Red's World

Bonnie and Clyde win hearts on Broadway

I admit I'm a sucker for a good love story, especially one that lives out of bounds and thrives against all odds. The romance of Bonnie and Clyde is a timeless and epic love story that has captured the imagination of our nation for over half a century.

Take that and put it to music and what do you get? In this case, a production that magnificently expresses the story of the romance, danger, risk-taking, wonder and hope of the legend of Bonnie and Clyde.

Although known outlaws, Bonnie and Clyde have always been seen as heroes and celebrities. This production emphasizes that element of their story. Through this show you come to understand, on a gut level, that the reason for Bonnie and Clyde's success was their love for one another. Together they were able to rise above what they had, and where they came from, to make a life for themselves that was beyond anything they would have had separately.

Click here to view Bonnie and Clyde Broadway Musical Trailer on Youtube.

Bonnie and Clyde's inability to live without one another is expressed exquisitely, not only through the music by Frank Wildhorn with lyrics by Don Black (which is beautifully written and preformed), it is also expressed through Jeremy Jordon and Laurie Osnes' embodiment of these two lover through their physical and emotional interactions with each other. The music, harmonies and vocal performances of the score create a world in which you feel a part of this love and desire, not an observer of it.

Jeremy Jordon and Laurie Osnes sweep you off your feet, convincingly recreating the intense connection of these two characters. From the moment they first meet the chemistry between them is real and palpable. There is not a moment where you doubt their desire, tenderness and need for each other. Because there is no holding back in the very physical connection of Bonnie and Clyde (and by physical, I mean PDA relationship on the stage), the touching and kissing has the potential to be awkward or too explicit. But it never becomes either because Jeremy and Laurie's performance is so pure that the tender devotion which underpins the physical is always evident when they touch.The BONNIE AND CLYDE Broadway Musical works because, as an audience member, you feel like you are let inside their world and allowed to go along for the ride with them. Bonnie and Clyde seem like your friends, not criminals, creating empathy for their plight in life and admiration for their tenacity. They never give up, even when everything seems to work against them. And even when you know that they won't live forever, you route for them to make it through anyway. From beginning to end, you never feel like an outsider looking in - you feel like a part of the it all. 

Don't miss Bonnie and Clyde on Broadway

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The AUDELCO Awards: I pick Jay Ward in "Cool Blues"

Back in March, I wrote a review encouraging those who could to see "Cool Blues," a play written by Bill Harris about alto saxophonist Charlie Parker in 1955, to go see it. Produced at The New Federal Theatre in New York City, the most moving aspect of this play for me was watching Jay Ward's performance as Kid Welpool. 

Apparently, I'm not the only one who noticed his talent. On Enchanted Tickets Review of "Cool Blues," Jay Ward was noted for his skillful rendition of an addict settling into madness. I'm please to let you know that his performance has now earned him a well deserved nomination for Best Supporting Actor by the AUDELCO Award.

AUDELCO, the Audience Development Committee, Inc., was established in 1973 by the late Vivian Robinson to honor excellence in New York Afican American Theatre through presentation of Vivan Robinson/AUDELCO Recognition Awards (aka Viv awards). The awards were created to promote "recognition, understanding and awareness of the arts in the African-American community".

Congratulations Jay Ward!

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Cool Blues is really cool: at the New Federal Theatre

COOL BLUES a New Federal Theatre production, is playing at the Henry Street Settlement Underground Theatre through April 3rd.

I'm not sure I understood it all, and I'm not really a big Jazz History buff, but this play is definitely worth seeing. The story itself is about a Jazz Saxophone player called B -- who was actual name was Charlie Parker (Marcus Naylor), and his extraordinary talent.

Set in the 1950's, the action primarily takes place in the apartment of his wealthy white friend Baroness Alexandra Isabella von Templeton, known as Xan (Terria Joseph). Their friendship is unconventional for the time and the differences in social position is touched on. Some of the messages were typical addressing the idea that Blacks are not afforded the same opportunities as whites and therefore should illicit some sympathy - which I find to be a tired story. But that was only addressed as necessary for this story that took place in a very different social and political time than the present.

The play focused on a man who'd had success in his art. B takes the audience on his journey as he reviews his life (through memory sequences and visions) as he comes near death; evaluating what he had accomplished and what he'd lost along the way and even dreaming of what could be.

The memory sequences worked well. I very much enjoyed those that incorporated his friend Bud Powell, Jazz Master Pianist (Played by the talented Jay Ward - Pictured below). 

 

 

 

 

 

 

 

Mr. Ward's performance of Bud Powell from a vibrant talented young player, to the man he became later in life when he suffered from schizophrenia is moving and heartbreaking.

If you love Jazz, are interested in that era, and the lives of these Jazz Greats, COOL BLUES is a play to see.

 

 

 

SPIDER-MAN: a Broadway Entertainment Event!

We all know that SPIDER-MAN on Broadway has been having some trouble saving the word from villains without injury. It's most definitely a complicated production - but that makes for a fantastical experience.

True, Julie Taymor was fired this past Wednesday...and replaced by Phil McKinley (THE BOY FROM OZ) and Roberto Aguirre-Sacasa to re-write and revise the show. But that made seeing it now even more fun, so I went to see the Spidey Julie was fired from.

Despite complaints that the story sucks and songs are far from what one would expect for a true American Musical Theatre piece...it was a wondrously entertaining experience.

The word "awesome" comes to mind. The amount of stunts and effects that are incorporated into this theatrical event is overwhelming. It's not so much about the story or music as it is about creating a different world for the audience to live in for 2 hours and 45 minutes (which is a little exhausting with all the simulation).

It's all about the special effects. I can best describe this production as a mixture of a living comic book, Cirque Du Soleil, a rock concert and Step Up 3 Final Battle. And to top it off, because of all the press regarding the injuries sustained by the actors during SPIDER-MAN's preview run, Fear Factor comes to mind. I was truly afraid for my life, watching Spider-man and his various girls flying over my head throughout the production - I could have been killed if a cable snapped!

Still, you would think that with all the money they are pouring into SPIDER-MAN, they could have done a better job hiding the cables...LOL. But seriously, sight-lines were horrendous and a big distraction for me during the show. I was sitting in the 7th row - prime seating (in fact, it was the seating reserved for press so it should be the best in the house) and I could see everything they were doing off stage left. This took me out of the story and annoyed me greatly.

The other problem I had as a viewer was that there is so much happening at one time that sometimes - like when Spidey is flying over me to the back of the theatre, or when several different actions are simultaneously occurring on numerous levels of the elaborate set - I didn't know what to watch to stay with the storyline. I believe it is the director's responsibility to insure that the audience can follow the main action and know where their eye should go at any given point in the production. In this way SPIDER-MAN failed. I think I even missed him saving the world because there was so much happening at once...

But the highlights were truly HIGH lights - the costumes were magnificent, but we knew they would be with Julie Taymor on the clock. And some of the sets and illusions created with the use of imaging combined with physical set pieces moving were brilliant. They brought a two-dimensional comic book world into three dimensions.

And the dance numbers were fantastic! Especially, the initial Arachne number with the set weaving in concert with the dancers behind her. And the "Pull The Trigger" dance with the solders - that was amazing.

So to sum it all up, if you don't really care about the story and don't necessarily want to hear great music but you want to have an experience like none other on Broadway, SPIDER-MAN: TURN OFF THE DARK is definitely worth seeing.

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New Works 2011: a festival of short plays

That's right, I'm performing in one of the original plays being presented at this year's New Works 2011 festival of short plays. The festival is running from January 26-29 at 8pm at the Richmond Shepard Theatre on East 26th at 2nd Avenue in New York City.

Events like this, are what makes New York the place to come for arts and theatre, providing an opportunity for playwrights, actors, and directors to show off their work. Join me for a fun evening of 27 actors presenting 8 new short plays, from comedy to drama. I'll be playing the part of Sue - a bubbly, member of the Paugatuck Players - in the delightful new comedy, THE COMMITTEE by Jim Gorden. 

Don't miss it!
For reservations call the Box Office at: 212-684-2690

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