Showing posts with label broadway. Show all posts
Showing posts with label broadway. Show all posts

Tuesday, October 23, 2012

Then She Fell (Review)

Courtesy of Then She Fell

The haunted houses that populate NYC in October specialize in either cattling herds into quick scares or giving you their undivided attention as they mock you. Sometimes you need a break from the dash and slash and want something different. I experienced Steampunk Haunted House years back and though the sets were wonderful and different, it did not have an everyman feel. I felt a little out of my element struggling to find commonality in my experiences in this haunted house. Little did I know that a few years later, that commonality would peek through like a rabbit out of a hat.

Then She Fell is a world I could understand, but in ways, it also spun a web of pure dreamlike imagery that had as many questions as it did answers.

Tucked in an old wing of Brooklyn's Greenpoint Hospital is an interactive performance that allows you to spend time with the imagination of Lewis Carroll's creations and even get a glimpse of the surreal life of the man himself. It is, by far one of the most thrilling, mesmerizing and fantastic experiences I've had in the world of participatory theater. Guests explore the brilliantly beautiful and well crafted rooms, searching for clues to the scenes that will unfold. Watching through a looking glass you will remember those legendary characters we all know from our childhood, though they are now walking metaphors waiting for you to meet them face to face. The White Queen the Red Queen, the White Rabbit, mirror image Alices and Lewis himself are all ready to greet youu. Guided by a nursing staff who cues you to your next encounter,  Third Rail Projects delivers a masterpiece of artistic interactive literature that opens up your imagination beyond your wildest dreams.

Follow the White Rabbit
Courtesy of Then She Fell

Joined by some of my fellow Survivors of Blackout, performances are maxed out at 15 per show. It's this small comforting feeling of being with strangers and friends that at the end of the night will made us all a little bit closer in sharing this experience. Down some city stairs, a garden welcomes you into a piece of performance space that would have rooms that I would be stunned by.

The performance starts with skeleton keys next to my scribbled name on a note. Files and wooden boxes start you on a journey as you discover medical records of patients with some similar illnesses to these Disney-fied characters. The guidelines of our adventure are told in a monotonous tone by our nurse guide and off we went.

There are different tracks on your journey and you will not know which rooms, which characters you will get to interact with. Led away and alone at times, the personalized one on one nature of Then She Fell is simply overwhelming. Dual Alices dance in a variety of skillful synchronization led by a soundtrack that echoes across speakers in all the rooms. Soon dwindling from two to one, I am left alone with an Alice (Tara O'Con) who I mimic in some fruit eating. It's completely surreal yet so much fun. To fully participate in this is to experience all your hidden desires of being a part of a performance where your participation is vital for all those involved. You are not just watching actors from a far, you are watching them from mere feet and in a way you are watching yourself engage in a way few immersive experiences will let you do.

Throughout the course of this 2 hour "dream world" I would meet the Hatter, the White and Red Queens with my fellow participants and have one one one time with Mr. Carroll. The story is a blend of your own investigation via opening up drawers and lock boxes as well as reading material left for you. In a nutshell, the mysterious relationship of Lewis Carroll and Alice Liddell (the inspiration for the tale) becomes a correspondence with you as the human telegraph. It's filled with a coming of age drama, mother's fury and a forbidden romance pinnacle-ized by a dance by Carroll and Alice in a large open space reserved for a patient showers.

Courtesy of Then She Fell
 Your Mad Tea Awaits

The Alice characters personify this conflict in memorable scenes of pure wonder. The White Rabbit and Red Queen  tussle in a dance "fight" of pure relentless motion. By myself with Carroll, he tells his tale in a room with literally water breaking through the floorboards. But the pure ecstasy of Then She Fell hits its apex with a mad tea party attended by myelf, 3 Survivors, both Queens, the White Rabbit and the Mad Hatter. (tea that me and my fellow Survivor had created). It was by far the most fun I had doing  some limited theater pantomime and light snacking in my life.

The performances are seamless, a throwback to a time where only the elite could enjoy dance and song. The Alices (Marissa Nielsen-Pincus and Tara O'Con) reflective mirror routine was a joy to watch. The Hatter (Elizabeth Carena) fast talking conversations were awesome to be a part of. I even got a bit of a wink from her as it all ended which made me smile. Carroll (Alberto Denis) and the White Rabbit (Tom Pearson) showed a versatility in their dance and their silent style which also can be said of the Red Queen (Rebekah Morin) and White Queen (Jennine Willett). Even the "nurses" who danced within the interludes where you were between rooms were skillful in their tasks.

In the midst of this organized chaos, I was given "potions" to drink and other tantalizing snacks that had my taste buds jumping. It's by far an all out explosion of your five senses in a way where you will see, touch, smell taste and hear a world that is very familiar but at the same time new and innovative. Then She Fell gives you the rare opportunity to visit a Wonderland where the book and history come to life in ways you never imagined.

The story is only part of the experience. You will feel like an improv actor thrown into the deep end of a performance with a very talented cast who are looking to you to put in your 2 cents in every scene. I've never had that feeling before and it was exhilarating. I'll admit, I was obsessed with being the perfect Fox Mulder early on but I began to relax and let myself watch what was unfolding before me. When cued, I participated with the glee of a bad karaoke singer, acting and performing to a non existent audience other than myself, the cast and a few of my friends.

The fantastical and surreal are your playground at Then She Fell. As I tweeted after the event, I felt like I stepped into Lewis Carroll’s book and his characters became my friends. I hope I see them again one day.

The Vitals

  • The official site
  • Like on Facebook
  • Follow on Twitter
  • ALL GENERAL ADMISSION PERFORMANCES ARE CURRENTLY
    SOLD OUT FOR THE REMAINDER OF THE RUN
  • Then She Fell may extend their run, so check the site for tickets and cancellations.
  • For more photos of Then She Fell , check out the jaded viewer Facebook page.
  • Special Thanks to the cast and crew who my group and I got to meet after the performance. We got a tour of the space, talked about scenes and rooms we missed and answered all our questions about the experience. They are talented and wonderful and I wish them continued success. 
Check out a behind the scenes and talk with the creators.






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Monday, August 06, 2012

Terminator Too: A Judgement Play (Review)

"Chill out, dickwad"

That's a line from T2, as John Connor tries to teach the Terminator how to speak human as they ride into Mexico. The same kind of teaching takes place in the performance of a new Arnold, recruited straight from the audience in Terminator Too: A Judgement Play.  That's just one of the many ridiculous oddities that are incorporated in this absolutely brilliant and hilarious play from Thomas Blake, Jim Cunningham and John Moauro, the masterminds of the infamous Point Break Live.

Terminator Too is your low budget spoof play of the 1991 blockbuster and is the equivalent of seeing a Broadway play at a 99 cents store. Oh the props are ridiculously cheap, the video clips intertwined in the play have CGI that would make James Cameron weep, but what's genuinely rich in Terminator Too is the attention to detail to this Arnold classic and jokes that are clever as they are raunchy. The audience is subjected to real life 4D technology, in other words, our battles between man and machine take place with waterguns with the audience being collateral damage. It was highly suggested you buy a poncho (90% of the audience complied, I did not). I paid dearly for this mistake as I got pelted with water bullets, syringe liquid and fake blood.

I know my Arnold movies inside and out. I could easily repeat all his dialogue in T2, but I elected not to audition for the part. My Austrian accent is kinda shitty. Various wannabe actors are tested and one is chosen via audience vote. The Arnold chosen when I went did a passable Arnold accent, all muscle and was completely devoid of knowledge of T2. It's like he never ever saw the movie. Our new Terminator is helped by a hot "maid" who helps our star recite his lines via cue cards and directs his actions. Arnold would have loved this maid.

But though the "Arnold" is the star, it's the cast of Terminator Too that provides you with knee slaps and horty chuckles. Each T2 scene is meticulously created via voiceovers, video clips and outlandish props. From the infamous naked time travel entry, to the biker clothes scene, it's all acted out with LOL moments. The breakout performance has to go to Joya Mia Italiano, who plays the young thugling John Connor. Decked out in  vintage army gear and a Public Enemy t-shirt, she takes our Messiah to be into a whole new stratosphere of awesome. I got a  Amy Poehler kinda vibe from her performance, truly highest marks on my report card. Christi Waldon  plays Sarah Connor stellarly as a heroine chic and George Spielvogel plays the doctor and the Zuckerberg (did I mention Skynet is replaced with Facebook?) like a befuddled and confused mad scientist. The rest of the cast chaotically went in and out of characters seamlessly. Highest applause to them all.

It's the attention to detail that makes this play standout. Lines are stolen...ahem I mean borrowed exactly from the screenplay. Others are modified to have zingers and jokes at the end. T2's little things are acknowledged from John's stepparents, the perv orderly, the rendezvous to Mexico (which came with a complimentary watered down tequila shot for the audience) and the thumbs up from our Terminator as he makes his last heroic sacrifice.

The fact these guys know the source material inside and out makes the jokes even more amplified. If YOU know the material, it makes it a thousand more times better. Though the scenes are stellar, the "special effects" utilized are comic genius. From strategically placed tin foil "wounds" on our T1000 to the bike (errr I mean modified kid's tricycle), you'll see garage sale brilliance in every "effect". You'll never see pop guns and super soakers the same way again.

In all it's cleverness of breaking the 4th wall mid performance and inserting some random 80s references (BTTF and the Hoff), it all seems to flow perfectly. There is an intermission during the performance but that just seems to give you a break to talk about the brilliance of the first hour that you've seen.

Terminator Too is without a doubt the live action remake you MUST SEE. You'll be ducking and weaving to avoid a barrage of water bullets, laughing at all of Arnold's infamous one liners and be smack in the middle of a ridiculous Universal Studios like ride that you'll want to see again. It's not until the end did my laughter subside and I realized it was over that we all had to Hasta la vista baby.

Rating:

TERMINATOR TOO, JUDGMENT PLAY runs June 23 - August 11, Saturdays at 8pm at Santos Party House located at 96 Lafayette Street -- two blocks south of Canal between Walker and White Streets -- accessible from the N,Q,6,J & Z subway lines at Canal. Tickets are $25 available at 866-777-8932 or www.terminatortoo.com.

Check out this review as well.

Photo Credits: Terminator Too/Thomas Blake

Monday, July 09, 2012

They made what into what? Re-Animator: The Musical


As a horror blogger, you get all sorts of press releases, screeners, newsletters and tidbits. I read through them as much as I can but I usually tweet or Facebook it if I find it interesting. To make it into a post on the jaded viewer takes some OMG WTF type reaction from me. Hence here we are.

They made Stuart Gordon's Re-Animator into a musical?

WTF!

That's just plain awesome. I plan on seeing this AS-fuckin-P. It smells of pure Miskatonic hijinks and LOL musical numbers. Here be the official press release.


RE-ANIMATOR THE MUSICAL comes to NYC, July 17 - 22 - Featuring George Wendt! 


RE-ANIMATOR THE MUSICAL Featuring GEORGE WENDT (“Cheers”, Broadway's Elf) Exclusively at The New York Musical Theater Festival, July 17 – July 22 PTC Performance Space 555 West 42nd Street, New York, NY The acclaimed musical adaptation of cult film comes to New York following a sold-out six-month run in Los Angeles Winner of Six L.A. Weekly Awards Book – Dennis Paoli, Stuart Gordon, and William J. Norris Music and Lyrics – Mark Nutter Choreographer – Cynthia Carle Musical Director – Peter Adams Director – Stuart Gordon (director of the iconic 1985 horror film H.P. Lovecraft’s Re-Animator) New York Premiere Tuesday, July 17th at 8:00 pm


The 2012 New York Musical Theatre Festival, Red Hen Productions, The Schramm Group LLC and Gramily Entertainment present the New York premiere of RE-ANIMATOR THE MUSICAL starring George Wendt (“Cheers”, Broadway’s Elf).


A hilarious new musical comedy based on the classic horror film (and featuring a bloody “splash zone” in the first few rows), RE-ANIMATOR THE MUSICAL plays at the PTC Performance Space, located at 555 West 42nd Street. Tickets for RE-ANIMATOR THE MUSICAL are $25, a can be purchased by calling (212) 352-3101 or by visiting www.nymf.org. For more information:www.nymf.org and www.reanimatorthemusical.com.


In 1985, Stuart Gordon directed his first feature film and created a sensation with H.P. Lovecraft’s Re-Animator. Produced by Brian Yuzna, the cult classic delivered as many laughs as it did screams, making it a cult classic among genre fans and winning a Critic’s Prize at the Cannes Film Festival. Last year, Gordon, co-writers Dennis Paoli and William J. Norris, and composer/lyricist Mark Nutter adapted Re-Animator into a musical for the stage, playing to rave reviews for a sold-out six month run in Los Angeles - and winning six LA Weekly Awards, including Musical of the Year.

RE-ANIMATOR THE MUSICAL tells the story of Herbert West, a brilliant young medical student who has created a glowing green serum that can bring the dead back to life. What should be a medical breakthrough results in hideous monstrosities and ghastly consequences. “I guess he just wasn’t fresh enough,” is West’s constant refrain as his quest for fresh subjects results in the murders of half the faculty of the medical school. 

The original Los Angeles cast reteams for the NYMF production. George Wendt, best-known as the affable Norm from Cheers, plays the Dean of the Medical School who West transforms into a mindless zombie. Chris L. McKenna, the star of Gordon’s neo-noir thriller King of the Ants, is Dan Cain, Herbert’s hapless roommate who finds himself drawn into the mayhem. And operatic Jesse Merlin, who played the President of the United States in the long running The Beastly Bombing, is Dr. Carl Hill who loses his head for Meg, the dean’s beautiful daughter (Rachel Avery,) only to actually lose it at the hands of Herbert West. But thanks to the glowing re-agent, Dr. Hill is still able to take his curtain call with his head tucked underneath his arm. Completing the cast are Mark Beltzman, Cynthia Carle, Brian Gillespie, Marlon Grace and Liesel Hanson, Tyler Milliron, and featuring Graham Skipper as Herbert West.


Winning the LA Drama Critics Circle Award for their work on the show, the musical's special effects team is the same as the 1985 movie's: Tony Doublin, John Naulin, and John Buechler - joined by Greg McDougal and Tom Devlin. And the blood will flow so freely that the first few rows will be designated as a “splash zone.” Laura Fine Hawkes, who last designed The Lieutenant of Inishmore at the Taper Theater in Los Angeles, provides the sets, with costumes by Joe Kucharski and lighting by Jeff Ravitz. Stage managing is Mike Lemek.


Composer and lyricist Mark Nutter won a LA Drama Critics Circle Award for RE-ANIMATOR THE MUSICAL's cheerfully disturbing score. His previous stage credits include the international hit The Bicycle Men; Christmas Smackdown (created with the equally demented Cynthia Carle); and Wild Men. He’s also known for his work on 3rd Rock From the Sun and Saturday Night Live. His recent CD Twisted Songs for Twisted Sophisticates has been banned from the airwaves.


Stuart Gordon directs. Prior to the Re-Animator movie, he spent fifteen years as the founder and artistic director of the Organic Theater of Chicago, where he co-created and directed 37 original productions, including Bleacher Bums and the world premiere of David Mamet’s Sexual Perversity in Chicago. Gordon has also directed four more films based on Lovecraft, among them the critically-acclaimed From Beyond and Dagon. Gordon’s most recent stage credits include the still-running Nevermore: An Evening with Edgar Allan Poe, featuring a breathtaking performance from Re-Animator film star Jeffrey Combs.


Now in its ninth year, the New York Musical Theatre Festival (NYMF) is the largest annual musical theatre event in America and is widely regarded as the essential source for new material and talent discovery. NYMF provides a launching pad for the next generation of musicals and their creators to ensure the continued vitality of one of America's greatest art forms. Hailed as the "Sundance of Musical Theatre," NYMF discovers, nurtures, and promotes promising musical theatre artists and producers at all stages of development, and inspires a diverse audience through vibrant, accessible, powerful new work.

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Check out the trailer.

Thoughts? Comments? Who wants to see this?

Thursday, February 09, 2012

How Do You Write A Joe Scherman Song? (Trailer)

I've been seeing a lot of promos and posters all over NYC for NBC's new show Smash. I'll admit, this is not my sort of bag, but when jaded viewer friend Christina Rose dropped me a line informed me that Gary King's indie musical How Do You Write A Joe Scherman Song? is soon to be released I had to take a quick glance at the trailer (which is below).

Here be the plot:

Joe (Joe Schermann) dreams of hitting it big on Broadway. After landing an opportunity to write for an Off-Broadway musical, he is forced to cast either the love of his life Evey (Christina Rose) or his newly discovered muse Summer (Debbie Williams). The realities of show business prove to Joe that writing is easy, living is hard.

Christina is a brilliant actress (she was brilliant in Death of the Dead (see review here and interview here) and I'm sure she's going to show off all her talents: her beauty, singing and acting in this little slice of NYC indie film.

Here's more info via the Press Release:

HOW DO YOU WRITE A JOE SCHERMANN SONG is an original feature film musical written and directed by Gary King; music and lyrics by Joe Schermann; and original score by Ken Lampl. It stars the singer/songwriter of the same name Joe Schermann, Christina Rose (of Broadway's GREASE, Deadheads, & previously worked with King on "Death of the Dead"), Mark DiConzo ("New York Lately"), Debbie Williams, Jenn Dees ("What's Up Lovely") and Darly Ray Carliles (Jaradoa Theater). The incredible dance sequences in the film were choreographed by Mark DiConzo and Christina Rose. The indie film was funded primarily through crowdfunding (Kickstarter) which has led to a global fan base long before the film's release. Marcus Wolf and Edward A. Bishop of Flicker Dreams Productions served as executive producers.

Film festival screening announcements coming soon.

Check out the trailer.


HOW DO YOU WRITE A JOE SCHERMANN SONG - Official Trailer from Gary King on Vimeo.


For more info check out these links: