Displaying items by tag: Matthew C Yee

“Gonna have to study up a little bit if you wanna keep up with the plot ‘cause it’s a complicated Russian novel,” so says the prologue in Writers Theatre’s Chicago premiere of ‘Natasha, Pierre & the Great Comet of 1812’. Don’t let the complicated Russian novel part scare you off because Dave Malloy’s unique take on Leo Tolstoy’s classic ‘War & Peace’ is anything but a living book report. It’s a serious breath of fresh air for musical theatre as a genre.

Nominated for an impressive amount of Tony Awards in 2017, including Best Musical and Best Musical Score, ‘The Great Comet’ was a smash hit to say the least. It’s not often you see a line queued up for a musical adaptation of a very long book, the other most notable being ‘Les Miserables’ in the 1980s. And just like ‘Les Miz’, the playwright has done a lot of trimming to ensure a normal two and a half hour running time. Instead of utmost faithfulness to the source material (as is the case with ‘Les Miz’), Malloy turns the period piece musical on its head. 

‘The Great Comet’ is a chamber opera, in that every line of dialogue is sung-through and the songs further the plot, hence the prologue. What’s really interesting about this particular adaptation is that for one, you do not need to have any familiarity with Tolstoy’s behemoth novel in order to be dropped into the middle of the book. ‘The Great Comet’ is but a small section of the book, but it is arguably one of the most interesting parts of the novel. Dripping with juicy soap opera subplots as well as the richly drawn interior lives of the characters, something Tolstoy was quite adept at. This show also wouldn’t spoil the overall plot of the novel as it leaves some plot points open-ended that are later solved in the novel.

Natasha (Aurora Penepacker) is engaged to Andrey (Matthew C. Yee) who is at the front fighting in the Napoleonic war. For safety’s sake she’s living with her soon-to-be in-laws in Moscow and for the first time in her life seeing the big world and all its temptations. When she meets dashing, but wicked Anatole (Joseph Anthony Byrd), she begins a risky affair that could threaten her future.

Writer’s Theatre’s production is one of the first major revivals since the original Broadway production and under Katie Spelman’s direction, it’s an absolute delight from beginning to end. When the curtain comes down on the first act, you’ll be immediately craving more. More of the music, more of the incredible voices and more of the heartrending music that cuts to the core of what it means to love.

This production culls together some of Chicago’s most formidable singers and actors including Bethany Thomas in the role of Marya (Natasha’s guardian) who gives one of the most electrifying performances of the evening. Not to be outdone, playing Nathasha’s best friend Sonya, Maya Rowe has likely the evening’s best solo with the song ‘Sonya Alone’. Aurora Penepacker does Tolstoy’s vision of the innocent Natasha more than justice, her song ‘No One Else’ provides the first pang of emotion. Though, don’t count Bri Sudia out as Pierre’s philandering wife Helen. She’s delivering pure musical theater magic all night. 

Spelman’s aesthetic for this production moves this musical from the black box to the opera house. Grand in scale, but still intimate. There’s a certain Baz Luhrmann quality to the costumes and the staging, and along with the modern pop soundtrack creates a very satisfying product. It just feels cool.

What will make this niche show continue to prosper in revivals is the music itself. Sophia Copola might be the godmother of putting modern music into period pieces, but Dave Malloy is doing more than just borrowing familiar tunes from his youth. The soundtrack feels like the first truly relistenable soundtrack in decades. Not a bit of the saccharine jukebox music with throw-away lyrics here. And though there is a musical through-line, what this show really benefits from is the unexpected diversity of unique sounding songs. Each song becomes its own world in a way that most modern musicals fail at. It feels like a harken back to the Sondheim era of musical theatre.

‘The Great Comet’ is the perfect musical for people who say they hate musical theatre. At the risk of saying “steampunk”, it’s a refreshing take on both musicals and adaptation. The creativity of both the cast and direction at Writers Theatre makes for an enchanting night at the opera.

Through October 27 at Writers Theatre. 325 Tudor Court, Glencoe, IL. 847-242-6000  

*Extended through November 3rd

I first read JRR Tolkien’s trilogy, The Lord of the Rings, when I was eleven; since then I have reread the entire story almost every year. My birthday is September 22, same as Bilbo and Frodo. The quote [NOT that of the One Ring!] tattooed on my arm is in Sindarin, the Elvish language. I travelled to New Zealand on an LotR tour and later lived in NZ for 2 years. So, understand that I’m not just a fan of, but fanatical about The Lord of the Rings. Believe me when I say I most definitely know Tolkien’s type.  

In 1999 when the first of the three movies came out, I was terrified, as I’ve never seen a movie based on a book I loved that was not totally calamitous. But Peter Jackson is a god, and he did as wonderful an adaptation as humanly possible (though I’ll never forgive him for Faramir).

So, when I first learned that the Chicago Shakespeare Theater was producing Lord of the Rings onstage, I immediately put in a request to review it for Buzz Center Stage. As the event drew closer, however, I started getting anxious: LotR a musical?! But my misgivings lightened as, about ten minutes before the production began, costumed characters started larking about together onstage and off-. And the opening song, ‘The Road Goes On’, melted my doubts (as well as my heart) altogether: it was beautiful, and so right!

From the start it was clear there were two distinct groups in the sold-out house: those who were LotR fans (though I daresay few as monomaniacal as myself), and those who were meeting hobbits, elves, and wizards for the first time. My companion was of the latter group – he knew the basics of the story but had no true familiarity with it – so exploring his views made an interesting counterpoint with my own.

The cast and company were enormous; forgive me if I don’t praise everyone individually but only comment on the standouts.

Only the expertise and artistry of Directors Edward Hall and Kimberly Motes could produce such a monumental show. I’ll always see Aragon as quintessentially Viggo Mortensen, but Bob Mason’s casting was spot on: Will James Jr. fully engaged me in the role. Sir Ian McKellan is a tough act to follow, but Tom Amandes’ Gandalf was magnificent. The Hobbits – Eileen Doan as Merry, Ben Mathew as Pippin, Michael Kurowski as heroic Sam Gamgee, and Rick Hall as Bilbo – were all sensational – though I wish we’d heard more from them and gotten to know them better. Frodo’s is a very complex character, from the lighthearted Frodo of Bag End to the tormented Frodo on Mount Doom; a challenge for any actor. Elijah Wood nailed it of course, and so amazingly did Spencer Davis Milford. [It’s true Spencer isn’t (quite) as cute as Elijah, but then few folks are.]

The highest kudos I must reserve for Tony Bozzuto, whose portrayal of Gollum was phenomenal. Bozzuto accomplished the physical gymnastics of that kinetic creature and faultlessly enacted the contradictory mindset of that haunted, driven … what? not a person, more a wraith or an apparition, and a groveling vassal of the unholy trinity: the Ring, the Dark Lord, and Frodo Baggins, simultaneously and irreconcilably. Poor Gollum! Bozzuto managed to incite in me both Sam’s cynical aversion and Frodo’s compassionate empathy. He owned the stage whenever he appeared.

Justin Albinder (Legolas), Ian Maryfield (Gimli), and Matthew C Yee (Boromir) completed the Fellowship of the Ring, appointed by Jeff Parker as Elrond (and later pursued by Parker as Saruman). Unfortunately, we never got a chance to know any of them, aside from a few quips (“Never trust an Elf!”)

LotR is no chick flick; it’s totally a bloke’s story, but the sensual Arwen (Alina Taber) injected a bit of estrogen. I was disappointed at Galadriel: Lauren Zakrin played the terrifyingly beautiful elven queen, but the sound / mic system (Chicago Sound Designer Nicholas Pope) failed to capture the full range of Zakrin ‘s lovely soprano voice.  

Spencer Davis Milford as Frodo and Lauren Zakrin as Galadriel in Chicago Shakespeare’s US premiere of The Lord of the Rings – A Musical Tale, based on J.R.R. Tolkien’s beloved trilogy of books.

The most awesome scene in the movie Fellowship of the Ring is when Gandalf defies the Balrog, and by far the most wrenching scene is the desolation of the Fellowship, most especially Frodo, when Gandalf falls. This production gave us none of that. We barely hear Gandalf’s final gasp of “Fly, you fools!”. Then, when the Fellowship reconvenes afterwards, there is no reaction from the characters. Aragorn rather reminded me of the monitor on a primary school trip: “Everyone get to the bathroom? All here? Ok, let’s go”.

It was necessary, of course, to cut a great deal of material to bring the production in at three hours. One thing they cut was Book Two, The Two Towers. There’s no mention of Rohan at all, only nominal lines from Treebeard (voice by John Lithgow). They don’t go to Minas Tirith, no acknowledgement of (let alone depiction of a battle) Helm’s Deep. I don’t mind skipping Tom Bombadil, I never much liked him any road, but why on earth does Gandalf mention him at the end? Those unfamiliar with the books were left thinking ‘Huh? Tom Bombadil? Who dat?’

Scenic and Props Designer Simon Kenny, working with David Castellanos’ Stage Management crew, had a monumental task enacting the myriad venues and tableaus the characters move through, from the buoyant gaiety of the Shire, through the mystical glory of Lothlorien, to the malevolent horror of Mordor, with all number of epic battles generously interspersed. These phantasmagorias were enhanced by Light Designer Rory Beaton (albeit with a couple of glitches). Many of Kenny’s costumes were superb – the Black Riders in particular were truly terrifying – but not so much with the monsters, Balrog et al. And I’m not sure about Galadriel’s outfit; I kept losing track of the action in speculating whether it was a dress or a catsuit.

Oh! The Music! … yeah, that’s right; this is a musical. Book and lyrics were written by Shaun McKenna and Matthew Warchus, and the music composed by AR Rahman, Värttinä, and Christopher Nightingale. Each composer’s background and style was evident within the whole.

Christopher Nightingale is a prolific composer, orchestrator, director, and conductor, celebrated in the UK as well as the US. AR Rahman is said to have ‘redefined contemporary Indian music’. His music has been brought to national attention by multiple Academy Awards, Grammys, a Golden Globe and a BAFTA, and he brought his Eastern imprint to bear on the music of THE LORD OF THE RINGS. Värttinä is a contemporary Finnish group with a folk music/roots-based style, using multiple vocals and instrumentalists to combine traditional Finno-Ugric elements with traditional and original compositions.

I can’t pinpoint which portion of which songs derived from which composer, but it’s my private opinion that Värttinä’s folkloric imprint was what brought special charisma and bewitchment to my favorite compositions in THE LORD OF THE RINGS. For example, the introductory The Road Goes On and both enactments of Song of the Traveller were exquisite. And in Act 2, Now and for Always was resplendent, coupling Sam’s poignant lines with Gollum’s piteous voice.

Other numbers, unfortunately, did not rise to this level. Some I must describe as saccharine and others vapid: trite, repetitive, and/or simply too damn long. The production could benefit from using some of that unproductive time by deepening other portions of the show.

The Finale was, in a word, jarring. The message throughout Act II is that, after such frightful trials and momentous events, however triumphant, life simply cannot “go back to normal”. Yet Finale seems to be attempting to bring the story full circle, returning to the celebratory ambience of the Birthday Party in the Shire. A song that combined consolation with hope would, to my mind, be more harmonious with the canon.

[Sorry, can’t help it; I’m a hopeless LotR nerd! Geek]

Jeff Parker as Elrond and Spencer Davis Milford as Frodo, at center, with Will James Jr. as Aragorn, Ian Maryfield as Gimli, Eileen Doan as Merry, Michael Kurowski as Sam, Alina Jenine Taber as Arwen, Ben Mathew as Pippin, Tom Amandes as Gandalf, Justin Albinder as Legolas, and Matthew C. Yee as Boromir.

The acting was universally excellent, from the pivotal roles of Frodo, Gandalf and Gollum to those of Rosie Cotton (Suzanne Hannau) and the Ensemble: Joey Faggion, Mia Hilt, James Mueller, Jarais Musgrove, Hannah Novak, Adam Qutaishat, Laura Savage, Bernadette Santos Schwegel, and Arik Vega. Amandes was absolutely magnificent in Gandalf’s confrontation of the Balrog at the Bridge of Khazad-dúm. James’ Aragorn was regally magnetic; he brought Aragorn’s character deftly and smoothly from the rude Ranger of the North to the august High King of Gondor.

Frodo … Frodo Frodo Frodo. One of my favorite characteristics of Frodo is that of a reluctant hero – a small and insignificant person who finds himself a hero by simply doing what must be done. Milford’s acting was compelling and poignant, capturing this subtle but crucial quality. And I’ve already spoken of Bozzuto’s brilliance as Gollum.  These two actors delivered Tony-level performances.

The choreography and movement, directed by Anjali Mehra, with Fight Captains Ian Maryfield and dance captain Laura Savage, were less impressive. Again, the opening scene and song was very well done, but that good first impression was not sustained. In several scenes the ‘dancing’ consisted of merely keeping the bodies in motion with no rationale or allure, particularly with the orcs. Granted, orcs possess negligible symmetry, not to mention allure. However, the Nazgul’s maneuvers and actions in the early scenes [Flight to the Ford] were quite effective in communicating menace. [NOTE: A Maori haka* illustrates how eloquently movements can convey threat.] The center turntable was helpful in some scenes, but it doesn’t work to simply send the actors in circles as they make duplicative gestures.

The fight scenes were augmented by Beaton’s light shows, though they must be carefully coordinated to enhance without obscuring – a couple of poorly-timed light effects left the principals in the dark. And the special effects were not very special: once the Nazgul lost their horses we never saw them again (though the shriek was very well done). The Balrog … meh. And worst of all was at Mount Doom; we saw no trace of the Ring, and the explosion was decidedly anticlimactic.

The most important omission was the emotion. I mentioned the absence of grief at Gandalf’s fall, but the more important exclusions were in defining the characters and their interpersonal relationships. Sam’s love and devotion to Frodo was barely hinted at, though this relationship is of paramount importance from the beginning, in his insistence on accompanying his Master, to the end, where he is essential to Frodo’s ability to complete his Quest. Instead, it’s simply puzzling when Sam volunteers to carry the Ring. Nor do we see Frodo’s gradually falling under the Ring’s enchantment, so the climactic scene where he declares he will keep It became a ‘where’d that come from?’ moment. Similarly, we have no clue that Boromir is coming under the Ring’s spell until suddenly, at an inappropriately hectic moment, he makes a grab for it.

I could go on and on – but don’t panic, I won’t. Suffice to say that THE LORD OF THE RINGS - a Musical Tale has hobbits and elves, wizards and dwarves in the cast, but the story isn’t about them. The characters and their stories get lost, becoming merely a placeholder between songs, many of them with minimal relevance to the action (and variable quality).

In summary: I simply can’t evaluate THE LORD OF THE RINGS - a Musical Tale objectively. I’m not merely familiar with Tolkien’s work, I’ve spent countless hours immersed in it. I’m not simply knowledgeable about Middle Earth, I’ve lived there. And in this venue, I won’t elaborate on just how intimately acquainted I’ve been with the characters, as well as with the actors whom Peter Jackson selected to portray them. My companion, unfamiliar with the Trilogy, was enraptured by most of THE LORD OF THE RINGS - a Musical Tale.  For myself, I was too knowledgeable about (and I daresay too emotionally invested in) Tolkien’s stories to simply enjoy the show.

So, I’m telling you that, on the heavily-weighted scale of my judgment, THE LORD OF THE RINGS - a Musical Tale failed to tip the balance. However, I still RECOMMEND the program. So long as you’re not a total Tolkienophile, obsessed with the Canon and unable to tolerate even minor infringements, you will enjoy THE LORD OF THE RINGS - a Musical Tale. 

Recommended!

* The haka is a ritual dance that Maori warriors perform when commencing a fight. The New Zealand Rugby team, theAllBlacks, performs a haka on the field before each match.