This past Sunday I was invited to a concert featuring the music of Adavion Wayne, and I had to write something about this fabulous evening of great music and incomparable singing. In my time of living in NYC there are countless opportunities to witness great up and coming composers such as Scot Alan, Kerrigan and Loudermilk, Kooman & Dimond at venues like Don’t Tell Mama, Birdland and Don’t Tell Mama, but Palmer Memorial Episcopal Church was the place to be. This night of song was tied together by eloquent Spoken Word pieces by Khadijah Percy and Curry Goudeaux.
The talented cast consisted of Julian Jones, Kaci Timmons, Laura Patterson and Stephen Hudson. This 15 song set was easy on my musical palate and made me want another helping after the curtain call. As a vocalist and musical theatre performer I am amazed with other artists and their prowess when it comes to performance, and song interpretation. I was in awe with the texture and character of Kaci Timmons in her performance “Alone” and the classic placement in “Give Me Time.” Laura Patterson’s vocal delivery was by far one of my favorite of the evening. When singing looks and sounds effortless, this is a testament to great training. I was taken back to a young Audra McDonald and this made my creative heart smile. Laura Patterson is a vocalist that is sure to be a household name in the future. Another stand-out performance was that of Stephen Hudson. This vocal powerhouse made an entrance and I was in hook, line and sinker. In acting I tell my students that the character you developing needs to be multi-dimensional, we want to peel away the layers like an onion, and this is a mantra I use when coaching vocalists. From note to note Stephen’s nuance was spot on. The Act I closer “Ready to be Loved” was delivered with heart, soul and as we call it good ole flat-footed sangin! When a songwriter can make us laugh, think and cry they’ve done their job. In the song “Thrills and Train Wrecks, I laughed at this jovial musical comedy piece that should be in the audition rep of college students, and professional musical theatre performers. The song of the night was “Standing Still” which is the title song of the concert. This song which has an inspirational message lets us know that if we stand still we can have clarity, and understand what the future has for us.
In the world of auto-tunes, and over produced Billboard hits, the simplicity of song, lyric and voice has become antiquated and its songs such as “Standing Still,” and Adavion’s creative heart that tells the world that good music is here to stay. From beginning to end I was engaged and this evening of song brought me to think of Songs for a New World, one of my favorite songs cycles by Jason Robert Brown. A great writer/ composer knows his or her strengths but willing to take risks and write from a place a vulnerability and truth and Adavion Wayne has hit the nail on the head. I am Houston proud, and seeing a concert like this lets me know the art scene in Houston is on the brink of something unspeakable.
I know it’s been a while since I’ve written a blog, but I must say that my time at the theatre has brought about this rant. There’s no doubt that I’m a musical theatre lover and seeing Jeff Calhoun’s (Newsies, Bonnie & Clyde) production of Jekyll and Hyde made me proud to be a professional in the theatre as well as a patron of the arts. Based on the Robert Louis Stevenson novella Jekyll & Hyde was turned into a musical in the early 1990’s with a compelling book by Leslie Bricusse and a riveting score by Frank Wildhorn. Jekyll & Hyde was originally work-shopped at The Alley Theatre in Houston in 1990 and later opened on Broadway in April of 1997 running four years.
When I heard there was a revival afoot, I was immediately drawn into the buzz. So to the twitter and Facebook timelines I went. As the other Jekkies out there we were awaiting the cast list and when I heard Constantine Maroulis and Deborah Cox was going to star in the show, I was in and immediately I drank the Kool-Aid. Many may know of the leading man as the sexy long haired-rocker on the fourth season of American Idol. Constantine Maroulis has taken the Broadway scene by storm. This BOCO musical theatre grad was last seen in The Toxic Avenger as well as his Tony nominated performance in Rock of Ages. Maroulis was to join vocal forces with the long acclaimed dance hall diva Deborah Cox. I’ve been a longtime fan of Deborah Cox. The R&B/ Pop-Dance chanteuse is a hot commodity since her entry into the music industry in the 1990’s. Some of Cox’s popular hits are “Sentimental”, Nobody Supposed to be Here” and my favorites “Same Script Different Cast” featuring Whitney Houston,” “Who Do you Love”, and “After The Morning After.” Cox is no stranger to the Great White Way, she was last seen in Elton John/ Tim Rice’s Aida. Once a background vocalist for Celine Dion, there was no denying that Cox’s voice was meant for center stage.
Me and Libby with Constantine!
So after months of anticipating the cast list, the show is rehearsed and here in Houston. I made sure I told my sister-friend Kim and her daughter Libby to get tickets to this show, because if it’s as good as the original it was going to touch them forever. My other sister-friend Brandie went a week prior to us along with her daughter and they enjoyed the show. After our fabulous dinner at Little Napoli, we were on our way to the Hobby Center. I have to say that I was as excited as a kid going to an amusement park. The orchestra began to tune up and I was putty from there on. Act I immediately set up the story as well as added the song “I Need To Know” which was taken out of the Broadway production. This song allowed us to understand Henry Jekyll’s passion for medical research and his plight to save his father who was suffering from mental illness. “Bring On the Men” is another song that was taken out of the Broadway production and it allowed us into the mysterious and dark back-alley world of Lucy and her hate for her profession. I looked at this production like my favorite CD. From scene to scene each song held your attention to the next. There is no doubt that Constantine Maroulis was born to play the roles of Dr. Henry Jekyll and Edward Hyde. One of the iconic songs from Act I is the decision power ballad “This is the Moment.” I think every tenor including myself has sung this song either at an audition, jury or recital, and Mr. Maroulis knocked this song out of the park. As Act I concluded Deborah Cox’s rendition of the classic musical theatre ballad made popular by Linda Eder shook the rafters in the Sarofim Hall in Houston, TX. Debora’s humongous belt and. placement aided in the vocal perfection in her delivery. After this ballad the litmus test was aced with flying colors. I must admit that Act I of many musicals usually run slow, but the pacing for this production was spot-on.
The intermission has passed and the orchestra is in place to take me on yet another theatrical journey that I wasn’t ready for. The murderous rampage of Edward Hyde is prevalent, but the love Emma has for Henry is deep and visceral. Emma played by Teal Wicks (Wicked, Stairway to Paradise) delivers nothing more than a classic yet guttural performance. In “Once Upon a Dream” the classical placement and demure delivery was as elegant as silk. The juxtaposed vocal styling of Wicks in this production will have the Tony Award committee on the edge of their seats, but as the characters love deepens the power in her voice stands alone. There’s no doubt that both Wicks and Cox were destined to play the roles of Emma and Lucy. In hearing their rendition of “In His Eyes” I found myself being pulled out of my seat from the magnetic commitment and power in the vocal delivery and commitment. Both women in love with the same man having their different reasons pour their heart into a ballad that is none other than Broadway at its best.
Deborah Cox (Lucy) and Ensemble in “Bring on the Men”
Now in the middle of Act II, I had a slight grin on my face because I knew that my theatrical spirit was pleased, but as a theatre professional watching this piece I felt a sense of pride to know that I am a part of a community that commits to bringing great entertainment to the people. Seeing each performer live out their dream on stage was emotional. I was sitting next to a young lady that hopes to be on Broadway one day and I pray that by her seeing these performers live their life out on stage will help her as she commits her life to the theatre. Now back to the show! “A Dangerous Game” is one of those numbers that you watch and feel as if you’re watching something intimate through someone’s window. The head-bopping hip-hop groove under the Wildhorn classic song totally brings you into the dark, sinister sado-masochistic relationship between Hyde and Lucy. For those who don’t know the story I will not spoil it for you. As the show ended the 11-o’clock number “A New Life” was the nail in the proverbial coffin for me. Debora Cox SANG HER FACE OFF in this number. I truly had a “Come to Jesus” moment, and shouted “You Betta Sang Girl” at the end of the number.
Debora Cox as Lucy and Constantine Maroulis as Dr. Henry Jekyll/ Edward Hyde
As you can tell from my lengthy rant, I was thoroughly pleased with the revival of Jekyll and Hyde with Constantine Maroulis and Deborah Cox. I believe that the theatre is supposed to reflect where we are in our world socially, artistically as well as musically. There was a blend of classic Broadway, rock and R&B in this production, and I can respect the mash-up of styles. Maroulis’ and Cox’s riffs and runs emotionally added a nuance to their songs. Some musical theatre purist won’t get it, and will not be able to wrap their heads around the re-birth of this adaptation, but we all have our opinions and you know how I feel about opinions! I want to applaud Jeff Calhoun and his creative team for reviving this theatrical masterpiece. I hope that you make your The Great White Way this Spring/ Summer to see this limited engagement. I promise that you will come out humming the melodies and you will join the long time lineage of Jekkies! So was this a hit? HELL YES! See you at the theatre!
Ok I hate to be negative but I must state the truth. This past weekend I went to Clear Creek Community Theatre’s production of “Oliver” the musical. I was truly excited because this was a musical that is a staple in American Musical Theatre, and had many songs that are popular to many. I was familiar with the songs, but I had never seen a full production of the piece. I am going to be truthful in this blog and it is not to bash another organization but it is truly criticism and you can take it with a grain of salt or use it in your next production process. As I take a deep breath and collect my thoughts, I want to just say that I am working with the most talented children in Galveston County! BATAVA you have spoiled me!
Now as I sat in the theatre the production began, and from the first note, and the opening scene I knew that I was in for the ride of my life. Now I do understand what community theatre is, I have been in a few Community Theatre productions and I can say that I learned a lot about my craft. In doing my research I know that the character of Oliver is to be played by a little boy not a 13-year-old girl. Now I do understand that there are slim picking in community theatre at times, but casting is vital in producing a successful show. Many of the characters young and old were rough around the edges and needed more rehearsal and training. You must remember that we the audience have never seen the production and it is your job to tell the story. The story was truly forgotten with the breaks of character and the missed notes and pitch problems of the actors. The rehearsal process is to be used as a time to hammer out all notes, choreography and characterization needed for the actors to convey the story in the manner that the writers intended. Now was I expecting a Broadway production no, but I wanted excellence on the stage and I did not see this.
I do understand that budget can make or break a production, but when you are limited on funds you have to get creative in your approach to all of the design elements of a production. “Oliver” is a period piece that took place in the 1800’s and the Dickens stylized costumes were expected for the period. There was some thought with this but it was not consistent. The set design did not compliment the period. As a Director/Choreographer there are elements of the story that is told through the dance and there was no choreography in this production. On the numbers like “Consider Yourself” and “Oom Pah Pah” the choreography was null and void. There were many choices directorially that needed re-working such as the use of the curtain for transitions. There were many front of curtain songs that were made to use as transitions pieces and many of these songs took place center stage. The transitions in this musical were horrible. There were times when the theatre was in the black for about 5 minutes, and it was obvious there were set pieces being moved during the black out. It became annoying to the audience at the end of every scene and this was something that took me completely out of the production. When I walk into a theatre I want to be taken away to where ever the story is taking place, and Clear Creek Community Theatre’s production of “Oliver” did not do that for me.
In the theatre there is a standard that we must uphold. It is our job to convey a poignant story to the audience. When the theatre goer walks into the theatre they are to leave a changed person. I was completely disgruntled and I wanted to leave during the intermission, but I did not want to be rude so I stayed. I know that many on that stage will not strive to be a Broadway star but I firmly believe that if we strive for perfection in all aspects of our lives we will catch excellence. When you know better you do better, and I expect that from all theatre companies. In watching this production it took me back to my current situation and where I work, and the wonderfully professional people I work with at BATAVA. We have to hold ourselves to a standard. The theatre is a temple and we are here to evoke the gods of comedy and tragedy! Take the time to support your local community theatre and remember the THEATRE’S THE THING!
On a 5-star scale, I give this production half of a star!
This past Sunday I was invited to a concert featuring the music of Adavion Wayne, and I had to write something about this fabulous evening of great music and incomparable singing. In my time of living in NYC there are countless opportunities to witness great up and coming composers such as Scot Alan, Kerrigan and Loudermilk, Kooman & Dimond at venues like Don’t Tell Mama, Birdland and Don’t Tell Mama, but Palmer Memorial Episcopal Church was the place to be. This night of song was tied together by eloquent Spoken Word pieces by Khadijah Percy and Curry Goudeaux.
Rants from The Literary Prince 