Friday, February 20, 2009

Too Hot to Handle





The Fantasticks by Harvey Schmidt and Tom Jones

New York City
Opened in 1960
Currently Playing

Few would believe that the musical Fantasticks was once subject to a fuss. However,the familiar number titled "Abductions" began as "the Rape Ballet". El Gallo, a pseudo- narrator, described various types of rape that were possible. As the word developed in popular perception, an alternative version was composed.

http://en.wikipedia.org/wiki/The_Fantasticks#Controversy


Laramie Project by
Las Vegas Academy (High School)



Protest held by Westboro Church Group from Topeka, Kansas

Led by Pastor Fred Phelps, 2004


The West Boro Baptist Church Group has led several protests across the country concerning Matthew Shepard and those that remember him. Pastor Fred Phelps even appears in programs of the Laramie Project as a minor character resulting from his involvement at Matthew Shepard's funeral in 1998. The church group's primary claim is the show promotes homosexuality and mantains their views on their chief website http://www.godhatesfags.com/tesfags.com/. The magnet school responded by conducting impromptu performances and staging nonconfrontational protests of their own, while the media coverage of Phelp's efforts led to full houses honoring Matthew Shepard's life.




Broadway opening of Miss Saigon by Frank Chin, March 1991


Protests led by Pan Asian Reperatory Theatre (comprised of 15 Asian- American community organizations) in support of Equity's position against Cameron Mackintosh

When Miss Saigon made the move from London to New York, controversy ensued over the casting of the principal character. Equity argued casting British Jonathan Pryce and "painting him yellow" to portray an Eurasian pimp would affront the Asian community. Mackintosh then accused Equity of reverse discrimination and stated Jonathan Pryce was chosen on the basis of talent. The feud ended when Mackintosh threatened to cancel the expected success of Miss Saigon, though objection to race, stereotypes and sexism rendered in the show continued.






Oh! Calcutta! by Kenneth Tynan


Off-Broadway Production


New York City, 1969



A bold move for the end of the sixties, Tynan's Oh! Calcutta! featured full nudity, both male and female, coupled with simulated sex acts. The producer, Hilard Elkins, ensured the avant garde revue's survival by investigating it's legal limitations. Ultimately, this controversy earned Oh! Calcutta! more notoreity and translated into a smash hit.






Manhattan Theatre Club's production of
Terrence McNally's Corpus Christi


New York City, 1998



Dubbed the "Gay- Jesus" play, McNally's Corpus Christi produced by MTC resulted in total uproar from several communities. The show draws parallels from growing up gay in Corpus Christi,TX to a Jesus-esque figure who knew Judas in the "biblical" sense. Numerous publications helped usher in bomb threats, boycotts and threw the theatre into a battle zone between civil liberties groups and the Catholic League, among others. MTC cancelled the opening but eventually reinstated Corpus Christi the same year.





Goodman Theatre's production of O'Neill's The Emperor Jones


Chicago, Janurary 2009


The Third World Press, an African- American activist group, issued an email hours before the sold out Emperor Jones in hopes of a boycott. They deemed the image of the lead actress painted black and sporting a large, red pout racist and insulting. The Goodman's use of masks reminiscient of Japanese style theatre is accused of evoking minstrelsy which depicted African- Americans poorly pre- Civil Rights era.








Street Performer "Reverend Billy", real name Bill Talen arrested.


New York City, July 2007



A composite of an evangelical minister, Elvis impersonater, street performer and political activist- Reverend Billy was arrested during his act by NYPD. While reciting the first ammendment accompanied by a choir in Union Square, Bill Talen was incarcerrated on charges of harrassment. Numerous activists came to the Reverend's aid and the charges were later dropped. New York's very own version of Kinky, Bill is currently campaigning for mayor.

http://newsgroups.derkeiler.com/pdf/Archive/Alt/alt.gathering.rainbow/2007-07/msg00197.pdf






Washington State University's production of


My Name is Rachel Corrie

Seattle, 2008


This production chronicles a young female student, Rachel Corrie, a peace activist, that is run over by a bull dozer in her attempt to save Palestinian homes. Obviously, the Israeli/ Palestinian conflict is no stranger to controversy and unfortunately, neither is Rachel Corrie. Jewish Federations and Palestinian activists head up the heart of the conflict, displaying graphic banners to theatre- goers in attempt to sway patrons away from the play.







Karen Finley



Performance Artist


Finley's performances typically start as rants in various voices and conclude with her, nude, and covered in familiar sticky substances. Her act caught the attention of Senator Helms who paraded her as the poster child in pursuit of eliminating the NEA 4. Finley banned together with other artists in hopes of retaining a grant- when it was denied, the group took the case before the Supreme Court, and lost.








New York City


Feburary 21, 1900






Olga Nethersole's Production of Sapho by Clyde Fitch
Raided





This play toured many American cities before arriving in New York and along the way had earned a certain reputation. New York officials were warned of the show and issued a warning to Nethersole and the Wallacks Theatre. Her indictment credits her with " in a certain entertainment of the stage, commonly called "Sapho," in a lewd, indecent, obscene, filthy, scandalous and disgusting manner, make divers lewd, indecent, filthy, scandalous and disgusting motions and assume lewd, indecent, obscene, filthy, scandalous postures and attitudes, and repeat and utter indecent, obscene, filthy, scandalous and disgusting words and conversations, all of which grievously offended public decency." The primary outcome of this entire ordeal? A rush for tickets to "Sapho".





http://images.google.com/imgres?imgurl=http://www.dgillan.screaming.net/stage/otherpics/sapho.jpg&imgrefurl=http://www.dgillan.screaming.net/stage/th-sapho.html&usg=__RY0pP_MOxqRMdawup1cdPavpXZ0=&h=220&w=145&sz=27&hl=en&start=37&tbnid=cauN1Xm9Ep6WXM:&tbnh=107&tbnw=71&prev=/images%3Fq%3Dsapho%26gbv%3D2%26ndsp%3D20%26hl%3Den%26sa%3DN%26start%3D20























































































































































































































































































































































































































































































































































































Friday, February 6, 2009

Stages of Development and Criticism

Broadway


"With its futuristic vision, Angels is a spiritual survival kit for the 21st century. And laughter is among its primary tools."

http://www.lexisnexis.com/us/lnacademic/returnTo.do?returnToKey=20_T5717929993


USA Today's review, while brief, notably remarks on the unexpected pathos "Angels in America" simulates. The solo snag of the production seems to be the conclusion, and only named due to the lack of Part Two. Broadway sifted through the L.A. production and brought with it a show designed to profoundly remark on contemporary issues.






HBO Mini- Series
"It's not that the joke isn't funny, but that the insularity of the film steals its outward aspect. The joke gets stuck inside the world of the story, and any opportunity for viewers to connect with it is overshadowed by the camera's insistence on its humor."


http://www.slate.com/id/2092434/

Peck admires Kushner's "Angels in America"- not it's ho-hum translation to the screen. Much of the disappointment lies in the production's inattention to the script's basic intent. Camera usage that could typically enhance a stage production seems to hinder the underlying rhythm of language along with the actor's relationships. Beyond some poor technical decisions, HBO's portrayal suffers from the fact that sensitivities to matters of 1985 and 1993 are somewhat muffled in year 2003.





Professional
"Angels in America is a must-see play. Despite the twenty years since its release, it rings true in today's political and social climate. The relationships it depicts, and its themes of human frailty, mortality, moral choices, and political corruption, all transcend time."

http://blogcritics.org/archives/2008/02/01/154041.php

Hard primarily applauds the ambition of Boston Theatre Works for undertaking Kushner's "Angels in America" that has been absent from stage nearly ten years. His praise implies the script rather than the production, particularly the language of the text and the insight it provides into the character's psyches. The simplicity of the set gives the necessary precedence to the powerful messages in "Angels.." that enthrall many generations.






College


"This production of Part I of Angels In America is superbly directed by Stuart Meltzer. Difficult scenic and acting transitions flow seamlessly from start to finish."

://www.talkinbroadway.com/regional/sfla/sfla136.html




Lariviere catalogues the core issues staged in "Angels in America" and how they correlate to everyday America. The minimalist design provides no distraction from the performances of various actors whom he critiques. All aspects of the production receive approval including tasteful nudity leaving him to prompt a challenge to other theatre venues.







Pre-Broadway


""Angels in America" has no theatrical precedent that I can think of. It has something of the dark freedom expressed in novels of magic realism, but it's not a novel. It's an occasionally uproarious, often brutal and sorrowful circus with what might be called novelistic tendencies and a theatrical heart."








Canby contrasts the Broadway bound "Angels in America" between the New York and London performances, offering awareness to the differences in theatre among the two cultures. The New York production vibe comes across more loose(but without nudity) to the carefully staged London performance. In addition, he also compares audiences of the two performances, applauding Kushner for appealing to an array of theatre-goers.





Followers