Dr. Blackwell's BLOG

About two weeks ago, I experienced what can only be described as the most exhilarating live theatrical performance of my life. Now, before I get into that, keep in mind that I have been a Broadway buff for a long time and have seen countless shows in my 33 years of life. Anyone who knows me knows that I hold the shows Titanic and Ragtime above all others. I can’t even begin to describe how much those two shows moved my spirit and touched my soul. So, to say that any show actually rises above (no pun intended) them is a serious claim. But, after experiencing Spider Man: Turn off The Dark at the FoxWoods Theater last week, I must politely ask Titanic and Ragtime to step aside. They will always live in my heart as tremendous pieces of theater; but Spider Man truly blew away my heart, soul and senses. It reminded me why I have such a fond love for amazing groundbreaking theater.

There have been plenty of negative things written about the show. And from what I hear, the show that ran in previews that was riddled with injuries and mishaps was just as confusing as it was risky.  But the ultimate product that was born from the creative minds of Julie Taymor and Creative Consultant Phillip William McKinley is of the highest quality I have ever seen on stage. U2’s Bono and The Edge have craftfully written a spectacular score that soars as high as the stuntmen playing Spidey just at the right moments, tugs at the heartstrings when the story of Peter Parker and Mary Jane Watson comes to its climax, and steals your very breath away as the menacing villains of the show battle-out the classic matchup of good vs. evil.

The story couldn’t be more solid. And while most are familiar with the story of Spider Man, there are some unique twists that are presented in the musical that set it apart from its comic book origins and overshadowing big-budget trilogy given to us from Hollywood. Peter Parker’s strife as the goofy adolescent is played wonderfully by Reeve Carney, who’s rock ‘n roll voice is perfectly suited for the role. Carney also effectively plays Spider Man in several scenes (most of the grounded ones that don’t require the skills of a well-trained stuntman). But it is perhaps the transition from Parker to Spidey that Carney most passionately executes in the power ballad “Rise Above” where he is joined by most of the cast and Arachne, a famed spider from Greek mythology, who we learn early in the show is guarding over Spider Man and responsible for his actualization that he is no longer simply a mortal being.

As for the main villain (yes, there are others who’s origins I wouldn’t spoil in this review), the Green Goblin fits the bill wonderfully! He is perfectly played by veteran Broadway actor Patrick Page. And while the story of Dr. Norman Osborn should be familiar to fans of the genre, there are some unique elements present in his metamorphosis here that strengthen and validate his hatred for Spider Man more than most other representations of his character.  And the structure for this is presented amazingly in the songs “DIY World” and “Pull The Trigger.” Beyond the brilliant acting, storyline, stunts, and songs of Spider Man: Turn Off The Dark, the sets are stars of the show all by themselves. From the tapestry literally woven with the introduction of Arachne’s story in the beginning of the show to the “towering” skyscrapers and digitally projected backdrops of Act II, the sets are astonishing! The talent that went behind the creation of this show from every aspect is mind-boggling and is unlike anything that has ever been staged.

Of course, that all comes at a great expense. The show has the highest budget of any show in history ($75 million) and has a weekly operating budget of $1 million! That is quite an expensive tab, particularly in an economy that can be described as challenging at best. Right now, the musical is bringing in a whopping $1.8 million/week.  But that is in the middle of tourist season and brings about some anxiety for the production. Like Titanic and Ragtime before it, a sky-high budget can doom a Broadway show. It is my sincere hope that Spider Man: Turn Off The Dark does not meet a similar fate as my other two favorite Broadway creations. If you are heading to NYC, THIS IS THE SHOW TO SEE! Forget anything else on Broadway–THIS IS THE BEST SHOW BY FAR! And when you get caught in Spider Man’s web (literally), you’ll know just what I’m talking about and will thank-me for recommending Spider Man: Turn Off The Dark!

  Broadway World released a new video today of some incredible musical highlights from Death Takes A Holiday, the new Musical from Titanic’s Peter Stone and Maury Yeston now playing at the Laurel Pels Theater. Take a look below

I had an awesome little excursion to New York City last weekend to see some AMAZING Broadway shows including 2011’s Tony-Award Winning (x 9!) Best Musical The Book of Mormon, the second-to-last-performance of Tony-Award Winner for Best Revival of a Play The Normal Heart, and Death Takes A Holiday the new musical from the same creative team as Titanic. All shows were superb! Below is a synopsis and critique of the shows: The first show of the weekend was The Book of Mormon–one that I was really anticipating seeing given that I am a HUGE fan of South Park and the fact it won an astonishing 9 Tony Awards, including the coveted prize for Best Musical. Needless to say, the show is highly blasphemous, poking a million little holes in the Mormon religion, exposing most of it as a ridiculous and laughable fraud. Ironically, many of the comedic elements of the show which garnered large audience reactions came from the musical numbers that are laced with accurate descriptions of what Mormons actually believe. Of course, this is all punctuated by some very funny slapstick comedy and tremendously strong performances. Elders Cunningham (Josh Gad) and Price (Andrew Rannels) are our lead characters that are shipped off to Uganda to proselytize Mormonism to Africans who are fighting the realities of genocide, AIDS, famine, and all of the other problems condign to that region and have very little time or usefulness for religion. We watch the duo in their hilarious attempts to convert the locals (including Nabulungi, enchantingly played by Tony Award winner Nikki James) and the entire show reaches its pinnacle with an African tribute to what the Ugandans have been taught to believe Mormonism is all about! The musical score is composed by Trey Parker, Matt Stone, and Robert Lopez. It is poppy with some underlying rock; and in my opinion, is much higher in quality than Lopez’s last production Avenue Q–a show that, while entertaining, was not one I was too fond of. All in all, The Book of Mormon is fluff at its finest. You’re not going to walk away from the show pondering the meanings of life; but you will be absolutely sore from the hilarity of the event! I would definitely recommend it. However, the tickets are at a VERY HIGH premium right now and must be purchased from a broker. So, unless you are okay with dropping several hundred dollars to see it, you’ll need to wait for some of the buzz to die down. Currently, the show is completely sold-out through January 2012. The second show of the weekend, which by far had the biggest impact on me personally, was The Normal Heart, the riveting story of the onset of the HIV/AIDS epidemic in New York City between 1981-1984. The show was led by an amazingly talented (and famous) cast that gave performances that were chilling to the bone. It is difficult to put into words the experience this show provides to those who watch it.  It is one of those rare theatrical experiences that truly makes an astonishing impact on your soul. While the entire cast was simply phenomenal, the three standouts from the show are Joe Mantello (a longtime staple of musical theater and the director of the Broadway sensation Wicked), Ellen Barkin (the famous screen and television actress), and John Benjamin Hickey (from Showtime’s “The Big C”). Mantello’s character Ned (based on AIDS activist Larry Kramer) is faced with insurmountable challenges that seem to be worsening by the minute–his brother Ben, a hotshot successful attorney (Mark Harelik), has never truly accepted Ned’s homosexuality and he is watching a mysterious illness ravage his friends and lover Felix (played by Hickey) as it spreads like a wildfire through his community. He assembles a small army of friends, including Dr. Emma Brookner (played marvelously by Barkin, who gives what very well could be the performance of her career), that would serve as the foundation of the AIDS movement that faced an epic uphill political battle on every front imaginable. The cast executed the story (written by Kramer, the man who experienced it firsthand) so impeccably perfect that I truly felt like I had been swept back in time and immersed as a witness into the hellish events of the era. We watch as beloved characters die horrific deaths; our hearts are ripped from our chests as we hear the nightmarish stories of the disgusting discrimination that thrived; and our souls sink to unimaginable depths as we feel the pain and frustration these men experienced. And yet as helpless as we are to do anything about it, we are also inspired. As a gay man, I can easily see how the contributions these men made to my community are as palpable and relevant today as they were 30 years ago. And I stand solidly behind my belief that the closet is the most dangerous place on the planet. The Normal Heart was one of the most moving, engaging, and emotional experiences I have ever had in a theater. It is tragic the show had to close. But I am forever grateful for being given the opportunity to experience it from such an outstanding cast. The final show of my Broadway weekend was Death Takes a Holiday. This is a show that I was really looking-forward to seeing ever since it was announced, mainly because it was written and composed by Peter Stone and Maury Yeston, the duo responsible for my all-time favorite Broadway musical ever–Titanic (1997 winner of 5 Tony Awards, including Best Musical). While the groundbreaking and breathtaking technical elements of Titanic are completely absent from Death Takes A Holiday, its lush score stirs many memories of that tremendous musical that graced the stage over a decade ago. The story takes place in the late 1940’s and centers around the wealthy Lamberti family, that after experiencing a close-call with death are visited by a strange Prince, (actually Death himself, who has taken human form so he can experience the joys, loves, and losses of life as a human for just a few short days). As the Prince/Death (played superbly by a devilishly handsome Julien Ovenden) bonds and collides with the family, he falls in love with Grazia (Jill Paice, who’s voice and performance were both heavenly), who in the process of falling for the Prince, learns a powerful lesson herself, that love is a power that transcends life completely. The musical numbers are all masterfully crafted by Yeston and musical director Kevin Stites (also of Titanic). A dance sequence in the first act reminded me slightly of Titanic’s “Latest Rag” and truly lifted my spirit; but the Act I finale truly stole the show (and my heart). Death Takes A Holiday is magical, moving, and triumphant! The Lambertis’ lives are filled with the endless joys and heartaches we all have had in our lives. And as we see Death learn the happiness and sorrows of life (albeit very quickly) we are reminded of the growth and maturation we have all had during our human experiences. This show is a gift and is one that should not be missed. Death Takes A Holiday is playing at the Laura Pels Theater (Roundabout Theatre Company) through September 4th, 2011. Below, watch the montage for the show: