Fat Pig/Spelling Bee/Coram Boy/Chicago

Mini-reviews, since I saw so many shows!

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Fat Pig 05/24/07
Geffen Playhouse, Los Angeles

Like most plays tackling tough subjects, Neil LaBute's Fat Pig is more notable for the feelings and questions it provokes in its audience than the quality of material itself. Seemingly a direct transfer from the 2004 off-broadway production, those involved in Fat Pig at the Audrey Skirball Kenis Stage do the best they can with a script that never lives up to its gripping premise.
Of the four characters, only Helen (the "Fat Pig" of the title) is played by an unknown in this production - an effective choice that makes Kirsten Vagness' honest performance all the more heartbreaking. As Tom, who falls in love with Helen, Scott Wolf ("Party of Five," "Everwood") has a genuine air about him that seems to disguise or at least excuse the fact that his delivery often made LaBute's natural dialogue sound stiff or stilted. And his colleagues Andrea Anders ("The Class," "Joey") and Chris Pine ("Princess Diaries 2," "Smokin' Aces") provide the antagonism and comic relief with such realism that you wonder why you find yourself agreeing with their prejudiced statements more often than you should.
LaBute's writing is quick and realistic, but the structure of only a handful of scenes robs the characters, actors and audience of believable character arcs and natural progression of emotions.
I'm a geek about sets, so I can't finish this mini-review without raving about it - only two panels that transformed into a cafeteria, an office, a bedroom, a japanese restaurant and a beach, it was masterfully minimal and endlessly adaptable.
The show is entertaining enough for its 100 minutes, but never takes off in a way that great theater does... at least not until you leave the theater and make your first snap judgment. In that respect it succeeds enormously.

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25th Annual Putnam County Spelling Bee 05/25/07
Wadsworth Theater, Los Angeles

This reunion of the Original Broadway Cast is a very different beast than the show that premiered two years ago at Second Stage and later Circle in the Square. Now each of these characters has been inhabited by a number of different actors, on Broadway, on tour, and at sit-downs in San Francisco, Chicago and Boston. With the show now standing on its own as a commodity, the Original Broadway Cast needed to restake their claim on characters we've seen in so many interpretations. And they may have done so, were the production values up to scratch.
Spelling Bee has always been a charming show that has its weaknesses in its score and very premise - while it provides much opportunity for hilarity, it prevents any real knowledge of the characters beyond their stereotypes and makes narratives outside of the main competition difficult to tell honestly. Of the cast, only Dan Fogler stood out as giving a portrayal unlike anything I'd ever seen or even imagined for the character. He played Barfee as the cockiest motherfucker there ever was, and I'll be damned if it didn't work and provide the biggest laughs in the show.
Unfortunately, the whole production was undermined by horrible sound editing (in the first row of the mezzanine I missed more than a few lines and jokes) and shoddy spotlight operators. Hopefully they'll fix those problems by opening night and Los Angeles can get a chance to fall in love with Spelling Bee. But at six viewings, I think I'm all Spelling Bee-d out.
Celebrity spotting: Leonard Maltin! He actually exists outside of the cover of his movie guide!

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Coram Boy 05/27/07 3pm
Imperial Theater, New York

I've been to two closing nights in New York, both in the Imperial Theater - first High Fidelity in December and now Coram Boy. Running at 40% for most of its run with a cast of over 40, Coram Boy presumably just couldn't justify staying open any longer without the Tony Nom for best play, and it played its final performance today to a sold-out house.
Based on Jamila Gavin's novel, Coram Boy was derided by the critics for using overtly spectacular production values to make up for its weak and melodramatic plot. But its clichéd plot is played with complete honesty and dedication, creating fully realized characters in an old-fashioned yarn that is incredibly entertaining for those in the right frame of mind. As a romantic myself, I smiled with glee at every predictable plot twist and cringed at every predictable foible. I couldn't have loved it more.
The spectacle of the gorgeously effective set (a simple ramp converts any area into the children's playhouse, and the position of the piano indicates whether they are in the world of the children or the adults) combined with the epic qualities of Handel's music provide the theatricality that the novel needed to shine. Most amazing was the fact that every aspect of the production enhanced the story, and none of its amazing elements seemed extraneous or unnecessary. The performances are overall of good quality, and Xanthe Elbrick deserves that Tony Nomination with every tick of characterization she gives the two boys she plays.
It's a real shame that the show closed, or I'd be recommending it to everyone I know.
Celebrity spotting: Randy Harrison of Queer as Folk and Wicked!

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Chicago 05/27/07 7pm
Ambassador Theater, New York

What a difference a decade makes: when Encores! produced Chicago in 1996, it was done under Encores! mission statement of reviving little-known shows with notable scores. In the ten short years that the revival of Chicago has been running, its plot and score is so ingrained in the conscience of this musical theater fan that even upon first viewing it seemed stale. Despite energetic performances and crackling choreography the show never manages to stir any real feelings of excitement in the audience, making an already superficial show seem shallower still.
Of course, Joey Lawrence is the main draw of this cast, holding the fort until Harry Hamlin and Lisa Rinna join the show in mid-June. As a fan of his early music (hey, I was 8 when his first album came out, and don't judge until you've had "I Like the Way (Kick Da Smooth Groove)" cheer you up on a rainy day), I was sceptical as to whether his processed and nasal voice from those recordings would translate to the stage. Surprisingly, his voice is pure and he sounds fantastic on "Razzle Dazzle," the only song of his that seems to fall comfortably within his range. He lacks the power of most Broadway leads, and ends up getting lost when the ensemble joins in, but he stands out on sheer star power. It's Joey Lawrence playing Joey Lawrence playing Billy Flynn, which works surprisingly well.
Understudy Melissa Rae Mahon was on for Roxie, and while she too lacks power in her voice, the only indication that she wasn't normally in the role was the slip in my Playbill. The cast play their roles with verve and amusement, but it may have been this hint of self-awareness that kept me from getting fully involved in the story and characters.

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If it's not patently obvious from the physical distance between the four shows I saw this weekend, I moved from the Los Angeles area to New York on Saturday, and am currently staying at a hostel until I find more permanent accomodation. It couldn't be more surreal.

And now she's gone, packed up - moved on.

It's upfront week, possibly my favorite time of year. How does one go about becoming the executive who watches the crop of pilots each year and decides the schedule? It just may be my ideal job. Most of my favorite shows were renewed (How I Met Your Mother! Dexter! Ugly Betty! even Supernatural!) making the only casualty Veronica Mars - which will always be remembered in my 'shesamarshmallow' online handle. As for the pilots, let's discuss!

MUST SEES:
- Pushing Daisies: A romantic comedy crime show blend of Torchwood and King Midas, Pushing Daisies has Lee Pace (of Wonderfalls), a great concept and killer buzz. I also think I'm the only person who prefers Kristin Chenoweth on screen (when given good material, of course, and not in the Ugly Betty finale) than on Broadway.
- Viva Laughlin!: I can't believe they green-lit a musical TV series! Let's hope DB Woodside is more impressive here than he was in the last season of 24. Of course, this remake of the BBC's Blackpool won't have David Tennant, but I'll definitely tune in.
- The Return of Jezebel James: It's quite a theme that I'll watch shows for people I love, in this case that person being Michael Arden. But I have no shame in watching this one, since Amy Sherman-Palladino really could benefit from a fresh start after Gilmore Girls, and Parker Posey's the perfect actress to star.

I'LL CHECK IT OUT:
- Bionic Women: The clips had me until the scenes with Katee Sackhoff. Plus, Mae Whitman!
- The Big Bang Theory: Will watch for Johnny Galecki, who was great in The Little Dog Laughed and looked adorable in the promo. Plus, it comes right after How I Met Your Mother, and I love those sandwich shows.
- Miss/Guided: Love Judy Greer, though this doesn't look like a winner...
- Chuck: Jake 2.0 2.0. A derivative idea from Josh Schwartz, king of making derivative ideas work. (For a season, at least). Zachary Levi ain't no Christopher Gohram. And I'm vaguely obsessed with the fact that in the press release, Adam Baldwin is followed by (My Bodyguard). Really? Of all the things he's been in? Namely, Firefly? Lol, NBC. LOL. But the clips on the website look beyond terrible.
- The I.T. Crowd: Hopefully more The Office than Teachers or Couplings comes another British import. Having spent a year working with Residential Computing, I know and love these people, and hope they're accurately represented on screen. Also curious to see The Soup's Joel McHale act.

THE ONES THAT GOT AWAY:
- Nice Girls Don't Get the Corner Office: Though she was stuck playing the thankless role of Henry's girlfriend in Ugly Betty this season, Jayma Mays has bundles of charm and could easily have carried her own show. What really sold me on it, though? Matthew Morrison. Alas, we'll never know what kind of television star he would have been...
- The Thick of It: Christopher Guest. And Michael McKean's return to prime time. Enough said.
- Playing Chicken: I don't care how bad it sounds, and believe me, it sounds bad: two brothers living together... "Jake is a tough, brash, obnoxious, call-it-as-I-see-it conservative. His brother Tim is a passionate, opinionated, but lazy liberal." And Jake's in a wheelchair! I would watch anything Norbert Leo Butz does. He can remake Top Gun and I'd see it. He could star in Baby Geniuses: 3 and I'd see it.
- The World According to Barnes: Autumn Reeser was the only watchable part of the latter years of The OC, and Ryan Devlin is by far the most talented and underrated actor in High School Musical. They deserve something better than those projects and a failed pilot.
- Babylon Fields: The dead return to their normal lives. Zombies! Amber Tamblyn's abusive father is resurrected from the dead after her mother finally stands up for herself and murders him, from what I understand. Alas, no pickup. Such a shame, there's been a distinct lack of zombies in Primetime since Mischa Barton left The OC. Ba-dum-bum!

I am, of course, more than open to checking out shows whose premise didn't immediately catch my eye if they get critical buzz or a recommendation from the TV Guide Podcast. I'll try hard to be less involved in television next year and more involved in real life... but I can't promise anything.

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I'm back in Los Angeles, a college graduate mourning bad decisions, excited for new opportunities and recovering from two days of packing, cleaning, sorting and driving. I have just over a week before I pick up and move to New York forever, in which time I'll see Fat Pig and The 25th Annual Putnam County Spelling Bee and hopefully spend some time with friends and family.
PS: How amazing were last night's finales? Ugly Betty, Supernatural and The Office especially. Ringle is my new favorite word!

You finished college, well whoopdeef*#&in'doo!

I handed in my undergraduate honors thesis (Twice as Gay as 'Anchors Aweigh': An Examination of the Military Musicals of Fred Astaire and Gene Kelly) last week and now, after all the talk of "I graudate in one month!" and "all my work is finished by next week," the day is finally here: I graduate tomorrow. TOMORROW. After three years of attending UC Berkeley I'm getting out with a major in American Studies and minor in Theater and Performance Studies, and the horrible part is? I'm full of regrets. I'm sad I didn't work on more shows while I was here, I'm sad I didn't audition for Cabaret, I'm sad that I've spent more time watching TV than spending time with friends and doing homework combined and I'm sad that I leave without ever having had the full college experience. This was my only chance for it, and now it's passed. I watched a cheesy Joe Pesci movie on A&E the other day called With Honors, in which the homeless Joe Pesci taught Brendan Fraser about graduating with honors from life. I kind of wish homeless Joe Pesci had taught me the same lesson.

But now comes something even more exciting, and a chance to redeem myself: the rest of my life. I've been blessed with two amazing opportunities to work in different parts of the theater community in New York, and I can't wait to take full advantage of them. I know my life won't be the endless representations of it on screen (meet-cutes in the laundry room! the boy living next door to me who helps me spackle my walls but who I don't realize is 'the one' until I get tossed over by some conventionally handsome jerk!), but I'd love some adventures and challenges to overcome. I want to be shaken out of my comfortable bubble and thrown into a foreign environment with nothing to fall back on but my charm and enthusiasm. And I want to make the most of it.

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Tony noms were, of course, announced today! I'll give a more extensive analysis when I make my predictions closer to show time, but right now I'd just like to say that I'm pleased about the 10 noms for Grey Gardens and the noms for Christian Borle, Legally Blonde's score, High Fidelity's scenic design, John Gallagher Jr and the 6 for Journey's End - if only because they'll hopefully keep it open until I get a chance to see it!

Expect me to have a lot to say about television once upfront week is over. It's my favorite time of year, saying goodbye to the old shows and hello to the new!

Jersey Boys 5/3 & 5/4, Spiderman 3

I have a job at Residential Computing at UC Berkeley, and last week was our annual spring picnic, complete with bbq, piñatas and silly awards. I was given the award with the following title:

MOST LIKELY TO TAKE PEOPLE'S RC OH FOR THE PURPOSE OF FUNDING TRIPS TO SF TO WATCH MUSICALS

Eerily accurate assessment.

I doubt there will ever be a show again that I see on average once a week for ten weeks. I can't possibly analyze why I like it so much. I've been so many times that the guys in the lighting booth at the rear balcony know me now, and every time I go one of them says "As Bob says to Nick in the show: You really need help!"

And so I went to see the mass exodus of the Sherry cast, now on their way to Los Angeles by way of New Haven. There was a palpable energy in the theater on Thursday night, created almost entirely by the front row rush patrons. Most of the house was quiet, but the front row laughed at every joke and screamed at every song - the balcony again was, unfortunately, pretty empty. The performance was great as usual, but unfortunately Des McAnuff had been in to give notes the night before and told them all that it was "too theatrical," so much of it was subdued.
It's incredibly hard to review a show you've seen multiple times for a readership who have probably never seen it. Anyway, I've written too much about this cast to be able to get into details without repeating myself or simply gushing. It was such a great night, though.
And I met Jenna Coker (Cheryl from Evil Dead: The Musical) outside! Very unexpected and exciting, and she was definitely surprised when I recognized her.

The new cast had so much to live up to. I was in the rush line already when they finally put the cast board up, and loved seeing all the new cast members come out and take pictures of it with their camera phones to send to their family. Sometimes you forget how real these people are. Most of the leads were hanging around before the show after just finishing their final run-through (of which I heard the back end while waiting in the lobby). I thought I would be disappointed with the new cast - I have a hard time dealing with change. But I was surprised and delighted that I loved the show just as much as I always have.



Jarrod I'd seen before, and was underwhelmed for the most part then - I'm pleased to report that he improved immensely. He still doesn't have quite the stage presence that Christopher Kale Jones has, but his acting is impeccable. His reactions look so genuine, as if everything is really happening to him for the first time. He also has by far the best singing voice of any of the Frankie's I've seen and slides seamlessly between his normal voice and falsetto. It's so pure and beautiful. My only real fault is that in an attempt to make him seem younger at the beginning he still affects a horribly nasal speaking and singing voice - it's only by "In the Mood for Love" that he loses it and starts to be less of a caricature.
Jeremy Kushnier as Tommy and Drew Gehling as Bob were the biggest surprises. On the whole I'm not a fan of many of the RENT veterans since they too tend to sing Larson's music nasally. And I simply never thought anyone could live up to Erich. But each got laughs on lines or moments that I never even thought could be funny, and had so many subtle touches to their characters I found it hard to believe it was their first public performance. I can only imagine they'll get better as they get more familiar with the show and characters (Jeremy flubbed a few lines), and I wish I could be here to see it.
Steve Gouveia was the only disappointment. It may be because Michael Ingersoll was one of the few cast members of the Sherry tour who never missed a performance that I saw, so his Nick Massi was inprinted in my brain, but Steve's Nick just felt bland. As if it was a cold reading. I appreciated the different take on the character, but can't help but think that this cast will become amazing when Michael returns to SF mid-July.
The ensemble definitely needs time to get used to the show. Only Craig Laurie stood out. They've also changed a few of the tracks slightly. For example, the guy who's in Eric Gutman's track is now playing guitar where Miles was in "Working My Way Back to You." That guy, by the way, is HILARIOUS as Crewe's assistant. So much so that I watched him in the background all through "Dawn."
It was their first night and their timing was a little off. But if they bring the same energy and freshness to every performance, I'll hardly miss the Sherry Cast at all.

Between the two shows Casey and I went to see Spiderman 3 at midnight at the Metreon (and end up at Denny's at 4am until BART started running again so we could get home and sleep). The movie has polarized people more than any blockbuster in recent memory, but personally I loved it. They've advertised the black Spiderman as mopey and depressing when he's really just arrogant and slimy, which is incredibly entertaining. He even gets a musical number! And though I've heard the complaint that it's too jam-packed, the only problem I have with the four villains storyline is the scarcity of Topher Grace's Venom. Even Harry's storyline was engaging. I understand what people perceive to be the flaws of the film, but I appreciated its camp and sincerity.

Casting Musicals by way of Reality TV.

I'd like to take this moment before my inevitable ramblings about the Jersey Boys cast changes to ruminate on the reality Broadway casting shows that have been popping up over the past year (and recommend Any Dream Will Do).

Last summer when I moved into my apartment the only thing that kept me from being lonely and bored was the anticipation of seeing that week's installment of BBC's How Do You Solve a Problem Like Maria? It was a decent show with admirable talent made watchable by the charm of host Graham Norton, the horrible jokes at Lloyd Webber's expense and the mere presence of John Barrowman. From the first show I was sure Connie Fisher would win, though I did become invested in Siobhan Dillon and Leanne Dobinson - I'm still looking around for news on any future projects they're involved in. Connie won, Andrew was happy, the public was happy and everything was great.

Then Grease came along in America and was an unqualified disaster. Billy Bush and Denise Van Outen were so insincere that every interaction with the contestants seemed entirely fabricated for the show. They even copied Graham Norton who persuaded the judges to give sweet Briony another chance during the audtion episodes of Maria? - but the contestant Billy Bush chose to champion was awful and was rightfully not given a place at Grease Academy. And unfortunately for the panel, the quality of talent that came out to the auditions was pretty bad. At least, that's what they showed us on screen, and though they managed to come up with 12 finalists who had some talent (poor Matt Nolan and Ashley Anderson should never have been rescued), few were right for the roles. The general atmosphere was at once cruel and self-congratulatory, and simply unpleasant to watch. Again, I picked out Max and Laura from the beginning, and was pleased as punch when they won. But I may have been the only person to care.
(I'm waiting for someone to cast Kevin Greene as Bob Gaudio. It would be perfect!)

Now we have a battle going on in Britain between Maria?'s follow-up Any Dream Will Do, which has the benefit of an enormous lead-in from megahit (and personal favorite!) Doctor Who and David Ian's Grease show, which I care so little about that I don't even know its name. Apparently, Britain agrees, as the latter is getting thrashed in the ratings.
Any Dream Will Do has a number of things going for it:
- Men. Really, women are much more invested in men than they are in women. Especially when said men wear loincloths.
- Talent. The best pool of contestants on any of these shows by far. After the first show there were only 4 or 5 of the 12 contestants who I wanted to leave the show.
- Diversity. Sure, Johndeep was eliminated in the second week, but each member of the cast still represents an incredibly different Joseph. Just imagine Rob's Joseph as compared to Keith's or Daniel's or Lewis's.
- John Barrowman, Zoe Tyler, and yes, even Denise Van Outen. When forced to be Billy Bush's Vanna White she was wooden and dull. Her position as official ogler of the boys (a job I wish John Barrowman would take) is actually fairly enjoyable to watch.
- The song choices: both appropriate and, on the most part, good for the actor's voice and for displaying their talents. No one has yet had to sing "Can You Feel The Love Tonight" or "Mony Mony" (though poor Anthony had to slug through "I Don't Want to Miss a Thing"). Sure they gave "Being Alive" to Seamus, whose eyes were cold and dead throughout the whole performance, but isn't the fact that it was on the show at all reason enough for praise?
- The other musical choices. Notably, the hilariously cheesy use of the Phantom Menace theme over the previouslies and the horrible Phantom of the Opera chords that play whenever they introduce Webber. It's still not gotten old.
- The general good feeling one gets while watching the show. Personally, I'd much rather see all the boys hug each other when they're praised than seem smug and arrogant about it. It's a competition, but the atmosphere seems amazingly friendly and encouraging.

I never thought I'd be so invested in a show that was casting for Joseph and the Technicolor Dreamcoat, far from one of my favorite musicals. But it's drawn me in, and despite likely never being able to see the final production, I anticipate the finale. And I'd like to throw my bets in now for Lee Mead, who's given three great performances and looks great in a loincloth. I am starting to wonder how he'll cope with a more upbeat song, however... judges, get on that! I also have a soft spot for the struggling professional who hasn't quite hit the big time yet - for some reason that story is much more compelling than the complete amateur one.

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In other news, I've been listening to & loving the High Fidelity cast recording. It wasn't a great show, but it probably deserved to play longer than two weeks. So many people seem to hate the lyrics to this show, but I think Amanda Green did an amazing job. They're not lyrical or poetic or beautiful, but they have a sense of authenticity and gen-x wit that I really appreciate. I wish Will Chase sounded as good on the cd as he did in the theater, though - I saw it closing night and he absolutely blew me away, but on the recording his voice sounds tight and nasal. The songs don't have quite the same energy (a problem on so many cast recordings) so the score's flaws are glaring and tracks like "Ready to Settle" come off far better than the upbeat ones. But it's worth a listen. If only for "Nine Percent Chance" and the opening, which is overly long but thoroughly enjoyable.

Tonight I'm going to a Travis concert at Casey's behest.
And I am done with half of my schoolwork... only eight days until I'm completely finished with college! Ack!

Legally Blonde, thoughts, & bye Jersey Boys

Now that the Legally Blonde reviews have been printed and are exactly what I expected (mixed), I'd like to state what seems to be an unpopular opinion on the message boards: I loved Legally Blonde. I'm going to try hard not to be influenced by the world's disdain for the show and maintain my vocal love for it, but it will be a challenge. It seems like such a fashionable sentiment to be cynical about the theater being produced today, as if it will never be as good as it was in the golden age. Sure, High Fidelity was no The King and I, but so many seem to forget the countless shows that closed on opening night (all detailed in Ken Mandelbaum's amazing book Not Since Carrie). And it's true - musical theater will never be as good as it was then again. But this isn't wholly because of the quality of the shows. It's because of the complete lack of cultural relevancy they hold. Oklahoma is a classic because of its flawless book and score, but it's remembered because songs like "People Will Say We're in Love" were played on the radio both as sung by the original cast and covered by brilliant musicians like Ella Fitzgerald. Broadway has failed to adapt to the changing times, and even when the shows try to reflect modern music, like In the Heights and Spring Awakening, they are still largely ignored by the majority of America. The latter is the only musical on the boards today that I could imaging having significant air play, but that particular occurrence has failed to happen.

In all honesty, while Wicked and Legally Blonde are considered the shows for the screaming teenage girls, I've noticed it much more with Spring Awakening. And that worries me. I enjoyed the show and loved the score, but couldn't overcome the horrible implications of the story. I've participated in more discussions than I care to admit regarding the final scene of the first act. The play makes it very explicit that Melchior rapes Wendla, but the musical shows some level of consent. Spring Awakening tricks the audience into thinking that because Wendla agrees (after some level of coercion) to have intercourse it's not rape, despite the huge gap in knowledge about the acts between the participants. She doesn't even know it can get her pregnant, he does - to me, that's rape. It sets a dangerous example to the young audience members, most of whom reply to my comments with a "But she obviously loves him! So it's ok!" Give me Legally Blonde over that any day.

But Ben Brantley made an interesting point in his review. (No really! He did. Ben Brantley said something I cared about. Amazing...):

But what about those who don’t appreciate the value of a manicure or a leg wax? Among Elle's Harvard classmates is a dowdy lesbian (played by Natalie Joy Johnson), who is routinely the object of the show’s most unsavory jokes. Which makes you wonder uneasily if the message of "Legally Blonde" isn't just that it's O.K. to be pretty, but that it's not O.K. not to be.

Despite the fact that Christian Borle and Laura Bell Bundy aren't the conventional beauties he makes them out to be (though I think they're gorgeous), what Legally Blonde is really missing is the character played by the normally handsome Oz Perkins in the movie, listed as "Dorky David Kidney" on IMDB. One of the best scenes in the movie is the one where Elle pretends to be his spurned ex-girlfriend and shocks the two girls who were cruelly mocking him. That could have easily been included, and I can think of at least one of the ensemble members in that cast who could have dorked themselves up to play that character convincingly.

Still, Legally Blonde has an enjoyable score, great cast and amusing book. Who cares if they're marketing it to a demographic that so often becomes overly enthusiastic and obsessive - if it works as a gateway to loftier theater, and entertains in the meantime? It's great.
Of course, this if coming from someone who loved the hell out of Jason Robert Brown's 13, which was similarly maligned on the message boards for being suitable only for pre-teens. I also watch a lot of Disney Channel and Nickelodeon.
I really miss being 11.

Speaking of girls becoming overly enthusiastic and obsessive, the first national tour of Jersey Boys leaves on Thursday. I'll be seeing that, my 10th time, then seeing the new cast led by Jarrod Spector on the Friday for my 11th. Christopher Kale Jones, Deven May, Erich Bergen and Michael Ingersoll have consistently given incredible performances and been extraordinarily kind at the stage door, and I'm sad to see them go. A special shout-out to swing Taylor Sternberg, too, who I've now seen in three separate tracks and has brought something amazing to all of them.

The Last King of Scotland (2006)

Do you ever fall in love with an actor so deeply that you wish you could go back and insert them into every other movie? Like they're suddenly a patron at Rick's Cafe or one of the hostages in Die Hard. I do it often - I'm quite flighty and emotional that way - and right now the poor sod who's cursed with my attentions is James McAvoy. Scrawny, Scottish, pale man with a farmer's tan? Yep, sounds like my type. Casey and I saw (and loved) him in Starter for Ten last month, and he's stuck in my mind since then. So I decided tonight to watch The Last King of Scotland.
I suppose it's a bad sign that the first thing I mention about the movie is my love for the lead actor, but that's more a reflection of my shallow tendencies than the movie itself. Forest Whitaker is completely unrecognizable in his role, and it rightfully won him an Oscar. I'm not sure it's the sort of performance that really grips me, though. I feel like I've seen so many people play stylized historical figures that the trick has lost its impact. The past three leading men Oscars have been won by people playing Ray Charles, Truman Capote and General Amin. The flaw is undoubtably in the writing for original roles. Or perhaps I just wish that people would recognize the acting merit in less flashy roles.
I still haven't spoken about the movie. I may be avoiding it - I knew very little about the story before watching and I'm so glad I did. It took a while to grow on me, but the payoff was more than worth it and I'd rank it as one of the best films of last year. Not hard, frankly. There were about five other films that I even liked last year: The Painted Veil, Hard Candy, Lucky Number Slevin, Casino Royale and The Departed.
I've given up on making this blog post intelligible. I'm sorry. One too many Mike's Hards? Or hormones destroying any writing prowess I pretend to have?

I can tell you what I'm doing now, though. Seeking out: Shameless, Rory O'Shea Was Here, Macbeth (TV), Bright Young Things (bonus crush: David Tennant!) and (my personal favorite title) Bollywood Queen. Anxiously awaiting the releases of: Penelope, Becoming Jane, Atonement and Wanted.