Maybe it's my critical tendency to scrutinize everything, but now that I think about it, the lyrics of “My Way” sound a little disturbing. Sure, it may not be as offensive as Cole Porter's lyrics, but Sinatra's trademark song would only raise eyebrows as she got older. Living a life without regrets sounds appealing, but in reality, regrets are a good thing because they lead to learning from your mistakes. Lack of remorse suggests someone who doesn't care how much damage they have caused. When someone is on their deathbed, they are fortunate to be able to look back and see what they have tried to do to improve themselves.
For musical fictional quartet Plays, a peaceful death is not a luxury forever plaid (42nd Street runs through May 5 at SF's Gateway Theater). At the beginning of the show, we learn that the Four Seasons-style quartet was on its way to its first big gig in the '60s (just before the Beatles). ed sullivan show) The name comes from the patterned sport coats the Plaid Tribe were not yet wearing when their tour bus crashed, killing all four members of the Plaid Tribe.
In the realm between life and the afterlife, they are finally given the chance to play a big show in front of an audience. Specifically, we, the audience, gathered at the theater. Over the next 90 minutes or so, they tell us about their recurring neuroses, unreleased album covers, dreams of Perry Como-like stardom, and a carefully selected collection of doo-wop songs.
forever plaid is one of those shows that is weird to write about because it lacks content by design.reminded me of a musical encore, this was also a pastiche of old-fashioned entertainment, with characters that seemed to weave in and out of the little stories there were. It turns out that, like all dead people, the Plaid family left a great deal of unfinished business in life. However, playwright Stuart Ross seems less interested in exploring them in detail, lest the “downer” nature of some of the stories ruin what is a family-friendly show. As such, stories about dysfunctional families and hints of abuse are downplayed. (Perhaps reflecting a time when such discussions were rarely held in public, but it was likely kept to a minimum to keep the show light.)
Prospects for fake concert plays are uncertain—A night with Janis Joplin He was one of the few who could do it well. In fact, that show also included a bit of a supernatural story, even though it was more or less intended to be played straight as a formal Joplin concert. Praise's concert begins after a spectral quartet wanders through the audience as a bizarre means of coming to terms with a life that has ended. They then take to a fully prepared stage (designed by Justin Kelly Cahill, almost resembling the décor of his 60's Variety show) and, although not always successfully, he performs a four-part Sing a collection of classic harmonies. choreographed movements.
Your voice is always good. All four (Matt Skinner, Kevin Singer, Justin P. Lopez, and Edu Gonzalez-Moldonado) definitely have the right skills for their roles, even if they don't have much to do character-wise. They appear to have been instructed by the company's executive director, Daniel Thomas, to go “big” on various levels of Jerry Lewis-style heists, but the effort maintains an upbeat tone. What more is required when interacting with the audience (one of them is brought up on stage and plays “Heart and Soul” on the piano).
Between these “big” performances and the overall tone, it suggests a show that had the opportunity to comment on past entertainment but chose homage rather than thorough examination. When the foursome begin singing Caribbean songs, they are completely unaware of the cultural sensitivities they are ignoring. This isn't all that surprising since this show premiered in his 80s (not the most enlightened era, as I recall).
The venue wasn't full for the first night's performance, but I was glad I wasn't the only one wearing a mask. About a third of us were covered by a lopsided crowd of mostly elderly people, including at least her two elementary-age children. By the end of his 90-minute show without intermission, his CO² readings on Aranet4 reached 1540ppm. Not the worst, but not the best either.
Before the show began, director Daniel Thomas said the show was his swan song at 42nd Street Moon. If you think about it, a lot is explained about the lighting production, including the small cast, simple set, two-man band, and short running time. All of this speaks to going out on a simple and clear note. Thomas wanted to have fun, and he can't be blamed for that. The audience certainly seemed to be enjoying it. Don't expect more than what you see on the surface.
eternal plaid will run at SF's Gateway Theater until May 5th.Tickets and more information here.