Sunny Afternoon
9 December 2015 (Wed), West End
This was a jukebox musical built around the music of The Kinks, but it was all effectively new for me since I don’t really know the group. The songs are sung in many cases as character material, which worked to an extent. The story was a bit by the numbers and not overly compelling, but it moved along smoothly enough. Continue reading
Hangmen
9 December 2015 (Wed), West End
Talk about gallows humor. This is the first new McDonagh play in London in a long while and the first to be set outside of Ireland. He is back to form and then some, scabrous and witty and outrageous. Continue reading
Mr. Foote’s Other Leg
7 December 2015 (Mon), West End
Simon Russell Beale in peak form. Continue reading
The Mikado
6 December 2015 (Sun), ENO
I had loved this production four years earlier, and it was just as good the second time around – better, in fact, since I could read the subtitles this time, which helped immeasurably (I wonder if this is how Italians feel listening to opera). Great sets, colorful costumes, broad bright comedy, whimsical choreography, nutty elements like the headless waiters – this production really has it all. Continue reading
The Homecoming
5 December 2015 (Sat), London Trafalgar Studios
A little Pinter goes long way with me, but this was the one play that my friend and I could agree on; I felt I should see it at some point anyway. As with most Pinter plays, it’s too stylized and obscure to make much sense, though the characterizations on their own were interesting. A brother, who has gone off to the US, brings his wife home for the first time after years of marriage and introduces her to his misogynistic widower dad, his hopeless two brothers and his chauffeur uncle. Thrown in the middle of a bullying, macho, frat-type environment, the wife uses her sexual wiles to manipulate all and gain control. Continue reading
Farinelli and the King
5 December 2015 (Sat), West End
This was one tough ticket. I had tried for seats several times from Tokyo, but had only managed to get a standing-room seat for the evening show (and even those were eventually sold out). I went to the box office in the morning to see if I could find something better, and ended up snagging not just a seat but a house seat for the matinee – this was apparently the final day of performances, so the producers must have been holding back a number of tickets just in case. Great luck. And I even managed to sell my standing-room ticket to an extremely grateful guy. So all’s well that ends well. Continue reading
Hilarious: It seems that the actress Tonya Pinkins dropped out of a New York production of the classic Mother Courage because, as she puts it, her “perspective as a Black woman was dismissed in favor of portraying the Black woman, through the filter of the White gaze”. The production, which has a white director, had been reset to the Congo in contemporary times. I don’t know much about the production, or about the Congo for that matter. But from an Asian perspective, I find it funny that Pinkins thinks that because she’s female and black, she has special insight into the feelings of a Congolese woman trapped in a brutal war. Is there some Black gene that makes all black women worldwide think and feel the same way? I wonder if the fictional woman would even think of herself as “black” given that virtually the entire population of her country is the same; surely she would find her identity elsewhere. Continue reading
Archives: Company
17 November 2006 (Fri), Broadway
A revival (still in previews) of the Sondheim classic directed by John Doyle, the English director known for his minimalist approach in which the cast members play all the instruments. I didn’t want to miss this show, one of my all-time favorites, so I ordered the tickets from Tokyo rather than waiting for the half-price booth. I wasn’t taking any chances. I went with a friend who was seeing the show for the first time.
The previous year’s Sweeney Todd, which used the same actor/musician technique, was a revelation. While it hardly replaced the traditional version, it certainly provided a fresh perspective on the show. (Whether it would be enjoyable without having seen the original is an open question.) Company, being an abstract series of loosely related sequences rather than a proper narrative, seemed like an even more appropriate choice for this technique. The various couples interact with other couples in song but not in narrative scenes other than the birthday party that frames the show; that is, outside their specific vignettes, the characters are for the most part commenting on the action rather than participating in it directly. I figured that the use of instruments would work perfectly within this context, providing another means of commenting on the story.
The results were not what I had expected. Continue reading
Archives: The Andersen Project
25 June 2006 (Sun), Tokyo
A one-man show conceived and performed by the inimitable Montreal-based director Robert Lepage. He was evidently commissioned by the Danish government to create a show celebrating Hans Christian Andersen, but what they got, unsurprisingly with Lepage, was something completely different. Continue reading
Archives: The Lieutenant of Inishmore
29 April 2006 (Sat), Broadway
Wild black comedy by Irish dramatist Martin McDonaugh, author of the memorable Beauty Queen of Leenane and The Pillowman. This show considerably ups the gruesome quotient with the most blood I’ve ever seen spilled on stage. An Irish terrorist discovers that his beloved cat has been run over, and utter mayhem breaks loose as he seeks his revenge. Continue reading
Takarazuka: Rose of Versailles「ベルサイユの薔薇」
19 March 2006 (Sun), Tokyo
A revival of the quintessential production by the all-female Takarazuka troupe based on a famous Japanese manga involving two star-crossed couples in revolutionary France. Continue reading
Archives:「屋根の上のヴァイオリン弾き」(Fiddler on the Roof)
27 February 2006 (Mon), Tokyo
Much-revived Japanese-language version of the Broadway hit. Ichimura Masachika takes over as the fourth Tevye, a role still associated with the definitive Morishige Hisaya (who I saw 20 years ago). I remember Morishige as a gruff, commanding presence who pretty much molded the part to his own personality, not so much acting Tevye as simply playing himself. It worked perfectly in the Japanese context, which is more like a family drama than a broader tale of how to preserve tradition in a changing world. Continue reading
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