Hello friends!

Did you think I disappeared? It’s okay if you did… there’s been a lot of non-activity on here and for that I do sincerely apologize.

I have read 25 books in the last 3 months, but due to time constraints at the moment, I will not be posting my thoughts on all of them right this second. If you would like to keep tabs on what I’m reading, I encourage you to befriend me on Goodreads!

Speaking of books… my M/M YA ebook, Out at Home, is available on Amazon. It was published on December 6th and most people who have left comments/ratings seemed to have liked it. I will admit upfront that the book needs help on the editing-front. Unbeknownst to me, no one at the publishing company edited it before it was posted (to be honest, I don’t think anyone there actually read it…). Am I thrilled about that? No. But is that going to stop me? Also no. I have received some truly awful critiques and emails about the book, but I’m using them as a learning experience. Right now I’m 52+ chapters into writing a second YA novel (M/F this time) and am planning on querying agents when that’s finished later this year.

Another reason why I haven’t posted much on here is that I have been super busy seeing shows!

I mentioned in my New Years Resolutions post that I hoped to see at least one show a month. Even though I’m still broke as hell, I have been really privileged to see a bunch of shows this year thanks to my amazing blogging gig with IN New York magazine.

Here are my posts for shows I’ve seen this year:

Nevermore – Edgar Allan Poe: The Musical

Chicago the Musical – Chicago Continues to Razzle Dazzle Audiences With All Its Jazz

The Heidi Chronicles – Revival of The Heidi Chronicles Brings Feminism and Friendship Back to Broadway

Honeymoon in Vegas – Book Your Reservation For a Honeymoon in Vegas

(Stay tuned for more posts about On the Town, Fun House, Dr. Zhivago and Something Rotten!!)

In addition to the shows I’ve seen/will be seeing for my blogging gig, I saw Constellations and Brooklynite. Jakes Gyllenhaal and Ruth Wilson were beyond amazing in Constellations. We had 2nd row seats (because I was the first person in line for Rush tickets – woot) and it was a dream come true to see Gyllenhaal on stage. (Especially since I just saw his sister in The Real Thing a few months prior.) Brooklynite was great too! This time we had front row tickets for the Off-Broadway show starring the always adorable Matt Doyle.

I’ll also be seeing Darren Criss on his opening night as Hedwig in Hedwig and the Angry Inch. I’ve seen the show three times so far (with NPH, Andrew Rannells and Michael C. Hall), so I’m looking forward to see how Darren will put his stamp on the role. Michael C. Hall was my favorite Hedwig by far. I don’t expect Darren to top him, but I am very interested in seeing how someone so young will tackle this role.

The heavy depression I was in surrounding the holidays has lifted considerably. Some things are still a bit (a lot) bumpy, but I’m definitely feeling loads better than I was. So that’s good, right?

And really that’s all that’s been going on. Oh, and I’ve been watching a lot of Netflix and HBO Go. (Unbreakable Kimmy Schmidt was wonderful, as was The Newsroom. I’m catching up on Mad Men right now and am looking forward to Daredevil.)

Well – I must get back to work! Have a wonderful day 🙂

Based on the cast alone, I was wholly excited to see It’s Only a Play on Broadway. So, I saw it on 9/27 and walked away still excited about that cast, but extremely unimpressed with the play itself.

To be honest, the play wasn’t very memorable. It was a string of inside jokes about the theater/entertainment industry. I laughed not because the jokes were inherently funny, but because of who was delivering them. You laugh when Nathan Lane tells a bad joke because it’s Nathan Lane and he has this uncanny ability to contort his eyebrows into some serious furrows. You don’t groan quite so hard at Matthew Broderick’s epically long monologues because it’s Matthew freakin’ Broderick. He of Ferris Beuller’s Day Off and the How to Succeed In Business Without Really Trying revival cast album from 1994 that I’ve listened to probably a billion times since I got it for Easter back in 1995.

The play seems to acknowledge how lackluster it actually is. The text is definitely nowhere close to anything substantial. It’s entertaining to a fault, but won’t leave you feeling inspired or challenged or moved.

I do appreciate the play for what it gave me. Or rather, I appreciated the theater-going experience. This was my one chance to see Lane and Broderick on stage together. This was my one chance to see Broderick and Megan Mullaly on stage together (as she’s also on that H2$ revival cast album…). This was likely my one chance to see F. Murray Abraham on stage. This was likely my one chance to see Rupert Grint on stage. This play introduced me to Isabel Keating (Stockard Channing was out with an injury, so Keating has been playing her part and she kicked ass). This play introduced the audience to Micah Stock.

Oh, Micah Stock. What a great Broadway debut. And the one performer in the show who provided me with my biggest laugh of the night… lets just say that Wicked is no longer the only show on Broadway that features “Defying Gravity.” (HE DOES ALL THE PARTS. I LITERALLY CLUTCHED AT MY NON-EXISTENT PEARLS AND DOUBLED OVER WITH LAUGHTER.)

I know a lot of people my age and younger are flocking to the play for Grint. He’s good in his role and a very likable actor/person. But he’s not the main character by a mile (it’s an ensemble show, but Nathan Lane is definitely the “star” and seems to log the most minutes on stage). Hopefully those who are seeing this for Grint will realize that they are actually in the presence of theater giants and should be grateful for that experience.

I’ve seen a few other shows on Broadway the past couple months that were infinitely better than It’s Only a Play.

This is Our Youth was entertaining and actually made me reflect on my 20s. I’ve been a fan of Keiran Culkin and Michael Cera for years, so it was great to see them on stage. This play started a bit slow for me, but then picked up the pace and was rather engaging. I had no idea who Tavi Gevinson was before seeing the show, but I was impressed with her stage presence. Each of the actors really added that intangible “something” to the production and I was really glad I saw this early in previews.

The same say I saw It’s Only a Play, I saw The Curious Incident of the Dog in the Night-Time. I read the book a few months ago and loved it. I loved the stage version as well. The set was amazing – it was basically a giant chalkboard that doubled as projection screens. It was really rather modern and fairly minimalist.

I was personally glad that Taylor Trensch was in as Christopher during the performance my friend and I attended. I saw him once before in Matilda (his understudy was in when I saw Bare) but wondered how he would be in a play instead of a musical… well, he’s wonderful. Christopher is such a complex character that I really related to when I read the book and it was a real pleasure to see such a capable actor portray him on stage. *This* is the play to see if you want to feel something real.

In addition to these three plays, I also went and saw Hedwig and the Angry Inch again. I had never seen Andrew Rannells on stage before and was desperate to see him in this before his run ended. (I will be seeing the show again when Michael C. Hall takes over, mark my words.) I saw the show when NPH was Hedwig and it was the single most amazing theater-going experience of my life. Rannells’s Hedwig was amazing as well and I am forever grateful that I got to see him in this role. The show itself is flawless and I just get so much out of it when I see it (or listen to it… that soundtrack is pretty much on repeat on my Spotify account).

The next thing I have tickets for is The Real Thing at the end of October and Cabaret in December (EMMA STONE, Y’ALL). I plan on seeing The Elephant Man and Hedwig again. And I just found out that Jake Gyllenhaal will be on Broadway in something at the start of the new year, so I’ll try and see that too.

Basically, SEE ALL THE SHOWS.

My WiFi was out at my apartment, so I couldn’t stream Season 2 of Orange is the New Black.

Instead of sulking about not being able to see what’s up in prison this season, I’ve decided to type up a “shows I’ve seen in the past few weeks” blog while most everything is still fresh in my head.

It’s been busy few months and I’ve seen some AMAZING shows.

Since I last posted about theater, here is what I saw…

The Cradle Will Rock – one night only performance at the Jacobs

So, a few months ago I got an email saying that Patti LuPone and a bunch of the 1981 cast of The Cradle Will Rock (and a few newcomers) would be doing a one night only performance of the show in May. I bought my ticket about 15 minutes after receiving said email. The Cradle Will Rock is a politically-charged musical about unions. The songs are catchy, the jokes are still relevant and PATTI LUPONE. (When you have the opportunity to see LuPone on stage, you take it. Got it?) I saw a staged version of this show at the New York City Center last summer, but was thrilled that I’d get to see it again. (I highly recommend the movie The Cradle Will Rock – Tim Robbins’s 1994 film about how the musical came about in the first place. It’s wonderful.) The show was solid and I was so glad I went. (This was the fourth production I’ve seen LuPone in now… love her.) I was mostly really glad for the kid I was sitting next to. He knew nothing of the show, but was a huge Patti LuPone fan and had just finished his first year of musical theater school. My heart was swelling for him and it was my hope that he enjoyed himself. (He did.)

Hedwig and the Angry Inch – presently playing at the Belasco

Holy shit. This was the single most amazing musical theater experience of my life. If NPH didn’t win the Tony, I was going to lose faith in the theater community. (He did win. And rightly so. Same with Lena Hall’s Best Featured Actress in a Musical and Best Revival. ALL DESERVED.)

I still cannot properly express how blown away I was by this show. I had seen the movie ages ago and knew what the general gist was, but I purposefully didn’t listen to the soundtrack or read any reviews before I saw NPH KILL IT as Hedwig.

The basic plot of the show is that it’s Hedwig’s concert and he explains through/in between songs how he came to have his angry inch and go from a young gay man in East Berlin to the cross-dressing songstress in America. The cast is Hedwig, his present boyfriend/backup singer, and a four-man band. The end. NPH is on stage for pretty much the entire show and he owns that stage and everyone in the audience. As Hedwig, he interacts with the crowd, performs in tall heels, dons some cray cray outfits and wigs, and goes through a beyond gut-wrenching arc all in 100 minutes. NPH is not just a showman, he’s a damn good performer, actor and all-around entertainer. He has mastered the comedy and tragedy of Hedwig’s story and if you aren’t gobsmacked after seeing that show, then you did something wrong.

My jaw was hanging open the entire time and I found myself wishing I could just feel that way forever. I was so moved. So entertained. So enriched. Seeing Hedwig was a defining moment for me and I wish everyone could experience that kind of theater-going magic at least once in his/her life.

NPH is exiting the show in August and will be replaced by Andrew Rannells. I need to see this show again, and I need to see Rannells as Hedwig.

This show is definitely not for everyone. (There’s a lot of swears, references to homosexuality, lap dances, lewd humor and all around not-PC stuff. It’s glorious.) But if you want your cage rattled in the best way possible, I very much urge you to see this show.

Matt Doyle at 54 Below (two nights only)

Awwwww, precious. Matt Doyle is precious. My favorite theater buddy and I bought tickets for this months ago and we were so glad we did because Matt Doyle is a joy to watch in person. This was the first time I saw him perform any of his original music, so that was a lot of fun. The whole evening was just very enjoyable. Matt Doyle (as that is what I’ve called him to his face, so that is what I will forever refer to him as – first and last name, thankyouverymuch) is a very talented singer and he’s just a goofy little dude who seems to really love getting to perform with his friends. My favorite part of the night was when he and another cast member from Jasper in Deadland sang “As Long As You’re Mine” from Wicked. Loved. It.

Rocky – presently playing at the Winter Garden

HOLY SHIT, GO SEE THIS SHOW.

I’m not kidding. You should totally see this show.

And you’re probably thinking, “Rocky? Like, that boxing movie is on Broadway? And it’s a musical?! What the damn hell?”

See, that’s exactly what I was thinking. I was like, “Man, this is probably going to be really dumb and cheesy.” I mean, I saw Rocky when I was younger and was like, “Man, that is really cheesy.”

But guess what? THE MUSICAL IS FRIGGIN’ AWESOME.

I ended up with front row tickets for myself and my sister and they were the greatest seats ever. We were nice and close to the stage, and then we were friggin’ ring-side for the epic fight between Rocky and Apollo Creed that happens for the last 20 minutes of the show. (The ushers literally escort the center orchestra seated people from their seats in Rows A-F [“the Golden Circle” seats] to bleachers on the stage and then they assemble a boxing ring in the middle of the audience! And since we had left orchestra seats, we were ring-side! We got high-5s from Paulie! We were literally right by Rocky’s corner. IT WAS EPIC.)

So the show itself is literally the plot of the first Rocky movie and it totally works as a musical because Rocky is a really vulnerable and likeable character. Throughout the course of the show, I found myself caring a lot about Rocky and literally rooting for him by time his big fight happens. (I was standing and cheering loudly for Rocky. Like, I was actually on my feet and yelling, “COME ON, ROCKY!” like I was at a real fight. I CARED, OKAY?)

For me, the show worked because of Andy Karl (who plays Rocky). I was familiar with Andy Karl from his role in Legally Blonde: The Musical (he played the UPS guy, Kyle), but now he will forever be Rocky to me. He had the low voice going. The shrug-my-shoulders-cuz-I-know-I’m-a-goof-but-I-got-feelings-too. His cute little sweater he wore in the Thanksgiving scene (SWOON). How he talked to his turtles (“Yo, turtles.” SWOOOON). Not to mention him in his wife-beater and boxing shorts. (Damn, son.) Andy Karl definitely has the acting chops and singing chops to lead that great ensemble and his Tony nomination for Best Actor in a Musical was well deserved. (There was no way in hell he was going to win… let’s be real. But he totally earned that nomination and rightly so.)

After the show, we were able to meet most of the cast at the stage door. We chatted with Margo Seibert (she played Adrian and was really great – I love her voice and she had some really tough ballads that she nailed) and Terence Archie (Apollo Creed). We were also able to talk to Andy Karl and get pictures with him. We told him we were fans since Legally Blonde and he mentioned his stylus line and joked that he was still wearing tight shorts. Everyone was super nice and seemed very appreciative of the good reception they were getting from the audience.

I would love to see this show again and be a part of the Golden Circle. I had the chance to get Golden Circle tickets, but my sister and I would have been separated for the whole show and we wanted to sit together. If I go by myself later on, I’ll take advantage of the special seats.

Rocky turned out to be one of my favorite shows of the season (along with The Bridges of Madison County, Twelfth Night and Hedwig and the Angry Inch). I was just so surprised by the amount of heart and spirit this show had. I seriously thought it was going to be dumb, but I was so, so wrong. Go see Rocky. It’s a lot of fun and a really unique theater-going experience.

(Also, if there ever were going to be an X-Men musical, Andy Karl would make the PERFECT Wolverine. Just sayin’…)

Newsies – playing at the Nederlander

I saw Newsies when I first moved to NYC (when Jeremy Jordan was just finishing up his run as Jack Kelly), so I was glad to see it again with Corey Cott in the lead. My, he gets a bit intense. I still loved the show. Newsies is one of my favorite Disney movies of all time and I love the stage adaptation because it’s a real crowd-pleaser (what with all the dancing, a better female character/love interest who actually serves a purpose to the plot instead of feeling like an afterthought, and how the songs are more powerfully presented). I was grateful to have a balcony seat this time so that I didn’t miss anything (especially during “Once and For All”). Newsies is just super fun and the ensemble is fantastic. So many cute dancing boys. So. Many.

If/Then – playing at the Richard Rogers Theatre

My sister won us lotto tickets for this show, so not only were our tickets $25, but they were FRONT ROW. (For the record, my sister’s name was the first drawn in the lotto, so not all lotto tickets are front row. We just happened to luck out big time.) I was super excited to see this show because I had never seen Idina Menzel perform in person and one of my friends had really hyped up the plot and the music. I walked away feeling blown away by Menzel (holy hell, woman), but completely underwhelmed from the show itself. You know how people have been saying that it’s basically Sliding Doors the Musical? Well, it really is. And though I could relate to the over-arching questions of “What happens if you make this choice over that choice? And how does that affect you in the long run?” I couldn’t really relate to the protagonist because she was nearing 40 (I just turned 30), she was having relationship problems with a boyfriend and best friend (I’m presently very single for reasons), and she was having issues with her career (I don’t have a career right now because I’m still working toward getting my first book published. And dog walking is not a career. Not for me, anyway.) The songs were all right, the ensemble was good, but I just was not super moved by this show. I think my friend hyped it up too much and I walked in with too big of expectations. Menzel deserved a better show than this for her return to the stage. I mean, I’m glad I saw it, but there were a bunch of other shows this season that actually struck a lasting chord with me. I’ll remember this show for seeing Menzel belt out her solos from feet away. I’ll remember stuff like Rocky and Hedwig for how they touched my heart and made me feel the gamut of emotions.

The 68th Annual Tony Awards Dress Rehearsal – Radio City Music Hall

Yes, I was lucky enough to see the Tonys Dress Rehearsal for a second year in a row. (PINCH ME. HOW IS THIS MY LIFE?) This was the reason my sister came to visit me – because I had tickets to watch Hugh Jackman rehearse his hosting duties. And trust me, NO ONE knew what the hell he was getting at when he hopped in. NO ONE. What a waste of an opening. (NPH’s opening last year was epic. EPIC.) And while on a whole this year’s Tonys rehearsal was not as exciting as last year’s, it was still really cool to see. I mean, we got to see performances from all the nominated New Musicals and Revivals. (I was so sad that the Violet performance focused mostly on the church part… that’s, like, not even a majority of the show.) It was cool to see Sting perform, even though I’m not really looking forward to The Last Ship. (We saw Sting perform twice, as they had to run that bit again at the rehearsals. TWICE THE STING, FOLKS.) It was also AMAZING to see Jennifer Hudson. Holy shit. I mean, I was a little disappointed that we weren’t going to see Jeremy Jordan, or any of the actual cast from Finding Neverland, but JENNIFER HUDSON. That woman takes you to Church and back every time she sings. I had goosebumps. It was also cool to see Alan Cumming perform with the Cabaret cast even though that show wasn’t really nominated for anything. But, Alan Cumming as the Emcee is iconic, so that was awesome. It was fun to see what presenters actually showed up to practice their lines. I was most excited to see Audra McDonald, Matt Bomer, Zachary Levi, Patricia Clarkson, Bradley Cooper, Zachary Quinto and Vera Farmiga. I was bummed that neither Clint Eastwood nor Tina Fey were at rehearsals.

As much as I love Hugh Jackman, I hope NPH hosts next year.

The Tony Awards Gala – The Plaza

Let me be perfectly clear: I did NOT attend the Tonys Gala. I worked at the Tonys Gala. (I took tickets at one of the entrances.) A friend got me involved with this gig and I will be forever grateful to her because it was so much fun! And while I will not divulge whom I saw and/or took tickets from, I will say that it was a really lovely time. The people I took tickets from were very nice and it was fun answering questions or helping people with directions when needed. If you’ve ever worked at a retail establishment as a greeter that was basically what I was doing. (I would ask people for their tickets and then told them to have a nice night. The end. Regardless who I was taking tickets from, they got the same greeting and smile as everyone else.) In addition to the people attending the gala being friendly, I also got to work with a nice little group of fellow ticket-takers/direction-givers. It’s amazing how much fun you can having while you’re working so long as you’re working with the right people. During our shift, we got to walk around the gala for a few minutes and grab a soda and some snacks. I felt wholly out of place in my $8 dress from Target, but no one treated me like I was less than. When me and the person I was working with left for the night, someone else working at the gala (who was not a part of the group we were working with) offered to hail us a cab like he had been doing for gala guests. I smiled at his offer, but said “No thank you” and crossed the street to wait for the subway to take me back to reality.

I don’t know if I’ll get to do this again next year, but I sure hope so. I very much love and respect the theater community and it was a real privilege to get to help out on a night that celebrates Broadway because Broadway has meant (and still means) so much to me.

Much Ado About Nothing – playing as part of Shakespeare in the Park at the Delacorte in Central Park

Shakespeare in the Park is one of my most favorite things about living in New York City. It’s FREE theater performed by wonderful ensembles of actors. I was fortunate enough to score a pair of virtual lottery tickets for the 6/14 show and it was amazing. My favorite theater buddy and I thoroughly enjoyed the three-hour romp of love, betrayal and shenanigans. (If you think about it, the plot is terribly sexist and a majority of the characters are horrible people, but it’s Shakespeare, so we are groomed to think his work is the bee’s knees.)

I haven’t seen or read Much Ado in about a decade, but vaguely remembered the plot and main characters. Having taken a Shakespearean Comedies course in undergrad, I am very familiar with the “rules” of what makes this story a comedy. And while there were dozens of laugh-out-loud moments (holy shit, Hamish Linklater as Benedick repeatedly made me laugh so hard that there were tears in my eyes), there were also other key aspects of Shakespeare’s comedies… like weddings. And mistaken identities.

It was a real privilege to see this cast. I saw Hamish Linklater and Lily Rabe in last year’s performance of The Comedy of Errors and was thrilled to be able to see them on stage again. There were other familiar faces in the cast as well, like John Pankow (Ira from Mad About You), Pedro Pascal (he’s on that Game of Thrones show) and Brian Stokes Mitchell.

Yes, you read that right… BRIAN STOKES MITCHELL.

My heart stopped when he first walked out on stage. I knew he was in the show, but there’s a difference between knowing someone is in a show and actually seeing him/her acting right in front of you. Brian Stokes Mitchell is one of those performers who has forever been on my list of people I need to see perform in person at least once in my life.

And, man, did he not disappoint. It was brilliant to see him on stage, and his character even SANG for a few moments throughout the play. I was dying. DYING. (You don’t get it… I’ve listened to him and Audra sing “Wheels of a Dream” from Ragtime for almost 20 years now and his voice is just so prominent and the epitome of musical theater greatness.) But then… then…

So, we waited around after the show because my friend wanted to meet Pedro Pascal (she watches GOT, but I do not). We did get a chance to chat with him for a few moments and I took a picture of her and him after he signed our programs. We were really hoping to chat with Hamish Linklater, but we saw him quietly duck out with a child in tow, so we didn’t say anything because it is wholly rude and inappropriate to approach an actor when he’s in parent-mode.

The crowd at the stage door dispersed after Pedro Pascal was done taking pictures and whatnot, but my friend and I hung around because we saw Brian Stokes Mitchell behind the gate, meaning that he was still there and hadn’t left yet. I was flummoxed – like, does the younger generation of people not know who Brian Stokes Mitchell is and his importance in the New York theater scene?

One of the ushers asked my friend and I if we were waiting for someone in particular and I said that I saw Mr. Mitchell behind the gate and we were hoping to maybe say Hi. The usher immediately said “Oh! I’ll go tell him! Hold on.” And then the usher disappeared behind the gate and a few minutes later, BRIAN STOKES MITCHELL WALKED TOWARD US.

He was so nice and friendly! He was surprised that my friend and I waited for the chance to speak with him and I nervously rambled that we have been fans for a long time and that it was a real pleasure to see him perform. He talked with us for about five minutes, asking us questions about how we liked the show, where we were from, if we were theater people, etc… He even wrote little messages in our programs and was really just very kind. My heart is still on the verge of explosion because I honestly did not expect to ever get a chance to see Brian Stokes Mitchell in person, let alone talk to him for a few minutes. What a classy dude. And that voice. Dear lord, that voice. All day today I have been whispering “Brian Stokes Mitchell” to myself and laughing because meeting him was a real thing that happened.

But the show – go see the show. The whole cast is really spectacular and the show itself is just so entertaining. Watching Shakespeare being performed is so much more fulfilling than just reading it. It’s so much easier to understand because of the body language being used, and the inflection or peoples’ voices. I am continually amazed by Hamish Linklater’s epic commitment to his role. There’s a reason he was nominated for a Drama Desk award for The Comedy of Errors last year. I would not be surprised if he gets nominated for Much Ado next season. His physical comedy is masterful, but he’s also very skilled at the more vulnerable and heartfelt content.

If you live in NYC, there is no reason for you not to partake in Shakespeare in the Park. Tickets are FREE. If you don’t want to wake up early and stand in line for tickets, then just do the virtual lottery.

So, yeah… that’s what I’ve been up to (theater-wise) the past couple months. I’m seeing tick… tick… BOOM in a couple weeks, but don’t really have solid plans besides that. I do hope to see King Lear at Shakespeare in the Park, and maybe a Broadway show or two. We’ll see!

Have a good one

Okay. So here is my long-overdue theater update from the past few months. I realized I hadn’t posted about any shows I’ve seen since Beautiful: The Carole King Musical… and that was back in December! I’ve seen nine plays and musicals since then, and though some of them have already closed, I thought I would still share my opinions about them (especially since Tony nominations come out soon!!). I’m typing these out in the order I saw them, starting with the earliest (from back in February).

Twelfth Night, Or What You Will – Belasco Theatre – Broadway Play – Closed

I was super bummed that Stephen Fry’s understudy was in (as Fry was in England to host the BAFTAs), but still very much enjoyed this production. I had seen Twelfth Night once before in college and read the play in my Shakespeare’s Comedies class, so I was already very familiar with the story. (For those of you who might not fancy Shakespeare, the crappy film She’s the Man is based off of this play.) While Olivia is not the main character, Mark Rylance’s performance of her was side-splittingly delightful and was the definite highlight of the show. This production was extra special because all of the parts were played by men and the audience got to see all of the performers get ready on stage before the show. There was live music and period garb… it was all very old-timey and wonderful. Seeing Shakespeare’s work performed live is (for me) preferable to reading it because even if you don’t know what all the words and phrases mean, the physicality of the actors and their relationships to each other on stage helps fill in the gaps. This was a very funny show and I expect Rylance to be among the Tony nominees.

The Bridges of Madison County – Schoenfeld Theatre – Broadway Musical – Open Run

I don’t normally cry at things, but this show had me silently weeping twice (end of Act One and the middle of Act Two). I’ve read the book, but have never seen the movie (even though I own it), and have driven past signs for the actual Bridges of Madison County when I used to travel through Iowa on my way to Kansas, so I knew what was going to happen and where the story was set. I knew I needed to see the show because its music and lyrics were done by Jason Robert Brown (of The Last 5 Years fame) and because of its stars (Kelli O’Hara and Steven Pasquale). I was fortunate enough to get a third row seat (bless you, rush tickets), so I was up close and personal to the visually stunning production. The lighting design was beautiful, the ensemble was solid, the leads oozed chemistry and the music was gorgeous. Some of the songs were similar in theme and melody to songs from The Last 5 Years, which is why I completely lost it during “Falling Into You” and “Before and After You/One Second & a Million Miles.” Those two songs were very reminiscent of “The Next Ten Minutes” and tears just started dripping slowly out of the corner of my eyes. I wasn’t the only one in tears, as I could hear people all around me weeping (or sobbing, like the guy in front of me) as the musical pressed on. It’s a happy show because it celebrates love (okay… it celebrates adultery, which is terrible, but you totally want Francesca and Robert to be together), but it’s a sad show because it exposes the realities of just how fragile love and relationships can be. Even a forever kind of love can’t last forever because eventually time pulls people apart. (The time aspect of it all killed me – I have a thing for schedules and planning and whatnot.) This was a beautiful, beautiful show and I highly recommend this. I expected O’Hara to be amazing and she was, but I was wholly impressed with Pasquale. I only knew him from Rescue Me and his couple episodes of Six Feet Under, but the man is a serious musical theater star.

A Gentleman’s Guide to Love & Murder – Walter Kerr Theatre – Broadway Musical – Open Run

I had absolutely no idea what this show was about before I saw it; all I knew was it was getting great reviews and was supposed to be really funny. Holy hell, this was delightful. It’s about this guy named Monty Navarro who finds out he’s ninth in line to be the head of the D’Ysquith family (a noble family) and decides to off everyone ahead of him. Monty is a fairly harmless guy until he starts murdering everyone, and yet you still are cheering for him because the members of the D’Ysquith family are all ridiculous. And every member of the D’Ysquith family (even the ladies) is played by Jefferson Mays. If Mays is not nominated for a Tony, I will eat my Playbill because the man was all over that musical and played such a wide variety of characters with such ease. (Although it was hard work… I had a front row seat and the amount of sweat that poured off that man was crazy.) The songs weren’t super catchy (though “Better With a Man” is in rotation on my Playlist I listen to every day), but they were enjoyable. This was just a really fun show and the cast was really enjoyable to watch.

Violet – American Airlines Theatre – Broadway Musical – Closes August 10, 2014

When Sutton Foster is in a musical on Broadway, you go and see the musical. I was sad I missed a staged version of this last year at NYCC’s Encores, so I was super happy that it came to Broadway. The plot is that a woman with a badly scarred face (Foster as the title character) takes a bus from North Caroline to some evangelical church in Oklahoma so that the preacher and God can help her face become healed. Set in the 60s, Violet befriends two soldiers (one black, one white) and they convince her to hang with them on the journey. Racial issues are prevalent throughout the show, as is the commercial factor of mega churches. The show is performed without intermission and is paced fairly well. There are some really great songs interspersed throughout the score and I am very much looking forward to the cast album. This was the second time I’ve seen Foster on stage and I think she is the bee’s knees.

Of Mice and Men – Longacre Theatre – Broadway Play – Closes July 27, 2014

I had really high hopes for this show. Most of said hopes were dashed. Unlike everyone and their mom, I had actually never read Of Mice and Men, so all I knew headed into this was there was two guys and one of them was a bit slow in the head. I admit to seeing the show because of James Franco and Chris O’Dowd. I was very, very impressed with O’Dowd. He played Lennie, the slow guy, and easily stood out in every scene he was in because of his body language and all-around stage presence. Franco kinda just shouted most of his lines. While that worked in some scenes, it didn’t work in all of them. (I should point out that I saw the show just a couple days after his Instagram scandal and it obviously colored his performance. He vaguely referred to the incident after the show when the cast was raising money for BCEFA.) The biggest let down of the play, with regards to the cast, was Leighton Meester as Curley’s Wife. She was so one-dimensional and the opposite of charismatic. I was grateful any time she wasn’t on stage and was actually really happy when what happened to her character happened to her character. I know that’s mean, but I’m not going to apologize. She was not the right person for that part. The play itself was terribly paced and definitely dragged in spots. I was glad that I saw this because it was fun to see Franco and O’Dowd on stage, and O’Dowd’s performance was really great. But, on a whole, I was disappointed.

The Most Happy Fella – New York City Center – Encores! Musical – Closed

I’m a Frank Loesser fan but had honestly never heard any songs from this show before in my entire life. I wanted to see this because of the cast – Laura Benanti, Shuler Hensley and Cheyenne Jackson were the three leads and good god, are they talented people. Though the songs weren’t really all that memorable and the plot was cheesetastic and predictable, I still very much enjoyed this production. The whole cast was great and it was fun to see Clay Thomson in the Ensemble. (I follow him on his social media platforms and he always seems to like a bunch of my theater pictures on Instagram. Plus, he wore glasses and suspenders and is adorable as all get-out when he dances.) If you’ve never seen an Encores! Production, I highly recommend it. This was the second show I’ve seen there – it’s a great venue and the productions are wonderfully staged and orchestrated even though they only usually play from 1-7 times. I saw The Cradle Will Rock here last year and will see tick… tick… BOOM there in June. Tickets are usually very reasonable and it’s just a lot of fun to see a show there.

Jasper in Deadland – West End Theater – Prospect Theater Company – Closed

Oh, Matt Doyle. Swoon. So, my favorite theater buddy and I had front row tickets to this really charming musical about a high school boy who forces his way into the underworld to bring back his best friend, Agnes (who is dead). For such a tiny venue, this show packed in a lot of punch and had great visuals to go along with the plot. The whole cast was really strong, led by Matt Doyle and Allison Scagliotti. Since we were in the front row, we had a really great view of everything (like, down the front of Matt Doyle’s pants when his character was splayed out on the stage in front of us… we could only see the V and the band of his underwear so maybe we didn’t see everything, okay?). I really loved the music, especially “Hello, Jasper!,” “Jasper in Deadland,” and “Stroke by Stroke.” I wish there was a cast album because I need more Matt Doyle vocals in my life. (Side note – favorite theater buddy and I are seeing Matt Doyle’s show at 54 Below next month!) I am very grateful I got to see this before it closed. I love seeing shows in tiny venues because it really heightens the theater-going experience.

The Cripple of Inishmaan – Cort Theatre – Broadway Play – Closes July 20, 2014.

Go see this play. Just, go see it. Written by one of my favorite playwrights (Martin McDonagh), The Cripple of Inishmaan is about this crippled boy named Billy who gets picked on by everyone in his little Irish town because of his cripple-ness, and he decides he wants to get out of there (and the way he does that is convinces a friend to take him to a film set that is shooting nearby, because the casting people are looking for people from the area to be in their movie). Billy is played by Daniel Radcliffe whose physicality is so amazing that it is painful to watch him because of how contorted his leg and arm are during the show. (He’s not in every scene, but the scenes he is in definitely prove that Radcliffe has legit acting chops and is wholly capable of a career post-Potter. People who only think he is Harry Potter are sorely mistaken. The man is an actor, and a bloody good one at that. Jesus.) The play is rife with curse words and heavy Irish accents by all. It’s wickedly funny and downright sad/moving at the same time. This is the second McDonagh play I’ve seen on Broadway and I would see anything and everything he’s written because I love his writing so much. He always manages to weave twisted humor into often harrowing stories – he’s a genius. I saw this play the first day of previews and was lucky enough to get my Playbill signed by Radcliffe. (Stage door was a fucking nightmare, just so you know.) See this play. Trust me.

The Realistic Joneses – Lyceum Theatre – Broadway Play – Open Run

Skip this play. In fact, I bet this is going to close sooner than later because it just really wasn’t that great. While it stars four very, very talented actors (Michael C. Hall, Toni Collette, Marisa Tomei and Tracy Letts), the play itself is choppy and lacks flow. There were some very funny lines of dialogue interspersed throughout the show, but even those one-liners could not help the overall quality of the play. I found myself wishing it would end soon after it started even though some of my favorite actors were right there on stage in front of me. The play was about two sets of neighbors and how they shared (or didn’t share) aspects of their lives with each other. Four characters meant scenes with any number of combinations of actors on stage at once. I found myself paying more attention when Hall and Collette were on stage, but only because I favored them to begin with. I am glad I saw the show because I like the cast and have no idea when I’ll ever get a chance to see them on stage again, but I have zero will to ever see this play or read it. I was wholly unimpressed and walked out of that theater hugely disappointed. I don’t understand how such a lackluster production gets an open-ended Broadway run. I didn’t learn anything. I didn’t feel anything. I wasn’t moved. I wasn’t challenged. I laughed at cheap jokes and silly observations. I guess I should just be happy that at least I did laugh at some parts of the play.

So, yeah… that’s what I’ve seen on stage the past few months. I have tickets to see The Cradle Will Rock and Hedwig and the Angry Inch in May, as well as the aforementioned tick… tick… BOOM in June. I’m sure I’ll see some other stuff along the way!

Have a good one 🙂

The weekend before Christmas, my favorite theater buddy and I were trying to decide what Broadway show to go see. She had just seen a couple plays that week, so it was decided we should go see a musical. We opted to see Beautiful: The Carole King Musical.

We chose wisely.

Beautiful chronicles the beginning of Carole King’s songwriting career through her performance at Carnegie Hall after her hugely successful album “Tapestry” won several Grammys. We watched Carole blossom from a beyond talented 16-yr-old to a mid-30s mother of two who somehow managed to write and co-write some of the most popular pop songs in our nation’s history.

Even if you didn’t grow up during the early years of Carole King’s career, you know her songs. Beautiful uses them as a musical timeline to show how King went from “It Might As Well Rain Until September” to “Will You Love Me Tomorrow” to “It’s Too Late” to “(You Make Me Feel Like) A Natural Woman.” King wrote a number of songs with her ex-husband, Gerry Goffin, and it was an emotional rollercoaster seeing their romantic and working relationships rise and then tumble down.

During their time at the record label, King and Goffin befriended another songwriting team, Cynthia Weil and Barry Mann. Though they had a little bit of rivalry to see whose songs stayed at the top of the charts the longest, it was fun to see the pairs supporting each other at work and outside the office.

My parents listened to a lot of Carole King music when I was growing up and I knew she had (co-)written a lot of songs for other artists, but it is nothing short of amazing when you look at the track list for the show. Every song is a toe-tapper. My friend and I had standing room tickets and for the first half of the show, it felt like our own little dance party up in the mezzanine. (For the second act, the ushers seated us in the orchestra… so that was awesome.) I would watch other people in the audience every time the intro to a song played. All the songs are so recognizable and it was fun to see people gasp at the familiar tune and nod their head, as if they were remembering a significant moment in their life where that song played a part. I don’t really remember the first time I heard any of these songs, but the older people in the crowd probably do. It was neat to get to share that with them, even from afar.

The only person in the cast who I had seen on stage before was the man who played Barry Mann – Jarrod Spector. (I saw him in Jersey Boys when it opened in Chicago.) He was awesome, of course. But, the person who really holds the show on her shoulders is Jessie Mueller. Mueller plays Carole King and she plays her to perfection. Her singing voice is not an exact replica of King’s, but it’s pretty damn close and exquisitely captures the tangible emotions of all the songs. King’s music career started off happy and upbeat, (co-)writing love songs and catchy tunes you can never get out of your head. But, as her relationship with her husband grew apart and she branched out on her own, King’s music became more than soulful – it became soul-bearing. Her lyrics punch you in the feels in the best way possible and are still anthems for women everywhere.

There aren’t any huge dance numbers. (Well, Little Eva and the ensemble do do “The Locomotion…”) And some of the performances are simply people singing into a microphone either at a stand or a piano. These songs don’t need huge production value like other musicals. They do help drive the story, but the music and lyrics provide the substance rather than lavish costumes and intricate choreography. It’s not a boring show by any means, but it is one where you need to be ready to appreciate the understatedness of it all. Carole King was not a flashy woman (at least that’s what I gathered from the show…), but her music definitely lit up the charts and that stage.

I really enjoyed this show. Jukebox musicals, when done properly, are a lot of fun. I knew Carole’s music, but now I feel like I know her. And she’s Beautiful.

Beautiful: The Carole King Musical is currently in previews and opens on January 12, 2014. It’s playing at the Stephen Sondheim Theatre on 43rd St in New York, NY.

Last weekend, I sat/stood outside in the freezing cold and epic windiness for two hours to get Student Rush tickets to see Big Fish. The show is closing at the end of December and I knew I had to see it before its truncated run was over because 1.) It’s a musical based off of one of my favorite books and films   and  2.) Norbert Leo Butz.

 

A lot of people are probably familiar with the movie version of Big Fish (my tied-for-first favorite Tim Burton film [tied with Ed Wood, of course]), but maybe not so much with the book (written by Daniel Wallace). I highly recommend the book – it’s a good read and allows you to use your imagination to picture Edward Bloom’s stories as fanciful as you want. I read the book before the film came out, and then I saw the film twice in theaters. I’m not one to cry at movies, but the ending made me tear up both times. (No tears actually fell, but my eyes were definitely glassy.) I bought the DVD the day it came out and have watched it multiple times since.

 

I love the movie and I really wanted to love the musical.

 

I liked the musical.

 

But believe me when I say (write?) that I CRIED during the last couple scenes.

 

And I was not the only one in the theater to burst into tears. There was audible sniffling all around me. And rightly so.

 

Big Fish is a father/son story for the ages. It’s about a man named William Bloom who is trying to reconcile with his father, Edward Bloom. Edward Bloom was a traveling salesman while William was a boy, so he was not home as much as William wanted him to be – and when he was home, Edward Bloom told these wildly fantastical stories about giants, werewolves, witches and the war in which he himself was always the protagonist. Young William (and later adult William) thought these stories were too ridiculous and he wanted to know the truth about his father and what really happened in his father’s life. When illness strikes the Bloom family, time literally starts running out (as opposed to stopping/slowing down… see what I did there? Wink) and William desperately tries to piece together the truth. Additional stresses pile on as William finds out he is to become a father and he worries about being to able to raise a son when he thinks he doesn’t have a great example from which to lead. There are a lot of scenes of father and son butting heads, but also moments of redemption and forgiveness. Let’s just say a lot of the people crying in the theater were adult men.

 

For some reason, I am more affected by Father/Son stories than Mother/Daughter stories. Actually, I know the reason… it’s because Father/Son stories force the characters to open up and discuss feelings. And watching men talk (and sing) about feelings is not only entertaining, but heartbreaking. Vulnerable male characters are much more interesting to watch than guys who keep all their feelings bottled up inside. This is why I love Big Fish (the movie). This is why I only liked the musical.

 

Yes, the emotions were there in the musical. But I just wanted more. The whole idea behind Edward Blood is that he lived this crazy, almost unimaginably fantastical life… but the stage version just doesn’t quite live up to how big Edward Bloom’s world really was. Yes, there were still a giant and a mermaid and a big fish… but I selfishly still wanted more.

 

There were big musical numbers, but sadly I did not find the songs all that catchy. I can only remember a couple lyrics from a couple songs. I mean, if they have a cast album, I’ll totally get it… but that’s only because I crave anything sung by Norbert Leo Butz. His voice is magical. He was the perfect Edward Bloom… I just wish the musical lived up to his stage presence.

 

I am wholly biased when it comes to Norbert Leo Butz. (Though luckily, a lot of people share my bias.) I have been a fan of his for over a decade. In undergrad, I would watch bootlegs of Wicked and The Last 5 Years on youtube and stare at my computer screen with a look of pure wonder etched across my face. He’s such an animated performer and plays those big moments as huge as they deserve to be… but at the same time, he masterfully pulls back and allows the vulnerable moments to just be. And it breaks your heart.

 

In the musical, NBL plays both the younger and older versions of Edward Bloom (sometimes within mere seconds of each other… his physicality of those two characters is brilliant and impressive). Though his bigger moments definitely play out when he’s young Edward, I was more impacted by both Edwards’ quieter moments. For young Edward, it was the daffodil scene. I was in the fifth row for the show, and this was the only point that I wished my seat were up in the mezzanine so that I could see the daffodils from far away. I don’t consider myself that sappy of a romantic, but I definitely swooned when NBL sang “Daffodils.” His voice is perfection. It goes into your ears and then flows like cocoa throughout the rest of your person, making you feel all warm and protected. You feel safe and smitten at the same time and I honestly could listen to him sing anything. But I digress… Edward’s quieter moments.

 

The end scenes. Oh, lord. If you have not read the book or seen the movie, I will not ruin it for you. (Please at least see the movie. Really.) But, William and Edward come to a sort of understanding at the end of the book/movie/musical and William finally gets his dad’s stories and why Edward did what he did and why he was away so much when William was little. There is just so much love and understanding that happens when William achieves clarity about his father and it’s very beautiful and a sucker punch to your feels. It was at this point where my tears started and they did not stop until the finale reprise of “Be The Hero.”

 

Despite the shortcomings with the songs and some of the staging, the cast on a whole is really quite good. It’s an entertaining show and an emotional one at that, but I very much understand why its open-ended run is now drawing to a close at the end of December. If you have the means to see it, I would definitely recommend it. Everyone should have the opportunity to see Norbert Leo Butz in a musical at least once in his/her life. (That’s another reason why I kept crying during the last few scenes… this was a decade-long dream come true for me. I was supposed to see NBL in Dirty Rotten Scoundrels years ago, but his understudy was in the day I had tickets. Yes, I did see him in Dead Accounts last year, but that was a play… and a meh one at that.)

 

Big Fish is a great story. If you can’t/don’t see the musical, at least check out the movie and/or book.

 

Big Fish is playing at the Neil Simon Theatre until the end of December 2013. Student Rush tickets are available at the Box Office ($27/ticket, and up to two tickets per student ID). I was the third person in line and my tickets were E 17 and E 19 (Left Orchestra).

I was fortunate enough to snag a Student Rush ticket to the first preview (Thursday September 5, 2013) of the latest Broadway revival of The Glass Menagerie by Tennessee Williams.

The Glass Menagerie is one of those iconic American pieces of drama that most people are familiar with because they were forced to read the play in middle school or have caught a production of it somewhere along the way. It’s a simple play in that consists of four characters and takes place entirely within the walls (and balcony) of the Wingfield’s home, but it’s actually so much more in depth and complicated than that. Each of those four characters (Wingfield mother Amanda, Wingfield daughter Laura, Wingfield son Tom, and Gentleman Caller James) are entrusted with complex internal and external issues that are impossible to resolve within a two hour play. Their problems are our own, so we laugh alongside them. We laugh at them. But we also hurt inside just as much as (if not more so than) they do.

For those of you who are unfamiliar with the plot of The Glass Menagerie (or just need a refresher), it’s about the patriarch-less Wingfield family (the father is out of the picture, having “fallen in love with long distance”). Amanda desperately hopes for a gentleman caller to call on her painfully shy (and crippled) daughter, Laura, so that Laura will be taken care of and not turn into a spinster. Laura’s brother, Tom, works at a soul-sucking job and is in charge of providing for his family even though he wishes he could be doing something more with his life. When Amanda asks Tom to find someone to call on Laura, Tom brings home a friend from work (James). Laura and James hit it off, but there is more to James’s story than he leads on. Though there are fleeting moments of happiness and joy, ultimately everyone’s dreams get dashed somehow.

Long story short – Unicorns without their horns are just horses. (See what I did there…)

Though it was wrong of me, I had ridiculously high expectations of this production based on the source material, the creative team (a lot of the same people behind Once) and the cast.

I was not disappointed. In fact, I was completely blown away by this production. If it weren’t for the guy next to me laughing at every little thing (regardless if it was funny or not), I would have felt like the only person in the theater. I was that absorbed into the story that I could have easily forgot there was anyone else in the room except for me and that cast.

All four members of the cast brought something to the table. Cherry Jones is a national treasure. Seriously – if you have not seen this woman on stage you are missing out. This is the second show I’ve seen her in (I also saw her in The Faith Healer in 2006… also at The Booth) and I am in complete awe at her talent. She commands the stage and is deserving of the attention. While Amanda could be seen as a selfish character, Jones gives even the most ridiculous monologues a sense of purpose. There are always layers to anything Amanda says and it’s fascinating to see this woman go on and on and on… as if she needs to keep talking to fill the air or someone else would have the opportunity to cut in (which Tom does sometimes…). Amanda tells stories to remember the good times, but her stories also remind her (and the audience) about the reality of her present and her fears for Laura’s future. Her mistakes won’t become Laura’s mistakes, but their futures would likely be the same. Self-preservation gives way to looking out for her daughter, but try as Amanda might, Laura’s future remains uncertain and it’s a painful truth for the entire family. If Cherry Jones does not earn a Tony nomination next year, I will eat my hat. This woman is a force on stage and it is always a privilege to see her do what she does best.

Celia Keenan-Bolger plays Laura with such care and grace. (I saw her once before in Peter and the Starcatcher, as her undertstudy was in when I saw The 25th Annual Putnam County Spelling Bee years and years ago.) Though the character could be perceived as naïve, Laura is very self-aware. (Self-aware to the point that her own self-esteem is as crippled as her foot.) She shies away from people, instead feeling more at home with her collection of glass figurines (hence the title of the play). Her favorite piece is a little glass unicorn (that is on display for the whole of the play… because symbolism). Laura stands up for herself when she needs to and let’s people in when she feels safe. Watching her gain confidence is inspiring, but coming off of that high is downright heartbreaking. CKB is an amazing actress and she brings such an authenticity to the characters she plays.

Brian J. Smith (The Gentleman Caller) was the only cast member I was unfamiliar with. As announced in Tom’s opening monologue, The Gentleman Caller only appears in the last part of the play, but plays an important part. That he does… that he does. Though we only see him on stage for a short amount of time, The Gentleman Caller is the missing piece to the other three characters’ puzzles… but he still doesn’t quite fit their needs. For Amanda, he’s a solution to her daughter’s impending spinsterhood. For Laura, he’s the first (and only) person she ever loved. For Tom, he’s a colleague and perhaps something more. (I’ll delve into that when I discuss Zachary Quinto as Tom in a couple paragraph…) However, The Gentleman Caller manages to get everyone’s hopes up and then spectacularly dashes them all. However, as an audience member, I didn’t hate him (even though I felt like I should). Perhaps it’s because Brian J. Smith was so charming and likeable on stage, or perhaps it’s because I’m a grown up now (as opposed to the 6th grader I was when I read the play for the first time… young children will never understand the complexities of a Tennessee Williams play… I sure as hell didn’t). I understand now that The Gentleman Caller was never supposed to be the thing that solved the Wingfield’s problems – he was supposed to highlight them and make the family (and each individual member of it) deal with the realities of the situations they were facing. Smith’s “aw-gee” presence on stage was needed to give the weighty issues we all were thinking about some levity. Even though he brought on just as much (or more) pain than he eased, The Gentleman Caller is a necessary character to round out the Wingfield trio.

And then there was Tom. This was Zachary Quinto’s broadway debut and I felt really lucky to be a witness to the start of what is sure to be a successful Broadway career (should he wish to continue to act on the Great White Way). I was mesmerized by his stage presence and his presence on the stage. What I mean by that is that he commanded the stage (he has a screaming match with Jones that will make your eyes go wide), but you could also see him in the moment. I was lucky enough to have a 7th row seat and because I remembered to wear my glasses, I could clearly see his facial expressions throughout the scenes. There was this one moment when he was watching Jones give one of her monologues and I swear to you that his eyes were sparkling – like he was thoroughly enjoying this spectacle of a story that Jones was weaving. In that moment, though, I couldn’t tell if it was Tom listening to Amanda or Quinto watching Jones. To me, it seemed like the latter – like Quinto was just beyond pleased to be watching Jones shine from just a few feet away. Or maybe Tom was just really interested in one of his mom’s stories… (which somehow I just don’t buy, given their relationship).

I found Tom to be the most tormented character in the play because he was caught between wanting things for himself and needing to provide for his family. He wants to write, but is stuck working in a job he doesn’t love to be able to support his mom and sister because his father is no longer in the picture. Each night he goes to the movies and doesn’t wander back home until a few hours before he has to get up for work. It’s a vicious cycle that he doesn’t break, but it’s wearing him down more and more. He snaps at his mother, is protective of his sister and wants more for his life than the hand he was dealt. When he does do something for himself, everyone else suffers. The lights literally go out. When Amanda confronts her son what he does each night, he constantly explains he goes to the movies. There’s a lot that’s not said here, but as the play wore on, I interpreted Tom’s late-night entertainment was going to the movies, but then perhaps seeking comfort elsewhere. He was no stranger to drinking, but I was under the assumption he was looking for a gentleman caller of his own… or at least someone (or someones) to help him relieve some tension.

Now, before I started typing this up, I actually Googled if Tom Wingfield is specifically written as a gay character. I found no concrete “yes” or “no” answer, but there were several opinions and pieces claiming that because Tennessee Williams was gay, and that in The Glass Menagerie Tom is a fictional stand-in for Williams, that Tom is gay. There’s even an article in the back of the Playbill about Zachary Quinto (“In Glass Houses” by Harry Haun) that quotes Quinto as saying “To play Tom – which is the clearest distillation of Tennessee Williams himself – at this time in my life is perfect.” (Quinto came out in October 2011.) Though Tom’s sexuality is not at the forefront of the play, it does affect the interpretation of this character. Remember, the play takes place in 1937…

Though the play is set almost 80 years ago, its themes still very much resonate today. Family responsibility, employment, financial security, individuality, disability and then some are all things we’ve either dealt with ourselves or tangentally through a loved one. That’s what makes this play so easy and so hard to watch – we can relate to these people probably more than we care to admit.

This is a fantastic show. Simple as that. The cast is great. The minimal set is perfect. (There’s some furniture, a fire escape, a glass unicorn and a typewriter… because you know, symbolism.) It was just icing on the cake for me that The Glass Menagerie is playing at The Booth (where I saw my very first Broadway show – The Pillowman – nine years ago).

Now in previews, The Glass Menagerie opens on September 26, 2013. (They do a student rush – $35. You are allowed 1 or 2 tickets and must show a student ID.) It’s playing at The Booth, which is located on 45th St between 8th Ave and Broadway.

Stagedoor – I did go to the stagedoor after the show. (This is my experience/what I saw and not a guarantee that it’ll be like this each night.) The cast had a lot of guests (as it was first preview), so they didn’t come out to sign until about an hour after the show. All four cast members came out and signed. (It was announced that they would only be signing Playbills and show posters, so the people who only had Star Trek stuff and headshots had to leave.)

Quinto was the first person out and he looked legitimately surprised and overwhelmed at the crowd at the stagedoor. (I thought this was cute, as there were not really that many people there compared to other stagedoor experiences I’ve had after other shows.) He signed for people and took pictures (make sure to have your cameras ready when it’s your turn). I didn’t get a picture, but as he was signing my Playbill, I congratulated him on his Broadway debut and he looked up and made eye contact with me before thanking me for coming to see the show. And it wasn’t even just a “Thanks for seeing the show.” It was a heartfelt and extremely grateful/gracious “Thank you so much for coming to the show.” It was almost as if he was surprised that so many strangers were that receptive and appreciative of his work. He deserved it, though. He was great as Tom (albeit a little quiet in spots… I’m glad I had a close seat, else I would have missed some of his dialogue) and definitely made an impact on me. His sincerity and general niceness to me and the crowd has earned ZQ a spot on my list of actors who I respect even more having met them in person. (Darren Criss and Zachery Levi hold the top spots, but ZQ is definitely in the Top 5.)

The crowd at the stagedoor thinned out considerable after Quinto and CKB signed, but I hung around for the other two. I really wanted to talk to Cherry Jones, but some guy started talking at her and their conversation carried over through when she was signing my Playbill, so I didn’t even get a proper chance to thank her. She’s amazing. Like, amazing. Brian J. Smith borrowed my Sharpie to sign my Playbill and commented that it (the marker) was green, like that was some huge surprise.