Well, dear readers, another ME day in which I shall do ME things in ME time. Yesterday was also a ME day, although I did go out and see a show called Merrily We Roll Along. I know this show is thought of lovingly by Sondheim fanatics and for some folks the show simply resonates. I don’t have an issue with any of that – people respond to what they respond to. But the fact is every time a new production comes along, whether it’s this one or the Menier Chocolate Factory or the Kennedy Center, there are hordes of people who proclaim that THIS time whatever director has solved the problems. Only they don’t solve them because, for ME, they can’t be solved. I believe in the best of circumstances the problems can be lessened but they cannot be overcome because the book is simply not very good too much of the time. For me, the main problem is the unsympathetic and occasionally loathsome characters that we have to somehow understand, forgive, and then like after two hours and forty-five minutes. That is not something mainstream audiences can warm to, I’m afraid, and they never will. But part of what keeps directors coming back to the well is, of course, the Sondheim score, which has absolutely brilliant things in it, along with a few things that I don’t think quite work in the way they quite need to, and I must say I like the revisions to the show even less than the original way in which it was done. As pretty as I think Growing Up is, for me it adds nothing, and The Blob is, well, I don’t know what it is. I also prefer Rich and Happy to That Frank. But that’s all opinion – that’s all any of these thoughts are.
As most of you know, I recorded the York Theater production (but with the eleven-piece orchestration by Jonathan Tunick, rather than the trio used at the York). That production used the revised material and it really wasn’t very good overall, but it did have a really strong cast, including Malcolm Gets, Michele Pawk, Anne Marie Bobby, and Adam Heller. But it didn’t matter – the score worked, and the revised book did not. So, for the past several months we’ve been inundated with publicity about this new whatever you call it – revival, I guess. Just another director thinking he’s figured it all out and a “vision.” I’m not a fan of directorial “vision” when that vision is worn as an outer garment and calls attention to itself rather than serving the show. For me, the best directors just do the show – yes, they can have this idea or that, this visual thought or that, but always in service of the show.
I won’t dwell on it, but this new production, on which a good deal of money has been lavished, I’m sure with the wacky and somewhat cocky notion that it would immediately transfer to Broadway, was simply not something that resonated with me on any level. First of all, I’ve had it with this kind of lighting, show off lighting that literally hits you over the head every three seconds. And the set concept, make-up tables and mirrors – sorry, are we backstage somewhere, is life a backstage drama, what – actors move around a ghostlight, it’s just wacky. Whatever it was, I found it random and even distracting. And the talented gentleman who played Franklin Shepard has either chosen to or been directed to be the biggest jerk in the history of jerks – a very one-note interpretation that makes an already difficult first act almost impossible in terms of audiences not hating him. One way to combat that problem is to have a charismatic and, more importantly, charming and likeable actor in the role, so you at least see why people would gravitate to him or be bamboozled by him or whatever. But none of the characters are in essence more than one note – it’s like playing the same acting beat for three hours. I liked Wayne Brady as Charley, and I liked Donna Vivino as Mary. Some of the other casting didn’t work for me at all. But it was the style and the lighting that mostly drove me crazy – about five times in the show we had that by now hoary device of a bank of lights coming up so bright that it blinds the audience – add to that an additional square of lights, also upstage, that also blinds the audience – why? Who cares? And are there really lighting instruments that emit smoke – because they sure seemed to, at least from where I was sitting. And the director has seen fit to have his Follies moment, with younger versions of the characters shadowing the older, only here it’s meaningless. And those younger actors then play the very final part of the final scene with the older actors watching THEM. I suppose it’s a device, but you’re also robbing the older actors of getting to play the moment that the entire reverse order of the show is leading up to. It sure didn’t work for me. And finally the choreography is strictly from the Rob Ashford (my least favorite choreographer EVER) school of I don’t know what. None of the steps actually mean anything, or they’re “illustrating” the lyrics, which is never a good idea to do more than once. But our Sandy Bainum, who had very little to do, made the most out of that little, looked great, and all the singing was very strong. I knew several others in the cast, too. The reviews were mostly very good, but that’s always the case with this show. Mr. McNulty in the LA Times wasn’t having it, though, but our own Rob Stevens liked it a lot and I know the show is a favorite of his. As I said, this is just one person’s opinion, so take it for whatever it’s worth.
Prior to seeing it, I walked down to Nate ‘n’ Al’s at twelve thirty to have a sandwich, but there was at least a thirty-minute wait, so I just went up the street to Fatburger. Fatburger is a raved about place, but I’ve eaten at several locations and I just don’t get it. It’s completely mediocre and not a patch on the butt cheeks of Astro Burger or In ‘n’ Out. I had my usual bacon cheeseburger and it was just had not a jot of taste.
After the show, I hung out with Sandy for a while and that was fun. I also saw my pal Michael Kerker from ASCAP – hadn’t seen him in ages – turns out when Adryan Russ stopped producing, some of her folks didn’t get transferred over into Doug’s e-mail list. We’ve rectified that situation now. Then I came home – too late to pick up packages.
I wasn’t in the mood to view anything, so I listened to some Roy Harris concert music (always interesting, but not one of my favorites), some Korngold concert and film music (great), and that was that.
Today, I may try to do the Costco run, I have to call Amazon about two packages that now seem to be in the ether – one was supposed to be here Saturday and one yesterday, both guaranteed delivery. I’m really tired of it so I’m going to ask for a full refund on both items because guaranteed is guaranteed and that’s all there is to it and who knows WHEN these will ever arrive IF they ever arrive. That’s not what being a Prime member is about. I’ll eat, hopefully pick up some packages, maybe jog (weather permitting), and I’ll continue choosing songs for the February show.
The rest of the week is just ME stuff – meals, viewing, listening, and relaxing.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, maybe do a Costco run, call Amazon, choose songs, eat, jog, and relax. Today’s topic of discussion: What were your favorite films and TV shows of 2016? Let’s have loads of lovely postings, shall we, whilst I hit the road to dreamland, happy that the ME time continues.