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Showing posts with label Matt Owen. Show all posts
Showing posts with label Matt Owen. Show all posts

Wednesday, March 18, 2015

THIRTY-SEVEN YEARS AFTER HIS DEATH, "JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS" (AND SEATTLE)

    
If you have never heard of Jacques Brel (1929-1978), you are not alone, even though this Belgian singer/songwriter became famous in the world of European popular music, a voice expressing the emotions of many in the difficult post-World War II era, and a man who has been compared to Frank Sinatra for his wide appeal. Yet, here in the United States, he was far less well-known. The demand for his deeply felt and passionately performed, sometimes lighthearted, but often introspective or cynical lyrics sung to his compositions played on guitar kept him on tour almost constantly until the mid-1960s and inspired song writers in America and elsewhere. 

The company of Jacques Brel is Alive and Wel & Living in Paris,
 a co-production presented at ACT - A Contemporary Theatre.

Photo Credit: Mark Kitaoka
Now through May 17, co-producers ACT—A Contemporary Theatre and The 5th Avenue Theatre bring you the musical revue called Jacques Brel is Alive and Well and Living in Paris . This is a fresh new version of the original Off-Broadway production by the same name, which opened in January 1968 at the Village Gate in Greenich Village in New York, toured the world’s major cities, and first appeared in the Pacific Northwest in 1973, at Seattle Rep. By the time of the show’s original New York debut in 1968 Brel, had not performed his music for two years and would be dead of lung cancer a decade later, at the age of 49. I wonder if he ever imagine how his work would live on. With direction and musical staging by The 5th Avenue Theatre's own Artistic Director and Executive Producer David Armstrong, in the intimate setting of ACT's Falls Theatre, it certainly does.

Cayman Ilika (center) with Louis Hobson (left) and Eric Ankrim (right) in Jacques Brel is Alive and Wel & Living in Paris,
 a co-production presented at ACT - A Contemporary Theatre.

​Photo Credit: Tracy Martin
If you go to see Jacques Brel is Alive and Well and Living in Paris, remember that this is a revue, not a play or musical. Expect no dialog, no dancing, no plot, no named “characters” in the usual sense, and costumes are mostly normal clothing accessorized in different ways. Do expect not only great singing, but also great acting from a cast of five, three men and two women who draw from Brel’s songs—and project to the audience—deep emotions, ranging from torment to humor. Cast members are Eric Ankrim, Louis Hobson (from March 7—April 12), Cayman Ilika, Kendra Kasselbaum, Timothy MeCuen Piggee, with Matt Owen taking over for Hobson April 14-May 17.

When I took my seat on the night of the press opening, I wondered what to expect. Tom Sturge’s stage design amounts to nothing more than an arrangement of steps and platforms, backed by screens onto which photographic images are projected to create a variety of moods. It turned out to be the ultimate canvas. The spareness of the set, the images, and the lighting effects added up to perfection.

Kendra Kassebaum in Jacques Brel is Alive and Wel & Living in Paris,
a co-production presented at ACT - A Contemporary Theatre.

​Photo Credit: Tracy Martin
The evening began with a live band of outstanding musicians behind a screen at the right rear of the stage but visible—Conductor Dwight Beckmeyer on piano, Greg Fulton on guitar, Chris Monroe on percussion, and Dave Pascal on bass. It is easy to be so swept up in the singing and visual aspects of this production, that you forget that a huge portion of the enjoyment you experience is due to this band. Please do not. 

From the first moment to the last, one moving, comical, dramatic, painfully tragic, or light hearted number after another—14 songs in Act I and 12 in the Act II—captivated the audience and earned enthusiastic applause. Variety kept things interesting and the time seemed to pass too quickly. The entire show progressed without a flaw, leaving me feeling that I had witnessed the finest in local talent and professionalism, as well as the profound benefit of having these two powerhouse theaters cooperate on a production. This is their fifth such annual combined effort, and I have loved every one.

The company of Jacques Brel is Alive and Wel & Living in Paris,
 a co-production presented at ACT - A Contemporary Theatre.

Photo Credit: Tracy Martin
I highly recommend this show. Get your tickets, relax, and feel yourself swept along on a sea of music marked by waves of raw emotion and expanses of hypnotic silkiness. Every part of the journey will fill you with greater appreciation for the members of the cast and creative team, our rich local live theater scene, and of course Jacques Brel, still alive and well as long as the world remembers. Who could ask for more?

Louis Hobson in Jacques Brel is Alive and Wel & Living in Paris,
a co-production presented at ACT - A Contemporary Theatre.

​Photo Credit: Mark Kitaoka



Tuesday, December 11, 2012

"ELF- the Musical" at The 5th Avenue is a Gift of Merryment — a review

I expected good entertainment when I took my seat at The 5th AvenueTheatre to see ELF—the Musical, but no one warned me that it would include time travel. As if swept away by a Christmas blizzard, I suddenly found myself back in childhood. And I liked it.


L-R Santa (Seán G. Griffin) and Buddy (Matt Owen), with the company of ELF – The Musical at The 5th Avenue Theatre.
Photo: Mark Kitaoka

If I could have pulled my eyes away from the dazzling sets long enough to glance around, I might have seen others in my generation showing signs of the same childish delight. I probably embarrassed myself with my gawks and grins and unsuppressed laughter. And it wasn’t even the same nostalgia we’ve all felt as our children or grandchildren discovered the sights, sounds, colors, and symbols of the secular version of Christmas. It was better. It was real. It was my own, a thrill almost forgotten but then exactly as first experienced, once ELF brought it all back to me.
The fact that the story takes place in modern times, complete with modern technology—Santa’s list exists on an iPad and the humor is of the 2012 New York variety—did nothing to lessen the sensation of childish joy. It made me wonder why growing up too often means giving up our sense of magical excitement.
Buddy (Matt Owen) and the company of ELF – the Musical at The 5th Avenue Theatre.
Photo: Mark Kitaoka
Matt Owen as Buddy the Elf went way, way, over the top, throwing himself into the part with such abandon that I felt catapulted along with him into the forgotten dimension of sublime and unapologetic silliness. So what if the plot is totally impossible? So what if a grown man (who acts like a kid) was raised by elves at the North Pole and thinks he is one of them until he discovers the truth, then rides an iceberg to NYC to find his real father, Walter Hobbs (Allen Fitzpatrick) who never knew he existed until the elf appears in his office?


So what if it uses the familiar theme of Scrooge, as workaholic Hobbs comes to finally prioritize his family and the joy of Christmas? Owen freed the free-wheeling kid still hidden inside me, and for a couple of hours, the world of adult logic and cynicism ceased to matter. A lesser actor might have just looked foolish playing a goofy elf in middle of New York, but not Owen. My admiration for the job he did goes beyond words.

L-R Jovie (Kendra Kassebaum) and Buddy (Matt Owen) from ELF – The Musical at The 5th Avenue Theatre.
Photo: Tracy Martin

Seán G. Griffin, as the perfect Santa and the first character on stage, set the tone of the show and the fresh, truly funny humor to follow, humor suitable for children but worthy of adult appreciation. Kendra Kassebaum’s dry delivery of one-liners had me laughing and balanced the poignant side of her character, that of Buddy’s girlfriend, Jovie. Cynthia Jones as the Macy’s store manager added sparkle and energy to all her scenes as did Jessica Skerritt as the delightful Deb, Hobb’s secretary. Nick DeSantis as Hobb’s boss, Mr. Greenway, was the boss you hope never to have, only funnier.
L-R Buddy (Matt Owen), Santa (Seán G. Griffin), Michael (Grayson Smith), Walter (Allen Fitzpatrick), and Emily (Kim Huber) from ELF – The Musical at The 5th Avenue Theatre.
Photo: Mark Kitaoka
I thought both Allen Fitzpatrick and Kim Huber (as Walter and Emily Hobbs, respectively) in addition to delivering witty lines with style, managed to give their characters depth and believable personalities, even in this unbelievable story. Noah Barr as their son, Michael Hobbs, impressed me not only with his confidence and acting ability but also his voice. I’ll be watching for future appearances by this young talent.
L-R The Store Manager (Cynthia Jones) and Buddy (Matt Owen), with the company of ELF – The Musical at The 5th Avenue Theatre.
Photo: Mark Kitaoka
I’m not a reviewer who feels obligated to find at least some little fault, but I don’t know that I’ve ever been able to state that I loved every single aspect of a musical. With this one, I honestly did. And it goes beyond praising this talented cast or the keen sensibilities of their director, Eric Ankrim, an outstanding actor himself, and proudly claimed as a native son by other residents of Tacoma.(See this feature story by Matt Nagle of the Tacoma Weekly) It goes beyond the book, music, choreography, hilarious lyrics, or delightful interpretation of David Berenbaum’s film by the same name. Throughout the entire show, my mind kept going back to the respect I have for the almost incredible amount of talent and teamwork at The 5th Avenue. In addition to admiring the work of those whose names end up shown boldly in the program, I thought of every single person behind the scenes who helped to make this such a success.

Buddy (Matt Owen) and the company of ELF – the Musical at The 5th Avenue Theatre.
Photo: Mark Kitaoka
I could never overstate the visual appeal of this production. It zings. The first thing that delighted me was simply the colors. Make that the colors and the lighting. Matthew Smucker’s stunning—and I mean stunning—set designs deserve awards. I always appreciate the work of Lighting Designer Tom Sturge, and the gorgeous hues popped and sparkled thanks to him. Clever costumes, like those of the elves especially, with their shoes projecting from the actors’ bended knees, added to the fun, as did the tasty servings of tap dancing. As usual, Music DirectorAndy Grobengieser’s fabulous orchestra—too easily taken for granted—served up a flawless musical backdrop to all the action on the stage.
In the letter Executive Producer and Artistic Director David Armstrong wrote for the program, his words about holiday productions acknowledge their importance to the theater’s fiscal health and all that, but at the same time he said this show was “a gift to our 5th Avenue family.” It’s a gift I accepted with gratitude and glee.
Congratulations to everyone involved and to anyone considering whether or not they should go see ELF I say, “Get those tickets before they're gone!” And take a child with you. I guarantee you will be giving the gift of happy holiday memories.



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