Posts Tagged → singing
Musical “1776” Two Thumbs Up
Please do not tell anyone, but I saw a musical play the other day, and I liked it. Humiliating to admit, yes, but our three readers come here for honesty, if nothing else. Today you get five doses of honesty: The musical “1776” was excellent, timely, accurate, entertaining, and all the other positive stuff that my movie and theater critic mentors Siskel & Ebert would say about it.
We saw it at the historic Walnut Street Theater in Philadelphia, America’s oldest longest-continuously running theater. Because the venue has a sane policy on weapons (have your carry permit available if anyone asks to see it), I was strapped. I was strapped because it is downtown Philly, where the Wild West can descend upon one in the blink of an eye.
The docents, volunteers, and paid staff were all nice and helpful. Before the show started, we could have raised Lazarus more readily than actually reaching a human being during operating hours. Weak spot, but probably a weak spot in all theaters. No one there answers the phones or the emails until after you have come and gone.
Look here, theater is not for me. Watching adults play dress-up and make-believe is usually overwhelmingly annoying for me. These are not mature people, and many of them have gratingly annoying personalities. It is impossible to take actors seriously, on stage or off. Now that TDS is ravaging Hollywood, I am reminded daily about how much I dislike actors. It seems that the kind of people drawn to acting all fall into the “Big Jerk” category of life.
One exception in my world exists for those live stage performances that are about meaningful, inspirational, true stories. Biblical stuff ranks “acceptable.” Political theater is almost always heavily slopped to the falling overboard-left, preachy, inaccurate, dumb, communist, and, thus, annoying. Best bets are on movies, where the nonsense and forgotten lines moments have been left on the editing room floor.
“1776” is about the writing of the Declaration of Independence over a one month period, however, and is, therefore, a ten out of ten in my book, any day. It involves the story of the delegates from 13 colonies, debating the break-up with Britain, in Independence Hall, in Philadelphia, in June and early July, 1776. The widely documented personal performances of Benjamin Franklin, John Adams, and our own (local to PA) John Dickinson are performed admirably by the capable actors. Thank you!
Real focus is put onto the debate about slavery, which did occur in the actual Continental Congress, and how that hot issue was taken out of Jefferson’s first version of the Declaration of Independence. Depicting this on stage is especially important these days, as it is bizarrely considered “cool” by some to incorrectly badmouth America about slavery.
Fact: In 1794 America just about had a civil war over slavery. We also almost had a full civil war over whisky and taxes, then, too. But abolishing slavery was an early goal in our nation’s founding, and white people were ready to fight and die to end it, even as slavery was a full blown enterprise in the rest of the world. Eventually American whites got around to that fighting and dying thing, in 1861, when the insurrectionist Democrat Party declared separation from the rest of America, over keeping their slaves.
By 1865, the Republicans took away the Democrats’ slaves, and as we see even today, the Democrats never forgave them for it.
I digress.
That this was a musical without much singing was God’s way of showing me that beauty can occasionally exist in the darnedest places, including on a stage full of … feh… actors. That most of the singing that did occur was bawdy or silly really took the sting out of the musical part.
The actors said their lines well, performed very well, and entertained us audience people well, about an important subject. The Walnut Street Theater was clean, had no stray odors, and was a pleasure to visit. All the audience members upon whom I threw myself were friendly and gracious.
In another couple of months America, us, our nation, will celebrate its 250th anniversary since our founding. It is a really big deal. This play was timed to synch with our national celebration, and it fits well. If you find yourself going anywhere near Philly in the coming weeks or months, go see “1776.”
And go strapped, because the venue has a Constitutionally-minded policy on 2A concealed carry. God bless ’em. That was the only reason I set foot inside the theater…they actually believe in FREEDOM.
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Riverdance 25th Anniversary Show A+
Last night the Princess of Patience and I drove to Reading, PA, to watch the 25th anniversary show of the much celebrated Riverdance show that took western countries by storm 25 years ago. We enjoyed the show very much, especially the tap dancing part, which is the height of dancing talent.
The venue was the historic “Rajah” theater, now the Santander Performing Arts Center, in downtown Reading, Pennsylvania. The theater’s interior is nicely artistic and harkens to an earlier time in American history, when design and materials were stone, stained glass, crafted metalwork, and did not include ubiquitous bright neon and loads of plastic. Parking was abundant, whether on the street or in lots or in nearby parking garages.
Comfortably parking my fat butt in one of the old seats was another matter, and I tried to joke with the tall lady to my right whose elbow kept bumping into my arm. Or maybe my arm kept bumping into her elbow, with the result that each of us watched the show with one arm stretched across our chest to avoid discomfiting the other person. Point being that these are smaller seats and could use a few inches added to either side to comfortably accommodate larger, wider, broader bodied people. If you are pint-sized like the Princess of Patience, then you will be more than just fine. The venue was clean, tidy, well maintained, and had no weird old smells.*
Riverdance is fundamentally about Irish tapdance, or at least it was 25 years ago. Back then people commented that this kind of tap dancing was not really culturally Irish per se, but the fact is that it is its own thing and the people doing it and promoting it are mostly Irish dancing to lots of Irish music. So I call it Irish tap dance, and it is a lot of fun to watch. Beyond the outstanding tap dancing abilities of the individual performers, the audience is also entertained by the choreography and the perfectly executed timing of the performers as a troupe. Add in some Celtic-themed music, with Irish musical instruments like the Uillean pipes and drums, some traditional Irish style clothing, some songs sung in Gaelic, and you have the entire package. Excellent light show and dry ice fog for effect.
My favorite performance was the eight men executing some sort of intensely high energy quasi military exercise, with yelled commands from one to another. It was so perfectly timed and crisply done that the audience roared when they finished. Wow. Impressive!
My least favorite (as there is bound to be in almost every kind of theatrical performance) scenes are the singing. Because of the sound system, I can never tell if this is piped in and mouthed by the performers, or is, in fact, their own world class singing voices. I have my suspicions. The sole acoustical instrument scene was outstanding, but again, like the singing, sometimes it is hard to believe that the world-class fiddling is being done by the leaping nymph in front of me, and that it is not being piped in. No question that the percussion guy is incredibly talented. One request: Someone at some point in the show should wear some woad on his face, like Michael Flatley occasionally did. Show some true Celtic pride.
Probably the most entertaining dance routine was near the end of the show, when the backdrop (digital screen, as is standard now on stages almost everywhere) switched from the Emerald Isle countryside to a Downtown-to-Brooklyn B Train station and Manhattan cityscape, with a Hispanic guy and a black guy each doing their own ethnic styles of tap dance. Then the Irish guys enter in a mock-up of the old West Side Story confrontation, and the two groups have a series of dance-offs against each other using their different styles. And then of course they dance together. Lots of performer humor and mugging for the audience, as well as amazing dance, and the audience enjoyed it a lot.
I counted about thirty dancing performers and six musicians last night, and both the Princess of Patience and I felt like we had experienced a full evening of high talent entertainment. During intermission a bunch of little girls who had come to watch the show did their best Irish tap dance in one of the aisles, to lots of praise and cheering by the audience. And naturally, the entire audience was a sea of shades of green and various family green plaids and the famous Black Watch plaid, including tartan caps, shirts, coats, a kilt and sporran, and more than a few shilleileighs.
Riverdance 25th Anniversary Show is an A+ fun and impressive night out for anyone and any family. You will leave feeling energized and positive. When we first saw Riverdance decades ago, it was a kind of “If you weren’t Irish when you showed up, you will feel Irish when you leave at the end” experience. The updated version is truly a representation of America 2023, with plenty of Ireland’s best along with “culturally updated” themes that are fun.
*A note about the Santander Performing Arts Center: Like almost every other performing arts center I can think of, Santander Performing Arts Center does not allow its patrons to carry any defensive weapons on its premises. This means that patrons must disarm before entering the building, and then we exit into downtown Reading at night unarmed and vulnerable. Downtown Reading, PA, is not a safe place. The streets are dirty, trash is blowing around everywhere, and there are aimless or homeless people walking around, standing around, everywhere. When we entered this venue, we had to go through metal detectors carrying our keys and cell phones with our hands held high as if we were being detained by law enforcement. It is a humiliating experience. When I broached the idea to a security guard at the entrance of having lock boxes available inside the foyer to concealed carry people, he responded “That is an excellent suggestion, but it is never going to happen. With the current management never, it will never happen, I am sorry to say.” Which raises the questions of why these performing arts venues do this, and what responsibility do they have if you are mugged or beaten while approaching their building or after exiting it. Do they really have our safety at heart, if they disarm us and then turn us loose vulnerable on the city streets at night? I do not like being disarmed, especially when I do not see realistic alternatives being provided by the hosting venues.
Intermission time, showing some kids tap dancing in the aisle, and showing some of the theater’s old crafted ornamentation
Ceiling of the old “Rajah” now the Santander Performing Arts Center
When performers ask the audience not to record them, I do as they ask. So the best I can show is the empty stage with the show logo. Several extra rows of chairs up front were added to accommodate the audience.
Happy Singing Russian-Chinese-Nazi American Children
Anyone who has seen the Goodby-Silverstein children’s chorus innocently singing away about how electing Romney will result in a destroyed planet, and how those same children already blame their parents, can only be reminded of the past use of children to attack parents in totalitarian societies.
Mao’s China, North Korea, the Soviet Union, and most infamously the Nazis, all used children’s choruses to both brainwash whole generations and also inculcate a loyalty to the big government that superseded family ties. That loyalty to government was used to break familial bonds and reinforce horrendous injustices by those governments.
Commentators have said for years that the Democratic Party had become the heir to both socialism and the totalitarian methods necessary for socialism to succeed. Over the years, I have come to that same conclusion, with some exceptions.
Watching these little children singing about hating their parents for voting for Romney sends chills up my spine. Here it is, right here on our American shores, kids raised in middle and upper income families, sending a message that the people who created and nourished them are Public Enemy Number One. If this is representative of the Democratic Party, then we are in for a true battle for the soul of America.
And piggy backing on that message is today’s Doonesbury (Gary Trudeau) political cartoon, saying that Romney will win by voter suppression, and voter fraud, and that riots will follow. Why this partisan activist continues to get published next to family cartoons is a testament to the mainstream media’s overwhelming political bias. Is there a right-wing equivalent to Doonesbury? No? Do you think that one would ever be published?
But if riots do happen, God forbid, will Liberals suddenly embrace the Second Amendment? Conservatives are generally a well-armed bunch, having spent the past fifty years voting for the Second Amendment both in the voting booth and with their wallets at gun stores. In a physical confrontation, I’d put my money on the gun, not the knife, or Gary Trudeau’s “Doonesbury” pen.