(Edited by Brad Minus) The Decision My 3 years of running experience started with multiple injuries including a couple of ankle fractures. However, I still managed to complete a marathon, a 50K and...
STOMP – The Goof Review
Special effects seem to be at a the crux of human entertainment these days, doesn’t it? Every episode of almost every studio made episodic drama, situation comedy and major motion picture is loaded with some flavor of special effects. Even shows like, “Big Bang Theory” or “How I Met Your Mother” have increased their effects budget with effects of dream sequences, stunts or layered images to help draw in the audience.
Pop-culture does not seem to have room for TV shows, movies or even plays that have to completely depend on the integrity and talent of the performers.
This was evident as I walked into the Carol Marsoni Hall of the Straz Center for the opening night performance of STOMP last night.
The house was littered with empty seats. The mezzanine and balcony were completely empty.
All I can say is to the lovers of music and theatre that decided to skip out on this performance, it is your loss. The simplistic cohesiveness of this ensemble show is something that does not come around all that often.
STOMP is a percussive music, comedy and movement performance that is matched by nothing I have ever seen. This group of seven performers make music without the use of musical instruments as we would define them. They basically use junk you may find in a dumpster in New York City. Garbage can lids, plastic tubs, match boxes, zippo lighters, are just a few of the items these talented performers use to make a beat come alive in a way that I was not only riveted, but I couldn’t help but want to move my feet with the beat.
The use of the artifacts along with their feet and the movement was visually stimulating as well. Within the first few numbers, all I could think of, was this group is making music with everything except the kitchen sink, and of course in the very next number four of the performers came out with kitchen sinks strapped to their torsos. Water in the sinks plus, cups and utensils seemed to come alive as the ensemble mixed their sounds together in one cohesive unit.
There is no special effects, no extra special lighting, no words, no special costumes just the performers and their props. Simple entertainment at it’s finest and extremely riveting.
Percussion was not the only thing used for entertainment. There was many parts of each number where comedy was used to infiltrate the performance with the laughter of the audience. Comedy alone is not easy, but comedy without one audible word for the entire show is extremely difficult and this group pulled it off with precision and ease.
This was one of the most entertaining ninety minutes I have had in a long time. What made it even more fun was the ensemble incorporated the audience within the show. Patterns of clapping, foot stomping, and finger snapping made for an interactive experience that just compounded on the immense fun this show had to offer.
In simple terms, STOMP was outstanding and I highly recommend everyone take the opportunity to go see it.
STOMP is playing at the Straz Center of the Performing Arts April 30 – May 3. Please visit the Straz Center website for more information.
Jersey Boys – The Goof Review
It seems that I cannot turn on a radio, browse the internet or watch the news without hearing a story about a celebrity scandal. It doesn’t matter if it’s a movie star, pop star, hotel heiress or a political figure, for some reason when a person gains that much fame, they feel invincible.
It seems like these situations have been occurring forever, doesn’t it?
Jersey Boys, at the Straz Center in Tampa, Florida, told the history of the famous Four Seasons pop group and all of the so-called “situations” they were in. Frankie Valli, Nick DeVito and the founder, Tommy DeVito. were four stereotypical New Jersey kids that wanted a way out. As juveniles and young adults Tommy and Nick were in and out of trouble with the law, until Tommy decided to start a group that took different
names until they finally arrived with the Four Seasons in 1960 with the help of writer/producer/singer Bob Guido.
The play brilliantly portrays the history of The Four Seasons in four parts, with each part
narrated by a different member of the band and supposedly reflecting that band member’s perspective on the band’s history. Most of the big hits of the group are sung either in episodic situations or portraying the band on stage either in concert or on television.
A huge surprise to me, was when I opened the program and found the roll of Frankie Valli is portrayed by Hayden Milanes. Hayden and I performed together in a couple of different shows in another life. Without any bias, Hayden’s performance was nothing short of amazing. The song “Big Girls Don’t Cry”, made Frankie Valli’s extraordinary range famous and Hayden seemed to recreate it with ease. Personally, I think the amazing richness in his vocal quality followed with his research of the character honored Mr. Valli to the extreme.
What was even more amazing is Hayden’s talent was only matched by the other members of the ensemble. Nicolas Dromard portrayed Tommy DeVito with the crassness and overpowering attitude of a bully, and sang the harmonies with excellence.
Adam Zelasko portrayed Nick with the quiet determination of the performer that took the back seat a lot of the time, but always tried to help his brother keep it together. Adam’s voice was powerful and played homage to Nick and the rest of the group with perfection.
The biggest corner was turned when the group was joined by Bob Guido, played by Quinn VanAntwerp. I am not a fan of giving extra praise to one actor or another, especially in a show that is ensemble driven, but as amazing as the other members of the group were, Quinn’s acting ability gave him a stage presence that just could not be matched. His singing had this subtle quality, that foreshadowed his actions in the coming scenes. Quinn was nothing short of brilliant which is saying something because all of the actors on stage were amazing.
Another character worth noting was Bob Crewe, the producer that put and kept the Four Seasons working and famous. Barry Anderson’s gifted portrayal of Bob was nothing short of fantastic. Even as a featured actor, he had a command of the stage that allowed him to stand out in the scenes that he was in.
The rest of the actors completed the ensemble with perfection. A few of the actors had multiple roles, and were played with such finesse that it was not apparent unless you read the program.
With all the well deserved accolades I have given Jersey Boys, I did notice a few problems from my orchestra seat. The balance of the microphones seem to be off when transitioning from singing to dialogue as there were several points where it was hard to hear.
The direction while good, had some unusual placement of the actors. There were times when I really needed to see what the actor was feeling, but their back was to the audience. Every novice director is taught to position the actors to face front as much as possible, but in the professional arena, those rules are thrown out the window in order to make room for new visions, art and realism. Unfortunately, there were a few moments where if this rule would have been applied it would have made for even stronger moments within the show.
Lastly, one of the designs I absolutely loved about the show were the sets. They were simple, and clean which allowed for the acting and singing to take center stage without focus going to some special effects. The sets were so simple the actors were even tasked with bringing furniture and props on and off the stage. I haven’t such simplicity since “Spring Awakening”. It added to the charm of the show.
All-in-all, this show is worth seeing. So many times national tours come through Tampa and just look tired. This show is incredibly energized and fun to watch.
A MUST SEE!
Goof Review: Radio City Christmas Spectacular
Can you feel the magic of Christmas in the air? With all the urgency of completing our shopping before that December 25th deadline sometimes we don’t slow down enough to enjoy just the simplicity of the holidays. I spent a majority of my life in the Midwest, so living here, in this snowless climate, I usually find myself missing the aura of the holiday season. Not this year, Baby. I was lucky enough to be an audience member for the opening of the Radio City Christmas Spectacular starring the Rockettes at the David A. Straz Center here in Tampa.
Out of all the time I spent in New York City, I never had the privilege of seeing the Rockettes at Radio City Music Hall. I’ve been missing out. Even this former performer was amazed with the synchronicity and precision of not only the dancing of the Rockettes themselves, but the remarkable coexistence with several different types of media.
The festivities started an hour before the audience was even allowed into their seats, with the Rockettes marching from the stage door to the red carpet outside Carol Morsani Hall. With pure elegance and grace each Rockette took an arm of an uniformed Tampa Police Officer and were escorted into the theater. It was a pure showing of honor to our civil servants that was so simple yet so powerful. I cannot begin to explain why. I imagine that is the limitations of my writing ability. The honor didn’t stop there. The Tampa Police Chief took an opportunity to read “Twas the Night Before Christmas”, on stage, to a group of children at the opening of the show. Again, it seemed like such an honor to the chief and our civil servants.
The night consisted of 12 different numbers lasting about 96 minutes including a 20 minute intermission, but it flew by so fast. The night was narrated by Santa Claus, who also sang with a booming baritone voice that projected proudly throughout the arena.
All of the numbers were not strictly performed by the Rockettes and Santa Clause. A few numbers included short plays that not only included singing and dancing, but also small life lessons as well.
One number had Santa and two young boys with a lesson on faith and believing, another was a brilliant combination of the Rockettes and the Radio City Singers about Christmas in New York City.
My personal favorite had to be a scaled down performance of the Nutcracker with a little girl playing Clara, that was an absolute phenomenal dancer, not to mention other incredible dancers in oversized animal costumes. I have no idea how the dance so gracefully with those huge heads.
This show was brilliant, funny, emotionally moving and just plain fun for the whole family. The Rockettes give a performance worth seeing in this wonderful holiday show.
I give it Five out of Five Goofs.
The Radio CIty Christmas Specatacular plays at the Straz Center for the Performing Arts, December 12th through the 29th Tues thru Sunday. See the Straz Center Website for details. http://www.strazcenter.org/Rockettes.aspx
Guest Goof Review – Flashdance:The Musical
I was courted to review Flashdance: The Musical at the Straz Center for their opening night on Tuesday, but other commitments kept me from attending. Rather than give up my tickets and sacrifice a review I sent volunteers, Mrs. Miranda Lessie, Mrs. Amy Eck and Bennett Eck in my place.
This is my first Guest Blog as it is written by Miranda Lessie.
Flashdance: The Musical – Straz Center for the Arts, Tampa Florida. 19 Feb 2013
Move over Las Vegas, there is a new party in town and it’s called Flashdance. Can you remember the iconic water works scene in the original movie? You won’t have to imagine it for long once you sit down for this new musical.
If you love the 80’s music, hair styles, dancing and most of all the legwarmers, you will be right at home with this production. Even if you don’t adore these things, you will find yourself moving to the live orchestra which sounding more like an 80’s hair band than an orchestra. Perfect for this play.
The play starts off with a running start and gets right into the story line. It was a fast start for me who prefers more of a background building and character development. Once all the characters were introduced throughout the play, the story line begun to come alive and I fell in love with each character. Kudos to the Casting director who found the perfect character for each performer whom seemed to have been born to play their particular part. The leading lady Emily Padgett was a dead ringer for the original movie character.
I found some characters had a shaky start with their first song but each ended with a bang. The singing in the play was equal to, if not better than, the dancing. All the performers were superb singers, dancers and actors.
The set and lighting was a plus for this play. I never questioned what location we were at in the play because there was a huge display at the top of the stage at every scene change. My only question about the set is “just how did they do that water dance scene?” It was so perfect.
Costumes were exquisite but not over the top. They were very believable for the time period. They were also just on the edge of being rated a little more than PG-13. The language was appropriate for this type of play and slang was kept a very minimum.
As I walked out of the playhouse, I wondered why I didn’t attend more productions. I absolutely fell in love with this medium and will be back soon. The actors made this play but the scene and music made the actors. ~ Miranda Lessie
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Goof Review: Elf The Musical
The Tampa Bay Bloggers had an opportunity to see Elf the Musical on opening night and as a new member I was thrilled at the chance to take part. Now as I am a new member I am not sure of the background of my fellow bloggers, but I do have a modest amount of training and experience in theater (www.bradminus.com), so I may be just a tad more specific especially on the acting, but nevertheless I hope my review will be informative enough to help you decide whether to see it or not. Just a little foreshadowing….go see it.
Elf the Musical is based on the 2003 holiday movie Elf starring Will Farrell about a human baby who found his way into Santa’s bag during his Christmas visit to a local orphanage. Since the boy was already an orphan, Santa and his elves decided to raise the child at the north pole just as they would any elf child. The problem was Buddy, the human boy, grew to be over six feet tall. After a small slip of the tongue by one of the other elves, Buddy learns that he is indeed human and asks Santa about his parents. It is then that Buddy decides to go and find his father in the big city of New York.
NETwork Presentations LLC’s production of this family Christmas musical was alive with high energy musical numbers, colorful set pieces and smooth transitions from scene to scene. In the past decade or two, Broadway and national tours have started to move toward high tech sets and stage work which include hgh intensive set changes, creative light and sound effects, and even some pyrotechnics. Very recently I have noticed a small shift back to a more classical route where the set pieces are simple but painted well, the lighting is simple and the music and sound are achieved by a live orchestra instead of musical tracks. This musical is a perfect example. This simpler style has shifted the responsibility of the quality of productions back to the performers and less to the designers of sets, sound and lighting. In my opinion it makes for a better show, but I may be a little biased.
The play opens up with Santa (Gordon Gray) sitting in his living room fighting with his television set. He opens the fourth wall and greets the audience as if we were sitting on the floor right in his living room. After subtly turning off his cell phone, he opens a book and prepares to tell us the story of Buddy the Elf. At the point the living room is whisked away to Santa’s workshop where the elves are preparing for Christmas. Gordon’s depiction of Santa throughout the play is wonderful. His energy and boastfulness helped me to get lost in the show and actually believe I was at the north pole.
Matt Kopec’s characterization of Buddy is spot on as his high energy, child like characterization makes the audience believe this six-foot boy really does believe he is an elf and is horrified when he finds out he is actually human. Matt’s singing voice is pure musical theater and was a joy to hear every time he opened his mouth. I found myself waiting impatiently for his next number.
The real treat came from the character of Jovie (Kae Hennies), who captures Buddy’s heart the moment he sees her in the office of his biological father, Walter Hobbs (Drew Culver). Jovie has to be coaxed in to singing during the number “A Christmas Song”, but when she finally decides to sing out, her voice beautifully resonates throughout the theatre and when paired with Buddy’s the duo create pure musical brilliance for any ear.
Other notable performances were by Michael, Buddy’s half brother played by Connor Barth who even as a young actor, had a mature voice for his age. He tended to get a little pitchy in the upper registers, but because of his characterization was easily missed and forgivable. Julia Louise Hosack played Emily Hobbs, Buddy’s step mother, also had a fantastic musical voice and she was able to lead Michael into musical duets that gave me the “warm fuzzies”. The connection and chemistry between these two well trained actors allowed me to believe they were really mother and son.
The only drawback of this production that tugged me out of my holiday nirvana, was the voice of Drew Pulver whom played Walter Hobbs, Buddy’s father. His performance was not inferior, it just did not mix well the rest of the ensemble in my humble opinion. It was obvious to the audience that most of the ensemble were trained in contemporary music or musical theater When Walter sang it was clearly operatic, to a point where the words were garbled and I couldn’t make out the lyrics. Unfortunately, every time he sang it was distracting and his voice did not meld with the rest of the ensemble.
This show is classical musical theatre with simply painted sets, wonderful acting, and is sure to bring a smile to you and your family should you decide to see it. It is a true Holiday treat.
Fri. 2 and 8 p.m.
Sat. 2 and 8 p.m.
Sun. 1 and 6:30 p.m.