00049: MJ MUSICAL

MJ: The Musical

I must start by saying I do not like jukebox musicals very much. I have many reasons why I don't like them, but mainly because they seem to be created with little originality, following a simple, uncomplicated, and very predictable structure and storyline. You may disagree with me but that conversation is for another time.

Because of my dislike with jukebox musicals, I was not expecting MJ: The Musical at the Orpheum Theatre in San Francisco, to be much of a show. It is a jukebox musical after all, and my experiences with such shows have been disappointing. The same can be said about musicals based on films, which is a topic I will address in a different blog entry. 

And so, I arrived to the show with conflicting feelings. I didn't expect much of this jukebox musical but deep down I wanted the show to be good because Michael Jackson became my favorite music artist after he came out with "Off the Wall," the only music album by Michael that has been inducted in the Grammy Hall of Fame. And while I don't wear Michael Jackson T-shirts or the white glove, or anything remotely related to Michael Jackson, like many audience members did when I attended the show, I do consider myself a fan. He is the King of Pop after all.

The Orpheum Theater, SF CA

I first have to say how much I enjoyed the beginning of the show, which was "a rehearsal," where a band and dancers were warming up while waiting for Michael to arrive. And when he arrived, he only had a couple of words to say and off they all went into rehearsing a musical number. And from that moment on, I was hooked. And while I knew a lot about Michael's life, musical challenges, and career obstacles and tribulations, it was how the musical was structured and how the plot was set that made this jukebox musical very different from the others I have watched. All thanks to playwright extraordinaire, Lynn Nottage. Yes, there was a plot element that aided in transporting us to Michael's past as a child and slowly moving forward to "the present." But again, its very tight structure and its smart sequence of events within the show made MJ: The Musical a delight and entertaining theatre piece.

One of the many reasons I don't really like jukebox musicals is because, since the majority of songs in such musicals are well-known pop songs or well-known songs by the artists the musical is about, most of the time audience members start to whistle, holler, clap, and/or cheer when they hear their favorite song. At times, audience members get up from their seats and start to dance and even worse, sing, as if they were at a concert. This type of behavior, whether justified or not, is one of the many reasons I dislike jukebox musicals. So throughout the show, while enjoying MJ: The Musical, I was always nervous that some fan would start "joining the fun." And there were a couple of times when that almost happened, but the way the show is written and the way the songs are arranged for the musical, made it difficult for unwanted audience participation to occur. In fact, there was a moment when people started clapping to the beat with a certain song (I think it was Man in the Mirror.) But a few seconds after that, the audience had to stopped because the music rhythms changed and the vocals were done not just by "Michael Jackson" but also by other characters on stage. When that happened, I smiled and I think I even uttered (very softly) the word "yes" in a moment of triumph. 

The merch was selling out! The stage was awesome!

Besides having a very good structure and plot, the acting, the choreography (by Christopher Wheeldon), and the dancing in this musical were amazing. There were times when I thought I was watching a traditional musical with traditional musical numbers with a twist. So as a jukebox musical, the show is so different and so unexpected that it surprises you. At least, it surprised me. 

The show is also very artistic. Even though we are following Michael's life as an artist while putting together his "Dangerous Tour," the show gives the audience the opportunity to understand where Michael's dancing inspiration came from. The transition from the opening number in act two into "Smooth Criminal" becomes a dance history lesson, a homage to great American dancers, such as Fred Astaire, Bob Fosse, and The Nicholas Brothers, artists who made an appearance in the musical, and artists who influenced Michael Jackson's moves, such as the pelvis thrust and the infamous moonwalk. And believe me, the transition from one number to the next is as smooth as the title of the song itself. 

The choreography is top notch; the musical arrangements are unexpected, the dancing is superb, the acting and "off the wall,” and the singing, oh, the singing is just glorious. Everyone in the cast has its moment to shine and everyone in the cast who ended up playing more than one character is magnificent. But of course, the show would be nothing if there wasn't an actor who could embodied Michael Jackson's body and spirit, and the night I went, actor Roman Banks was that vessel, the conduct for Michael Jackson's spirit. Mr. Banks walked, spoke, sang, and dance like the late "King of Pop," making this musical a delight to watch.

At the end, because of the great writing by Ms. Nottage, because of the great Michael embodiment by Mr. Banks, because of the unique choreography by Mr. Wheeldon, and because of the great artistry by the ensemble and the technical team, MJ: The Musical was an unexpected jukebox musical I enjoyable and turned my night at the theatre, truly enjoyable.  

00048: THE WIZ

I recently attended the Broadway Bound production of THE WIZ, and let me tell you it was a spiritual experience to say the least. The Wiz was originally produced on Broadway back in 1975, and like today's revival, it had a pre-Broadway run in 1974. 

After its Broadway debut in 1975, where it won 7 TONY awards, including best musical, The Wiz was made into a film (that flopped) in 1978, then came the first revival in 1984, then a live TV staged version (The Wiz Live!) in 2015. There was even an Encores! production at the New York City Center in 2019, and this 2023-2024 pre-Broadway tour is the official second revival of the show. 

The production I saw took place at the Golden Theater in San Francisco on a Saturday afternoon on February 3, 2024. And unfortunately, because it was a matinee, I did not get to see Wayne Brady as "the wiz," Still the show I saw was a great production, with good acting and outstanding singing. The costumes were, for the most part, beautiful and well done, except for the costumes for the Dorothy's three friends. Those costumes need a complete make over because they look trashy. The lighting was spectacular, while the sets were a mix of very good and okay. And the background projections were spectacular.

If you don't know anything about The Wiz, the show is basically the same story of "The Wizard of Oz" but within the context of contemporary African American culture. And because of such retelling, the show can be modernized to fit the context of today's African American culture. 

Granted. I had never seen the show but simply by listening to the cast recording of the original Broadway production, I can feel its 70's vibes, and while watching the new revival, heading to Broadway in just a few weeks, I felt its 2000's vibes too. This is, in fact one of the reasons why I like the show so much. 

Despite not being part of the culture, I was able to appreciate and connect with the many things the characters did and said, as well as with the different types of dancing styles that were shown throughout the production. African dance, vogue, twerking, etc. 

One of the most memorable experiences for me, is the fact that, as the many different characters sang their songs, I felt compelled to snap my fingers in the middle of a song, or emit short sounds of approval/agreement with what was going on stage. Many times, like many other audiences members, I felt I was connecting with the characters and their words, their songs, their attitudes, their actions and reactions, and their body language. 

The singing was so powerful that at times I felt the actors on stage were competing against each other to see who could sing the loudest, hit the highest note, or even received the loudest reaction from the audience. And all of this, mind you, without being disruptive or taking away from the production. The entire cast, especially the ensemble was sassy and everyone's delivery, stage presence, and acting style reminded me of an article I read about "Black Acting Methods," bringing everything to a full circle and finally making me understand the meaning of such article.

Unlike other productions, where I found myself annoyed at audience uninvited participation, the production of The Wiz, opened the door for a communion between the actors on stage and the audience. I, for the first time in a very long time, felt invited to become part of what was going on stage, without even moving from my seat. 

And yes, I'm very aware this new revival is filled with controversy, from people who don't like the show because of its modernization and people 'hating' on the show because it uses AI to replace the set, to the mistreatment of cast members and dislike of the director because, in their own words, "he sucks." 

Despite all such negativity, I liked this production of The Wiz, and unlike other shows were the choreography and dancing, and even the singing feels out of place, in this show, everything just clicked and truly brought me into communion, not only with the cast, but with the audience. This is something barely seen in theatre nowadays. 

00047: UNWANTED AUDIENCE PARTICIPATION

For several months now, actually more than a year, many of my fellow theatre artists, theatre colleagues and I have been discussing the, now very popular issue of the unwanted audience participation incidents. 

I'm sure you know what I'm talking about. That moment when that one person in the audience starts to sing during a musical number and purposely (or not) tries to outdo the actor on stage. Oh, yes, instances like this have been happening for a long time now. A quick google search shows people discussing the issue as far back as 2015, so it seems this issue has been happening for a long time. Wait, maybe that is not long ago or maybe it is. I don't know. Since the pandemic everything is in some sort of time warp that is difficult to decipher. 

Anyway, a few years back I went to see a production of West Side Story, and being completely annoyed by a couple of people who started singing "Somewhere" along with the actress on stage. "This isn't a concert," I said to myself. "So shut the hell up." I added as I tried to incinerated them with my gaze. 

That was one incident, long time ago. 

I do think though, that the issue about audience members uninvitingly singing didn't become such an issue until jukebox musicals came into being. Jukebox musicals made used of very popular songs instead of comparing new songs. Most of the time jukebox musicals are bio-musicals (based on someone famous) such as Tina The Musical, Ain't Too Proud, or Jersey Boys or used song from a popular album or music group to create a "new story," such as Mama Mia! Jagged Little Pill, or American Idiot. I'm not putting the blame on jukebox musicals but I do think that the unwanted audience singers phenomenon has become a more unpopular occurrence because of this type of musicals. 

I pause here now to be fully transparent about the fact that I very much dislike jukebox musicals; I do. But I'm not here to talk about that, though this topic merits its own blog entry and I will write about it. Later. 

Since jukebox musicals use pop songs that are well known by most people. And since many of these songs are songs audiences have come to "adore." Or since many jukebox musicals are based on very popular films that contained very popular songs--Sister Act The Musical--when audiences go to see those musicals, they feel they must sing along with the actors on stage or else. After all, in my opinion, many of these audience members only go to see the musical because it is about their favorite music artist or based on their favorite film. And because these people have a "personal connection" to the song(s) they feel they have to sing their hearts out, when their songs are being performed on stage. In Manchester, England, for example, an incident of such behavior happened during the production of the musical "The Bodyguard." The performance of the show had to be cut short, the police called, and an audience member was escorted out, against their will. This individual tried to out sing the actress onstage during one of the most popular songs known on earth: "I Will Always Love You," sang originally by Dolly Parton, and then re-arrange by Dolly herself for the film (and Witney Houston) "The Bodyguard." Another incident happened on Broadway during the production of "Death of a Salesman," where the main actor, Wendell Pierce, had to break character and addressed the unruly behavior of an audience member in the front row, which also had to be escorted out. 

I admit that even though I don't like jukebox musicals, I have attended a few due to particular circumstances: taking a family member, given tickets as a present, or for research purposes. In every show I have attended, there has always been one or two people (or more) who are just singing loud enough to keep me from enjoying the actors' performances. This happened when I when to see Moulin Rouge The Musical, Tina The Musical, and Beautiful: The Carol King Musical. 

I get it. I know people love "this song or that song." I get it because I have my favorite pop songs too, I also have my favorite musical theatre songs as well. When I hear them, I sing them. Loud and out of key 99% of the time. But if I'm in a theater, watching a musical and such favorite songs start, I don't sing at all because I'm not there to sing. I'm there to watch others sing those songs. And like me, people paid money to hear those actors sing the songs. If I decide to sing, I'm not only being disrespectful to the actors on stage, but I'm also going to be the unwanted audience rude member that people will hiss at because they paid money to see the musical, not to see me. It's that simple. Just because the cast in Les Miz sings "Do you hear the people sing?" doesn't mean I need to start singing from my seat. 

Unfortunately, these unwanted audience participation situations are happening more often now than before. And at times, it's not even one audience member but many. The time I attended the production of Tina The Musical, people all over the audience were singing along with the actors when the character sang "What's Love Got to Do with It." There is no doubt that such song is a favorite of mostly everyone. And the moment I heard the musical chords I smile because I knew it was coming. But my excitement die when many different audience members started to sing the song. It was truly annoying. And I wasn't the only one because audience members were schussing at those who were singing.

At the end, I simply think it is common sense and human decency to not disturb and/or disrupt the theatrical experience everyone is trying to have. But many people feel that paying to see a show gives them the right to do what they want, becoming unwanted audience members instead of being respectful and communing with everyone attending. And knowing that more jukebox musicals are coming and that, in general, most people are showing their true entitlement colors, (I mean, even does anyone remember what Lauren Boebert did?), I'm afraid to say that the unwanted audience participation individuals will continued to exist. And that is an unfortunate reality. 

00046: WINTERLAND

The cast of Winterland

 While my show Alicia from the Real in Wonderland was being produced at Contra Costa College, the place where I worked as a full-time theatre faculty and Chair of the Drama Department, the president of the college approached me and asked if I could write a family holiday play. And since our president is a very strong supported of the arts, especially theatre, I said yes. 

Krumpus is defeated

The result was a 1 hour and 10 minute play titled, WINTERLAND: A Holiday Adventure. The play features many known Christmas related characters and many others that are not known. The play had its premiere in December 2023. Those who attended the show said it was funny, clever, entertaining, and most importantly, a refreshing holiday story never seen before. "It was nice," someone said. "To see a Christmas play that wasn't the same old Christmas story." 

"Wait, you're a mouse and you can talk."

I personally think audiences like the play because it was different, an unexpected holiday story, and because it was at the end, it was an adventure with a female character as a protagonist. Now, with a new goal for December 2025, the one-act story will be turned into a full-length play, mainly because right now the play ends with the main characters going on a new adventure. 

00045: CURSED THE HOUSE OF ATREUS

The cast of "CURSED: The House of Atreus"

I did it! I finally was able to write a play based on Greek mythology: CURSED: The House of Atreus. It took me two years to write this play. One year to simmer the idea and write a first draft and one year to work on the play in order to make it what is has turned out to be.

At first, I just wanted a short play, somewhere between an hour and 10 minutes and an hour and 20 minutes. At the end, the play ended up being a two-act, two hour play. There was a lot to say about the Cursed of Atreus. 

The Furies

The play, based on Greek mythology and inspired by Aeschylus' The Oristeia, mixes classical and modern language, as well as the used of modern pop references. The play is written for an ensemble of at least 15 people but it can be done with more actors, or if double casting with less. Another cool thing about the play is that any actor can play any role. And as a playwright I have opened the door for any gender, any identity, any body type, any race, and any anything to be part of the show. 

Movement

The play calls for no sets and no props, just one single costume. Although, a director can add a set and props, and even make costume changes if desired, but I think the play works best as written. Another aspect of the show is that it invites the director and the actors to use movement techniques such as viewpoints, Suzuki, Lecoq, Laban or any other theatre movement approach to create transitions and scene changes, especially since the play story jumps from the present to the past, to a near future, has flashbacks, reversals, and so many other theatrical conventions. One last thing about the play, the use of music, which can be from classical to modern, to surreal, to... well, the choices are endless. 

"Look at him! Look! At! Him!

The play was produced this past November 2023 and I was lucky enough to direct it. Now the production will be presented at the Kennedy Center American Theatre Festival, Region 7 Competition in February. Yes, I am very proud of this work. 

00044: ALICIA FROM THE REAL IN WONDERLAND

Contra Costa Production

A while ago, during a work meeting, the dean mentioned that perhaps we needed to produce a play that would cater to young people. "Sure!" Everyone said with enthusiasm as they looked at me for a more concrete answer. "I think something like Alice in Wonderland would be perfect," I said. Everyone agree. "But of course," I added. "If we are going to do that, I'm going to write my own version of the play." I concluded. And the rest, as they say, it's history. 

Contra Costa Production

In Fall 2022, I directed my own version of "Alice in Wonderland." I combined the two books written by Lewis Carroll and using different characters from both manuscripts, I came out with my own version. Being that the story is about a "little girl" who is involved in some weird trip, the version I wrote is about a 17-year old teen Latinx girl who is running away from home, runs into a rabbit and off she goes to wonderland where she realizes home is where she should be. 

College of Wooster Production

It only took me about three months to come out with the first draft. And then, like magic, within two more months I had the first official draft, and by the time auditions came about, a third draft have been written. And of course, as the rehearsal process took place additions, deletions, and changes took place. By the time the show opened, an official version of the play was done. 

College of Wooster Production

Alicia from the Real in Wonderland opened in November 2022. It had a very successful run of six performances (our usual run) but with sold out houses every time. During its run, a friend and colleague from another university heard of the play so he asked me for a copy of it. He presented the script to the director who read it and immediately liked it. So, in Spring 2023, the play was produced at The College ofWooster in Ohio. I heard the show was also a success. During the run of the show, someone from a Children's theatre company saw it, reached out and said they wanted to produce it. So, in Fall 2023, the show was produced by Akron Center for the Arts through Firestone Theatre. Needles to say, so far this play has had a good start.