Review - NOW. HERE. THIS. Cast Album from Ghostlight Records

Thomas Merton, a poet and Catholic philosopher, developed a strong appreciation for Zen near the end of his short life. He told a friend about his key to happiness: the phrase "Now, Here, This." Not a command to "listen to this," but three distinct words as reminders:

• Now: this exact moment in time, NOT the past not future plans, but this tangible experience.
•  Here: (NOT hear) This place in space, not where we might go or where we've been or where we want to be, but the place you actually are.
• This: the thing we're doing, the senses we're using, not imagination but reality.

Now Here This - a way to live that will let us experience and truly appreciate life (while we have it.)

That philosophy is the title to a musical that played Off-Broadway in 2012, and now has a cast album released by Ghostlight Records. It comes across as a musical group-therapy session, moving from angst-ridden memories and quirky stories about personal insecurities towards a new-ageish acceptance of the choices made, experiencing and embracing the present. It’s certainly cheaper than group therapy, and probably funnier. 

The writers – Hunter Bell, Jeff Bowen, and Susan Blackwell – and their collaborator Heidi Blickinstaff not only star in the show, they essentially play themselves searching out this meaning-of-life thing. This isn’t their first time doing a super-meta musical; the even quirkier [title of show] was about them creating a show for the New York Musical Theatre Festival and its subsequent off-Broadway run.

That device is back, this time as friends reflecting on their individual histories. Maybe it’s because I know these four people – not personally, but I feel I met them in [title of show]. Subsequently, they’ve put their personalities on the web through video podcasts, Twitter feeds, blogs, and even a documentary on recording this cast album, although the latter is more a wink and thank-you to the fans who put up the money to record the album through a Kickstarter online campaign. The video confirmed that although the four people in Now. Here. This. have the personalities and quirky sense of humor of the real Jeff, Hunter, Heidi and Susan, they are meant to be any of the millions of slightly off-kilter creative types, the kind of people who have busy minds, fragments of ideas floating all the time, imagining what-ifs. There are a lot of us out here, and Now. Here. This. grabs our attention, at least for the moment.

The best song of the bunch is “More Life” not only because it’s catchy but for setting up those big questions. What are we missing by not being present at this moment, in this place. Only a couple of the songs address that ‘here and now’ utopia; the majority of the music points out the road blocks, mostly as journeys from the past.

Jeff remembers the discovery that he can dazzle any school bullies into thinking he’s funny, instead of thinking he’s gay, which is a social death sentence in elementary school. Heidi is a budding diva craving attention from a busy family. Susan fills her life with activities to avoid a house that could have been on Hoarders. It doesn’t matter if the stories are fully real or, as Hollywood puts it, “Inspired by a true story.”  The performances come though the recording, especially the twists that crack the masks and gives the character some self-realization, (predictable as it might be). A big exception is Hunter’s story/song about hiding in an imagined life with his ideal boyfriend, which is so over-the-top random and confused that it seems more of a desperate attempt at imagination rather than the practiced imaginary world of so many who create a world to disappear into. It comes across like “My Girlfriend Who Lives in Canada” from Avenue Q, but a lot less raunchy.

A theme in the show – and in life – is the desire for STUFF. A belief that getting that thing you desire will unlock the key to happiness. It’s present in the scene-setter “More Life,” and repeats in the all-too-true number “Members Only.” The title refers both to exclusive clubs AND a popular 1980s jacket brand. It acknowledges the teenage rite of passage of finding the RIGHT clothing to get accepted by the popular people. It’s amusing while being painfully real. “Then Comes You” is a sweet song of friendship, and the truism that when you accept yourself, it’s easier for others to accept you as well.

As soon as the songs begin drifting into the land of the new-age spiritual retreat, the quartet yanks us back into an odd story of a group sea excursion, sung in the style of an old Irish sailing ballad, with Jeff and Susan getting seasick mid-song. There’s a wee moral to the tale of the “Wilbert S. Pound” -- when life upends you, sulking and being miserable makes it worse, but finding SOMETHING to appreciate makes the time sail by. Pollyanna? Perhaps. That’s where these songs come up short. Listening to the complete album feels like a weekend retreat where the group leaves refreshed in their purpose and commitment, before the reality of life crushes in. As Heidi sings the sweet “This Time,” which suggests a person sets her own rules, chooses her own path, it sounds like such an easy thing to do that the sentiment dissolves into fluff.

The ‘documentary’ suggested that the collaborators were continuing to develop the show. If so, I’d like to see them add the struggles of experiencing the ‘Now Here This’ through life’s constant interruptions – interruptions that the reclusive monk Thomas Merton didn’t have to consider, such as the partnership of marriage, raising a family, paying the bills. For example, since this CD came out shortly before Christmas, it took a few days fits and starts to listen to it and write this review. As Stephen Sondheim put it in Into the Woods, “If life were only ‘moments,’ then you’d never know you had one.” The only song that comes close to exploring that is the unfortunately-titled song “That Makes Me Hot” – which attempts to show when experiencing the Now Here and This is EMBARRASSING. That’s not the same thing.

Hey, this is a musical, not an answer to the meaning of life. It’s supposed to make you leave wanting more. And there are some satisfying moments from the cast album, despite some crazy pop culture references, such as rhyming the came Clue with actor “Gerard Depardeiu.” The song I appreciate most is “Golden Palace,” which convinces me we shouldn’t set our heroes on a pedestal beyond our reach. Instead, have enough faith in ourselves and our own potential that we can mingle with our heroes at the level we’re at now.

So if you’re looking for a profound musical experience, this CD isn’t it. If you’re looking for lovely background music, this isn’t it. If you’re looking for a good time with some unique songs that want to be listened to and thought about, this might be it.

Ranking on the Art, Humor, and Entertainment scales:

Art: middle to low. The words stumble through the music, instead of both working together. But the thoughts are worth considering.

Humor: Middle to high. It’s closer to slapstick comedy, with probably too many 1980s pop culture references (Wikipedia will probably have a few visits to the Ed Grimley entry) but several moments are laugh-out-loud outrageous.

Entertainment Factor: High. Listening to some of Jeff Bowen’s wordy phrases is hard work, but the joy of the performance comes through. It’s not only the way the four voices blend, it’s the way their personalities blend. This CD will be treasured by students and young adults who are themselves on the creative and quirky side, feeling their way in this odds-beating existence called “life.”

Dirty Rotten Fun

Dirty Rotten Scoundrels is a hoot. Of course I'm talking about the stage version visiting Spokane this week. Beyond the cute plot ("My Fair Scumbag"?) and the why-am-I-laughing-this-is-soooooo-gross moments, there is a lot to like about this production. Jeff Essex is completely charming as Andre. The ensemble is extremely strong, and each lead has at least one fabulous moment.

And now for something no other theater blogger or reviewer will touch on because it's such a theater geek thing. This production of Dirty Rotten Scoundrels is a must-see for every director and would-be director in town for one simple element: the scene changes. I swear I wanted to applaud the ensemble for their well-timed, entertaining execution of an excellently-choreographed and interesting transition. In my big-mouthed opinion, THAT is what a scene change is about. It's a mini-show in itself, with singing (okay, they're do-do-do-ing, but it sounds GREAT) and characterizations (I loved the gossiping maids) while moving set pieces.

Not to say that it's a brand-new thing to area theaters. Specifically, Kathy Doyle-Lipe used the same idea in the Spokane Children's Theatre staging of Pinocchio several years ago that won a place at the national community theater awards (AACT). Which goes to show that a fabulously-thought out transition from one scene to another can do more than keep an audience totally engaged in the production. It can enhance the overall show to the point where it becomes one of the best things the audience has seen in a while. Kudos to Dirty Rotten Scoundrels.

Aida

Elton John's musical began its Spokane stop last night at the INB Center. Aida's production values are great -- a mature cast with strong singing, acting and dancing, fabulous set and stage lighting.

Amneris must be a fun character to play, with elements of Julie Brown's song "I'm A Blonde." Not quite a ditz, but certainly choosing to not be cerebral, her stereotypical growth through the show was nicely played. Aida was just as stereotypically strong, but a few nuances here and there. Both actresses have nice singing voices, and carried their solos and group numbers well. Ramades, well, he was the love interest baring his soul, and his chest, frequently. His acting was a little overwrought for me, and he's got the rock singing style down... which means I could barely understand him.

That's not really his fault. The lyrics almost always get lost in a rock style. Wailing, whining, scooping, slurring, it's all part of the music. It's hard to understand on the cast albums, too. For example, "Fortune Favors the Brave" becomes "farton fayva duh baaaaaaaay." Considering how many times that refrain is sung at the beginning, it's a good thing that it's printed in the program. The staging of course makes the song's intent pretty obvious, but as a wordsmith I love the nuances of lyrics; ya don't get that with Aida, even though Tim Rice ("Sir Tim to you") is pretty clever with a phrase.

And I admit, I'm not a fan of the script. I don't know much about the plot twists in the opera, or how they're presented, but having major plot elements spin on a dime based on one line that comes out of left field is pretty ridiculous. But that's not the fault of this production.

I truly loved the set. A two-story set with balcony, and large window filled with pyramid-shaped panes, clean and smooth lines. Six moving pedestals with ancient-looking statues changed the look enough to distinguish new scenes or locations. Excellent lighting effects through the window changed the moods effectively (I's a sucker for blue sky and realistic clouds). (I have to say I felt sorry for the (new?) spotlight operator who had trouble getting the tight focus on the actor's head and shoulders only. I hear from my lighting-designer husband that it's very tough to get it right from that distance.)

This production incorporated several modern elements into the costumes and props, something that I hear wasn't done in the original production. They were frankly distracting. It's an interesting concept, and they might have worked if the prologue/epilogue were different. The show opens and closes in the present, and in between we are supposed to be transported to the ancient Nubia of the museum exhibit. How can we do that with AK-47s and blue jeans?

Aida is what Jesus Christ Superstar would have sounded like if Tim Rice had written it with Sir John's music instead of Sir Andrew Lloyd Webber. The emotional elements are the same -- scenes of the ill and downtrodden begging for their leader to save them; Amneris could have been singing I Don't Know How To Love Him instead of I Know the Truth; the guys all showing off for their leader; the Pharaoh handing down a sentence of death... Different plot, different characters, different love triangle, but similar motivations.

Overall, I'm glad I saw it, I don't need to again.
Photos and positive reviews of this tour are at theaidatour.com
And a terribly honest review online here.

60 Years of Spokane Civic Theatre

It's ironic that as Civic Theatre prepared to celebrate 60 years of great community service to the Spokane area, the last of its primary founders passed away. One week, Betty Tomlinson died, the first artistic director and general manager. The following week, Dorothy Darby Smith passed on, the "Grand Dame of Spokane" and first president of the board. Both were remembered at the "Best of Civic" concert on Sunday evening.

That was a wonderful walk down memory lane. Many people have moved from the area, or just moved on with their lives and can't afford the time and effort to rehearse two months then spend another month of nights in performance. Kudos to Martha Lou (times have NOT changed all that much!), Janice Abramson, Susan Hardie, and others who rarely showcase their performing skills on stage these days. Jean Hardie capped the evening with one more showstopper as Mother Superior from the Nunsense shows.

Thanks to everyone who performed Sunday night, and to everyone who has given their talents to Civic over the past 60 years.

No Day But Today

First off, I don't go to movies much. It's taken more than a year for me to see the film of Rent. My brother-in-law gave us tickets to Rent in Seattle as a wedding gift, and while we enjoyed it, we couldn't see what all the hype was about. Maybe it wasn't a great production, but I had a hard time getting into it. It seemed too long - at least some of the songs seemed too long - and I had problems understanding many of the lyrics. The film completely changed my outlook on Rent.

We finally had a movie night last Saturday in our living room, this time with my husband at my side and our preschooler on my lap. The opening sequence, with everyone in the neighborhood lighting their eviction notices on fire and tossing them out the window, was one of those moments where a filmmaker makes the most of the the medium. Another amazing reinterpretation was having Mark hit his head on the concrete floor in the middle of Tango Maureen, and suddenly hallucinate -- with dozens of dancers suddenly doing the tango, including Maureen in red. Fabulous.

This week, I've been listening to the soundtracks. Comparing as hundreds of Rentheads have done before me. I realize I'm late to the table, and have nothing real to add to it. My own personal impression, though, is that I applaud the cutting the director and writers did. For example, suddenly "Out Tonight" makes sense (why did Rodger let her sing that whole song and then push her out? Because she didn't come in until the last verse, after she came home from work! On stage, doing a pole-dance routine on the scaffolding of the set, it seemed odd to me. But hey, pole-dancing in a room full of pole dancers and their paying customers, that's her work, that's her character. It finally clicked.) Cutting out most of "Goodbye Love" works well -- we don't need to hear the argument in words, we've seen it enough between the action 'til he leaves, and the visuals of "What You Own" do an excellent job of telling the story. The setting of "Take Me Or Leave Me" in their own ENGAGEMENT PARTY, I loved.

Okay, this is why I'm not a reviewer. I have a hard time putting my own thoughts and impressions into words. Basic point -- I usually appreciate a stage show more than a film, but Rent is a fabulous exception. At least, so far: now I really want to see the live show again for comparison. The chance comes in May.