Atlanta Ballet puts on a spellbinding production of “Moulin Rouge-The Ballet,” a story of love, betrayal and loss at the famous Moulin Rouge cabaret in Paris. The dancers manage to act without words but with behaviors and movements that are heartfelt without ever being over the top. The ballet tells the love story of Matthew, an aspiring painter who comes to Paris to seek his fortune, and Nathalie, a poor, young woman who gets chosen to become a dancer at the Moulin Rouge. Jealousy and rivalry ensue with the other Moulin Rouge dancers try to push and shove Nathalie out of the limelight and when the club’s owner wants Nathalie to leave Matthew for himself.
Atlanta Ballet presents a brilliant performance with romantic Paris settings and beautiful costumes. Originally commissioned and first produced by Canada’s Royal Winnipeg Ballet in 2009, choreography by Jorden Morris, Atlanta Ballet’s production of “Moulin Rouge – The Ballet” runs through Feb. 13 at Cobb Energy Performing Arts Centre.
Buddy and Jovie
This is why you have to see theater: unexpected pleasures like “Elf: The Musical.” Based on the film “Elf” by David Berenbaum, this musical is different from the movie. This new script and main character, Elf (Daniel Patrick Smith) are laugh-out-loud funny! The non-offensive adult humor slips right by the minds of children, but adults will get the double entendres. However, what makes this show outstanding is Daniel Patrick Smith, who is beguiling and dazzling as Buddy, the elf. With a boyish Ira Glass-like voice, a dramatic animated flair like David Sedaris, and an overzealous joy for life, you never know what to expect from this 30-year-old elf. With a hilarious mocking impression of Whitney Houston and Frankie Valli, campy dance moves, and a cool seduction of a young woman he falls in love with, Smith is a force to be reckoned with.
The music is a mixture of big band sounds and old musicals from the 1950s with simple lyrics, some which are quite funny.
Book by Thomas Meehan and Bob Martin, Music by Matthew Sklar and lyrics by Chad Begueliln, directed by Sam Scalamoni, “Elf: The Musical” runs through Sunday, Dec. 6 at The Fox Theatre.
Carolyn Cook: Photo by Christopher Bartelski
“Blackberry Winter” is practically a one-woman show about a middle-aged woman who is dealing with her mother’s Alzheimer’s disease. Vivienne Avery (Carolyn Cook) flits about her home talking to the audience about her mother who must move out of an assisted living home into a nursing home. Dressed in a prim knee-length skirt and a 1980s-style silky blouse with a bow on it, Vivienne drones on and on in her thick Southern accent with a prim affectation. Miss Priss is quite prone to cussing and has a rule about putting money in a piggy bank each time she says a cuss word. She says she has been putting money in the bank for a while, but when she puts the money in, it drops right to the bottom sounding as if there has had next to nothing put in there save for this one night. Either she, too, is getting Alzheimer’s or the director (Ariel Fristoe) forgot to add money to the bank so it doesn’t sound as if this is the first time she has put money into it.
Vivienne speaks for what feels like at least 20 minutes each about scarves that her mother has bought her and about the way to make a coconut cake. There’s an analogy and a cartoon on video screens about creatures in the forest that build memories their whole lives and store them in a box, but when they are older and a White Egret (Maia Knispel) goes to the box to recapture, they are no longer there because the Gray Mole (Joe Sykes) stole them. That whole scenario feels like it takes another 20 minutes.
This play, which probably lasts 1 hour and 45 minutes with no intermission, feels s-l-o-w. Sykes, whose hands are bound in heavy rope and is blindfolded, embodies the mole and is entertaining as he claws and gnaws his way into the box of memories.
This is the world premiere of “Blackberry Winter,” and it is scheduled to run in eight other theaters around the country. Written by Steve Yockey, “Blackberry Winter” runs through Nov. 22 at Actor’s Express.
Fetch whatever it takes to see True Colors Theatre Company’ s phenomenal production of “Fetch Clay, Make Man.” Not only is the production brilliant, so is the writing. Just when you think you know these characters, a whole other side of them appears.
Based on the true story of Muhammed Ali’s professional relationship with Stepin Fetchit (Brad Raymond), the black actor known for playing his “lazy man” roles in the late 1920s, Muhammed Ali (Rob Demery) is preparing to fight Sonny Liston for the second time. It’s 1965, and Ali and his wife, Sonji (Danielle Deadwyler), who have recently become Muslims, are besieged by his Muslim handlers, his “brothers.”
This may be the best theatrical production of the year. The entire cast is splendid. Demery and Raymond practically embody their characters. From the moment Raymond opens the show with his first line, you know that character as you’ve seen him before. Watching Demery is like watching Ali in person, with similar mannerisms and speech. Broadway could do no better, and if this show isn’t headed to Broadway soon, it should be.
Written by Will Power, directed by Eric Little, “Fetch Clay, Make Man” runs through Nov. 22 at True Colors Theatre Company.
Cast
Amari Cheatom . . . . . . . . . . . . . . . .Brother Rashi
Brian Kurlander . . . . . . . . . . . . . . .William Fox
This is not your mom’s “Cinderella” or even your grandma’s. It has humor but is not nearly as heartfelt as the TV version starring Lesley Ann Warren. This newer production, which hails from Broadway and was nominated for nine Tony Awards, presents a newer more kitschy version of the story. The kindness of Cinderella (Kaitlyn Davidson) extends to everyone in the land, including an older peasant woman known for being crazy. Prince Topher (Andy Huntington Jones) is a young man still trying to find his own power and way in life. There’s a kinder step-sister and one who is more raunchy than the TV versions of the show. The big, bouncy colorful costumes bring life to a story that I found to be boring but my friend found to be enjoyable. Adults around me were laughing at lines tand situations hat I thought to be trite and corny. The dances at the Prince’s ball were lovely, and the prince and Cinderella have charming voices. The lyrics of some of the original songs have been changed and other lesser-known songs by Rogers & Hammerstein have been added. The costume changes are somewhat miraculous as Cinderella changes from rags to a beautiful white ball gown in a second, the horses and carriage sparkle like jewels.
Directed by Mark Brokaw, music by Richard Rodgers, lyrics by Oscar Hammerstein II and a book by Douglas Carter Beane based partly on Hammerstein’s 1957 book, “Cinderella” runs through Nov. 8 at the Fox Theatre.
Cast
Marie . . . . . . . . Liz McCartney
Madame . . . . . . . .Blair Ross
Jean-Michel . . . . . . . . David Andino
Gabrielle . . . . . . . . Kimberly Faure
Charlotte . . . . . . . . Aymee Garcia
Sebastian . . . . . . . . Blake Hammond
Lord Pinkleton . . . . . . . . Chauncey Packer
Raccoon, Ensemble . . . . . . . . Chip Abbott
Ensemble . . . . . . . . Adrian Baidoo
Ensemble . . . . . . . . Summer Broyhill
Ensemble . . . . . . . . Audrey Cardwell
Ensemble . . . . . . . . Cody Davis
Ensemble . . . . . . . . Rachel Fairbanks
Ensemble . . . . . . . .Alexanddra Frohlinger
Swing . . . . . . . .Jordana Grolnick
Swing . . . . . . . .Laura Irion
Swing . . . . . . . . Eric Anthony Johnson
Swing . . . . . . . . Ben Lanham
Ensemble . . . . . . . .Lauren Lukacek
Ensemble . . . . . . . .Sean Seymour
Ensemble . . . . . . . .Lauren Sprague
Ensemble . . . . . . . .Paige Williams
Neal A. Ghant and Bethany Anne Lind
“Informed Consent” at Horizon Theatre is a well-acted production of an interesting play. Although similar to “Proof” and “Doubt,” in that the question of who is right and who is wrong is left open to each individual to decide, the premise is different, as it revolves around Native Americans and a power-hungry researcher who just wants to do good.
Jillian (Bethany Anne Lind) is a genetic anthropologist on a mission to discover migrating patterns of people and ethnic groups, and to prove that all mankind comes from one source, so that there really is no such thing as “race.” Recently diagnosed with early-onset Alzheimer’s, Jillian is caught up in another type of race, a race against time to do her work and prove her theory. When she obtains permission to do one health test, she conducts other genetic tests as well, destroying the whole story one group of peoples has been handing down for centuries. The play is based on the true story of a Native American tribe that sued a university when it conducted tests that the tribe had not approved.
It’s a dramatic show with a wonderful cast. Her husband, Graham (Neal A. Ghant), loves and reprimands Jillian with passion, and Dean Hagan (Tonia Jackson) is a force to reckon with when the university where Jillian works is threatened with a lawsuit.
Written by Deborah Zoe Laufer, directed by Lisa Adler, “Informed Consent” runs through Nov. 8 at Horizon Theatre Company.
Cast:
Arella . . . . Diany Rodriguez
Ken . . . . . . Carey Curtis Smith
Emily Kuroda, Ruibo Qian, and Jon Norman Schneider; Photo: Greg Mooney
Since seeing the world premiere of “Tiger Style” last week, every Asian I see I want to say, “You have to go see ‘Tiger Style’ at The Alliance Theatre. Even if you’re not Asian, you should still go see it.
Mike Lew, who won the Kendeda National Graduate Playwright Award-winning play “Bike America,” which debuted in 2013 on the Hertz Stage at the Alliance Theatre, is at it again with another smartly written play. This time, it’s on the main stage.
Jennifer (Ruibo Qian) and Albert (Jon Norman Schneider) are first-generation American siblings whose Chinese parents reared them to excel in everything. They graduated early from Ivy League schools and performed together as kids as a duo at a sold-out concert at Carnegie Hall, yet these 20-somethings still struggle with becoming well-adjusted socialized adults.
Jennifer, a medical doctor, is depressed over the man who left her, a stereo installer who lived in her home and off of her income. Arthur, a superior computer software programmer, goes unrecognized for his work as his less capable cohort gets promoted. Down on their luck, the two decide their problems are the fault of their parents, and set about changing their lives.
The first act starts out funny with parodies of Asian Americans but soon begins to resembles a television sitcom. However, laughs reign when the unhappy siblings refuse to be “dickless Asians” and confront their parents with the problems their strict upbringing has caused them. When the siblings journey to China to better understand their upbringing, absurdity ensues and the laughs follow.
There is so much that is smart about this play– commentary on politics, adulthood and unhappiness–but there was one part that felt so wrong. I couldn’t suspend belief and buy into Albert tossing his money and passport as I saw no impetus to make him do that. It seemed like a weak choice for keeping the siblings in China.
Nonetheless, Lew has created characters and scenarios that are enjoyable to watch. Many of the characters are played by the same actors. Mom (Emily Kuroda) is hilarious as the matchmaker, and Dad (Francis Jue) is a standout as the old Chinese man waiting at the bus stop and the Chinese general. “Russ The Buss” (Bobby Labartino) is fantastically funny as the international customs agent. Lew is clearly an outstanding talent and brings to my mind Neil Simon.
Directed by Moritz von Stuelpnagel, “Tiger Style” runs through Oct. 18 at the Alliance Theatre.
Jazz pianist Joe Alterman sounds super fine to me. He has led groups at venues in New York City, including the Blue Note Jazz Club, the Iridium, and Jazz at Lincoln Center’s Dizzy’s Club Coca-Cola.
In a recent interview with Brian Lehrer on WNYC, Nat Hentoff said, “The last piece I did for them [The Wall Street Journal] – I’m so glad I had a chance to do it – is about a 24 year old pianist and composer named Joe Alterman, who is really the personification of the past of jazz – he’s really deep into that – the present of jazz – he has his own voice – and that leads him into the future of jazz, and he’s so important in terms of the validity of jazz…[Joe Alterman & one of his mentors, tenor saxophonist Houston Person] make recordings that – to use the phrase that Duke Ellington really had a chance to use – are ‘beyond category’ because they’re timeless.”
Born and raised in Atlanta, Alterman moved to New York in the fall of 2007 to study music at New York University, where he earned both his Bachelor’s and Master’s Degrees in Music. While there, studied with the greats, including Don Friedman, Joe Lovano and John Scofield.
Alterman will perform two jazz concerts this Sunday, one at 5 p.m. and and one at 7 p.m. at the MJCCA’s Morris & Rae Frank Theatre (5342 Tilly Mill Road, Dunwoody). Alterman has performed at venues around the world, including the Blue Note Jazz Club in Milan, the High Museum of Art in Atlanta, and Preservation Hall in New Orleans. Ticket Prices: MJCCA Members $17, Community: $22. For information, visit www.atlantajcc.org/boxoffice, or call 678.812.4002.
Robert Lee Hindsman. Photo by BreeAnne Clowdus.
Yes, you will give a f*ck about this play and the characters. An excellent cast and an excellent play, adapted from Chekov’s “The Seagull,” “Stupid F*cking Bird” peels back the covers of life and clearly states how disappointing it is. Men and women chasing each others’ tails, not getting what you really want in life, and settling for what’s there. Fantastic singing by Rhyn Saver and wonderful acting by Lane Carlock.
Directed by Freddie Ashley, “Stupid F*cking Bird” runs through Oct. 11 at Actor’s Express.
Cast
Lane Carlock . . . . . . Emma
Evan Cleaver . . . . . . Trig
Matt Felton . . . . . . Dev
Stephanie Friedman . . . . . . Nina
Theo Harness . . . . . . Sorn
Robert Lee Hindsman . . . . . . Con
Rhyn Saver . . . . . . Mash
Scott Warren, Ann Marie Gideon, Daniel Triandiflou, Terry Guest, Tess Malis Kincaid, Neal Ghant, and Jeremy Proulx. Photo: Greg Mooney
Well, I was going to post this review today, but now I see that the show closed today. I just saw it last week. What can I say? I was busy with work. Nonetheless here is the review, late.
Whether or not you’ve seen the 1975 Academy Award-winning film “Once Flew Over the Cuckoo’s Nest” or the original Broadway play, which ran from 1963 to 1964, you’ve got to see it at the Alliance Theatre.
The patients of the psychiatric hospital may be no more crazy, and certainly not as cruel, as the doctor and nurse running the establishment. Mac Murphy may have escaped prison by coming to this mental institution, but he didn’t get the bargain he had hoped for.
The original film won five Academy Awards, including one for Best Picture, Best Actor in a Lead Role and Actress in a lead role. The talent is no less at the Alliance with Andrew Benator, who could not have been better from the instant he took the stage as the slightly effeminate heterosexual and president of the “inmates,” and Tess Malis Kincaid as the heartless Nurse Ratched.
Directed by Susan Booth, play by Dale Wasserman, based on the novel by Ken Kesey, “One Flew Over the Cuckoo’s Nest” closed today. I am a boob for being late with this!
