LTW is a Tucson treasure.
Excellent production... Have seen performances of Les Miserables in Phoenix, Chicago (twice), New York, and ...Madrid, in Spanish.
Kudos to AO for putting this ensemble together, they and the cast are a credit to Tucson and our arts scene. AO is also to be commented for the community out reach that they do, especially noted, the complementary and free tickets they give to expand their future audience. Mr. Aguirre does have a bass voice as noted, a true baritone would have probably been more what is generally called for in this role. However, he did an admiral rendition, dramatic, forceful, colored, convincing. Would love to see him in a traditional bass role.
Unfortunate, the production run was short, the performance was SOLD OUT, I understand contractual and production cost limitations, ...but, it could have easily run TWICE as long.
"Many think this story is about the French Revolution, but it concerns a much smaller—and less successful—effort years before."
Actually, the French Revolution was 1789, the Paris Rebellion, that is referenced in Les Miz, actually happened after the revolution in 1832.
And Juan Aguirre as Javert is a bass (lower and more ominous than a baritone).
But never mind about all that, go see this amazing production!
Anyone who has enjoyed Tucson theater over the years will be more than inspired.
Any pictures of the exhibits?
I wish there were more pictures for the article. I love the skele-bikers.
Had to mention the streetcar.
Hi. I am a regular visitor at the Gaslight Theatre and I wanted to make a few respectful and professional comments on this review. The song is called "Can't Smile Without You", the costume designer's last name is Cloutier, not Clouthier, and the first sentence doesn't make sense. I thought it should say this is A good one.
The Weekly will nurture every new band no matter the skill level. They also nurture one another with congratulatory comments about their opinions. There are thousands of people in Tucson interested in theatre and it is not always the most common or commercial. Mr. Skinner wrote a rave review of a commerical house company previously. Despite the digital age, theatres still count on positive press. I think this reviewers inability, for example, to discuss anything about the actress but her eyes is not only telling but a little creepy. My takeaway from this review was that the reviewer does not know how to look at a play or a performance. It may be the show was unsuccessful. I liked many things, other things bothered me. The theatre community depends on places like the Weekly to deliver arts news and it is very disappointing that this is the result. Who will review the reviewrs? Quis custodiet ipsos custodes?
Just got around to reading the May 29th ‘review’ by M. Scott Skinner’s of “Iraq in 3/3 Time With A Coda”, which I had the good fortune to see at Live Theatre Workshop.
My husband and I just moved here from the North Shore of Boston, and one of the things that attracts us to Tucson is its wonderful theater community and the many theaters and the many new plays, innovative companies, writers groups, responsive audience, and more that exist here. We both hope to become a part of it.
One of the many things we’ve learned about theater and about new plays in particular is advice from the Chicago Dramatists group (which has done a phenomenal job of creating a dynamic theater culture in Chicago), and they feel that the Chicago theatrical renaissance owes much to the reviewers who went to all the plays, who supported the theaters and playwrights and actors through thick and thin, and gave public structure to the efforts of that artistic community. They built audience, and sensibility, and sensitivity, and confidence in what was once backwater Chicago. They did it.
This review is really not much of a help in building the community here in Tucson. It’s snarky, and about the critic and how clever and funny one can be, and not useful or constructive in any way. There was much to say about Iraq in 3/e Time With A Coda, and much good, and there are things that could be better, too, lessons that could be learned, but this review doesn’t try in any way to nurture the playwright, the actors, the theaters that make themselves available for new work, or the audience. It’s a turnoff.
It’s fine not to like a play. It’s fine not to like a production. But it is vicious to put together a review like this. And it does little good except to give a critic the chance to perform some sort of public execution.
I like playwright, I liked the risk he took to put the play on, to direct it himself, I like new plays, I like these actors who took up this challenge, I like people who take risks, I like people who go to plays who share their thoughts and reactions in the hope of making Tucson a greater center of theater.
I really don’t appreciate people who lurk outside the lights and look for signs of weakness to prove ---what? I guess I don’t know what the point is.
Thank you to the playwright, the actors, and Live Theatre Workshop for putting up new plays. I hope to see more.
Worst and most infantile 'professional' review I have ever read. This told me little or nothing constructive about the play, only that the 'reviewer', (I use the term loosely), did not like it, but gives no reason for his views. Methinks there may be more than just a bad burrito in the mix.
While the topics in these short plays may not be to everyone's taste, this "non-review" is just downright mean! If Skinner said he was not going to review the play, he should have left it at that. Instead, he went on a rampage, detailing his thoughts as the play progressed. The actor "saying so many words" as Skinner put it, was obviously reciting instructions from a sniper's manual and pitting his own guilt against his indoctrination. The actors did a fair job, some better than others. Jared Stokes, in particular, performed his multiple roles convincingly. This is the nastiest "non-review" I've ever read. Me thinks there was a bad burrito consumed with that cup of coffee before the show.
Galleries have been disappearing for a number of years and not just downtown. TOO many to list, sadly. It's not a surprise, when it comes to art we love to look but we rarely buy, the economy just sucks.
Yes, correct. It was the so-called "art galleries" that was holding the block down.
Susan this sounds so funny and I'm sure you were so funny and wonderful in it.. I would love to read a copy. Aline in London
Everyone should visit the awesome artists' studios at The Monterey Court Studio Galleries conveniently located on Tucson's historic Miracle Mile.
Many thanks to Sherilyn Forrester for helping to get the word out about the New Play Festival.
What a great review, makes me want to hop a plane to Tucson to see how they do Oklahoma! there.
The soaring music is unforgettable and will stay with you as long as you live.
Perhaps the students get into the performance with so much enthusiasm because the musical is a simple story of human nature, mostly good, with really only one, Jud, the bad.
Oklahoma! is a happy play, unlike the usual American entertainment of violence and vulgarity. No crotch shots here, no bad guys win. It is nice to see good prevail. The audience will no doubt leave feeling happy for having such a fine evening with Oklahoma!
Please let's agree not to notice that the cowboy's called Curly in one paragraph and Curley in another and then back to Curly on third reference. I did that on purpose!
Oh, & I also botched the original press release for THE GLASS MENAGERIE in January when I typed that Bette Davis was in the film instead of Katharine Hepburn. I had Bette on the brain b/c I had been promoting the film, THE MAN WHO CAME TO DINNER starring Bette Davis & Monty Woolley. So, you see...we are all human. =)
Apology accepted & appreciated. If it helps, I spelled Jay Leno's last name wrong in J-School at Michigan State & that was an immediate failing grade. Course, it wasn't a "real" article, but lesson learned. LOL
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