How much longer can we call rising stars MS MR underground? Not much longer I think – may they puke glitter all the way to the top (you’ll see what I mean)! Video after the jump.
“Ridiculous theatre”, a tradition of queer theatre born in New York in the 1960s, has its own particular acting style that mixes high camp, high energy, maniacal precision and an almost supernatural conviction. Director John V. N. Philip’s entertaining revival of Camille by Charles Ludlam – Ridiculous theatre’s most accomplished playwright – succeeds best when the actors involved have a command of that vivid, kaleidoscopic acting style.
The current Broadway revival of Drood is good old-fashioned music hall fun: Rupert Holmes, the musical’s author and composer, has set the Dickens whodunit in the context of a Victorian British music hall. The new cast recording captures that quite well. Sometimes even improves upon it – the patter song “Both Sides of the Coin” is almost incomprehensible onstage; here, it’s considerably easier to understand. Drood is intended to be silly fun, and nobody in the cast spends any time pretending otherwise; however, the music is often quite lovely, which is even clearer here.
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For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.
Lovely, jangly new indie pop single from Swedish group Alpaca Sports. Video after the jump.
This is not to be missed – and the last show is next Wednesday, and the seats are selling fast! Ella Fitzgerald once called Marilyn Maye “the greatest white female singer in the world.” That’s no exaggeration; she may be the only singer alive who combines a great vocal instrument with interpretative flair and savoir faire equal to Ella’s own. There are younger singers who might posses more powerful voices but I can think of no other singer who possesses Maye’s combination of interpretive ability, rhythmic verve, and vocal range – at 84, her voice is the envy of singers 40 years her junior.