Slog
News & ArtsMonday, August 31, 2009
At Large / Theater Catch Me If You CAN'T!!!
Posted by Bethany Jean Clement on Mon, Aug 31, 2009 at 4:18 PM
Both the Seattle Times' Misha Berson and our own Brendan Kiley are quoted in this New York Times story about the trial run/workshopping of the musical Catch Me If You Can that occupied the stage of the 5th Avenue Theater recently.
...Misha Berson of The Seattle Times... called it "one deluxe vehicle" and hailed Mr. Tveit as “sensational” and Mr. Butz as “superb.” But she also said the show was overlong (at three hours) and “isn’t always sure where it’s headed” — a point echoed by Brendan Kiley of the newspaper The Stranger, who panned it as a “squib” and said Mr. Tveit’s charlatan was “not vulnerable enough to be sympathetic.”
A squib is "a broken firecracker in which the powder burns with a fizz" (Merriam-Webster).
It must be said: Mr. Kiley was too kind (although this is entirely accurate: "Aaron Tveit, as Abagnale, slides around the stage like he's been sculpted out of hair product"). I accompanied him to this production, and if I had possession of a fizzing broken firecracker at the time, I would've stuffed it into my own ear in the hopes that it would at least drown out the proceedings or, possibly, explode, ending the misery with a trip to the emergency room. The musical Catch Me If You Can seems to have been produced by a musical-theater-generating computer that had been fed every piece of musical theater ever created and then extruded a new one based on some hideous hell-formula. It was the kind of theatrical experience that causes you to question why this is happening, why people seem to be enjoying it, what is wrong with the world, and why you yourself exist. It breaks you down and does not build you back up again.
As the New York Times piece goes on to mention, the audience on opening night gave it a standing ovation. We all know that Seattle audiences have systematically devalued standing ovations to the point of meaninglessness, but this very nearly made me go mad.
Judge for yourself.
3
Ms. Clemant should confine her "criticisms" to the "food" section.
Catch Me has some issues, in my opinion mostly confined to the ending and the New Orleans scene, but overall was catchy, flashy, and up beat, which is what most audiences look for in musicals.
Catch Me has some issues, in my opinion mostly confined to the ending and the New Orleans scene, but overall was catchy, flashy, and up beat, which is what most audiences look for in musicals.
4
I always thought that it was a mistake to turn a dark, interesting film (and book) into a turn-turn-kick-turn Broadway musical which almost always connotes upbeat.
Neither the stories of the pursuer nor the pursued lend themselves to showstopping, hummable show tunes. The story is too odd and offbeat to be well told in that format.
Neither the stories of the pursuer nor the pursued lend themselves to showstopping, hummable show tunes. The story is too odd and offbeat to be well told in that format.
5
I'd interpreted the opening night standing ovation to have more to do with the fact that Mr. Butz' sister was slain in southpark than with the overall production.
It was definitely overlong and needs some work, but I do think it's got a shot at being the family-friendly colorful spectacle most audiences seem to be seeking in a "Broadway Show."
It was definitely overlong and needs some work, but I do think it's got a shot at being the family-friendly colorful spectacle most audiences seem to be seeking in a "Broadway Show."
6
I tend to agree with Bethany, just not as strongly perhaps. The production was very boilerplate in nature - the 11 o'clock number by the girlfriend was bland and too contrived despite Kerry Butler singing the hell out of it, and is a prime example of what was wrong with the show. It was all pleasant enough and mildly enjoyable because it was created and executed by very talented people, but everything felt like - It. Had. To. Be. Perfect. Sometimes all the right notes sound like the wrong ones, you know? Lots of style, not a lot of substance.
8
This sounds like a review from someone who hates musical theater to begin with.
It wasn't a spectacular show, but it was decent and I enjoyed it for the most part. I did NOT enjoy Shrek or Young Frankenstein and those, too, received standing ovations. My biggest problem with this show was the set. It just felt kind of lazy. I know they were going for some sort of understated mod, but it ended up feeling boring.
It wasn't a spectacular show, but it was decent and I enjoyed it for the most part. I did NOT enjoy Shrek or Young Frankenstein and those, too, received standing ovations. My biggest problem with this show was the set. It just felt kind of lazy. I know they were going for some sort of understated mod, but it ended up feeling boring.
10
Critiques like this are why you work for a free alt-weekly in a second-rate provincial backwater. What a career achievement to post catty drivel on the Internet and to collect a paycheck funded by ads for tranny hookers that grace the pages of your "newspaper".
11
I saw it and I agree that it was created by some sort of createyourownmusicalfromabarelydecentmov… type of website.
I laughed twice though. Can't remember what at, but I did laugh twice.
I laughed twice though. Can't remember what at, but I did laugh twice.
12
@10
Say all you want about our second-rate provincial backwater but leave our tranny hookers out of it!
Say all you want about our second-rate provincial backwater but leave our tranny hookers out of it!
13
I haven't see this. But, as one who grew up on Musical Theater (and no, I'm not even gay), I have to say that I'm consistently bored with it these days. Has there been any innovation in musical theater in the past 20 years? Maybe Hedwig? Anything else?
It seems to me that the formula is mostly meant to appeal to an audience who continually says "they just don't make them like they used to." As for me? I want my art forms to evolve.
It seems to me that the formula is mostly meant to appeal to an audience who continually says "they just don't make them like they used to." As for me? I want my art forms to evolve.
14
I would probably say that the standing ovations were mostly due in part to appreciation of the hard work that the cast showed on stage. I was part of one of the ovations and the cast was pretty damn good. They were vibrant and excited to be there.
The show is ok, but it needs a crap ton of work to make it work on Broadway. It's 3 hours of aimless wandering, with some scenes that are just baffling and songs that aren't memorable. I think this show can really succeed, but it needs a lot of editing.
The show is ok, but it needs a crap ton of work to make it work on Broadway. It's 3 hours of aimless wandering, with some scenes that are just baffling and songs that aren't memorable. I think this show can really succeed, but it needs a lot of editing.
15
If it were still running in Seattle you would be doing people a disservice by convincing them not to see it. I'm really glad I got to see it during its pre-Broadway run. I thought it was good fun.
Seriously, a quick Google search will reveal that the impressions have been overwhelmingly positive so far. The show is still in it's infancy, theater is an iterative process. It will inevitably be tightened and tweaked over time. It's not going to open on Broadway until 2010, and it's going to go through several more iterations during rehearsals before then.
I think maybe Bethany just hates musicals, or maybe it wasn't edgy/hipstery enough or something.
Seriously, a quick Google search will reveal that the impressions have been overwhelmingly positive so far. The show is still in it's infancy, theater is an iterative process. It will inevitably be tightened and tweaked over time. It's not going to open on Broadway until 2010, and it's going to go through several more iterations during rehearsals before then.
I think maybe Bethany just hates musicals, or maybe it wasn't edgy/hipstery enough or something.
16
@ 6 and 13: Yes! Please don't give up—you want musical theater to be better than it is. I do, too. Musical theater is not de facto shitty, but most musical theater is, in fact, pretty shitty.
What you're looking for: Passing Strange, Bloody Bloody Andrew Jackson, The Drowsy Chaperone, some (but not all) work by local band "Awesome," and a few others.
Musical theater, as a form, needs to go on a tropical vacation, take some drugs, have a few weird sexual experiences, and come back to tell us all about it. Most musicals these days are moribund puddles of flab—but they don't have to be. Demand better: smart, adventurous audiences are the form's only hope.
@ Pretty much everyone else, esp. 3 and 10: You're settling for mediocrity. I'm sorry for you. Grow some imagination and some balls. "That's what most people are looking for" is the first step on the highway to taupe. (And #10: What have you got against tranny hookers? You think you're better than them or something?)
What you're looking for: Passing Strange, Bloody Bloody Andrew Jackson, The Drowsy Chaperone, some (but not all) work by local band "Awesome," and a few others.
Musical theater, as a form, needs to go on a tropical vacation, take some drugs, have a few weird sexual experiences, and come back to tell us all about it. Most musicals these days are moribund puddles of flab—but they don't have to be. Demand better: smart, adventurous audiences are the form's only hope.
@ Pretty much everyone else, esp. 3 and 10: You're settling for mediocrity. I'm sorry for you. Grow some imagination and some balls. "That's what most people are looking for" is the first step on the highway to taupe. (And #10: What have you got against tranny hookers? You think you're better than them or something?)
17
This theory that the standing ovation has been devalued is not isolated to Seattle. I've read the same criticism of audiences across the country, including about Broadway. But it no case did anyone cite any proof that this has actually happened, or is happening. Some critics that believe this nonsense say it is because the general public is more likely to attend performances these days, and that they simply have lower standards. These critics apparently have forgotten that for most if its history, theater was the only form of mass entertainment around.
The critics of these audiences end up sounding like elitist assholes for criticizing the very readership that supports them, for saying, in effect, that today's audiences are too stupid to know what they should like.
The general public is much smarter than it is usually given credit for, and if their greatest sin in this case is too easily expressing their joy and appreciation, well, I'll be over here standing and applauding– for them.
The critics of these audiences end up sounding like elitist assholes for criticizing the very readership that supports them, for saying, in effect, that today's audiences are too stupid to know what they should like.
The general public is much smarter than it is usually given credit for, and if their greatest sin in this case is too easily expressing their joy and appreciation, well, I'll be over here standing and applauding– for them.
18
The reality is that musical theater is very expensive to produce and the larger the financial investment the more risk averse producers are.
19
In 2003 The New York Times ran an essay about 'The Tyranny of the Standing Ovation" that speaks directly to the problem. As for CMIYC, my insurmountable problem was that we were asked to cheer for a financial criminal. In these days of Madoff, Goldmans, AIG ad nauseum, it's just in extremely bad taste. Cringe-inducing.This musical may have made it on Broadway in a different lifetime. But now now. And I agreed with Brendan, Norbert Leo Butz is fantastic.
20
@1 nails it on the head. Just like the vilification of the educated by the Sarah Palin-ites of the world, people have been led to believe that artistic taste and standards are "snobbery". This, combined with @18's point about the expense of producing Broadway level flash and glam causing producers to work safe, gives Broadway tourists a product that doesn't challenge them, but allows them to turn their brains off for a couple hours and not think of the $125+/ person they spent on tickets. It's not even escapist, it's just disengagement.
The moment America rediscovers critical thinking and eschews herd mentality, all of the mainstream arts will have an opportunity to thrive again.
And yes, I sound like an elitist art snob. AND I AM PROUD OF IT!
[/ soapbox]
The moment America rediscovers critical thinking and eschews herd mentality, all of the mainstream arts will have an opportunity to thrive again.
And yes, I sound like an elitist art snob. AND I AM PROUD OF IT!
[/ soapbox]
21
I think a lot of people stand at the end because they don't want to have to clap as loud or as long. In that case, standing is a shortcut message of "Loved the show, loved how hard you worked, see? I'm standing, but gotta jet, lemme outta here." Maybe I'm wrong, and I hope I am, because it makes me sick, but that's exactly how it feels most of the time when they do that.
And what hardly anyone has even hinted at: What about music? Can no one write a damn hook any more? I haven't seen a musical in years that left you with anything like a tune to hum ("Hedwig" being the huge exception). If this song is any indication, what a disappointment this show would be.
I don't know what "most audiences" look for in a musical, but I look for good music.
And what hardly anyone has even hinted at: What about music? Can no one write a damn hook any more? I haven't seen a musical in years that left you with anything like a tune to hum ("Hedwig" being the huge exception). If this song is any indication, what a disappointment this show would be.
I don't know what "most audiences" look for in a musical, but I look for good music.
22
A Squib in the Harry Potter world is someone born to a wizard family who turns out to not be a wizard - sort of a fitting analogy here, too.
I am tired of musicals based on movies. Hairspray was cute and I like what they did with Lion King, but did we really need Shrek, Little Mermaid, Young Frankenstein, etc? Perhaps new source materiel and less elaborate plans would help musical theatre.
I am tired of musicals based on movies. Hairspray was cute and I like what they did with Lion King, but did we really need Shrek, Little Mermaid, Young Frankenstein, etc? Perhaps new source materiel and less elaborate plans would help musical theatre.
23
I enjoyed the show for the most part (exceptions, the New Orleans number and the big histrionic love song in act 2, and the ending was kind of abrupt).
But yes, what I call Seattle's Obligatory Standing Ovation is very true. I have never seen a show at the 5th where they didn't give one! It's embarrassing. I'd thought standing ovations were to be given for extraordinary work. And the Seattle shows are fine, but they're not extraordinary (even the ones I've seen that transfer to B'way).
But yes, what I call Seattle's Obligatory Standing Ovation is very true. I have never seen a show at the 5th where they didn't give one! It's embarrassing. I'd thought standing ovations were to be given for extraordinary work. And the Seattle shows are fine, but they're not extraordinary (even the ones I've seen that transfer to B'way).
Advertisement
Most Commented on Slog
-
Hating People Doesn't Make Them Thinner by Jen Graves
-
Los Angeles Gay Bar Bans Bachelorette Parties Until Marriage Equality Is Attained by David Schmader
-
Fill in the Blank by Grant Brissey
-
This Reminds Me of the Great Calculator Scare of the Late '70s/Early '80s by David Schmader
-
Idiot Tries to Defend Bigoted Anti-Gay-Marriage Preacher on Anderson Cooper by Paul Constant
-
SL Letter of the Day: Putting It In by Dan Savage
-
Six Moms with Too Much Time on Their Hands and a Shitty Website Decide to Fight Gay Superheroes by Paul Constant
-
Why Mayor McGinn's Wife Canceled Her Family's Seattle Times Subscription by Eli Sanders
-
What the Hell Is Wrong With Seattle's Pride Parade? by Dominic Holden
-
Meet the UW "Swagga Suit" by David Schmader
RSS
Facebook
Twitter
Comments (23) RSS