Hercules (Paper Mill Playhouse) (2023)

We weren't able to get tickets to the one-week run at the Delacorte Theater back in 2019, but now Hercules is back at the Paper Mill Playhouse in Millburn, NJ. It's a quaint town about an hour from Manhattan driving, though NJT also goes there for future reference. 

I realize that I've never actually seen the movie Hercules, though we probably have it somewhere on VHS. I kind of know the broad strokes just because it's Hercules. Plot wise, the beginning is kind of slow. It's a lot of exposition. I found myself resting my eyes a bit. And we don't even meet teenage Hercules nor Meg nor Phil until pretty far into the show. I think it's actually one of Alan Menken's best soundtracks. I like the gospel-y, motown-y touches. It of course has no business in ancient Greece, nor do the Roman jokes, but it's super catchy, even Hades's songs. I Won't Say (I'm in Love) needs to be higher up the Disney rankings. The first time I heard that song was when Ariana Grande did the ABC sing-a-long during the pandemic and slayed all the parts herself. It's a great song, but unfortunately Isabelle McCalla's singing voice as Meg was a little thin. Alan Menken also wrote some new music for the stage, and To Be Human, sung by Hercules at the climax of the show is totally wrong. All the music had been so upbeat and fun, and at the climax for some reason he wrote a downbeat song. I liked Bradley Gibson as Hercules. He kind of hams up the acting, in a way that could be annoying but screams Disney musical. The costumes and the sets were delightful. The muses really steal the show. I lost count at how many costume changes they had, but every outfit was fabulous. The puppets are also really cool, I wish we got to see more of them. The titans are pretty far back on the stage, but they really should be center stage to showcase their artistry.
 

His Dark Materials (2019-22)

I found His Dark Materials very difficult to follow.  I know the books were written for children but for some reason I just couldn't understand what was happening. Even after 3 seasons, I'm still not sure what the heck dust is. I'm still not sure if Mrs Coulter and Lord Asriel are evil. I don't know why Lyra is so obsessed with Roger when she's got this hunk Will. I chalk it off to the writing. And I found the child actors Dafne Keen and Amir Wilson are very ok. I honestly found them to be kind of annoying. I thought there would be more Lin Manuel Miranda, but he's a pretty minor character. Ruth Wilson is probably the highlight. The subtext of the plot though is fascinating reading about it afterwards. The critique of the Catholic Church is spot on. And I thought the final episode was a stand out. The denouement following the climax of the penultimate episode is quite beautiful. It kind of comes out of left field, but it's a great tie up. The second season was super boring. I nearly stopped watching. And I'm not sure if it was worth finishing but here we are.

Atlanta (2016-22)

This one leaves a pretty large hole in the television landscape. Atlanta was a landmark. It was experimental. It spent whole episodes without a glimpse of our main characters. It pulled stories from real life. It was raucous and poignant. It had something to say about the black experience in America. And then in its penultimate season they go to Europe and speak to the black American experience abroad. It bravely portrayed white people in a way no other show dares to. Its bizarre-ness is explained in its final episode with a not wholly original but brilliantly executed meta sensory deprived dream. It went from a black Justin Bieber to a white Teddy Perkins to a trannsracial man being interviewed on a Charlie Rose type talk show.

Donald Glover can do just about anything and everything. Brian Tyree Henry is now a highly sought after actor, who I apparently saw on stage in Book of Mormon years before Atlanta, and who stole the show in the excellent If Beale Street Could Talk. I think Hiro Murai also gets a lot of credit for the look and dreamlike feel of the show. And I don't know who the music supervisor is, but they're first rate.

The Good Fight (2017-22)

The Kings' spinoff of The Good Wife (a stellar legal drama in its own righht) was the perfect way for CBS to enter the streaming wars. The Kings took a successful show, a formula that worked, and were permitted to experiment with profanity, more taboo teams not allowed on network television, and even animated musical segments. They challenged the censors, and memorably let their audience know CBS censored their satirical song on China in a meta episode about censorship. The Good Fight was the boon we needed in the Trump era. When the world turned tipsy turvy, The Good Fight satirized us by cranking up the absurdity further. It gave us a way to process the craziness around us. They rolled with the punches when the pandemic came around, always the most topical show on television. They brought back their cast of kooky judges and Chicagoland lawyers from The Good Wife, and even elevated Audra McDonald to a leading role. At the black law firm of Reddick & Boseman, we were introduced to many excellent black actors. And they played high powered lawyers! That was unheard of before and I hope those roles continue to be written. Clever and timely, poignant and funny-- though I'm not generally a proponent for TV spinoffs, I always looked forward to The Good Fight.

Straight Line Crazy (The Shed) (2022)

It's my first time to The Shed. Aglaia had the foresight to get Culture Pass tickets for a Wednesday matinee. Tickets sold out fast, even when they released a new block, and they were going for hundreds of dollars. It's a decent sized theater on the sixth floor. The stage juts out into the audience, three-quarters in the round. It's interesting (in that you're really close to the action) but it's sort of unnecessary. It requires them to block the scenes in an awkward way. They move around in circles constantly as they converse so that they're sometimes facing you and sometimes facing away. At the back of the stage, there are some extras that don't really have lines.

There are also some weird narrative choices. Act I centers on Robert Moses's early career building the Northern and Southern State Parkways on Long Island, challenging the unsympathetic landed gentry. Act II focuses on his failed attempt to build a highway through Washington Square Park toward the end of his career. We have Jane Jacobs to thank for his defeat, and she shows up in the play as a rather major character, despite them never having met. In Act I, she interjects with totally unnecessary narration. I actually think all the narration is kind of cheesy. The play would have benefited from ending Act I and Act II at the end of the scene, at the height of the drama, instead of closing with narration. Honestly, we could do without Jane Jacobs altogether. The scenes in Washington Square Park are awkward. The peanut gallery reacts to the protests and public hearings by looking straight at the audience and exclaiming pointlessly. And the play loses momentum whenever Ralph Fiennes isn't on stage. Fiennes is phenomenal as always. His repartee is quick and his posture impeccable. His accent was a little difficult to understand at first but I got used it.

What I do like is that Act I build Moses up. And Act II takes him down. He accomplished a lot in his long career. The play just focuses in on these two key moments and gives the audience both sides of the coin. We are allowed to make our own judgments. What's kind of ironic is that the times have shifted. It has been nearly a hundred years since the events of Act I. Moses believed that cars were the future, and he was right, partially because he built New York that way, and the rest of the country followed suit. But we've now come all the way around to where Manhattan is about to institute congestion pricing. Cars are the enemy now. Unfortunately, thanks to Moses, we're already all-in on cars.

1776 (Broadway)

Roundabout's revival of 1776 recasts America's founding fathers as female and non-binary. This might perhaps be more shocking in a pre-Hamilton era but nowadays the founding fathers are whoever you want to be. Maybe they thought they were capitalizing on Hamilton's success but people love Hamilton because it's good, not for some vague fandom for the American Revolution. The protagonist is John Adams, who is decidedly less interesting than Alexander Hamilton. His main characterization is that he was annoying and disliked. He is strongly pro-independence. And he does not compromise.

The play is pretty boring to be honest. There aren't that many songs. There are long stretches of debate that are completely without music. It really makes you appreciate Cabinet Battle. And the music that does exist is mostly forgettable, and kind of irrelevant. What is that Egg song? I expected bigger for the opener or the Act I finale, or indeed the Act II finale.

The plot is pretty empty. In the first act, they clearly do not have the votes for independence. We're never really told how they convince everyone to come around by the end. There is a discussion about slavery, which doesn't really answer why the southern states become amenable to independence. The delegates to the Constitutional Convention had it pretty good because of slavery. They complain about taxes and mistreatment by the crown, but they have it comparatively good if you consider the way Britain treated its other colonies and certainly if you consider how the colonists were treating their slaves. The fact of the matter is that those who opposed independence were pretty satisfied with the status quo. It's the reason they ignore George Washington's entreaties for military support. We don't really get a sense of why they opposed independence nor what convinces them to change their mind.

Westworld (2016-22)

Westworld was supposed to be HBO's successor to Game of Thrones in terms of epic fantasy and expense and violence and nudity. And it had a promising start. Season 1 was top notch TV. It delivered on the spectacle and the mind-blowing twists. And it had a philosophical bent to it. There were some really beautiful, poignant episodes--I specifically remember Akechata's Season 2 episode 8 titled Kiksuya. Season 2 was actually quite good in retrospect with its biblical scope, but I didn't see that until the end. While watching season 2, I found it to be kind of a drag. Seasons 3 and 4 did absolutely nothing for me. They were so complicated and boring. How did they lose the magic of Season 1? It became a totally different show. Once they left the park and entered "reality" it became too convoluted. And it's not like season 1 was even easy to follow. I'm glad they finally pulled the plug because I had felt obligated to slog through the last two seasons.