11 Temmuz 2012 Çarşamba
10 Temmuz 2012 Salı
9 Temmuz 2012 Pazartesi
The Mysteries of The Mystery of Edwin Drood
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I've often written about that extra, extra special moment when a show really strikes a chord with you - emotionally, intellectually, creatively. Lots of shows come close if you love the live theatre. But you know the difference the first time that extra special show comes along, and you spend sometimes years trying to find that next one. In my - gulp - 29 years of attending Broadway shows, that truly special bolt of lightning has hit my theatre bulls eye just 4 times: A Chorus Line (the first and most special), Sweeney Todd (a thrill in every way, and it opened my eyes to the world of Sondheim), next to normal (it revealed to me emotions I didn't know I had), and The Mystery of Edwin Drood (the first show that really made me appreciate the art form of American Musical Theatre). Funny, touching, smart, creative, literary and literally participatory.
Drood then: Betty Buckley as Edwin Drood in 1985Read all about the original production by clicking the "Back in Time" tab above
In the current world where we, as an audience, are invited to see the goings on in people's lives, and vote on matters of creative life and death for any numbers of talented individuals, the "solve-it-yourself-Broadway-musical" probably seems quaint and old-fashioned. But the truth is, Drood, was way ahead of its time. I remember the buzz of excitement and tinge of confusion as the pollsters whisked around the theatre taking our votes for who killed young Edwin Drood. Most people did their best to play along, even if they weren't entirely sure what to do. I remember the very first time I saw the show on Broadway. The lady behind me raised her hand reluctantly, along with the rest of her family, as they voted in a block. "Oh! I'm sure it wasn't him (she voted for the Reverend Crisparkle)! I should have paid more attention!" Today's audiences are much better trained - they know what good singing and acting looks like (generally, anyway) and years of watching The Real World, Survivor and the like have taught all of us to look closely at every minute thing a person does. What could be more perfect for The Mystery of Edwin Drood?
Drood now: The 2012 revival logo
And now, some 27 years later, the very first revival of my favorite theatrical musical is gearing up for a run in a few months. With it comes a few "mysteries" about The Mystery of Edwin Drood 2.0.
Late last week, a new set of up and comers and theatre legends was announced, ready to pick up the mantle. And I have to say that if the unique announcement by the Roundabout Theatre Company of the cast is any indication as to the commitment and creativity of this revival, it should be awesome!
Of course, with the casting, come a few more questions:
Drood 2.0: Block, Chase and Karl
These questions, and many more will be answered on October 19th when the Twitter-verse comes alive with the news of young Edwin, his betrothed, Rosa Bud and the citizens of Cloisterham!
And that is just 98 days...
Jeff
3.309
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); or comment below (Blogger)
Drood then: Betty Buckley as Edwin Drood in 1985Read all about the original production by clicking the "Back in Time" tab above
In the current world where we, as an audience, are invited to see the goings on in people's lives, and vote on matters of creative life and death for any numbers of talented individuals, the "solve-it-yourself-Broadway-musical" probably seems quaint and old-fashioned. But the truth is, Drood, was way ahead of its time. I remember the buzz of excitement and tinge of confusion as the pollsters whisked around the theatre taking our votes for who killed young Edwin Drood. Most people did their best to play along, even if they weren't entirely sure what to do. I remember the very first time I saw the show on Broadway. The lady behind me raised her hand reluctantly, along with the rest of her family, as they voted in a block. "Oh! I'm sure it wasn't him (she voted for the Reverend Crisparkle)! I should have paid more attention!" Today's audiences are much better trained - they know what good singing and acting looks like (generally, anyway) and years of watching The Real World, Survivor and the like have taught all of us to look closely at every minute thing a person does. What could be more perfect for The Mystery of Edwin Drood?
Drood now: The 2012 revival logo
And now, some 27 years later, the very first revival of my favorite theatrical musical is gearing up for a run in a few months. With it comes a few "mysteries" about The Mystery of Edwin Drood 2.0.
- Will this version be a strict revival of the original? or...
- Will any of the revisions to the book in subsequent productions (tours, London, Australia) be in place? or...
- Will Rupert Holmes be back to further revise and reshape is Tony-winning book?
- Will he re-institute the original opening number, "There'll Be England Again"? or will it go elsewhere in the score? How about "A British Music Hall," a number that never made the final cut.
- Will this version incorporate the changes to the score, including the now optional (in the version you can rent to produce) "Ceylon" or use "A British Subject"? Will "A Man Could Go Quite Mad" really be optional? Will "A Private Investigation" take the place of "Settling Up the Score? (I hope so) or...
- Will there be some entirely new numbers?
Late last week, a new set of up and comers and theatre legends was announced, ready to pick up the mantle. And I have to say that if the unique announcement by the Roundabout Theatre Company of the cast is any indication as to the commitment and creativity of this revival, it should be awesome!
Of course, with the casting, come a few more questions:
- Will the legendary Chita Rivera "win" every night because she's THAT awesome? or...
- Will Merrily We Roll Along alum Betsy Wolfe steal the show as ingenue Rosa Bud? or...
- Will Will Chase have what it takes to be the very first Broadway John Jasper to actually be voted murderer? or...
- Will Andy Karl be super sexy and scary as Neville Landless? or...
- Will critical and fan favorite Jessie Mueller give them all a run for their money? (And the burning "real life" question: What if Into the Woods transfers? Will she leave Drood behind for the steps of the palace? If they are both hits (wouldn't that be awesome???) She could open both and stay with one, right?
- And will Stephanie J. Block be able to hit the high note at the end of "The Writing on the Wall"?
Drood 2.0: Block, Chase and Karl
These questions, and many more will be answered on October 19th when the Twitter-verse comes alive with the news of young Edwin, his betrothed, Rosa Bud and the citizens of Cloisterham!
And that is just 98 days...
Jeff
3.309
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); or comment below (Blogger)
Broadway Box Office: Week 5: 06.25 - 07.01.12
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PLEASE TAKE A MOMENT TO VOTE IN THIS WEEK'S SEMI-FINAL ROUND OF "HOT/HOTTER" AND THIS MONTH'S THEATRE POLL - BOTH TO YOUR LEFT!Broadway Box OfficeWeek #5 of the 2012 - 2013 SeasonJune 25 - July 1; 30 Productions
The summer slow down continues, with the departure of two more shows, Jesus Christ Superstar and The Lyons as of the 1st of July. The Lyons left with a whimper, not a roar, finishing its run 30th out of 30 shows, which is really too bad. It was a funny, thought-provoking play with dynamic performances. Superstar fared somewhat better, posting both the biggest gain in attendance for the week (up 23.4%) and at the BO (up $172,256), which is relatively significant in that most shows remained pretty flat, fluctuating only a few dollars and percents. The good news is that both The Book of Mormon and Once posted new records at the BO, particularly good news for the latter, as it seems a pretty safe bet to call the show "a hit," not just a Tony-winner. Seems the world can handle a small, quiet,artistic and emotional show after all. Porgy and Bess is really struggling without Audra McDonald, and is the lowest performing musical on Broadway. With her return this week, we shall see if there is any significant bump on the charts. But the biggest loser of the week in both categories was Nice Work If You Can Get It, the Gershwin snoozer, down 14.5% and down $193,762. Nice work, indeed... Happy 4th!
SRO: The Book of Mormon, Newsies, Harvey, Once, The Lion King$100+ Tickets: The Book of Mormon, The Lion King, Wicked, Once, Evita, spider-Man: Turn Off the Dark, Rock of Ages, Newsies, The Best Man, Nice Work If You Can Get It, One Man, Two Guvnors$2M Club: Wicked$1M Club: The Lion King, The Book of Mormon, Spider-Man: Turn Off the Dark, Evita, Newsies, Once
Jeff3.310
PLEASE TAKE A MOMENT TO VOTE IN THIS WEEK'S SEMI-FINAL ROUND OF "HOT/HOTTER" AND THIS MONTH'S THEATRE POLL - BOTH TO YOUR LEFT!Broadway Box OfficeWeek #5 of the 2012 - 2013 SeasonJune 25 - July 1; 30 Productions
The summer slow down continues, with the departure of two more shows, Jesus Christ Superstar and The Lyons as of the 1st of July. The Lyons left with a whimper, not a roar, finishing its run 30th out of 30 shows, which is really too bad. It was a funny, thought-provoking play with dynamic performances. Superstar fared somewhat better, posting both the biggest gain in attendance for the week (up 23.4%) and at the BO (up $172,256), which is relatively significant in that most shows remained pretty flat, fluctuating only a few dollars and percents. The good news is that both The Book of Mormon and Once posted new records at the BO, particularly good news for the latter, as it seems a pretty safe bet to call the show "a hit," not just a Tony-winner. Seems the world can handle a small, quiet,artistic and emotional show after all. Porgy and Bess is really struggling without Audra McDonald, and is the lowest performing musical on Broadway. With her return this week, we shall see if there is any significant bump on the charts. But the biggest loser of the week in both categories was Nice Work If You Can Get It, the Gershwin snoozer, down 14.5% and down $193,762. Nice work, indeed... Happy 4th!
| RANK THIS WEEK | SHOW TITLE | SHOW TYPE | THEATRE | RANK LAST WEEK | UP/ DOWN |
| 1 | The Book of Mormon | Musical | Eugene O'Neill | 1 | Same |
| 2 | Disney's The Lion King | Musical | Minskoff | 2 | Same |
| 3 | Disney's Newsies: The Musical | Musical | Nederlander | 5 | +2 |
| 4 tie | Once | Musical | Bernard B. Jacobs | 3 | -1 |
| 4 tie | Wicked | Musical | Gershwin | 3 | -1 |
| 6 | Spider-Man: Turn Off the Dark | Musical | Foxwoods | 7 | +1 |
| 7 | Rock of Ages | Musical | Helen Hayes | 6 | -1 |
| 8 | Peter and the Starcatcher | Play | Brooks Atkinson | 9 | +1 |
| 9 | Jersey Boys | Musical | August Wilson | 8 | -1 |
| 10 | Evita | Musical Revival | Marquis | 11 | +1 |
| 11 | Harvey | Play Revival | Studio 54 | 14 | +3 |
| 12 tie | One Man, Two Guvnors | Play | Music Box | 12 | Same |
| 12 tie | Gore Vidal's The Best Man | Play Revival | Gerald Schoenfeld | 13 | +1 |
| 14 | Disney's Mary Poppins | Musical | New Amsterdam | 16 | +2 |
| 15 tie | The Phantom of the Opera | Musical | Majestic | 15 | Same |
| 15 tie | Chicago | Musical Revival | Ambassador | 17 | +1 |
| 17 | Mamma Mia | Musical | Winter Garden | 19 | +2 |
| 18 | Nice Work If You Can Get It | Musical | Imperial | 11 | -7 |
| 19 | Jesus Christ Superstar | Musical Revival | Neil Simon | 28 | +9 |
| 20 | Anything Goes | Musical Revival | Stephen Sondheim | 21 | +1 |
| 21 | War Horse | Play | Vivian Beaumont | 18 | -3 |
| 22 | Sister Act | Musical | Broadway | 26 | +4 |
| 23 | Clybourne Park | Play | Walter Kerr | 22 | -1 |
| 24 tie | Ghost: The Musical | Musical | Lunt-Fontanne | 23 | -1 |
| 24 tie | The Gershwins' Porgy and Bess | Musical Revival | Richard Rodgers | 24 | Same |
| 24 tie | The Columnist | Play | Samuel J. Friedman | 29 | +5 |
| 27 | Memphis | Musical | Shubert | 27 | Same |
| 28 | A Streetcar Named Desire | Play | Broadhurst | 31 | +3 |
| 29 | End of the Rainbow | Play | Belasco | 29 | +1 |
| 30 | The Lyons | Play | Cort | 32 | +2 |
SRO: The Book of Mormon, Newsies, Harvey, Once, The Lion King$100+ Tickets: The Book of Mormon, The Lion King, Wicked, Once, Evita, spider-Man: Turn Off the Dark, Rock of Ages, Newsies, The Best Man, Nice Work If You Can Get It, One Man, Two Guvnors$2M Club: Wicked$1M Club: The Lion King, The Book of Mormon, Spider-Man: Turn Off the Dark, Evita, Newsies, Once
Jeff3.310
TheatreScene Chat: An Interview with Claybourne Elder, Part 2
To contact us Click HERE
The first part of this interview with Bonnie and Clyde co-star and rising star, Claybourne Elder was (and continues to be) one of the most popular entries ever since JK's TheatreScene started nearly three years ago. Click HERE to read Part 1. I am so pleased to bring you Part 2! Today, he talks about his first meeting with Stephen Sondheim, growing up Mormon and gay, and his upcoming gig as a "punk rock" Pippin. Plus, he answers more of your questions! Thank you, readers, and thank you, especially, to Mr. Elder!
Jeff Kyler: In a relatively short period of time, and with just two shows, you have had quite a range of Sondheim experiences. You starred in a Moises Kaufman directed regional production of Into the Woods. Much was made of your being a bare-chested Wolf, and that your encounter with Little Red was sexually charged! When she touched your abs, it was pretty hot… And you also starred as Michael Cerveris’ boyfriend in Sondheim’s latest revision of Bounce, Road Show. Working directly with Sondheim is a musical theatre fan’s dream. What is he really like? How did working directly with him influence your work then and since?
Claybourne Elder: The first time I really sang a whole song for Mr. Sondheim was after I had gotten cast in Road Show off an equity chorus call (make sure you get there and sign up early y’all!). The Public asked me to sing at a fundraiser they were having at someone’s house in the village. I gladly agreed and rehearsed ‘Talent’ from Road Show, not expecting much. When I arrived at the beautiful little brownstone tucked away on a street I didn’t know existed, I realized that this wasn’t just a little wine and cheese party in the lobby of a theatre. I sound checked and got dressed up and waited around for things to begin. When I stepped on the stage, I saw not only Stephen Sondheim beaming up at me, but also Moises Kaufman and a slew of other folks, creating a “who’s who” of the theatre community. I decided that it was probably best to just look above everyone’s heads and went ahead with the song. It was actually then that Moises thought of me for his production of Into the Woods, but that’s another story. Our first day of rehearsal was just after the concert and I walked up to Sondheim that first day, determined to get the first awkward conversation out of the way. And boy did I succeed. In the awkward part. I walked up to him, palms sweating, and reached out my hand. He smiled politely and took it, and I said “Um…er…a….wh…. Thank you.” My eloquence was impeccable. I was so embarrassed that I turned around and walked away. (Laughs) He is a delightful and very warm man and no one to be nervous around and I know that now, but it took a while for me to get used to it.
Into the Woods at Kansas City Rep - "Hello, Little Girl" (w/Dana Steingold as Little Red)/ "Agony" (w/Brandon Sollenberger as Rapunzel's Prince)/ "Finale" - The Company
JK: I have read that you were raised Mormon. Was/Is your family supportive?
CE: You know, I was really lucky to have a really supportive and strong family. And a big one. I have 7 siblings. We’re really close and they’ve always been great to me.
JK: Speaking of being Mormon, have you seen The Book of Mormon? As someone who is on both sides of that fence, what do you think of the show? Is it fair and just silly?
CE: (Laughs) Confession: I haven’t seen The Book of Mormon. I was working on One Arm when it opened and then it was impossible to get tickets and then Bonnie and Clyde opened and then so many other shows had opened that it just wasn’t on the top of my list anymore. Plus, by now I’ve been told so much about it that I feel like I’ve seen it. But YES, I know, I must get myself into that theatre somehow!
Elder's work with Kansas City Rep: (Top to Bottom) Into the Woods (with Dana Steingold); Cabaret (with Kara Lindsay); Cinderella (with Kara Lindsay) and Into the Woods (with Brynn O'Malley)
JK: With several of your contemporary Broadway and screen actors (Jim Parsons, Gavin Creel, Rory O’Malley, Cheyenne Jackson, Zachary Quinto, etc.) now coming out or openly gay, do you think a lot of the stigma of being out is gone or going away? Has it impacted your ability to get seen for certain roles?
CE: I feel really strongly about calling myself an actor/artist first.
JK: With all of the news lately about bullying and gay teen suicide and the like, and all of the politics surrounding marriage equality, how do you feel about the political clout of such groups as Broadway Impact and the It Gets Better campaign? Are you a part of the movement?
CE: I think that Broadway Impact is a fantastic group and what they’ve done to raise awareness is awesome! I’ve never done any work for them, but I hope to in the future. [Also,] I haven’t been involved directly with It Gets Better, but I think what they’ve done is really incredible, too.
JK: What advice might you offer to a young man or woman struggling with their sexuality, who might also be looking to a career in entertainment?
CE: I would say that gay, straight, bi, young, old, leprechaun, space alien or tiger – if you want something bad enough, work your ass off and it will happen.
JK: Last question! In the months since Bonnie and Clyde’s closing, what have you been working on? When will we be seeing you on the New York stage again? How about TV or film?
CE: Since Bonnie and Clyde closed, there has been a whirlwind of readings, concerts and auditions. There has been some movement towards TV, some toward new Broadway experiences… I think I’ve done 9 readings so far this year. But as I’ve said before, I love developing new work, and I look for projects that I can really bring something to. And a lot of times, those projects aren’t the biggest (or highest paying) ones! (Laughs) But what I wanted most of all for the spring was to take a little break. My feet had hardly touched the ground in three years, and I really needed some time. Plus, it had been so long since I’d visited home, that my mother was ready to come to New York and drag me back. My next out of town run is something I’m REALLY excited about and is already proving to be a challenging and exciting task…I’ve been working on a new conceptual version of Pippin that is performing at the Kansas City Rep this fall. A.R.T. is also presenting a pre-Broadway try out of a circus-y Pippin, but this is a stripped down, actor/musician version that Eric Rosen, the director, affectionately calls "Punk Rock Pippin." Its going to f***ing rock!
The Barrows Reunited! Claybourne Elder with Melissa van der Schyff(Left) At the 2012 Drama Desk Awards and (Right) At the CD Release Party for the OBCR of Bonnie and Clyde
JK: Well, before we finish, here are a few more questions from readers of JKTS! (Thanks to The8rGeek , Jillian P., and ElderCunninghamCT!)
1. What is the very first thing you do when you wake up in the morning and the very last thing you do before going to sleep?
CE: Try to stop my dog from licking my feet. He sleeps under the covers at the bottom of the bed (yeah, I’m that guy!) and every night and every morning tries to lick my feet and I hate it.
2. Favorite ethnic food? Favorite carry out food? What do you order at Starbucks?
CE: I love Indian food, mmmmm naan. But I also love smoothies. Come on, who doesn’t love a good smoothie? Starbucks is usually a skinny vanilla late. Go ahead and make fun. Unless I’m there in the morning for a coffee, that’s my normal Starbucks treat.
3. Plain or Peanut M&M’s? Mounds or Almond Joy?
CE: Peanut, come on. That’s like asking would you rather have milk or chocolate milk? A Kia or a Porsche? Diamonds or rocks? Almond Joy.
4. Dream role - play? Dream role - musical?
CE: The one that hasn’t been written yet! Or anything by Bill Finn.
5. One actor, director or writer you most want to work with?
CE: I’ve always wanted to work with Walter Bobbie.
6. Glee or Smash character you most identify with?
CE: Glee? Smash? Isn’t that an emotion and something you do to spiders?
7. Celebrity you have met that left you the most “star struck”?
CE: Meryl Streep. Hands down.
8. Technology that you can’t live without? Technology you wish didn’t exist?
CE: I love to hate my phone.
Thank you for your time, Clay! And all my best with your kick-ass Pippin! I'm sure I speak for all of my readers when I say that I can't wait to see your next big show!
Jeff
3.311
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email), or comment below (Blogger)
The first part of this interview with Bonnie and Clyde co-star and rising star, Claybourne Elder was (and continues to be) one of the most popular entries ever since JK's TheatreScene started nearly three years ago. Click HERE to read Part 1. I am so pleased to bring you Part 2! Today, he talks about his first meeting with Stephen Sondheim, growing up Mormon and gay, and his upcoming gig as a "punk rock" Pippin. Plus, he answers more of your questions! Thank you, readers, and thank you, especially, to Mr. Elder!Jeff Kyler: In a relatively short period of time, and with just two shows, you have had quite a range of Sondheim experiences. You starred in a Moises Kaufman directed regional production of Into the Woods. Much was made of your being a bare-chested Wolf, and that your encounter with Little Red was sexually charged! When she touched your abs, it was pretty hot… And you also starred as Michael Cerveris’ boyfriend in Sondheim’s latest revision of Bounce, Road Show. Working directly with Sondheim is a musical theatre fan’s dream. What is he really like? How did working directly with him influence your work then and since?
Claybourne Elder: The first time I really sang a whole song for Mr. Sondheim was after I had gotten cast in Road Show off an equity chorus call (make sure you get there and sign up early y’all!). The Public asked me to sing at a fundraiser they were having at someone’s house in the village. I gladly agreed and rehearsed ‘Talent’ from Road Show, not expecting much. When I arrived at the beautiful little brownstone tucked away on a street I didn’t know existed, I realized that this wasn’t just a little wine and cheese party in the lobby of a theatre. I sound checked and got dressed up and waited around for things to begin. When I stepped on the stage, I saw not only Stephen Sondheim beaming up at me, but also Moises Kaufman and a slew of other folks, creating a “who’s who” of the theatre community. I decided that it was probably best to just look above everyone’s heads and went ahead with the song. It was actually then that Moises thought of me for his production of Into the Woods, but that’s another story. Our first day of rehearsal was just after the concert and I walked up to Sondheim that first day, determined to get the first awkward conversation out of the way. And boy did I succeed. In the awkward part. I walked up to him, palms sweating, and reached out my hand. He smiled politely and took it, and I said “Um…er…a….wh…. Thank you.” My eloquence was impeccable. I was so embarrassed that I turned around and walked away. (Laughs) He is a delightful and very warm man and no one to be nervous around and I know that now, but it took a while for me to get used to it.
Into the Woods at Kansas City Rep - "Hello, Little Girl" (w/Dana Steingold as Little Red)/ "Agony" (w/Brandon Sollenberger as Rapunzel's Prince)/ "Finale" - The Company
JK: I have read that you were raised Mormon. Was/Is your family supportive?
CE: You know, I was really lucky to have a really supportive and strong family. And a big one. I have 7 siblings. We’re really close and they’ve always been great to me.
JK: Speaking of being Mormon, have you seen The Book of Mormon? As someone who is on both sides of that fence, what do you think of the show? Is it fair and just silly?
CE: (Laughs) Confession: I haven’t seen The Book of Mormon. I was working on One Arm when it opened and then it was impossible to get tickets and then Bonnie and Clyde opened and then so many other shows had opened that it just wasn’t on the top of my list anymore. Plus, by now I’ve been told so much about it that I feel like I’ve seen it. But YES, I know, I must get myself into that theatre somehow!
Elder's work with Kansas City Rep: (Top to Bottom) Into the Woods (with Dana Steingold); Cabaret (with Kara Lindsay); Cinderella (with Kara Lindsay) and Into the Woods (with Brynn O'Malley)JK: With several of your contemporary Broadway and screen actors (Jim Parsons, Gavin Creel, Rory O’Malley, Cheyenne Jackson, Zachary Quinto, etc.) now coming out or openly gay, do you think a lot of the stigma of being out is gone or going away? Has it impacted your ability to get seen for certain roles?
CE: I feel really strongly about calling myself an actor/artist first.
JK: With all of the news lately about bullying and gay teen suicide and the like, and all of the politics surrounding marriage equality, how do you feel about the political clout of such groups as Broadway Impact and the It Gets Better campaign? Are you a part of the movement?
CE: I think that Broadway Impact is a fantastic group and what they’ve done to raise awareness is awesome! I’ve never done any work for them, but I hope to in the future. [Also,] I haven’t been involved directly with It Gets Better, but I think what they’ve done is really incredible, too.
JK: What advice might you offer to a young man or woman struggling with their sexuality, who might also be looking to a career in entertainment?
CE: I would say that gay, straight, bi, young, old, leprechaun, space alien or tiger – if you want something bad enough, work your ass off and it will happen.
JK: Last question! In the months since Bonnie and Clyde’s closing, what have you been working on? When will we be seeing you on the New York stage again? How about TV or film?
CE: Since Bonnie and Clyde closed, there has been a whirlwind of readings, concerts and auditions. There has been some movement towards TV, some toward new Broadway experiences… I think I’ve done 9 readings so far this year. But as I’ve said before, I love developing new work, and I look for projects that I can really bring something to. And a lot of times, those projects aren’t the biggest (or highest paying) ones! (Laughs) But what I wanted most of all for the spring was to take a little break. My feet had hardly touched the ground in three years, and I really needed some time. Plus, it had been so long since I’d visited home, that my mother was ready to come to New York and drag me back. My next out of town run is something I’m REALLY excited about and is already proving to be a challenging and exciting task…I’ve been working on a new conceptual version of Pippin that is performing at the Kansas City Rep this fall. A.R.T. is also presenting a pre-Broadway try out of a circus-y Pippin, but this is a stripped down, actor/musician version that Eric Rosen, the director, affectionately calls "Punk Rock Pippin." Its going to f***ing rock!
The Barrows Reunited! Claybourne Elder with Melissa van der Schyff(Left) At the 2012 Drama Desk Awards and (Right) At the CD Release Party for the OBCR of Bonnie and ClydeJK: Well, before we finish, here are a few more questions from readers of JKTS! (Thanks to The8rGeek , Jillian P., and ElderCunninghamCT!)
1. What is the very first thing you do when you wake up in the morning and the very last thing you do before going to sleep?
CE: Try to stop my dog from licking my feet. He sleeps under the covers at the bottom of the bed (yeah, I’m that guy!) and every night and every morning tries to lick my feet and I hate it.
2. Favorite ethnic food? Favorite carry out food? What do you order at Starbucks?
CE: I love Indian food, mmmmm naan. But I also love smoothies. Come on, who doesn’t love a good smoothie? Starbucks is usually a skinny vanilla late. Go ahead and make fun. Unless I’m there in the morning for a coffee, that’s my normal Starbucks treat.
3. Plain or Peanut M&M’s? Mounds or Almond Joy?
CE: Peanut, come on. That’s like asking would you rather have milk or chocolate milk? A Kia or a Porsche? Diamonds or rocks? Almond Joy.
4. Dream role - play? Dream role - musical?
CE: The one that hasn’t been written yet! Or anything by Bill Finn.
5. One actor, director or writer you most want to work with?
CE: I’ve always wanted to work with Walter Bobbie.
6. Glee or Smash character you most identify with?
CE: Glee? Smash? Isn’t that an emotion and something you do to spiders?
7. Celebrity you have met that left you the most “star struck”?
CE: Meryl Streep. Hands down.
8. Technology that you can’t live without? Technology you wish didn’t exist?
CE: I love to hate my phone.
Thank you for your time, Clay! And all my best with your kick-ass Pippin! I'm sure I speak for all of my readers when I say that I can't wait to see your next big show!
Jeff
3.311
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email), or comment below (Blogger)
A Look at DC's Arena Stage
To contact us Click HERE
When this blog posts, I'll be on my way to a new-to-me regional theatre, Washington D.C.'s Arena Stage, where I'll be seeing the National Tour of The Normal Heart.
If that weren't exciting enough, get a load of this theatre! It has recently returned to its own space after a few seasons during which the place got a total renovation. And, apparently, we are not talking a face lift, but rather major construction. I can't wait to see it in person!
Photos from Arena Stage and Getty Images.
The original Arena Stage complex since circa 1971:
The artist's rendering of the new complex:
Arena Stage by day and by night, circa 2012:
The interior and stages of Arena Stage: The Mead Center for American Theater
The Normal Heart plays the Keeger. I can't wait to see this place and re-visit this show!
Jeff
3.314
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email) or comment below (Blogger)
When this blog posts, I'll be on my way to a new-to-me regional theatre, Washington D.C.'s Arena Stage, where I'll be seeing the National Tour of The Normal Heart. If that weren't exciting enough, get a load of this theatre! It has recently returned to its own space after a few seasons during which the place got a total renovation. And, apparently, we are not talking a face lift, but rather major construction. I can't wait to see it in person!
Photos from Arena Stage and Getty Images.
The original Arena Stage complex since circa 1971:
The artist's rendering of the new complex:
Arena Stage by day and by night, circa 2012:
The interior and stages of Arena Stage: The Mead Center for American Theater
 |
| The Lobby |
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| The Keeger A thrust/amphitheater set up |
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| The Kogod Cradle Talk about a modern black box theater! |
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| The Fischlander Where it all started - the quintessential arena theater set up |
The Normal Heart plays the Keeger. I can't wait to see this place and re-visit this show!
Jeff
3.314
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email) or comment below (Blogger)
FAREWELL: Martin Pakledinaz
To contact us Click HERE
Two-time Tony Award-winning costume designer Martin Pakledinaz passed away yesterday at the age of 58. According to the Internet Broadway Database, he was either the associate costume designer or the costume designer on 35 Broadway productions, including several for Roundabout Theater Company and the Manhattan Theatre Club. He also designed for several off-Broadway, regional, dance and opera companies.
Most recently, he designed the costumes for Man and Boy and Master Class, and worked with director/choreographer Kathleen Marshall on Anything Goes and Nice Work If You Can Get It, both of which earned him Tony nominations. He also worked with Marshall on Wonderful Town, Grease and The Pajama Game. Among the other productions he worked on were the original La Cage aux Folles, Is He Dead?, The Pirate Queen, revivals of The Diary of Anne Frank, A Thousand Clowns, The Boys of Syracuse, and the revival The Normal Heart, currently on a national tour.
Martin Pakledinaz: 10 Tony Nominations and 2 wins:
Gypsy (2008) and Blithe Spirit (2009)
Jeff
3.315
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email), or comment below (Blogger)
Two-time Tony Award-winning costume designer Martin Pakledinaz passed away yesterday at the age of 58. According to the Internet Broadway Database, he was either the associate costume designer or the costume designer on 35 Broadway productions, including several for Roundabout Theater Company and the Manhattan Theatre Club. He also designed for several off-Broadway, regional, dance and opera companies.Most recently, he designed the costumes for Man and Boy and Master Class, and worked with director/choreographer Kathleen Marshall on Anything Goes and Nice Work If You Can Get It, both of which earned him Tony nominations. He also worked with Marshall on Wonderful Town, Grease and The Pajama Game. Among the other productions he worked on were the original La Cage aux Folles, Is He Dead?, The Pirate Queen, revivals of The Diary of Anne Frank, A Thousand Clowns, The Boys of Syracuse, and the revival The Normal Heart, currently on a national tour.
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| Grease (2007) |
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| Is He Dead? (2007) |
Martin Pakledinaz: 10 Tony Nominations and 2 wins:
- The Life (1997)
- Golden Child (1998)
- Kiss Me, Kate (2000 - Tony Award)
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| Kiss Me, Kate (2000) |
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| Thoroughly Modern Millie (2002) |
- Thoroughly Modern Millie (2002 - Tony Award)
- The Pajama Game (2006)
- Gypsy (2008)
- Blithe Spirit (2009)
Gypsy (2008) and Blithe Spirit (2009)- Lend Me a Tenor (2010)
- Anything Goes (2011)
- Nice Work If You Can Get It (2012)
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| Anything Goes (2011) |
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| Nice Work If You Can Get It (2012) |
3.315
@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email), or comment below (Blogger)
8 Temmuz 2012 Pazar
HOT/HOTTER: The Semi-Finals: Round 4
To contact us Click HERE
BE SURE TO TAKE THIS MONTH'S THEATRE POLL - TO YOUR LEFT!
THIS IS IT! By this time next week, you'll be done picking The Elite 8! To see who has made the cut so far, click on the "Hot/Hotter" tab at the top of the page.
The HOT/HOTTER "tournament" is back! Over the winter and spring, we selected the "Sweet 16" on our way to finding Broadway's most uniquely good-looking guy, and this week, we will narrowed it down to"The Elite 8". This week will be the final 2 pairs of Broadway Boys, and you will pick the hottest guy of EACH pair. (You will pick TWO guys each week.) This week is Corey Boardman vs Matthew James Thomas and Kyle Coffman vs Rory O'Malley! Good luck!
To see who won last week, and to check out the entire "The Sweet 16" click HERE.
NOTE: Your participation in this or any survey on this blog is anonymous.
THE HOT/HOTTER TOURNAMENT
SEMI-FINALS: ROUND 4
(Be sure to scroll down and vote for BOTH pairs!)
PAIR #1: Which guy is the hottest? Carrie's Corey Boardman or
Spider-Man's Matthew James Thomas?
COREY BOARDMAN (TOP) AND MATTHEW JAMES THOMAS (BOTTOM)
COREY BOARDMAN (LEFT) AND MATTHEW JAMES THOMAS (RIGHT)
PAIR #2: Which guy is the hottest? Newsies' Kyle Coffman or
The Book of Mormon's Rory O'Malley?
KYLE COFFMAN (TOP) AND RORY O'MALLEY (BOTTOM)
KYLE COFFMAN (LEFT) AND RORY O'MALLEY (RIGHT)
SCROLL DOWN AND VOTE FOR BOTH PAIRS.
BE SURE TO CLICK "SUBMIT" EACH TIME!
THIS IS IT! By this time next week, you'll be done picking The Elite 8! To see who has made the cut so far, click on the "Hot/Hotter" tab at the top of the page.
The HOT/HOTTER "tournament" is back! Over the winter and spring, we selected the "Sweet 16" on our way to finding Broadway's most uniquely good-looking guy, and this week, we will narrowed it down to"The Elite 8". This week will be the final 2 pairs of Broadway Boys, and you will pick the hottest guy of EACH pair. (You will pick TWO guys each week.) This week is Corey Boardman vs Matthew James Thomas and Kyle Coffman vs Rory O'Malley! Good luck!
To see who won last week, and to check out the entire "The Sweet 16" click HERE.
NOTE: Your participation in this or any survey on this blog is anonymous.
THE HOT/HOTTER TOURNAMENT
SEMI-FINALS: ROUND 4
(Be sure to scroll down and vote for BOTH pairs!)
PAIR #1: Which guy is the hottest? Carrie's Corey Boardman or
Spider-Man's Matthew James Thomas?
COREY BOARDMAN (TOP) AND MATTHEW JAMES THOMAS (BOTTOM)
COREY BOARDMAN (LEFT) AND MATTHEW JAMES THOMAS (RIGHT)
PAIR #2: Which guy is the hottest? Newsies' Kyle Coffman or
The Book of Mormon's Rory O'Malley?
KYLE COFFMAN (TOP) AND RORY O'MALLEY (BOTTOM)
KYLE COFFMAN (LEFT) AND RORY O'MALLEY (RIGHT)
SCROLL DOWN AND VOTE FOR BOTH PAIRS.
BE SURE TO CLICK "SUBMIT" EACH TIME!
REVIEW: The Mystery of Edwin Drood (BBC/Masterpiece)
To contact us Click HERE
Review of the 2012 BBC production of Charles Dickens' The Mystery of Edwin Drood as presented in the United States by PBS Masterpiece. Written by Gwyneth Hughes, based upon the unfinished novel by Charles Dickens. Starring Matthew Rhys, Freddie Fox, and Tamzin Merchant, with Rory Kinnear, Ron Cook, Ellie Haddington, Amber Rose Revah, Sacha Dhawan, Alfie Davis, Alun Armstrong and Julia McKenzie. Directed by Diarmuid Lawrence. 120 minutes (2 episodes).
Grade: A
SPOILER ALERT: While I do not intend to reveal any secrets of either version of the story, I can't guarantee that I am not inadvertently giving away something.
It was pure coincidence that, during a bout with insomnia, that I stumbled across a late night showing of The Mystery of Edwin Drood, a 2012 BBC adaptation of the unfinished Dickens novel. Before this, the only version of the story I was familiar with was the Tony-winning musical version, which is about to be revived by the Roundabout Theater Company this season. In a lot of ways, it was exactly what I though it would be. It is full of high brow and excellent British acting. It has superior production values, including some alarmingly beautiful scenery of the English countryside and period architecture, lush costuming, and masterful camera shots that guide the intricate plot with appropriately moody lighting. (No one does darkness - literal and figurative - like the people at the BBC!)
One assumes that the first hour adheres closely to the original Dickens work, while the second hour focuses on solving the titular mystery. As such, it is pretty interesting to contemplate that themes Dickens touched upon, not the least of which include a scathing look at British Imperialism, drug abuse, questionable paternity, racism, class struggles and the role of religion in society. You have to wonder just how the novel would have played out had it been finished. A good dozen or more major characters are introduced from a variety of backgrounds, and all but a few reveal ominous details about their lives that make them mysterious at best, suspicious at worst. There's a lot to digest, but thankfully, it is well-directed (by Diarmuid Lawrence) and terrifically acted by an attractive and varied company of actors.
Fans of the musical version will be happy to note that for a good portion of the film, the story goes in the same order as the show, and will even recognize some key points of dialogue. Of course, there are differences - a main character is Rosa Bud's guardian/legal counsel (the detailed, pompous and endearing Alun Armstrong) who doesn't appear in the musical, but instead is combined into the role of Mayor Sapsea; and the Princess Puffer in this version is much less of a role (though creepily played by Ellie Haddington), and it is very interesting to see how the roles of Bazzard and Dick Datchery are incorporated here. I find it interesting that both roles go uncredited both in the show (figuratively) and in the film (literally).
The second hour attempts to solve the mystery of Edwin Drood, and in almost no way resembles any of the possible endings in the musical. Yes, they travel down to the catacombs in search of clues, and it is hinted at that young Drood might have just disappeared and was not murdered,(I kept waiting for Betty Buckley to leap from the shadows, singing "The Writing on the Wall"!) and, yes, it appears that John Jasper is the would-be murderer. It goes as most mysteries do, for some time, eliminating suspects. There is one fantastic plot twist involving Jasper, Drood and the Landless twins, and finally makes you REALLY think about the title of the piece. You are reminded that Dickens was a true wordsmith. The ending as it is is satisfying, and even a bit sad and shocking. It should appeal to mystery lovers and fans of the show, especially since, as I said, it ends in such a way that could not possibly be in the play version. Thus, nothing is really spoiled. In fact, the main roles are so well-played, the film could act as a route toward deeper understanding of the musical's characters!
The performances are uniformly good, all with just the right balance of realism, irony and cloak-and-dagger excess. As you will see the camera and the "good guys" love the light, while the camera and the alleged "bad guys" love the darkness and shadows. Both Ron Cook and the cheeky young Alfie Davis provide a bit of humor and a super hint of danger (think Fagin and Artful Dodger) as the drunken Durdles and the orphaned waif, Deputy. They rule the catacombs with a toughened fist. In this version, both play a pivotal and significantly larger role. It was of some interest to me to see The Reverend Crisparkle played by a younger man, as in this case (Rory Kinnear), mainly because it changes the lusty urges of the holy man from creepy stalker to sexually charged. His youth comes into play in the film's final moments, too!
Both the lovely Amber Rose Revah and rakish Sacha Dhawan manage to make Landless twins a pair of enigmatic dualities: they are both exotic and not unlike their British counterparts, both sincere and ominously mysterious, both the picture of calm and of rage unchecked, and both give off an innocence and aggressive sexuality. In short, you can't take your eyes off of them, making them the perfect suspects and the perfect sympathetic duo. After seeing the film, I have come to the conclusion that it is the character of Rosa Bud that grates my nerves, not the actress playing the role (no offense to anyone I've seen in the role previously). Tamzin Merchant is a pretty young woman, and she is the least "helpless" Rosa I've seen, but is still too emotionally extreme for me - she makes Liza seem steady. In the play, I am always delighted to see her selected as murderer, because it is fun to see her unleash the beast that dwells within. Here, that isn't even a choice, and one wonders why Drood even pauses when she calls off their childhood betrothal. As played by the youthful, marvelously arrogant, and smoking hot Freddie Fox, Edwin Drood is exactly the kind of guy that polarizes everyone. Love him or hate him, you have to pay attention to him, or he will mow you down and not look back. In his relatively short screen time, Fox makes Drood important enough to warrant all of the attention his disappearance causes. I should note, the first time he appeared on screen, I found the fact that he is actually played by a male a little bit jarring. But he won me over quickly!
Finally, and most importantly, the main character, choirmaster John Jasper, is played by Matthew Rhys (TV's Brothers and Sisters, the revival of Look Back in Anger), and he is a revelation here. He plays the villainy to the absolute hilt, but never wavering into melodrama. He is so seriously depressed, conflicted, angry and hurt, that as he paces at every locale, you are reminded of an agitated tiger stalking his own cage. And yet, he is entirely sympathetic and even a bit endearing, as he mourns the loss of his nephew and best friend, feeling the guilt of having killed him in a lust borne rage of jealousy over Rosa Bud (or so he thinks, maybe...). Rhys lets fists fly, epithets hurl, and tears flow. The camera loves him and he works it like a master. Instead of a two-dimensional bad guy who twirls his figurative mustache, he gives us a flawed, dangerous man to fear AND a man to pity who has lost everything.
I find mysteries where the good guys have it coming to them and where the bad guys get my sympathies much more interesting. This version of The Mystery of Edwin Drood is all that and much more. Dickens, I think, would be pleased, and so will fans of the musical. This is the perfect way to reacquaint yourself with the story and multitude of characters, without spoiling the fun of the forthcoming revival.
Watch A Scene from The Mystery of Edwin Drood on PBS. See more from Masterpiece.
You can order this version from Amazon. Click HERE.
Jeff3.313@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); or comment below (Blogger)
Review of the 2012 BBC production of Charles Dickens' The Mystery of Edwin Drood as presented in the United States by PBS Masterpiece. Written by Gwyneth Hughes, based upon the unfinished novel by Charles Dickens. Starring Matthew Rhys, Freddie Fox, and Tamzin Merchant, with Rory Kinnear, Ron Cook, Ellie Haddington, Amber Rose Revah, Sacha Dhawan, Alfie Davis, Alun Armstrong and Julia McKenzie. Directed by Diarmuid Lawrence. 120 minutes (2 episodes).Grade: A
SPOILER ALERT: While I do not intend to reveal any secrets of either version of the story, I can't guarantee that I am not inadvertently giving away something.
It was pure coincidence that, during a bout with insomnia, that I stumbled across a late night showing of The Mystery of Edwin Drood, a 2012 BBC adaptation of the unfinished Dickens novel. Before this, the only version of the story I was familiar with was the Tony-winning musical version, which is about to be revived by the Roundabout Theater Company this season. In a lot of ways, it was exactly what I though it would be. It is full of high brow and excellent British acting. It has superior production values, including some alarmingly beautiful scenery of the English countryside and period architecture, lush costuming, and masterful camera shots that guide the intricate plot with appropriately moody lighting. (No one does darkness - literal and figurative - like the people at the BBC!)
One assumes that the first hour adheres closely to the original Dickens work, while the second hour focuses on solving the titular mystery. As such, it is pretty interesting to contemplate that themes Dickens touched upon, not the least of which include a scathing look at British Imperialism, drug abuse, questionable paternity, racism, class struggles and the role of religion in society. You have to wonder just how the novel would have played out had it been finished. A good dozen or more major characters are introduced from a variety of backgrounds, and all but a few reveal ominous details about their lives that make them mysterious at best, suspicious at worst. There's a lot to digest, but thankfully, it is well-directed (by Diarmuid Lawrence) and terrifically acted by an attractive and varied company of actors.
Fans of the musical version will be happy to note that for a good portion of the film, the story goes in the same order as the show, and will even recognize some key points of dialogue. Of course, there are differences - a main character is Rosa Bud's guardian/legal counsel (the detailed, pompous and endearing Alun Armstrong) who doesn't appear in the musical, but instead is combined into the role of Mayor Sapsea; and the Princess Puffer in this version is much less of a role (though creepily played by Ellie Haddington), and it is very interesting to see how the roles of Bazzard and Dick Datchery are incorporated here. I find it interesting that both roles go uncredited both in the show (figuratively) and in the film (literally).
The second hour attempts to solve the mystery of Edwin Drood, and in almost no way resembles any of the possible endings in the musical. Yes, they travel down to the catacombs in search of clues, and it is hinted at that young Drood might have just disappeared and was not murdered,(I kept waiting for Betty Buckley to leap from the shadows, singing "The Writing on the Wall"!) and, yes, it appears that John Jasper is the would-be murderer. It goes as most mysteries do, for some time, eliminating suspects. There is one fantastic plot twist involving Jasper, Drood and the Landless twins, and finally makes you REALLY think about the title of the piece. You are reminded that Dickens was a true wordsmith. The ending as it is is satisfying, and even a bit sad and shocking. It should appeal to mystery lovers and fans of the show, especially since, as I said, it ends in such a way that could not possibly be in the play version. Thus, nothing is really spoiled. In fact, the main roles are so well-played, the film could act as a route toward deeper understanding of the musical's characters!
 |
| Freddie Fox as Edwin Drood |
 |
| Sacha Dhawan as Neville Landless and Freddie Fox as Edwin Drood |
The performances are uniformly good, all with just the right balance of realism, irony and cloak-and-dagger excess. As you will see the camera and the "good guys" love the light, while the camera and the alleged "bad guys" love the darkness and shadows. Both Ron Cook and the cheeky young Alfie Davis provide a bit of humor and a super hint of danger (think Fagin and Artful Dodger) as the drunken Durdles and the orphaned waif, Deputy. They rule the catacombs with a toughened fist. In this version, both play a pivotal and significantly larger role. It was of some interest to me to see The Reverend Crisparkle played by a younger man, as in this case (Rory Kinnear), mainly because it changes the lusty urges of the holy man from creepy stalker to sexually charged. His youth comes into play in the film's final moments, too!
Both the lovely Amber Rose Revah and rakish Sacha Dhawan manage to make Landless twins a pair of enigmatic dualities: they are both exotic and not unlike their British counterparts, both sincere and ominously mysterious, both the picture of calm and of rage unchecked, and both give off an innocence and aggressive sexuality. In short, you can't take your eyes off of them, making them the perfect suspects and the perfect sympathetic duo. After seeing the film, I have come to the conclusion that it is the character of Rosa Bud that grates my nerves, not the actress playing the role (no offense to anyone I've seen in the role previously). Tamzin Merchant is a pretty young woman, and she is the least "helpless" Rosa I've seen, but is still too emotionally extreme for me - she makes Liza seem steady. In the play, I am always delighted to see her selected as murderer, because it is fun to see her unleash the beast that dwells within. Here, that isn't even a choice, and one wonders why Drood even pauses when she calls off their childhood betrothal. As played by the youthful, marvelously arrogant, and smoking hot Freddie Fox, Edwin Drood is exactly the kind of guy that polarizes everyone. Love him or hate him, you have to pay attention to him, or he will mow you down and not look back. In his relatively short screen time, Fox makes Drood important enough to warrant all of the attention his disappearance causes. I should note, the first time he appeared on screen, I found the fact that he is actually played by a male a little bit jarring. But he won me over quickly!
 |
| Matthew Rhys as John Jasper, Tamzin Merchant as Rosa Bud and Freddie Fox as Edwin Drood |
Finally, and most importantly, the main character, choirmaster John Jasper, is played by Matthew Rhys (TV's Brothers and Sisters, the revival of Look Back in Anger), and he is a revelation here. He plays the villainy to the absolute hilt, but never wavering into melodrama. He is so seriously depressed, conflicted, angry and hurt, that as he paces at every locale, you are reminded of an agitated tiger stalking his own cage. And yet, he is entirely sympathetic and even a bit endearing, as he mourns the loss of his nephew and best friend, feeling the guilt of having killed him in a lust borne rage of jealousy over Rosa Bud (or so he thinks, maybe...). Rhys lets fists fly, epithets hurl, and tears flow. The camera loves him and he works it like a master. Instead of a two-dimensional bad guy who twirls his figurative mustache, he gives us a flawed, dangerous man to fear AND a man to pity who has lost everything.
I find mysteries where the good guys have it coming to them and where the bad guys get my sympathies much more interesting. This version of The Mystery of Edwin Drood is all that and much more. Dickens, I think, would be pleased, and so will fans of the musical. This is the perfect way to reacquaint yourself with the story and multitude of characters, without spoiling the fun of the forthcoming revival.
Watch A Scene from The Mystery of Edwin Drood on PBS. See more from Masterpiece.
You can order this version from Amazon. Click HERE.
Jeff3.313@jkstheatrescene (Twitter); jkstheatrescene@yahoo.com (email); or comment below (Blogger)
Media Rants: Scott Walker and the WI Media's View From Nowhere
To contact us Click HERE
Scott Walker and the Wisconsin Media’s View from Nowhere
Media Rants
By
Tony Palmeri
Back in January of 1991 I traveled to Milwaukee to participate in a protest against Bush #41’s invasion of Iraq. Thousands rallied. An hour into the event, less than a dozen counter protesters showed up to back Bush. I went back to Oshkosh and eagerly anticipated news of the event.
Watching the mainstream media coverage, a few things stood out. First, the protest event itself was framed as a kind of political Olympics, an arena battle between competing teams. Second, the reporters and editorialists situated themselves as being outside the arena; just spectators watching and commenting on the action. Third, the coverage seemed lazy; i.e. simple “here’s what team ‘A’ says about the claims of team ‘B’” as opposed to a systematic and rigorous search for the truth. Fourth, after concluding that both teams were “outside the mainstream,” the media referees announced their own “moderate” views that were supposedly “objective” and ruled by reason and common sense not found in the rhetoric of the passionate Olympic teams.
Media treatment of the revolt of large numbers of working Wisconsinites against Governor Scott Walker’s plan to decimate public sector unions reminds me of that war coverage. Bill Lueders of the Madison Isthmus sees the pattern in the Wisconsin State Journal’s editorializing: “Two days after saying that moves to strip the collective bargaining rights of almost all public employees ‘aren't justified,’ it now urged that this be done, albeit just for the next two years, until June 2013. It also opined, ‘The chaos we're experiencing in Wisconsin is simply the extreme manifestation of politics as usual,’ suggesting that all sides are equally to blame for their inability to let go of excessive partisanship.”
The local Oshkosh Northwestern has been more critical of Mr. Walker’s bill, including a fine February 15 editorial exposing its draconian and unfair features. But then on February 19th the paper went back to an “objective” stance and concluded that both Republicans and Democrats were at fault for practicing a “politics that push issues to the far edges of ideology.” Thank goodness the editorial writers are always so moderate and responsible. (Sarcasm intended).
Mainstream television and radio coverage of protest events is typically much worse than newspapers, and that’s certainly been the case in Wisconsin. From TV especially it’s almost impossible to tell who is telling truth in the conflict. Instead, the “objective” newscaster tells us what each side says, with sensational pictures as a backdrop.
New York University Professor of Journalism Jay Rosen refers to the dominant style of American journalism as “the view from nowhere.” When I first became aware of Rosen’s idea in the mid 2000’s I thought he was perfectly describing the coverage of that earlier Iraq War protest and virtually all other substantive issues. As we shall see, the idea captures what’s going on in the Wisconsin media’s construction of Scott Walker’s row with unions.
Influenced by philosopher Thomas Nagel’s book of the same title, Rosen describes three elements of the “View from Nowhere”:
In pro journalism, American style, the View from Nowhere is a bid for trust that advertises the viewlessness of the news producer. Frequently it places the journalist between polarized extremes, and calls that neither-nor position “impartial.” Second, it’s a means of defense against a style of criticism that is fully anticipated: charges of bias originating in partisan politics and the two-party system. Third: it’s an attempt to secure a kind of universal legitimacy that is implicitly denied to those who stake out positions or betray a point of view. American journalists have almost a lust for the View from Nowhere because they think it has more authority than any other possible stance.
I can guarantee you that the folks who run the Wisconsin State Journal and Oshkosh Northwestern, along with every other mainstream print and electronic news source in Wisconsin, would defend their reporting and editorializing as “balanced.” They would say something like, “pro Walker readers think we are too liberal. Pro union readers think we are too conservative. We must be doing our jobs very well if we offend every side of the political spectrum.”
In contrast Rosen says “The View from Nowhere . . . encourages journalists to develop bad habits. Like: criticism from both sides is a sign that you’re doing something right, when you could be doing everything wrong.” Allowing constant repetition of false or inaccurate claims is one of the worst characteristics of a View from Nowhere news operation.
To their credit, the Milwaukee Journal Sentinel tries to hold public figures more accountable with a “PolitiFact” section. Reporters research statements of public figures and rate them on a “Truth-O-Meter:” True, Mostly True, Half True, Barely True, False and “Pants on Fire” for utterly ridiculous statements.
The Governor’s political opponents have shown some blatant distortions in Walker’s rhetoric, and even the Journal Sentinel gave him a “pants on fire” rating for the claim that the budget keeps collective bargaining “fully intact.” Media still let Walker and his fans get away with that claim or variations on it.
All news outlets need a Truth Meter to apply not only to statements of public figures, but to their own reporting and editorializing.
Scott Walker and the Wisconsin Media’s View from Nowhere
Media Rants
By
Tony Palmeri
Back in January of 1991 I traveled to Milwaukee to participate in a protest against Bush #41’s invasion of Iraq. Thousands rallied. An hour into the event, less than a dozen counter protesters showed up to back Bush. I went back to Oshkosh and eagerly anticipated news of the event.
Watching the mainstream media coverage, a few things stood out. First, the protest event itself was framed as a kind of political Olympics, an arena battle between competing teams. Second, the reporters and editorialists situated themselves as being outside the arena; just spectators watching and commenting on the action. Third, the coverage seemed lazy; i.e. simple “here’s what team ‘A’ says about the claims of team ‘B’” as opposed to a systematic and rigorous search for the truth. Fourth, after concluding that both teams were “outside the mainstream,” the media referees announced their own “moderate” views that were supposedly “objective” and ruled by reason and common sense not found in the rhetoric of the passionate Olympic teams.
Media treatment of the revolt of large numbers of working Wisconsinites against Governor Scott Walker’s plan to decimate public sector unions reminds me of that war coverage. Bill Lueders of the Madison Isthmus sees the pattern in the Wisconsin State Journal’s editorializing: “Two days after saying that moves to strip the collective bargaining rights of almost all public employees ‘aren't justified,’ it now urged that this be done, albeit just for the next two years, until June 2013. It also opined, ‘The chaos we're experiencing in Wisconsin is simply the extreme manifestation of politics as usual,’ suggesting that all sides are equally to blame for their inability to let go of excessive partisanship.”
The local Oshkosh Northwestern has been more critical of Mr. Walker’s bill, including a fine February 15 editorial exposing its draconian and unfair features. But then on February 19th the paper went back to an “objective” stance and concluded that both Republicans and Democrats were at fault for practicing a “politics that push issues to the far edges of ideology.” Thank goodness the editorial writers are always so moderate and responsible. (Sarcasm intended).
Mainstream television and radio coverage of protest events is typically much worse than newspapers, and that’s certainly been the case in Wisconsin. From TV especially it’s almost impossible to tell who is telling truth in the conflict. Instead, the “objective” newscaster tells us what each side says, with sensational pictures as a backdrop.
New York University Professor of Journalism Jay Rosen refers to the dominant style of American journalism as “the view from nowhere.” When I first became aware of Rosen’s idea in the mid 2000’s I thought he was perfectly describing the coverage of that earlier Iraq War protest and virtually all other substantive issues. As we shall see, the idea captures what’s going on in the Wisconsin media’s construction of Scott Walker’s row with unions.
Influenced by philosopher Thomas Nagel’s book of the same title, Rosen describes three elements of the “View from Nowhere”:
In pro journalism, American style, the View from Nowhere is a bid for trust that advertises the viewlessness of the news producer. Frequently it places the journalist between polarized extremes, and calls that neither-nor position “impartial.” Second, it’s a means of defense against a style of criticism that is fully anticipated: charges of bias originating in partisan politics and the two-party system. Third: it’s an attempt to secure a kind of universal legitimacy that is implicitly denied to those who stake out positions or betray a point of view. American journalists have almost a lust for the View from Nowhere because they think it has more authority than any other possible stance.
I can guarantee you that the folks who run the Wisconsin State Journal and Oshkosh Northwestern, along with every other mainstream print and electronic news source in Wisconsin, would defend their reporting and editorializing as “balanced.” They would say something like, “pro Walker readers think we are too liberal. Pro union readers think we are too conservative. We must be doing our jobs very well if we offend every side of the political spectrum.”
In contrast Rosen says “The View from Nowhere . . . encourages journalists to develop bad habits. Like: criticism from both sides is a sign that you’re doing something right, when you could be doing everything wrong.” Allowing constant repetition of false or inaccurate claims is one of the worst characteristics of a View from Nowhere news operation.
To their credit, the Milwaukee Journal Sentinel tries to hold public figures more accountable with a “PolitiFact” section. Reporters research statements of public figures and rate them on a “Truth-O-Meter:” True, Mostly True, Half True, Barely True, False and “Pants on Fire” for utterly ridiculous statements.
The Governor’s political opponents have shown some blatant distortions in Walker’s rhetoric, and even the Journal Sentinel gave him a “pants on fire” rating for the claim that the budget keeps collective bargaining “fully intact.” Media still let Walker and his fans get away with that claim or variations on it.
All news outlets need a Truth Meter to apply not only to statements of public figures, but to their own reporting and editorializing.
To contact us Click HERE
The Fourth Deadbeat
Media Rants by Tony Palmeri
From the July 2012 issue of the SCENE
Governments and mainstream media in Western Europe and the United States have always been good at describing their activities in noble terms. Thomas Carlyle long ago saw this in England: “Burke said that there were Three Estates in Parliament; but, in the Reporters' Gallery yonder, there sat a Fourth Estate, more important far than they all.” The image of Western government and media as “Estates,” soberly and judiciously taking care that the business of the people be done, is an enduring one featured in generations of school textbooks.
Public relations experts might recognize the “Four Estates” image as part of a brilliant branding campaign. Like polluting corporations pitching “green”public personas, so called representative democracies living in the pocket of the one percent articulate their elite servitude as acting for “the people.” The shortsighted economic policy decisions of the last generation, from corporate free trade agreements to banking deregulation to trickle down taxing, were framed by their supporters as supreme victories for the masses. With victories like those, Citizen Jane and Joe don’t need crushing defeats.
The branding of coopted governmental bodies as peoples’ champions is not a recent phenomenon. Not new too is mainstream media’s refusal to play an effective role in exposing the sham populism of said governments. Yes of course we can all name some conscientious public officials and mainstream media personnel dedicated to telling the truth; but those worthy exceptions invariably face marginalization and thus prove the rotted system is the rule.
It’s time to rebrand government and mainstream media for the 21stcentury. During the lead up to last month’s Father’s Day, I got to thinking that Western governments and the media providing cover have for some time taken on the characteristics of Deadbeat Dads. Deadbeat Dads avoid responsibility, scapegoat others for their own failings, and are often pathological liars. The worst won’t even pay for their kids’ socks absent a court order. Yet if you talk to a deadbeat dad he’ll express undying love for and loyalty towards the very people he hurts the most.
In this era of “austerity” in the US our Three Estates (Executive, Legislative, Judicial) now pontificate about deadbeat policies as if on some kind of grand moral crusade. Remarkably but not surprisingly, the Fourth Deadbeat goes along for the ride.
Let’s explore the deadbeatism of each Estate:
THE DEADBEAT PRESIDENCY: FDR’s New Deal and LBJ’s Great Society were quite modest social welfare programs by global standards, but reflect rare examples of American presidents expending political capital on the people at large. Modern presidents spend trillions of dollars on dubious national security adventures and then tell us that we’re spending too much on social programs. Today when presidents dare propose new entitlements (e.g. Bush’s prescription drug expansion of Medicare, Obama’s health care reform), private corporations have to make out like bandits. Dad has to take care of Big Pharma and Big Insurance before meeting his family obligations.
THE DEADBEAT CONGRESS: In Representative Joe Walsh (R-Illinois) the House of Representatives today houses a literal deadbeat dad. Walsh was named a “True Blue” member of Congress by the Family Research Council even though he owed thousands of dollars in back child support. The Congress as a whole elevates deadbeatism to a moral crusade: the leadership blames popular programs like Social Security and Medicare for the budget deficit while giving lip service to reigning in the excesses of the national security state and corporate welfare. Meanwhile, Grover Norquist holds the entire Republican caucus in check with the threat of primary opponents if they support even a half cent in tax increases. Norquist is like the loser girlfriend who gets more attention from the deadbeat dad than his own children.
THE DEADBEAT JUDICIARY: It’s not uncommon for deadbeat dads to surround themselves with friends offering “cover” to support the dad’s irresponsible behaviors. The United States Supreme Court now serves that friend function for the President and Congress. Time was when appointed judges were unpredictable; Earl Warren, John Paul Stevens, and David Souter are three examples of Supreme Court liberals appointed by conservative presidents. No more. The vetting process now removes the independent jurists from appointment consideration. We’re left with a partisan “super legislature” of nine bullish barristers, all appointed for life.*** Conservative columnist George Will recently endorsed a super legislature model for the Supreme Court, arguing that judicial activism is necessary to overturn laws and court decisions he doesn’t like (such as the 1873 Slaughterhouse cases).
***Chief Justice John Roberts' recent majority opinion upholding the thrust of the Affordable Care Act (i.e. "Obamacare") has been interpreted by many as an affirmation of Roberts' independence. However, a careful reading of his opinion suggests that far from distancing himself from the right leaning judges, his opinion was entirely consistent with the rightward drift of the Court. See Jonathan Adler's "Lose the Battle, Win the War?" for a cogent explanation of the opinion.
THE FOURTH DEADBEAT: The 18th century Whig Edmund Burke understood that a vigorous press could, through sheer force of giving people the unvarnished truth, provide the spark necessary to overturn corrupt and coopted governments. Commercial media long ago stopped serving that role, choosing to enable rather than challenge the three deadbeats.
The late Australian scholar Alex Carey once wrote that “The twentieth century has been characterized by three developments of great political importance: the growth of democracy, the growth of corporate power, and the growth of corporate propaganda as a means of protecting corporate power against democracy.” Carey understood the “Fourth Estate” as more myth than fact. Can we somehow reverse course in the 21st century? Yes, but it will require We The People no longer accepting deadbeat dadism as a governing platform or method of media coverage.
Media Rants by Tony Palmeri
From the July 2012 issue of the SCENE
Governments and mainstream media in Western Europe and the United States have always been good at describing their activities in noble terms. Thomas Carlyle long ago saw this in England: “Burke said that there were Three Estates in Parliament; but, in the Reporters' Gallery yonder, there sat a Fourth Estate, more important far than they all.” The image of Western government and media as “Estates,” soberly and judiciously taking care that the business of the people be done, is an enduring one featured in generations of school textbooks.
Public relations experts might recognize the “Four Estates” image as part of a brilliant branding campaign. Like polluting corporations pitching “green”public personas, so called representative democracies living in the pocket of the one percent articulate their elite servitude as acting for “the people.” The shortsighted economic policy decisions of the last generation, from corporate free trade agreements to banking deregulation to trickle down taxing, were framed by their supporters as supreme victories for the masses. With victories like those, Citizen Jane and Joe don’t need crushing defeats.
The branding of coopted governmental bodies as peoples’ champions is not a recent phenomenon. Not new too is mainstream media’s refusal to play an effective role in exposing the sham populism of said governments. Yes of course we can all name some conscientious public officials and mainstream media personnel dedicated to telling the truth; but those worthy exceptions invariably face marginalization and thus prove the rotted system is the rule.
It’s time to rebrand government and mainstream media for the 21stcentury. During the lead up to last month’s Father’s Day, I got to thinking that Western governments and the media providing cover have for some time taken on the characteristics of Deadbeat Dads. Deadbeat Dads avoid responsibility, scapegoat others for their own failings, and are often pathological liars. The worst won’t even pay for their kids’ socks absent a court order. Yet if you talk to a deadbeat dad he’ll express undying love for and loyalty towards the very people he hurts the most.
In this era of “austerity” in the US our Three Estates (Executive, Legislative, Judicial) now pontificate about deadbeat policies as if on some kind of grand moral crusade. Remarkably but not surprisingly, the Fourth Deadbeat goes along for the ride.
Let’s explore the deadbeatism of each Estate:
THE DEADBEAT PRESIDENCY: FDR’s New Deal and LBJ’s Great Society were quite modest social welfare programs by global standards, but reflect rare examples of American presidents expending political capital on the people at large. Modern presidents spend trillions of dollars on dubious national security adventures and then tell us that we’re spending too much on social programs. Today when presidents dare propose new entitlements (e.g. Bush’s prescription drug expansion of Medicare, Obama’s health care reform), private corporations have to make out like bandits. Dad has to take care of Big Pharma and Big Insurance before meeting his family obligations.
THE DEADBEAT CONGRESS: In Representative Joe Walsh (R-Illinois) the House of Representatives today houses a literal deadbeat dad. Walsh was named a “True Blue” member of Congress by the Family Research Council even though he owed thousands of dollars in back child support. The Congress as a whole elevates deadbeatism to a moral crusade: the leadership blames popular programs like Social Security and Medicare for the budget deficit while giving lip service to reigning in the excesses of the national security state and corporate welfare. Meanwhile, Grover Norquist holds the entire Republican caucus in check with the threat of primary opponents if they support even a half cent in tax increases. Norquist is like the loser girlfriend who gets more attention from the deadbeat dad than his own children.
THE DEADBEAT JUDICIARY: It’s not uncommon for deadbeat dads to surround themselves with friends offering “cover” to support the dad’s irresponsible behaviors. The United States Supreme Court now serves that friend function for the President and Congress. Time was when appointed judges were unpredictable; Earl Warren, John Paul Stevens, and David Souter are three examples of Supreme Court liberals appointed by conservative presidents. No more. The vetting process now removes the independent jurists from appointment consideration. We’re left with a partisan “super legislature” of nine bullish barristers, all appointed for life.*** Conservative columnist George Will recently endorsed a super legislature model for the Supreme Court, arguing that judicial activism is necessary to overturn laws and court decisions he doesn’t like (such as the 1873 Slaughterhouse cases). ***Chief Justice John Roberts' recent majority opinion upholding the thrust of the Affordable Care Act (i.e. "Obamacare") has been interpreted by many as an affirmation of Roberts' independence. However, a careful reading of his opinion suggests that far from distancing himself from the right leaning judges, his opinion was entirely consistent with the rightward drift of the Court. See Jonathan Adler's "Lose the Battle, Win the War?" for a cogent explanation of the opinion.
THE FOURTH DEADBEAT: The 18th century Whig Edmund Burke understood that a vigorous press could, through sheer force of giving people the unvarnished truth, provide the spark necessary to overturn corrupt and coopted governments. Commercial media long ago stopped serving that role, choosing to enable rather than challenge the three deadbeats.
The late Australian scholar Alex Carey once wrote that “The twentieth century has been characterized by three developments of great political importance: the growth of democracy, the growth of corporate power, and the growth of corporate propaganda as a means of protecting corporate power against democracy.” Carey understood the “Fourth Estate” as more myth than fact. Can we somehow reverse course in the 21st century? Yes, but it will require We The People no longer accepting deadbeat dadism as a governing platform or method of media coverage.
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