LordCherrysReview.com

Tag: musical

  • Maybe Happy Ending (Rewatch)

    Maybe Happy Ending (Rewatch)

    Maybe Happy Ending is a show that I could see over and over again (This is my second visit read my first review here) because it gives me faith in humanity. The very basic premise of this show is following two Helper Bots (robots designed to be human helpers) as they decide what makes an ending happy. And while it is robots that this story follows, “what makes an ending happy” is something that is very human in nature and thought. It poses the question of what would you prefer: no sorrow, but no memory of the good or embracing the sorrow and hurt that comes with life, but keeping the happy memories, even if they bring you sadness?

    The Show's Playbill Cover

    Getting hurt, feeling pain, is very human and as this show points out “everything must end eventually”; whether that is a life or a battery or a relationship or anything, everything does end eventually. So, what’s better? No memory and a blissful existence or feeling the pain, but keeping all the good that came with it, too?

    There is no easy answer to that question and, I believe, that the answer will change from person to person because both answers are correct. For some, no memory is the better option, but for others, keeping the good memories outweigh the hurt that accompanies those memories.

    And hearing the audience sniffle and cry during various points in this show gives me some faith in humanity because it means we, the audience, are having empathy and feeling real emotions for a robot – a thing that literally cannot feel these emotions – and yet, we feel their pain. Empathy is a beautiful thing.

    I stand by this show being near perfection. Darren Criss is not only a wonderful actor and singer, but his ability to be so…animatronic throughout the entire show is impeccable. And for Helen J. Shen, who is so petite off of the stage, feels so big with her command of the stage throughout the show.

    The empty stage before the show begins. The title “Maybe Happy Ending” in English and Korean glow in a neon light on a curtain resembling a dark computer monitor

    This show blends technology and big band/crooner style music to perfectly frame the events of this show in both a literal and figurative way. The set itself moves, providing a physical frame for each scene. But also the entire show is encased within the music of Gil Brentley, a fictionalised Frank Sinatra type singer, which allows the scenes to flow flawlessly as well as frame the themes of the show.

    This show has a lot of attention to detail (the technology aspect of this show really exemplifies this), but my favourite tiny piece of detail came inside the playbill. The “character” (I put character in quotes because Hwaboon is a plant ) of “Hwaboon” received its own spot and bio. I adore that the plant, who is very much treated as a character and is in almost every scene of this show, has previous acting credits. What a wonderful wink and nod to the theatre fans in the audience who actually take the time to read the playbill.

    HwaBoon's Playbill Entry.

  • Cabaret (I had to return)

    This was my second time visiting the Kit Kat Club. Read my earlier review here. This is a show that I wish were required viewing for everyone in America, if not the world.

    Cabaret is a show that takes place in Berlin, Germany, as the Nazi’s rise to power. Before the Nazi’s, Germany (especially the city of Berlin) was a hotspot for the LGBTQ+ community. It was where people were able to be themselves. And this is shown by the Kit Kat Club itself. Inside the club, everyone and everything is care free. Everyone and everything is beautiful. Life is beautiful. The show itself goes back and forth between the room rented by the American protagonist, Clifford, and the club, hosted by the Emcee.

    This show, on the surface is about Nazi’s coming to power and how the people react. It then delves deeper: The show is about compliance. The show is about not knowing what to do. The show is about not believing that it could happen. The show is about not believing it can happen to you. The show is about not believing it can be that bad. The show is about fleeing. The show is about standing your ground. This show is about rationalising the horrors that are around you in order to deny that they are occurring. This show is about being so certain that you are right that you either ignore what’s happening around you or you do not even realise that it is getting as bad as it is.

    I love this production. I love how immersive it is. I was seated on the opposite side as I was the first time that I saw this show. This allowed me to be closer to the actors during the main show. This allowed me to see more detail. This allowed me to appreciate the small movements of the dancers that I had not noticed before. This includes Herman covering his eyes as he dances to avoid looking at the overly sexual men and women and the fist placement of the gorilla (played by Karl Syler Urban, for this performance). Even being able to see the small glances that the actors gave each other while on stage put even more depth into a show that’s already very deep.

    In this show, we see how Nazi Germany slowly creeps its way into every aspect of the characters lives, even inside of the Kit Kat Club itself. And we watch as everyone’s lives are changed.

    This was the second time that I’ve seen the show with Adam Lambert as the Emcee. And he is phenomenal. The first time that I saw this show was before the election. It was before, when we still had hope for the next four years. But now it is after the election. The side of progress and freedom lost and executive orders have been signed. We are in a country where we can clearly see the fascists regime coming in and actively deciding who is or is not American enough. We have people, both legal immigrants and undocumented immigrants, being rounded up and sent away. ICE is infiltrating schools and places of employment. There is a push to deny the existence of transgender, non binary, and intersex individuals. Guantanamo Bay is being set up to be an interment camp (a labour camp). There is already talk of taking away the legal protections granted by marriage to those who are already married, but happen to be in a same sex marriage. And all of this information may be taking its toll on Adam as his performance was more strained this time around. In fact, he cried at a few different points in the show. He even changed some of his line delivery. For example: the first time that I saw this show, he almost spat out “she wouldn’t look Jewish anymore” while this time, the line was spoken softly and it came off as being more like genuine love. I am glad to report that there was no laughter, not even nervous/uncomfortable laughter after this line (there has been many reports of Adam stopping the show, in character, to explain that that line is not a belly laugh line). This time around, you could have heard a pin drop. I heard no laughter, but I did hear audible gasps of shock.

    Both times that I have gone, I have seen the Sally Bowles understudy (Gabi Campo) and she has been phenomenal. I have never seen Auli’l perform the role, but if Gabi is the understudy and she is this good, I have to imagine Auli’l is amazing as well.

    Another impressive thing to note is the pre-show. I noticed many new faces for the dancers and musicians. And with new faces, came new dances. Very impressive to see them changing up the pre-show and therefore having to learn and memorise even more dances.

  • Maybe Happy Ending

    I wasn’t exactly sure what to expect from a musical about robots. But I was thrilled with what I received. Maybe Happy Ending is a near perfect show that will leave you questioning a number of things that you thought you already knew: What qualifies as love? Can you genuinely love and be genuinely loved by something without emotions? And if so, what does that look like? When does someone become “human”?

    This show tackles a lot and it does so seemingly with ease. The entire show is framed in two ways: The first being the set which moves around to literally frame what the audience is intended to be paying the most attention to. The second framing is done musically. The first robot that you meet is Oliver (played by Darren Criss), who has a penchant for the music that his owner/friend used to listen to. This music is used to frame the show (it is music that you would hear from the 1940’s and 1950’s that would be commonly sung by Frank Sinatra and the like) and it is sung superbly.

    The plot is simple. Oliver is eagerly awaiting the return of his friend/owner. While he waits, he lives in a building that is for retired helper bots. He has never interacted with the other helper bots in his building. One day another helper bot, Claire (played by Helen J Shen), knocks on his door asking to borrow his charger because she desperately needs to recharge. This sparks a story of hope, love, longing, desire, friendship, loss, death, and so much more.

    Both Darren and Helen are wonderful in their performances. Darren’s robotic movements really shine, especially in the beginning, when you view Oliver as just a robot. Through their performances, the audience learns to love and care about these robots, often getting to the point that you forget altogether that these characters aren’t human. Which leaves you to wonder: what makes someone human anyway?

    This show made me laugh. This show made me cry. This show was absolutely beautiful in every aspect.

  • Swept Away (2022 Musical)

    Great singing, great acting, amazing set. My problem with it was merely script. I felt the ending was rushed. There is a big shocking event that happens and then it just kind of stops and you get what feels like an epilogue. I’d just have rather seen the events that happen from that shocking point onwards and not just be told it. Or, I’d have changed the ending to be more tragic. I wasn’t crazy about the music. Americana music just isn’t my thing. It was a beautiful show. I wanted it fleshed out more. I wanted to see the pain of the broken mate more which granted would be difficult because the actor gives broken perfectly.

  • Teeth (2024 Musical)

    Teeth (2024 Musical)

    Okay: Teeth the Musical… my only complaint, there could have been so much blood utilised. Funny, fast paced, clever. Just not much of a splash zone.

  • Cabaret

    Holy crap! Could there be a more poignant time for this show? I saw the Sally Bowles understudy (Gabi Campo) and holy crap can that lady belt! Amazing vocals. Adam Lambert nailed it. I hope to see him in more Broadway shows because that man, as we all already know, is a star! And he has the vocals.

    More than that though, the immersive experience of this show is beyond belief. It really did feel like stepping into a new world where “everything is beautiful!” starting right with the pre show. “Look, don’t touch” is right as these performers use dance and mime to entrance you. By the time the curtain rises, the audience is ready for a good time. And then the seriousness of the show slowly hits. And the desperation of trying to keep it “normal” becomes apparent. I pity anyone who cannot see the parallels to modern day America.