4 Shows in 3 Days

In my family, we know how to do theatre. My mom and my sister, Amy, came to Syracuse to visit me last week and they came to New York with me when I went for my internship. We arrived Thursday morning and were there until Sunday afternoon. We each saw four shows (not the same four shows) and only paid full price for one. What follows is an explanation of the different ways in which we purchased our tickets, but you can always skip ahead to the reviews.

On Thursday, they were going to get tickets for "Beauty and the Beast" at TKTS (the 50% off ticket booth in Times Square). "Beauty and the Beast" does not have student rush, so the only way to get cheap tickets is at TKTS. My sister really wanted to see "Beauty and the Beast" before it closed. Also, John Tartaglia is in it and she's never seen him live. I will admit, I was a little curious about the show, having seen every other Disney production. Before they went to get tickets, they stopped at the theatre to make sure JT was in it, only to find out that such information is not posted until an hour and a half before show-time and that JT had an understudy the night before. They decided not to risk getting tickets in case he wasn't in it, so they stood in line for "Tarzan" student rush tickets I met them there after my internship at around 6 pm. Having seen "Tarzan," I was going to just chill at the hotel, but I decided to stop by "Grey Gardens" and try my luck. I strolled up to the box office, asked the nice woman if she had student rush, she said sure and gave me a fourth row seat for $26.

The next day, my mom and sister went to Studio 54 to see if they had rush tickets for "110 in the Shade" (I knew from previous experience that they tend to have general rush tickets in the mezzanine for $26 and more expensive student rush tickets closer to the stage, but every seat in Studio 54 is great). So they got general rush tickets for the three of us. Before the show, we stopped by the "Beauty and the Beast" theatre to find out that John Tartaglia was in it, so we thought it would be a safe bet that he would be in it on Saturday as well. We made a plan that my sister and I would go stand in line to get student rush tickets for "Spring Awakening" the next morning for the evening show and my mom would go to TKTS for the matinee of "Beauty and the Beast" (you can get up to two student rush tickets per I.D. and however many tickets at TKTS as you want).

We went to our respective lines at 8:30 am Saturday morning (this may seem crazy to some, but theatre isn't cheap, so these kinds of sacrifices are worth it if it means getting to see more shows). Unfortunately, they didn't happen to have any "Beauty and the Beast" tickets at TKTS, but we did have luck at "Spring Awakening," even though there were quite a few people in front of us. When we left the box office, we went to the "Beauty and the Beast" box office and found out that they did have seats available for $85. Because Amy was so desperate to see it, I decided to get a ticket for myself and for her. My mom was not curious enough for that kind of money, so we went to the "Chorus Line" lottery so maybe she could see a show as well. There was nobody there compared to how it was when I went and everyone won. So my mom got a front row center seat for $21. Had I known that before buying the other tickets, I would have made my sister go see "A Chorus Line."

So here is what I thought about the shows that I saw:

"Grey Gardens"- The story of Jackie O's cousin and aunt, Little Edie Beale and Edith Bouvier Beale, former socialites who became recluses in the 70s, is an unusual subject matter for a musical, and it might have worked better as a play. The songs didn't add much to the story except that the two women were singers (there are plays in which the characters sing without it being an actual musical). It's an interesting story, but you could always watch the documentary or read about them in a book. The only reason to see this show is for the performances of Christine Ebersole and Mary Louise Wilson. Ebersole plays the domineering Edith in 1941 and the childlike Edie in 1973 and Wilson plays Edith in 1973. The scenes in 1973 are the most entertaining, as the women play off each other in a manner both hilarious and tragic. I'm glad I saw this show, but it is the type of show I would see once. I appreciated it from a distance, but it didn't really move me.

"110 in the Shade"- The Roundabout Theatre Company has done it again. I've never been disappointed by any of its productions and "110 in the Shade" is no exception. The show is a revival of the 1963 musical with music and lyrics by Harvey Schmidt and Tom Jones (the team behind the music of "The Fantasticks"). The story takes place during a heat wave in the 1930s in Texas. Audra McDonald plays Lizzie Curry, who is in danger of becoming an old maid. Her father and brothers are desperately trying to marry her off. It's a sweet and entertaining story, expertly acted by the ensemble. It's easy to see why many flock to the theatre to see McDonald. Her singing is effortless, but she did not outshine the rest of the cast. Most notable was Steve Kazee as the mysterious rainmaker Starbuck (that name has such a loaded meaning nowadays). If the show was that near flawless the first night of previews, I can't imagine how good it will be once it opens. The show will have a short run and closes on July 15.

"Beauty and the Beast"- This is by far the worst of the Disney productions, even worse than "Tarzan." I'm hoping that the show was better when it opened in 1994 and that it's just grown tired. This is proof that it is time for it to close. I felt like I was watching children's theatre. Of course, this show is intended for children, but the other Disney shows didn't feel like they could only be enjoyed by children. Every joke was uttered so slowly. It didn't help that they were all taken directly from the movie so I got to the punchlines about 5 minutes before the actors did. The acting was pretty amateurish as well. The saving grace was Stephen Buntrock as Gaston whose scenes were by far the most enjoyable and pleasing to the ear (especially a song not in the movie, the delightfully wicked "Maison Des Lunes"). John Tartaglia was as charming and adorable as ever and although he did a good job with the French accent and Lumiere's characteristic voice, it did seem hard on his voice. I'm sorry I spent so much money on the show (especially when I can have a much better time watching the movie for free), but at least I've seen it and don't have to wonder anymore.

"Spring Awakening"- It should come as a surprise to no one who reads my blog or knows me that I love "Spring Awakening." It can be anti-climactic seeing a show for the second time no matter how good it is, but it was just as amazing as I remembered it. Plus, I loved being able to introduce my sister to a show that totally moved her. I'm looking forward to the Tony nominations. If it doesn't win best musical, I'll be shocked.

Whatcha gonna do with all that junk?

This is the best cover I've heard in a long time. It's almost better than Will Ferrell's version in "Blades of Glory."

More gURL-y Stuff

This isn't as exciting as the sensitive boy game, but I wrote a Fast Facts on cervical cancer that is on the site now. If you're interested, check out the What gURLS Think: Emo because I think the responses were really fascinating.

Excuse me, wha?

According to Entertainment Weekly, Aaron Sorkin will be writing the script to a new musical based on the Flaming Lips album, Yoshimi Battles the Pink Robots. I'm too confused to comment right now.

If You're Ever in Ireland...

As part of the arts journalism program, we got a free trip to Ireland for spring break. We stayed at the Forster Court Hotel in Galway from Saturday, March 10 to Tuesday, March 13 and then went on to Dublin until March 18, where we stayed in self-catered apartments. We saw four shows--"Leaves" at the Druid, "Julius Caesar" at the Abbey, "Salome" at the Gate, and "Don Carlos" at the Project Arts Centre. Not a bad deal. Anyway, here are some highlights and recommendations (I apologize in advance that I don't have pictures to post yet as I don't have a digital camera):

Roisin Dubh- A drunk man on the street told us that the Roisin Dubh was a touristy bar, but we went there anyway, and I didn't get that impression. It's located on Dominick Street in Galway and always has live music. There was no cover (at least at the time we went) and we got to see two decent bands, the Gorgeous Colours and The Cheerfuls (I love how happy those names are). There's nothing like getting to see a free concert when you're not expecting it.

Dun Aonghasa in Inis Mor- Inis Mor (Inishmore), the largest of the Aran Islands, is just a short bus and ferry ride from Galway. Although many of my classmates did not enjoy the ferry ride, I had a blast getting my "sea legs." I recommend sitting on the top level.

Once we arrived on the island, we took a mini-coach tour, stopping at various locations along the way. Inis Mor is very touristy over the summer, but it was still fairly quiet at the time we were there. It seems like it would be such a peaceful place to live, but the islanders work hard as well (Especially this one very nice woman who sells sweaters, hats, gloves, and socks. We sort of invaded her tiny shop). Gaelic is still the primary language, but everyone speaks English as well.

Our main stop on the tour was Dun Aonghasa, a stone fort atop a cliff that overlooks the Atlantic Ocean. The view was absolutely breathtaking (although I wasn't brave enough to lie down over the edge of the cliff) and I can't really do justice describing it.

Coole Park- Coole Park used to be the home of Lady Augusta Gregory (writer and co-founder of the Abbey Theatre). Her home was the center if the Irish Literary Renaissance in the early 20th Century and authors like Yeats, Synge, and Shaw used to frequent there. Not only is the park a lovely place to explore and collects your thoughts, there is an autograph tree signed autographed by the likes of Yeats, Shaw, and others. Needless to say, the literary nerd in me was quite impressed. My only disappointment was that I didn't get to see any wild swans at Coole.

Coole Park is located about an hour outside of the Galway city centre (we stopped there en route to Dubin).

Butler's Chocolate Cafe- The hot chocolate at this cafe is so worth it (even when you convert the price to dollars). There are various locations of Butler's throughout the city of Dublin, but both times we went to the Grafton Street location. The first time I had marshmallow hot chocolate. The marshmallows melt to the bottom, so when you get to the there, you have a treat of gooey marshmallow and chocolate deliciousness. The second time I had the cookie hot chocolate, which has either Oreos or Oreo imitations, which also melt at the bottom and the effect is just as delicious. Each hot chocolate also comes with a Butler's handmade chocolate. Yummy.

Nude- I was afraid I would have difficulty finding tasty vegetarian food in Ireland and was fully prepared to live off Cadbury's chocolate for a week, but I was very well-fed. I was so enamored with Nude in particular that I ate there twice, and I would have gone there a third time at the airport for a smoothie had it not been for stupid customs.*

Nude offers tasty wraps, paninis, soups, and smoothies. I had a toasted broccoli and goat cheese wrap which had just the right proportions of brocolli, cheese, and spinach. I also had a berry smoothie which was better than anything at Jamba Juice (and I'm a Jamba Juice fan). I also had a taste of the funky monkey (banana and chocolate). What I loved about the smoothies was the consistency--they aren't too thicked, but they aren't too liquidy either. On the second day, I had a mozzarella panini (because they were out of the jumping bean toasted wrap for the second day in a row and I still really want to try that). The paninis are really long and thin, and at first I wasn't sure if it would be enough, but again, it turned out to be the perfect size.

Nude is located on Suffolk Street, in the Grafton Street area.

Octagon Bar- I couldn't go to Bono's brother's cafe and not to go to Bono's hotel, The Clarence. The bar is called the Octagon Bar because, as you might guess, it's shaped like an octagon. It's a really good idea to have a bar shaped that way, because it allows for these little nooks. The bar is very expensive (8 euro for Bailey's and coffee) but it's worth it just to go for one drink and check it out. Plus, it has the nicest bathrooms in Dublin.

The Front Lounge- After the Octagon Bar, some of us went to the Front Lounge, located on Parliament Street. The combination of these two places was my favorite of the nightlife that we experienced.

The Front Lounge has a mix of gay and straight clientele. Drinks are pretty pricey as well (I asked how much a black Russian would cost, and the bartender said 5 euro, which I thought was reasonable so I went ahead and ordered it. When she rang me up, she said, "Sorry. It's actually ten.") I was still in a good mood, though, because I got to dance, and I had been looking for some dancing in Dublin. When I was getting my drink and I heard "Sexy Back" come on, I knew I was in the right place.

Project Arts Theatre- I loved all the theatre spaces that we saw. They were all pretty small, even the Abbey and the Gate, but especially the Druid and the Project Arts Theatre. It allows for such an intimate theatre experience. I think the Project Arts Theatre was my favorite space. It was a thrust theatre, with only a few rows of seating on each side. I was already pretty invested in the story of "Don Carlos," but being so close to the action heightened the experience.

Bewley's Cafe Theatre- Bewley's is a multi-level all-in-one cafe, bar, restaurant, and theatre space located on Grafton Street. On the top floor, it offers lunchtime theatre for the bargain price of 13 euro (15 if you're not a student). This includes a play and lunch (soup and bread).

We saw the play, "Living With Johnny Depp," which I was attracted to by the title. It was a one-woman show starring Joanne Mitchell and directed by Miceala Miranda, who played a 15-year-old student, her 60-year-old English teacher, and her 35-year-old principal, all obsessed with Johnny Depp for different reasons. Mitchell was fully committed to each role, and it was an entertaining and at times hilarious show.

Odessa- This is where we ate on the last night (fortunately, it was paid for by SU abroad because I probably wouldn't be able to afford it). As you can see from the picture, it's pretty fancy schmancy. For my starter, I couldn't decide between the butternut squash soup (my favorite) and the selection of dips with pesto, hummus, and harissa. I went for the dip, which turned out to be a wise choice, but I did taste the soup, which would have been an equally wise choice. The highlight of the meal, though, was the creme brulee with strawberries and rhubarb (I was also tempted to go for the chocolate marmalade torte). I wasn't sure what to expect, but there were pieces of strawberry and rhubarb in the creme brulee. I was about to burst, but I forced myself to finish it.

*In all my years of traveling, I've never had an experience like this. We had to go through American customs in Ireland (which I guess makes some sense, so they don't have to send people away once they get to the US), but the gates closed at 9:15 and we had to wait for such a long time behind this marching band that by the time we checked in and went through security it was 9. The Dublin airport is nice and I wanted to do some shopping and go to Nude, but we had to go through customs before it closed, only to find out our plane was delayed. We had to wait in this cramped room with tons of coughing people (which may explain why I'm sick now) and only one very very small cafe. Our plane was not scheduled to leave until 10:30 anyway, so I don't understand why we had to be there so early, and they should have extended the time once the plane was delayed. OK. That's my rant on that.

Oh Sir Paul, You Can't Do That

According to MSN.com, Sir Paul McCartney is the first artist signed to Starbucks new record label. On the one hand, as a Starbucks barista, this should put me at one degree of seperation from my idol, but seriously, why does one of the most successful artists in the world need a coffee company to produce his records? As much as I love Paul, I'm not quite sure about his decision making processes ("Give My Regards to Broadstreet" anyone?).

Cry Me A River

Are you dying to know who your ideal sensitive boy musician is? The wait is over. The sensitive boy musician selector (which I wrote) is up on gURL.com.

Maybe I could work for New York Magazine...

I totally had this idea.

I've been talking about it for a month or so. I've been really fascinated by the young cast of "Spring Awakening" because the show is about sexual awakening and adolescence, and the cast members have all either just gone through that or are still going through that. Also, the fans of the show are teenagers themselves, so there's another interesting dynamic there. I'm pretty bummed that New York Magazine beat me to the punch, but I can take comfort in the fact that I had an idea worthy of New York Magazine.

And I'm not going to be bitter, I applaud Brian Keith Jackson on his article. He gets to the heart of what I think is really interesting right in the first paragraph:
"There’s a real sweetness on that stage (not to mention one real coupling), and now the young actors are effectively pop stars. Among a generation not exactly known for flocking to musicals, they’ve set off a whole new wave of swooning, YouTubing fandom. Brian Keith Jackson spoke with them about the show, their lives, and what they listen to when they’re not singing 'The Bitch of Living.'”

Although "Spring Awakening" is based on an 1891 German play, it is essentially a musical for the YouTube generation. The scenes are fairly short, broken up by musical numbers, which are basically mini-rock shows, perfect for those with short attention spans. "Spring Awakening" is the only show I've ever seen with it's own MySpace page and the line between fan and friend is becoming increasingly smaller.

Jackson asks what I would have asked--What do they do when they go out, what do they listen to, what is it like to date a co-star, and what the fans are like. His individual profiles of the actors are fairly short, but each one gives a sense of who these teenagers are.

Even though I couldn't write the article, I'm glad somebody did, so please read it and if you have a chance, see "Spring Awakening."

gURL power

This semester, I'm interning at gURL.com, a website for teenage girls thirteen and older. My first piece is on the website, a guide to therapy. And after you're done reading that, tell us what you think "emo" means.

With Love...

Hilary Duff's latest single is shamelessly titled "With Love." I say shameless because earlier this year, Duff launched her perfume, also called With Love. When I first saw the music video, I thought it seemed like a blatant advertisement for the fragrance, only to find out that part of it is actually used in a commercial.

"With Love" is the first single off her new album, "Dignity," to be released April 3. Hilary's music has always been bubble-gum fare, but lately she's been moving away from her cookie-cutter image. She seems to be following some of her peers/rivals, going for an electronic dance sound similar to Lindsay Lohan's "Rumors." She is also going for a more mature look. While the short black wig doesn't really suit her, it's refreshing to see her with a little more meat on her bones (she could still stand to gain a few pounds though, and while she's add it she could dye her hair blonde again).

Although I miss the old Hilary, the more I listen to this song, the more addictive it becomes. I've been a fan of hers since "Lizzie McGuire," and I've enjoyed her music since she sang the words, "It doesn't matter where I go with my boy shoes and my rock star phone," in her first single, "I Can't Wait." I like "With Love" for the same reason I liked that and everything she's done since-- it's fun and entertaining and it makes me want to do a crazy dance.

Click here to watch the video.

"Bridge to Terabithia"- Save Yourself Some Money and Read the Book Instead

It's hard for me to look at a film like "Bridge to Terabithia" objectively. I love the book by Katherine Paterson and consider it one of the most beautiful children stories I've ever read. While the film version is a fairly accurate interpretation of the novel, a passive viewing of a film cannot compare to reading a story that is all about the powers of imagination.

"Bridge to Terabithia," directed by Gabor Csupo, was released nationwide on Friday. Disney and Walden Media, producers of "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe," teamed together again, far more unsuccessfully, to produce this film.

Jesse Aarons (Josh Hutcherson) is a boy from a poor family. The middle child in between four sisters, he works hard at his chores, wants to be the fastest runner in his class, and is a talented artist. When Leslie Burke (AnnaSophia Robb) moves in next door, she teaches him how to escape the bullies and pressures of his home life by imagining a secret land called Terabithia.

The film was marketed as another "Narnia," which was a mistake. Although the book does make reference to the Narnia stories, Narnia is a real place, whereas Terabithia exists only in the minds of Jesse and Leslie. In the book, the world of Terabithia is never really explained, leaving it up to each child to imagine it. The creatures that appear in the film are never mentioned in the book.

The misleading preview for Terabithia shows the children battling giants, vultures, and strange animals that look like porcupines. At least the film itself stays away from making those scenes the central part of the story. From what I've read, viewers are surprised that these creatures did not take up more time in the film, but the story is not about that. What happens in Terabithia is not as important as what its existence means to the children.

Katherine Paterson is an expert in the way children and adolescents think and express themselves. Hutcherson and Robb are believable in their roles, but I was more moved by their characters reading Paterson's words than watching them on the screen. Of all the actors, 7-year-old Bailee Madison, who plays Jesse's younger sister May Belle, is the talent to watch for. She captures May Belle's stubborness, innocence, and idolization of her older brother in some truly heartbreaking scenes.

The book was published in the '70s, and although the story is timeless, the film was placed in the present time with a quick reference to the internet. This would be less of an issue, if it wasn't for a crucial scene in which a teacher (the always enjoyable Zooey Deschanel) calls Jesse and a Saturday and takes him to a museum. Call me cynical, but it seems very unlikely that such an event, however innocent the intentions, could occur in today's society.

This is not why the film doesn't work. There is nothing awful about the film, but it doesn't work because it just isn't that memorable. It's an interesting companion piece to the book, but it would be a disservice to see the film without having read the book.

Michael J. Fox was Alex P. Keaton

I just wanted to share some exciting news. "Family Ties" is finally coming out on DVD on February 20. How did I not know about this? Of course, this leads to the dilemma, do I buy the first season when it comes out or do I wait for the inevitable complete box set? I believe there were 7 seasons, so I could be waiting a while. Either way, that was a nice pick-me-up from those winter blues.

Words are fun

I'm going a little stir-crazy. I've been locked in my apartment for two days after the snow storm. So I've been thinking about random things. And today I was thinking about the word "blog." I don't really like the sound of the word, it sounds like something really unpleasant, but I like multi-purpose words.

I used to work at the dining hall while I was at Tufts (they had the best white pizza ever) and we had to wear these shirts that said TUDS, which stood for Tufts University Dining Services. But we would call ourselves TUDS, as in people who work for dining service. The singular form is TUD, as in, "Who is that sexy TUD playing 'It Wasn't Me' in the dishroom?" (Sexy TUD can also be abbreviated to STUD). The great thing about the word is that it can also be a verb, as in, "I'm tudding tonight," or, "I can't go out tonight, I have to go tud."

Blog operates the same way. A blog is a noun, but blogging is a verb. And I have no doubt that it will soon be used as an adjective, as in "Have you ever noticed so-and-so has an inherent bloginess to him?"

This is what happens when it snows.

This Book Will Change Your Life

For one of my classes this semester, "Arts and Arts Criticism," each student has to read a book by a critic in his field. I chose "Love is a Mix Tape" by Rob Sheffield.

I devoured this book. I would have finished it sooner if it wasn't for silly things like classes and an internship. I found myself taking the local instead of express subway just to have more time to read. As I told somebody the other day, I loved this book so much that it is hard for me to talk about it. But since I'm presenting about it on Wednesday, I better figure out how.

Rob Sheffield is a contributing editor at "Rolling Stone." He has written for various publications including "Spin" and "The Village Voice." When he was 23-years-old (in 1989), he met a girl named Renee. He married her in 1991 and she died unexpectedly of a pulmonary embolism in 1997. In "Love is a Mix Tape," he explores his grief using 15 mix tapes. This is the bravest work by a music critic that I ever read.

Although I am reading this book for a criticism class, this is in many ways the opposite of criticism. Criticism, in the strictest terms, is supposed to be objective. Sheffield looks at every piece of music in the most personal way. And he doesn't write about it in terms of whether it is "good" or "bad," but what it means to him. The very idea of creating a mix tape is a way to make a piece of music belong to you, by fashioning a new way to listen to the songs.

There is one particular tape that he made over a year after Renee died. "This is a classic example of a tape that tries to ruin a bunch of great songs by reminding you of a time you would rather forget," he writes, "Sometimes great tunes happen to bad times, and when the bad times is over, not all the tunes get to move on with you... Individually, all the songs on this tape make me smile, but lined up in this order, they make me shudder..."

Almost as much as this book is about Renee, it's about the music of the '90s, and Sheffield is also dealing with the grief of the end of the '90s:
"I get sentimental over the music of the '90s. Deplorable really. But I love it all. As far as I'm concerned, the '90s was the best era for music ever, even the stuff I loathed at the time, even the stuff that gave me stomach cramps. Every note from those years is charged with life for me now. For instance, I hated Pearl Jam at the time. I thought they were pompous blowhards. Now whenever a Pearl Jam song comes on the car radio, I find myself pounding my fist on the dashboard, screaming, 'Pearl JAM! Pearl JAM! Now this is rock and roll! Jeremy's SPO-ken! But he's stil al-LIIIIIIIVE!'"

This book is just as funny (as you can see from the previous passage) as it is heartbreaking. Sheffield knows how to write funny without being obvious or over-the-top, and he writes beautifully about loss without being manipulative.

Perhaps what I love most about this book is that Sheffield doesn't discriminate when discussing music. He admits to loving top 40 radio, he even admits to loving "MMMBop," and he devotes equal time to these as to Nirvana or the Beatles. While there are some jabs at bands like Cheap Trick, he doesn't resort to snark.

I'll leave you with one line that pretty much sums up the book. It's a line for anybody who has had to deal with the pain that comes along with listening to music that is reminiscent of someone or something that is no longer around. "I knew I would have to relearn music, and that some of the music we'd love together I'd never be able to hear again."

Spring Fever

I finally saw "Spring Awakening" (oh how I love student rush) and I am happy to report that the hype was founded. I haven't seen every new Broadway production this year, but so far, I will have to agree with every critic who named it the best musical of the year.

If you're unfamiliar with the show, "Spring Awakening" is based on an 1891 German play by Frank Wedekind. The controversial play deals with adolescents trying to understand their sexuality in a world where they are taught to fear their desires. The musical is also set in 19th century Germany, but the musical numbers bridge the past and the present. Actors sing into microphones, turning each scene into a rock concert. There are seats for the audience on either side of the stage and ensemble members sing from there, dressed in jeans and t-shirts.

So much has been written about the show already, so I will let "Spring Awakening" speak for itself. Here is a video of the song that has been stuck in my head since Thursday, the adrenaline-pumping "The Bitch of Living" (music by Duncan Sheik, lyrics by Steven Sater). Pay attention to John Gallagher Jr.'s (he's the first one you see in the video) electrifying vocals.

A Few Good Dannys Without a Suitable Sandy

Last night 14 potential Dannys and Sandys had a chance to wow America at the first live show of "Grease: You're The One That I Want." After the airing, viewers voted for their favorites and at the next show in two weeks, one Danny and one Sandy will be eliminated. After two hours of being entertained by the guys and horrified by the women, my hopes for the Broadway production are waning (and they weren't very high to begin with).

Twelve finalists had been chosen, but no reality show would be complete without a twist, so producer David Ian brought back the two contestants that they were the most sorry to lose, Matt Nolan and Ashley Anderson. This means that next week we will still be stuck with 12 competitors and the end remains nowhere in sight.

Nolan is a sweet boy who really wants the part and the audience loves him. I love him too; I mean he cried when he was eliminated, but he has no training and he is always going out of tune. There is no way he will be ready to star on Broadway, no matter how much he practices. And if I hear Ian call him "green" one more time, well I probably won't do anything other than get annoyed, but can someone please give him a thesaurus.

I can sort of understand bringing Nolan back, but Anderson is atrocious. I know "Grease" co-creator Jim Jacobs loves her because she looks like his image of Sandy, but her lack of talent was obvious at the first audition when her voice cracked three times. I have a feeling she won't make it to the next round, so hopefully we can be rid of her for good.

Other than Nolan, I think any of the Dannys would be decent, but I'm rooting for Austin Miller, Derek Keeling, or Max Crumm. From the beginning, Miller seemed like the most obvious choice. He is the only one with any real experience, and he has already paid his touring company dues. He might have benefited from singing a different song last night, as "Mony Mony" did not really showcase his vocal abilities.

Derek Keeling's rendition of "Crazy Little Thing Called Love," on the other hand, proved that he has the looks, the moves, and the voice to be a real threat to Miller.

Crumm is the wild card that almost got eliminated because he doesn't look like Danny Zucko, but the judges seem to like him and it would be nice if America went with the anti-Danny. After he rocked "Summer of '69," he just may be my favorite.

While I would pay (as long as they were student rush prices) to see any of those three Dannys, I could not see myself sitting through a 2 hour show with any of the girls. They have nasally pop voices that seem more suited to American Idol. Kate Rockwell has the biggest potential and I agree with the judges that she has the best voice, but considering who she is competing against, that is not saying much. She is from Blue Ash, though, and since I live there until I was 3, I feel like I should root for her.

My biggest problem with the show is that the judges are too nice. The only one that is somewhat brutal is David Ian, the token British judge, but even he seemed to be holding back. Olivia Newton John seemed to think that everybody was wonderful and had great personalities. The next guest judge is Andrew Lloyd Webber, and one can only hope that he is less diplomatic and that by then the girls will have stepped it up a notch.

*I would also like to note that "You're The One That I Want" is a song from the film, not the Broadway production. I'm wondering if they are going to add it in to this revival, considering everybody will be expecting it. I just find it odd that everybody keeps referring to the film version, which is very different than the stage version.*

How Can it Be 30 Degrees in LA?

Some quick notes on the Golden Globes:

It was fairly predictable. I got 18 out of 25 (I was most surprised by "Babel," "Ugly Betty," and America Ferrera). I haven't seen any of those, but how can "Babel" be the best movie if it didn't win anything else? Something doesn't add up there. But the "Ugly Betty" people and Ferrera were so excited, so I'm happy for them. That's how you're supposed to react when you win an award.

I knew Meryl Streep was going to win, but I just have to say, and I know this is an unpopular opinion (although I know some who will back me up on this), she is a terrible actress. She overacts in EVERYTHING she does. I don't care how long she has been doing this, she's always the same. Her speech wasn't bad, though, except she can't pronounce volver.

Yeah Eddie Murphy! He deserved to win, but his speech was so boring.

Not to be mean, but ha ha Leo. You got nominated twice and you still didn't win.

I'm all for Warren Beatty getting recognized, but Tom Hanks said "balls" and "1962" too many times. He could have saved about 10 minutes. Still, I am a sucker for career montages.

I miss Ludacris. He was at every award show last year. The Golden Globes needed more Ludacris.

I really need to see "The Queen" and "The Last King of Scotland," but they're not playing in Syracuse right now.

I've been watching too much E! today...

Grease is the Word, Rolling Stone is Not

Tonight I had the opportunity to catch up on some reality television. Last week, I missed the premieres of "You're the One That I Want" and "I'm From Rolling Stone," but because I love musical theatre and because I want to be a music journalist, I had to check these shows out.

"You're The One That I Want":
It was only a matter of time before somebody had the bright idea to capitalize on the success of BBC's "How Do You Solve a Problem Like Maria." In that show, hopefuls auditioned for the role of Maria Von Trapp in a new West End production of "The Sound of Music." If an American counterpart to the show had to be made, "Grease" was the right choice. It's campy and just as loved as it is hated, perfect for reality television.

Theatre producer David Ian, "Grease" co-writer Jim Jacobs, and director and choreographer Kathleen Marshall are looking for a Sandy and a Danny for their new production of "Grease," scheduled to open in June 2007.

Last week, auditions were held in Los Angeles and Chicago and tonight the final auditions were held in New York. There were some decent talents, but you have to wonder why people who can't sing or who are obviously wrong for the parts would humiliate themselves by auditioning. Also, the audition process is really unrealistic. I was suprised, however, at how nice the judges were. They were willing to give some of the "singers" second chances, even ones who did not deserve it.

Overall, the show is enjoyable, but I could do without the behind-the-scenes drama. Still, for a Sunday night guilty pleasure, it ranks up there with "Desperate Housewives."

"You're the One That I Want" airs Sundays at 8 p.m. on NBC

"I'm From Rolling Stone":
There are people who want to work for "Rolling Stone" or a successful magazine like it, and who work hard to try to get there. But MTV and "Rolling Stone" have partnered to give six slackers the chance of a lifetime--the chance to write for "Rolling Stone" (the winner gets a staff writer position). I missed the first episode, but what I saw tonight was enough to disgust me.

The episode focused on three of the six: Colin, Krishtine, and Russell. Colin's assignment was to interview We Are Scientists. He went in completely unprepared and had no idea what to ask. He even told them that they had a concert that night, as if they didn't know. It was painful to watch. Somehow he managed to write a blog entry and was the first one of the group to publish on the website, setting the standard pretty low.

Russell is, according to MTV's website and himself, the best writer in the group. He did seem to be the most capable of completing a successful interview. I'd put my money on him, except the preview for next week shows him coming in late to work. It wouldn't be MTV without a little drama.

Krishtine interviewed El-P and when she finished her assignment, her editor asked her to rewrite and to ask him some follow-up questions because she was missing some important facts. Krishtine whined about how annoying it was to rewrite something and also said she never does follow up interviews. She's going to be a great journalist.

Thank you MTV for turning rock journalism into another excuse for drunk twenty-somethings to make fools of themselves on national television (not that drinking has never been a part of rock journalism, but at least many of those journalists had talent).

"I'm From Rolling Stone" airs Sunday nights at 10 p.m. on MTV

Here's Johnny (and the Sprites)

Really good children's television, programs that children and adults can enjoy together and are educational as well as entertaining, is hard to come by nowadays. Even "Sesame Street" has lost some of its wit and replaced it with boring segments like "Elmo's World." So, it's a relief that Disney had the good sense to bring back John Tartaglia's "Johnny and the Sprites."


"Johnny and the Sprites" began as short segments in between Playhouse Disney programs in 2005. The segments were successful enough to convert into half-hour shows. The new "Johnny and the Sprites" premiered on Saturday and it airs every Saturday and Sunday at 10 a.m.

"Avenue Q's" John Tartaglia created the show. He plays Johnny, who moves to the woods to work on his music. There he meets the Sprites, colorful puppets who only he can see. Moms will surely enjoy "Johnny and the Sprites" for Tartaglia's adorable facial expressions and boyish charms and children will love him because he doesn't talk down to them. If that isn't enough, Tartaglia enlisted the help of some of the best musical composers currently working on Broadway to create memorable songs.

Stephen Schwartz ("Wicked") wrote the catchy theme song that would fit perfectly in "Avenue Q" with raunchier lyrics. Mark Hollman ("Urinetown"), Robert Lopez ("Avenue Q"), and Michael Patrick Walter ("Altar Boyz") also contributed. In one episode, the characters try to spot a rare bird, a Nospotalotacus. The clever song with its nonsense lyrics like "Give it a shotocus" could fit right in with Cole Porter and Ira Gershwin phrases, except this song also teaches children about team work.

Tartaglia's costars, the Sprites have personalities that children can relate to-- Basil is bookish, Ginger is stubborn, and Lily is serene. Tartaglia also voices Sage, known as the oldest and wisest Sprite, although he is actually forgetful and likely to fall asleep in the middle of conversations.

Another Avenue Q alum, Natalie Venetia Belcon (she played Gary Coleman), plays the only other human, Johnny's friend who has about as many jobs as he has songs.

Whether he's playing off puppets or humans, Tartaglia makes every scene believable. Not since Jim Henson has the bar for children's television been set this high.

Corbin Bleu and KeKe Palmer Push Disney Channel to the Limit

If the advertisements for "Jump In!" are any indication, Disney Channel is hoping for another "High School Musical" success. Although it remains to be seen whether the film will become the phenomenon of its predecessor, inspiring concerts and merchandise, "Jump In" has at least two things going for it-- it is far more entertaining and the characters are far less annoying.

The movie, which premiered on Friday, January 12 (and will probably be playing every weekend until "High School Musical 2" premieres), stars Corbin Bleu (the only tolerable actor from "High School Musical") and KeKe Palmer ("Akeelah and the Bee"). Bleu plays Izzy, a boxer trying to make his father (David Reivers, Bleu's real life dad) proud. When Mary (Palmer) and her double-dutch team lose one of their members, they ask Izzy to step in, and he learns that not only is he as talented with the jump ropes as he is in the boxing ring, but he loves it as well.

The story is not unfamiliar territory for the Disney Channel. A boy interested in "girly" activities and being teased for it was the subject of "Eddie's Million Dollar Cook-Off." But "Jump In" is making baby steps toward breaking ground. First of all, the film features an inter-racial couple, one of whom is a female boxer. Also, for perhaps the first time in Disney Channel film, the bully is multi-dimensional. The audience gets to see how his troubled home life affects his personality. He even redeems himself in the end.

What really sets "Jump In!" apart from the most recent Disney Channel films and places it in a class with the highlights of years past is co-stars who you can care about (i.e. who you don't want to punch in the face). Bleu plays Izzy's arrogance with charm that doesn't feel fake. Plus he has great hair. Palmer is a perfect match for Bleu, playing her Mary with equal parts attitude and vulnerability.

For a movie about musicals, the singing and dancing in "High School Musical" was vomit-enducing. In "Jump In!," the jumping is captivating and professional. The actors had to master tricks such as push ups and flips while jumping rope. The soundtrack, featuring adrenaline-pumping sports-arena style songs by Bleu and Palmer (Disney Channel never misses a chance for future recording stars), adds to the excitement in those scenes.

"Jump In!" is not a masterpiece, but compared to the recent disappointments, it is a big step for the Disney Channel. Now if only I can convince them to cancel "High School Musical 2."

All About Eve...and Adam and the Snake

Last review for NYC immersion, also workshopped with Alex Ross:

“The Apple Tree” could be renamed “All About Kristin.” Kristin Chenoweth plays four roles in the revival of this 1966 musical comedy, and makes full use of her shtick as a diminutive yet curvaceous diva with a big voice. It is her name on the marquee, but the show wouldn’t be successful without two dynamic male co-stars, Brian d’Arcy James and Marc Kudisch, whose comedic timing and vocal prowess match hers.

“The Apple Tree” opened on Dec. 14 and is playing at Studio 54 until March 11. Aside from a 2005 Encores! concert production, this is the first revival of the Jerry Bock and Sheldon Harnick musical because the right cast has finally come along to reprise the roles originated by Barbara Harris, Alan Alda, and Larry Blyden.

The three-part show is based on short stories that explore the relationship between man and woman—“The Diary of Adam and Eve” by Mark Twain, “The Lady or the Tiger?” by Frank R. Stockton, and “Passionella” by Jules Feiffer. The Twain episode is by far the most compelling of the three. Chenoweth and James are hilarious as the first humans trying to make sense of the world and their feelings for each other. There are also moments of tenderness as when Chenoweth sings “What Makes Me Love Him,” a moving song about the illogical nature of love. But it is Kudisch who does the most with his one scene. As the Snake in Eden, he combines slithery mannerisms with sex appeal as he tempts Eve.

The tacky and over the top “The Lady or the Tiger?,” a tale about a doomed romance with a choose-your-own ending, feels the most dated, especially with Jess Goldstein’s turquoise and gold-encrusted costumes and John Lee Beatty’s bright colored sets, equally hideous.

“Passionella,” a Cinderella story set in Hollywood in the ‘60s, would also feel stale were it not for acting choices, such as a dead-on Liverpudlian accent by James as rock star, Flip the Prince Charming.

Bock and Harnick’s score is catchy, but it does not challenge the actors. Chenoweth, famed for her high notes, has only one high D and James is also restricted to his middle register.

The trio may work together again in the upcoming “Young Frankenstein.” Perhaps Mel Brooks will write some songs that will better showcase their undeniable talents.

The Freewheelin' Bob Dylan Revisited

Review #2 from NYC immersion (my first review on an exhibit). This one was workshopped with Alex Ross of the New Yorker.

On July 25, 1965, Bob Dylan electrified the Newport Folk Festival with his backup rock band, where he alienated fans and gained new ones by switching from acoustic to electric. Bob Dylan’s American Journey, 1956-1966 offers new insights on his progression towards that change. Using a wide range of artifacts and memorabilia, including typed song lyrics, handwritten letters, and video clips, the interactive exhibition chronicles Dylan’s early career.

The exhibit, organized by Seattle’s Experience Music Project, is on display at the Morgan Library and Museum from Sept. 29 to Jan. 6.

Large crowds were drawn by the name “Dylan,” and the room at the Morgan was a tight squeeze. However, the small space was utilized to the fullest extent. The material was displayed in chronological order, starting with his formative high school years. A 1959 Hibbing High School Yearbook signed from Dylan (then Robert Zimmerman) offered clues into his enigmatic personality with his barely legible handwriting and bad spelling.

A picture of Zimmerman from the same yearbook shows a chubby-faced young man as opposed to the gaunt Dylan we’ve come to recognize. A member of the Latin and Social Studies Clubs, his goal was to “join Little Richard,” which may come as a shock to those who thought he was betraying his folk roots when he went electric. He was clearly influenced by rock and roll even in those early years.

Another influence on Dylan and the folk tradition was “The Grapes of Wrath.” In a 1958 essay on the novel, the high school junior received a B. The first page of the paper is displayed with comments from the teacher saying that he could have done more with the topic, showing yet another side of Dylan—the lazy student.

It is impossible to understand Dylan’s development as an artist without the music. Listening stations for the seven albums from the time period include useful information such as date of release, key tracks, and why it matters. These provide context for even the most casual fans, but even the takeaway value of the exhibit is high, no matter how much prior knowledge one has or how many times one has heard the albums.

If I Can Make it There, I'll Make it Anywhere

I just spent over a week in New York City as part of my arts journalism studies. We each had to write three overnight 350-word reviews which we workshopped with some big names in the business. This is my first review, which I workshopped with Eric Grode of the New York Sun.

I Love the '20s

Shows like VH1’s “I Love the ‘80s” offer nostalgia and sarcasm for the price of one. The new musical comedy “The Drowsy Chaperone” operates on a similar principle. A character known as Man in Chair (Jay Douglas) invites the audience to listen to his favorite musical, also titled “The Drowsy Chaperone.” Man in Chair comments throughout the show, recognizing the faults in a show he clearly worships, proving that you can have reverence for the Broadway musical and deride it too.

“The Drowsy Chaperone” that the audience is watching opened last May at the Marquis Theatre. The show, directed by Casey Nicholaw, is a clever commentary on musical theatre with depressing undertones about a lonely man whose only companions are old records.

“The Drowsy Chaperone” that Man in Chair is listening to opened in 1928 and is an over the top musical with two-dimensional characters. Janet Van De Graaf (Sutton Foster), is an actress who is about to get married and leave the limelight for good. Shakespearean mixups ensue, while the necessary “B-plot” involves a producer, Feldzieg (a play on Ziegfeld for the theatre buffs), and a pun-happy gangster duo recalling the literate gangsters of “Kiss Me Kate” (another show within a show). Man in Chair always makes sure the audience is as ultra-aware as he is. A scene involving numerous spit-takes is only funny because the Man in Chair tells us it isn’t.

The two shows come together in Man in Chair’s living room with a charming set design by David Gallo. The staircases and romantic gardens of the scenery seamlessly take over Man in Chair’s space so the audience is just as transported as he is.

For a show about musicals, it’s odd that its biggest flaw is the absence of memorable songs—the central ingredient of a musical. The bland score written by Lisa Lambert and Greg Morrison is barely made interesting even with help from Foster’s commanding voice and fancy footwork. Still, it’s hard to argue when Man in Chair says, “The Drowsy Chaperone” does “what a musical is supposed to do.”

Movies

I've seen quite a lot of movies this holiday season, so here are some brief reviews:

"Deck the Halls," directed by John Whitesell, starring Danny DeVito and Matthew Broderick, released Nov. 22- Not as horrendously bad as one might have guessed, this silly tale about a man who wants his house to be seen from space might be worth watching on video, if everything else is checked out. Still, it has its moments, thanks mostly to the always enjoyable Kristin Chenoweth.

"Unaccompanied Minors," directed by Paul Feig, starring Lewis Black and Wilmer Valderrama, released December 8- An amusing pre-teen movie about a group of unaccompanied minors snowed in at the airport on Christmas Eve. Although the ending is predictably sentimental, this feel good film has enough bite to make it one of the better Christmas movies of its genre (especially compared to last year's "Cheaper by the Dozen 2").

"The Holiday," directed by Nancy Meyers, starring Kate Winslet, Jack Black, Cameron Diaz, and Jude Law, released Dec. 8- Due to a shortage of romantic comedies this holiday season, this film will have to do. Cameron Diaz and Kate Winslet switch apartments for the holidays in attempts to escape the men in their lives. Diaz still can't act and Law fails to humanize his perfect man of a character, but Black is surprisingly charming and Winslet is a believable everywoman. Cameos abound in some pretty clever scenes about the film industry.

"Night at the Museum," directed by Shawn Levy, starring Ben Stiller, Dick Van Dyke, and Robin Williams, released Dec. 22- This original story about a museum that comes to life at night is a great family film because it teaches children (and adults) the importance of history and museums. Noteable performances among the able star-studded cast include the spunky Mickey Rooney, Ricky Gervais as a David Brent-esque (but kinder and G-rated) museum director, and Owen Wilson and Steve Coogan as two hilarious miniatures.

"Pursuit of Happyness," directed by Gabriele Muccino, starring Will Smith and Jaden Christopher Syre Smith, released Dec. 15- Although there is already Oscar talk for Will Smith in his turn as poverty-stricken Chris Gardner, his son Jaden Smith steals the show as his on-sceen son. His chubby cheeks and sweet smile are enough to cause any Grinch's heart to grow three sizes.

"Dreamgirls," directed by Bill Condon, starring Jamie Foxx, Beyonce Knowles, Eddie Murphey, and Jennifer Hudson, released Dec. 25- This musical extravaganza is not without its faults (most notably the sometimes confusingly placed musical numbers), but the performances make it the best holiday film that I've seen this year. The buzz about Hudson's unfortgettable turn as Effie was founded as she has a powerful voice and can act on top of it (unlike Knowles). But if anybody is going to get an Oscar for the film, I'd predict the already established Murphey who could have a future in musical theatre if his comedy career falls through.

Arjona-Mania

Read my review in PopMatters of Ricardo Arjona's Theatre at Madison Square concert (just to clarify, the Theatre at Madison Square Garden is not the same as Madison Square Garden, it's an error on PopMatters, which I'm sure will be fixed shortly).

Here is my original version (I like this lede better):

Outside of the Hispanic community, few people have heard of Ricardo Arjona, but in Argentina his popularity is a phenomenon that can only be compared to Beatlemania. Forty-two year old Arjona (the artist’s more frequently used moniker), a Guatemalan singer-songwriter who has yet to break the North American market, is quickly becoming one of the most popular artists in Spanish-speaking countries. When he arrived at Ezeiza airport in Buenos Aires last September, he was mobbed by fanatics. His 34 shows at the theatre Luna Park in Buenos Aires sold out in just hours, breaking all ticket sale records in Argentina.

Arjona is currently in the middle of his most expansive North American tour to date. He has been selling out fairly large venues, including the Theatre at Madison Square Garden in New York City on Friday, Nov. 24 and Saturday, Nov. 25.

Arjona’s success can be attributed to the fact that his groundbreaking music, often lumped together with “Latin pop” or “world music,” characterized by political statements, sweeping orchestral ballads, songs about women and love, metaphoric language, and clever lyrics, transcends what people normally think of as “Latin music.” The Ricky Martins and Shakiras out there have great rhythms, but Arjona has something to say.

Born in Antigua, Guatemala, he learned guitar at a young age. His first career path was as a schoolteacher, but he began recording in 1988. Since then he has recorded over 11 albums, but it was not until approximately the year 2000 that he started to get noticed.

Although he has been successful on the Latin Billboard charts, his only albums to chart on the Billboard 200 were “Galeria Caribe” in 2000 which peaked at 136, and “Adentro” in 2005 which peaked at 126.

The New York concert on Nov. 25 proved that Arjona’s unprecedented popularity could translate to a North American audience. The concertgoers knew every lyric and were glued to their seats (except when they jumped up for their favorite songs).

The stage was set up like a subway station, giving the concert a theatrical look. At the beginning of the concert, images of a subway train flashed down the three screens over the subway platform. Arjona’s voice was heard offstage singing a haunting version of “Iluso” from his latest album, “Adentro” (which incidentally won the Latin Grammy for best male pop album). He was nowhere to be seen, but the screams from the audience were deafening.

His band came onstage one by one, but Arjona knows how to work a crowd and he built momentum by waiting until the second song, the ballad “Para Bien or Para Mal” from the same album, to arrive on a moving walkway.

His music is powerful and extremely personal, but it is easy to relate to, especially for the immigrants that made up most of his audience. He engaged in dialogue with his fans, speaking only in Spanish. He said, “Buenas noches, Nueva York,” and proceeded to address all the locations where concertgoers might have come from by saying buenas noches to every Spanish speaking country. His fans cheered when their home countries were named. He told his enraptured audience that he would play everything they wanted as well as what he wanted, and he delivered a comprehensive set list representing different stages of his career.

Throughout the show, he spoke about being poor, remembering when his dad bought a car. “Ustedes se acuerdan de esas cosas, verdad? (You remember these things, correct?)” he said. Images of President George W. Bush appeared on the monitors to jeers from the audience as he launched into “El Mojado,” a song off “Adentro” about illegal immigrants. He then sang “Si El Norte Fuera El Sur (If the North was the South),” from the album of the same name, a politically charged song dealing with the internal conflict between wanting to be in America and hating what it stands for, with lines like “Tienen todo pero nada lo han pagado (They have everything but they paid for nothing).”

Then there is his sex appeal. He has a ruggedly handsome face which he seldom shaves and a short ponytail, but women are most attracted to his lyrics. Although many of his songs are about being scorned by women, he obviously respects and loves the opposite sex. During “Desnuda (Naked)” off of “Sin Danos a Terceros,” the females in the audience almost swooned as he sang about how there is nothing more beautiful than a woman’s body. During his ode to older women, “Senora de las Cuatro Decadas (Woman of Four Decades),” off of “Historias,” he chose a woman in the audience (much to the jealousy of half of the rest of the audience) and sang the song to her as she wept.

Arjona’s poetic turns of phrase transform even the most basic statements into something profound. For example, in “Tu Reputacion (Your Reputation),” he sings, “Tu reputacion son las primeras seis letras de esa palabra.” That means, your reputation is the first six letters of that word, which are re puta (big slut). This does not come off as insulting as the lyrics proceed to say that if the past taught her to kiss him like that, blessed are the men who came before him.

On the opposite end of the spectrum, Arjona has a song off of “Santo Pecado” called “La Nena (The Girl).” The song is about a kidnapping of a young girl. When he sang it, he sat on a bench and stared at the floor, singing with mesmerizing passion. The images shown on the screen of a tied up girl were horrible to witness, and yet this was one of the most moving moments of the concert.

If his success in Argentina and the audience response at the Theatre at Madison Square Garden is any indication, Arjona has the potential to be the “next big thing.” Although his political messages might not sit well with some American audiences, many of his themes are universal.

So that's what all the fuss is about...

I'm a little slow on the internet bandwagon sometimes. I didn't download Napster until halfway through my freshman year of college (not that I ever downloaded music illegally, of course). I didn't even have my own e-mail address until college (before that I shared with my parents). So I've stayed away from the whole YouTube phenomenon except when we watch YouTube clips in popular music studies or when I have to pitch stories about YouTube for magazine editing. But I finally understand why it's so popular--they have everything you could ever want to see.

I had been thinking fondly about the PBS show "Ghostwriter" which ran from 1992 to 1995 and wishing I could watch it again. I did a YouTube search and I found several clips and some episodes. It was just as brilliant as I remembered and I also discovered that Samuel L. Jackson played Jamal's father. How crazy is that?

"Ghostwriter" was a show about a group of kids who solve mysteries with the help of their friend, Ghostwriter, who only they can see. Ghostwriter can't hear or talk, he can only read and write. As in any good show aimed at middle schoolers, there is plenty of G-rated romance and teen angst in addition to the educational value. An added bonus is the 90's slang.

For anyone who still remembers "Ghostwriter," here's something to whet your appetite:

Not Quite Practically Perfect, But Good Enough

Cameron Mackintosh, the mega-producer of such hits as "The Phantom of the Opera," "Cats," and "Les Miserables," and Disney, a powerful producer in its own right with "Beauty and the Beast" and "The Lion King," joined forces to co-produce the stage production of "Mary Poppins." It was sure to be a blockbuster, but it could have very easily become every stereotype of a big-budget, over-the-top corporate musical. The results turned out to be pleasantly surprising.

"Mary Poppins," directed by Richard Eyre, opened on Nov. 16 at the New Amsterdam Theatre, former home of the "Lion King" (now moved to the Minskoff Theatre). It originally opened in London two years ago and is based on the Disney musical film as well as the book by P.L. Travers.

For those unfamiliar with the story, Jane and Michael Banks are two well-intentioned children who get into mischief while trying to catch the attention of their father. They have trouble holding onto their nannies, much to the frustration of their parents, until Mary Poppins arrives to discipline them with the help of magic and sing-alongs. The musical is slightly darker than the film, with the marital troubles of Mr. and Mrs. Banks playing a more central role and the inclusion of a backstory about Mr. Banks childhood with a cruel nanny.

The star of the show is the Banks' house on Cherry Tree Lane, brilliantly designed by Bob Crowley with intricate details and a roof that rises to reveal the childrens' room and falls for the chimney sweep scenes.

Ashley Brown, plays the other star, Mary Poppins. She could never replace Julie Andrews, but the girl can sing. Her gentle, sweet voice is never forced or shrieky.

Even Brown was not as dynamic as Gavin Lee, direct from the London cast as Bert. As lanky and silly as Dick Van Dyke, he steals the show when he climbs the walls and dances upside-down in the toe-tapping number, "Step in Time."

Delaney Moro played Jane and Alexander Scheitinger played Michael in the Saturday matinee I attended (three children rotate in each role) and it was refreshing to see adorable children who could sing on key and act naturally.

Many of the classic songs by Richard and Robert Sherman, such as "Chim Chim Cher-ee," ""Feed the Birds," and of course, "A Spoonful of Sugar" were adapted for the show, and new ones were written by George Stiles and Anthony Drewe. The enchanting lullaby "Stay Awake" and the political "Sister Suffragette" were inexplicably left out, as was the character of Uncle Albert and the amusing "I Love to Laugh." One would think that the scene of characters floating in the air due to laughter would be a sure crowd-pleaser that Disney and Mackintosh would not have been able to resist.

Although most of the numbers were successfully brought to life with Bob Crowley's colorful costumes and Matthew Bourne's eye-popping choreography, "Supercalifragilisticexpialidocious" fell flat. The clever lyrics were changed and the number took place in a strange shop run by Mrs. Corry, who does not appear in any other scene and has nothing to do with the rest of the show. The scene then unfolds into a lengthy spelling lesson.

The new numbers do fit in nicely with the originals. The best and most interesting is "Temper, Temper," in which the dolls come to life and rebel against the trouble, adding a much-needed aspect of creepiness amidst all the sugar.

Children and adults are awed by the final moments when Mary Poppins flies away on her umbrella. "Mary Poppins" may not be perfect, or even practically so, but it has enough jaw-dropping moments to amuse even the most cynical theatre-goers.

Another Novelty Eatery

Manhattan has the answer to any comfort food craving. In the mood for a peanut butter sandwich? Try Peanut Butter and Co. Like Macaroni and Cheese? Dine at S'MAC. Looking for a cupcake? Magnolia and Billy's Bakery are just a few options. Can't get enough rice pudding? Take a pilgrimage to Rice to Riches, located on Spring St. between Mott and Mulberry.

Rice to Riches is an ultra chic eatery that sells 18 flavors of rice pudding (the flavors change depending on the season).

Good luck trying to make a decision. At least the employees are friendly and patient, allowing customers to try as many flavors as necessary to make a final decision. I tried the sweet "secret life of pumpkin," the slightly disappointing "i'll take eggnog for $200 Alex," the heavenly "stubborn banana," and the deliciously rich "take me to tiramisu," before finally settling on "gingerbread joyride" with a hefty dollop of whipped cream. The winning feature of "Gingerbread joyride" was the pieces of gingerbread mixed in.

The treats are fairly pricey, ranging from $5 for an individual serving (plus extra for toppings) to $35 for a 10 person serving, but they are filling enough to be a suitable meal.

During the winter when it's too cold for ice cream, a nice bowl of rice pudding might be just the ticket.

For more information, visit the website

Broadway is Not Dead Yet: "Company" and "A Chorus Line" are Both Worth Reviving

Reports of Broadway's death have been greatly exaggerated for years. In "A Chorus Line," which originally opened in 1975, the characters discuss whether or not Broadway is dying ("I hope not," one character replies, "I just got here.") Thirty years later, people are still going on about the death of Broadway, complaining that the only shows on Broadway are revivals or musicals based on movies. But some musicals do bear revisiting. Maybe it's too soon for "Les Miserables," which only closed 3 years ago, but "Company" and "A Chorus Line," both from the 70s, were about due for another look.

Stephen Sondheim's "Company" is currently in previews at the Ethel Barrymore Theatre and will open on November 29. The original production ran from 1970 to 1972 and it had a brief revival in 1995.

Although "Company" was written in the 70s, it does not feel dated. The subject matter of a bachelor, Bobby, with married friends trying to set him up is relevant in any time period. The problems that the couples have in their relationships and the loneliness Bobby feels is also timeless. The Dolce and Gabbana suits hint that the story has been placed in the present time, but the musical does not require being grounded in a specific time. The place is slightly more important, as it would be hard to imagine the upper middle-class urbanites living anywhere but Manhattan.

As in most Sondheim shows (he wrote the music and the lyrics), there is not much of a linear storyline. The individual scenes and what they reveal about human nature are much more important than the plot.

Such a show lends itself to John Doyle's direction. Last year Doyle revived another Sondheim show, "Sweeney Todd," and had the cast double as the orchestra, which earned him critical praise as well as a Tony. This technique works just as well here, as does the minimalist set (the major set piece is a piano). The musical does not require anything but gifted actors to deliver Sondheim's thought-provoking score, which this show definitely has.

Even the most accomplished singers will probably tell you that Sondheim music, characterized by its complex changes and intricate harmonies, is not easy to perform. The 14-member cast had the added difficulty of switching between multiple instruments. Actors sang while playing the violin or moved across the stage with a double bass with relative ease. The cast is such a talented entity that it is hard to pick out a few of the performers, but it makes sense to start with Raul Esparza, who plays Bobby.

This is the show that is supposed to turn Esparza into a star, and it's about time. Broadway fans have adored him for years. Although he lucked out in that he doesn't have to play any instruments except the piano in one scene, he doesn't work any less hard. He puts everything he has into the emotionally-charged finale, "Being Alive." He is so charismatic that it is easy to see why all the characters love him and his performance has Tony written all over it. There was a fascinating profile on him in the New York Times, which suggested that many elements of the play hit close to home and makes his performance that much more powerful and real.

Heather Laws as Amy does well with the difficult impossibly fast-paced, "Getting Married Today." She also plays french horn, trumpet, and flute. Barbara Walsh as Joanne, looking like Bebe Neuwirth but far more talented, would make Elaine Stritch proud with her biting rendition of "The Ladies Who Lunch."

Although most Sondheim fans are familiar with the music from "Company," many, especially the younger generations, have never had a chance to see the show. The revival allows fans to hear the music in its context. The past several Sondheim revivals have not had long runs, so Sondheimites would do well to see it as soon as possible.

"A Chorus Line" in its initial run was far more successful than "Company." It was at one point the longest running musical on Broadway. It ran from 1975 to 1990 and is considered one of the most groundbreaking musicals of all time. The late Michael Bennett told the story of dancers trying to make it into a chorus line through his brilliantly expressive choreographer. The stories of the dancers were based on real life stories that the original cast told to Bennett.

The revival, now playing at the Gerald Schoenfeld Theatre, makes it possible for a new generation to see "A Chorus Line." Director Bob Avian, who co-choreographed the original production, did well keep the story in the 70s and not try to modernize it.

Many say that this story is not relevant anymore, that there are more important things going on in the world, but as long as there are still dancers, as long as there are people who have passion for anything, there are people who can relate to this show. Besides, how many musicals are "relevant"? Are stories about Grinches, beasts, and wedding singers that much more pertinent to our times?

From everything I've read, the show stays pretty close to the original. The story of dancers at an audition, the costumes of leotards and tights (except for the glittery gold outfits that appear at the end), the mirrors at the back of the stage are all there to recreate a historic show for the audience.

Like the members of the original cast, many of the actors are making their Broadway debut. The show would not work as well any other way and it makes sense that the two veteran actors, Michael Berresse and Charlotte D'Amboise, play Zach, the director, and Cassie, who had a shot to be a star but now wants nothing more than a chance to be in the chorus, respectively.

As a whole, the actors are better dancers than singers, but that is true of the characters they play as well (there is even a song about that, "Sing!"). Performers to watch include Jeffrey Schecter as dance-happy Mike, the adorable Jason Tam as the vulnerable Paul, Diedre Goodwin as the strong-willed Sheila, and Natalie Cortez as the spunky Diana.

The best singer sadly had a very small solo--James T. Lane displayed a breathtaking falsetto as Richie.

With music by Marvin Hamlisch and lyrics by Edward Kleban, the pop-inspired score still contains some of the most memorable songs in Broadway history, including the hit ballad "What I Did For Love."

For every "High Fidelity" and "Wedding Singer," Broadway needs a "Company" and a "Chorus Line," so that new generations of theatre-goers can get a glimpse of what Broadway was like when it was great and what it still could be.

*Correction: I said that Raul Esparza was wearing a Dolce and Gabanna suit in "Company," but the New York Times said it was Armani. The belt was clearly Dolce and Gabanna, but the suit itself was apparently Armani.*

Finally, a Mascara I Can Get on Board With

I don't wear a lot of make-up. I don't understand make-up. I can barely spell make-up (should it be with or without a hyphen?). But my friends recently talked me into trying a brand of mineral make-up called i.d. bareMinerals (part of Bare Escentuals).

The line includes foundations, lipsticks, and blushes, but my favorite is the bronze Beautifully Luminous Lashes Mascara. I usually don't wear mascara because frankly, I don't really need it, but I love this product because it adds just enough sparkle without being too obvious. It can be worn alone or for a more striking effect, over regular mascara.

Miracle on 34th Street

I woke up at 6 a.m. after three hours of sleep to go to the Macy's Thanksgiving Day Parade. You'd think after looking outside and seeing that it was pouring out, I would have gone back to bed. But no, the night before I had found out that Julie Andrews, Brian D'Arcy James, John Tartaglia, and Miley Cyrus were going to be among the performers.

I arrived at 7 a.m. and sadly, there was no room left near the performance area, so I settled for a spot in front of Macy's on 34th street close to 7th Ave. next to a lovely family from Ohio. They were very kind and even though they got there before me, they made room for me in the front so I would be able to see. They made the two hour wait in the chilly rain go by much quicker. What I love about the parade is that it brings out the best in people. Usually crowded New York streets have the opposite effect, but it's been my experience in the two years I've gone to the parade that people are just happy and excited. Maybe it's because of the audience is mostly made up of tourists.

I give the NYPD, the Macy's staff, and everybody involved in the parade credit for keeping everything so organized despite the weather problems. The balloons made it all the way to the end. All the entertainers, even those in the skimpiest of outfits kept smiling and shouting, "Happy Thanksgiving," despite the fact that they were obviously freezing and uncomfortable.

It was disappointing not to be able to see the performances. Seeing a celebrity wave as they pass by on a float is kind of silly. It would be nice if they could perform throughout the route so all the spectators could enjoy the music.

But I can't complain too much. The experience was a nice (albeit wet) way to usher in the holiday season (although malls across the country did that months ago). For anyone who has avoided the parade in the past due to fear of crowds, it's really not so bad. I didn't have any trouble hopping on the subway afterwards.

Only in New York City

When I am on vacation, it usually doesn't take me long to scope out the best public bathrooms. I've been to New York City enough times to know that the Marriott Times Square has some of the cleanest bathrooms in the midtown area (When I worked at the Virgin Megastore in Times Square, sometimes I would go across the street to the Marriott to use the restroom). But not everybody feels comfortable going to a hotel just to use the restrooms. For them, Charmin created a set of 20 restrooms that also doubles as a tourist attraction.

The restrooms, located on 46th and Broadway, were a gift for New Yorkers and tourists for the holiday season (what will happen to the restrooms after the holiday season remains unclear).

When I walked in, the first thing I saw was a long escalator. Fun music played as I rode to the top, and I felt as if I was riding into a Charmin commercial. And I basically was. When I reached my destination, one of the employees asked were I was from. This was for the website, which boasts how many tourists have visited from each country.

The line for the restrooms was so long I wondered if there was an amusement park ride next to the toilets. No, I was told by an employee, it's just that clean and free restrooms are hard to come by in the city.

For those who are looking to hang out, there are plenty of white couches. The walls provide a comforting atmosphere with decorations of cuddly Charmin bears. Music videos play for those who want to dance and there are also, of course, photo spots.

I never got a chance to see the actual bathrooms because I was too impatient to wait. Instead, I went to the Marriott.

For more info and photos, visit this website.

The Newest Frat Packer?

Jack Black and Kyle Gass don't need cameo appearances from aging rock stars and famous actors to sell a movie, but they don't hurt. Black and Gass have quite a following as the awesome rock duo, Tenacious D.

In Tenacious D: The Pick of Destiny (due in theatres Nov. 22), Black and Gass rock hard with the help of David Grohl and Meatloaf. Ben Stiller (who is also executive producer of the film), SNLers Amy Poehler and Fred Armisen, and Tim Robbins also make appearances. But one appearance almost goes unnoticed and is in fact uncredited: John C. Reilly.

Reilly would be unrecognizable in his five-minute performance as Sasquatch were it not for his voice and eyes. But these five minutes are quite touching in the pull-at-your-heartstrings way that Reilly excels at. Sasquatch is sort of a father figure to Black in the scene.

Reilly has a reputation as a character actor, but lately he's proved himself as quite the comedic actor, adding a touch of reputability to Talladega Nights: The Ballad of Ricky Bobby, starring Will Ferrell. Ferrell is a member of the so-called "frat pack" along with Ben Stiller, Owen Wilson, Vince Vaughn, Jack Black, and other funny men who can't seem to get enough of each other. One can only hope that Reilly is the newest member.

Reilly would make an excellent addition to the frat pack as he has the ability to elevate the performance levels of those around him without upstaging them. It must be the Mr. Cellophane quality.

The only fault of Reilly's performance was that he didn't sing. Maybe Black didn't want to be upstaged, but I don't think he had anything to worry about.

Not Enough Disney Magic: Tarzan the Musical Disappoints

My final review for class at 600 Words:

Something was lost in the translation of Tarzan from the movie to the Broadway stage—its heart. Tarzan is visually stunning, but after a while an attractive surface can’t compensate for a boring script and an average cast.

Tarzan the Musical, adapted from the 1999 Disney animated film, adapted from Edgar Rice Burrough’s book, began performances at the Richard Rodgers Theatre (46th and Broadway) on May 10, 2006. The original cast is still performing save one of the two boys who alternate in the role of Young Tarzan.

The musical tells the all too familiar story of Tarzan (Josh Strickland, in a surprisingly decent transition from the American Idol stage to Broadway), the ape man. Baby Tarzan and his parents are stranded on the West African shore after a thunderstorm. His parents are killed by the leopard, Sabor. Kala (Merle Dandridge), a gorilla, finds Tarzan and raises him as her own despite the objections of Kerchak (Shuler Hensley), her husband. Tarzan grows up never understanding who he is, until he meets Jane Porter (painfully annoying Jenn Gambatese). Of course, they fall in love and Tarzan is torn between two worlds.

Many of the faults in the production come from David Henry Hwang’s book. The stale dialogue does not provide adequate build up to the songs. The jokes are seldom funny and the conversations are awkward.

The saving grace of the show is its design. In the impressive first scene, when Tarzan and his parents are shipwrecked, Natasha Katz’s lighting dazzles the audience with her thunderstorm effects. The scenery changes in a matter of minutes from a sinking ship, to the majestic underwater, to a sandy shore, to a tree house in the jungle.

Although the jungle set on its own is not much more than a bunch of bright green vines, Pichon Baldinu’s striking aerial choreography enlivens it as apes frantically swing through the air.

Bob Crowley does triple duty as director, scenic designer, and costume designer, but his strength lies in the costuming. His gorillas sport unruly dreadlocks and have enough hair on their shoulders and lower bodies to make them look ape-like while still retaining their human features.

Phil Collins penned 10 new songs in addition to the five originals from the film. His score is irresistible (despite excessive use of synthesizers) in its saccharin melodies and lyrics and jungle rhythms. The songs are more effective in the film, as Collins pop sensibilities are more suited to the performance style than most of the actors.

In the entire cast, there are only two exceptional performers. The stand-out performance was given by Shuler Hensley in the role of Kerchak, Tarzan’s father. He not only embodied the movements of a gorilla, but he gave his character more depth than the script called for. In “No Other Way,” he sings in a rich baritone about having to send Tarzan away with pain and conflict, but never going over the top.

Chester Gregory II’s Terk (Tarzan’s best friend) is completely different from Rosie O’Donnell’s film version, which isn’t necessarily a bad thing, except that the stage Terk is stereotyped as a black badass. Gregory does his best with the role and even accomplishes the tricky feat of singing upside down.

The problem with the musical can be exemplified by one scene. When Tarzan introduces Jane to Kala, he says three words, “She’s my mother.” It is a beautiful moment in the film, with the emotions of the characters perfectly conveyed in the animation, but on the stage those lines are thrown away and the incident is as unmemorable as the show itself.

Prices range from $51.25 to $111.25 with performances every night except Monday and Tuesday and matinees on Wednesday, Saturday, and Sunday.

Ob-la-di Ob-la-da

It should not come as a shock to anybody that I love the Beatles. I don't even know if love is the right word. They are so much a part of my life that it is hard to explain to anybody who doesn't have that with a band or musician. They are pretty much the reason I love music and the reason I first wanted to write about music, but I've always tried to get away from writing about the Beatles. It seems like there is a new book about the mop tops from Liverpool every month, and really, what is left to say? What new insights could I bring, considering I was not even alive when they were together.

Then Tim Riley, author of "Tell Me Why," came and spoke to our class, and he changed my mind. He told me to read everything that's been written about the Beatles and find an approach that nobody has taken. I do plan on reading his book and others that he recommended and I've been thinking about what I would even write about.

I've always been fascinated by the idea of Beatles music as children's music, especially the White Album. I could not get enough of that music when I was young (actually I still can't). Although the content is very adult, the music definitely has a childlike quality to it. I think I was actually mentioning this to somebody the other day, so I was surprised to find this article in PopMatters

It is more about the humor of the Beatles, but it also deals extensively with their appeal to children. I was pretty disappointed that somebody beat me to the punch, but I wasn't too impressed with the article, and I mean no disrespect to Iain Ellis. He had some good points, but I'm not sure he expands on them enough to make them original. There were also a few fact errors which somebody already commented on.

Anybody who has seen clips of the boys in their early days knows how charismatic and funny they were. The article touches on various points in the band's career and as a result, does not delve deep enough to offer any new insights. Yes, the Beatles (mainly Sir Paul McCartney) were influenced by music hall variety shows, but so what?

The article is an excerpt from a book from PopMatters/Soft Skull about "rock-related artists who use(d) humor as a primary instrument of rebellion," so perhaps the book will deal more extensively with these issues. I also know that I shouldn't criticize too much because frequently in my own writing I notice that I try to tackle too much and in turn do not say enough (but hey, I'm still learning).

This is Halloweentown?

Halloweentown, released in 1998, had all the elements of a successful Disney Channel movie--charm, close family ties, cute children, and Debbie Reynolds. Halloweentown was followed by Halloweentown II (2001), Halloweentown High (2004), and most recently, Return to Halloweentown.

In Halloweentown, 13-year-old Marnie discovers she is a witch and her grandmother, Aggie (Reynolds), takes her to Halloweentown to train her. Now Marnie is in college, unfamiliar territory for Disney Channel. Witch U. seems less like college and more like boarding school, with the Sinister sisters as the token bully girls.

The effervescent Kimberly J. Brown played Marnie in the first three installments. The slightly chubby Brown was a refreshing change to the blonde beauties Disney Channel usually employs. Brown always looked like a normal kid. She has since been replaced by the bland Sara Paxton, who is, of course, blonde and thin.

Lucas Grabeel, still riding on the coattails of High School Musical, plays Marnie's love interest, Ethan. He appeared in Halloweentown High, although there was never any palpable sexual tension between him and Marnie (Marnie's a bit of a harlot, making eyes at a different male in each film). He barely even in the preview for Halloweentown High, but now that he is a "star," the marketing for Return to Halloweentown was all about him, overshadowing J. Paul Zimmerman (he stuck with the series for all four films as Marnie's brother).

Reynolds is only present in two short scenes and Marnie's adorable little sister (who has been steadily gaining weight in each installment) is mysteriously missing.

The scenes seem unconnected, with various subplots that never get fleshed out. The relationship between Marnie and her mother, Marnie and her grandmother, Marnie and Ethan. As a result, the heartwarming scenes, as when Marnie says, "I love you mom," are not believable.

The film is nothing more than a vehicle for new Disney Channel stars. This would be fine, if it only had a heart.

Don't Need No Credit Card to Ride This Train

The title is misleading, this is actually a posting about the new Harry and the Potters album, "The Power of Love," as you can clearly see from the photo. The album was released when I was in Boston (you can pretty much only find it there and online) and I didn't buy it as I'm a poor grad student, so I e-mailed the band and told them that I was an arts journalism student and I asked them if I could have a copy, and they sent me one. I like this arts journalism thing. I am reviewing it for Jerk Magazine, but the reviews there are short, so I was limited to 150 words. I don't think it will appear until the December issue, but here is a preview:

Harry and the Potters and the Power of Love [Charming Records, Sept. 2006]

A band that only sings about Harry Potter may seem like a passing novelty, but two Bostonian brothers have kept it going since 2002 as Harry and the Potters.

The Power of Love, Paul and Joe DeGeorge’s third album, is based on the sixth book in the Potter series. With so much material in the novel, there is no excuse for any weak songs, like space-fillers about rocking, which seem to be a product of laziness.

The boys can be forgiven for their oversights with fun songs like the danceable “(not gonna put on) the Monkey Suit” and clever observations about teenage angst and budding relationships. Surprisingly, the best tracks are not the humorous ones, but the touching violin and cello heavy “Dumbledore” and the anthemic “Phoenix Song,” in which the boys carry the pain of Potter in their vocals.

After the seventh book is released, Harry and the Potters have one more shot to make a great album, and they just might have it in them.

The album can be purchased on the band’s website, www.eskimolabs.com/hp

Your Ticket Should Say Urinetown

Here's my 4th review for class. This one was 700 words, which proved to be a challenge after the 300 word review. At first I thought I wouldn't have enough to say, but then as I started writing, I realized I had more than enough to say, too much, in fact. Anyway, here is what I came up with:

A bad title and bad subject matter can “kill a show pretty good” according to the opening song in Urinetown. The macabre musical comedy has both, but that didn’t stop it from winning three Tony Awards in 2002 for best director (John Rando), best original score (Mark Hollman and Greg Kotis), and best book of a musical (Greg Kotis). It may be about bodily functions, but Urinetown was a Broadway hit, and now it’s being tackled by Syracuse University drama students.

Urinetown, directed by Syracuse University faculty member Marie Kemp, opened on Oct. 13 and is playing at the Arthur Storch Theatre until Oct. 22. An appropriate choice for a college audience, the show appeals to those who love musical theatre as well as those who despise it, as Hollman and Kotis embrace the history of Broadway while simultaneously making fun of its traditions.

As the audience members waited for the overture to start, a man wandered through the back of the packed house, trying to find a seat. Two police officers who were clearly actors dragged him into a jail-like structure on stage right where the orchestra was waiting. The man turned out to be Nathan Hurwitz, the conductor, who stayed in character, reluctantly taken up his baton to lead the musicians in the horn-heavy overture.

In the Brechtian opening number, “Too Much Exposition,” Officer Lockstock, perfectly cast Eric Bilitch, and Little Sally, the disappointing Amy Walsh, welcome the audience to Urinetown the musical. The town is suffering from a water shortage and private bathrooms have become obsolete. The only types of amenities are pay as you go and those who can’t pay get carted off to Urinetown, a “mythical place filled with symbolism and things like that,” Lockstock tells us in his deep announcer-like voice.

The narrative banter between Lockstock and Sally would be more effective if Walsh stayed in character. She fluctuated in and out of her childlike voice and she lacked the comedic timing that Bilitch excels at.

Urine Good Company (UGC), owned by Caldwell B. Cladwell (Adam J. Wahlberg), controls the public amenities. The hero of the story is Bobby Strong, played by Dan Scott, who looks the part with his “sweet face,” but has a voice too feeble for such a major role. His microphone often sounded muffled, making his quiet voice sound even more unintelligible. His love interest is Cladwell’s daughter, Hope (Colleen Fee). Their relationship comes out of nowhere, as is often the case in musical comedy. As Officer Lockstock tells Sally, “He’s the true hero of the show, she has to love him.”

Set designer, Maria Marrero, a professor at Syracuse University, and costume designer, junior Megan Moriarty, create a look not bound to a specific time period. The minimal and dreary set of the town that makes excellent use of ladders and raggedy costumes are indistinguishable from the Broadway production.

The scenes at the UGC are quite a contrast. Wahlberg, the most talented in the cast, is as thin and dapper as Fred Astaire, which is fitting as the elegant office decor and pin-striped suits could very well be taken out of a 1940s musical. During “Mr. Cladwell,” the sophisticatedly dressed employees caress his ego in a song and dance number recalling “I Think I’m Gonna Like it Here” from Annie.

The music pokes fun at many different traditions. “Act One Finale” satirizes Les Miserables in all its operatic grandeur and includes a hilarious slow motion running gag.

“Snuff That Girl,” a brilliant send-up of West Side Story’s “Cool,” complete with finger snaps and “Bangs!” and “Booms!,” gave the supporting cast a chance to shine, thanks in part to Erin McDowell’s evocative choreography.

Although the mic problem was not fixed by the second act, Scott redeemed himself and delivered a rousing performance along with the ensemble cast for the memorable gospel number, “Run Freedom Run.”

The final lines in the show are, “Hail, Malthus!” in honor of Thomas Malthus, the political economist who believed that human populations will increase until checked by natural limitations. A happy ending it’s not, but as Little Sally says, “The music is so happy,” and theatergoers leave the theatre humming, having been thoroughly entertained for the past two and a half hours.

Making Music

I have two articles in the new issue of Making Music, "Rock Around the Clock" and "Holiday Cheer Loud and Clear".