Showing posts with label Andre DeShields. Show all posts
Showing posts with label Andre DeShields. Show all posts

Monday, August 12, 2024

Cats: The Jellicle Ball (2024) (Off-Broadway)

The cherry on top of the inaugural season at PAC NYC, Cats: The Jellicle Ball may just be the gayest thing I've ever seen. I mean that in the best way. It's a fun time, honestly to the credit of the audience. The audience was very into it, cheering and hollering and dancing along. There was the guy to my left kneeling on his high stool at the cabaret table, yelling "Bitch!" at every cat to strut down the runway.  There were no fewer than 2 standing ovations in the middle of the show, including a showstopping Memory. And the curtain call was a wonderfully energetic party. There is a lot of crowd interaction at the cabaret tables; I gladly sat a little further back in the orchestra. The stage is a catwalk, with seating on either side as at a fashion show, and then cabaret seating around the front part of the stage. All good seats with unique perspectives on the show.

On it's face, it's not an obvious combination, the camp of Cats and the Ballroom culture of New York in the 80s. But there's a message in there about belonging, and embracing being yourself, and finding your community. There isn't exactly a plot to Cats, not a sensible one anyways. And that sort of lends itself to Ballroom competitions, running category by category, introducing new cats who aren't necessarily dressed as cats but as whatever extravagant outfit suits them. Junior LaBeija from Paris is Burning plays Gus as the emcee. He is fantastic, co-leading with Andre DeShields, a cast that comes half from the theater world and half from Ball culture.

Despite all the excitement, I did doze off a little in the first act, because again there is no plot. There is a little bit of plot in the second act with Old Deuteronomy taking the fall for the stunting (robbery) Macavity is responsible for. Andre DeShields plays the wizened regal old cat, with a fabulous wig and a luxuriously slow gait. Magical Mr Mistoffelees brings Old Deuteronomy back. And finally the old washed up queen Grizabella, a former champion carrying around her old trophy, who gets no respect from the new cats who don't know their history about those that came before them, belts out Memory and becomes The Jellicle Choice, whatever the heck that means. She either dies or attains enlightenment in cat heaven or god knows. Cats as a show is still nonsense but this is stylish nonsense that somehow manages to be as life-giving as The Jellicle Choice and ballroom itself.

Saturday, October 15, 2022

Death of a Salesman (Broadway) (2022)

I made it through high school without having read Arthur Miller's classic American Dream tragedy. I've never known another Willy Loman. And much like Marianne Elliott's revival of Company, she (along with Miranda Cromwell) reimagined the play in a new light so inspired and convincing it's hard to believe it wasn't the original. This Loman family is black and it works so well I can't even imagine Philip Seymour Hoffman and Andrew Garfield. The American dream exists for white people; it's much more difficult for African Americans. It also sort of raises the question of what the American Dream is. Is it home ownership? I always thought it was owning your own business. Maybe it's just raising kids who do better than the previous generation. I suppose it's up for interpretation.

The set is very Marianne Elliott. The furniture descends from the ceiling on wires. The rooms move back and forth, without walls. For some reason, the set is crooked, not aligned to the edge of the stage but on a bit of an angle. It makes the theater feel a little off. I love the music, folksy depressing music, strummed on a guitar (kind of like Girl From the North Country?). It's obviously not a musical, but how could you not give Andre DeShields and Sharon Clarke a song, right? They're excellent. Clarke is a shoo in for the Tonys, but I did say the same about Caroline, or Change. 

I did doze off a little bit in the first act during one of Willy's hallucinations/memories. It's a very long show, over 3 hours. It's very powerful, very emotional, devastating really. It's certainly not for the Lion King crowd, but tourists that recognize the title will find an exquisite production. The theater wasn't full unfortunately or unfortunately, we had no one in front of us.