Tag: broadway

Image via IDBD

Gloria Estefan was a trailblazer. She was one of the most successful female artists of all time, the most successful Latin-American crossover artist, and her voice is a force to be reckoned with. So when I took my seat at the Marquis Theater to watch her story come to life onstage, I had high expectations. But alas, I was disappointed.

The show On Your Feet: The Story of Emilio and Gloria Estefan has all the promise in the world. With songs like “Congo,” “On Your Feet,” and “The Rhythm is Gonna Get You,” the writers had a lot to work from. I practically congo-ed into the theater, eager to dance and clap along to Gloria’s famous beats and ready for Broadway’s liveliest show yet. But instead, I found myself falling asleep.

Broadway has had a history of success with these kinds of musicals. Jersey Boys, which was based on Franki Valli and the Four Seasons, is a smash hit. Mamma Mia!, written around ABBA’s famous songs, has been solidified as a classic. But for On Your Feet, it felt like Broadway gave up.

The opening number of On Your Feet is slow, boring, and actually quite confusing. For the first ten minutes of the show, scenery and time shifts at a mile a minute, and we are left extremely disoriented. First, a young Gloria awkwardly dances with strangers on the street while her mother jokes about the laundry, then solemnly sings to her father who is serving in the Korean War, and then all of sudden she’s all grown up and taking care of her MS-stricken father. Emilio enters the scene incredibly quickly, and before we know it Gloria is singing with his band and they fall in love without even a hint of a glitch. The entire first act happens quicker than you can imagine (and yet still manages to drag on with only the slowest of Gloria’s songs!) The act’s ending number, “Conga,” Gloria’s biggest hit, gave me hope that the second act would be livelier.

But of course, it wasn’t. The start of Act Two continued on in the same way, skipping so many years and milestones. All of a sudden Gloria is the biggest female artist in America, but we are given no details about how she got there or what her life is like. Only ten minutes into Act Two she is hit by a truck and the remainder of the show follows her road to recovery, once again choosing the slowest songs in her repertoire. In the final number, a coda after the story ends, the cast belts out “On Your Feet” and showcases some epic dance moves, but it was only the second number that had me smiling.

Of course, the show did have its highlights. Ana Villafane, who plays Gloria, is fantastic, and her pipes sound eerily similar to Gloria’s. The dialogue is well-written, well-acted, and actually quite funny. Gloria’s abuela, played by Alma Cuervo, is the show’s most entertaining and sentimental character, and overall the show’s arc is gripping. Where On Your Feet fails, however, is in its music choices and rough transitions. Perhaps if it had followed Jersey Boys’ example and blended much more fun with the serious, it might have been more exciting to watch. My Grade: B-

 

The Must-Watch List: If you are looking for a show to see, I’d definitely recommend getting tickets to Andrew Lloyd Weber’s School of Rock. The show will blow your mind with its insane music and witty dialogue, and you’ll be floored by the completely live musical performance by the show’s star children. If you loved the movie, you’ll love the musical even more. My Grade: A

 

Photo Courtesy of Joan Marcus

After a previously sold-out run off-Broadway, Lynn Nottage’s breathtaking play, Sweat, opened recently at the Studio 54 theater. The show, based in Reading, PA, focuses on deindustrialization and its lasting ramifications. In our current political climate, Sweat’s arrival could not be more timely. The show forces its audience to fully delve into the lives of blue-collar workers in America. In a country becoming increasingly divided, as evidenced through the 2016 Presidential Elections, Sweat explores and explains with breathtaking eloquence and clarity the malaise that has spread through many segments of the nation.

For those who have not seen the show, it focuses on the lives of friends working together at a local steel mill. Slowly, as jealousy flares and the workers realize their jobs–and the cultural status that came with them–are dwindling, they each begin to turn on each other. In trying so hard to save themselves and clinging to the work ideals many of their past family members have learned to expect, they are forced to find new work as the impacts of globalization and deindustrialization affect their town.

The show’s strong text is paired with skilled actors and a mundane yet detailed set. The play is primarily set in the local bar, where audience members watch the lives of these workers unfurl as if they were flies on the wall. In each interaction, one can see the close friendships of the characters. In particular, the show focuses on the close bond between two friends: Tracey (played by Johanna Day) and Cynthia (played by Michelle Wilson). In initial scenes, the two characters laugh and drink, jovially sharing stories about their students and their factory jobs, just like normal close friends do. However, after Cynthia is promoted to a role off the factory floor, jealousy flares as Tracey copes with not getting the promotion she truly wanted. As this jealously increases, tensions rise with conversations about race (as Tracey becomes convinced Cynthia was promoted solely for being Black) and the responsibilities of friendships.

To learn more about the show and how it came to be, we sat down with its playwright Lynn Nottage who–in addition to playwriting–is a Professor at Columbia’s School of the Arts. Nottage, originally from Brooklyn, studied at Brown University for her undergraduate degree and later studied and taught at the Yale School of Drama. She has won two Pultizer Prizes and received both the Guggenheim Fellowship and MacArthur Grant.

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Photo Courtesy of Jeremy Daniel.

The walls are falling apart, the floorboards are flying, and nothing seems to be going right in the show “The Play that Goes Wrong” on Broadway. This hilarious play is great for folks who loved “Noises Off” and just want a break from reality. It’s also the winner of London’s Olivier Award for Best New Comedy. What’s more is that it’s a play about a play being staged by amateurs – you can imagine the irony. The play plot is simple: a murder goes down at Haversham Manor – but who is the perpetrator? The characters embark on finding clues to figure out what occurred in the room where Jonathan’s corpse was found. The corpse does a terrible job at “playing dead,” adding to the hilarity of it all. An investigator is called and slowly the plot begins to develop as we try to figure out who the murderer is.

But, there is a plot twist. Jonathan’s fiancé was having an affair with her soon-to-be husband’s brother! Audiences observe many failed, awkward kisses, in addition to a character who seems to be very absorbed with applause from the audience (Max). Did she do it? Did he? Audiences are left guessing until the very end. Each character brings something to the stage, with their unique quirks and distinct expressions which had the audience gasping for breaths. Though the play is not for everyone, as the humor is certainly more for those who laugh at slapstick, it’s worth the watch for anyone who thinks it may suit their tastes.

With the wreckage of the set behind them, the cast of the show basks in the applause of the audience, which they definitely deserved after surviving the destruction of the set. Photo Courtesy of Joseph Marzullo.

With the wreckage of the set behind them, the cast of the show basks in the applause of the audience, which they definitely deserved after surviving the destruction of the set. Photo Courtesy of Joseph Marzullo.

Of course, the actors and actresses delivered fantastic performances – I even wonder how they held it together when the chaos of the stage falling apart was occurring. From the fainting fiancé who is always having “episodes” to the character mix-ups and stage that can’t seem to stay together, “The Play that Goes Wrong” is certainly a show that will make you laugh uncontrollably and makes for a great night out with friends. It’s whacky, it’s weird, but it’s also wonderful.

 

 

 

 

Tickets to “The Play that Goes Wrong” can be purchased here. For more information on how to get rush tickets to the show, message LionBot “How can I get rush tickets to The Play that Goes Wrong?”

Graphic made by Laura Elizabeth Hand, CC’19

“I’m just too busy.”

“Can’t; got to go to Butler.”

“Just because you want me to come doesn’t mean I will.”

For most Columbia students, keeping track of the number of times their friends and classmates have “flaked” on them or turned down their offers to hang out because of their “busyness” is an impossible task. This can easily be seen in both conversations with peers and the stark difference between the number of people who sign up for events at Columbia versus the number of people who actually show up. As a student body, we are each obsessed with the idea that we do not have downtime. You always need to be working and getting ahead while also espousing the idea that you’re failing all your classes and cannot find enough hours in the day to sleep, let alone let loose and fun. Despite the constant Spec op-eds and Facebook rants bemoaning Columbia’s stress culture and lacking mental health resources, when it comes to us individually doing our parts to remedy the problems we continue to critique, we don’t because we value our own reasons for being stressed above others’ reasons.

“I need to get into medical school.”

“I care about my education.”

“I have to get a 4.0; I’m trying to get into a good law school.”

In each one of these sentiments, we create a metaphorical barrier, an us versus them mentality. We perpetuate the idea that there is a goal we need to constantly struggle to capture and that to a certain extent, those around us are trying to distract us from it.

But what does it mean to be busy? How can we both enjoy the benefits of being students living and learning in America’s busiest city while also capturing these goals? In many ways, we should look to the message encapsulated in Stephen Sondheim’s classic musical, “Sunday in the Park with George.”

For those who have not heard of the show before, it follows the artistic process of famous artist Georges Seurat as he creates and develops the painting, “A Sunday Afternoon on the Island of La Grande Jatte.” Throughout the first act, Seurat is completely fixated on drawing sketches of the people who are ultimately portrayed in his famous painting. As he works on the piece and obsesses over “Finishing the Hat”, he fails to consider the lives and feelings of those around him.

“Finishing the Hat” performed by Jake Gyllenhaal

 

In particular, the audience is exposed to the romantic relationship between Seurat and Dot, the latter being the role played by Ashford. Gyllenhaal who plays his role perfectly as he time and time again dismisses and chides Dot as she complains about having to stand still under the hot sun while Seurat sketches her. Seurat’s goal is to develop a work of art completely like no other. He has had the idea and now is steadfast in achieving its completion. Despite listening to complaints from his love Dot, Seurat does not truly hear and process them as they conflict with his direct desires. Dot even tells him:

Yes, George, run to your work.
Hide behind your painting.
I have come to tell you I am leaving because I thought you might
care to know-foolish of me, because you care about nothing-

In being so passionate about his goal, he forgets the people in his own life. As the plot develops and Dot eventually moves on, after realizing she cannot stay with Seurat, he still fails to address it, instead retreating further into his work.

Like a Columbia student dedicating so much time to their specific craft, they lean on it as their excuse and crutch. Just as Seurat in the production cannot escape his work, we too cannot see beyond our work: our looming deadlines, upcoming exams, next club/board/committee/council meetings, impending fellowship and scholarship applications, and imminent job and internship interviews. The list of work we each have goes on and on, adding to our lists of reasons to skip that food truck fair in Brooklyn we talked with our friends about for months, or miss seeing that old friend who is visiting NYC over break, or cancel plans to go to that free (or extremely cheap) event that we RSVP’d to as going on Facebook. We look at the world and people around us in the same manner that Dot describes as being characteristic of George:

As if he sees you and he doesn’t all at once.

Instead of fully valuing those around us and the opportunities we have, we simply ignore them — out of sight out of mind — and obsess over our work. And while we did come here to learn, we need to really understand that there is more to a Columbia education than just mentally locking ourselves into libraries and priding ourselves in unhealthy sleep habits.

As students, we need to break out of using our work and goals as an excuse. Dedicate more time to trying something new, leaving Butler and going off-campus, finding the color and lights that can brighten our days rather than groveling. As much as having dreams and passions is great, so is being able to explore new topics and brighten the day of others by just listening to them and putting in the effort to get to know more about them and their passions.

Tickets to “Sunday in the Park with George” can be purchased here. Performances run until April 23rd, 2017.

Photo Courtesy of T. Charles Erickson.

“Don’t tell the Americans.” I sit laughing in the seat of the Beaumont Theater in Lincoln Center as I watch actors portraying different leaders discussing how to keep the negotiations between the Israelis and Palestinians a secret from the Americans. Now certainly, political plays can be a hit or miss, especially because bias can permeate the play, leaving a bitter taste in one’s mouth. “Oslo” is far from this. “Oslo” presented the issue completely fairly, allowed for both sides to display their anger and wishes, and truly showed the magnitude of the conflict between Israel and Palestine. The play is about the secret meetings that led to the 1993 Oslo Peace Accords between the Israelis and Palestinians. Whether you are a history buff, you are active in discussions about the conflict, or you just want to know more, Oslo does the story complete justice, and I highly recommend it.

Photo Courtesy of T. Charles Erickson.

Photo Courtesy of T. Charles Erickson.

The actors were superb — giving every inch of their being to the emotional narratives both sides of the conflict feel. The pain they voice, the struggle they capture through every yell that reverberates through the theater makes you remember how very real and challenging this conflict is — for both sides. In the play, the 3rd party interventions and negotiations were referred to as “Dialogues of the Deaf.” Outsiders are painted as hardly being able to understand or alleviate tension that prolongs attainable peace, which is why Terje Rød-Larsen, the Norwegian Director of the Fafo Institute who was a key figure in the negotiations, claims the method of “gradualism” must be used. This means that both sides are in one room negotiating and then go to the other room as friends, where they talk about their families and lives over food. The parties gradually make progress through human-to-human connection and understanding.

The audience is immersed in both rooms at various points of the play, but more often than not we see the negotiations spill over into the room where they are supposed to be friends. The conflict runs deep and emotions on both sides find their way into the smallest interactions, but at the end of the play you see how the men negotiating not only warm up to each other and recognize the need for peace, but see each other as men and not just an “Israeli” or “Palestinian.” “Oslo” ends with a poignant scene of the actors and actresses listing out some of the events that followed the signing of the Oslo Accords, such at Prime Minister Rabin’s assassination, several terrorist attacks, the deaths of men involved in the process of the secret negotiations, etc. The audience is left wondering if everything we just witnessed was worth it. Was there ever really a chance for peace? Did those secret negotiations move us forward or backwards? These questions don’t seem to matter. Now matters.

Peace is right through the negotiation door. Do you see it?

 

Tickets to OSLO can be purchased here. For more information on how to get rush tickets to the show, message LionBot “How can I get rush tickets to Oslo?”