Entertaining And Slightly Exhausting: Motown: The Musical

This review originally appeared on the San Francisco Appeal.

It's too bad Berry Gordy can't make an on-stage appearance at the end of every performance of Motown: The Musical, as he did at San Francisco's Orpheum Theater on Tuesday night, because the 84-year-old legend nearly brought the house down dancing jubilantly with the cast. It was a hell of an end to the entertaining and slightly exhausting jukebox musical.

Gordy wrote the show's book, and it's loosely based on his 1994 autobiography, detailing the rise of his music empire, from 1938 to 1983. The legendary 25th anniversary TV show serves as the musical's framing device. Act one opens with energetic dueling performances by The Temptations and The Four Tops as they rehearse for the show, while an aging Gordy (Clifton Oliver) is home, lamenting the loss of so many of the names he helped create as they moved away from Motown and on to bigger paychecks. Will he actually show up at the anniversary show?

The time then moves to the past, making a quick stop in Gordy's childhood (the fight between Joe Louis and Max Schmeling was a pivotal point for Gordy as a child), eventually settling on Gordy as a young man and songwriter. After writing some songs for Jackie Wilson ("Reet Petite" and "Lonely Teardrops") Gordy decides to pursue songwriting and producing full-time, and "Motown" (the naming of the company is an amusing moment) is born.

The pace of the show is breakneck, with over 50 songs from Motown (and other Berry labels) performed. Of course, not all of the songs are done in full, so one song often blends into another, and the groups performing those songs aren't always clear (for instance, if you aren't a fan of The Temptations and The Four Tops you probably won't know just which is which).

A lot of groups and singers are portrayed over the course of the almost three-hour musical, with much of the cast playing three or more different roles. The show's major focus is the relationship between Gordy and Diana Ross (Allison Semmes), who Gordy meets when she's still in high school, and hanging around Motown with her group, The Primettes. He sees something in the group, and especially the one "with the big eyes." The Primettes become The Supremes, and after many failed songs, eventually ends up as Motown's biggest act.

Semmes does a good job of mimicking Diana Ross's smile-filled singing style, and her voice is dead on, though the big eyes everyone keeps talking about...aren't. Smokey Robinson (Nicholas Christopher), Gordy's best friend, and Marvin Gaye (Jarran Muse), his brother-in-law (at least for a while) are the two other main characters, and both actors are great, particularly during the songs. Of course, the whole cast does a lot of singing, so much so that there's not a lot of room for plot. Events happen at breakneck speed. Hit records are being made, groups split up, Kennedy gets shot, and then war protest breaks out in what seems like 10 minutes time. Die-hard Motown nerds will probably have a hard time with all the liberties taken with the musical timeline.

Because there are so many songs, there are a few times when tunes are used in an expository way. Sometimes this works, (when Smokey Robinson must face angry Alabama police on stage while singing "I don't like you/but I love you" from "You Really Got a Hold on Me"), and sometimes it doesn't, (Diana Ross sings "I Hear a Symphony" while laying in bed next to an impotent Berry Gordy; but perhaps the awkwardness of that scene was amplified because Berry Gordy was sitting in the row in front of me).

A lot of ground is covered in the first act, while act two focuses on Gordy's move to Los Angeles, the discovery of the Jackson 5 (Reed Lorenzo Shannon is fantastic as young Michael Jackson), disco, and the looming threat that the label will have to fold as more and more artists--including his beloved Diana--move on to bigger things. But Gordy vows to fight, releasing even more hits. (He seems to remember he's got Stevie Wonder in a closet somewhere, as Wonder makes a brief appearance as a child in act one, and isn't heard from again until the end of act two).

By the time the finale and the 25th anniversary reunion arrived, I was just plain tired, and couldn't blame them for completely overlooking Michael Jackson's immortal performance during that show. Who'd have the energy for that?

Well, maybe Berry Gordy would.

Begin Again

This review originally appeared on the San Francisco Appeal.

A few weeks back, I reviewed the stage musical version of director John Carney's movie, Once. There were some aspects I liked more than the movie--mainly, that the male lead is more likable than in the movie--but both versions fall short when it comes to the female lead. I wanted more of her story.

Begin Again almost seems like a direct reaction to that complaint, as the musical lead this time around is a woman, played by Keira Knightley, and her muse and cheerleader is a guy, played by Mark Ruffalo. Like in Once, there's some romantic tension between them, and the question of "will they or won't they" does linger for much of the movie. But the meat of their relationship is musical, as he produces her demo on the streets of New York City. (They decide to record all the songs live and outdoors, an interesting concept that, unfortunately, doesn't carry over to the movie's actual soundtrack.)

Adam Levine is perfectly cast as Knightley's d-bag boyfriend, and some other real life musical talents, like CeeLo Green and Mos Def, also make appearances. And immediately after seeing the movie, I wanted to download most of the songs. Knightley doesn't have what I'd call a powerful voice, but it's pretty, and her songs are as catchy as the best tunes in Once. How long till this one makes it to Broadway?

Falling Slowly: Once, the Musical

This review originally appeared on the San Francisco Appeal.

I liked the 2006 film Once well enough, but didn't fall madly in love with it as many of its fans did. I certainly understood the appeal of the film, and a few of the songs made it to my iTunes, but I couldn't get past feeling like the male lead was a huge...jerk.

In 2012, the stage musical based on the film made its Broadway debut, and it went on to win eight Tony awards. The traveling company of Once now comes to San Francisco for a three week run at the Curran Theater.

The basic story from the film remains: A young Czech woman hears a young Irish man singing a passionate song to a group of listeners who are...slightly less passionate about him, and he's on the verge of quitting his music for good. But she is enraptured, and convinces the man to let her hear more. This involves the fixing of a vacuum cleaner, and a visit to music store owned by a very animated musician who knows karate. Yes, the show is quirky.

The man and woman are nameless in the play, known only as the Guy and the Girl, and are played by Stuart Ward and Dani de Waal. The Girl is also a musician, taught piano by her father back in Czechoslovakia--before his own musical career was cut short by arthritis and he killed himself, so she has personal experience with moody musicians. She's such an encouraging, engaging, and positive force that the guy can't help but go along with her plan to record a demo. He's also a bit smitten with her, while she is reluctant to return his affections, as she has a daughter, and hopes to reconcile with her estranged husband.

What sets Once apart from your standard musical is that every actor is also part of the musical's orchestra. They all play their respective instruments while on stage, sometimes dancing at the same time. (Although the "dancing" is more like subdued movement, not your typical big numbers.) There are usually at least 10 people on stage at any time, filling out such roles as the girl's mother, fellow Czech immigrants, a banker with musical aspirations of his own, and local Dublin pub goers and musicians.

The cast moves around a set that looks like an Irish pub, and in a really fun move, the audience gets to become part of the action, as the stage is opened up for theatergoers before the curtain and during intermission. You can walk on to the pub set, buy an ale, wine, or water, and get a close-up look at it all. Slowly, some of the show's cast makes its way on stage with some instruments and starts to play a few songs, surrounded by the audience. Eventually, the stage empties of its guests, and the play begins.

The energy of these interactive moments aren't matched entirely within the musical proper. There are terrific songs throughout--"When Your Mind's Made Up" and the Oscar winning "Falling Slowly" being the stand-outs, (and that one's performed, ironically, more than once). But sometimes the show is maddeningly slow, grinding to a halt for subdued musical numbers with languid dancing that do nothing to advance the plot.

The central relationship between the guy and the girl is a bit more overtly romantic than it is in the movie. As a result, he comes off as less of a pushy jerk, which is a welcome change. But the story is clearly his, and the girl is there to be his champion and muse; her goals appear to be nothing more than to be a good mother and wife, playing piano at home, while the guy is persuaded to pursue his musical dreams in the Big City. I wanted more for her character, especially since Dani de Waal has such a terrific voice, and is only given one solo song in which to showcase it (the lovely ballad "The Hill").

I'm not sure how fans of the movie will take to this version, as the film definitely had such a genuine, local Irish community energy, that it almost felt like a documentary; the actors here are, for the most part, clearly NOT Dubliners. That authentic feel is almost captured during those moments of interaction with the audience. But when that proverbial curtain rises, it floats away.

Kick Ass Heroine: Divergent

This review originally appeared on the San Francisco Appeal.

I understand the draw of teen lit. They're page turners that appeal to the heightened, hormone-fueled emotions of your younger years. The world sucks, you're different--special!--and one day everyone will see that! Teens might not live in a post-apocalyptic hell hole, but I'm sure high school feels like it sometimes.

Divergent is the latest female-lead, post-apocalyptic action series, and yes, it's a lot like The Hunger Games. But that's not necessarily a bad thing.

Set in Chicago, in an unspecific future, but at least 100 years after a war has left the world in ruins, this version of the windy city is surrounded by a large electric fence, to protect it from...well, perhaps we'll find that out in the sequels.

Society has been divided into five "factions." Of course, these factions bear some resemblance to current professions, or at least they did to me. You've got the "honest" Candor (lawyers); the "intelligent" Erudite (scientists); the "peaceful" Amity (hippies); the "brave" Dauntless (military); and the "selfless" Abnegation (non-profits). Not sure where those who write dystopian books and movies would fit in. Perhaps they're part of the "Factionless" (homeless)?

Our heroine, Beatrice (Shailene Woodley), was born into Abnegation, the faction that, because they are selfless, does most of the governing. Her father is high up in the political ranks, (which makes sense, since he's played by Tony "I'm the PRESIDENT!" Goldwyn), but Beatrice is drawn to the black-leather-clad, running-through-the-streets, climbing-buildings-while-shrieking assholes that are Dauntless.

This societal division is designed to keep order and peace. People are born into their factions, but when they reach their teen years they take a personality test that reveals if they are made for the faction they were born into, or destined for another. Post test, they can go with the faction they were destined for...or choose the one they want to belong to, the catch being, once they choose, they can never go back.

But Beatrice's test results are inconclusive. They reveal she is more than one faction; she is "divergent." And this is a bad thing. She is told to keep this a secret, or risk losing her life.

Does Beatrice choose to stay in boring, gray Abnegation? Well, she's wearing black leather on the poster; it's not a spoiler to say she joins the cool kids. And she goes by "Tris" now, thanks.

The middle section of this admittedly overlong movie is a series of training rituals: hand-to-hand combat, target practice, knife-throwing, psychedelic drug tests that reveal your deepest fears. Friendships are forged, (Zoe Kravitz does a nice job as Tris's gal pal, Christina), and enemies made. (Though why they chose to cast three men who look EXACTLY alike as Tris's friends and foe remains a baffler.)

But what would a dystopian teen adventure be without a love interest? Not the new Hunger Games, that's for sure! And thankfully, we've got a better guy to look at than that milquetoast Peta (isn't he the worst?!). Our heroine's eye candy is a Dauntless trainer who goes by "Four," and he's played by Theo James, who "Downton Abbey" fans may recognize as the Turkish guest Mary kills with her vagina.

The movie follows a formula, and there aren't a lot of surprises. But I have to say, I liked it more than the first Hunger Games. The set-up is just slightly less ridiculous, the camera work less "cameraman with palsy," and the corrupt government conspiracy is a little more believable. Plus, that evil Faction is headed by another woman, played by Kate Winslet, (doing her usual terrible American accent).

It's going to take more than The Hunger Games and Divergent to erase the horrors of Twilight and its nightmarish messages about sticking with abusive assholes who can't control their rage. But I'm glad we're moving along, and Hollywood is giving teens some kick-ass heroines--saving dudes in distress!--to emulate.

Completely Crazy: Cirque Dreams Holidaze

This review originally appeared on the San Francisco Appeal.

Before attending the San Francisco premiere of Cirque Dreams Holidaze, I had dinner down the street at Cafe Royale. (Just OK; my coq au vin was very dry and needed salt.) While leaving the restaurant, I slipped down a short flight of stairs, and my spike heel tore through the hem of my dress.

Yes, I was on my way to watch people walk tightropes, flip through the air, and balance on shaky objects, and I couldn't even leave a restaurant without falling down. But my pratfall was not the evening's most cringe-inducing moment.

What can be said about the Cirque Dreams series of shows that can truly explain how jaw-dropping they are? They have eleven of these, touring around the world, all with different themes, (I'm dying to see Cirque Dreams Dinner!), with this one themed around Christmas.

In short, it's what I imagine a meth addict might dream were he to pass out under the Christmas decorations in a strip club.

Before the start of the performance, an announcement comes over the PA asking that the audience not film or take flash photos, lest they distract the performers as they go about their death-defying routines. What they don't say is that those performers are going to be distracted enough by the endless stream of insanity that prances before and behind them on stage.

As the curtain opens, you see a stage filled with inflatable candy canes, a larger than life toy train, glittery stars, a Christmas tree of lights and crystals, a backdrop featuring a crescent moon, giant presents, and a constant stream of costumed characters of various crazy creations.

Three singing performers are the "hosts" through the fever dream, singing both classic and not-so-classic Christmas carols.

Also, the painted ceiling over the stage looked like vaginas with faces. And yet, that's NOT the craziest thing to appear on stage that night!

Actually, it's hard to pin down just what WAS the craziest thing on stage. Perhaps it was the weird guy with a giant crescent moon head, who crept onto the stage during one of the female acrobat's performances, climbed the Christmas tree, and leered down at her performance, only to silently slink off once she was done.

Or maybe it was the slithering candy canes that looked like crunched up drinking straw wrappers come to life, doing this weird, worm-like crawl across the stage, behind the leaping gingerbread men.

Or maybe it was the 10-foot-tall bopping snowmen with weirdly phallic bouncing carrot noses.

The point is, there is such a constant, CONSTANT parade of action going on during the entire show--along with non-stop music straight out of a 90's direct-to-video movie--that it's often hard to concentrate on the real stars of the show: the amazing acrobats.

And they really are amazing. I was able to keep my eyes on a few long enough to pick out some favorites. The standouts were definitely the younger performers, including the two "gingerbread men," (Samail Haftu and Amanual Hayle), who did some terrific paired leaps, flips, and twists. Another standout was a young girl, (Alexandra Koroleva), who played a marionette and a child who visits Santa. (I'm convinced she has no bones or cartilage in her body. That's the only explanation for such flexibility.)

I also loved the "fashionista" (Olga Smirnova) who did about a dozen instantaneous costume changes that were spectacular. I know it's just well placed Velcro and quick release straps, but "magic" costume changes will never cease to delight me.

Not everything went off without a hitch. One of the performers (Victor Dodonov), dressed as a sparkly penguin, piled up a number of wobbly items he had to balance on, reaching a pinnacle of about six. His first attempt failed, so the audience cheered for a second attempt. And, bless that sparkly penguin, but that second try failed as well. I'm pretty sure the audience was willing to just let this stunt pass, but the penguin wasn't, so he went for it one more time.

Which leads me to believe that Cirque Dreams performers must be shot after the show if they don't perform up to snuff, so adamant was that penguin to get that stunt done. (Don't worry, the penguin's still alive; third time's the charm!)

The show ends with the most inappropriate use of the song "O Holy Night," ever. Unless a song about the birth of the baby Jesus is standard musical backdrop for creepily sexual man/woman trapeze routines. I don't know, maybe it's just me, but I don't like looking at a shiny, half naked man (granted, an amazingly well built shiny, half naked man), while hearing about our dear savior's birth.

On Jerry Seinfeld's web series "Comedians in Cars Getting Coffee," guest Brian Regan has a bit about how the Cirque du Soleil boss has basically never said no to any idea ever tossed at him. "Elephants painted gold, and they come in with helicopter launching pads on their backs, and helicopters land, and monkeys come out and play kazoos?" "...YES!"

So, while there are no elephants or monkeys in Cirque Dreams Holidaze, there is more than enough stuff almost as crazy. You won't be bored. But keep in mind, this ain't a chamber drama. This is more like the theatrical performance John Merrick gets taken to in The Elephant Man.

Basically, Liberace would likely have come away from it saying, "You know what guys? Take it down a notch."