It’s fantastic. I read (and wrote about) another book about Fosse many, many years ago, but this one’s even better.
I reached the section detailing the filming of Cabaret, and began thinking about the immersive, beautifully acted, and powerful production of the musical I saw at The Warehouse Theatre several years ago. I dare say it remains the definitive stage version of Cabaret for me.
There are dozens of shows that I’ve seen in local theatres that continue to stick with me, sometimes for the overall effect, sometimes simply for a few standout moments or images or performances or even just feelings. As much as I love bus and truck shows – and the touring production of Wicked remains the single most affecting theatrical experience I have ever had – there’s nothing like local theatre to stick with you for the long term.
Sadly, the review I wrote of that stellar production of Cabaret lived on a website that no longer exists. So I thought I’d dig it out of my archives and share it. Because that show was glorious.
What good is sitting alone in your room? Come to the Cabaret, old chum!
There. I had to say it, so I did.
The nice part is, I really mean it.
The Warehouse Theatre’s staging of the classic musical Cabaret opened this weekend, and it’s a rousing, gorgeous, thoughtful, and entrancing production.
Theatre review originally published November 30, 2016 in the Greenville News.
For those of a certain age, Miracle on 34th Street is one of a handful of beloved holiday films that played in regular rotation each December. Others were such classics as White Christmas, It’s A Wonderful Life, and various versions of A Christmas Carol. The dialogue and characters – and the actors who brought them to life – are as familiar as our own childhood living rooms.
This interview was originally published in Creative Loafing.
“We have been doing magic together for twenty-five years, and are so sick of it we could spit. So, in the new show, we are moving into the field of religion and will be performing real miracles.”
Penn & Teller arrive in Greenville on January 18 for an evening at the Peace Center that promises, if not miracles, at least some brushes with death.
“There’s plenty of death,” Teller told me in a recent telephone interview. “Good, funny death.”
Teller is the shorter, usually silent half of the team. Penn, on the other hand, is tall and (as Teller puts it) “brilliantly articulate.” Together, they’ve been mystifying audiences for more than two decades. After catapulting to fame in the mid-eighties with fabled appearances on “Late Night With David Letterman” and their Obie award winning (“For Whatever It Is They Do”) Off-Broadway show, the pair have dabbled in books, television specials, their own movie (Penn & Teller Get Killed) and even an appearance in Walt Disney’s Fantasia 2000. But recently they’ve been focusing most of their attention on their live show.
This interview was originally published in Creative Loafing.
When a replacement was needed to play the lead in the Broadway musical Jekyll and Hyde, theatre execs decided to look for someone from the world of rock and roll in hopes of attracting a different audience to the play, then in its fourth year. They turned to Sebastian Bach, former lead singer of the hard rock band Skid Row (who scored with hits like their Slave to the Grind album and the singles “18 and Life” and “I Remember You”). New audiences came to the show, pleasing the producers and creating a new career path for a rock and roller who was tiring of life on the road. But now that he’s starring in a revival of the “rock opera” Jesus Christ Superstar, Bach comes full circle.
“Right before Broadway,” Bach recalled in a recent telephone conversation, “I was on the road with my solo band, doing 90 dates across the U.S., and I was like, man, wouldn’t it be great if I could just play in one place and the crowds could come to me instead of all this traveling. Then I got on Broadway, so that came true. Then when I was on Broadway, I was like, man, what a drag it is that this is only in one city, I’d love to take this around to all the other cities. And now that’s exactly what I get to do. I get to bring Jesus Christ Superstar, the Broadway show, to Greenville and I’m so excited about that.” Continue reading “From the Deep Archives – Sebastian Bach, Superstar: Former Skid Row lead singer plays Jesus at Peace Center”→
At Jim’s Garage, an auto repair shop in a small North Carolina town, you’re as likely to hear the mechanics singing as tune up your car. Jim, the amiable owner/operator, keeps a guitar on him at all times. As for the shop’s three mechanics, the laid-back ZZ burns up both an upright and electric bass, while Purvis, the town stud just back from the military, plays lead guitar and Dee usually sings back up. Dee is the newest mechanic, and she (yes, she) knows her way around a carburetor, sports an angelic voice and has a few ideas that might just shake up the auto industry. The shop’s receptionist, Ivy, also sings back-up and is certain that if she’s chosen as the pin-up girl for this year’s Jim’s Garage calendar, that’ll be her ticket to the big time. Merle, the straightlaced bookkeeper, takes his place on piano and mandolin. And if you’re really lucky, Purvis’ Aunt Ethyl may show up, eager to add her voice to the proceedings before inviting you to a pig-pulling.
That’s a typical day at Jim’s Garage, the endearing and “high octane” country musical now making its world premiere at Flat Rock Playhouse.
It opens quietly, the magnificent voice of Reva Rice singing that “Life is Just a Bowl of Cherries,” then explodes into a fast-paced evening of dance excitement. Fosse-the Musical, quite simply, rocks. From the Stomp-like “Percussion 4” to the sex-drenched “Take Off With Us” to the electrifying finale set to Benny Goodman’s “Sing, Sing, Sing,” Fosse never ceases to draw us into the magical world of one of Broadway’s all-time greats.
It’s all in the fingers, held apart with hands outstretched, elbows tucked in, full of energy. Dancers call it Fosse hands.
Bob Fosse choreographed every detail of a dance routine — the drooping eyelash, the bowler hat cocked at a rakishly precise angle, the pinky finger curled at just the right moment. You don’t see a lot of big chorus lines and beauty pageant smiles in Fosse numbers. You do see a lot of skin.
Bob Fosse died in 1987, at age 60, but his work lives on in the musical tribute that bears his name. Fosse – the Musical premiered in 1998, won three Tony awards in 1999 (including Best Musical) and arrives in a touring production at the Peace Center, January 2-6. The show has no plot: it’s more of a journey, an evening of song and dance highlights from one man’s extraordinary career, work that encompasses theatre, film, television and even ballet. Continue reading “From the Deep Archives – It’s Showtime, Folks: “Fosse” at the Peace Center”→