THEATRE

2013 Emmys Live Blog!

Source: Emmys.com

2013 Primetime Emmy Awards: Tonight at 8 p.m. on CBS

Good evening everyone! I’m Mike Tyminski and I’ll be here with you watching the Emmys tonight so you don’t have to miss Breaking Bad! Speaking of Breaking Bad, it’s up for a slew of awards tonight in Acting, Directing, and of course, Best Drama, but it will face stiff competitions from other critical darlings such as Game of Thrones, Downton Abbey, Homeland, and Mad Men.

Another key storyline this year is the breakout of Netflix. The streaming service started producing original programming this year to rave reviews, and early series House of Cards and Arrested Development were both nominated for awards, with House of Cards being the sixth entry in the drama race.

While the major networks seemed to be locked out of the drama race, they seem to have a puncher’s chance in the comedy department, carried by 30 Rock and Modern Family. This is also a very strong year for females in comedy, as both Lena Dunham’s Girls and Julia Louis Dreyfuss’ Veep both received scores of nominations. Rounding out the year in Comedy is FX’s Louie. The show was hailed as ground breaking, but it’s been over a year since a new episode. Did voter’s remember Louie, or was it eclipsed by other new shows since then!

I’ll be a little before showtime (probably around 7:45) with last second news. Tonight’s show is hosted by Neal Patrick Harris (How I Met Your Mother) on CBS.

7:55 pm: First and foremost, a small apology in advance, the Jet game is running very long on WCBS-NY (my local CBS station), so I sense that if the game goes to overtime I might be playing channel/streaming roulette at the last second. That out of the way, a couple of updates on performances tonight: First and foremost, the Elton John performance is slated to be a tribute to Liberace and will presumably be somehow tied to HBO’s Behind the Candelabra. Carrie Underwood’s performance, conversely will be tied to something considerably less related to TV, being a tribute to President John F. Kennedy who was assassinated 50 years ago this November.

In terms of tributes, the show has a particularly special tribute planned for Cory Monteith, in addition to TV heavyweights James Gandolfini, Johnathan Winters and Jean Stapleton.

That’s it for pre-show updates, see you at the beginning of the show!

8:20 pm: Conveniently, the football game ended at 7:59 pm, thus avoiding a potential joined in progress situation, so now we’re live! We open slightly late with a funny video package involving Neal Patrick Harris being forced to binge watch an entire season of TV, with all the highs, lows, weddings and dance sequences. A particularly funny part involved the TV’s giving NPH some harsh advice. NPH gives a pretty gentle monologue including a Paula Deen joke (what, not soon enough?), interruptions by last year’s host, Jimmy Kimmel, Jane Lynch, Jimmy Fallon, (Including a great zinger about tap dancing like at the Tonys), Conan O’Brien, Tina Fey, Amy Poehler, and a monologue by Kevin Spacey in which he mentions it was plan since he was snubbed for the hosting gig. This ends with NPH kicking it over to Fey and Poehler who present the award for Outstanding Supporting Actress in a Comedy Series, and the nominees are:

Jane Krakowski (30 Rock), Jane Lynch (Glee), Sophia Vergara (Modern Family), Julie Bowen (Modern Family), Merritt Weaver (Nurse Jackie), Mayim Bialik (The Big Bang Theory), and Anna Chlumsky (Veep).

And the winner is: Merritt Weaver!

Her entire speech: Oh! Oh! **emotional tears** I gotta go. Bye!

Pretty good opening all around, and it looks like they made up for the time lost by pushing back the start 5 minutes.

8:32 pm: Malin Ackerman and LL Cool J arrive to deliver the award for Outstanding Writing in a Comedy Series — with a cool video forcing the nominees to say which of their writing partners is funnier and who was funniest to write for.

Jack Burditt (30 Rock), Tina Fey (30 Rock), David Crane (Episodes), Louis C.K. (Louie), and Greg Daniels (The Office).

And the winner is: Tina Fey (and Tracy Wigfield)

Tracy and Liz give a funny speech making funny speech, thanking Robert Carlock in the process!

NPH then introduces Zooey and Emily Deschanel for presenting the award for Best Supporting Actor in a comedy, making fun of the fact that half the nominees play dads on Modern Family, speaking of the nominees, they are:

Adam Driver (Girls), Ty Burrell (Modern Family), Jesse Tyler Ferguson (Modern Family), Ed O’ Neill (Modern Family), Bill Hader (Saturday Night Live) and Tony Hale (Veep).

And the winner is: Tony Hale!

I must admit, I didn’t see that one coming (despite loving Veep, i thought one of the guys from Modern Family would win). Tony gives the standard issue speech thanking his family and his co-workers at Veep

Robin Williams is here to give a tribute to Jonathan Winters, telling a story about how Jonathan Winters giving an epic improvised bit on Mork and Mindy, before a in memoriam graphic appears.

8:51 PM: Alec Baldwin and Jon Hamm come out to introduce the nominees for Best Lead Actress in a Comedy, and they are:

Tina Fey (30 Rock), Laura Dern (Enlightened), Lena Dunham (Girls), Edie Falco (Nurse Jackie), Amy Poehler (Parks and Recreation), and Julia Louis-Dreyfuss (Veep).

And the winner is: Julia Louis-Dreyfuss

As a huge veep fan, I’ll be the first to say I’m pleased with the love Veep is getting tonight. Hale is up on stage with Louis-Dreyfuss holding her purse while she gave a very Selina Meyeresque thank you speech (With Hale interrupting and whispering in her ear).

Will Arnett and Margo Martindale then emerge, to both present the awards for Best Guest Actor/Actress on a Comedy Show (awarded last week) and promote their new show The Millers (October 3rd on CBS).

The winners were: Melissa Leo and Bob Newhart!

Leo then appears to present the award for Outstanding Directing in a Comedy Series, the nominees are which:

Beth McCarthy-Miller (30 Rock), Lena Dunham (Girls), Paris Barclay (Glee), Louis C.K. (Louie) and Gail Mancuso (Modern Family).

The winner is: Gail Mancuso!

Gail gives a quick and heartfelt speech including a pun about Modern Family, and a quick joke about blurred lines before the orchestra kicks in for the first time tonight

Continuing the breakneck pace, Jimmy Kimmel and Sofia Vergara are out to present the award for Best Lead Actor in a comedy series, in which they discuss the murderous effects of laughter (“If a doctor tells you to laugh to feel better, you can SUE HIM!” — Vergara). The nominees are:

Alec Baldwin (30 Rock), Jason Bateman (Arrested Development), Matt LeBlanc (Episodes), Louis C.K. (Louie), Don Cheadle (House of Lies), and Jim Parsons (Big Bang Theory)

And the winner is: Jim Parsons!

Jim gives what seems to be a continues a string of psuedo in-character acceptance speeches sounding awkward until he becomes heartfelt and suddenly wrapping it up with a long list of thank yous.

Rob Reiner is out to memorialize Jean Stapleton (Edith Bunker on All in the Family), giving a very eulogy-like memorial, he looks like he’s struggling through the speech (i’m actually tearing up a little too), before ending with a very heartfelt “I love you”.

9:05 PM: We return to NPH kicking it over to Michael Douglas and Matt Damon, who say a few words about Elton and his legendary career while nodding to Liberace, the subject of Behind the Candelabra. This brings Elton John out, who cracked a few quick jokes about Liberace, before introducing his new track “Home Again”, which is a tribute to Liberace. It’s the typical intimate Elton John piece, before shooting back over to Damon and Douglas with the nominations for the Best Lead Actress in a Movie or Miniseries, whom are:

Jessica Lange (American Horror Story: Asylum), Helen Mirren (Phil Spector), Sigourney Weaver (Political Animals), Laura Linney (The Big C: Hereafter), and Elisabeth Moss (Top of the Lake).

The winner is: Laura Linney!

Laura Linney could not appear, so Damon accepts on her behalf (she’s such a good actress she didn’t need to be here! — Damon)

9:20 PM: We come back to a video package with NPH’s co-stars on How I Met Your Mother discussing EHD, (Excessive Hosting Disorder), including a cameo from Arsenio Hall and

Connie Britton and Blair Underwood appear to present the award for Outstanding Writing for a Drama Series, and the nominees are:

George Mastras (Breaking Bad), Thomas Schuuz (Breaking Bad), Julian Fellowes (Downton Abbey), David Benioff (Game of Thrones), and Henry Bromiell (Homeland)

And the winner is: Henry Brommel

Accepting on behalf of Henry Brommel (posthumously) is his wife Sarah Brommel.

They also present Outstanding Supporting Actress in a Drama Series, the nominees of which are:

Anna Gunn (Breaking Bad), Maggie Smith (Downton Abbey), Emilia Clarke (Game of Thrones), Morena Baccarin (Homeland), Christina Hendricks (Mad Men), and Christine Baranski (The Good Wife)

The winner is: Anna Gunn (cue Skylar haters losing their mind and Breaking Bad fans rejoicing at a potential foreshadowing of a cleanup night).

Anna gives a long winded version of the standard acceptance speech, being the second person to draw the ire of the orchestra tonight.

Jane Lynch is out to memorialize Cory Monteith of Glee. She appealed to Cory’s positive traits in a very brief speech while not shying away from the cause of his death.

9:31 PM: NPH, comes out to perform a song and dance number called “the number in the middle of the show”. It’s a brief Broadway ditty designed to mock award show patterns, by questioning why there are fewer mid show numbers compared to their opening and closing counterparts, with interruptions by Nathan Fillion and Sarah Silverman. After the whole song and dance number, he introduces Mindy Kaling and Stephen Amell who are out to present the award for Best Reality Competition, the nominees of which are:

Dancing With The Stars, Project Runway, So You Think You Can Dance?, Amazing Race, The Voice, Top Chef.

And the winner is: The Voice

The Voice finally triumphs over The Amazing Race for best reality show and we’ll get to see some new…oh wait it’s Mark Burnett, who at this point IS reality TV. Once again we have the standard issue speech, but he manages to sneak in a plug for The Voice, which i’m sure CBS execs are absolutely pleased to hear.

9:49 PM: We’re about halfway through the show at this point, so some quick overall thoughts — the show is moving at an incredibly brisk pace with a lot of awards handed out (if the Oscars are about bracketology, then the Emmys are the most likely about trying to honor everyone in the industry with the strongest emphasis on the awards themselves), but also a lot of downers, probably in part caused by the three memorials sprinkled in that felt more like eulogies then celebrations of life. While the mid-show number existed to try and bring things back up

Diane Carroll and Kerry Washington arrive to present the award for Outstanding Supporting Actor in a Drama Series: Carroll gives a heartfelt speech about race and the Emmys.

Bobby Cannavale (Boardwalk Empire), Johnathan Banks (Breaking Bad), Aaron Paul (Breaking Bad), Jim Carter (Downton Abbey), Peter Dinklage (Game of Thrones), and Mandy Patinkin (Homeland).

And the winner is: Bobby Cannavale

Cannavale is flabbergasted and is trying to improvise a speech, before giving credit to Mandy Patinkin as an inspiration. There was a truly great moment of unintentional comedy, as the soft notes of the orchestra hit as he’s describing his character on Boardwalk Empire beating someone with a wrench.

Julianna Marguilies and Dylan McDermott are out to present the award for Best Lead Actor in a Drama, the nominees are:

Bryan Cranston (who got a large pop, Breaking Bad), Hugh Bonneville (Downton Abbey), Damian Lewis (Homeland), Kevin Spacey (House of Cards), Jon Hamm (Mad Men), and Jeff Daniels (The Newsroom)

And the winner is: Jeff Daniels

Daniels is out cracking jokes, mentioning that his last acting award was from the AARP, the orchestra has clearly no patience for such foolery though. I think it’s safe to say this has been our biggest upset of the night so far.

We go from two funny acceptance speeches back to somber mode immediately, as we see a newsreel of JFK’s death. Don Cheadle appears to introduce Carrie Underwood’s tribute to JFK performance. Cheadle then brings up Beatlemania, and how it unified the country after JFK’s death (something most musicians and/or historians will probably question). Carrie then belts out “Yesterday”, but it seemed fairly overdone — is it weird that I wouldn’t have minded seeing Elton John perform double duty? Ugh, that whole segment made less sense than Monday’s episode of Sleepy Hollow.

10:10 PM: NPH introduces both the accountants of Ernst and Young, as well as Jimmy Fallon who is here to present the award for Best Lead Actress in a Drama Series, which are:

Vera Farmiga (Bates Motel), Michelle Dockery (Downton Abbey), Claire Danes (Homeland), Robin Wright (House of Cards), Elizabeth Moss (Mad Men), Kerry Washington (Scandal), and Connie Britton (Nashville).

And the winner is **drumroll**: Claire Danes

Danes gives kudos to the writers, before giving a quick tribute to Henry Bromell and everyone who works on the show.

Dean Norris and Emilia Clarke are here to give mention to Best Guest Actors in a Drama Series (awarded last week).

The winners were: Dan Bukitinsky, and Kerry Preston whom are here to announce the award for Outstanding Directing for a Drama Series, and the nominees are:

Tim Van Patten (Boardwalk Empire), Michelle McLaren (Breaking Bad), Jeremy Webb (Downton Abbey), Lesli Linka Glatter (Homeland), and David Fincher (House of Cards).

And the winner is: David Fincher

And at 10p.m on September 22, 2013, let it be said: Netflix. has. arrived. Fincher is not here to accept the award.

Jim Parsons and Bob Newhart are here to present the award for Outstanding Writing for a Variety Program. Parsons mentions Newhart’s award, and the crowd gives him a long standing ovation. And the nominees are the teams for:

Jimmy Kimmel Live, Portlandia, Real Time w/Bill Maher, Saturday Night Live, Colbert Report, The Daily Show w/Jon Stewart

And the winner is: The Colbert Report

Colbert is here to accept the award, and gives a surprisingly heartfelt speech.

Parsons and Newhart follow up with the nominees for Best Directing in a Variety Show, which are:

Andy Fisher (Jimmy Kimmel Live), Jerry Foley (Late Show w/David Letterman), Jonathan Krisel (Portlandia), Don Roy King (Saturday Night Live), James Hoskinson (Colbert Report), and Chuck O’Neil (The Daily Show w/Jon Stewart).

And the winner is: Don Roy King

King gives an uplifting speech, about working at his dream job at Saturday Night Live, that easily is the third most positive moment tonight.

Michael J. Fox is here to speak about Gary David Goldberg, thus proving that we cannot go two consecutive segments without talking about death. Fox’s speech feels like a celebration of Goldberg’s life, including his distinctive laugh.

10:27 PM: NPH returns to present the award for Outstanding Choreography, and reality show style, they bring the choreographers together to do a “making of” sort of video package. The package itself seems to be built around some of the best nominees in their categories, including Mad Men, American Horror Story, Game of Thrones, Boardwalk Empire, and Breaking Bad, and the theme of luck using both “Luck Be A Lady” and “Get Lucky”. Tim Gunn and Heidi Klum get to do the honors of presenting the award.

And the winner is: Derek Hough (Dancing with the Stars)

Alyson Hannigan and Colbie Smaulders are here to present the award for Outstanding Variety Show, the nominees of the award are:

Jimmy Kimmel Live, The Colbert Report, The Daily Show, Saturday Night Live, Late Night with Jimmy Fallon, and Real Time With Bill Maher.

And the winner is: The Colbert Report! The student has finally overtaken the master, as this is the first time in recent memory that The Daily Show has not taken the award for best variety series. Colbert mentions Stewart in his speech before giving a brief nod to his family.

Edie Falco is here to talk about James Gandolfini in the last of our memorial segments tonight. She talks about Gandolfini as an actor, mentioning that he was not the same as the man you saw on your TV screens every Sunday night for seven years. Not sure i’m fond of these memorial sub segments, as they seem to take away from the celebratory mood in the way the one segment long form memorial doesn’t.

10:42 :PM Anna Faris and Allison Janney are here to promote Mom and present the award for Outstanding Writing in a Miniseries, Movie or Special, and the nominees are:

Richard LaGravenese (Behind The Candelabra), Tom Stoppard (Parade’s End), David Mamet (Phil Spector), Abi Morgan (The Hour), and Jane Campion and Gerard Lee (Top of the Lake).

And the winner is: Abi Morgan

They also present the award for Outstanding Supporting Actor in a Miniseries, Movie, or Special of which the nominees are:

Zachary Quinto (American Horror Story: Asylum), James Cromwell (American Horror Story: Asylum), Scott Bakula (Behind the Candelabra), John Benjamin Hickey (The Big C: Hereafter), and Peter Mullan (Top of the Lake)

And the winner is: James Cromwell

Cromwell gives a simple speech that is notable for being the first the orchestra hasn’t teed off on since around 9p.m.

Kaley Cuoco and the president of the Academy are here to discuss the Archive of American Television (a funny cut-away where Kevin Spacey shoos away the camera that cuts to him on mention of the word “tablet”). This then leads into yet another memorial segment (that makes seven if we count JFK?).

10:50 PM. Mark Harmon and Andre Braugher are here to present the awards for Best Directing for a Miniseries, Movie or Special, and they are:

Steven Soderbergh (Behind the Candelabra), David Mamet (Phil Spector), Alison Anders (Ring of Fire), Julian Jarrold (The Girl), and Jane Campion and Garth Davis (Top of the Lake).

And the winner is: Steven Soderbergh

Soderbergh gives a quick speech, thanking Michael and Matt for their performances in the movie, only for Mark Harmon to return looking completely surprised, before bringing up the nominees for Best Supporting Actress in a Miniseries Movie or Special. The nominees are:

Sarah Paulson (American Horror Story: Asylum), Ellen Burstyn (Political Animals), Charlotte Rampling (Restless), Alfre Woodard (Steel Magnolias), and Imelda Stulton (The Girl).

The Winner Is: Ellen Burstyn

We get the usual set of thank yous, with a particular thank you to the writers, who she said “wrote a woman over 65 who still has juice.

11:01 PM: It’s almost 11 when the show is supposed to leave the air, and we still have four awards (including three big ones) and hopefully zero memorials.

Bryan Cranston (looking quite dapper and gracious) and Claire Danes arrive to present two awards: first for Outstanding Lead Actor in a Miniseries or Movie of which the nominees are:

Michael Douglas (Behind the Candelabra), Matt Damon (Behind the Candelabra), Benedict Cumberbatch (Parade’s End), Al Pacino (Phil Spector), and Toby Jones (The Girl).

The winner is: Michael Douglas

Douglas comes out and thanks Matt Damon only catch a verbal slip about a “two-hander”, before asking if Damon wants the bottom or top half of the statue. The orchestra eventually chimes in, but it seems like Michael Douglas got a much longer leash than just about anyone else here tonight.

The second award is for Best Movie, Miniseries, or Special of which the nominees are:

American Horror Story: Asylum, Behind the Candelabra, Phil Spector, Political Animals, The Bible, Top of the Lake.

And the winner is: Behind the Candelabra (which took it’s 11th Emmy)

Accepting on behalf of the team is Jerry Weintraub. He thanks his production team and the fine folks at HBO.

We’re down to Best Drama and Best Comedy, right after the break.

11:11 PM: Will Ferrell (and kids) are here to present the final awards of the night in a T-shirt and Short, first of which is for best comedy series, the nominees of which are:

Girls, Louie, Veep, Modern Family, 30 Rock, and The Big Bang Theory

And the winner is: Modern Family

Color me surprised on this one, Veep got a ton of love earlier in the night, and Louie was hailed as one of the most brilliant comedies of the year. Maybe the lay-off killed it. Similarly seems like a disappointing night for Girls Modern Family’s speech mocked the tone of the night, stating “it may have been the saddest Emmy’s ever, but we couldn’t be happier.” the speech also thanked our bullies and gym teachers, which led to a super aggressive orchestra entry, but was actually very heartwarming.

That leaves the last award for Best Drama Series, the nominees of which are:

Breaking Bad, Mad Men, House of Cards, Downton Abbey, Game of Thrones, Homeland

And the winner is: Breaking Bad

I think the crowd would have rioted if any other result had been the case. Vince Gilligan does the acceptance honors, and admits that he did not expect to win in this new golden age in TV. He gives a pretty standard acceptance speech otherwise, before NPH quickly does goodbyes and we get credits over generic music.

I’ll have some final thoughts for you in just a few minutes.

11:22 PM: So, 3 hours and 3500 hundred words later, what are my thoughts on the show as a whole? Well, for starters it was quite the downer. Awards shows should –in theory– be a celebration of the industry, the people in it, and the work they’ve done. The celebratory moments weren’t really there for the most part, and the parade of eulogies had much to do with it. Additionally, the comedy, while obviously on a gentler tack than usual, seemed a little too safe at points. If you DVR’d it to watch Breaking Bad, don’t waste your time, if you DVR’d it to watch Dexter, well then I’m sorry that you created that false dichotomy. But either way, the model where they robotically blow through awards to make time for seven memorial segments should be tossed.

NEXT TIME: This week is premiere week, I should have reviews for shows from Monday to Thursday this week! Have a good night everyone!

“The Machine”: A Theater Review

by Ryan Leeds

OK. Let me be totally honest for just a moment. When I heard that there was a play about a chess game, my initial thought was, “Oh wow! The only thing more exciting than this would be a musical about tuberculosis!” Being uninformed about this intricate game of strategy led me believe that I would use this two hours in a darkened room to catch up on my sleep. But, it is not the job of the reviewer to project his or her opinion on the subject,rather the content of the subject . And while I did not leave “The Machine” with a greater appreciation or understanding of the game, I left feeling surprisingly provoked and intruiged.

Matt Charman’s hugely compelling play, now playing at the Park Avenue Armory weaves a true tale about an iconic 1997 chess match between Garry Kasparov and IBM super computer Deep Blue. Kasparov was a 20 year undefeated chess champion with a yen for strategy and a huge tolerance towards a pushy, overbearing mother (delivered with a perfect level of abrasion by British actress Francesca Annis).

How does one handle losing when he is an assured winner for so long? Where is the line between passion and obsession drawn? When the proverbial chips are down, can machines provide the solace and comfort we crave as humans? These are just a few of the ethical and moral dilemmas posed in this smartly written and directed production which makes its’ US debut after a premiere earlier this year at the Manchester International Festival.

While the technical aspects of any theater production are usually meant to enhance the experience, it should be mentioned that Mark Henderson and Lucy Osborne’s set and lighting designs are truly leading player here. With cameras and large screen projections around each quadrant of the stage, the audience is witness to each move on the chess board and every furrowed brow of Kasparov. Through that, we are pulled into a taut cat and mouse thriller that reads like a spy novel of breakneck speed.

“The Machine” plays a limited engagement at the stunning Park Avenue Armory through Sept. 18, 2013. Tickets are available online athttps://commerce.armoryonpark.org/single/PSDetail.aspx?psn=227 or by phone at: (212) 933-5812.

Cupid’s Misguided Arrow: A Theater Review

by Ryan Leeds

The creators of the musical “First Date”, which opened Thursday night at the Longacre Theater would like to provide its’ audience with some first impressions of our human species: Straight men seeking their one true love will be slightly neurotic and employed in the financial industry. They will also order a burger for dinner and will have macho friends who encourage them to “tap” the lady they’ve just spent the evening with. Straight gals who are afraid of making a romantic mistake shall remain emotionally distant and abrasive- Plus they will inevitably order the salad when dining –just to be sure that their men do not think they are fat. If she is an ex-girlfriend, she will be domineering and crazy. Gay men will either be unemployed performers who are now waiting tables or girls’ fabulous best friends who dress in scarves, wear trendy glasses, and act as flamboyantly as Jack McFarland from TV’s “Will and Grace” . These portrayals might provide the basis for a sharp satirical piece. However, satire is anchored in wit and cleverness which cause us to reflect on our foibles. “First Date” is anchored in a loose string of stale stereotypes and unfunny jokes which will more than likely induce regret of a 90 minute time loss rather than personal reflection.

The wafer thin plot of this”comedy” involves Casey (Krysta Rodriguez from the former NBC show “Smash” and Aaron (Zachary Levi from televison’s”Chuck”), two 30-somethings who are determined to find true love over the course of an evening. Will they actually fall for each other? Probably, But not until they are visited by characters in their sub-conscious who offer their two cents worth. The remaining 5 person ensemble competently serve as this Greek Chorus who play a variety of personalities. While each of the cast members have flexibility and range, they are stuck muddling through a swamp of tepid, predictable lines and forgettable pop songs. Levi makes a stellar Broadway debut. In spite of the clumsy dialogue he is forced to deliver , he remains comfortable, funny, and charming. Rodriguez compliments her unlikely Romeo with some first-rate vocals and a confident mien.

For all of the criticism, the creative team of “First Date” should be commended. Drawing from their own courtship experiences, Austin Winsberg (Book), Alan Zachary and Michael Weiner (Music and Lyrics) have great gumption to mount a truly original Broadway production, especially when a majority of shows these days are either revivals or based on movies. Yet they could have taken a cue from some of their predecessors. The somewhat dated, but intimate 1979 Neil Simon and Marvin Hamlisch musical “They’re Playing Our Song” comes to mind. And more recently, “I Love You, You’re Perfect, Now Change” which enjoyed a ten plus year run Off Broadway and is a popular choice in regional theaters. Both of these hit shows offered new lovers what “First Date” cannot: hilarity, earnest charm, and relatable characters— all intertwined with memorable melodies. Director Bill Berry and his able cast deserve a “happily ever marriage” to a single, smart, and attractive musical comedy. “First Date” isn’t it.

—“First Date” is playing on Broadway at the Longacre Theater 220 W. 48th Street (between Broadway and 8th) NY NY. Tickets are available online, by phone (800) 901-4092 or at the box office.

"First Date" Photo courtesy of the Hartman Group Public Relations — “First Date” Photo courtesy of the Hartman Group Public Relations

Take Me Home, Country Roads: A Theatre Review

by Ryan Leeds

Near Broadway perfection is occurring 8 times a week at the Stephen Sondheim Theater with the latest revival of Horton Foote’s 1953 classic play, “The Trip to Bountiful”. Set in 1950s Texas, this poignant piece tells the story of Mrs. Carrie Watts, an aging widow whose only wish is to visit her childhood country home one last time. Barring her request stands her overprotective son, Ludie, and his all too cosmopolitan wife, Jessie Mae, with whom Carrie shares an apartment in Houston. Carrie is played with such exquisite elegance and “chutzpah” by the remarkable Cicely Tyson that there is no question why Tony voters awarded her with the leading lady prize this year. Tyson breathes incredible zest into this faithful yet complex Christian lady who ultimately seeks the serenity she once had at her former homestead. Once bound by the confines of her daughter-in-law who forbids hymn singing, Carrie ultimately becomes free to sing her favorite church songs whenever she pleases. At one point in the show, her versions of “Blessed Assurance” and “Softly and Tenderly “ are met with an audience sing-along (normally something I would loathe in any live theater performance, but surprisingly found moving and sweet this time around.)

Vanessa Williams shines as Jessie Mae, whose constant irritations in life are driven by the mere presence of her mother-in-law. Adepero Oduye makes an impressive Broadway debut as Thelma, a sweet young lady who shares her personal story and a gentle kindness with Carrie during her trek. A usually likeable Cuba Gooding, Jr. also makes his Broadway debut as Ludie Watts. Unfortunately, his performance is not to the caliber of his peers. Gooding’s acting choices are often unclear and inconsistent.

The production team deserves special mention here as well. Jeff Cowie’s sets, Van Broughton Ramsey’s costumes, and Rui Rita’s Lighting all help to evoke vintage Southern gentility and warmth.

On the hyper-spectacled Great White way, it is refreshing to see a play whose primary focus is on character development and heart-felt story telling. At the performance I attended, the audience leapt to their feets with applause and affirmation at the curtain call—proof that patrons will support quality and excellence. With summer vacations now upon us, plan a stay-cation and take a “trip” to the Stephen Sondheim Theatre on W. 43^rd st. Your heart and mind will thank you.

“The Trip To Bountiful” plays through Oct. 9, 2013 at the Stephen Sondheim Theater 124 West 43^rd street. Tickets available at the box office,www.telecharge.com, or by phone: (800) 432-7250

“Let It Be” Over

by Ryan Leeds

“When I find myself in times of trouble, Mother Mary comes to me…”. About 20 minutes into the flat, uninspired Beatles tribute “Let it Be”, I kept hoping that she would show up at the St. James theater with enough Demerol to end the misery. Two hours and ten minutes later, I was still out of luck but grateful to be released from the shackles of a lackluster production that consisted of over 40 usually-divine-but-in-this-case-truly- painful renditions of the Beatles’ incomparable repertoire.

Occasionally, I will attend Broadway shows and leave scratching my head asking, “Why?” In this particular case, I learned that the show was created to commemorate the 50^th anniversary of the “Mop Tops.” So I’m still asking myself the same questions: “Why?” Why would a creative team throw together a moderately talented, but disengaging quartet of four performers to imitate John, Paul, George, and Ringo? Why would they choose to have no set but instead opt for cheap projections? Why would they encourage an audience (mostly comprised of baby boomers) to sing along when: a) most are singing the wrong words loudly and off-key and b) audiences are paying to be entertained, not to be the entertainers. The answer, of course, is that nostalgia sells. Most likely, the producers of this flim flam are banking on the fact that unsuspecting theater-goers will be duped into dropping over $100 per ticket, only to be reminded of groovier, peace lovin’ days gone by. If nostalgia and fun is what you seek, grab the Beatles White Album, crank the volume, and experience the genuine sound of a monumental group—complete without the distraction of those around you who are singing, talking, text messaging, and/or kicking the back of your seat. Your “ticket to ride” will be much more palpable and affordable.

“Let It Be” plays through Dec. 29th 2013 at the St. James Theater, 246 W. 44th Street NY NY. Tickets available at the box office or on telecharge.com.

Photo courtesty of http://www.letitbebroadway.com/media/# — Photo courtesy of http://www.letitbebroadway.com/media/#

Top 10 Showtunes for Shunning the Sun

by Ryan Leeds

Top 10 Show Tunes For Shunning the Sun

While the relentless heatwave may have passed, summer is still alive and well. What better way to cool off than with an enjoyable Broadway ditty. While “Summer Nights” from Grease is the perfect pick for karaoke with your gal pal after a pitcher full of margaritas and “Summertime” from Porgy and Bess remains one of the most beautiful melodies ever penned by the Gershwins, I have avoided the obvious. If you have suggestions or comments about YOUR favorite songs, I’d love to hear from you. Crank the AC and relax!

1.“The Heat Is On In Saigon” from Miss Saigon

The heat may be on in Saigon, but in this insufferable heat, it isn’t lacking in NYC either. This bouncy tune informs us that two things are rampant in Vietnam: Horny Men and Hookers. Wow! Just like NYC! In the middle of the song, A wide eyed, gentle, barmaid Kim innocently tells us:

“I’m 17 and I’m new here today/the village I come from seems so far away/All of the girls know much more what to say/but I know I have a heart like the sea/A million dreams are in me”

Sometimes I sing this line with personal conviction while I’m getting ready in the morning—until I catch my own reflection in the bathroom mirror and notice the graying temples and receding hairline—then I change my tune to “Why God Why”. This upbeat, raucous song from Alain Boubill & Claude-Michel Schönberg also provides an excellent opportunity for raging theater queens to sing along and feign romantic interest in the ladies. Not since South Pacific’s “There’s Nothing Like a Dame” has a show tune been so “ butch!”

http://www.youtube.com/watch?v=do-j6ZnpCEE

Photo courtesty of http://3.bp.blogspot.com/_MvMR2HD-NDg/TA-tcf0AaMI/AAAAAAAAAhs/OnGqYZMofFM/s1600/Miss_Saigon+Poster.jpg — Photo courtesy of Wikipedia

2.“Sit Down, John” from 1776

Talk about troubles! Founding Father John Adams not only had a resistant congress who wouldn’t even debate colonization much less vote on it, but he also lacked a Friederich’s air conditioner to cool his weary, sweat laden brow! This delegate from Massachusetts teaches us all a very important lesson: If you can’t stand the heat or get people to work with you, simply open up a window, stomp your feet like an insolent child, get up and yell, “Vote Yes! Vote Yes! For Independences’ Sake”. Don’t worry that people will think you’re crazy. You are in New York City after all. Music and Lyrics by Sherman Edwards.

http://www.youtube.com/watch?v=5XDKpk2qEOU

3.“Under the Sea” from The Little Mermaid

Ariel longs to be “where the people are” on land, but wise Sebastian the crab reminds her that “Life under the Sea is better than anything they got up there!” This now classic, Oscar award winning Calypso song is lyrical brilliance from Howard Ashman and a sea-sized musical entrée for the ear from composer Alan Menken. Put it on your playlist, be-bop down the sidewalk, and try not to sing along. I dare you!

http://www.youtube.com/watch?v=2DUXVAg7oWg

Image from http://pamelaalfaro.files.wordpress.com/2007/04/412px-movie_poster_the_little_mermaid.jpg

4.“Somewhere That’s Green” from Little Shop of Horrors

Speaking of lyrical and musical brilliance, this beautiful ballad dates back to Howard Ashman and Alan Menken’s first musical collaboration from this cult classic favorite. Haven’t we all wished to escape the confines of a sadistic dentist who gives us a black eye and a broken arm-just so we can dream of living in a quiet suburban development with a nerdy guy who is raising a man eating plant?

This earnestly sweet lullaby makes us long for a simpler life filled with fresh air, Tupperware parties and “I Love Lucy”. Whatever you are doing right now—just stop. Take a break. Mix your favorite drink, sit down in a cool room, and daydream with Audrey.

http://www.youtube.com/watch?v=ouLiQ7KhmYU

Image courtesy of http://en.wikipedia.org/wiki/File:Little_shop_of_horrors.jpg

5.“We Need a Little Christmas” from Mame

Nothing says, “Screw You, Heat Wave!” quite like a Jerry Herman number. Sure…it is technically a Christmas song, but it makes us think of cooler December weather and raises our mood higher than James Franco hosting an awards show.

Just listen and enjoy this perky show-stopper. There’s no real reason to actually “haul out the holly” or “put up the tree before your spirit falls again”, unless like most New Yorkers, you have no storage for Christmas decorations and display them year round– In which case, “slice up that fruitcake” and slap on the sunscreen until you wait for Santa to slide down the chimney.

http://www.youtube.com/watch?v=Lb9OVjlEZho

Image courtesy of www.moviepostershop.com

6.“A Lovely Day to Be Out of Jail” from The Life

I’ve often told myself that, if I’m ever incarcerated, I will bust out into a show tune once I’m released. Fortunately, Cy Coleman and Ira Gasman created the perfect sing along song. From the 1997 Tony Award winning musical, this mellow jazz selection (sung by characters Sonja and Queen) reminds us that whether it’s 9 degrees or 99 degrees, “every day is spring when you’re sprung from the slam”. It’s like the advice my mom used to give me as a child: “Honey, a day spent out of jail is a day well spent.”

http://www.youtube.com/watch?v=msK5duruMrY

7.“Everybody Rejoice/Brand New Day” from The Wiz

“Can’t you Feel a Brand New Day? Can’t You Feel a Brand New Day? Can’t you Feel a Brand New Day” And if you didn’t understand it the first three times, don’t worry! They’ll sing the same line over and over! Lyrically, the song is about as complex as a Justin Bieber Newsletter, but musically you’ll want to leap out of bed and skip down the street like a happy hooker just released from prison (see #6). In my opinion, the movie version of this song from Charlie Smalls is better than the original Broadway cast recording, but either one will leave you smiling.

http://www.youtube.com/watch?v=zy8dUJEOqos

Image courtesty of http://gaydistrict.org/wp-content/uploads/2013/04/Diana-Ross-The-Wiz-Brand-New-Day.jpg

8.“Where You Are” from Kiss of the Spider Woman

“When you feel you’ve gone to hell in a handbasket/And the world in which you dwell is no paradise…You’ve Got to Learn how not to be where you are”–Excellent advice from the minds of legendary John Kander and Fred Ebb. This memorable mambo is sure to mentally pour you from the pounding sun into cooler climates. And seriously…what on earth is cooler than the indefatigable Chita Rivera singing and dancing in a white tux with tails? Be sure to listen for the high octane tap break. Sometimes I like to dance along to it in my apartment—until my downstairs neighbors pound on the ceiling and ask the herd of elephants to quiet themselves.

http://www.youtube.com/watch?v=CXL2Wq0v4-Q

Image courtesty of http://www.theatrepeople.com.au/sites/default/files/images/Where%20You%20Are.jpg

9. “If Ever I Would Leave You” from Camelot

Excuse me for a moment while I express myself like an eighty year old bitter queen whose had one too many vodka tonics around the piano at the Monster Bar, but they don’t write ‘em like this anymore. This lush Lerner and Lowe melody is smoother than the finest aged bottle of cabernet. Sung by the dashingly handsome Lancelot to his fair maiden Guinevere, He reassures her that neither spring, summer, winter, Nor Fall would be a good time to leave. Ok Romeo, but if this relationship starts going south, you’d better pray for a 5^th season called “Divorce”.

Colm Wilkinson sings a version of this on an album called, “Stage Heroes” which is among my favorites, but the Robert Goulet version (featured in the youtube link below) is chock full of creamy croon.

http://www.youtube.com/watch?v=VwfYHVJHMOA

Image courtesy of http://www.thecobrasnose.com/images6/camelot.jpg

10. “Shine Like The Sun” from 9 to 5

Country music legend Dolly Parton strikes gold with this musical gem from the short-lived stage version of “9 to 5”. I’m convinced that Parton could take the ingredients listed on a box of cheerios and turn them into an anthem of hope and inspiration. Her empowering song reassures us that “There are no guarantees/Life is always a hit or a miss/But I truly believe I won’t always be feeling like this”. Tennessee’s Darling Diva also recorded a solo version on her equally winning album, “Better Day”.

http://www.youtube.com/watch?v=y6NAYO2SgYs

Image from http://24.media.tumblr.com/tumblr_mog1h15q581stej2oo1_1371315062_cover.jpg

“Love” Is In the Air, and It is Remarkable

by Ryan Leeds

Near the end of the Public Theater’s ultra-hip, disco-spiked musical, “Here Lies Love”, leading lady Imelda Marcos (beautifully portrayed with equal parts grace and hubris by Ruthie Ann Miles) pleads to her Philippine nation: “Why Don’t You Love Me?” Perhaps it is because she has lost touch with her constituents? Or maybe it is due to the fact that her husband, President Ferdinand Marcos, has put the country under martial law? Whatever the reasons, you’ll feel as though you’ve received a unique education in Filipino history that will leave you giddy and energized.

Director Alex Timbers (“Bloody, Bloody Andrew Jackson) has brilliantly staged a 90 minute view of the Marcos Administration with intensity and cleverness. The show includes three moving platforms, slick choreography, audience participation, and a continual dance pulse in the club-like setting. The pulse can be credited to Talking Heads’ front man, David Byrne and DJ Fat boy slim, who have created 28 songs for the show, all of which are highly infectious.

Jose Llana (Ferdinand Marcos) and Ruthie Ann Miles (Imelda Marcos) generate chemistry and sexual energy that can hardly be contained in one space, Behind them, a talented ensemble dance and sing with precision and passion. In the musical’s title song, the lyrics ask: “Is it a sin to love too much?” If the answer is, “yes”, this reviewer must repent. After four extensions and much critical acclaim, numerous others must agree. “Here Lies Love” is simply too hard not to love.

“Here Lies Love” Runs through July 28^th at the PublicTheater, located at 425 Lafayette Street in Manhattan. Tickets are available by phone (212) 967-7555.

Siberia Looks To Break New Ground

by Michael Tyminski

Siberia: Mondays at 10 p.m. Eastern on NBC

(As a heads-up: due to the nature of this show, it is basically impossible not to spoil it’s major conceit, as a result I should advise you that if you want to check out the show with a completely open mind, you should probably watch it before you go any further into this review – Mike)

In retrospect I find this pretty ironic: I spend a disproportionate amount of time railing against the obviously fake aspects of reality TV but I genuinely enjoy a lot of the fake shows that skewer the conventions of said shows. Tonight NBC blurs the lines between “reality” and “drama” to an unprecedented degree with it’s newest summer series: Siberia.

At it’s core Siberia is a psuedo-reality drama set in the titular location – a place known for being as inhospitable as possible. Contestants are forced to live in a village that was seemingly abandoned in place 100 years ago due to mysterious circumstances. It is here that the contestants must fight to survive not only the harsh Siberian winter, but also themselves and the inhospitable and unnatural occurrences around them.

Sixteen contestants arrive blindfolded in the Siberian Forest, with our host, the Jonathon Buckley, arriving to explain the rules of our game (which he calls a social experiment) in which the winner receives a half-million dollars. We then learn the premise of our show: stick 16 people in the Siberian wilderness with no modern conveniences and make them survive until the end of winter. Jonathon then discusses the history of this middle-of-nowhere outpost whose settlers disappeared with no explanation in 1908.

Our contestants then end up on a two mile race through the forest and swamps to run to our tiny settlement. While many of the contestants arrive in a large pack, we are down to two groups of two vying for the last two slots in the settlement (the last two to arrive would be eliminated): an injured player and the bleeding heart who carried him through the forest, and a journalist who leads herself and another contestant down the wrong path. After they’re eliminated we get our next little bit of information: This is a contest of sheer endurance and is about the ability of our contestants to band together. There is a large box that will occasionally grant mystery items and a gate that once passed through eliminates a contestant. Otherwise there are no rules.

Immediately our contestants squabble off over the fact that there are 12 cots for 14 people. The box then signals mentioning the possibility of mushrooms, and the group goes off to find mushrooms and water. They find water but not mushrooms and have a kumbaya moment around the fire only to be interrupted by a nightmarish growl. The next morning, Tommy goes missing while looking for mushrooms, and a cameraman runs into the village bleeding from the head. After the cameraman is whisked away, Jonathon appears to tell us that Tommy died from a fatal accident.

While the plot synopsis feels very mundane, it’s that attention to mundane detail that lets this show shine. For the first three fourths of the episode, this shows plays out like a near perfect reality show to the T: surprise eliminations, squabbles over insignificant issues, the paint-by-numbers casting that every reality show uses, and even the very convincing testimonial inserts they use. The show even manages to ape the visual cues from reality TV: tons of cheap time lapse footage and reused stock shots can be found (the ax into stump shot in particular is used about a dozen times).

However, from the start of that horrifying growl during the camp-fire, the show then picks up into full blown horror mode. Things seem amiss, but very subtly so: a five legged frog, a mysterious shed that’s padlocked shut, Tommy deciding to go deeper into the woods leaving his group (and having a funny exchange with the girls he’s left behind). Unfortunately, the show elects to take it’s horror cues from the Blair Witch school of cinematography which means that many of our most direct horror moments occur off of the camera.

For what it’s worth, our cast more than holds up their end of the bargain. Many reality show participants come off as B-grade actors, and as a result it is no real shock that our unknown actors do an equally solid job sending up reality archetypes. Most of all, for all of the precious little screen time he gets, Jonathon Buckley truly steals the show as the obnoxious reality host in the most Probstian of molds.

The Final Verdict: Siberia is incredibly entertaining as a mash-up of two of pop cultures most renowned and cheapest entities: the reality show, and the horror flick. Our pilot did an excellent job of lulling the viewer into the calm before the storm, and slowly hinting that things are amiss, taking its’ time as if it were a long form horror film. Hopefully it will eventually deliver on this horror and not rely solely on Blair Witch type shots in lieu of occasionally showing the viewer what the contestants are up against. Check it out, it’s a pretty fun ride, though I could also see this show better suited as a binge watching experience.

The Hero Is An Action Packed Summer Thrill Ride

by Michael Tyminski

The Hero: Thursdays at 8p.m. Eastern on TNT

It’s incredible to chart the growth of Dwayne “The Rock” Johnson. He started off in football, at the University of Miami before ending up in the world of professional wr– **ahem** sports entertainment. It was a bit part in 2001’s The Mummy 2: Revenge of the Scorpion King, however, that allowed him to make a jump into movies, often alternating between family friendly Disney star and tough gritty action hero like his role in the Fast and the Furious series. TNT’s newest show is the newest step for The Rock, being a show very clearly molded from his vision.

The Hero is a reality competition that takes nine everyday people and puts them in taxing situations in order to determine which of them gets the title of “Hero”. These situations are designed not only to test their physical skills, but their mental and moral ones as well. Johnson not only functions as executive producer, but host and mentor to the contestants as well.

We open with the Rock explaining the game from the roof of a 60 story building. The mechanics of the game are very closely related to ABC’s The Mole. There are two challenges a show: a team challenge and a solo challenge. One person is designated as a hero who can put large sums of money in the pot or keep them from themselves. The solo challenges are worth $10,000 to the Red Cross and double the time for that weeks solo challenge. Our solo challenger, chosen from the phase 2 participants of our team challenge, then plays for the right to either put $50,000 in the team bank or they can pocket it, guaranteeing that they go home with a fairly large sum.

During the first challenge, Patti (one of our contestants not tabbed for the team challenge) is summoned up to the roof, where the Rock gives her an offer. $25,000 to the pot, or $25,000 in her pocket. After a struggle in which our two most musclebound contestants take 25 minutes to touch hands, our smaller pair acquires the second half of a secret code in 3 short minutes. The team makes it to the summit and puts the code in in the nick of time, giving the extra time for the solo challenge.

Returning successfully, our contestants must discuss whom they will send on the hero’s challenge, where $50,000 of prize money is on the line. Our heroes meet in a pretty cool superheroes lair, where they ask our three remaining heroes about whether or not they would be good for our challenge, which was teased as “in the dark”. The challenge involves walking around Noriega’s Bunker in the dark looking for a generator which will open up all of the lights, unlock the cash, and escape in 20 minutes or less.

Our contestants come from all walks of life including Cheerleader, Cop, Surgeon, Technician, Construction Worker, Fitness Trainer, Single Parent, Salon Worker and Professional Wrestler. Unfortunately, once the rules are in place, they’re all prone to bickering. While it can grate and get excessive at times, it’s intriguing how to see that the rules of the game can divide what one would think would be a fairly unified front.

The Rock plays an interesting combination of host, tempter, drill sergeant, and of course, the trademark flippancy that one would expect from Mr. Johnson. He balances these roles fairly well, though it should be interesting to see whom will take the temptation offer from the Rock, as some of our contestants seem to already have some degree of hero worship for him (no pun intended) from minute one of the show.

There is a ton of beautiful cinematography on this show, including great shots from extreme heights during the Tower Bank challenge and a lot of beautiful sunrise/sunset shots of the Panama city skyline. Similarly, the show’s night vision footage in the Noriega’s bunker challenge is pretty impressive. The challenges are also well designed, as both challenges were completed just barely in the nick of time (though those extra ten minutes were essential).

The Final Verdict: The Hero is one part Mole, one part action movie, and entirely balls to the wall. While the contestant’s bickering can get very annoying very quickly, this is the slickest and most compelling looking reality competition show I’ve seen to date. The challenges are also well designed and compelling to watch. It’s completely worth checking out, and could possibly become must watch if later episodes carry the same amount of entertainment value.

THEATRE

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