La Cage aux Folles was as timely when it opened as shows like Hamilton are today. Despite the show’s old-fashioned sensibility and slightly drippy sentimentality, it celebrated being gay at a time when gay men were dying by the thousands due the AIDS epidemic, all while their own government refused to even acknowledge them. This was a panic-stricken time in New York’s history, and La Cage was so vital because it clung to a sense of desperate optimism at a time when many felt that it would be impossible to be optimistic ever again. Modernity has brought with it an acceptance of the gay-rights movement, so the show has lost its edge, but that does not mean that its boundless joyfulness can not still resonate with audiences. Thankfully, that spirit is still very much alive in Bay Area Musicals’s production of La Cage Aux Folles, which is highly entertaining, if rather pointedly imperfect.
Unlike New York, the Bay Area has theatre spread out around the entire valley, and much of it is difficult to keep track of. Here is a list of some interesting things to look out for in the Bay Area for the rest of 2016.
A few weeks ago, it was reported that Wicked was officially coming to theaters in 2019, with Stephen Daldry (Billy Elliot, The Hours) set to direct. For many fans of the show, this was exciting news, with the movie having been teased for years. The musical movie itself appears to be having a bit of a renaissance, with Into the Woods and Annie being recent examples and about a dozen more in the pipeline, including adaptations of Beauty and the Beast, Miss Saigon, In the Heights, and West Side Story (directed by Steven Spielberg with a new screenplay by Tony Kushner). All these new movies may be great news for the vitality of musical theatre, but I remain unconvinced that modern movie musicals ever actually work artistically. Continue reading “Thoughts On: Movie Musicals”
Martin McDonagh is a master of the morbid farce. In his world, a slammed door can kill you, the vengeful lover is never ultimately harmless, and victims, er, characters don’t slip on banana peels so much as they do on blood and guts. But the audience is usually laughing all the way to the end, leaving the heavier moments of the play to stew in playgoers minds long after they go home. Which is why it is surprising to report that McDonagh’s new play Hangmen actually becomes rather heavy before it ends, but is no less finely wrought than his emotionally detached work that readers may be accustomed to. Continue reading “Read This: Hangmen by Martin McDonagh”
On June 30th, BroadwayHD broadcast the Roundabout Theatre Company’s production of the 1963 Bock and Harnick musical She Loves Me to anybody who had paid the $9.99 fee and had a working internet connection. This stream was the first of its kind and has been very well received by those who have seen it, but it raises some interesting questions about the relationship between theatre and the internet in the near future. Continue reading “Thoughts On: Live-streamed theatre”
According to Michael Riedel of the New York Post, a new musical is being developed based on the hit HBO television series True Blood. Created by Alan Ball (American Beauty, Six Feet Under), the television series was a surprise hit for the network, coming out around the same time that books like Twilight were sweeping the nation, offering decidedly more adult-oriented fare in the same market. Continue reading “Thoughts on: A True Blood musical?”
The Theatre Communications Group has just published the readers’ edition of Annie Baker’s new play, entitled John. It is a microscopic work of art, so small as to threaten to disappear. It is also the most quietly devastating and beautiful play to be published in recent memory.