THE WOOSTER GROUP: SSP's BIG BROTHER.

The Wooster Group is an avant-garde theatre group in New York.

"For more than thirty years, The Wooster Group has cultivated new forms and techniques of theatrical expression reflective of and responsive to our evolving culture, while sustaining a consistent ensemble and maintaining a flexible repertory. Wooster Group theatre pieces are constructed as assemblages of juxtaposed elements: radical staging of both modern and classic texts, found materials, films and videos, dance and movement, multi-track scoring, and an architectonic approach to theatre design" (thewoostergroup.org).

They perform all around the globe, but call home in a warehouse on Wooster Street in NY called The Performing Garage. They have done such works as HAMLET, VIEUX CARRE, and LA DIDONE. However, some of their most interesting works have grown out of found texts. For instance, the original work, NORTH ATLANTIC by James Strahs in 1982 was made specifically for The Wooster Group. The company has remounted the show in 1984, 1999, and 2009-2010.

NORTH ATLANTIC was presented in Los Angeles Feb. 10th - 21st, 2010. I was fortunate enough to finally be able to see this New York-based company. After having written numerous papers on them (as they are the foremost multimedia theatre company, a particular interest of mine) and ravaging their youtube channel, it was amazing to see them live. The show was at REDCAT theatre which is part of the Disney/CalArts Theatre in downtown LA.

The show had Oscar winner Frances McDormand (FARGO, MISS PETTIGREW LIVES FOR A DAY, BURN AFTER READING) leading the ensemble cast. The show's promotional material describes it as taking "a satiric look at the role of the military and the growing influence of technology in American culture during the late Cold War period. Following an international peacekeeping force on an aircraft carrier in the North Atlantic during a top-secret mission, this nostalgia piece brings the analog (pre-digital) 1980s to life through slang, song, and dance."

The nostalgia was totally present in this hip ensemble show. The set was absolutely incredible (designed by Jim Clayburgh). There was a small playing space in the down stage plane of the proscenium stage, and then there was a railing running from stage left to right upstage of the empty plane. Just upstage of this railing was a platform that ran the width of the stage but could only have been a foot or so in width itself. Then just upstage of that was a raked platform on hydraulics. The pitch of this changed during the course of the show. This allowed for a somewhat level playing space along with a steep platform that the characters could either slide down or else climb up with ropes that suddenly appeared from no where. It was so incredibly versatile and exactly what the show required.

I would highly recommend the group to anyone who wants to see some unusual theatre. Bear in mind that their style is not linear. Though it certainly doesn't fit the traditional view on what theatre is and what theatre can be, it is certainly a valid choice.

The show was incredible. Though it is the type of show that leaves you wondering what the hell you've just seen.

Broadway Tours: MARY POPPINS Pops Off The Stage.

Disney's MARY POPPINS comes off New York's Broadway to tour the country. Better bring the umbrella cause boy is it taking the country by storm!

The musical is an adaptation of not only the Disney classic starring the ever endearing Julie Andrews and the comic genius Dick Van Dyke, but also the original book. This is key to note because this musical adaptation is a bit darker and more somber than the 1964 Disney movie.

That being said, there is plenty of lightness and fun to this production. The scenes that stand out the most are Supercalifragilisticexpialidocious and the Chimney Sweep scene. Mostly what comes out of all of this is how impressive the dancing and choreography is. Supercal. is incredibly fast to the point of sheer exhaustion (good thing the intermission is directly after!). And the technical ability of the dancers for the Chimney Sweep is really impressive.

I personally know the Asst. Dance Captain for the touring production through my own dance connections. Her name is Kelly Jacobs and she is an incredible dancer, so I knew before walking into the theatre (the Ahmanson in downtown LA) that the dancing would be worth it alone. After the show she gave us a backstage tour, much to my delight.

Kelly Jacobs and I backstage at LA's Ahmanson Theatre.

However, like with all good Disney musicals, the most important aspect is the spectacle. And boy, did it deliver. Not only is the world of the magical Mary Poppins fully complete with the magic carpet bag, moving up staircase banisters, and that mystical umbrella, but Disney took it to a new level. Little effects of making Bert's paintings come to life still stunned the theatre veteran.

But then the mega-effects made it feel like you really were on Broadway, not in LA's downtown district. Two major spectacles completed the show. The first was the end moment when (*Spoiler Alert!*) Mary is flown with her umbrella not just up over the heads of the actors on stage, but over the audience and is flown to be eye level with not just the first balcony, but the SECOND balcony. This is absolutely incredible. I was eye to eye with her only being 5 feet away (on the first balcony). She then exits through the cat walk and RUNS down to make it for the curtain call--but of course, she's last to bow so that gives her enough time.

The second, and perhaps more amazing spectacle occurred during the infamous Chimney Sweep scene. Bert (attached with wires) starts to walk up the wall of the stage left proscenium. He then continues to round the corner until he is directly above center stage with his feet on the proscenium arch and his head downstage. He is completely upside down. Amazing. But, then, he taps. Yes, taps. Upside down, over a hundred feet up in the air. Tapping. And he is not just tapping his toe. No, sir. He is tapping an amazing tap solo that Savion Glover would be proud of. Then after he finishes with a flourish--still upside down, mind you--he starts walking down the stage right proscenium wall. Incredible. I heard it was performed on Conan, but I cannot imagine that it had as great an impact as it did on the stage. Absolutely incredible.

Good Job, Disney.

My recommendation? If you can, go see it. Yes, it is for children. Yes, the children in it are whiny, kinda obnoxious and have fake British accents. Yes, it is Disney. And yes, for those theatre-snobs out there it has a lot of spectacle. But you know what? It's really good spectacle.

Culture Clash: PALESTINE, NEW MEXICO

Culture Clash is a production company that focus on new and inventive works that mash up different cultures in a way that gives a higher clarity about society. Their newest work is PALESTINE, NEW MEXICO playing at the Mark Taper Forum (presented by Center Theatre Group) in Los Angeles, CA.

The play follows a young female army captain who has traveled to a reservation in New Mexico to deliver a letter from a fallen soldier, Ray Little Sky. Ray's father (to which the letter was addressed) is the Chief of the Native American Reservation. The course of the play deals with such themes surrounding the cultures of Native Americans, Middle Eastern Indians, Chicanos, Jews, and Christians. This seems to be a lot to take in in an 80 minute play. And while each was definitely represented, it sometimes lacked focus. The plot furthers when we find that Ray was a soldier who had sympathies for the various religious backgrounds met in the war. He would allow prisoners to pray when the call to pray was heard. This behavior led some to believe that he was a traitor to the American people. But really, Ray was attempting to make peace. He calls on fellow Native American soldier, Swarez to help. Ray shows, in an act of peaceful diplomacy, that while Swarez and Ray are from warring tribes, they too can get along. This is probably the most interesting moment, but is somewhat overshadowed by the peyote scene that takes the audience into the captain's trippy trip (complete with a giant cactus). An interesting plot, but a bit unfocused at times.

The comedy between the three older vets was by far the best moment in the show. This slapstick scene really brought in a multi-generational aspects while making fun. But the overall best performance definitely goes to the captain, Kirsten Potter. She was strong, yet feminine which is difficult to do as an army officer. Then notably, the chief was played by Russell Means (from Disney's POCAHONTAS) who was fantastically regal. Overall the show was solid, but was a bit rushed in my opinion and took on a lot of issues for one short play. But definitely worth seeing.

HOW I MET YOUR MOTHER: A Trifecta of Funny.

In the HOW I MET YOUR MOTHER episode that aired Monday January 11th, 2010, entitled Girls Vs. The Suit, three new additions keep the episode fresh and funny. While the general premise (Ted Mosby is on his quest to find his wife, but tells the story from the future to his children, and we still don't know who he marries and it's season 5) remains the same, these new additions to this episode helped to keep the audience hooked. A major issue for this series is the fact that the general premise is constantly being teased out and the audience is constantly being teased, too. This can be frustrating and annoying as it constantly reminds the audience that something very important is being withheld. But, that said, the characters are fully fleshed out. So, these new additions that made January 11th's episode even more amazing? See below.

1) Rachel Bilson. Not only is she a fresh, funny face which adds to the cast, but her character is key. Her bubbly personality is perfect for the character which is...Ted's wife's roommate! This is one of the examples of the show teasing us with the final goal: meeting Ted's wife. Bilson really shows depth and maturity in this small role on the well-known sitcom. She clearly has grown up since her time as the ditz on THE O.C. So while Bilson's appearance was minor, she really brings the cast new freshness and her character is a key part of the premise of the show.

2) Tim Gunn. Anyone who knows anything about fashion knows Tim Gunn. So while I am pleasantly surprised by his appearance, it reminded me about how the business works. The fact that Gunn's show PROJET RUNWAY was beginning it's 7th season later that week, the coincidence is really more of a publicity ploy. He appeared as Neil Patrick Harris's personal tailor (this is particularly funny as the fact that Barney, NPH's character, is rarely seen out of a suit, and it is an on-going joke). So while Gunn's acting was nothing too impressive, his out-of-place-ness really worked to bring the scene to a new comedy high. Plus, the show made the conscious choice to acknowledge the real world. This means that the characters in the sitcom know who Tim Gunn is, and perhaps even watch PROJECT RUNWAY. (And on a personal note. I was thrilled as I have met Gunn and think he is just the sweetest person ever).

3) Musical Number. This may be the highlight of the entire episode (and arguably in the whole series). Barney (NPH) goes into a dream-like sequence where he is the star of a broadway show about suits. He sings about the importance of suits, even as though he is singing a triumphant love song to these suits. This is perfect for NPH as he has performed in CABARET and RENT on Broadway. So needless to say, he has every right to bust out a Broadway-style piece. The show-stopper number is a musical-lover's dream. It references SINGIN' IN THE RAIN with the iconic lightpost hang. It pays homage to FAME with his large bravado performance dancing on a cab. And mostly all of the musical number moments are in there: the jazz square, the jazz hands and yes, the kickline. This was an epic full-length number that needs to be re-watched on youtube.

AVATAR: See it now.

James Cameron's epic AVATAR is a must-see this season. Cameron began the prep for this huge film in 1994 with a script treatment. The principle photography began in 2007 with a $280-$310 million dollar price tag. The cost is due to the CGI and motion-capture technology used. Then the movie is also in 3-D. To be honest, it is a totally new and ground-breaking technological feat. I have NEVER seen a movie like it. You MUST see it in theaters to fully appreciate the film.

Roger Ebert says AVATAR is "extraordinary" and gave it four stars out of four. "Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977. That was another movie I walked into with uncertain expectations," he said. "Avatar is not simply a sensational entertainment, although it is that. It's a technical breakthrough."

The domestic gross (as of 12/29/09) is $232,129,323 and foreign is $410,864,537 for a grand total of $642,993,860 worldwide.

This 2 hour 40 minute huge epic film follows a wheel-chair bound marine, Jake Sully as he enters in to the Na'vi world on the Pandora Planet. He battles an inner conscious as to whether or not he should side with the military that plans on destroying the spiritual land of Pandora or help the natives keep there home. It has definite imperialism themes, environmental sympathies, and what it means to be tolerant.

THE MEN WHO STARE AT GOATS: George Clooney Silly Again.

THE MEN WHO STARE AT GOATS is a fun, dry and ridiculous movie. It stars Ewan McGregor, George Clooney, Jeff Bridges and Kevin Spacey. Stand out performances by Clooney and Spacey dominate the film. The story is about a reporter traveling to Iraq trying to find the next big article, once the reporter (McGregor) meets up with an ex-special forces soldier (Clooney), chaos ensues.

Sure, the film is creative, laugh-out-loud funny, but does it seem familiar? Yes, yes, it does. It's very similar to Coen brothers' 2008 absurdist comedy with dark humor undertones, BURN AFTER READING. And the lead in that quirky comedy? Clooney, too. In a way, the characters that Clooney plays are very different, yet he acts them the exact same way. Sure, the dialogue is new, the character's story is new, but it's still Clooney playing the goofy, dark-humored man. Is it worth seeing? Sure, it's enjoyable and is not the typical comedy. But just be aware that BURN AFTER READING is the much better try at the absurdity and the humor (and nominated for Golden Globes and WGA awards). But nonetheless, worth the time to see Clooney and THE MEN WHO STARE AT GOATS.

FLASHFORWARD + V = LOST Wannabes

Tuesdays and Thursdays have been invaded by LOST wannabes. V and FLASHFORWARD are two new shows that air on these two nights (respectively) on ABC. There are some major similarities between these new shows and the mega-hit LOST (which will end it's sixth and last season this May). Here is the breakdown for how these shows rip-off LOST and other major sci-fi shows.

1) CASTING. A major grievance of mine is the casting. In both of the new shows, casting directors pulled from LOST. Elizabeth Mitchell plays Juliet on LOST and now is the lead FBI agent in V. This could just be a coincidence, but then comes Dominic Monaghan who was Charlie on LOST playing the bad-guy scientist in FLASHFORWARD. We get it, ABC, you want the success of LOST to carry over to these two series. We get it. And you are using actors from LOST to make the connection for the audience. It's a bit overkill.

2) PLOT SIMILARITIES. Sure there is no magical island as in LOST on the two new shows, but there are some serious similarities between the three shows. Both FLASHFORWARD and LOST are about normal human beings dealing with magical, unexplainable forces that change their lives. For LOST it is the island, for FLASHFORWARD it is the seeing the future part. However, LOST comes with a bible courtesy of J.J. Abrams the show's creator. And with that bible comes numerous seasons each richer than the last. As for FLASHFORWARD, it seems hard to see it coming into its 5th or 6th season with the expiration date that is the entire focus for the show's first season, unless it changes dramatically. Cause what happens when we get to that date in April? Then, for V it so clearly rips off BATTLE STAR GALACTICA (BSG). The idea of aliens coming to Earth, disguised as humans who befriend humanity and then pillage the Earth has been done. Not only has it been done, ABC, but its been done better. Sorry ABC, you're too late.

3) CINEMATICALLY SIMILAR. While I am all for cinematically interesting television shows that elevate the level of taste for a network series, these new shows are just too similar. I watched V and FLASHFORWARD back to back and the cinematic style between the two are just way too similar. I even wonder if they aren't using the same sets, just dressing them differently. If I didn't know any better and muted them, I might think they were the same show. This is especially upsetting since these are the shows slated to replace the multi-Emmy winning LOST. LOST's cinematic look is due to a few things. 1) It's shot on location in Hawaii, that's right FLASHFORWARD and V, on a real island. 2) It has a cinematic point of view. It is not the typical three camera set-up from age-old television. The camera is in the action, making it feel more like an hour film. 3) It has a distinct look. Unlike V and FLASHFORWARD (which are insanely similar in looks), LOST looks like nothing else on television.

4) TITLE CARDS. V is totally ripping of the famous LOST title card that happens before the first major commercial break. However, LOST is still superior in this strategy as it has major cliffhangers before the title card appears. Also the ominous LOST sign is absolutely terrifying with its creepy music and spiraling motion. Not only does V lose here as it is clearly a rip-off on LOST, but it doesn't even beat LOST's epic title card. Sorry, V.

5) V's OTHER RIP-OFFs. V rips from more than just BSG and LOST. The name V with its blood-stained look comes from a few other entertainment mediums. V is trying to get audience members by having a similar name as the movie V FOR VENDETTA. ABC execs are not dumb. They are using the times (harsh economy, political unrest etc...) to stir audiences into a revolutionary minded show. In the show, a revolution is about to begin between the visitors and the humans-in-the-know (total rip-off of BSG!). And one way to do this is to reference to revolutions is use iconography from a movie about social unrest. Enter V FOR VENDETTA which had an eerily similar V symbol. Hmm. Also, let's not forget about the new craze for vampires everywhere. ABC wanted to capitalize on this without actually making a vampire series (and thus joining the bandwagon). Anyone watch TRUE BLOOD on HBO? Well the vampires' blood on that show is called (unsurprisingly) V. Of course since the show is about vampires and blood is in the title of show AND since the noun "V" means blood in the contextof the show, why shouldn't blood be associated with TRUE BLOOD's V? That's right ABC'S V, TRUE BLOOD was there first, too.

Now in all fairness, both of these new shows are interesting. However, I think V has more staying power since it can take off in many directions. Unfortunately I find this to be the weaker of the two. FLASHFORWARD deals with issues of fate v. free choice, past v. present v. future, and what Time means. Most interesting, FLASHFORWARD has found a way to incorporate the ideas like if reading a horoscope before your day happens, will it influence you and your choices? Far more interesting then V's alien landing.

THIS IS IT! (oh yes it is!)

THIS IS IT is the Michael Jackson documentary that was supposed to be a limited engagement, but has had an extended theatrical release due to great audience attendance. On its opening weekend (10/28/09) it ranked #1 making $23,234,394 (box office mojo). Domestically, the major documentary made $59,348,197 and worldwide $188,475,839 as of this writing (box office mojo). Clearly, the King of Pop reigned at the box office.

Overall if you are a MJ fan, you MUST see this film. It shows a behind the scenes look of the superstar. We see the rehearsal process plus some of the dress rehearsal numbers. You can totally tell how the show would take us to new heights as an audience. The special effects were gonna be huge. The sets? Even bigger. MJ never did things small and his "final curtain call" would have been no different.

All the major hits are in (Thriller, Beat It, Billie Jean, Man in the Mirror, Smooth Criminal). The only two noticeably missing songs are Bad and We are the World. Bad is a particular loss since the original music video was so amazing with its leather and choreography (directed by Martin Scorsese). Then the We are the World song is sadly absent. The song was one of the highlights of MJ's philanthropic career as it benefitted poor in the US and Africa. Plus, it united the music industry together, under the quiet conductor, the King of Pop.

While the dancing is incredible and MJ clearly kept up (and showed up) those 20-somethings, the best part of the documentary is seeing Michael's personality. We saw him laughing, playing and having a good time with his dancers, producers, and musicians: his friends. For once, we saw him relaxed, confident, and...more human?...while not on stage. We see him laughing and joking around when the producer makes him try out the cherry-picker for safety. His child-like playfulness is so enigmatic. Then the music begins and he is a different person altogether. He's a superstar.

Yet, the most poignant moment in the documentary that sums up his entire being is the moment when his head is lowered, fedora covering his eyes, and the spotlight encases him as the darkness around him falls away. And then. He smirks.

BOOK REVIEW: Rethinking Kennedy: An Interpretive Biography

RETHINKING KENNEDY: AN INTERPRETIVE BIOGRAPHY by Michael O'Brien is a fantastic read for anyone interested in the most charismatic president. O'Brien is an emeritus professor of history at the University of Wisconsin, Fox Valley along with being a Kennedy expert. He wrote a book previously to this one, a more comprehensive (read: less accessible?) biography on the same subject entitled: JOHN F. KENNEDY.

O'Brien makes a sincere effort to make history totally accessible and readable. His biography gives a terrifically balanced point of view while traveling from Kennedy's youth, through his elections, to his death. While the author is clearly on Kennedy's side, O'Brien shows both sides of the aisle equally, while proving points. He covers major issues from Vietnam to the Bay of Pigs. O'Brien shows the strengths and weaknesses of these major events, controlled by the young president. Even more interesting, are the chapters about JFK's life with Jackie, his childhood, and his sexual life. O'Brien does not shy away from the tough questions about Castro and possible assassination attempts on the Cuban leader or relations with Marilyn Monroe and Mob leaders. Then the concluding chapter describes the president's final morning alive. I highly recommend this biography where O'Brien serves great justice to a well-loved president, while still pointing out some flaws and some controversies.

The critics agree:

"What you need to know about modern history's most compelling and complicated president is delivered in Michael O'Brien's compressed, highly readable package gleaned from his own deep knowledge and the volumes of scholarship, some of it quite critical, spawned by the nation's 35th president."

-Charles M. Madigan, Presidential Writer in Residence, Roosevelt University

"Based on recent scholarship, this lucid, interpretive summary of John Kennedy's life should appeal to the general reader and university undergraduates alike."

-James N. Giglio, author of The Presidency of John F. Kennedy

Twyla Tharp: Speaks Candidly on Creativity and Boxes.

On Tuesday October 13th, Twyla Tharp spoke to a group of USC students, professors, and other members of the USC community at the Bing Theatre on USC's campus through the Visions and Voices Arts & Humanities Initiative. She was promoting her new book, THE CREATIVE HABIT. (Which I will review my signed copy after reading it, look for the review here!) Tharp discussed her long career of dance and choreography. Some highlights include MOVIN' OUT, BARYSHNIKOV by THARP, AMADEUS, and RAGTIME. Tharp has received Emmy's and Tony's and enough "Best Choreography" awards to last a lifetime. Yet she continues on.

She spoke most memorably about how she works alone, and yet with dancers. Tharp must push herself creatively so as to not repeat herself. Even the notion of repeating her works in repertoire is repulsive to her.

Mostly, Tharp's wit and wisdom came through in her speech. She discussed the well-being of American arts as less than stellar. When referring to DANCING WITH THE STARS, Tharp explained that brining the art of ballroom dancing to the masses was great, but the way it is being done, is well, tasteless. She stated sarcastically, "I'm glad!" It seems she fought here with what she is supposed to say: that bringing dance to masses who are otherwise oblivious, is always a good idea. Instead she hints that DWTS is perhaps the wrong way to do this, and maybe even a disservice to the masses and an insult to the dance professionals and the dance world.

Again, Tharp criticizes the pop culture world with reference to Twitter. She describes the need for keeping unfinished work a secret. She claims secrets give the creator energy and spark. If the secret is divulged, it no longer belongs to the creator, but can be misinterpreted, misused, and misguided. Tharp says that Twitter is just a way to divulge secrets, which is counterproductive to the creative process.

Lastly, while Tharp prides herself on being original and never accepting works as they have been done before (for instance, not re-interpreting old, classic musicals, but merely repeating what others have done) she does remind us that we must have a context from which to jump. We must know what has been done before to make something new. We must have an appreciation for the artists, musicians, and historians who have come before us. Tharp, the legendary choreography reminds us that, "to think outside the box, we must start with a box."