00059: GYPSY WITH AUDRA MAcDONALD (BROADWAY)

January 12, 20255

As someone who teaches musical theatre and has dedicated his last 10 years of teaching to centering people of color within the theatre world, I have talked about George C. Wolfe and other African American theatre artist who have tried to break the Broadway mold. Going to see Gypsy was not about seeing the musical but the work of George C. Wolfe as director and the star of the show, Audra McDonald.

During the fall semester, I talked about Shuffle Along (among many other shows), which was done on Broadway in 1921, and how this musical was an influence to many other musicals of the time. I also talked about George C. Wolfe and his reimagining of the musical, giving it a new titled, Shuffle Along or the Making of the Musical Sensation of 1921 and all that Followed. And while I never saw the adaptation, I know a few things about it to understand that George C. Wolfe tried to make a statement in regards to African American entertainers and Broadway. And so, with this in mind, I took my seat at the Majestic Theatre to enjoy the greatness of Audra and Wolfe, but I was not ready for what was about to happen. 

To say that the production under George C. Wolf was spectacular is an understatement. To say that Audra was a marvel to watch on stage is diminishing her talent. Both the direction and acting were strong (as expected) and far more emotional and challenging (in a good way) than expected. I also anticipated the director to make settle but very important statements about race with the production. He didn't disappoint. 

The music, the lyrics, and the story are all great, most of us know that. After all, the majority of historians and theatre critics considered Gypsy the best musical ever written. They are not wrong, okay, we are not wrong. The sets, the lights, the costumes, and the makeup, were all, of course, on point. The acting, the singing, and the dancing, as well as the choreography were also all excellent. What I want to concentrate on, instead, is the directorial approach by Wolfe and the interpretation of Rose by McDonald.

To start, when Rose "collects" the different boys that will be part of June's act, all the boys are African American. I expected this because this is George C. Wolfe and he could make that happen. Also, Rose and her two daughters are African American so it made sense to have an ensemble of Black boys. But once the musical number that serves to show the passing of time comes around and the boys "grow up," they are all replaced by White teenagers. And while this switch may not have a significance to many in the audience, it does become a very important choice and statement from the director. It sets up the question: Why make such change? The answer, of course, comes later in the story. 

Second: When June and Louise find themselves waiting for her mother and George to discuss their new vaudeville contract with an influential producer, the two sisters sing the musical number "If Mama was Married." It is here in this number where we clearly see two sisters who, although love their mother, have started to develop a desire to be free from their mother's tight grip. But while Louise (played by Joy Woods) always sings the phrase "if mama was married," in a sweet tone, projecting a hope that she may or may not be able to reach, June sings the same phrase with anger, projecting a very strong resentment towards her mother.

Never before have I seen such interpretation of the song. People, including myself, laughed at some of the commentary the girls made about their mother, and we also start to feel sorry for the young women. With Jordan Tyson in the role of June, you also start to see how this song becomes the moment when June expresses the hate she feels toward her own mother. While both actresses have strong voices, sing with energy, and beautiful harmonies, their interpretation under Wolfe's direction, turns this song into a foreshadowing and a sad reality for the sisters, who, sooner or later will have to be strong enough to disengage from their mother, especially June who is now showing us a life that is horrifying to her rather than filled with joy. Her anger and resentment is real.

Later in the story, Rose finds out that June and one of the boys from the act have gotten married behind her back; they also have eloped. Rose, then decides that Louise will now lead their vaudevillian act but instead of creating a new act for Louise, Rose simply tries to make Louise like June, forceing her to wear June's blonde wig. But Louise isn't happy with Rose's choice so she tells her mother, "I don't want to be blonde; I want to use my own black hair." It is at this moment when we are able to connect the reason why Rose "switched" from having young black boys to white teens. We come to realized that Rose not only wanted June to be successful in show business, but understood that in oder to "make it," June needed to portray the "blonde beauty." This is a very poignant moment in the musical because without changing anything in the musical, in terms of its writing, Mr. Wolfe highlights the difficulty and struggles vaudeville black troupes experienced (and how today Black actors continue to experience) in show business. Rose's decision to replace her black boys for white teenagers is a "smart" career move, and a smart directorial decision to highlight the struggle of Black entertainers. 

Let's move now to Audra's performance. From the start, Audra commands attention, mainly because she is a powerhouse on stage. One cannot help but to cheer and clap the moment she enters. But also because the way she slowly injects little acting choices to Mama Rose. At first, she's just a regular stage mom, with demands about this and that. But soon, we start to see beyond the strong-will woman who wants her daughter June to succeed in show business. We start to see her obsession, her over-powering control over every single detail of those around her, including George (played incredibly strong by Danny Burstein), who slowly and surely figures out that Rose has only one objective: show business. 

As the story develops, Audra's Rose start to show signs of weakness and fear. "Everyone always leaves me," she tells us. And while we all may feel sorry for her, we quickly start to understand that it is her own doing that makes people leave. I was closed enough to see Audra's eyes twitch, her hands tremble, her mind drifting in thought whenever a situation became difficult. When June leaves, Rose only allows her a few seconds in her mind, and you almost see the pain in Audra's face, but, all of the sudden, she hides her pain by deciding to rebuild the vaudeville act with Louise at the front. 

Later, when the day comes for Rose to marry George, we all know is not going to happen because, in  previous scene, when George asked her to marry her, Rose's answer was "yes," but Audra's body language and facial expression was telling us otherwise-the twitching and hand-shaking was there again. The day of the wedding, we see Rose feeling uneasy, and it is Audra's defeated body language and mumbling lines that let us know that not only her show business dream has come to an end, but also that she does not want to marry the man that loves her. Yet there is no escape for she promised George to marry him when their vaudeville act contract ended. And by now, all the members of their vaudeville act have gone, so she must fulfill her promise. Yet, when she suddenly hears that the headliner for the burlesque act is nowhere to be found and that the show is in a bind, Audra's body suddenly perks up, and as if hit by a lightning bolt, Rose is full of energy and decision making, telling the burlesque director that her daughter Louise can fill the lead's spot. It is here where George comes to a realization and decides to leave Rose as she sacrifices her daughter Louise's freedom and happiness, over a burlesque act.

And so, Louise becomes the infamous Gypsy Rose Lee, and even with all her success, she isn't able to make her mother Rose entirely happy. We see a depressed woman now, and, at the same time, a woman who sacrificed everything for her daughters, and who also regrets not being under the spotlight herself. When Audra sing the gut-wrenching last song ("Rose's Turn") we are witnesses to a woman who slowly starts to deteriorate before our very own eyes. The repetition of the lyrics and the inability to sing some of them, suddenly become hunting, shocking, and horrifying as we see Rose loosing her composure, her mind, and her spirit. By the end of the song, we are devastated because Mrs. McDonald delivers one of the most powerful interpretations of the song ever done before. The Rose we met at the top of the show is no more. Yes, many actresses before Mrs. MacDonal have belted the song to stratosphere levels, Audra doesn't need to do that, all she needs to do is deliver a powerful interpretive performance, which she does as no one ever before. And that brought not only chills but tears to Louise, who is watching her mother from the sidelines, and also to the eyes of many audience members, including me. 

At the end of the song, the audience stood up on their feet, given Mrs. McDonald an almost five-minute ovation that was only stopped by Louise's first line in the last scene, and while in prior performances Louise has walked off stage, leaving her mother behind, or has walked off stage and has signaled Rose to join her, in this production, Louise gives her mother her expensive lush fur shoulder boa and a very strong heart-felt hug. Then, showing her compassion, offers Rose her hand, and slowly both, mother and daughter walk off into the sunset. And the tears continue. 

GYPSY BOWS

This musicals gets four very emotional snaps!

00057: SUNSET BOULEVARD (BROADWAY)

January 13, 2025

Before I start my review on this Broadway revival, let me be very transparent about one thing: I DO NOT LIKE ANDREW LLOYD WEBBER'S MUSIC. I find it simplistic, repetitive (read boring), and from a whole musical theatre composition one or two song are good and the rest are just noise. And while I will never be able to compose a single musical group of two notes myself, I believe his musical theatre compositions are to theatre what pop music is to music in general: catering to the simplistic mind. You may agree or disagree with me. That isn't important.

Now that such thing is out of the way, allow me to talk about the Broadway production of SUNSET BLVD's revival. This production was excellent, not because of the music and/or lyrics, but because of its directorial concept and approach. 

The musical is based on the 1950's film of the same name, a film that was done in black and white and received an OSCAR for its art direction (being filmed in black and white.) The revival's director, Jamie Lloyd, took note of such achievement and follow on such steps by presenting the musical as a black and white cinematic concept. Such approach paid off. 

The actors wear black costumes with touches of white here and there, a white t-shirt, a white tank top, or white socks, or a hint of white in some of the costumes. The lighting is stark, harsh, and white, and coming from all directions, projecting giant shadow on the standing walls found in front of the proscenium arch. There is no set, just an empty stage where actors are free to move as slow as possible, or a fast as needed, and in configurations where the choreography at times is dance moves, at times is interpretive dancing, and at times is simply artistic movement. Add to that movie cameras manipulated by different chorus members, projecting the actors on stage and/or close ups of specific actors on a giant moveable screen that appears and disappears, and you have a musical that is being done not only onstage but also on the screen as a black and white movie. The result, a cinematic feast on a live stage. Pure art!

Mandy Gonzalez

The original actress playing Norma Desmond is Nicole Scherzinger, which according to reviews and word of mouth is fantastic in the role. I, however got to see Mandy Gonzalez and I couldn't be happier because as a Latinx Theatre artists, seeing another Latinx Theatre artist in such a role brings personal pride. I only mention this fact because in the show I saw, all the original cast, but one of the actor, performed on stage, and all of them did a wonderful job. 

This review is not about the music or the lyrics or the musical composition, trust me, it is not. There are a couple of songs that stand out ("Sunset Boulevard" and "As If We Never Said Goodbye"), but nothing else. does This review is about the directorial concept and the technical aspects of the show, which make the musical bearable to watch. Honestly, I was bored with the music but the lighting, the choreography, and the camera work kept me paying attention, even when I wanted to leave. 

As I said before, all the actors did a wonderful job in their roles as actors and singers. The chorus also played an incredible role in this production and they all did an excellent job. It is the music that doesn't really convince me. Several times I heard short snipes from other shows: CATS, Evita, Phantom. And like in the other musicals, in Sunset Blvd, only a couple of songs become a highlight. But the visual creation on stage and the camera work, brought the scenes to life and gave them new perspective. 

Before the Show

There is one particular scenes when two characters are confessing their love for each other, even though they are dating other people. During this scene we see one of the other people on stage (Norma), in the background, hovering like a menacing shadow (and it does makes sense), while the other character being talked about is seen on the screen, crying, and as audience members we understand what is going on and how their heart is being or will be broken when learning that the women he loves is actually in love with someone else. This is an emotional moment that stays with us for a while. It is, because like in a film, the camera help us focus our attention on who is being affected by the scene being performed. It is scenes like this that makes this on stage musical, feel like a film. And for this reason, along with all the excellent technical work and directorial choices that Sunset Blvd is a good piece of theatre, as long as you are able to put up with the musical mediocrity of its composer. 

This Broadway revival gets two artistic snaps. 

00054: WHY WOULD I MISPRONOUNCE MY OWN NAME?

Let's start with the obvious. Irma Herrera is not an actor, and I don't mean this in a negative way. She's a "writer, solo performer, social justice activista, lawyer, and world traveler." That's how she introduces and identifies herself on her website, irmaherreradotcom. But more than a "solo performer," I would say Irma is a storyteller and she proves that in her one-woman show: "Why Would I Mispronounce my Own Name?" presented at Central Stage in Richmond CA.

The original production was directed by Rebecca Fisher and while I don't know the exact date of the show's original opening, information from Irma's website makes me believe the show first happened around the year 2021. The production I saw last September 2024 still credits Rebecca Fisher as the director. 

The show tells the story of Irma herself, who talks about the fact that her name is pronounce IRMa or, in my better phonetic English assimilation: ear-ma but never ur-ma or ERma. Not only does Irma talks about the importance of standing up to people who mispronounce your name but also about the courage it takes to stand up and correct them when mispronouncing it. I connected with this bit of the show, mainly because my name is Carlos-Manuel and back in high school some teachers called me Karlos-Manual... and I never corrected them.

In her show, Irma also addressed the issue of colorism within our own community and how her mother always told her she was "como una mosca en la leche-like a fly in the milk," referring to the fact that her skin was darker when compared to other family members. This section of the show made me laugh because, when I was young, while we never say anything related to flies and milk, we always use the word "prieto" when trying to remind someone that they were not as "white as they should be" or worse, as "white as we were." For the record, we are brown people, darker than our European American neighbors. We have never, ever been white. 

Irma's show does not just revolved on her personal experiences growing up but also addresses national issues such as politics and the danger of using and/or making fun of names which are different than those used by European Americans. She also highlights the irony about being a person of color and serving in the military but then, when done from your military duties, being ignored, mistreated, and worse, killed in the country you defended. The irony is, if it escapes you, fighting and surviving a war only to comeback to the country you were born and then be shot by racist people, who demand you go "back to your country" because of the color of your skin. Sad but very much a reality in the "greatest country of the world."

As a storyteller, Irma carries herself with ease, and her soft voice forces the audience to closely pay attention to her words and narrative. And while her show is already written, it is easy to note, at least to me, where new information was inserted in order to keep some of the discussed subjects as current as possible, which works fine because the one-hour show is full of insight, educational tidbits, jokes, personal moments, connections with the audience, and a few surprises that make "Why Would I Mispronounce my Own Name?" a must see theatrical experience. 

00053: CHOIR BOY

The first time I heard about Tarrell Alvin McCraney was for his play WIG OUT!, which I saw at the Royal Court Theatre in London. The show was an unforgettable theatrical experience so, naturally, when I was in NYC and ran into information about a new play by the author, I had to see it.

It turns out the play was CHOIR BOY, a play I knew nothing about except for the fact that, because of its titled and its author, I figured it had to do with gospel music. I was partially correct. The show takes place at the Charles R. Drew Prep School for Boys, a private all black male institution. The story revolves around a young man named Pharus who, after waiting for years takes his rightful place as the leader of the legendary gospel choir. But of course, Pharus has his secrets and so does everyone else around him.

Fast forward to the present, September 2024. Shotgun Players in Berkeley, CA is producing Mr. McCraney's play. So naturally, I had to go see it, mainly because I teach a Queer Theatre class and this is one of the plays I ask student to read so we can have discussions about it. Having a live production "refresher" was not a bad idea.

CHOIR BOY is a gay theme play and Pharus is a young gay man who wants to succeed as a choir leader. But hardly anyone is ready for Pharus' life style and the school will make any effort to dismiss Pharus, while his classmates will either dislike him for being gay, behaving in very homophobic ways, or will tolerate him because well, perhaps it is the best Christian thing to do.

The production at Shotgun Players was entertaining. The group of actors portraying the prep students, as well as the two actors playing school figure authorities committed to the roles they played. The singing was glorious and the choreography was eye-catching. Unfortunately, at least for me, not everyone was on point. From the 8-actors ensemble, four of them stood out. Wesley Barker who played AJ James and Pharus' roommate was very charismatic and caring. Chachi Delgado as Junior Davis carried his role with lots of energy and his singing and dancing were high quality. Omar Stewart  showed a lot of vulnerability and insecurity as David Heard. As we see him loving and hating his situation, we come to like him, dislike him, but also understand him. Malcom B. Rodgers as the "white" professor was outstanding as someone who carry himself with both authority and concern for the students. 

The rest of the ensemble was a series of hit and misses. William Schmidt singing was potent but his portrayal of Pharus didn't carry enough emotional vulnerability to truly make me care of his situation. Miles Meckling, as the troubled bully, was extremely too angry and confrontational that his character almost became a stereotype. Brandon DiPaola as "Ensemble Member" and Fred Pitts as Headmaster are easily forgettable, despite the fact that, unlike Mr. DiPaola, Mr. Pitts has a major role in the story. 

For me, the singing and the choreography were the best part of the production. Every actor playing a student had a very strong voice. It is clear they worked hard for the production because their harmonies were on point and a welcoming sound to hear. And while the choreography was eye-catching and creative, it is clear that not everyone in the ensemble is a dancer. Yet, the actors committed to the execution of every single step, shape, and movement. 

When I first saw the show in London, and later in NYC, the productions were about 90 minutes long, Shotgun Players' production ran 1 hour and 50 minutes without intermission, most of the extra time is attributed to the scene changes, which unfortunately pull you away from submerging into the story to truly fall in love with the characters. 

Overall, though, the production is worth seeing, especially because of the singing and the choreography. Tarrel Alvin McCraney's script is strong, containing some very good one-liners that made the audience laugh out loud or shriek in disgust or shock, and all those reactions are expected when one watches a play written by Mr. McCraney. CHOIR BOY is not an essay play to produce. It requires an ensemble of young people who can act, sing, and move with authority and ease. Shotgun Players production's efforts to reach such goals are almost there. For this reason along, and for the fact that Darrell Alvin McCraney's script is so beautifully written, attending this production is worth our time. 

00052: MEXODUS

A few days ago I attended the production of MEXODUS, a new hip-hop play by Brian Quijada. This new production took place at Berkeley Rep in Berkeley, CA.  

I was excited to see this production for two reasons, three really. 1: "Mexodus" is a Latinx play and Berkeley Rep hadn't produced one of them in a while. 2: "Exodus" is a hip-hop play and I love hip-hop, and when mix with theatre, I'm in heaven. 3: "Mexodus's" subject matter is a topic I had never heard of and was incredibly interested in learning about it. 

Since this is a new play and Berkeley Rep loves sharing information about their new works by putting displays in their theater's lobby, I arrived about 45 minutes before curtain time so I could have time to read all the dramaturgical information. 

As expected, the lobby display valuable information about the Mexican border, the Treaty of Guadalupe, and how Texas wanted to be an independent state even before the United States was the United States. The main display included data related to the play's topic: The Underground Railroad between Texas and Coahuila, Mexico's border state, that aided many slaved blacks found freedom. After reading the lobby displays and finding my seat in the theater, I was ready to let myself be engulfed in "Mexudos." 

The play only has two characters: Carlos and Henry, played by Brian Quijada (also the playwright) and Nigel D. Robinson respectively. The show (directed by David Mendizábal) starts with both actors coming on stage and introducing themselves first and then letting the audience know that they will be creating all the music and beats live in front of us. Soon, we are transported to cacophony of sounds coming from all types of objects found on stage. These sounds are looped through a mixer found on a Dj's table. 

Within the first two songs there is no doubt that both actors are incredibly talented. They make music, creating beats, deejaying, and rapping and entertaining the audience. After four songs, a pattern has been stablished. There is a little bit of information on "this and that" and then a hip hop song. More information about "this and that" and then another hip hop song. And after the fourth song it felt predictable and I was looking at my watch. 

After the fourth song things change though. The story about Henry, a black slave, starts to take shape as we follow Henry's struggles and journey to freedom. But here is where the problem lies with this play. While I believe Quijada's play carries a very strong message and one that is very necessary to impart, ironically, the message, and ultimately Henry's story is placed in the back burner due to the fact that much emphasis and focus and given to the creation of beats, rapping, deejaying, and music mixes. Instead of feeling as if I was watching a hip hop play, I felt I was attending a hip hop concert where a loosely story was being sporadically being told to sort of give way to more hip hop moments. By the time Henry finds the tunnel that will take him to the underground railroad and ultimately lead him to his freedom, I was disengaged from the story. I was not emotionally involved. The end was so anticlimactic that, but the time I was standing on the street right after exiting the theater, my thoughts and my theatrical experience with "Mexodus" was gone. 

I am not saying the production wasn't good. It was. And both actors are far more talented than I would ever be. But as a play, the script lacks focus and it is in the need of a good dramaturge, of someone who can help Mr. Quijada, as a playwright, find the spine of the play so his story can be central within the hip hop world he has created. 

The hip hop numbers need to thrust the story forward and help create the development of the main character, this is something that doesn't really happen. There are nice moments here and there, like when the actor Nigel, shares a personal anecdote about his birth and how as a black man, coming from generations of black people, and slavery, he now stands on a professional stage, but overall the story and the character's journey take a backseat. 

And because the actors break the fourth wall from the start, there were times when I wasn't sure whether it was the actor or the character communicating with us. A moment that comes to mind is when Mr. Quijada, as Carlos, enters from the audience and starts a fire. The fire effect is created with a small orange light and the crackling fire sound is created by Mr. Quijada's snapping fingers, which are recorded and loop by the actor Nygel who is standing behind the DJ table. All was good until Mr. Quijada look up to the audience and gesture to the fact that he had made the sound of crackling fire. Some of the audience members laughed, others clapped. It was a "tongue in cheek" moment that was confusing because we are forced to ask ourselves who is breaking the fourth wall, the actor or the character. If it's the actor, why would he do that? To let us know how clever he is as a sound maker? If it's the character, why would he do that? So far, Henry's story has been kept completely behind the fourth wall. Perhaps this is not a playwriting thing but a directorial thing. Either way, moments like this keep the audience from engaging with Henry's story, which by now, has taken a backseat anyway.

As I said earlier, the message and the story that Brian Quijada presents in "Mexodus" is much needed and necessary. But in order to truly have an effect and in order to truly makes us understand how far we have come and how "we gon be alright" as Kendrick Lamar's lyrics blast through the speakers, there needs to be a flip in the focus of the play, where the story must be completely integrated into the hip hop numbers rather than the hip hop numbers becoming the central focus of the production. Otherwise "Mexodus' is not a play about the "Southbound Pathway to Freedom," but an opportunity for two very talented actors to showcase their artistic theatrical gifts. 

00051: THE LEHMAN TRILOGY

Original Poster National Theatre

Let me start this entry by saying that I have seen this show more times that I ever planned to see it. The first time I saw it was when it first opened at the National Theatre of London back in July 2018. I wasn't planning on seeing it but a friend told me about it and well, I just had to go see it for myself. The production I saw was directed by Sam Mendes, and the only actor from the three actors in the show that I knew of was Adam Godley. 

The show was fantastic. One of the best shows I saw that year and I couldn't stop talking about it. In fact, once back home, I talked about it so much that my theatre friends and colleagues told me to stop talking about it. I did. But by then, one of my good theatre friends bought tickets to the production that was coming to the American Conservatory Theatre in San Francisco. This was back in April/May 2022. Unfortunately, the show was canceled for reasons that were never explained. 

Fast forward to spring 2023. I am on sabbatical in Italy for six months and during my birthday week (April 2023) I decided to treat myself to visiting London and see as many plays and musicals as possible. Yes, I saw many plays and musicals, and one of them was, you guessed it, The Lehman Trilogy. 

The Lehman Trilogy (West End, London)

This time the show was playing in the West End at the Gillian Lynne Theatre. I didn't even know it was playing. I was just walking around the London's Theatre District, and viola, there it was. So, I bought me a cheap ticket and decided to see the show. This time I was going to see the play because I wanted to see if the set and all the technical elements from the original production had transferred over. They did. The production starred Nigel Lindsay, Michael Balogun, and Hadley Fraser. They were not the same cast from the national theatre, and the three actors were people I had never heard of. The production was, as expected, as good as the one from the National. 

A year later, in May 2024, The Lehman Trilogy finally made its way to A.C.T. San Francisco. My theatre friend, who already had bough tickets for the one a year before, had tickets and invited me. This time I went with the idea to look at the writing structure of the play. The cast was the same from the Gillian Lynne Production and under Sam Mendes direction. 

I came out of this third viewing talking about two things: The writing and the Directing. The show is called "The Lehman Trilogy," which is about the three original Lehman brothers and their dependents, and how they founded their companies/bank. The show has three acts, which parallels the three brothers. Many of the lines in the show are broken into phrases or fragments. These phrases or fragments come in groups of three. There are many instances where lines and beats are also written in threes, while words or line motifs are also repeated in threes.

SCT's Lehman Program

When it comes to the directing, the blocking and movement is also repetitive and circular, and yes, the repetition and the circular motion of the show also comes in threes. Many of the gestures, mannerisms, and poses the three actors execute throughout the show, while playing different characters, are also repetitive. At times, the physical repetition is done immediately and other times, the repetition is done in one act and repeated later in another, mirroring situations or connecting characters' behavior, the same dramatic action or emotional simile. 

I truly enjoyed watching the show this third time, mainly because I was now looking at the production very objectively, keeping close attention on how the play had been written and how the production had been directed. I cared less about the emotional arc of the characters and concentrated more on the show as a piece of art that needed to be analyzed by someone who continues to learn about writing plays. 

Now that I look back at the excitement I felt when I first saw the show back in 2018, I can say that I couldn't stop talking about it to my theatre friends and colleagues because the show not only impressed me as a production but I was very much trapped by its writing structure and directing approach without even knowing it. The Lehman Trilogy is an excellent piece of writing, and as a production, the show is a visual and acting feast. 

OO50: THE KENNEDY CENTER FOR THE PERFORMING ARTS

Kennedy Center, Washington, DC 2024

Back in November 2023, my new play "CURSED: The House of Atreus" was produced at Contra Costa College under my direction. Yes, that is the institution I worked at. The play was entered to the Kennedy Center American College Theatre Festival, Region 7 competition. Two different judicators saw the play and gave their responses. 

In December 2023 I received the news that the production had been chosen to be part of the Region 7 Festival in Spokane, WA, taking place in February 2024. From January 2024, even before schools started, all the way to festival time, the cast, crew, and I worked hard at "remounting" and "re-blocking" the show for the one performance at the festival. The festival took place the third week of February and our producing came and went. Students had a great experience performing for everyone at the festival. I was honored to receive great responses from the audience and the many respondents who saw the show, including national members of the Kennedy Center for the Arts and the Dramatist Guild. 

Because I'm a national member of the Kennedy Center American College Theatre Festival, I had to attend the National Festival at the Kennedy Center in Washington DC in May. What I didn't count on was receving National Awards for our production of "CURSED: The House of Atreus." At the end, though, I was very happy to received NINE national awards, including awards in directing, playwriting, and ensemble production. As if that wasn't enough, two of the awards were The Citizen Artist Award, (highest honor from KCACTF) and the Brave Spaces Award (a little complicated to explain but a very honorable and high esteemed honor.) I knew my play was a good play. As a theatre artists you know when a theatre piece is good or not. I wasn't surprised we were invited to perform our show at the regional level. I wasn't even surprised if one or two national awards were given for our show. It was, though, completely surprising to received nine national awards, and receving validation as both playwright and director. 

When I was at the Kennedy Center, in front of all the attendees, receiving the awards, I had a big smile on my face. At the same time, I had an incredibly desire to cry, not because of the awards (although I'm sure that is a reason to) but because I suddenly remember how much work and dedication I had invested in order to be standing there. And I don't mean just writing and directing the play, but writing, directing, acting, and, overall, dedicating my life to the theatre while constantly trying to survive as a non-English speaking immigrant at first and later as a brown gay immigrant individual.

My trek as a student in the United States started at the age of 18 years old as a junior in high school. Yes, I was already "of age" but a counselor was able to get me through the system. I was 19 years old when I learned about "theatre" as a field of study. At 21 I was writing short stories, grammatically incorrect most of the time, but I was expressing myself. I wrote my first play at the age of 22. It was the most awful thing I had ever written. My English 1B teacher, also a theatre enthusiast, gave me an "A" for the assignment, not because it was good but because I had dared to take a short story and turn it into a 67-single space play, with speeches that were three to five pages long, all written by hand. When I say the script was awful. I mean it was just awful. But my teacher understood that such script was not about its quality but rather about my desire to write despite the fact I was still learning the English language. This was back in 1988.

Thirty-six years later, I was now standing at the Kennedy Center for the Performing Arts receiving the highest award a theatre artist could received, as well as receiving eight other awards for a play I had written and directed a few months before. I'm still trying to figure out how I did not burst into tears at that moment, again, not necessarily because of the awards but because of the hard work and dedication I had invested from the day I step foot in a country I did not know at all. And all, because my mother sacrificed everything so her children could have a much better life than the one she had. These honors, of course, are all dedicated to my her first and also to my theatre students and the theatre colleagues who made this experience unforgattable. 

Before the semester was over, one of my non-drama students ask if I was ever hoping to be a "Broadway success." I quickly said no. I always knew I wanted to be a teacher." So I became a university professor. But I also knew I like the performing arts. Acting, directing, and playwriting became the vehicle(s) to achieve my dream: teaching. 

I had never had the desire to be a famous playwright or famous actor or a famous theatre director. Of course if the opportunity were to present itself I wouldn't reject it, but I've never been actively pursuing such goal because I have always known my passion has lied in teaching. I know this because after my first time out of graduate school, I took a corporate job and after one year I was desperately trying to get out. So, when the opportunity arrived, I took it. Once out, I promised myself to figure out how to become a university professor so I went back to graduate school to pursue a degree in playwriting. 

And so, here I am, reflecting on my teaching years, and wondering what has become of the many students I've mentored. I know some of them have become theatre teachers themselves, others have become theatre artists, like A. Zell Williams, who is an award-winning playwright and TV producer. Or Todd Thomas who is the former founder/artistic director of Missing Link Theater Company and former artistic director of Murphy's Theater, and continues to be an actor today. Their achievements have been their own and they are well deserved. I pride myself, however, in the fact that that I may have to do a little bit with their success. Not much though, but I do remember trying my best to guide them in the right direction.

The awards I received are in my office and soon they will be displayed in our college's theater lobby. I'm glad they will be there. And despite the fact that I'm now contemplating retirement, I'm now drafting two new plays, which, despite their quality, could become the last plays I write. But one never knows because even though art is challenging, once the artistic bug bites you, the symptoms are forever.  Or better put, as Stephen Sondheim wrote in Sunday in the Park with George: "White. A blank page or canvas... so many different possibilities."  

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. 

00031: VALLE BREMBANA; TERRA D'ARLECCHINO, PART II

From the Internet

If I ever doubted that Bergamo doesn't recognize Arlecchino, I only need to go to Villa d'Almè. Villa d'Almè is about 30 minutes from Bergamo and is the entry point from the north (coming from Switzerland) to the first major Italian city: Bergamo. The highway from the north converges with two others from the south (one from Bergamo, the other from Ponte San Pietro.) The conversion happens at the only major "rotatoria" (roundabout) in Villa d'Almé. 

It is here, in this rotatoria, centrally located where the three main highways meet, that a 10-feet/18 ton statue of Arlecchino is found. The roundabout is knowns as "La Rotonda di Arlecchino." And Arlecchino stands in the middle of the roundabout with a very clear messages by its feet: "Valle Brembana; Terra di Arlecchino," (Brembana Valley, the land of Arlecchino.) 

Personal Collection

The statue is made of marble and was sculpted by Milanese artists Nicola Gladiardi. The statue was commission by the people of the valley and the official reveal/inauguration took place in February 2015. 

Just like the smaller modern art Arlecchino statue found in the city of Bergamo welcoming all visitors to the city, this giant statue also welcomes all visitors to the Valley of Brembana, and ultimately to the entire Bergamo region. 

Personal Collection

The statue is located in the center of the rotatoria, on top of a marble pedestal. And because the statue is in the middle of the roundabout where the three main highways meet, it's well-seen by everyone driving by. It is, in fact, a beautiful sight to see, and a testament of the pride the people of Lombardy have for yet another commedia dell'arte character: Arlecchino. 

All material and images © copyright carlos-manuel 2023 unless noted

00018: MUSEO MASCHERA SARTORI

Museo Internazionale della Maschera

Within the region of Veneto, in the province of Padova (Pauda) in Italy, there is a small town named Abano Terme. Most people know the town for its hot springs and mud baths, which is an important economic resource. I, on the other hand, know it because the "Museo Internazionale della Maschara Amleto e Donato Sartori" (founded in 2004) can be found in this small town. The ride from Venice to Abano is about 50 minutes by train. And from the train station to the Museum the distance is less than 1/2 mile. Needless to say, during my stay in Venizia, I visited the museum. 

Amleto Sartori (from the internet)

Amleto Sartori was a sculpture who, after WWII, studied the commedia dell'arte masks. He created wooden molds and used them to make the first leather commedia dell'arte masks ever. With time, he perfected the skill and soon his masks became known, first all over Italy, and then the world. 

He befriended Jacques Lecoq, a French artist who focused on physical theatre, movement, and mime. Through him, Amleto Sartori collaborated with many Italian theatre companies and artists. By the time of his death (1962), Amleto had created masks for more than 200 theatre productions. Many of these masks are housed in the museum. 

Donato Sartori (from the internet)

Donato Sartori was Amleto's son who followed in his father's steps. In 1979 Donato founded the Centro Maschere e strutture gestuali in Padova, the center "undertakes the study of the various ethnological, anthropological and spectacular aspects involving the reality of the mask(ing) of the body or gestural structures, the mask of the environment or urban masking." (From the Museo Maschera Sartori, parentheses mine.) Donato continued making masks and collaborating with different theatre artists, especially his close friend Dario Fo. Donato passed away in 2016. 

The museum is also an academy where people take classes in mask-making, commedia dell'arte and other theatre-related courses. While the premises are open to the students and those attending workshops, the museum is the only one that is truly open to the public. 

The museum is three stories high. The third floor is dedicated to theater and its masks (masks made by both Amleto and Donato Sartori:)

Commedia Masks

The second floor concentrates on "Urban masking and Gestural Structure." It houses several things: a collection of leather body sculptures (Struttura Gestuale) made by Donato, original costumes from commedia dell'arte characters made for famous Italian artists, original artifacts used by Donate to make masks, and samples of different art pieces that have been done in public and for the public, also known as "Mascheramento Urbano:)

Costumes/Working Material

The ground floor has been designed for "Mostra Temporanea" (temporary mask exhibits) from all parts of the world. The masks exhibits must concentrate on "ethnological and anthropological histories of different civilizations, presenting ritual and tribal functions through symbolic form" (from the museum.) During my visit, the temporary exhibit was from New Guinea. The masks were both shocking and breathtaking. Unfortunately, I was not allowed to take any images of these masks. What you see here is from my pamphlet (noted with the number 3, and from the internet. Masks similar to what I saw. 

Guinea Masks

All material and images © copyright carlos-manuel 2023 unless noted

00013: ARLECCHINO E IL CAPITANO MANGABAMBINI & IL MASCHERAIO

During my second day at the Carnevale, I attended two events: the play "Arlecchino e Il Capitano Mangabambini" (Harlequin and the Eating-children Captain) and the lecture "Il Mascheraio" (The Mask Maker.) Both events were excellent choices to witness.

"Arlecchino e Il Capitano Mangabambini" is a children's play and, true to commedia, it had lots of audience participation, especially by children, who shouted, pointed, and became "cats" at some point. 

Campania Lande del Vero

The story revolves around Il Capitano who loves eating children while being in love with this beautiful girl who will only love him if he stops eating them. And of course, battling his urge to eat children and not to eat them is where the physical comedy lies. How does Arlechinno come into play, well, he's the narrator, who turns out to be a "she." And she turns out to be the beautiful girl Il Capitano loves. She is dressed as Arlecchino, who happens to be Il Capitano's servant. Both Il Capitano and Arlecchino "argue" all the time because Arlecchino refuses to bring him children. In fact, he asks the children to act like "cats" whenever Il Capitano "smells" them, that way he can never find them. And when Arlecchino reveals himself as La Bella Leonora, the girl Il Capitano loves, the battle between Il Capitano's desire to eat children and not to eat them, starts. And the results are hilarious. The show was about an hour and by the reaction of the audience, it was a success. And it really was, the two actors were fantastic.

"Arlecchino e Il Capitano Mangabambini" is presented by Compagnia Lande del Vero (no website)

I thought the lecture on "mask-making" was going to be a typical lecture, serious and well, a lecture. Little did I know the mask maker was not only a great commedia dell'arte historian but also a great entertainer. 

The presentation was done in two parts: How masks were originally made and The Origins of the first Commedia dell'arte character. 

Turns out that the original Commedia masks were done of leather and the leather came from the cow. One of the reasons to use the cow was that such animal has a thick skin but not so thick that it can be manipulated easily. The main reason though is because cow is an animal whose meat can be consumed. 

The first Commedia dell'arte character was the zanni and it was born out of necessity, wearing a specific mask. This zanni wasn't very smart, he came from rural areas and was a servant to many rich people. From the zanni, an improved character was born. He was also a servant but rather than being stupid, he was street smart while not being "educated:" Arlechinno, and of course, Colombina came from here too. 

That's it, that was the lecture from the mask maker. It lasted 1 hour and 10 minutes and it not only educated people in the roots of Commedia dell'arte, it also entertained us a lot. I mean, the mask maker was able to make two different audience members act with him, improvising lines, and in matter of seconds become commedia actors. It was impressive. 

"Il Mascheraio" was presented by Compagnia Zorba Officine Creative 

Two very short excerpts:

Arlechinno e Il Capitano Mangabambini

For a longer excerpt of the production, visit my YouTube Chanel. 

Il Mascheraio 

For longer sample of the lecture, visit my YouTube Chanel. 

All material and images © copyright carlos-manuel 2023 unless noted