Another Round Of "Muppets" On The Big Screen

I chose Groovy as today's fractal "cookie" because it's round (referencing the title of this post), rainbow-colored (like the Muppets themselves) and because of a line about the "hippy-dippy sensibilities" of the Muppets.  Now--on with the review!
-
The Muppets have a long and storied history of a couple of struggling puppeteers (Jim Henson and Frank Oz) who created some lovable puppets they called "Muppets."  The two got their big break doing a little show called Sesame Street.  They parlayed that success into a long-running syndicated program (The Muppet Show) and finally made it to the big screen in The Muppet Movie in 1979.  The combination of sweetness, charm and irreverence was irresistible to audiences which led to several sequels--each less successful than the last.  Eventually the Muppets were bought by the Disney Corporation and relegated to the occasional TV Special and largely forgotten.  This brings us to the present day where an actor by the name of Jason Segal entered the picture with a mission to "bring back" the Muppets.
-
It's safe to say Segal has "mad love" for the Muppets.  (Check out Forgetting Sarah Marshall if you don't believe me.)  He approached Disney to revive the franchise and, Disney (being Disney and anxious to squeeze every penny out of all their creative properties) agreed.  What emerged was a movie musical that could have come right out of Hollywood's Golden Age.  The Muppets have gone their separate ways and it is up to Kermit the Frog, encouraged by an innocent (new Muppet Walter) to get the gang back together to "put on a show" to save the day.  Will they succeed and give everyone a "happily-ever-after" ending by movie's end?  Do I REALLY need to tell you?  I don't think so...
-
Jason Segal not only pushed for the movie to be made but he also stars and even wrote it!  (Now that's mad love!)  Sadly he created a cast of cardboard characters to go with the cloth Muppets.  Each and every character exists for the sole purpose of moving the plot.  That being said, he and the other leads (Amy Adams and Chris Cooper) do the best they can with what little they have to work with.  I've got to give some special "props" to Cooper for taking on the comedic role of Tex Richman: he even manages to rap and do a bit of dancing.  There's a raft of celebrity cameos (from Alan Arkin to Zack Galifanakis).  My two favorites were Neil Patrick Harris ("I don't know why I'm not hosting this!" and Selina Gomez ("I don't know who you guys are--my Agent told me to show up here.")
-
I really wanted to enjoy this movie more than I did: I hoped it would be a worth reboot but what I got was a lot of nostalgia.  (As I was walking out of the theater Garden Party by Rick Nelson was running through my mind.)  There were a lot of smiles but few laughs.  Luckily I wasn't the only one who seemed to feel this way: the theater was crowded but I didn't hear a lot of laughter and there was a run on the exit as soon as the credits started rolling.  The movie is a harmless diversion that anybody can see but it's nothing that needs you to rush to the theater to see.  Maybe wait for the DVD to come out and watch it when you don't have anything better to do.
-
FINAL GRADE: C+

"Blue Man Group" Surprises

I chose RibStar 2 as today's "fractal cookie" for the review of Blue Man Group for two reasons: 1) it's blue (no other reason, it's blue), 2) I haven't used this image before.  Now that you know--on with the review!

-

I came completely prepared to hate the Blue Man Group when I knew I was going to see the show: I even had a title for the review, The Group Made Me Blue, Man.  I thought the blend of three nearly-identical guys being expressionless and doing stylized movements while drumming would be clever for a few minutes but get old really fast.  I didn't see how they could sustain my interest.  I was dreading the show.  Turns out I wasn't completely wrong.

-

There's no point in trying to recount the show's plot: they don't have one.  There are a number of unrelated "scenes" involving movement, music and technical wizardry to keep the show moving.  The best parts of the show involve audience participation (particularly the "Dance Party" that finishes out the show).  Some bits go on way to long (there's a "dinner scene" that lost almost the entire audience and nearly killed the show's momentum).  The show is also very loud (not bad for those used to loud clubs and concerts but not too great for old poops like me). 

-

In all honesty I missed a lot of the visual bits in the show (even with the gigantic video screens broadcasting a lot of the action) but I was decidedly in the minority.  All the youngsters in the audience loved the show and a lot of the oldsters were laughing along with them.  There's no point to the show--unless the point is to bring folks together for one big party and in that Blue Man Group succeeded admirably.

-

FINAL GRADE: C (for me) A- (almost everybody else)

"Mikado" Doesn't Quite Rule.

The Mikado of Japan (AKA) the"Son of Heaven" would wear a Crown Of Stars" if he could.  That's why I chose Crown Of Stars as the "fractal cookie" for today's review.
-
The Mikado presents William S. Gilbert and Arthur Sullivan as their best: the plot is typical Gilbersonian fluff that is nothing short of completely contrived nonsense--but any true Savoyard will that you what's not why you go see a "G&S" show.  You go for the tuneful songs filled with wonderful word play and endless intention, not to mention the wicked satire.  Of course, more than a century later some of the bite has faded but a good production is still well worth attending.  Performance Riverside almost manages to hit the mark with their offering but, in the immortal words of Maxwell Smart, they "missed it by that much!"
-
David M. Laffey has the pretty voice and decent dancing ability to play the role of Nanki-Poo and his acting ability and comic timing are up to the role's minimal demands.  As Yum Yum Jessie Withers is a fine foil in every way as the leading Soprano.  Francisco Rodriguez doesn't quite have the Classical pipes to pull of the part of Pooh-Bah but his acting ability almost makes up for it.  If Michael Heimos were any lighter in his loafers as Ko-Ko he'd literally float off the stage but it works for the role.  His (or whoever's) updating of "I Have A Little List" wasn't as biting as some I've heard but there were some good swipes at pop culture in there.  I found myself enjoying his performance most of all.  Travis Lincoln Cox almost got lost under the massive costume, wig and fake beard he had to wear as the Mikado ("ha Mikado") but he came across as surprisingly youthful: still, he did well enough with what little he was given.
-
I have a weird complaint regarding Sarah Kreig as the only real villain Katisha.  Katisha is characterized through the whole show and Ms. Kreig is anything but ugly!  Tall and imposing yes--but hardly ugly by any stretch of the imagination (and quite shapely under that kimono.)  Frankly, the gal is hawt!  (Please don't kill me Robyn...)  Her rich Contralto is up to the requirements of the role and I'd stack her acting ability up against anyone in the cast.  One minor quibble: Katisha traditionally is clad in black and red--the costumer chose yellow and orange (to go with the Mikado's robes.)  I'm no G&S purist but it annoyed me ever so slightly.
-
It wouldn't be a production at the Landis without me to find something to complain about--and this show is no exception.  We experienced a new sound problem this time--an echo that made it a bit difficult to hear.  In fact a lot of the chorus numbers were so muddy neither I nor the missus could make out the words.  I don't know if this is because the chorus is up to the music or if it was due to a bad sound mix: still, a Gilbert and Sullivan show needs to be crisply articulated to be fully appreciated and it was a bit of a mess.  The sits were nicely suggestive and the costumes, while a bit simple, worked well enough.  I found the band to be a bit "bright" sounding and a bit heavy on the brass: maybe they weren't quite together on a few songs.  Still, when I balance the positives and negatives of the show I found myself enjoying the effort.  I'm not sure the show is for everybody but we certainly enjoyed it.
-
FINAL GRADE: B

Puss In Boots: Not Just Another "Shrek" Clone

I pcked Fandango 5 for two reasons: first it seemed to have real "Cavalier attitude" (like Puss in Boots") and second, in a weird sense, it is the fifth movie connected to the Shrek franchise  Yes, tenuous as usual, but it's all I've got--now on with the review!
-
Any franchise, be it books, TV or movies, eventually turns to crap if it goes long enough.  The Shrek series "jumped the shark"  at Number Three (too bad they felt the need to make a fourth one).  That, coupled with uninspiring previews, didn't make me want to see the Puss In Boots.  Boy was I surprised when I actually got in to see the movie.  This may not be the best movie of 2011 but it certainly the best animated feature of the year (and Kung Fu Panda 2 was pretty darn good).
-
Puss In Boots is supposed to be set in Spain (according to the missus at least) but to me it looks a lot more like the American Southwest.  The plot could be lifted from any classic Western movie--with a plenty of modern twists to keep it fresh.  Antonio Banderas lends his voice to the title character yet again and gleefully mines every Latino stereotype and cultural cliche (and does it with such aplomb that you can't find it offensive).  Thankfully, Puss is the only character that transitions from the other Shrek movies.  A few "fairy tale" characters--Humpty Alexander Dumpty (Zach Galifiakankis) and Jack and Jill (turned into a Hillbilly Outlaw married couple voiced by Billy Bob Thornton and Amy Sedaris) but the rest of the movie is populated by new characters.  The most notable of these is Kitty Softpaws (Salma Hayak) who is the perfect foil and romantic interest and foil for Puss. 
-
The movie finally gives us the origin story for Puss and tells the story of a heist involving the Goose That Laid the Golden Eggs.  (Sadly, there aren't even any plot points to pick apart.)  (Trust me--it plays way better than it reads.)  The art is nothing short of gorgeous and the animation is perfectly done.  (Robyn and I saw Puss In Boots in 2D but found ourselves wishing we'd shelled out the extra bucks for the 3D version.)  I didn't recognize any of the music but it was beautifully played.  This is the sort of movie that is fun for the entire family: you don't need to be a kid to see and enjoy it.
-
FINAL GRADE: A+

"Footloose" in he Land of Needless Movie-Remakes

Today I will be reviewing the remake of Footloose.  I picked Celebration Bouquet as the fractal "cookie" mainly because there wasn't an obvious choice that jumped out and me and the movie pretty much ends with a prom.  Yes, the link is, at best, tenuous but in this case it's all I've got.
-
Movie remakes are a long-standing Hollywood tradition--I'm not sure why.  Usually the real "greats" (titles like Gone With The Wind or The Wizard of Oz--two oldies but goodies) seldom get tagged.  Footloose did well enough the first time out (and the soundtrack album sold very well) but didn't do so well as a Broadway musical.  I'm not sure why they felt the need for a movie remake: maybe the Producers were looking for something they could do on the cheap--at least that's what the end result looks like.
-
Fans of the original version of Footloose are going to find a lot to like about the re-make.  The plot gets a bit of an expansion but a lot of the current version is a shot-for-shot copy of the original--same dialog, same camera angles--I wouldn't be surprised to find out even the same clothing was used.  Several songs from the original make the transition (some in their original versions--some new, but frankly weaker, versions).  At least the new version offers us a glimpse of why the town of Bomont (moved from the Midwest to the Deep South--and the folks in the South obviously can't spell Beaumont!) and that helped answer a few questions.  Some might find the language a bit rough: I know I was certainly surprised to see how much they got away with and still managing a PG-13 rating (but the "F Bomb" was never dropped.).  There are more holes in the plot than a good Swiss Cheese so folks like me will have points to pick at.  All that being said, this is a pretty standard musical at heart so you can forgive that.
-
Kenny Wermald gets the role Kevin Bacon role and manages to carry off the Boston accent (at least most of the time).  He's a good dancer and he manages to (mostly) commit to the role: (I only saw him grimacing a few times).  Juliane Hough gets the role "Preacher's Kid" Ariel: we already know she can move--thanks to all those years on Dancing With The Stars--but who knew she could cuss like a sailor so convincingly?  Dennis Quaid--a real Southerner (unlike John Lithgow in the original)--gets the thankless role as the town Minister.  New character Ray McKinnon adds a sens of verisimilitude in his role as Ren's Uncle Wes.  The rest of the cast does the best they can with their sketchily-drawn, black-and-white cardboard roles--and who knew so many of these kids were such darn good dancers?
-
Footloose is a complete, check-your-bran-at-the-door, sit-back-and-relax movie.  Taken for what it is (a "new wave" movie musical) the movie is pretty good.  Yes, you can complain about the too-many copycat scenes but it's fun to see how they manage to bring so many things get translated from the old to the new version.  If you're going to hate on it for what it isn't you probably wouldn't go see the movie in the first place.
-
FINAL GRADE: B 

Shrek the Musical (a Little) Something For Everybody

Picking fractal "cookies" for my posts can sometimes be a difficult thing but luckily sometimes something just jumps right out at me--like in this case.  I chose Dragon Scales for today's post because it's green (like the eponymous Shrek) and because there's a dragon in both the image and the show.  So, now that you've got the dirt on with the review!
-
Shrek has an interesting history: it began life as an 18 page children's book that was mostly pictures and got expanded into a full-length motion picture (thanks to Mike Myers and Dreamworks SKG).  Owing to such successes as Beauty and the Beast and The Lion King it wasn't long until Producers decided to bring Shrek to the Broadway stage.  Shrek didn't run as long as the other two shows I just mentioned but it is perfect for a long National Tour and an even longer life in Regional Theater.  You might well ask--how could they turn a big animated movie into a stage play?  Turns out--pretty well for the most part. 
-
The plot is simple enough for  the kiddies to follow but there are enough jokes to please the adults and everything moves quickly enough that nobody really has time to lose interest.  Those expecting highbrow theater are doomed to be disappointed by Shrek (but they probably didn't see the movie on which the show is based).  Shrek is vulgar without being obscene: the good news is that parents won't have to try to explain to their kids.  The songs generally are splightly and pleasant to listen to--even though I found myself forgetting them even as I was listening.  The sets, while no where near as complex as the animated backgrounds of the movie but they are more than adequate to do the job.  Likewise the lighting and costumes are more than up to the challenge as is the music played by the nine-piece band (large for a show).
-
Lukas Poost, in the title role, doesn't try to do a Mike Myer immitation--and to my mind that's all to the good.  He does manage a consistant accent (although it's not Scottish) and he manages to run all the gamut of emotions the role requires.  He also has a big and quite pleasant voice for his singing.  Liz Shivener as Princess Fiona has a voice and acting ability up to snuff with her partner and I couldn't find a fault in her performance.  Andre Jorden (Donkey) has a great soulful voice for his songs: he lacks the manic physicality of the animated character but he still manages to do well with what he's given.  Merrit David Janes as the villains dwarf Lord Farquahd deserves note, not only for his acting and strong voice but also for managing to pull off virtually his entire performance ON HIS KNEES!  (You try doing that for eight shows a week for months on end and see how wracked-up YOU get!)  The dragon doesn't breathe fire but the massive puppet (controlled by four people) looks pretty impressive on stage.  The chorus all have multiple roles and they are all up to the task.
-
Shrek is hardly great theater but it sure is good fun for the entire family.  This is the kind of show the entire family can enjoy together and it's especially good for those who don't attend theater with any regularity.  Go see it if you get the chance.
-
FINAL GRADE: A   

I Think I've Seen This Show Too Many Times

Today's "fractal cookie" is Daisy Blue.  I chose it for a couple of reasons: first it seems like it might be a good name for one of the Characters in Oklahoma done by Performance Riverside (the show I'll be reviewing),  Second, it seems like it might be a quilt design from that era or maybe one of those blue plates so popular back then.  OK, maybe it's not that much of a reason but its all I've got.  So--on with the review!
-
Oklahoma is a truly "classic" of the American stage.  The accessible plot, relatable characters, tuneful melodies (that stick in your head long after you've left the theater) and ease of production mean this show will be produced again and again and again.  (Sadly, it also means that folks like me will SEE it again and again and again!)  There's not a lot of room to "re-invent" the show (since reinventing Oklahoma is a lot like trying to re-invent the wheel: there is simply  no room for improvement.)  Because of this, if you've seen the show as many times as I have (seven or eight--in versions from the latest National Tour to small Community Theater productions) it begins to lose some of it's magic.  For a production to truly fly it really needs to be completely first class and, this being Performance Riverside, you know there's going to be some problems.
-
 I can't fault the Lighting, Set Design or Costumes in the show and, for once the sound mix at the Landis Performing Arts Center wasn't a muddy mess.  The choral work and dance sequences were first rate so that was another plus.  Musically, the stage band was first rate (as always) but I found it a bit heavy in the brass and woodwinds: I could have done with a second keyboard to fill out the piano and strings to give an even fuller sound but I guess you can't have everything.
- 
Bryan Vickery (as Curly) is convincing in his role and he has a magnificent singing voice.  (I think he's classically trained.)  If there is any criticism of his role is that Vickery may be just a bit "too" perfect in his part and that he only has two volumes--loud and ear-splitting.  (That being said, I'm not sure if the guy just has a really big voice or if he was simply over mic-ed.)  Emily Lopez (as Laurie) is a charming ingenue with a voice that matches Vickery's in timber perfectly.  Chelsea Emma Franko doesn't provide any revelations as Ado Annie but she's believable in her role.   Casey Garritano's Will Parker uncomfortable reminded me of Austin from The A List New York but there's no denying the boy can dance!  Performance Riverside veteran Patricia Scarborough gives a creditable Aunt Eller.  I'd like to have seen a bit more oil and ethnicity from Travis Lincoln Cox in the role of Ali Hakim but maybe the Director was trying to be sensitive.  Paul Kehler (Jud Fry) has a beautiful bass voice but doesn't bring the menace and his dark shadings are no more than medium gray.  The guy comes off about as scary as a Teddy Bear.  Jason Wesley Green as Andrew Carnes lacks the "big" voice of the leads and it shows on stage.  Still, he gets the best "insert" in the show (from, of all places, The Monkees!) so props to him. 
-
I do have to give kudos to the entire cast for one thing: no matter how little energy they got back from the audience (and the Sunday Matinee crowd was DEAD!) they never flagged.  As a former Actor I can't tell you how difficult it is to keep the energy flowing to an audience that isn't giving anything back.  Hooray for their professionalism!  Thank you all for trying so hard in what had to be a difficult situation.  Kudos also to show Director and interim Producing Artistic Director Matt Neves for keeping his pre-show announcements short and sweet.  I'm sorry to see Rey O'Day leave the position but she did have a tendancy to go on and one.  If Neves keeps the position I hope he keeps the pre-show patter just like he did for this show.  
-
As a show Oklahoma might not be the best vehicle for a sour old critic like me but for the casual theater-goer this production would be 2 1/2 hours of utter delight.  Check it out if you want to see some nice theater in the Inland Empire.
-
FINAL GRADE: C (for sour old critics) A- (everyone else)