Theater is typically immune to foul weather, but when the venue is Delacorte Theatre in Central Park, The Doppler Radar is the main tool for determining a show’s viability. At 8pm, when Paul Simon’s Capeman was scheduled to start, standing umbrellaless was a mistake so Alaina and I huddled under the one we had and waited the next hour until it was closer to mist than storm and we filled our seats in the quarter-bowl. Before the head of The Public Theatre, Oskar Eustis, gave his introductory thanks and acknowledgments (calling the Delacorte “the greatest theater in the greatest city in the world” because IT’S FREE!), he was furiously squeegeeing the stage with the rest of the crew. It never actually stopped raining, but the show must go on… I remember hearing about this musical when it first hit Broadway and being surprised when it flopped. I always liked the music from the album, but hearing it live with a full Latin band is very powerful; all the performers were great and an epic moment like “Adios Hermanos”, when 40 people on stage are locked into tight rhythm and beautiful harmony, somehow feels even better wet.

3D technology is everywhere and I think we can safely say it has proven itself beyond a gimmick. It truly enhances the visual experience even without the original cliched application of sharks and other objects popping into your face. Phish 3D is the best look I’ve ever had at my favorite band, bringing the audience onstage with incredible depth and perspective, allowing visual details that would be invisible to anyone at the show and some that would be unseen even in a 2D format; I saw what their “farewell” show in 2004 simulcast in a theater, and this blew it away. Watching Trey’s fingers rip the guitar from 5 feet; peering over Page’s shoulder as he navigates his keyboard universe; watching Mike’s hair and seeing Fishman smile is such an unbelievably fun way to experience a concert. Of course, something is definitely lost in comfortable cinema seating, and being a part of a crowd’s energy can’t be enhanced or even remotely replicated by wearing magic glasses… which is why I was fortunate to see the Bloody Bloody Band play immediately after.

Post-show on Sundays, the cast and band of Bloody Bloody Andrew Jackson have been throwing together a comedy and music variety show and, being the amazingly talented group that they are, the nights are brilliant, featuring great stand-up comedy with a sizzling band blowing up the tiny space at Jimmy’s No. 43. It is an hysterical dance-athon and sing-along that reminds me of mankind’s innate love of fun.

They play at least 162 games in a season, which makes the value of each one so small, but last night was the very first and after months surviving on other sports I allowed myself to watch it as if it were game 7 of the World Series. Plus it was against the Yankees. Beginning of Baseball season also means beginning of patio season, which is where I write this now and where we grilled last night, opening BBQ season with spicy kebabs v. spicy chicken (Daliente!); a great night of hanging out with friends watching The Sox deliver a crushing defeat to their defending champion rivals.

But wait there’s more! This weekend also included a visit from the Taylor Family, Antony Gormley and Bloody Bloody Andrew Jackson, making it an extra sweet spring kickoff!

Maybe life doesn’t suck…

Last night we went to see a great production of Eugene O’Neill’s The Emperor Jones at The Irish Rep. It is primarily one man’s descent from “Emperor” into a voodoo-induced nightmare and John Douglas Thompson is awesome and terrifying in his psychosis. The scenery dances and puppets play ghosts as the audience journeys inside a head of madness.
We then came home and watched Shaun of The Dead. I have never seen a movie that combines comedy, tragedy, love and horror in the same way. How scary would life be if the undead wandered the streets consuming human flesh? How hilarious would it be if you didn’t even notice they were zombies because they acted that way when they were alive? The film actually succeeds in communicating the desperation of life in the face of undeath through humor.

I was de-virginized last night at my first Rocky Horror Picture Show experience and it was, as I had been warned, highly participatory. If you yourself are still a virgin, I will enlighten you: the ridiculous 1975 rock musical B-movie is augmented by a group of live actors who dress (scantily) as the actors and lip-synch the lines while yelling commentary at the screen. Audiences are encouraged to throw stuff, dance and yell at appropriate or inappropriate moments. Before the midnight show at Clearview Cinemas in Chelsea, all the virgins–as in audience members who had never seen the show before–were asked to come to the front of the theater. Alaina obviously blew up my spot and sent me to the front to “fake an orgasm”.
This is the very definition of cult following. This terrible movie has been in theaters for over thirty years because of its fans, who transform it into something much greater than it ever was conceived to be and give it life beyond its moment. It also takes the 2-dimensional work and adds infinitely more, reclaiming the cinema as a live venue with self-awareness.

About a week ago, I watched another transvestite rock musical called Hedwig and The Angry Inch. Also ridiculous, yet touching and beautiful, it is a melodic story of love and creation and loss, music and themes that cross all gender lines. Everybody has issues with sex, no matter what packaging we have, and all that matters is loving ourselves and, if we are lucky, finding someone with whom to share that love.

I had the pleasure of attending a dress rehearsal of Alaina’s new show at Playwrights Horizon last night and it is excellent. Sure, I give all her shows great reviews (she is the Production Stage Manager) but it’s only because she works on great projects! This show takes place over six weeks in an acting class in rural Vermont and features five extremely talented actors playing five unsuccessful actors searching for their role in life. Yeah, it’s meta… The characters all face serious emotional baggage and end up tearing each other down. It is heartbreaking on some levels, inspiring on others, and shifts between awkwardness and hilarity. I was squirming in my seat at times and falling out laughing at others. It is a play about all of us and our struggles to give our life meaning and purpose and the thin line we walk between happiness and despair. Sitting in the front row, I was constantly catching a glimpse of myself in the giant mirror and considering my own role as a performer in this great theatrical production we call life.

I am a fan of basically any type of entertainment spectacle, from sports contests to film and TV to concerts. I like when people demonstrate extraordinary humanity and push the limits of our own experience. But if I had to show an alien just one event in hopes of proving our survival worthiness, I might take it to Cirque de Soleil. It has everything: music, dance, comedy and unbelievable stunts. Performing feats of strength and concentration with potentially lethal risks, these performers bring you onto the precipice with them, jarring your nerves and repacing your heart. At times, it is almost unwatchable and yet simultaneously unblinkable, with tense moments stretching out to make the audience hyper-aware, like the moment before a car accident, when time slows to a crawl and you are completely powerless to stop it. Even when the situation is not dangerous, like a juggler, the focus is singular and intense, but when the element of death actually enters one’s consciousness, it heightens the tension unbearably. Here is the Wheel of Death act. Totally ridiculous. Fortunately, they have some brilliant physical comedy to lighten the mood between these heart-stopping acts. Cirque de Soleil (I saw Kooza at Randall’s Island) is the best circus experience–I’ve never been into caged animals–and, for my money, is the best spectacle on the planet.

Wow. I am blown away by this Broadway production, based on the movie about a boy who just wants to dance. His story is woven tightly into the story of the 1984 British Miners’ Strike, which consumes his family and community. The battles fought on all fronts are emotionally devastating and Elton John’s music is beautiful; combined they create a deeply stirring experience. Struggles can end in victory or defeat but either way, they define our character more than anything else.

There are three boys playing Billy, and last night we saw Trent Kowalik, who was phenomenal. Besides being a master of ballet, tap, and modern dance, he is a blogger too! His recent 14th birthday party looks pretty sweet!