Water for Elephants

Gordon and I drove over to Hollywood last night to see Water for Elephants. We missed opening night because of a conflict so we didn’t have a problem with parking. We drove right in and got a choice spot. And we had different seats than our usual ones. They were better—we hoped. We normally sit in row F, which I like, and these were row C. We worried that they might be too close to the stage but they worked out beautifully. The usher stopped to welcome us, saying that we’d enjoy the seats; the people who normally sat there loved them. I don’t know why he felt the to strike up a conversation. Maybe he missed his ‘regulars’. Or maybe he was just feeling friendly. It was a pleasant interlude.

I didn’t know what to expect from the musical. I’d read the book and seen the movie and still couldn’t remember much about it. It didn’t leave much of an impression. And regulars skipping out on good seats? Not a good sign. I thought it’d be boring. Boy, was I wrong. It’s the story of a young man who runs away and joins the circus because he has nothing in his life to return to. He’s taken all the Cornell courses he needed to be a vet but he skipped his final exams. He correctly diagnoses what is wrong with the horse of the star act and is hired by the owner/ringmaster as resident vet and the play is set in motion. The music worked but I can’t remember one hummable song. The staging was magnificent. The fragmented sets stood in for the railroad cars, the circus tent…everything. And the choreography was astonishing. Acrobats were included so the dance numbers included “flying” acts. They must have hired Cirque de Soleil performers. And the puppets were amazing. The actors moving the elephant legs made it seem like real. The fragmented horse was gorgeous. I really can’t say enough about these performances. They combined circus acts, dance routines, and puppetry. I oohed and ahhed all night. Absolutely loved it.

Another interesting note: the actor who plays the older version of the lead part actually started his career as ringmaster for Ringling Bros./B&B circus. No wonder he was so good at the part. But he was just first among many. Everybody is a star in this show.

Go see it. There’s nothing like it anywhere.

Clue and Company

We had a big week at the theater. Last Tuesday, we went to Clue at the Ahmanson. Super cast. It was a masterclass in timing. Mark Price, playing Wadsworth, stopped the show with choreographed recitation. The whole show was carefully choreographed and the cast worked with it seamlessly. I suppose I should point out specific performances, but they were all wonderful. If you’re looking for an action-packed, comedic who-dunnit, this is your show. It runs for an hour and a half without intermission so pee before you go. What a relief to laugh again…

Wednesday night we saw Company at the Pantages. The twist on this version is: Bobby is a girl! And the character change isn’t labored; it actually works. Bobby enters with balloons celebrating her 35th birthday-accompanied by the sound of a ticking clock. This Bobby has a biological clock to motivate her to make some decisions in her life. Briitney Coleman is a charming Bobby. She’s a wonderful comedic actress with a terrific voice. I really enjoyed her performance. Another change is, it’s no longer Amy, it’s Jamie. And gay men are just as nervous about getting married as straights. Matt Rodin plays a manic Jamie and does the patter song brilliantly. Very funny. I enjoyed the three guys who sang You Could Drive a Person Crazy. The song was changed from an Andrew Sisters sound, which would have been strange with men, to more of a chorus boy sound. It worked but I wonder what it would have sounded like if they’d reworked it into a doowop thing. Hmm. Anyway, the whole cast was great, as was the staging. I enjoyed it. So did the rest of the audience. It got a standing ‘O’. Of course, you get a standing ‘O’ in Los Angeles if you don’t fall off the stage, audiences aren’t very discerning, but this show earned it. Lots of fun. Go see it.