REVIEW: Memphis (Film)

Review of the nationwide screening of Memphis: A New Musical on May 3, 2011.  Starring Chad Kimball, Montego Glover, Derrick Baskin, Cass Morgan, J. Bernard Calloway, James Monroe Iglehart and Michael McGrath and the Broadway Cast.  Music by David Bryan.  Book and lyrics by Joe DiPietro.  Choreography by Sergio Trujillo.  Directed for the Stage by Christopher Ashley.  Directed for Film by Don Roy King.  Running time: 2:45, including pre-show documentary and intermission.

GRADE: A

Opera has been doing it for years (live and recorded) and some West End shows, too.  And now, at last, Broadway has joined the cinema revolution with the recent screenings of Memphis.  This is history in the making, folks, and it is a concept I fully embrace.  This screening, at limited screens and at limited times, brings Broadway to the masses if the masses so choose to partake.  The show couldn't be more current (just a year old AND the current Tony-winning Best Musical) making it a draw for true theatre fans all over the country, and at $20 a ticket (plus a small fee), affordable in comparison to the real thing.  By making it a strictly limited engagement at a limited number of theatres, it not only makes the film a "special event,", but it also takes away the fear that it could seriously impact the audience of the show at the Shubert Theatre.  If anything, at least from what I heard people saying during the intermission, it should help it gain some audience on tour and on Broadway.  Why?  Because as great as film is, and this one in particular is pretty darned great, it will never replace the experience of live theatre.  But a close approximation might just light the fire under a few and reignite the fire for people who haven't been in awhile.

There are many advantages to film.  First, as the show was filmed live over several performances, the best of each scene and number can be edited together to create a "definitive edition."  Second, you get a great view, no matter where you sit, and you get to see things that even a front row seat at the theatre doesn't give you, like tight close-ups, focus on reactions by the supporting and ensemble characters, and even sweeping views of the whole stage when important.  Third, with special recognition for film sound designer Matt Kaplowitz, you can hear the orchestra and singers at comparable and notably clearer levels.  The sound literally surrounds you and every lyric, word and note is crystal clear.  And, of course, it drowns out the chatty Cathys that inevitably sit right behind you, running commentary and all.

Of course, there are some disadvantages to film versus live performance; as I said, film will never replace the live theatre experience.  First, film also "tells" you what to look at - you have no choice as to what you are seeing as the film is the only view you get at any given minute.  Second, there is automatically a limit to how much you can react to something. There are no holds for laughs, and, while the audience I attended with applauded freely throughout, there is no chance for really being enthusiastic without clapping yourself into not being able to hear the next scene.  And finally, and perhaps most importantly, you have no live connection going on between cast and audience.  That electric current between the house and the stage is notably absent.  Yes, you can hear the recorded audience react, but it just isn't the same.

There is one aspect of the film that I loved, simply because you can't really do it in a live performance, and there is one thing that inadvertently effects a filmed version of a live show.  What I really loved was in act two, during Huey's TV show, we often saw it as if we were watching our old black and white TVs.  We could see it the way it was meant to be seen, in effect.  The thing that I really didn't like is that with the sound so attuned to the performers, no slack could be cut for breathing loudly and for all those little sounds we make between words and sentences.  Live, it comes off naturally.  HD sound makes it sound odd. 

Fortunately (or unfortunately, as you choose to look at it) this really only effected Chad Kimball, a heavy breather and word-slurrer/gasper/grunter of the highest order.  Because Mr. Kimball is portraying a larger than life character, some license has been given in allowing him to exaggerate speech and physicality, I am sure.  And as he was really performing for a full house in a theatre that is gigantic compared to the multiplex, his performance is notably large.  On film, he comes across sometimes as over acting, and not just eccentric and a little slow, but perhaps mentally challenged as well.  Still, with the balance of everyone around him and some truly beautiful vocal work on his part during the musical numbers, his excesses are easily overlooked.

The rest of the cast comes off exceedingly well.  Montego Glover has starlet written all over her - the camera LOVES her.  Cass Morgan's work on the details of her character are much more evident close up, and the broadness of Derrick Baskin, J. Bernard Calloway, James Monroe Iglehart and Michael McGrath are even more delicious on the big screen.  And the ensemble is vastly talented as they dance and sing in a wide variety of styles as the score calls for.

The film, directed by Don Roy King manages to capture most of the theatricality of Christopher Ashley's stage direction, and leaves me wondering all over again how Sergio Trujillo's spectacular choreography wasn't even nominated for a Tony Award last year.  Memphis is one dancin' extravaganza as this film captures so beautifully.

Soon, this will be available on DVD, and I will buy it.  And I will be attending the filmed version of the New York Philharmonic concert of Stephen Sondheim's Company.  I encourage all of you to do the same.  Supporting this kind of union of two art forms is a win for everyone.

(Photos of the Broadway production by Joan Marcus)


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Jeff
2.252

Back in Time: 2002: Into the Woods (Revival), Part III

Here is the third of four blogs discussing the 2002 revival of Into the Woods.  Previous installments in this series discussed the show itself and the creative team.

Given that Into the Woods is such an intricately woven story, with each character large and small offering some impact on the overall piece, I hesitated to divide the cast into supporting and principal groups.  But, after reviewing the cast list, listening to the cast recording, and considering the script again, I decided to do so.  Of course, this Tony-winning revival, like its original cast predecessor, has an outstanding ensemble company, so delineating between the groups mostly comes down to size of role, and in no way diminishes the impact that each actor brought to the piece.

So, here's a look at the supporting cast of the 2002 revival of Into the Woods:

Chapman (left) in Caroline, or Change

Tracy Nicole Chapman (Florinda)

Before Into the Woods: The Who's Tommy, How to Succeed..., The Life, The Lion King (original cast - Shenzi), The Music Man
During Into the Woods: She understudied the role of the Witch.
Since Into the Woods: Caroline, or Change (The Radio)

Dame Judith Dench

Judi Dench (The Giant)

Before Into the Woods: A storied career in London, New Work, and on film, television and stage.  She has appeared on Broadway only 3 times, including her Tony-winning turn in Amy's View in 1999.  Her honors include 7 Olivier Awards, and 6 Oscar nominations/1 Oscar (Shakespeare in Love).  She was named Dame by the The Order of the British Empire in 1988.
During Into the Woods: The acclaimed actress never appeared in the show.  Her voice was recorded for the production.
Since Into the Woods: She continues to make films (including the role of M in every James Bond film since 1995's Golden Eye.

Dye (left) with Woods co-star Vanessa Williams at

the opening of Irving Berlin's White Christmas

Melissa Dye (Rapunzel)

Before Into the Woods: Grease! (1994 revival - as Sandy (replacement))
During Into the Woods: She, along with Vanessa Williams, introduced the song "Our Little World" to Broadway audiences.
Since Into the Woods: She has not appeared on Broadway since.

Kelly (right) with Into the Woods original cast member,

Joy Franz, in the National Tour of Damn Yankees

Dennis Kelly (Cinderella's Father)

Before Into the Woods: Damn Yankees (1994 revival as Joe Boyd), Annie Get Your Gun (1999 revival as a replacement Buffalo Bill Cody)
During Into the Woods: He understudied the roles of Narrator and Mysterious Man.
Since Into the Woods: He has not appeared on Broadway since.

Kendall (center, left) in the National Tour

of The Color Purple

Trent Armand Kendall (The Steward)

During Into the Woods:  The revival was his Broadway debut.
Since Into the Woods:  He has not appeared in another Broadway show, but has been very active in the benefit performance area of the New York theatre scene, having appeared in benefit productions of The Best Little Whorehouse in Texas, Hair and Chess.

Chad Kimball in Memphis

Chad Kimball (Milky White)

During Into the Woods: The revival was his Broadway debut.  He is (so far) the only human to play this role on Broadway.  He also understudied the roles of Jack, Rapunzel's Prince and the Wolf.
Since Into the Woods: Good Vibrations, Lennon and Memphis (Tony Award nominee - Best Actor in a Musical)

Malenke in a regional production

of The Pirates of Penzance

Jennifer Malenke (The Horse)

During Into the Woods: The revival marked her Broadway debut.  She is (so far) the only human to play this role on Broadway.  She was also the Dance Captain and understudied the roles of Florinda, Milky White and Rapunzel.
Since Into the Woods: She has not appeared on Broadway since.

Myers (right) in the original Broadway

production of Company

Pamela Myers (Cinderella's Stepmother)

Before Into the Woods: Company (original cast as Marta; 1971 Tony Award nominee Best Featured Actress in a Musical)
During Into the Woods: She understudied the role of Jack's Mother.
Since Into the Woods: She has not appeared on Broadway since, though she continues to direct and produce regionally.

Amanda Naughton (Lucinda)

Before Into the Woods: The Secret Garden
During Into the Woods: She understudied the role of the Baker's Wife.
Since Into the Woods:  She has not appeared on Broadway since, but has an extensive resume in regional theatre and television.

Coming soon:  The Principal Cast of the 2002 revival of Into the Woods.  Which of them lived happily ever after?


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Jeff
2.164