Romeo and Juliet, #TheBomb or #Bomb…
When it comes to love stories, none is more well-known than that of Juliet and her Romeo. William Shakespeare literally wrote the book (or should I say play) on the notion of star-crossed lovers. The adaptations of this classic are endless, yet the public never tires of the story of love gone awry. So it goes that after 36 years, William Shakespeare‘s Romeo and Juliet has returned to the stage of the Richard Rodgers Theatre.
Director David Leveaux’s version of Romeo and Juliet takes Shakespearian English and injects it into modern setting. Another added twist to the original plot is the subject of race – the Montagues are a white family and the Capulets are black. Hollywood hottie Orlando Bloom and Broadway sensation Condola Rashad play the young, ill-fated lovers. All these elements should’ve have produced results that were more explosive than a NASA rocket launch to the moon. Instead, it was more the equivalent of high school chemistry nerds experimenting after class – yeah; there was a little smoke, but no real fire (except for the random bursts of fire on stage).
Although I wasn’t expecting Romeo and Juliet to declare their love on Facebook, I also didn’t expect the term ‘modern’ to be interpreted in such a banal fashion. The set, which consisted of a ginormous bell, an elevated plank of wood for a balcony, and a wall that contained a Renaissance secco, was uninspiring and a poor match for the lush verse of one of William Shakespeare’s greatest works. The first time Orlando Bloom appears on stage he is riding a motorcycle, and while that might be modern it is also clichéd. At the Capulet’s soiree, I thought the choreography would carry an element of hip-hop or krunking, something other than the interpretations of African dance that were exhibited on stage. The nurse walking a bicycle to deliver a message to Romeo and the parkour climbing of the graffiti-ridden mural does add a nod to a more modern era; however these devices failed to deliver on such a promising idea.
The cast seem to hurry through the dialogue as if they were just trying to get it over with. Shakespearean English is a mouthful, literally, but the pace was so rushed that some of the beauty of Shakespeare‘s poetry was lost in this interpretation. While Orlando Bloom and Condola Rashad certainly looked as if they had the potential to rival the flames that occasionally appeared on stage, their scenes together were undersupplied of the heat necessary for me to believe that these two would rather die than live life apart. Brent Carver, Christian Camargo and Jayne Houdyshell’s portrayals of Friar Laurence, Mercutio and the Nurse were an absolute pleasure to watch and brought balance to this production.
Director Baz Luhrmann attempted a modern interpretation Romeo and Juliet on screen in 1996, back when I thought modern versions of Shakespeare were a sacrilege, and it actually became one of my favorite depictions of this classic love story. Perhaps Leveaux should’ve taken a few notes from this film. After 36 years, this Romeo and Juliet ascended to no grander heights nor did it plateau to a great theater low. All and all it was steady and flat, just like the boards of the balcony – wooden and just plain regular.
Photos: Carol Rosseg
F.A.M.E NYC’S A TIME FOR BROADWAY TICKET GIVEAWAY
What does actor Samuel L. Jackson, Warner Bros., John Grisham and Wynwood Press have in common?
The answer: A TIME TO KILL
The September breeze brings with it a new season and on Broadway it means the start of the fall shows. In October, A Time to Kill will make its Broadway debut, also marking the debut of an adaptation of a work from best-selling author John Grisham. Adapted for the stage by Tony Award-winning playwright Rupert Holmes A Time to Kill stars fellow Tony Award winner Tonya Pinkins and Emmy Award winner Tom Skerritt. In case you forgot, A Time to Kill tells the emotionally charged, now-iconic story of a young, idealistic lawyer, Jake Brigance, defending a black man, Carl Lee Hailey, for taking the law into his own hands following an unspeakable crime committed against his young daughter. Their small Mississippi town is thrown into upheaval, and Jake finds himself arguing against the formidable district attorney, Rufus Buckley, and under attack from both sides of a racially divided city. This drama is a thrilling courtroom battle where the true nature of what is right and what is moral are called into question.
NOW I HAVE A QUESTION FOR YOU FAMERS…DO YOU LIKE FREE TICKETS?
Of course you do. And if you can finish this Carl Lee Hailey quote, then you could win yourself a pair of tickets to see A Time to Kill.
“Yes they deserve to die and I hope they burn in _________!”
Please leave your answer as a comment and your email address will be automatically entered to win the tickets. Contest ends 5 p.m. September 27, 2013. Don’t miss your opportunity to see this powerful story on stage, ENTER. GOOD LUCK!
A Time to Kill begins previews at The John Golden Box Office (252 West 45th Street) on September 28 and opens on October 20. To learn more about the show please visit:
Website: www.ATimeToKillOnBroadway.com
Facebook: www.facebook.com/ATimeToKillBway
Twitter: www.twitter.com/ATimeToKillBway
Instagram: www.instagram.com/ATimeToKillBway
F.A.M.E NYC Romeo and Juliet Ticket Giveaway
You didn’t have to read Shakespeare’s Romeo and Juliet in high school to know that it is the most famous story of unrequited love to ever exist. Countless renditions of this classic story have been told on stage and screen with 36 years passing since it’s been on Broadway, but this fall the story of the ill-fated lovers of Verona will be back on a Broadway stage once again. Romeo and Juliet begins previews at the Richard Rodgers Theatre on August 24 and opens on September 19. This latest interpretation of Romeo and Juliet is directed by five-time Tony Award nominee David Leveaux and stars film star Orlando Bloom, making his Broadway debut, and two-time Tony Award nominee Condola Rashad in the lead roles. Shakespearean English will be spoken; however the setting will have a modern aesthetic.
As this iconic love story is first introduced to us in school, Tixs for Students is running a special promotion: A limited number of $20 tickets for each performance are available for college students. Tickets may be purchased in advance either at the box office with valid ID or online, exclusively through TIX4STUDENTS.COM. Limit of two tickets per order; price does not include facility fee. Educators can also purchase a limited number of $20 tickets for each performance are available for educators. Tickets may be purchased in advance at the box office with valid ID. PLEASE NOTE: Educator tickets are only available for purchase at the box office. Limit of two tickets per order; price does not include facility fee.
BUT YOU DON’T HAVE TO BE STUDENT TO WIN A FREE PAIR OF TICKETS TO SEE ROMEO AND JULIET! All you have to do is leave a comment answering these two simple questions:
- Who is Condola Rashads’ mother? (Hint: She played Bill Cosby’s wife on an iconic ‘80s sitcom)
- Who played Orlando Bloom’s father in Kingdom of Heaven? (Hint: He also played Zeus, father of the Gods, in the remake of Clash of the Titans and in the sequel Wrath of the Titans)
Comment as many times as you like to increase your chances of winning. The winner will be announced on August 20 at 5 pm EST. GOOD LUCK FAMERS!
To learn more about Romeo and Juliet, check out the following sites:
Website: www.RomeoAndJulietBroadway.com
Facebook: www.Facebook.com/RomeoJulietBway
Twitter: www.Twitter.com/RomeoJulietBway
Instagram: www.Instagram.com/RomeoJulietBway
Google+: Plus.google.com/+RomeoJulietBway
MONTE/MULLER Made New York Live Arts Move
From June 20-22, Monte/Muller Move! played at New York Live Arts. Monte/Muller Move! combined five works from choreographers Jennifer Muller and Elisa Monte and showcased the power and majesty of these two dance companies.
The first performance was the world premiere of Grass by Jennifer Muller. Inspired by Walt Whitman’s Leaves of Grass and featuring cellist Julia Kent, whose haunting solo truly captured the spirit of the ballet. As people trample daily on a grassy knoll or a sector of a park, do did these dancers slide and thrust their bodies onto the blades of the astro turf stage. Colliding, then separating again, emoting the thread of impermanence.
The second, Unstable, premiered in 2012. Choreographed by Elise Monte, Unstable was a primal ritual with bodies rolling on the stage. Slow and sensational, the imagery of the wall shadows created added another dimension.
Elise Monte’s Shattered premiered in 2000 and is a fast paced spectacle for the eye. Like lightning when it strikes the impact hits with a precision that only a force of nature can. Explosive, this piece pumps with high-octane adrenaline.
Premeiring in 1996, Volkmann Suite was choreographed by Elise Monte and is a stunning display of beauty and strength. The power lifts displayed throughout the piece complimented the dancers carved frames and reminded me of moving sculptures.
The last performance was also by Jennifer Muller and featured excerpts of the ballet Speed, which debuted in 1974. Filled with fast changes, the piece was considered a tour de force when it first premiered. MONTE/MULLER MOVE! at New York Live Arts was made possible through New York Live Arts’ Theater Access Program, a comprehensive subsidized rental program benefiting a diverse group of dance and theater companies and producing organizations.
Photos courtesy of Krizer Graber Communications, LLC
On The Margins of a Portrait Places Its Borders in Brooklyn
One of my favorite jazz albums is Miles Davis’ Sketches of Spain. Released in 1960, it is considered to be a textbook blending of jazz, European classical and world music. The melodies are haunting and delicate. Last Saturday, I found myself dangling from the same subtle, yet lingering lines found in Nancy Friedemann’s work.
Currently showing at The Gallery @ 1GAP is Friedemann’s latest exhibition of works titled, On the Margins of a Portrait Places. With a nod to Minimalism and The Pattern Decoration Movement, the exhibit is comprised of large panel pieces and smaller paintings. With a black backdrop, Friedemann creates a mash-up of nature and the roots of her Columbian heritage. As the absoluteness of the noir framework attempts to consume the viewer’s eye completely, Friedemann creates depth and refinement by adding illustrations of lace and botanical imagery to contrast the darkness. Together Friedemann’s works present a modern interpretation of yin and yang – a tango between masculine and feminine. One of the aspects I appreciated from viewing On the Margins of a Portrait Places is Friedemann’s use of Minimalism. I was able to get a true sense of the intricacy of the brush strokes and how the use of color brought the paintings to life.
Located inside Richard Meier on Prospect Park, a residential building, On the Margins of a Portrait Places will be on display at The Gallery @ 1GAP until August 2013.
Photo: F.A.M.E NYC Editor
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Dirty Great Success
By Martin Burgess
FAMERS if you are up for some British action check out Dirty Great Love Story at 59E59 Theaters. It’s a clever, stripped down, well-delivered, simple play about Richard Marsh and Katie Bonna, whose relationship takes two years to develop into something serious after a one-night stand.
It all begins when Richard and Katie meet for the first time in a nightclub; both happen to be at a bachelor and bachelorette party. In a drunken blur Richard and Katie wake up in a cheap hotel room the following morning. He’s in to her, she’s not in to him and runs away trying to forget about the whole thing. The problem is…Richard’s friend Westie has hooked up with Katie’s friend CC, and the hilarity ensues as Richard and Katie keep bumping into each other at social events.
Here’s the twist; there are only two actors on stage, no set, no costumes, nada – just two chairs, mood lighting and some background music. If you’re worried about the fact that it’s British and you’re still traumatized by Shakespeare in high school, do not be, the language is very modern and easy to understand. The script is well written and the delivery is flawless. The dialogue weaves between spoken word and poetry, which really helps keep the play flowing smoothly.
Because the play is British there are lots of drinking references, which only leads to one thing, highly embarrassing moments. This new interpretation of the classic “boy meets girl” story is universal. Even hip hop fans should check it out; there is lots of good rhyming and call and response.
Pia Furtado directs this production and the play is written and acted out by Richard Marsh and Katie Bonna, who give an outstanding and unblemished performance. They have great chemistry between them and do a superb job of connecting to the audience and setting up the scenes. Dirty Great Love Story is part of 59E59 Theaters’ Brits Off-Broadway Festival and will be playing a limited engagement until June 30.
Photos: Carol Rosegg
Cross Connection to Stardom, a Conversation with Nathaniel Ryan
The lights of New York City lure artists from all over the globe like moths to the proverbial flame. Hundreds flock to this concrete jungle in search of big game. But the starry-eyed desire of fame isn’t just a dream for those who migrate to The Big Apple. Before Jennifer Lopez was reminding everyone that she was just Jenny from the block, she rode the six train from the Bronx into Manhattan in search of her big break. Maxwell rode the J train before he ascended on top of the music charts. Nathaniel Ryan is a New York City artist poised to make the transfer from anonymity to prominence. Singer, actor, model, playwright…Ryan has several conduits that can take him to the Promised Land. If his future is as bright as his smile, then Ryan’s prospects are as vast as The Milky Way. And his humble demeanor only make him more intriguing. 50 Cent asked 21 questions, but I only ask 10…
Usually I don’t begin interviews with this question, but after reading your biography I just have to ask…what is an actor, singer and model doing with an MBA from Clark Atlanta University?
While in High School and College I never thought about acting, drama or singing. I went to Morgan State University and studied Finance. While there I also modeled in the school’s Fashion shows. After an internship on Wall Street, I went back to school and studied finance at Clark Atlanta University. After I graduated I soon found that being behind a desk was not an ideal life for me. I met a photographer who took pictures for my first comp card. From there I started getting work. I started taking classes. And as they say I was hooked.
Your bio stated you were born in Brooklyn. Were you also raised in Brooklyn and if so, how did growing up in a borough known for being eclectic influence you artistically?
I am a native New Yorker. Born and raised in Flatbush Brooklyn. Flatbush was a great area to grow up in. I grew up around West Indians, Jews and a lot of other cultures and races. My mom made sure she took me to see Broadway shows, the museum, and the library. Subconsciously I think that it has had a profound impact on me and the way I think and how I perceive art. It’s not something I appreciated growing up but I am glad I did those things now as an adult.
Who are your three biggest acting influences?
My three biggest acting influences are: Don Cheadle, Forest Whitaker and Philip Seymour Hoffman.
You have acted on film and stage. Hollywood is the Mecca for film, but Broadway is the Mecca of the theatre world. Which medium do you prefer and why?
I love [the] theatre. Being on stage keeps you on your toes. And every show is different. I ultimately would like to do more film and television, but as of right now I am enjoying my pursuit to be a working actor on Broadway.
Out of all the roles you have played, which one has been the most fun? Which has been the most challenging? And why?
Every role has played has given me an opportunity to grow as an actor. I love working on original thought provoking pieces. Bringing a character to life is a challenge in itself. I would say my greatest challenge has been playing a survivor of the holocaust in Rwanda. Truthfully playing a man who survived such horrors was a challenge and humbling to say the least.
Name your dream role on stage and on film?
A dream role would be to play an original character or [a] historical person Huey Newtown, Marcus Garvey [or] Emperor Haile Selassie. Men who have taken on impossible odds and thrived.
As a singer, who are your influences?
As a vocalist I am growing and coming into my own. Some of my influences are Donny Hathaway, Daryl Coley and Ella Fitzgerald.
How would you describe your vocal style?
My vocal style is still growing. Right now I would say my favorite style is Jazz and Gospel. But I would say I am not clinging to one particular style.
Are you in the process of recording a demo or an EP?
No. I am not recording a demo or EP at the moment.
If Diddy and Tyler Perry came to you and offered you the opportunity to sign a three album contract and a world tour or a deal for six films and a starring role on a TV show, which would you choose and why?
If Diddy and Tyler Perry came to me and offered me the opportunity to sign a three album contract and a world tour or a deal for six films and starring role in a TV show I would choose Diddy. I love Diddy’s work. I grew up listening to him and his artists. I also like his work ethic. I respect him and his work. As a recording artist I could parlay that into commercial, co-star and other acting opportunities.
Check out more of Nathaniel Ryan at www.nathanieljryan.com.
Photo courtesy of Nathaniel Ryan
VeroDalla‘s LivenLuLu©
By Martin Burgess for F.A.M.E NYC
Last Thursday, French artist Véronique Anne Jadot (aka VeroDalla) debuted her latest collection at Gallery 32 Fine Arts in Chelsea. Reflecting selected aspects of humanity and movement, the collection mainly consists of sculptures in the form of genderless, race-less, fluid figures. Jadot tries to create an alternate universe by calling the collection LivenLuLu© and even gave the figures their own voice by creating a story behind their creation.
“We were born in Culêtre, a tiny village in Burgundy [France], after a long gestation of 24 months before finally materializing. Our creator, VeroDalla, wanted to make a universal figure devoid of external traits and far removed from pre-existing creatures – we needed our own identity…” says VeroDalla’s website.
Jadot’s alias, “VeroDalla,” is supposed to be free from language barriers. Let’s not get into linguistics, but our Asian and Arabic speaking friends might disagree.
Unfortunately the exhibition feels too gimmicky and contrived. The fact that there is a copyright symbol in the name is a big turn off. It indicates that these sculptures were created with the intention to make money not art. Jadot comes from big money, like big big money. Her grandfather was the founder of Maison Louis Jadot, an extremely successful French wine company. There is a term in the art world, “Housewife art,” and this is what the exhibition feels like. There was no technique to the painting and no real detailing on the sculptures. The colors used were plain, illogical and lacked feeling.
Also crammed in the gallery (which looked like it was half under construction) are two other exhibits by Jadot titled Poppy and Inner Journey. Again, both lacking any kind of skill or technique. The Poppy paintings and sculptures look like cake decoration and Inner Journey is supposed to represent “wet clothing stuck to your skin in summertime.” Ummm…who exactly likes having wet clothes stuck to their skin? Now just because someone comes from money does not mean they cannot be talented, but this is New York and we know how to smell a rat.
Check it out and share your thoughts; Gallery 32 Fine Arts is located at 515 West 20th Street, Level 5, New York, NY. The Jadot exhibition runs from June 13th – June 16th, 2013 so there is still one more day to view the exhibit.
Photo: Martin Burgess
59E59 Theaters Gets Sailing With Brits Off Broadway and The Boat Factory
Yes, despite the miserable weather it is that time of year to catch some jolly ole productions from across the pond as Brits Off Broadway takes residency at 59E59 Theaters. The Boat Factory is set in Belfast 1947 and centers on a 16-year old boy beginning an apprenticeship at Hartland & Wolffs’ Titanic Shipyard. World War II is over but the ripple effects of the war are still fresh. This production provides a powerful voice to everyday people struggling to make a living during the glory days of Belfast’s shipbuilding era.
The Boat Factory’s limited engagement run will end on Sunday, June 30. Tickets are available by calling Ticket Central at 212-279-4200 or online at www.59e59.org. For more information, visit www.britsoffbroadway.com.
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