Tag Archives: Passing Strange

Chekhov under an open sky

Ivanov (Rob Campbell) dances on the water of Lake Lucille in the magical conclusion to Chekhov's Ivanov. (Photos copyright 2010, Steven P. Marsh)

Lake Lucille echoed with the sounds of stagecraft for five days last week as a company of 60 actors, musicians and various other theater professionals put together a free, outdoor production of Ivanov, by Anton Chekhov, performed from a new translation by Curt Columbus.

This production of Chekhov on Lake Lucille was particularly welcomed because it marked the return of a neighborhood tradition. The annual run was broken last summer when host-producers Melissa Kievman and Brian Mertes moved to the West Coast for personal and professional reasons. But they kept their wonderful brownstone house — which is the centerpiece of the set for each Chekhov production — and managed to return this summer with a bigger-than-ever performance and neighborhood cookout and potluck supper at intermission.

Melissa Kievman, Brian Mertes and the band.

You could call it summer camp for theater professionals. Most of the volunteer staff spent the week living in tents, eating meals alfresco in the neighborhood and working to create a context for Chekhov’s drama in the suburban landscape of the Lake Lucille neighborhood.

It drew hundreds of guests to enjoy the creative staging under clear skies with moderate summer temperatures.

Dozens of neighbors and local businesses provided support for an undertaking that costs thousands of dollars. This year, the West Branch Conservation Association, Rockland’s Land Trust, helped produce the play with a grant obtained by the office of Assemblyman Kenneth P. Zebrowski and the late state Sen. Thomas P. Morahan. The Tisch East Alumni Council help with a microgrant for costuming.

The production uses the natural features. Here Ivanov makes an entrance from the lake itself.

Ivanov emerges, dripping wet.

Ivanov walks through the audience toward the stage.

As is often the case in Chekhov, the characters complain of boredom.

But Jesse J. Perez, who played Kosikh, choreographed some great routines to keep things interesting:

Check out more photos after the jump.

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Celebrate the 4th of July with Stew and Dan Zanes

Dan Zanes.

Stew, of The Negro Problem and Passing Strange, has a lot on his plate these days, what with a new Shakespeare score being performed in Connecticut right now, a couple of musicals in the pipeline and some concert appearances. All of that is in the news section on the left side of Stew’s homepage.

Heidi Rodewald and Stew. (Copyright 2009, Steven P. Marsh)

For all the Stew completists who read Will You Miss Me When I’m Gone?, tomorrow is the most important upcoming date. Stew is one of the “special guests” at the FREE Dan Zanes Jam & Jubilee, The Battery 4th of July Concert and Family Festival, presented by River To River in Battery Park.

Gates open at 1 p.m., with festivities kicking off an hour later. You can spend the day in Battery Park, dancing to the rhythms of La Cumbiamba eNeYe and singing along to Dan’s brand of Broadway classics! In addition to Stew, guests include spoken word poet Caridad De La Luz (La Bruja) and Joan Osborn.

You can even participate in the fun, as musicians of all ages are invited to perform 76 Trombones in a spectacular 4th of July Parade! You can download the sheet music and get detailed information on the festival website.

It should be a blast!

Victor Williams is Othello in the Shakespeare on the Sound production, with songs and music by Stew and Heidi Rodewald.

Meanwhile, if you haven’t been to Connecticut to see Othello, directed by Joanna Settle with songs and music by Stew and his longtime partner Heidi Rodewald, there’s still time.

Shakespeare on the Sound‘s Othello is performed outdoors at 7:30 nightly (except Monday) through July 11 at Baldwin Park, 100 Arch St., in Greenwich, Conn. While Stew and Heidi don’t perform live, you’ll get the full impact of their work on the recorded backing tracks and live singing by the actors. Last year Stew scored A Midsummer Night’s Dream for SotS, and is was fantastic.

Seating is on the ground around the stage, so be sure to bring blankets or low chairs (nothing that would block the view of people seated behind you) for comfort. Or if you want to go first class, you can fork over a $50 donation for a reserved seat in on of SotS’s chairs.

And why not arrive early and turn it into dinner theater! It’s a great spot for a picnic before the show. There is a concession stand selling decent food and beverages, including wine and beer.

Admission is by donation. You could walk through the gate without paying a dime, but that just wouldn’t be right. Show your support for Stew and Heidi by dropping a donation at the gate. $20 per person is suggested, but more or less is just fine.

nically free, but donations are expected at the gae.

The park is right on the Long Island Sound and within walking distance of the Metro-North station. It’s a beautiful setting, easily accessible from NYC. Click here for transit info.

Stew, Heidi and The Negro Problem in world premiere at BAM

Heidi Rodewald and Stew, creators of Broadway's Passing Strange, return to the stage this October. (Copyright 2009, Steven P. Marsh)

Stew and Heidi Rodewald, the creators of Broadway’s cult favorite Passing Strange, and this season’s Making It at St. Ann’s Warehouse will be back on the boards this fall with a show as part of the Brooklyn Academy of Music’s Next Wave Festival.

Stew in "Making It" at St. Ann's Warehouse in February. (Copyright 2010, Steven P. Marsh)

The show, called Brooklyn Omnibus, is billed as a 75-minute song cycle about the borough that Stew calls his part-time home (his girlfriend and their child live there) and where Heidi seems to have settled full-time. It’s scheduled to run Oct. 20-23.

Interestingly, the performers are listed as “Stew & The Negro Problem,” which could signal a return to form for the longtime collaborators. They’ve billed most of their band efforts in recent years as The Broadway Problem, or some other — I daresay more politically correct — variation on their original band name.

Stay tuned for more details!

The new Stew review, comin’ right at you!

Stew in his breakup show, "Making It," at St. Ann's Warehouse on Feb. 21. (Copyright 2010, Steven P. Marsh)

I avoided reading reviews of Stew and Heidi Rodewald‘s new show, Making It, playing  at St. Ann’s Warehouse through tomorrow night. I wanted to go to tonight’s show with fresh, unsullied eyes, ears and mind.

But somehow I just couldn’t resist. And then, once I read the pan by Jon Caramanica, I just knew Stew had to have had something to say about it on his blog. Stew goes in fits and starts, but recently he’s been taking to the blog to set the record straight about inaccuracies in things that have been written about his work. And boy, he didn’t disappoint with his response to Caramanica. He wrote  a highly entertaining, deliciously acerbic post that you can read for yourself by clicking here. (One inaccuracy that Stew didn’t correct in The New York Times review is the tagline that said  the show “continues through Sunday,” it has another performance tomorrow (Monday) night. Has the Times‘ fact-checking  department been eliminated?)

Bottom line here, is that everybody’s entitled to an opinion. But I couldn’t disagree with Caramanica more. Stew’s response may have been rather, ummm, emotional (understandably), but he’s still right. I don’t know what Caramanica was seeing the night he reviewed the show, but he must not have seen the show I saw tonight.

Sure, Making It is not Passing Strange. But it doesn’t pretend to be. It’s a document of a breakup — somewhat fictionalized, like every good work of art— presented in the form of a staged concert. And it rocks!

If you want to see this show, you are probably out of luck. The last show is tomorrow (Monday, Feb. 22) night, and as of a couple of minutes ago, there were only three seats left, priced at $78 apiece. But don’t take my word for it, check out the St. Ann’s Warehouse  web site. If you do get to see it, you’ll be glad you made the effort. It is an amazing show.

Stew sez: The Negro Problem is touring this fall!

Stew and Heidi perform as The Broadway Problem at Lincoln Center Out of Doors last summer. (Copyright 2009, Steven P. Marsh)

Deep in his critique of the New York Magazine‘s piece about his upcoming show Making It, composer and bon vivant Stew lets drop a little bomb that is sure to please his fans, especially those outside of New York City: “The Negro Problem will be on tour this Fall.”

Stew, is that a promise? Or a tease? Let’s hope it’s the former.

Some form of The Negro Problem —  with Stew and Heidi Rodewald at the core but under names like The Broadway Problem — has played around NYC in the last year. But fans elsewhere have had to rely on the movie version of Passing Strange (on the big screen, on PBS, On Deman, or on DVD) to get anything resembling a TNP fix. So this is nothing but good news.

More on Making It, which begins its six-show run at St. Ann’s Warehouse in Dumbo, Brooklyn on Feb. 17, will follow. I just wanted to get this tidbit on the table.

In the Heights headed to the silver screen

Lin-Manuel Miranda (center, wearing cap), who created and composed In the Heights, is set to reprise his starring role as Usnavi in the big-screen version.

The New York-themed hit Broadway musical In the Heights will follow in the cinematic footsteps of its contemporary, Passing Strange, with a film adaptation.

The Hollywood Reporter says the movie will be directed by Kenny Ortega, the director of the High School Musical movies and Michael Jackson’s This Is It. No dates have been announced.

Lin-Manuel Miranda, who created and composed the show about three days in the lives of neighbors in NYC’s Washington Heights section, is starring and producing the movie. Quiara Alegria Hudes, who wrote the book for the musical, is writing the script. Lin-Manuel originated the starring role of Usnavi in the off-Broadway production, and opened in the show when it transferred to Broadway.

In keeping with a trend on Broadway, a movie star — Corbin Bleu of High School Musical — is set to take over the show’s starring role starting Jan. 25.

In the Heights was nominated for 13 Tony awards in 2008, and won for best new musical. Passing Strange got seven 2008 Tony nods, and won best book of a musical.

This is just the latest parallel between theatrical classmates Heights and PS, both of which were staged off-Broadway to great acclaim in 2007 and transferred to Broadway in 2008. NYC-themed Heights won the East Coast-West Coast battle against PS, which tells the story of a black man growing up in Los Angeles. Heights, which had its first Broadway performance a week after Passing Strange transferred, remains open, while PS closed on July 20, 2008, after 186 performances during a six-month run.

Director Spike Lee, a Strange Freak (a term used to describe the most devoted Passing Strange fans), filmed the final performances of PS. His film — a relatively low-buget record of the stage show with few grand cinematic tricks — was released earlier this year. The Heights movie is being billed as an “adaptation,” which suggests a slicker, big-budget project complete with location shots. Heights struck me from Day One as an updated West Side Story, and this approach to making the film seems likely to underscore the comparison.

Monday night at Joe’s Pub: Clearly a Passing Strange family gathering

You can see the intensity in Paul Oakley Stovall's eyes.

Thanksgiving is a time when families come together. But this year, the Monday night after Thanksgiving is family day for Strange Freaks — people who love Passing Strange, its creators, its cast, and all the people inextricably linked to each other through the fantastic musical and movie. Monday night is when Joe’s Pub at NYC’s Public Theater turns into Strange Freaks Central with shows involving Stew, Colman Domingo and special guests during two shows that evening.

First there’s a performance of Clear, a new musical experience by Paul Oakley Stovall. Paul is the tall, striking young NYC-based singer who linked up with the Passing Strange crew during auditions for the show.

He’s an amazingly talented singer, who’s been heard before at Joe’s Pub, most memorably  on a bill with PS creators Stew and Heidi Rodewald and PS cast members. His show-in-the works, Clear, is the latest offspring of  PS, since Stew wrote some of the music. (Paul also has a day job working for the Obama administration. For a revealing interview with Paul in The Advocate, click here.)

Clear is being billed as an “opera poem” that will take you from the South Side of Chicago to the rooftops of Stockholm, from an ER in Minneapolis to the Blue Mosque in Istanbul.  Paul wrote the book and lyrics, and collaborated with  Stew, Tom Kitt and others on the music. It’s produced by Steve and Ruth Hendel.

It is directed by Krissy Vanderwarker.

The  cast features Joshua Kobak, Yassmin Alers, Chris Anderson and Brad Simmons.

Check out a track from the show on the Joe’s Pub web site.  It sounds like a winner to me. Click here to listen.

Here’s Paul’s take on the piece, from an interview by Tonya Pinkins:

Clear was inspired by a piece I was working on about Bayard Rustin. Google him folks. He’s too deep to summarize. Stew and I wrote some great music. That piece went in a different direction (and we are still working on it together) but I had all these songs about a strong Black man, who was gay, passionate, political and, among many other things, a survivor. I began to rework lyrics, pull some songs from my other songwriting ventures and collaborators and create this semi-autobiographical piece about our universal human desire to rise out of our self-created fogs and live a life that is CLEAR. It will be told in a very unique way. Sort of mix between Sandra Bernhardt, Passing Strange, and Mario Cantone’s Laugh Whore. Structured, but freewheeling. And I’ve got the most amazing people on stage with me. So, I’m very much looking forward to finding out how people respond to this “pop poem opera” as I am starting to call it.

Clear, a concert reading. 7:30 pm on Monday, Nov. 30, at Joe’s Pub, 425 Lafayette Street, Manhattan. Tickets, available here, are $20.

Colman Domingo is celebrating his 40th birthday with a performace at Joe's Pub on Monday night.

Then, at 9:30, right after Clear, the amazing Colman Domingo, to whom regular readers of this blog need no introduction, will flex his musical and thespian muscles in a show that celebrates his 40th birthday (which actually falls on Saturday). Colman promises lots of special guests and surprises. Proceeds will benefit Save the Children.

I’ll let Colman explain the deal to you in his own words. And if you don’t recognize the names he drops, you just haven’t been paying attention. I’m guessing that Paul and his crew are likely to stick around for this one:
Celebrate my 40th Birthday with me at Joe’s Pub on November 30th. Anika, De’Adre, Eisa, Ari, Daniel, Jon and more will perform with me. Together we will sponsor children in need this year. That would be a great gift. Buy your ticket today.
Colman Domingo’s BIG ASS 40th Birthday Party, 7:30 pm on Monday, Nov. 30, at Joe’s Pub, 425 Lafayette Street, Manhattan. Tickets, available here, are $20.

Finally! Passing Strange the movie gets Bay Area screenings

Passing Strange movie banner

It’s about time!

Spike Lee‘s fantastic cinematic version of the rock musical Passing Strange is hitting the big screens of two Landmark movie theaters in the San Francisco Bay Area this Friday. Since the musical was developed in part at Berkeley Repertory Theatre, it’s only fitting that the movie (which is available everywhere on cable TV video-on-demand services) gets a theatrical run there.

The one-week run starts Friday, Oct. 2, at the Embarcadero in San Francisco and the Shattuck in Berkeley. If you’re in the area, please do yourself a favor and check it out. You won’t be disappointed. It’s been getting rave reviews but is dependent on word of mouth to attract an audience. Please do your part!

Here’s Passing Strange creator Stew‘s thoughts:

PS MOVIE – BAY AREA – STARTING FRIDAY OCT. 2ND – ONE WEEK ONLY

THE THEATERS ARE: SHATTUCK (BERKELEY)
&
EMBARCADERO (SF)

both for one week only.

Rebecca Jones, who is in American Idiot currently @ BerkRep,
will be the Queen of Berkeley that week, as she’ll be starring
down the street from herself.

I could give the big speech right now about why you have to tell
all your friends to see it and see it soon since its only there for one
week, but its 3:14am here in Berlin and I need to sleep.

basically, there ain’t no advert money going into this thing and the killer
review
in the Chronicle already happened AND our kick-ass trailer CANNOT be shown
in these 2 theaters cuz they don’t do digital trailers. I guess IFC never
thought
we’d need a non-digital trailer. What-ev.

This is known in the bizz as a COLD OPENING.
Sounds like a date I once had in Helsinki…
anyway…

The only cure for a cold opening is word of mouth
or what people today call email blasts. We’re going
to need all the help we can get. Frankly, IFC should have
opened this thing in the Bay while the press love was flowing.
But don’t get me started.

See it on the big screen while you can, Bay Area peeps.
See it before we digitally edit in a french shower scene.
See it right after American Idiot.

peace,
/s

Colman Domingo’s gonna put a little soul in your stroll

Colman Domingo

Colman Domingo

The audience is still buzzing and people are still finding their seats when Colman Domingo emerges from the wings of Manhattan’s Vineyard Theatre and begins flipping through crates of old vinyl records. The stage is littered with 12-inch discs in their cardboard sleeves. Piles of albums even seem to form the supports of the apron of the stage.

Colman sits and ponders, listens to the strains of sweet soul music, looks out at the crowd, sees some heads bobbing to the beat and smiles knowingly. Soul music is, after all, called that because it’s good for the soul.

Then Colman hoists his tall, sculpted frame onto the stage and heads onto the stage, dressed sparsely with more crates of albums, a component stereo system — complete with a record changer — and a barstool, set against a backdrop of rickety basement stairs and the detritus of urban life found belowstairs of many a house.

As he moves onstage, the lights go down and the music goes up. And the crowd grows quiet — even though it won’t stay that way for long.

Welcome to A Boy and His Soul, a tale of growing up black and gay in West Philadelphia in the late 1970s. It’s Colman’s very personal, very moving and very musical tale. Coleman, who works with his childhood nickname “J.J.” (which his sister will turn into “Gay Gay” before the final curtain), portrays multiple characters. He flows from J. J. to his mother, his stepdad, his sister, his brother and more — with deft changes of posture, facial expression and tone.

With little apparent effort, he manages to transport the audience to another world, all supported by a seamless soundtrack of soul music — Smokey Robinson, Earth, Wind and Fire, Luther Vandross, Aretha Franklin and many, many more.

This is the same Colman Domingo who made such a powerful impression in Passing Strange in its off-Broadway and Broadway incarnations. From this show you can see clearly that Colman’s Passing Strange characters were thoroughly informed by his forthright, warm personality. Yes, he’s acting in Boy, portraying a character, but he’s playing himself.

The heartwarming, very real show is filled with love and loss and will make you laugh and cry — often simultaneously. It will put a little soul in your stroll n matter what your age, sex or ethnicity.

Colman has graduated from the orange Adidas track suit he wore in previous versions of Boy in San Francisco and at NYC's Joe's Pub.

Colman has traded in this orange Adidas track suit for a spiffy patchwork blazer. But the louver-fronted wood entertainment center, with its old-school record changer, survived.

Click here to read Colman’s story of the inspiration for his show. And check out this revealing interview in The New York Times.

The house wan’t quite sold out when I saw it on Sunday. But it should have been. And with any luck it will sell out and run well beyond it’s announced closing date of Oct. 18.

Tickets are $55, and every seat in this house is good. But through this Thurday, Sept. 24, you can get seats for $35 by using the discount code TM35SOUL online or over the phone at (212) 353-0303.

Passing Strange gets another week on screen at IFC

poster_passingstrangeGood news: If you haven’t seen Spike Lee‘s movie version of the fantastic rock musical Passing Strange on the big screen yet — or if you want to see it again  — you have another week to do just that. The run at the IFC Center in the Village has been extended another week.

Stew, who wrote the show with partner-in-art Heidi Rodewald, urged fans during early screenings to encourage their friends to see the movie, hinting that the announced two-week run could easily be extended if response was good. It looks like he was right. There were long lines of fans waiting to get into many of the prime shows, and now IFC has given it another week, through Sept. 8.

This movie is awesome. And while you can always catch it via on-demand cable or wait until it airs on PBS next year, there’s nothing like seeing it in a theater, surrounded by other people. The group experience adds to the impact of the movie. Don’t miss it!