Category Archives: Theater

Colman’s Big-Ass 40th Birthday!

Colman Domingo does the dance of the flaming pastry with De'Adre Aziza, Soara-Joye Ross and Eisa Davis. (Photos copyright 20009, Steven P. Marsh)

Actor Colman Domingo‘s birthday is Nov. 28. He celebrated at home with some close friends.

Colman channeling Maya Angelou.

Two nights later, on Nov. 30, he turned Joe’s Pub into a reasonable facsimile of his living room two nights later when he threw Colman Domingo’s BIG ASS 40th Birthday Party for his friends, family and fans. It was an evening of irresistible fun.

The stage was filled with singing and stories from Colman’s varied acting career, some from Passing Strange (De’Adre Aziza, Eisa Davis and musical director Jon Spurney) and others, including Ari Gold, Marva Hicks, Soara-Joye Ross and director Charles Randolph Wright, from other acting ventures.

Colman, who is one of the sweetest and most genuinely real actors I know, was touched by the audience’s enthusiasm. And he was thrilled to donate the evening’s proceeds to the Save the Children charity.

If you missed it, nothing I can write here could really recreate the moment, so just sit back and enjoy lots more photos after the jump.

Colman, De'Adre, Eisa, Ari, Marva and Neil Totton join voices.

Continue reading

In the Clear

Paul Oakley Stovall and Joshua Kobak share a moment in Clear.

It’s been a very busy time, with so many great shows that I’ve been swamped. But one of the best things I’ve seen this season is Paul Oakley Stovall‘s autobio-musical Clear, which was performed in a developmental reading at Joe’s Pub in NYC on Monday, Nov. 30. Even in its unfinished form, Clear kept the audience enthralled with a beautifully told tale of the struggle of life.

Paul Oakley Stovall onstage at Joe's Pub.

Paul, a well-established singer, actor and playwright who has a day job working for the Obama administration, has written a show that anyone familiar with Passing Strange will find quite familiar. It’s the story of a black misfit’s journey through life. Though in this case, the central character also is gay.

The show starts with a flashback to 1991, when Paul’s character was recovering he was shot in a case of mistaken identity in Minneapolis and is left temporarily crippled. It jumps around in time, tracing Paul’s journey of personal development — he admits he told his parents he as gay by writing them a letter — at home in Chicago, and in Stockholm, where he found he love of his life.

Clear comes across as unadulterated autobiography. That was underscored by the fact that at least one of Paul’s lovers portrayed in the show was actually in the audience for the show. Paul introduced him to fans backstage after the show.

The cast of Clear at Joe's Pub.

The links to Passing Strange (Paul met the creators of that show during auditions and has remained a part of the PS family) are more than coincidental. Stew, who wrote PS with Heidi Rodewald, composed some of the music for Paul’s show. The music was quite polished and on target. While there were touches of trademark Stew stylings, the overall effect, luckily, stayed well away from rock-heave sonic world of Passing Strange. As a result, Clear skilfully avoided becoming a Passing Strange clone. (But Paul was afraid of underscoring the PS connection by  having actor Yassmin Alers make a direct reference to that show: “A wise man once said, ‘Your mother’s love might seem insane…'” The line drew knowing laughs from the Strange Freaks in the room!)

Paul is quite a talented artist. I’m sure Clear will return on a bigger stage soon. Don’t miss it when that happens.

Paul Oakley Stovall, George Farmer and Yassmin Alers.

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.

Jay-Z, Will Smith and Jada Pinkett Smith join Team Fela!

Jada Pinkett Smith and Will Smith

Jay-Z

It’s official! Rap-world entrepreneur Shawn “Jay-Z” Carter and Hollywood actors Will Smith and wife Jada Pinkett Smith are stepping up to support Fela! The A-listers now have their names over the title of this thrilling Broadway musical after joining the team as producers. They’ll also attend the opening night performance next Monday.

I saw this intense musical in previews last night, more than a year after seeing it twice in its off-Broadway incarnation. The show has made a very successful transfer to the Great White Way. The music is strong, the cast has gotten stronger. Saycon Sengbloh as Sandra Isadore, Fela’s American lover and the woman who introduced him to Black Power, is an amazing addition to the cast. And Kevin Mambo, who alternates with the amazing Sahr Ngaujah in the title role, offers a slightly more serious, less impish portrayal.

It’s a fantastic evening of hot African music and does a decent (if sanitized) job of conveying the story of who Fela Anikulapo Kuti was.

Check out a video sampler from the show after the jump. Continue reading

The Long Count: From baseball saga to creation story

Long Count Dessners Ritchie

Stereogum Senior Writer Brandon Stosuy, left, interviews The Long Count creators Aaron Dessner, Bryce Dessner, Matther Ritchie at the Brooklyn Academy of Music. (Copyright 2009, Steven P. Marsh)

What did I learn from the artist talk for The Long Count at the Brooklyn Academy of Music last weekend?

For starters, that twin brothers Aaron and Bryce Dessner (of rock band The National) wanted to write a baseball saga when Joe Melillo, BAM’s executive producer,  invited them to create a show for this year’s Next Wave Festival. They wanted to work with acclaimed writer and baseball fanatic Michael Chabon, but that didn’t work out. Then the teamed up with British visual artist Matthew Ritchie, who persuaded them to adopt the structure of the Mayan Popol Vuh creation story, which involves a heroic set of ball-playing twins. It was a good move.

The resulting show, which ended its run at BAM on Halloween, was a treat for the eyes, ears and mind.

The Dessners chose to work with a great orchestra, many of whom, like violist Nadia Sirota, are very active in the same contemporary classical-rock crossover circles they are. And their featured collaborators, Shara Worden of My Brightest Diamond and Kim and Kelley Deal, twin sisters from The Breeders.

Check out great photos and info about the performance at Brooklyn Vegan.

Darker and more deviant than ever: The Tiger Lillies at St. Ann’s Warehouse

Martyn Jacques, darker than dark, with a voice like a countertenor from Hell!

The Tiger Lillies' frontman Martyn Jacques at St. Ann's Warehouse: Darker than dark, with a voice like a countertenor from Hell! (Photos copyright 2009, Steven P. Marsh)

The Tiger Lillies are at St. Ann’s Warehouse in Dumbo, Brooklyn, tonight. You should be too.

The dark and cynical British trio (their web site declares them to be “The world’s formost Death Oompah band”) took the stage there last night for the first of two shows celebrating the 20th anniversary of the band. The result was a spectacularly entertaining romp through the enormous Tiger Lillies catalogue of deviance and black humor, including their award-winning work for the off-Broadway show Shockheaded Peter.

Behind the cynical exterior is musical genius. Jacques sings — often in a falsetto or countertenor range oozing with evil — and commands the stage in white face makeup that gives him the air of a demented, evil clown He’s supported by his bandmates, who bring their own amusing styles to the show: bassist Adrian Stout (the tall one), who grins a bit and mugs from time to time,  and drummer Adrian Huge (the stout one), who is the complete clown of the group.

The Tiger Lillies perform at 8 o’clock tonight. St. Ann’s Warehouse, 38 Water Street, Dumbo, Brooklyn. Tickets are still available. Click here for more info. $32.

Adrian Huge is angry.

Adrian Huge is angry.

Here’s a taste of The Tiger Lillies performing “Angry” at Raimundhof in Vienna, Austria last February:

Check out a host of photos of last night’s madness after the jump.

Continue reading

Travels and travails of a punk princess

punk_princess_v4_web_7e9ff376

When Yasmine Lever wanted an original but authentic-sounding punk rock score to fuel her new musical-in-development, Punk Princess, she turned to her friends Stew and Heidi Rodewald, the creators of Broadway’s 2008 critical smash Passing Strange.

Smart move!

The result, revealed to the public for the first time yesterday in two readings at The Theatre at St. Clement’s as part of the New York Musical Theatre Festival, was a lively show with memorable music, a winning cast and tons of promise.

Continue reading

Discuss: Twitter at the opera?

OperaHouse

Nashville Opera is encouraging audience members to use Twitter to comment on its performances of Tosca tomorrow and Saturday, and promises to project the Tweets in the lobby of the Tennessee Performing Arts Center’s Andrew Jackson Hall during the show’s two intermissions. (Click here for a full report.)

“Social networking has become an integral part of Nashville Opera’s marketing efforts,” says Carol Penterman, the company’s executive director. “The use of Twitter and Facebook has been the ticket sales catalyst for this production, and we see this unique program of projecting ‘tweets’ in the lobby as a natural extension of our networking strategy.”

The marketing strategy makes sense. Whether you think facebook and Twitter are useful tools or huge time-wasters, there’s no denying their popularity and impact on our culture. Social networks help build buzz about shows, boost sales and clue people in on things the might not have even noticed in the arts pages of the local paper or in other old media.

But it seems to me that this is another example of an arts presenter encouraging its audience to not pay attention to the very thing they’ve come to see. The only way there will be Tweets to project at the intermissions would be if patrons are Twittering during the performance.

Does that make sense? Won’t it be a distraction? I’m a big fan of Twitter and facebook. But I find it terribly distracting to sit in a darkened theater and see audience members’ faces glowing with the reflection of their cell phone and BlackBerry screens as they text or Tweet or send facebook messages. And the clicking of the tiny keys adds another dimension to the distraction.

What do you think about this development? Please weigh in!

Two storms collide: Hurricane Katrina and Josephine Baker

PeakPerfs josephine_boa MAIN

The narrator of Looking for Josephine, the joyous Josephine Baker revue that ended its American premiere run Sunday afternoon as part of the ambitious Peak Performances series at Mointclair State University’s Alexander Kasser Theater, explains why the American singer was not fully appreciated in her home country: She was too much of a clown. She was too African.

At Saturday night’s performance, I realize that even though Josephine died more than three decades ago, some things haven’t changed. At least one person in the audience last night was put off by the story — its French-ness (“It’s not in English”) and Josephine’s whirlwind free-spirited-ness (“He’s going to strip her?”).

The production by La Compagnie Jérôme Savary is that it is rather conservative. Josephine, played splendidly by Nicolle Rochelle,  is never actually nude — even at her least-dressed she appeared to be wearing pasties. Yet the suggestion of nudity was bothersome to at least a few.

Jérôme Savary

Jérôme Savary

The book is rather slight. It offers a sketch of the life of Josephine told through the eyes of residents of New Orleans just after Hurricane Katrina. The show opens with three characters in an inflatable boat, waiting for the floodwaters to recede. A French theatrical producer, Slap Goldman (Michel Dussarrat, who also designed the costumes) shows up, seemingly oblivious to the damage and human suffering around him, looking for someone capable of playing Josephine in a production of La Revue Nègre that he is staging back in France.

Slap’s eyes light upon Cindy (Rochelle), who’s in the boat with Old Joe (Walter Reynolds) and Tom (Allen Hoist). One thing leads to another, and Cindy goes off to France, where she plays Josephine. The story comes full circle when Cindy gets a break in her performance schedule and returns home to Nola to find that Old Joe died while she was away.

The show is entertaining and has spectacular singing and dancing. But at times it goes off the rails when it tries to tap serious themes, as it does in a disconcerting scene of devil-may-care dancing performed in front of a projected backdrop of filmed Ku Klux Klan demonstrations and cross burnings.

The show is not entirely ven informative at times. After all, how many of us remember Josephine as a paragon of Civil Rights? Yet she was. For instance, a photo of the Rev. Martin Luther King Jr. flashed on the backdrop serves as a reminder that King’s widow, Coretta Scott King, offered Josephine a leadership role after King’s assassination.

If you missed this show, Peak Performances has plenty of other music and dance offerings this season, including a one-off concert by pianist Mario Formenti this Saturday evening. . All the productions tend to be first rate, and, with tickets priced at a rock-bottom $15 this season, the value is high. Check out the schedule here.

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