs "is one last chance to prove I'm good enough for someone." Oh yeah, and Chris McCarrell rocks this song.
3. Drive
This song is just so fun, it's impossible to leave off our list. To their own surprise more than anyone else's, our trio of heroes (Percy, Annabeth, and Grover - the latter performed wonderfully by George Salazar) "keep surviving every creepy, crazy thing" as they travel towards Los Angeles in search of the Underworld. The lyrics are hilariously clever, and the chorus is insanely catchy. ("Driiiive, just dri-i-ive....")
4. Put You in Your Place
Clarisse's song (daughter of Ares, god of war), "Put You in Your Place" highlights Sarah Beth Pfeifer's incredible sass -- "Your goose is cooked, I'm here to cook it" being just one of the lines she delivers to a popping melodic score. Kristen Stokes also features with some pretty crazy vocals, so what's not to love? We've got two awesome heroines (/singers) battling each other musically. And, not to be overlooked, the orchestra is also pretty great in this song.
5. Bring on the Monsters
The show's finale song raises the electricity in the room by about ten notches. Featuring the whole Lightning Thief Company (Carrie Compere has a brief but awesome solo), and a reprise of just about every song in the show thus far (see how many you can count), this song is all but impossible to stop listening to. The harmonies are on point. It's also a great self-motivator ("bring on the monsters, bring on the real world"). And let's hope that when Chris McCarrell sings, "I'll be back next summer," he means more than just Percy's return to Camp Half-Blood the following year. (Sea of Monsters Musical, anyone???)
Holds record for show Erin has rushed the most times
Broadway rush tickets are quite possibly the best thing to ever happen to poor, starving students and artists trying to live their dreams in New York City.
Most Broadway shows offer discounted tickets to people who show up at the box office early on the day of the performance. These tickets generally range from $29 to $49 in price, though there are always outliers. (Dear Evan Hansen is $69).
That may still seem pricey, but for a Broadway ticket, it's dang good. Especially since these are often prime seats that simply haven't sold yet.
So what's the catch?
There is one, and it's this: you have to wake up early.
Most starving artists are probably not fans of waking up early. I'm not. But Broadway is worth it.
How early do you have to wake up?
It depends.
If you can, it's best to go in the middle of the week, especially on days when there's a double performance (thereby doubling your chances of obtaining rush tickets). It's worth checking out the show's calendar on their site to see which days have both matinee and evening performances. Usually, it's Wednesday.
This is where students, freelancers, and part-timers have an advantage: you can go on a weekday morning when most people are at work. If you go on a Saturday or Sunday, you can still get tickets, but you'll want to plan on getting there even earlier than you would on a weekday.
On weekdays, most Broadway box offices open at 10 AM. If you want to be safe, I'd suggest arriving before 6 AM. I've done that before and been fifth in line or less. The people who end up being first usually get there around 4:30 AM. Yikes.
After 7 or 8 AM, the lines start getting pretty long.
But the thing about Broadway rush lines is, they vary
A really popular show like Hadestown or Dear Evan Hansen might be all but impossible to get rush tickets for unless you camp out the night before, while a show that's under the radar, or has been running for forever, might be easy to get rush tickets to even if you show up at 8 AM.
(I once walked up to the box office for Miss Saigon a few hours before the performance and bought a $49 rush ticket in the center orchestra.)
This is why I swear by the BroadwayWorld.com message boards when it comes to formulating your rush ticket battle strategy. Usually I just google what I'm looking for, like "Dear Evan Hansen rush tickets" for example, and click on the result that comes from the BroadwayWorld.com Message Board. But you could also search within the message boards themselves.
BroadwayWorld message boards are where it's at
These message boards are where good, angelic souls tell exactly what day and time they got in line and whether or not they got a rush ticket. Make sure you find the most recent messages, because rush lines can fluctuate over time. Dear Evan Hansen started out as a show you could get rush tickets for pretty reasonably, then it became something you had to camp out for, and I'm guessing now that the show has been running for a while and Ben Platt has left, the lines have died down--at least somewhat.
That's another thing to consider: if there's a big name actor or actress in a show, it's probably going to be harder to get rush tickets (meaning, you'll have to wake up earlier). I shudder to think what the rush line is like for Betrayal starring Tom Hiddleston.
You get 2 tickets per person (usually)
99% of shows will let you get 2 rush tickets per person. (Hadestown is the exception.) This means you can endear yourself forever to your friend by waking up at 4 AM and getting them a rush ticket.
Or you can really impress someone. Like if someone got up at 4 AM to get me rush tickets to Hamilton, I'd know they loved me.
Incidentally, you'd probably have to get up at 1 AM the day before to score Hamilton rush tickets, but the point is irrelevant because there are no Hamilton rush tickets. And that brings up another point.
Not every show offers rush tickets, but some offer other options
You can usually find out on a show's website whether they give out rush tickets or not, and you can also find out where the box office is located (usually it's inside the theatre where the show is playing).
You'll notice that a lot of shows offer other ticket options as well as/instead of rush tickets.
Many shows offer standing room only (SRO) tickets. If a show is sold out and has no more seats to sell, they'll sell standing these tickets, and yes, if you buy them, you'll be standing the whole time. But if you're a short person like me, this is actually about the best thing that could happen to you. I've done two SRO shows, and for the first time in my life, I could see over everyone's heads!
Then again, there are certain shows like Phantom of the Opera where you don't want to do standing room because you won't be able to see the whole stage from where you're standing. Again, refer to the BroadwayWorld message boards for this information.
A lot of shows also do digital lotteries, but that's a topic for another post. In a nutshell, you enter online ahead of time and then find out the day of if you've won cheap tickets or not.
While we're on the subject of cheap tickets, the first most invaluable webpage ever created is Broadway for Broke People, which lists every Broadway show and its cheap ticket options.
One more thing.
Here's how to survive the rush line
Once you get past the hurdles of waking up early, navigating the subway system while half your brain is still asleep, and recovering from the shock you feel at seeing an empty Times Square (pro-tourist tip: no one visits Times Square between 4 and 5 AM), you've still got to wait for about 4 to 5 hours for that box office to open. So come prepared.
Bring something to sit on. A chair is ideal, but if you don't have that, bring a blanket, a towel, a yoga mat, anything. Otherwise you'll spend hours suffering leg and back cramps while you resist the urge to sit down on the dirty New York sidewalk.
Bring snacks and drinks. You're going to get thirsty. And hungry.
Bring something to do. Because you'll be sitting there for a looooong time.
Bring a phone charger if you have one. My battery tends to die after several hours.
Bring a sweater. You may not know this, but it's cold at 5 AM.
All this may sound like a lot of trouble, pain, and agony, but when you're sitting in your $30 or so orchestra seat, watching the curtain rise and the lights come on as the music starts up--you'll be glad you took the trouble.
Proof that I rushed Miss Saigon (and it was glorious)
That's about it. Now go to bed right now so you can arise and seize those rush tickets!
Ted Bushman and Leslie Hobson in Theodore in the Valley
What did Erin think?
"In wildness is the preservation of the world" (Henry David Thoreau).
That's something I had cause to remember after watching Ted Bushman's delightful new folk musical Theodore in the Valley, directed by Taylor Hatch. Performed outdoors at Fort Tryon Park, and featuring a small acoustic ensemble (guitars, violin, trumpet, and cello), the show chronicles the early life of Theodore Roosevelt, 26th U.S. President and founder of America's National Parks.
Theodore, or "Teddy," begins life as a sickly, asthmatic boy who nevertheless loves the outdoors and collects plants and animals for his "museum." At his father's encouragement, Teddy is determined to overcome his physical shortcomings through strenuous exercise, working so hard his doctor fears it will kill him. But Teddy persists, and eventually overcomes all odds to become the fearless, energetic man most of us today associate with Teddy Roosevelt. Of course, that's not the whole story: along the way there's love, heartbreak, and plenty of wildness.
From hunting buffalo in the Badlands, to exploring the Western frontier, to camping in Yosemite with John Muir (who narrates the musical), Teddy turns to nature throughout his life--at first, seeking adventure and self-discovery; later, when the storms of life have buffeted him, in search of emotional healing.
But it's not simply nature--it's the wild--great open spaces and rugged, empty land in which Teddy says he feels a sort of loneliness. If he does, it's a loneliness he seems to seek again and again. Finally, as President of the U.S., Teddy creates the National Park system to preserve these wild spaces for future generations.
The cast and musicians of Theodore in the Valley
The ensemble cast performs with exuberance and grace, most playing multiple roles but delineating each character so clearly that no distracting costume changes are needed. Leslie Hobson gives an especially beautiful performance as the three main women in Teddy's life: his mother, first wife Alice Lee, and second wife Edith Carow. Despite playing all three women (and in one song, alternating between two), Hobson endues each with a distinct personality and charm.
In the title role, Ted Bushman brings Theodore Roosevelt to life: balancing the man's hyperactivity and pensiveness, showing the force of his determination and the paralysis of his despair. In fact, Roosevelt emerges as somewhat larger than life. His spirit seems stronger, his love of life greater than that of the average man. He breaks his arm while horseback riding, then, with his arm in a sling, goes to a dance with his future wife.
But even as the larger than life hero of American conservationism, Roosevelt remains deeply human, and his struggles past weakness, disappointment, and heartache strike a powerful chord.
Powerful chords are also struck in the score: at times joyous, haunting, lyrical, and stirring. The music, like the rest of the show, is gentle, eloquent, yet forceful. All in all, Theodore in the Valley exudes a folksy, earthy quality that finds its natural home in, well, nature. As Teddy discovers time and again when he seeks healing in the great outdoors, communion with nature yields a fruitful harvest--much like this exuberant, charming musical.
There are few places on earth I love more than the Metropolitan Opera.
It's those huge glass windows, catching the lights of the city like an artistic reflection of reality. It's the grand staircase, covered in red velvet. It's that breathtaking chandelier, spilling refracted starlight on the opera-goers as they mingle and murmur, waiting for the doors to open. It's the majestic sweep of the curtain as it rises, revealing that historic stage decadently outfitted with a jaw-dropping set.
But most of all, it's the music: the violins, the flutes, the drums, the voices. Puccini, Verdi, Wagner, Glass--whatever your style, there's something here for you.
Oh, wait, you've never been to the opera?
OK let's start over.
At the intersection of Columbus and 63rd Street in mid-town Manhattan is this place called Lincoln Center for the Performing Arts. It's a plaza on which stand several performance spaces that play host to groups like The New York Philharmonic, The American Ballet Academy, and The Metropolitan Opera (the Met for short). There's also a Broadway theatre and the Julliard School.
But it's the Opera House that commands the space, and you may recognize it--along with the fountain out front--from any of a number of iconic films set in New York City.
If you have seen those movies, you might think of the Metropolitan Opera as a place for the rich and famous.
Well that's bull-crap: the opera is for everyone.
If you've never been to the opera, you should go. Not just for the world-class musicianship or the jaw-dropping sets--attending the Metropolitan Opera is an experience.
But it can be a little intimidating. Tickets can be pricey, and there are so many seats to choose from. Then there's the question of what to wear, which operas to attend, etc.
So if you're a first time opera-goer, or a potential first-time opera-goer, here are answers to some questions you might have about attending the Metropolitan Opera.
One of my 5 million photos of the iconic Met chandelier
How much are tickets?
You're probably thinking, "Opera tickets? Yeah, like I can afford those." But unless you're completely destitute, you probably can.
Of course, if you're rolling in dough, you can buy prime seats for about $450. But if you're like the rest of us, you can get a ticket for $30, $80, $100, and so on.
If you're under 40, you can and should take advantage of the Met's Fridays Under 40 program. All Friday performances offer discounted tickets to those aged 40 and under. That means you could be paying $80 for a $400 seat.
Certain performances, like galas or opening nights, will have more expensive seats available. So if you're struggling to find those $30 seats, try a different performance night.
Speaking of seats, where should I sit?
Let's say you have unlimited funds. Where should you sit for the optimal Met experience?
To answer this question, we need to explore the overly complicated beast that is the Met seating situation.
As you can probably guess, I did not take this picture
There are six sections in which you can sit, starting with the Orchestra on the ground floor. This is a good place to sit if you want to be close to the action, especially if you can finagle a seat in the front and center. But that will cost you. A lot.
If you sit more in the back and toward the side, you can find some pretty decent seats at affordable prices. I sat here for the entire Ring Cycle and had a great view.
My view for the Ring Cycle, from the side Orchestra
Above the Orchestra are the Parterre Boxes. This is where the privileged people sit so they don't have to mingle with the peasants. Personally, I don't think these seats offer views much better than the Orchestra (below) or the Grand Tier (above) but they do have coat service.
Above the Parterre is the Grand Tier. This is my seating section of choice, if you can afford it. The prices are nothing to scoff at, but they're about what you'd pay for a really good Broadway ticket to a show that's not crazily expensive. To date, I've sat in this section once: to see Tosca starring Anna Netrebko. Itwas an almost sacred experience.
My view for Tosca, from the Parterre
Next is the Dress Circle. You can sit in the front row here and not do too bad either, for a little less than you'd pay in the Grand Tier. And if you sit further back, you'll pay less still.
But the economical people will sit in the Balcony or the Family Circle. As long as you don't get a partial view seat (and the Met's website will tell you which ones are partial view), you can still see the whole stage and all of the action. You'll be far away, but the acoustics are still great and you'll hear the music fine.
The Balcony has $85 to $100 seats, and the Family Circle is where you'll find the $30 seats.
Don't buy the partial view seats. Yes, they're cheaper, but it's not worth it. The opera sets are amazing, and you'll want to see the whole thing.
The view from the cheap seats (Family Circle)
What should I wear?
In the old days (by which I mean the 19th century), you'd brush off your opera gown, pull on your elbow-high gloves, and step up into your carriage to attend the dazzling spectacle of the opera, along with everyone who was anyone in society.
These days, you can pretty much wear whatever. I'd advise against jeans and a t-shirt, but no one's going to kick you out if you're wearing that. You'll see opera-goers dressed in everything from evening gowns to casual skirts, slacks, and leggings, so as long as you're just a little dressy, you'll be fine.
You can even check out this Instagram page to see what the cool kids are wearing to the Met.
Matinee or evening show?
I've gone to matinees before and they're fine, but it's not the same experience as when you go at night and the chandeliers are all lit up. So if it's your first time going to the opera, I'd strongly recommend going in the evening.
Is there an intermission?
Usually, there are several. And they are looooooong. This means you have more than enough time to use the bathroom, visit the powder room (IDK, is that a thing?), browse the exorbitantly over-priced Met Shop, and even purchase food and drink should you so desire. But if you're like me, you'll probably spend most of intermission wandering around the lobby in a dazed state, taking 5 million photos of the chandelier.
Which opera should I see?
Now we're talking! The 2019/2020 Met Opera season has something to offer everyone, from the casual music-lover to the seasoned opera-goer.
For everyone
If you don't know much about opera, you can't go wrong with La Boheme. I will probably plug La Boheme about 50 more times before this post is through, but the truth is, there's a reason the Met has been doing it every single season for the past 40 years. It's the world's favorite opera.
Not only does it feature some of the most famous arias ever written, it takes place on Franco Zeffirelli's breathtaking set which is about as classic Met as you can get. The characters are fun and easy to relate to, and the production is charming. Plus, it's not one of those operas where you'll have time to get bored, because it's not that long and it moves pretty quickly. If 19th century Bohemian Paris is your thing, you will love La Boheme. If it's not, you'll probably love it anyway. And yes, you will cry, but it will be a good cry.
La Boheme at the Metropolitan Opera
If you want an opera that's a bit more of a thrill-ride, you can't go wrong with Tosca. Also by Puccini, the composer of La Boheme, it's a roller coaster of an opera that begins with an escaped political prisoner seeking asylum in a church and ends with a firing squad on a rooftop. The main players are a rebellious artist, a beautiful singer, and a corrupt, lustful policeman. There's also murder. Basically, it's the best. Plus, Anna Netrebko stars in this season's production and she is worth seeing.
Another great opera for first-timers is La Traviata. You might recognize the famous drinking song in the first act, and you'll probably end up shipping the young dreamer Alfredo and the beautiful courtesan Violetta pretty hard. Too bad fate keeps pulling them apart and Violetta is dying of consumption. Sound familiar? Yeah, it's basically Moulin Rouge. If you can swing going to one of the performances when Vittorio Grigolo stars, do it.
For princess and fairytale lovers
Another fun opera this season is La Cenerentola. It's Cinderella, so you should be able to follow the story pretty easily. And it (probably) won't make you cry.
For Pirates of the Caribbean fans
If you're a fan of ghostly pirate ships (who isn't?), you might like Der Fliegende Hollander(German for The Flying Dutchman). It's Wagner, which isn't everyone's thing, but it's got some epic, ocean-inspired music and it's about ghost pirates, so what's not to love?
For Shakespeare nerds
Shakespeare fan? Good news! The Met is doing Macbeth this year, and it stars the aforementioned Anna Netrebko. Again, I'm telling you: she is a force of nature, so if you have the opportunity to see her live, you should take advantage.
For Japanese aficionados and/or fans of Miss Saigon
If you're into the Japan vibe, Madama Butterfly is another opera that features gorgeous, wildly famous arias and a sob-worthy love story. A simple yet poignant opera about a young geisha who falls head over heels for an American naval officer, it's also the inspiration for Miss Saigon.
For Mozart enthusiasts
Le Nozze di Figaro(The Marriage of Figaro)is super famous and has this really fantastic aria that you'll probably recognize:
It's a fun, classic opera that you'll love more if you already know and love Mozart, but even if you don't, it's a good one. And you won't leave the opera house in tears.
For kids (or kids at heart)
Then, there's The Magic Flute. Every year around Christmas time, the Met stages a two-hour, English language version of Mozart's The Magic Flute that families are welcome to attend. The production features giant puppets and colorful costumes, and is definitely a fun one to go to if you want to dip your toes into opera without diving in headfirst. It's also great for fairytale lovers.
But wait... the other operas aren't in English? How will I know what they're saying???
Never fear, my friend: there are subtitles. And reading subtitles while watching an opera isn't as hard as it sounds, mainly because a lot of operas repeat the same line over and over again.
But if you prefer your theatre in English, you might want to try Porgy and Bess, which features soulful music by the Gershwins. This is where I admit that I know practically nothing about Porgy and Bess, but I do know that it has that song "Summertime," which is a serious jam:
OK, I think I'm ready for the opera.
Heck yeah, you are.
So grab your opera glasses (JK, does anyone actually have those?) and get yourself down to Lincoln Center.
Be sure to let me know if you love the Metropolitan Opera as much as I do.
What can I say? I love the Ring Cycle.
Wait, one more question because I'm a huge fangirl/boy/person: is there a stage door?
Oh yes, my friend, there is, and it's one of the Met's best kept secrets. It's way more chill than Broadway stage doors, and there's not even a barricade, so you can get right up close and personal with the performers (but please be polite).
You might be best off just asking an usher to direct you to the stage door, because finding it can be a little tricky. Go out into the lobby and down the escalator by the Met Shop, then go through two sets of white double doors and turn left. It's in a parking lot, and you should see a small sign telling you that this is in fact the Metropolitan Opera stage door. There will probably be a small crowd. Bring a pen.
After I saw Gotterdammerung--the final opera in Wagner's four-part, epicly epic Ring Cycle--I went to the stage door and got my playbill signed by several cast members, talked to the conductor, and took a picture with Brunhilde. Dreams do come true.
Me and Christine Goerke, who sang Brunhilde in the Met's 2019 Ring Cycle
"The greatest thing you'll ever learn is just to love and be loved in return."
- Christian, Moulin Rouge
What did Erin think?
I might get some flack for this, but I'm not a huge fan of Moulin Rouge the movie. There are things I admire about it, and in general I like Baz Luhrmann and his film style, but for some reason the movie just failed to win me over.
So why did I buy a ticket for the new musical? (It certainly wasn't easy and it certainly wasn't cheap.)
Two words: Aaron Tveit.
Happily, where the movie failed to impress, the musical bowled me over.
For one thing, this cast is dynamite. As Christian, Aaron Tveit's acting is flawless--from the moment he lifts his arms to start the opening number, to his final bow at the end. He and Karen Olivo (Satine) are a stage couple for the ages, and both can sing absolutely anything. Of course, Danny Burstein, as Harold Zidler, always commands any stage he appears on, and the rest of the ensemble are likewise wonderful.
Karen Olivo and Aaron Tveit
For another thing, the stagecraft of this musical, directed by Alex Timbers, is pure magic. Everything--set changes, costumes, choreography (by the ingenious Sonya Tayeh), lighting, and orchestrations are all perfectly attuned to create the most jaw-dropping spectacle possible. The show's aesthetic blends turn-of-the-century can-can dresses with a Met Gala vibe--and the only place that could actually work is at the Moulin Rouge.
For example, Satine makes her first appearance on that famous glittering swing, as Nicole Kidman does in the movie. But watching this on a screen is one thing; watching Karen Olivo descend from the ceiling and break into song while perched on a diamond-studded swing in mid-air is quite another.
Many of the movie's fanciful scenes seem meant for the stage, such as the love songs sequence (Aaron Tveit hanging off the Eiffel Tower with an umbrella a la Singing in the Rain was never something I knew I needed). Another kicker is the absinthe scene: awash with glowing green accents and dramatic lighting.
It's a show full of glamorous, sparkling fireworks (metaphorical and literal)--all calculated to dazzle. I didn't cry over the tragic love story; I cried during the opening number because it was so splendid.
Moulin Rouge has been adapted and updated for the stage, incorporating new pop songs and an altered script (the book is by John Logan), though the main characters and core of the story are still the same. In my opinion, these changes improve the story: making for more complex and compelling characters, smoother scenes, and greater emotional appeal.
I'm a little fatigued with the current movie-to-stage trend dominating Broadway, but Moulin Rouge is the exception: a movie that practically begs to be made into a stage musical and that succeeds much more completely on stage than it did on screen. If at this late hour you can score a ticket to what may be the hottest show currently on Broadway, get yourself down to the Moulin Rouge ASAP. I don't think you'll regret it.
Look. At. This. Set.
How can I get cheap tickets?
Um... pray? Seriously, tickets are notoriously pricey. If you've got money, it's probably worth it. If you don't, there is a lottery. I haven't heard anything about a rush policy.
Where should I sit?
So I sat in the "cheap" seats (and by cheap I mean they'd be expensive seats for most other shows), and had a fine view. There are cabaret seats down by the stage but I can't even imagine how much those cost. I'd say you're probably fine anywhere that's not a partial view seat. You're going to want to see the whole stage.
How long is it?
Two hours and 35 minutes with one intermission.
What else do I need to know?
If you've never seen the movie, you may not know that this is the ultimate jukebox musical. The score is adapted from pre-existing pop songs, with a catalog that includes Elton John and Katy Perry. If you think that sounds lame, you're in the same boat that I was before I watched Aaron Tveit and Karen Olivo blow the top off just about every song that's ever been sung.
Is is appropriate for all ages?
It's actually surprisingly tame, especially compared to the movie. There's no nudity and very little swearing. Then again, the whole premise is that Satine is a courtesan who's engaged by a wealthy duke but is at the same time having an illicit affair with the impoverished artist Christian, so your kids might have questions. Also, there's absinthe. I'd say it's PG-13.
Where's the stagedoor and who comes out?
The stagedoor is to the right of the entrance, by the big iron gate. There will be a crowd there so you shouldn't have trouble finding it. I went to a matinee performance and only two actors came out afterward. One was the girl that played Nini and the other was an ensemble member. They were both very nice.
"Mine is a rebel sword when I am required to do ill."
- D'Artagnan, The Man in the Iron Mask
What did Erin think?
One of my favorite movies is The Man in the Iron Mask (1998, starring Leonard DiCaprio). Really, it has everything a good story needs: larger than life characters, a thrilling plot full of intrigue and adventure, enduring romance and bromance, and so many sword fights.
One of my favorite books is The Three Musketeers, and like a good fan, I've read all the D'Artagnan Romances. When I read the last book in the series--which is The Man in the Iron Mask--I was surprised at how drastically different it is from the movie I knew and loved. (In brief, no happy ending.)
So it was with great interest, hope, and a bit of trepidation that I went to see Hudson Warehouse's new adaptation of The Man in the Iron Mask. How would they adapt it? Would they simply throw Dumas' novel to the wind, much like the movie did? Or would they be stubbornly faithful to a story that ends in a very unsatisfying way?
I needn't have feared: playwright Susane Lee clearly knows what she's doing.
Directed by Nicholas Martin-Smith, this production stays true to the spirit of Dumas' story and pays homage to many of its most memorable moments while giving us the happy ending we crave. Would Dumas approve? I don't know: but in this post-modern age, does anyone really care?
An excellent cast makes a good adaptation great. This one hinges on Daniel Yaiullo: playing both King Louis XIV and (spoiler) his brother Philippe. It's a double role to test any actor--balancing the selfish, narcissistic King Louis and the humble, golden-hearted Philippe--and Yaiullo nails it.
The famous four musketeers are, in a word, perfect. Conor Hamill is a swashbuckling D'Artagnan and Joseph Hamel an endearing Athos, while Nicholas Martin-Smith and David Palmer Brown seem to have been born to play Aramis and Porthos, respectively. Elle Rigg plays Louisa de la Valliere as a once-innocent country girl who knows she's being bad but likes it, and Matthew Palumbo is heartbreaking as Raoul, Athos' ill-fated son.
This story may end quite differently from the original novel, but with just the right blend of witty banter, swordplay, and intrigue, and with such devotion to Dumas' famous characters, the play almost feels like it was written by Dumas himself.
This world premiere of TheMan in the Iron Mask marks the climax of what Hudson Warehouse began in 2017 with The Three Musketeers (also adapted by Susane Lee). 2018 saw The Three Musketeers: Twenty Years Later, and this summer sees the final installment of Lee's D'Artagnan Romances trilogy. I find myself wishing I'd seen the last two, which simply weren't on my radar, and wondering if Hudson Warehouse could be persuaded to run all three productions in repertory.
If not, we'll apparently get The Count of Monte Cristo next summer, and that's enough cause for celebration.
How can I get tickets?
You don't need them! This production is free, but you may want to show up 15 to 30 minutes early to get a good seat. Afterward, they'll pass around a collection bucket, so bring some cash--this cast deserves it!
How long is it?
90 minutes with no intermission.
What else do I need to know?
The Man in the Iron Mask runs July 4 through July 28, Thursday through Sunday evenings at 6:30. Performances take place on the North Patio of The Soldiers' and Sailors' Monument in Riverside Park at West 89th St and Riverside Dr.
Hudson Warehouse's summer season also includes The Merry Wives of Windsor in August.
Is it appropriate for all ages?
Yeah. I mean there's talk of people cheating on other people, but surprisingly, it all stays pretty PG. People die, of course, but there's no blood shown.
