Review by Christopher Moore, Broadway Magazine

Lee Hall’s new play “The Pitmen Painters” tells a true story about a group of miners in Northern England during the 1930s. The miners pool together their resources to hire a teacher to instruct them in art appreciation. However, when their teacher arrives, he encourages the group to create their own works of art, rather than study old masters. The resulting works by this group eventually impress critics and wealthy patrons. The artwork of the miners becomes known as The Ashington School, which may not be as famous as the school of Impressionism, but holds a certain fascination all the same.

“Inspired” by a book by William Feaver, Lee Hall (”Billy Elliot”) crafts a script that mirrors the art of the Pitmen. It is a straight-forward play told in a straight-forward way, at times lacking passion for its subject, but never lacking an affection for the subject it depicts. Hall is deft when it comes to crafting clever dialogue, and he is eager to mine the many themes which the play’s subject raises: classism and art; the role of art and commerce; the responsibility of the artist; the nature of art itself; and a few others too. Hall’s script and the story of the painters raise some interesting questions and some un-interesting ones too.

At times, the play’s conversations about art, politics, patronage and class struggle feel a bit pat. Occasionally the Marxist rhetoric and issues relating to the nationalization of the mining industry lack an authentic dramatic thrust. The best questions Hall doesn’t and couldn’t answer, those relating to the decisions of the miners to continue practicing their painting, or even the reasons why each of the individual painters seem from the very on-set to be quite a genuinely talented visual artist. The first effort of each painter more closely resembles Rockwell Kent’s engravings than any work you might expect from a true first-time artist rendering.

While the art may never rise to the level of a masterpiece, it never sinks to the level of bad; which creates its own problem. Even the initial exercises were exceptional. There are no uncertain lines and even the mistakes are inspired. One wonders how random it was that the group of miners would request an art teacher in the first place. Regardless, the journey of these men is compelling and Hall does his level best to fit a large story on a small canvas.

The real charm of the production is the gifted ensemble of actors who bring the story to life. Christopher Connel is exceptional as Oliver Kilbourn, one of the more talented of the talented pitmen painters. Connel is entirely believable as an uneducated miner with greater aspirations, and his authenticity grounds the entire production in an earnestness that gives the play its emotional impact. Given the choice between a life in the mines and a life as an artist, Connel’s portrayal of Kilbroun’s struggle is muted and powerful. There is not a false note in it, and Connel’s performance makes Kilbourn a fascinating focal point for the dramatic action of the play. The rest of the ensemble is praise worthly too, with ian Kelly as the teacher Robert Lyon giving a nuanced performance at the sanctimonious art instructor with ambiguous motives. Michael Hodgson, Brian Lonsdale, Deka Walmsley and David Whitaker also offer strong performances. It is an ensemble that is in perfect sync and entirely natural.

As a play, The Pitmen Painters is entertaining and engaging. Though not perfect, Hall’s celebration of the artists of the mines is worthy of praise and adulation. While mining may not be a way of life in modern-day Ashington, there are plenty of other mines and miners literally and figuratively all over the world. Hall’s tribute to the redemptive power of engaging in the creative process is a reminder to all of the living Pitmen of this world now and in the future.

Academy Award Winner, Grey to Play “Moonface Martin”

Roundabout Theater Company announced today a new Broadway production of Anything Goes directed and choreographed by Kathleen Marshall, starring Sutton Foster and Joel Grey.  Playing at the Stephen Sondeim Theater, previews begin March 10th, 2011.  Official opening set for April 7th, 2011. American Express Exclusive Pre-Sale tickets begin October 4th, 2010.  Public ticket sales begin October 10th, 2010.

 Get Tickets to Anything Goes 

Noel Coward’s Play Sure to be a Hit

Last night Noel Coward’s “Brief Encounter,” re-staged by Emma Rice, opened at Studio 54, and enchanted audiences with an awe inspiring story about love and an illicit affair.  After success in London and at St. Ann’s Warehouse in Brooklyn, this breathtaking musical has finally arrived on Broadway.

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 For The Love of Love

By Christopher Moore, Broadway Magazine

There is no experience like love at first sight. The breathtakingly beautiful and artfully cheeky new Broadway musical “Brief Encounter” will undoubtedly invoke comparisons to other productions (Broadway’s “The 39 Steps”) or “Brief Encounter”’s original source material (Noel Coward’s play and screenplay for David Lean’s film). Do not be deceived—”Brief Encounter” is a wholly singular Broadway creation and one of the most delightfully insightful and pleasurably moving productions in recent memory. For the record, the show is superior to the aforementioned comparisons and likely to most other comparisons that might be made. Adapted and directed by Emma Rice and staged by Britain’s Kneehigh Theatre, “Brief Encounter” is pure magic.

The story of an illicit affair in England between two ordinary people in 1938, the plot is relatively simple. The romance between Alec and Laura plays out over a relatively short amount of time, primarily in a London train station. Rich with crashing waves, swelling music, rushing locomotives, roses, and row boats on lakes, the show embraces the Romantic nomenclature with unashamed zeal as the central characters meet and fall in love.

With outstanding performances by Hannah Yelland and Tristan Sturrock as the romantic leads, the entire production remains grounded in a genuine truth, showing a deep understanding of both the exhilaration and complication of the characters’ predicament. With stiff upper lips but trembling lower ones, they engage in a brief romance that takes both away from their ordinary lives and up to the stars as they drink champagne and swing from the chandeliers (literally). While the outcome of the affair is known to anyone familiar with the film, I won’t disclose the ending here.

Incorporating the songs of Noel Coward into this adaption of his one-act and screenplay, Emma Rice has revealed Noel Coward’s perceptive gift for understanding romance in all its variations. With brilliant musical arrangements by Stu Barker recalling the Gypsy jazz feel of Django Reinhardt, Coward’s lyrics in this production feel remarkably fresh. Like the entire production itself, the arrangements remove the enduring gadfly façade Noel Coward cultivated to reveal Coward as an artist with a true poet’s insight when it comes to matters of the heart. This is the first Coward production on Broadway where the quaint presence of Noel Coward The Man does not hover and smother the work of Noel Coward The Artist.

Weaving his songs craftily into the narrative, Broadway’s “Brief Encounter” also echoes the experience of watching the television films of Dennis Potter—where everyday characters burst out into musical production numbers. However, this new musical (and it is indeed a musical and unarguably new), balances it’s interludes of song and story perfectly. The music hall setting, lush projections, innovative production, and perfect characterizations from a gifted ensemble all combine to create an evening of extraordinary theatre. Comedy and tragedy harmonize perfectly throughout the production.

“Brief Encounter” is more Berthold Brecht than Oscar Wilde. On one level the production seems to embrace the principle’s of the Aesthetic Movement offering bright colors with some cheeky fun; but ultimately the show achieves the impact of Brecht’s alienation effect. The stage mechanics are exposed (sometimes for fun, sometimes not) and the projection design by Jon Driscoll and Gemma Carrington is inspired. In fact, theatre fans are sure to delight in the production’s ability to show the virtue of live performance versus the flat two-dimensions of the movie screen in real time. It is the movies that are void of love and life, not the stage.

The theatrical flair of the production may delight and awe the audience, but the distancing merely serves to bring us closer to the varied themes explored in Coward’s deceptively simple story. The show will take your breath away and make your pulse race; but you’ll think about it after the tears dry and your smile fades. Simply put, Emma Rice has given Noel Coward a new theatrical triumph.

2010 Tony Award-Winning Revival Album Available Now

The revival of La Cage Aux Folles starring Kelsey Grammer and Douglas Hodge has been thrilling audiences at Longacre Theater all year, and thanks to PS Classics, the hits from this year’s cast can be enjoyed at home by everyone.  The album is available at Longacre Theater, 220 West 48th Street, between Broadway and Eighth Avenue, and as a digital download from PS Classics.

 Get Tickets To La Cage Aux Folles

The Divine Sister Keeps Audiences Laughing

Directed by Carl Andress, Charles Busch wrote and stars in The Divine Sister, which opened at the SoHoPlayhouse last week to rave reviews.  This  over-the-top comedy pays tribute to almost all Hollywood films that star nuns, and does so in comedic fashion.  The Divine Sister also stars Alison Fraser, Amy Rutberg, Jennifer Van Dyck, Jonathan Walker, and Julie Halston.

Tickets are now on sale for all regular and holiday performances.  Book now to guarantee yourself a seat at the SoHo Playhouse.

Flea Market & Grand Auction Raise $4476,917

On Sunday, September 26th awareness and funds were raised for Broadway Cares/Equity Fights AIDS (BC/EFA) in true Broadway fashion.  With stars such as Kristin Chenoweth, Kate Baldwin, and Mario Cantone donating their time and support, the 72 silent auction tables and grand auction were a resounding success.  BC/EFA is a leading non-profit AIDS fundraising and grantmaking organization that provides more than 400 grants annually to AIDS and family service organizations, and is a supporter of The Actors Fund.

Review by Linda Hodges, Broadway Magazine

Broadway San Jose’s BURN THE FLOOR not only lit the floor on fire, it shook the walls and brought the house down. A heady mix of primal beats, intoxicating rhythms and dazzling choreography, BURN THE FLOOR electrified the audience from start to finish.

Coming directly from Broadway, the tour features “So You Think You Can Dance” celeb Mary Murphy as well as dance stars Anya Garnis, Pasha Kovalev, Ashleigh Di Lello, Ryan Di Lello, Robbie Kmetoni, Janette Manrara and Karen Hauer. So, yes, you’ve seen them before, but even stalwart fans of the show will miss something spectacular if they don’t catch the live performance of this dynamic ensemble in action.

Billed as “Ballroom Reinvented,” the tagline really doesn’t capture the smooth, expert and supple sensuousness that emanates from the stage. These lithe, athletic dancers (from all over the world) exacted precise and pin-point-perfect movements that put them head and shoulders (literally) above others that grace the stage in other shows, connecting with the audience in a visceral way.

Costume designer Janet Hine’s minimalist approach to dressing the men was quite effective (to say the least). Black pants and skin-tight black shirts provided the initial palette from which Hine added or removed various pieces of clothing (for example, shirts) as Cha Cha’s and Sambas undulated toward Tangos, waltzes and Rumbas (not to mention Salsas, Swings and Quicksteps). Hine allowed her imagination to swing in the other direction when it came to the women. As the music boomed, female dancers took the stage with their male counterparts creating an intoxicating visual feast of flashing sequins, frenetic fringe and flowing frills. ( I’m not sure how their feet survived the night dancing in stunning stiletto heels but I only hope that foot rubs are included in their contracts.)

Rick Belzer’s lighting design added tremendously to the effectiveness of the show. As swirling couples dropped into a daring dips they were freeze-framed; captured in white hot spotlights only to be plunged dramatically into darkness as your eye was emphatically drawn to the next dancing delight. Jeweled lighting from the wings seemed to imbue the dancers with their own personal glow and helped to separate the dance numbers in this “hot tamale train” of an event.

Director and choreographer Jason Gilkison succeeds in providing a cohesive show even without a story arc or plotline. The 10 scintillating styles of dance at the heart of international ballroom competition were the only story thread needed in this mesmerizing mix of champion, off-the-charts dancers, costumes and thrilling percussion (Joseph Malone and Henry Soriano). BURN THE FLOOR is not to be missed.

Broadway San Jose
A Nederlander Presentation
September 21-26, 2010
San Jose Center for the Perf. Arts

www.BroadwaySanJose.com

Season tickets ($120-$405)

Single tickets ($20-$69)

Nothing Like Broadway for the First Time

For her Broadway debut Christina Ricci joins the veteran cast of Time Stands Still for it’s second run. Prepare to be surprised and thrilled to see Ricci in the unexpectedly positive role of Mandy, the event planner and girlfriend of the editor.

 Get tickets to Time Stands Still

Review by Linda Hodges, Broadway Magazine

Scheduled to celebrate a 35^th anniversary Broadway run in 2012, “Annie” (Book by Thomas Meehan, Music by Charles Strouse and Lyrics by Martin Charnin) is enjoying an extended run now at San Francisco bay area’s Lesher Center for the Arts. Presented by the Diablo Theater Company, the delightful cast is headed by eleven-year-old Marianna Scott in the role of Annie. Scott’s strong vocal talent was readily apparent as she sang and danced her way into Daddy Warbuck’s heart, as well as those of the audience. Director Amanda Folena had her work cut out for her with such a large cast but she built cohesiveness and charm into the show making for a wonderful evening of theater in the East Bay.

Set in 1933, during the Great Depression, the show certainly has parallels to today’s economic downturn. With depictions of pier-side shanties, men selling apples and, of course, the dilapidated orphanage, it’s a sad reminder of the problems that poverty brings.

But this show is about what pluck and perseverance can bring in the face of overwhelming odds. With its signature song “Tomorrow,” weaving its way through the show, you can’t help but feel hopeful that indeed “The sun will come out, tomorrow.”

Choreographer Renee DeWeese’s work shines, especially during the song, “It’s a hard Knock Life” in which the orphans slam down buckets and lament their lot in life. The movements are crisp and sharp – each turn, pivot and jump capturing the anger and frustration felt by the cuter than cute orphans.

Under the thumb of the sneering and insensitive, horrible Miss Hannigan (Laurie Strawn) Annie and the orphans form their own family, sometimes fighting but mostly looking out for each other. The touching number “Maybe” is one such moment of care. Annie comforts the youngest orphan, Molly, played wonderfully by Claire Shepard, while wistfully singing of her parents’ hoped for return.

Other standouts include Peter Budinger as “Rooster Hannigan” and Samantha Bruce as “Lily St. Regis.” They are perfect as two hustlers on the make looking for an opportunity to live on “Easy Street” for the rest of their lives. Mention must be made, too, of Tom Flynn in the role of President Roosevelt. He radiates as FDR. All three embodied their roles perfectly, making a fine production even better.

DC Scarpelli plays millionaire Daddy Warbucks who, along with his assistant Grace (Tielle Baker) brings Annie to stay at his mansion for what will turn out to be a lifetime. The chemistry between boss and assistant could have been stronger but overall both put in strong performances.

Children in the theater shrieked with delight when adorable Sandy the dog (played convincingly by Gertie) made her appearance onstage. Never missing a cue, Sandy brought down the house.

In these hard economic times, it’s nice to have a reminder that tomorrow can bring sunshine.

“ANNIE” is playing at the Lesher Center for the Arts in Walnut Creek, CA, Thursdays-Sundays through October 2^nd.
TICKETS: $17-$48

For more information: 925-943-7469 or www.lesherartscenter.org