Theater: Parade; Maybe Happy Ending

from Atlanta to Seoul

By happenstance, I saw two theatrical productions in three days, Parade and  Many Happy Ending.

The musical won the 2023 Tony Award®  for Best Revival of a Musical and was nominated for a Grammy Award® for Best Musical Theater Album.

Katherine Kiessling of the Times Union wrote, “The heart of the show is assigned to Leo and his wife Lucille, played by Max Chernin and Talia Suskauer. The pair is charged with embracing the Franks’ rough edges—his aloofness and her initial desires to cling to her privileged life and flee the hardships of her husband’s trial—and eliciting empathy.”

Variety asked about the 2023 revival: “Will audiences take to a disturbing but captivating musical that deals with racism, antisemitism, and injustice?” Newspapers superimposed on the stage area ensure the audience knows the outcome before the production begins.

It’s very well done and important. While having a downer of an arc, it’s not all depressing, and it was worthwhile. My wife and I attended the January 11 program. It will be touring throughout the country through September 7. 

Made in Korea

Two days later, my daughter and I were in Manhattan working on a project. We contacted one of my nieces and her Significant Other. They secured four rush tickets for Maybe Happy Endings at the Belasco Theatre for January 13. The show opened on November 12.

“Inside a one-room apartment in the heart of Seoul, Oliver (Darren Criss, probably best known from Glee) lives a happily quiet life, listening to jazz records and caring for his favorite plant…

“When his fellow Helper-Bot neighbor Claire (Helen J. Shen) asks to borrow his charger, what starts as an awkward encounter leads to a unique friendship, a surprising adventure, and maybe even…love?”

The Will Aronson and Hue Park musical reminds us that “love is never obsolete.” It was delightful, not just because of the storyline, dialogue (“She’s a 5” was particularly funny), songs, and performances, which included lounge singer Gil Brentley (Dez Duron) and James and others (Marcus Choi).

Maybe Happy Ending uses specially made video projections, plus a fantastic physical space. “The musical exists in the relatively constrained spaces of the Helperbot retirement home, but there are also a series of flashbacks to Oliver’s time working with James in his house and Claire’s time working for her owner. Then, when the two robots eventually leave their apartments, there’s an entirely new landscape and horizon to contend with. And all of this takes place in a single unbroken act…”
Technology
Laffrey’s solution was to create a “machine that moved us through this world.” He used a “giant mechanism that encompasses the whole stage and fills it with moving pieces. For most of the show, the audience’s view is comprised of one or two boxes, one for each of the robot’s rooms—those boxes can slide horizontally, meaning there’s occasionally a single room and, more often, two side-by-side. The stage also has a central turntable, upon which some sets (James’ house, for instance) rotate.

“Simultaneously, Laffrey designed four huge black panels trimmed with neon. These panels, which are positioned in front of the stage where a curtain would be, slide up and down and side-to-side in order to act like a camera lens’s iris, opening wide to show the whole stage or narrowing to focus on a single piece of action. It’s a tool that occasionally makes the musical feel more like cinema than theater—the audience is seemingly viewing the play through a giant lens.”

A Korean-language version of Maybe Happy Ending opened in Seoul in 2016, and its English-language premiere was in Atlanta the following year. The show was very enjoyable, though sitting in the fourth row of the balcony, I had difficulty seeing some limited action in front of the stage.

MJ, as in Michael Jackson

jukebox musical

My wife and I went to Proctors Theatre on Wednesday, December 4th, to see the touring company of the Broadway musical MJ. We had planned to attend the following weekend, but a more intriguing offer arose.

I thought it was funny when several dancers were working out on stage, and some people behind us complained. “Why are they stretching now?  Why didn’t  they do that backstage?” They didn’t recognize that this was part of the actual show, as I had suspected. “Five minutes before Michael!”

It isn’t easy to separate the show from what one already knows about Michael Jackson, and I know a lot. The trick about these so-called jukebox musicals is that you can’t just have a whole string of songs together in a “then he sang” order.

For instance, I thought Michael’s mother Katherine, who was supportive without being harsh, was involved in one of the early great performances, singing I’ll Be There with Little Mike and contemporary Michael.  Here’s a guide to the songs.

It’s like the 1992 Dangerous concert that MJ and his troupe were preparing for. You have to have a narrative flow. Michael was an artist with a vision who never wanted to hear “No.” Everything had to be bigger and better, even when it didn’t make sense financially.

A different Joe Jackson

The production made much of this, rooted in his never-satisfied father, Joe, who pushed his sons to form what became the Jackson 5. He could see that Michael had the greatest potential for success. Joe was a failed musician who put his dreams aside in favor of factory work and raising a family of nine. He was living through Michael, and he could be brutal to his son. You can’t live on your laurels.

The MTV reporter who hung out around the rehearsal intimated some of the rumors about Michael sleeping in a hyperbaric chamber, getting plastic surgery, and bleaching his skin. Michael mostly sidesteps them.

Possibly the most interesting feature is that the same actor plays the guy playing his father and the guy playing his manager, and sometimes, they blend together in Michael’s mind.

Ultimately, I think it was a decent musical, although I thought the first half of the Lynn Nottage script was much stronger than the second.

I was reading someone’s comment that the main character (Jamaal Fields-Green) occasionally disappeared. Many interviews I’ve heard featured that high-pitch, fairly monotone vocal pattern.

I enjoyed the show for what it was, though I was happy that songs were unfamiliar to some of the audience so I could experience the performers. The MJ tour continues through August 2025.

Mildly off-topic: Unreleased Michael Jackson Tracks Discovered in Abandoned Storage Unit

Black Theatre Troupe of Upstate New York (BTTUNY)

Eclipsed

On June 21, 2021, it was announced that the Black Theatre Troupe of Upstate New York (BTTUNY) will be a Resident Community Company at Capital Repertory Theatre (theREP) (251 N. Pearl Street).

“For eleven years of programming, [BTTUNY] (formerly named Soul Rebel Performance Troupe) has had no permanent performance space, which necessitated an ongoing search for venue availability for every show the company produced. With dedicated headquarters in Capital Repertory Theatre for their upcoming productions, Founding Artistic Director Jean-Remy Monnay states, ‘…it is very exciting to know that BTTUNY has a secure home base for all of our shows this season and into the future. To know that we can plan a full season of work because we don’t have to worry about ‘where’ the next production will take place, is just so wonderful. With this residency, BTTUNY can grow. Our programming can grow, and so can our audience base.'”

This is way cool. My wife and I have spent a fair amount of time in the “new” CapRep building. For the past few Octobers, it has hosted the Readers Theatre fundraiser for Wizard’s Wardrobe, an afterschool tutoring service in Albany’s South End . 

Support

“In addition to providing space on both of their new stages (the Lauren and Harold Iselin Studio and the theatre’s Main Stage) – Capital Repertory Theatre (and the Proctors Collaborative) will provide some support to BTTUNY such as ticketing, marketing, and development support, and some production support as outlined in the agreement between BTTUNY and the Proctors Collaborative. However, BTTUNY remains its own company. All programming and decisions for BTTUNY remain in the hands of Monnay and his board of directors.”

Part of that ticketing support this year included offering season ticket holders of Cap Rep and Proctor’s Theatre in Schenectady – this year, we took both! – complementary Try Me tickets. The Proctors Collaborative, including the Universal Preservation Hall in Saratoga Springs, uses this method to promote programs that might not have as much visibility. BTW, I’ve never been to UPH and need to rectify that. 

 On the list of Try Me tickets was a BTTUNY production of Berta, Berta. What’s that? From playwright Angelina’ Cheri’s website: “After committing an unforgivable crime, Leroy is granted one final wish: a chance to make amends with his long-lost lover Berta. Their reunion swells from a quarrelsome conjuring of the past to an impassioned plot to escape their impending fate.

Song

“The play is inspired by the prison chain gang song ‘Berta, Berta’, which originated on Parchman Farm, Mississippi State Penitentiary. It is a fictional origin story.”

The CapRep /BTTUNY description is slightly different. To my mind, it’s more accurate:  “Set in 1920s Mississippi, ‘Berta, Berta’ tells the story of Leroy, a Black man sent to jail for following a White woman down the street to help her–a supposed crime that never existed. Prison changes him, and upon getting out, he finds himself to be a true criminal. Before giving himself back up to the police, however, he is determined to make amends with his long-lost girlfriend, Berta. The play highlights themes of doomed love, tragic misunderstandings, a flawed and biased prison system and magical realism.”

Review

The review in the Berkshire Eagle by J. Peter Bergman is spot on. “On director Michael A. Lake’s three-room set, Sadrina Renee and Alvin Kershaw play their story with grace and passion and their very professional abilities. You can’t help falling in love with these troubled people as they live through their traumas and their needs…

“This is a play like no other I have seen, and I have seen a lot of plays in my lifetime. There is rarely a moment when the two players are still, and those are all utterly romantic. Lake has kept Berta as active as a person could be at two in the morning. Leroy, on the other hand, facing disgrace and arrest, is as calm a human being as possible, an amazing feat of control. The way in which he responds to her would make him as fidgety as Berta, but instead, his calm is sometimes chilling.”

The play’s short run ended in October, but BTTUNY will be performing more programs this season. Valley Song by Athol Fugard will be at Hubbard Hall in Cambridge, NY, about an hour from Albany, on November 15-17 and 22-24.

They will perform Once On This Island on CapRep’s main stage from February 6 to 16, 2025. I saw this show at Proctors in 2020, just before the pandemic.   

The final BTTUNY performance of the 2024-25 season will be Eclipsed by Danai Gurira from May 29 to June 8 in TheRep’s Iselin Studio. Based on the quality of Berta, Berta, I imagine these will be fine performances. 

Rebel Without A Cause; SIX

Divorced, beheaded, survived

I haven’t attended enough cultural/entertainment events for my tastes of late. While I did go to the reopening of the Spectrum Theatre on April 24, I haven’t been able to get there since, and I want to soon.

I saw Rebel Without A Cause, the first James Dean movie I ever viewed.  Experienced with a 21st-century lens, Jim Stark (Dean) seems less a rebel than, in the words of ScreenRant, “a troubled youth struggling to find his place in a society he sees as hypocritical and devoid of meaning.”

Indeed, it is the high school clique that almost immediately scorns him without much provocation who are at least as broken as he. The knife fight between Jim and Buzz (Corey Allen), a few years before West Side Story, is said to reflect the “social pressures of male teenagers.”

Surely, Jim is frustrated by his ineffectual father Frank (Jim Backus), who allows Jim’s mother Carol (Ann Doran) to uproot the family at the first sign of difficulty.

Control

Jim’s one male friend, Plato (Sal Mineo), is a real outsider, abandoned by his parents, needing “to assert some control over a world in which he feels powerless and invisible.”

Jim’s classmate Judy (Natalie Wood, later in West Side Story) evolves from her disregard for Jim as her classmates did, while missing her old relationship with her father (William Hopper from Perry Mason), to Jim and Judy becoming surrogate parents to Plato.

Indie Wire makes the case that Plato is the first gay teenager on film while avoiding getting stopped by the restrictive Hays Code

It’s an interesting slice of life, with Ray (Edward Platt from Get Smart), the cop specializing in dealing with youth a sympathetic character. Even if it is “overwrought and cloyingly melodramatic,” I still appreciated the chance to see it on the big screen.

Famously, the three leads all died too soon. In a gallery of Lost Photos From a Legendary Hollywood Archive, Dean is captured just a month before he died in a car crash at the age of 24 on 9/30/55, even before the film premiered. Natalie Wood drowned at sea in 1981 at the age of 43. And Sal Mineo was murdered in 1976 at the age of 37.

Divorced, beheaded, died…

SIX, which my wife, daughter, and I saw at Proctors Theatre in Schenectady I don’t think is that compelling a book. I had listened to the music beforehand. But for what it is, it does the thing extremely well. It was an 80-minute rock show with a sextet of Henry VIII’s queens.

The Times Union review by Katherine Kiess is about right. “Styled as a ‘Renaissance Idol’ belt-off…they compete in a glamor-coated trauma Olympics to see whose marriage was the worst.”

You can tell it was a rock show because they namechecked “Schenectady!” a half dozen times before the “LED wall panels and cathedral windows that become everything from a church confessional to a dating app screen.”

The four-piece band, the Ladies In Waiting, cooked.  And the singers were excellent. So it’s perhaps not great theater but, as the Los Angeles Times noted, it is “unapologetically revisionist. That’s why it’s successful.” And entertaining enough.

The Beach Boys in Schenectady 11/17

When We Were Kings

I recently noticed that The Beach Boys will be in Schenectady at Proctors Theatre on Sunday, November 17, 2023, at 3 pm. While I am not planning to attend, it renewed that long-time debate about the legitimacy of that band, or ultimately any band, to use the name.

Yes, I understand that Mike Love has the legal right to the group name. But the last Beach Boys album I bought was 2012’s That’s Why God Made the Radio. It featured Love, Brian Wilson, Al Jardine (all original members), David Marks (who replaced Jardine briefly early on), and Bruce Johnston (a long-time member who replaced Brian on the road early on.) That group’s tour was presented on the album Live: The 50th Anniversary Tour in 2013.

These guys, with Brian, Mike, and Al, are the Beach Boys, to my mind.

That’s Why God Made The Radio – the Beach Boys Bandsintown notes the band members as Love, Ricky Fataar, Marks, Blondie Chaplin, Carl Wilson, Dennis Wilson, Brian Wilson, Jardine, and Johnston, all of whom were in the group at one point, although Dennis and Carl are deceased.

The Proctors site notes: ” The Beach Boys are led by Mike Love, who, along with longtime member Bruce Johnston, musical director Brian Eichenberger, Christian Love, Tim Bonhomme, Jon Bolton, Keith Hubacher, Randy Leago, and John Wedemeyer, continue the legacy of the iconic band.” 

Others

I guess the Rolling Stones, without the late Charlie Watts but with the Glimmer Twins and long-timer Ronnie Wood, are. Wait, Bill Wyman is on the new album Hackney Diamonds!

Angry – the Rolling Stones

But Paul and Ringo, reportedly also playing on the Stones’ album, couldn’t front their old group. When people speculated about Lennon, Harrison, and Starr playing with Billy Preston and Klaus Voorrman, they wouldn’t have been accepted as the Beatles.

Real Love – The Beatles

The Who are Daltrey and Townshend? I guess so.

All This Music Must Fade – the Who

I’ve long insisted that The Temptations are a lineage group. David Ruffin replaced Elbridge Bryant, Dennis Edwards replaced Ruffin, Ricky Owens then Damon Harris replaced Eddie Kendrick, et al. When Otis Williams, the remaining original member, retires, it’ll still be The Temptations, unless the group ends. Otis and the estate of Melvin Franklin control the group. Oddly, I think of them like the Mormon Tabernacle Choir. Or maybe Menudo.

When We Were Kings – The Temptations

It appears that any group with Chrissie Hynde can be The Pretenders, with or without co-founder Martin Chambers.

A Love – the Pretenders

Frankie Valli has a quartet that might as well be Spring, Summer, Autumn, and Winter.

What are your criteria for whether a group is still “the group”?

Ramblin' with Roger
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