Finished reading RED by John Logan last night, again at about 2:30 a.m.
I ordered it off Amazon because it…well…just sounded interesting! But alas my happy-go-lucky attitude about reading random plays failed utterly this time. It’s always a risk we take when we read a new play and as they teach us in acting school:
"Relish and remember everything bad and be happy that it happened and you experienced it."
I could have gone without this one though…
I give it a big FAT grade of
It’s basically about an old artist (Rothko) and his assistant, a new artist (Ken). Rothko broods and is pretentious about his art while Ken tries to relate but has trouble because his parents were murdered.
I mean…there’s a little bit of a plot…but it’s just sad.
I do enjoy the info they give you about different artists and insight into what their lives may have been. So that’s good…
The word anthropomorphized is used in conversation.
Basically I felt like it was too wordy, not concise, and just way too high brow. I kept feeling like since I don’t live in Greenwich Village I wasn’t supposed to get the humor or story. What surprises me is that it didn’t just win a Tony, it won SIX! I would have love to see the original production to see why it was so great. And I’m slightly disappointed in finding out Alfred Molina played Rothko. I love that guy! I just wouldn’t have ever seen him in this role…
Alfred Molina- Rothko
Eddie Redmayne- Ken
Wikipedia- as usual sucks
Amazon- probably find it cheaper
A night of revels and reading of dramatic literature in Santa Cruz.
Theatre majors: If you’re getting more than four hours of sleep a night, you’re doing it wrong.
—Rachel Wagner (via oneprinceeric)
I don’t know about you all… but I am so excited to see Tales of the City at A.C.T. Opens soon. And boy do I know what it’s like to put on a new musical…We’re doing it at UCSC now! Eeek. Can’t wait to review this bad boy once I can get up to SF sometime.
Playbill write up-
We’re deep in rehearsal for a new musical adaptation of Euripides’ Orestes at UCSC! Directed by the fabulous Danny Scheie, translated and adapted by Mary-Kay Gamel, composed by Phil Collins, musically directed by Sheila Willey-Hannon and Colin Hannon.
I’m playing the “Messenger” from the traditional script but adapted to “Anchorman” for this production leading me to the obviously perfect combination of the two in this video above, Colbert and O’Reilly.
Info and Tickets
So I just finished In the Boom Boom Room by David Rabe last night at about 2:30 a.m. which seems to be the standard time for reading of plays with my crazy schedule.
I found this play while on spring break in New York at Shakespeare and Co. Booksellers I.e. NYU-Tisch Drama Department’s bookstore. I randomly grabbed it and bought it. Which I suggest to anyone hesitant to buy a play, just get it!
Verdict/Grade: For a, mostly failed, attempt at a modern remount of tragedy but with interesting story and flow I give it a solid B.
In the Boom Boom Room tells the story of Chrissy, a young hopeful dancer trying to find her way, metaphorically not literally, to New York. At the moment she is stuck in Philly dancing at a GoGo bar. Through the play she encounters a number of different “characters” who all have varying influence on her life. I say varying because some change it completely and some not at all and can, arguably, be cut from the action without harm to the plot. Blah blah blah, shit happens, people meet. Next… bulleted for your pleasure are the key aspects of the play:
- Astrology- Chrissy is obsessed with it. She always relies on her horoscope and dominant planet to determine her days and relationships. This adds to the theme of “sins of the father” and “fate” that come next.
- Sins of the Father- Chrissy’s parents are the most interesting characters by far. You never really know if Chrissy is imagining them or if they are really in the scene. They definitely take on a very astral aspect which supports Chrissy’s obsession with astrology and predetermination. SPOILER ALERT: We find out that, psychologically, Chrissy may have been conditioned to a life of unknowing and trouble when we discover her father’s alleged sexual abuse toward her and her mother’s equally alleged attempt at abortion and abandonment. I love her parents as character because along with their physical world ambiguity, their entire past can also be a figment of Chrissy’s imagination.
- Gay/Queer/Lesbian Tendencies- There’s quite a bit of homo in this play. From Chrissy’s near muff buffing experiences with fellow dancers, to her gay neighbor who she abhorrently expels from her life when he talks to her about choice, fate, and being one’s self…In this scene he’s dressed as a Playboy bunny which is always a great choice for a scene in my opinion.
- Tragedy- It is essentially Chrissy’s actions, decisions, and choices which lead her into her downward spiral. Yada, yada, cookie cutter story telling. EXCEPT, because we never really know what has happened to Chrissy before or how she truly feels about a situation the idea of tragedy is questioned. If these things really happened, is it her fault?
So that’s it! I leave a lot out on purpose. Why? I want you to read it!! Note: be sure to get the “Revised to the original two acts” version because, as the author notes in the preface, it was originally produced much shorter and left a lot out.
Wikipedia- SUCKS. Description is way off, but here you go anyways.
Amazon- if you want to buy it.
NY Times Review
"Willkommen, bienvenue, welcome…" to my theater blog!
I’m Todd P.
I attend UC Santa Cruz to study acting.
I like to read plays, see plays, act in plays, write plays, direct plays, and various other verbs with “plays” coming after it.
I hope to be posting some sweet theater stuff on this bad boy so stay tuned……