“Kinky Boots,” which won six Tony Awards including Best Musical, Best Score and Best Choreography, arrives at the Fox Theatre Tuesday. Four-time Tony Award-winner Harvey Fierstein wrote the book and Cyndi Lauper wrote the score.
Based on an independent film inspired by true events, the story revolves around Charlie, the owner of a failing English shoe factory, and Lola, a drag artist, who team up to serve a niche market making sturdy boots for cross-dressers.
Director and choreographer Jerry Mitchell said he knew the musical would speak to a lot of people the moment he watched the film. “I got very emotionally caught up in the story of the fathers and the sons,” he said. “And I thought, ‘well that to me is the nucleus of something really strong,’ because it’s a universal idea for us: how do we measure up in our fathers’ eyes?”
Producer Daryl Roth felt the same way when she first saw the film at Sundance in 2006. She optioned the musical rights and brought producer Hal Luftig on board. The two enlisted Mitchell and playwright Fierstein, who said he was attracted to the “bromance” between Charlie and Lola, a.k.a. Simon. “The real love story here is these two gentlemen who become friends,” said Fierstein. He said he also was attracted to the theme of self-acceptance, which translates not just to the two lead characters, but all the workers in the factory.
Fierstein called Lauper, whom he had known socially, to write the score. The two-time Grammy Award-winner, who grew up listening to Rodgers and Hammerstein cast albums, said, “Everybody asks the question about pop songs and theater songs. I just think that, in some ways, they’re very similar; and in other ways, they’re not. You need to be economical; you have to say something simply. And you have to have your story – a beginning, middle and end – because if the song goes nowhere, well, what are you talking about?”
Fierstein, a veteran of several musicals, including “La Cage aux Folles,” educated Lauper in writing for the theater. He showed her how to weave music and dialogue effectively, something she resisted at first. Fierstein told her, “When it’s done right, you will never notice, but the show must move on.”
The national touring company of “Kinky Boots” moves to the Fox Theatre March 29 and runs through April 3.
The Atlanta Symphony Orchestra began tonight’s concert playing a medley of Carole King’s most popular tunes, as well as music by Stevie Wonder, Burt Bacharach, Paul McCartney and Paul Simon.
Broadway singers Liz Callaway, Allison Blackwell and Bryce Ryness teamed up during the second half to sing King’s most popular songs, some arranged similarly to the originals, some quite different. My friend called some of the arrangements “hokey” and like “muzak.” Nonetheless, most of the numbers were quite enjoyable. Blackwell received a standing ovation for her rendition of “Natural Woman.”
Midway through the second half, after the band played King’s tunes made famous by others, music conductor Michael Krajewski tested the audience on who the original recording artists were. There was “One Fine Day” originally sung by The Chiffons, the 1962 Drifters hit “Up on the Roof,” Little Eva’s “The Loco-motion,” and The Monkees’ “Pleasant Valley Sunday.” They also performed hits made famous by Herman’s Hermits, Blood, Sweat & Tears, The Carpenters and a song King wrote that was The Beatles recorded on the album “Please, Please Me.”
The music continues one more night, Saturday, March 19 at 8 p.m. at Atlanta Symphony Hall.
“Disgraced,” the Pulitzer Prize-winning play now at the Alliance Theatre, is like a keg of dynamite. Full of drama and a cast of five dynamic actors, it looks at prejudice as two married couples — a Jewish man and a black woman, and a Muslim man and a white woman– get together for dinner. Playwright Ayad Akhtar delves into prejudice without being didactic, while presenting intense Mamet-like characters who love, taunt and betray one another. The play whips by in about 95 minutes and is nothing less than outstanding.
Directed by Susan V. Booth, “Disgraced” runs through Feb. 14 on the main stage at the Alliance Theatre.
Cast:
Andrew Benator . . . . . . . . . . . Isaac
Andrew Ramcharan Guilarte . . . . . . Amir
Tinashe Kajese-Bolden . . . . . . . . Jory
Courtney Patterson . . . . . . . . . . Emily
Ali Sohaili . . . . . . . . . . . . . . Abe
You may have missed the Sean Dorsey Dancers perform “The Missing Generation” this week, but you can join them in a discussion and free brunch at 1 p.m. and see them perform at 5 p.m. Sunday. The performance features recordings of real AIDS patients who lived through those rough times in the 1980s when the disease was first discovered. The gestural modern dance features some classic dance and minimal acting. Although the dance and acting techniques are not at high levels, the performance does project the feelings and voices of those who have suffered and those who died from the deadly virus. In the wake of the congressional hearing of Martin Shkreli, the pharma CEO who in September hiked up an AIDS drug more than 5,000 percent to $750 for one pill, the talk and dance are timely.
Sean Dorsey Dance presents a free brunch and discussion on AIDS at 1 p.m. and a performance of “The Missing Generation” Sunday, Feb. 7. at 7 Stages.
Cast:
Sean Dorsey
Brian Fisher
ArVejon Jones
Nol Simonse
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
