Early 19th Century Italian opera…just not my thing! I mean, this opera is probably the very best that time and place produced, and I admire its virtues and chuckle at its humor (more than I do for some other supposedly funny operas) – but still it leaves me wanting something more or something else.
Tag: New York
This rarely happens with musicals, but the reason to see this impeccably staged show is the director: Bill Condon, the man who arguably did the most to revive the movie musical with his script for Chicago (2002) and his script and direction of Dreamgirls (2006) (while also writing and directing such queer-themed films as Gods and Monsters and Kinsey). His love of musical theater is obvious, so it was probably only a matter of time before he entered the Broadway arena. With Side Show Condon successfully translates his storytelling magic to the stage.
In this riveting evening of lip-synch, there’s a lot of people up on that stage, even though there’s only two bodies. John Epperson lip-synchs an interview Joan Crawford gave in 1973 in New York’s Town Hall. Or is it Epperson as his drag persona Lypsinka as Crawford?
Not to mention that some of the additional audio is Faye Dunaway portraying Crawford in Mommie Dearest, and some other cues are extracted from films where Crawford is portraying yet another “somebody else.” And then there’s the interviewer, lip-synched in most performances by Steve Cuiffo (Hairspray lyricist and generally brilliant man of the theatre Scott Wittman will perform the role November 18 through December 1).
I really loved this revival of Rodgers & Hammerstein rarity Allegro. It’s not an unarguable classic like their South Pacific, or as rock-ribbed in structure as their Oklahoma! or Carousel. It’s weirder, and in some ways more ambitious, than any of those – already enough to gain it a place in my heart. On top of that, director John Doyle’s stripped-bare production reveals its considerable virtues, and, for me anyway, secures its place in the R&H canon.
The artist otherwise known as Lypsinka takes off the wigs, makeup and sound design, and – lo and behold – is still an engaging entertainer without all that. Sure, John Epperson sans the Lyp armor is a very different sort of performer, but his much more traditional cabaret act Show Trash holds the stage, with considerable grace.