Never Fall Down by Patricia McCormick

Disturbing. Heart-wrenching. Powerful. So many evocative words describe Never Fall Down. Written by Patricia McCormick, this novel is based on her many long interviews with Arn Chorn, a human rights activist dedicated to preserving traditional Cambodian music. Growing up during the siege of the Khmer Rouge, this story spans four years of Arn’s war-ravaged childhood (filled in by McCormick where his memories are lacking) as well as his older life in America. Written in the first person with broken English, I connected deeply to Arn and his story. While connection is a good thing, it was also painful in this case. The one negative comment I can make about this book is that the horrifying story is true. Yet at the end of the sadness, there is a truly inspiring conclusion.

Never-Ending Quartet

I’ve never liked Elvis or Johnny Cash much, and I’d never even heard of Jerry Lee Lewis or Carl Perkins before this show. So, I’ll admit I wasn’t looking forward to seeing Eric Shaeffer’s Million Dollar Quartet on March 27th at the State Theatre as much as other musicals I’ve seen. The acting was sturdy, the singing was great, but the real-life story of those four now-famous musicians working together at Sun Records in Memphis didn’t personally intrigue me.

At the beginning, the dialogue was a little over my head. Not because they were saying anything particularly complicated, but because they were talking in their southern accents a mile a minute and using phrases that were completely foreign to me! I got used to it after a while and could better understand what was being said.

Sam Phillips was played by understudy Scott Moreau, but his performance was that of a lead. All of the characters seemed natural, with the exception of Martin Kaye’s Jerry Lee Lewis. I’ve no idea how Jerry Lee Lewis acts in reality, but I hope he isn’t as obnoxious as this portrayal. Loud and self centered, he was a comic relief character with little depth. I thought Cody Slaughter made a great Elvis Presley. As soon as he was on stage I recognized his look and the way he walked and moved just screamed “Elvis!” (I said I wasn’t an Elvis fan, not that I didn’t know who he was, eyebrow-raising readers out there.) Lee Ferris played Carl Perkins, who seemed like a natural, though unpleasant man. I was just amazed by how believable the characters were. They seemed like people, not characters. They are based off real people in this real situation, but I wasn’t expecting the portrayal to be so successful. Derek Keeling’s Johnny Cash stole the show. His character made others seem like uptight losers compared to how relaxed he was. His voice was so low and soothing, when I thought whales were probably singing along with him, he dropped a few more notes. When he wasn’t singing, I wished he were. And honestly, I’d listen to Keeling’s singing over “Ring of Fire” by the real Johnny Cash any day.

The majority of the show took place in a small recording studio. The background of the stage was composed of tall pieces of brick wall with painted signs that made it feel like a warehouse district. The lighting was always changing colors with the mood of every song and helpfully conveyed indoors and outdoors. One thing that I couldn’t help but be distracted by was that the tiles on the wall of the recording studio looked like crackers. And no, I wasn’t hungry.

My favorite effects were at the end of the show. After being urged by Tom for a picture, the stage went black, there were large flashes, and camera shutter noises were heard. When the lights went up, there was a picture of the actual event, with the poses of the actors matched perfec... Wait. Their clothing. Oh. The costume designer, Jane Greenwood, should have paid more attention to that photo. It was close to being the same, but far enough that it pulled me out of the moment and made me shake my head at the costuming instead of smiling at the well-done effect.

The lights dimmed on the frozen scene and a closing monologue by Phillips. The applause started and people gave a standing ovation as we plunged into end-of-show-darkness.
...Then they brought the lights back up, to reveal glittery jackets descending from the ceiling and a giant wall of lights waving behind the actors in the middle of the stage! They each gaudily sang one of their greatest hits for maybe fifteen minutes, and walked off the stage with the lights dimming after them. It added a level of closure to the musical by showing how far their promised careers had gone.

...And then they walk back on stage again, Jerry Lee asking if we want to hear more of him. I personally could have gone without. It had been a long night, I was tired, but he ignored me and went on with the closing song, “Whole Lotta Shakin’ Goin’ On.”

...And then you could say the musical ended.

I felt this was a natural, well-done musical. I enjoyed it, but lacked the culture and musical knowledge to fully appreciate it. Maybe it’s not my thing, but any of you crazy rock’n’rollers out there should come to enjoy the show (or at the very least to enjoy Derek Keeling’s voice).

I Hunt Killers by Barry Lyga

I Hunt Killers by Barry Lyga is a gripping murder mystery.The story follows Jazz, the teenage son of an infamous serial killer, with a horrible childhood and unwelcome understanding for how murderers think.

This book starts at a normal pace and just keeps getting faster. Every time I turned the page, there was a new, crazy plot development! It was hard to put down because I needed to know what would happen! It was also very detailed. Now, I usually think detail is a wonderful thing, but when it’s murder scenes that are being described, let’s say the level of detail stepped somewhat farther than most people may be comfortable with. I had a few debates with myself about whether to walk away and think about bunnies for a while or to keep reading and get closer to discovering who had created this disturbing scene. Props to Lyga for being edgy, I suppose, but I’d rather have the gore a little scaled back.
My biggest bone to pick with this book was the ending. It was left open for interpretation.

I hate that. The rest of the book was absorbing and intense and I wanted desperately to know how it would end... But the ending only told enough to make me assume what happened. It gave some information, but it was confusing enough that it’s still driving me a little crazy. Leaving stories open to interpretation can be a very powerful tool when used in the right circumstances. This book is about crime solving and mysteries. That’s not genre that benefits from an open ending.

If you like to hear all the gory details or are looking for an intriguing murder mystery, this is one exciting read. Just beware of a potentially frustrating ending.

American Idiot lives up to its name

On February 21st I waited in the lobby of the Orpheum Theatre, decked out in red and black soft punk attire trying to maintain my cool and not bounce on my toes with excitement as I waited to see Michael Mayer’s American Idiot. I have been an avid Green Day fan for years. When I was nine I knew the lyrics and track order of the whole American Idiot album. For my thirteenth birthday my Dad treated me to a Green Day concert at the Target Center, which I loved.  I was ready to love this Broadway rock operetta adaptation of a favorite album.

When the curtain rose, my first impression was, unsurprisingly, angry. And I loved it. The black, grungy set was unique and detailed. I found myself trying to read what was written on the heavily postered walls. All the set pieces, composed largely of a few ladders and some furniture, moved smoothly and could be used in every scene. The combination of chaotic, tense TVs covering the stage and slightly painful strobe lights satisfied my teenage angst. However, my need for an intriguing, well told story was left woefully unfulfilled.

The story was treated as a side note, so lax it was barely there; the post-9/11-disaffected-young-men-making-their-way-through-life plotline was often difficult to follow. I feel that an operetta was the wrong format for this musical. Being limited to songs that don’t have straightforward lyrics detracted from the story and made it that much harder to understand.

The characterization was cringe-worthy. The three main characters were caricatures throughout the musical, lacking convincing development. The most notable example of this was Tunny, who suddenly changed from incessantly-sleeping-slacker to to patriotic-American-soldier after one apparently very convincing number. The acting was solid, but not inspired.

The music was the high point of the production. Each song was consistently emotionally charged, changing from loud and angry, to slow and sad, to quiet and sweet. There were points when I teared up. I appreciated every musical number, and they helped me forget my frustration with the lack of storyline and characterization.

If you have a need for storytelling in your theatre experience, a tendency to seize from flashing lights, or delicate sensibilities, don’t bother. If you are a Green Day fan or a person who needs an outlet for their angst, then you’ll enjoy American Idiot. The experience is like a well done artistic tribute concert. Go for the music and spectacle and you won’t be disappointed.

The headbanging was severe and incessant. I hope they have a chiropractor on tour with them.

There's Much to Take in Here

As a child, The Lion King was my favorite movie. Nothing could compare to the deep emotions I felt while watching it. The story of Simba, the proud king-to-be, and the rivalry between his father Mufasa and Uncle Scar never failed to make me laugh and cry. This musical brought back all the magic I felt as a child and so much more. For one night, January 17th, at the Orpheum Theatre, I felt the pure joy and fascination of my four year old self mixed with a depth that only my more mature self could fully appreciate.

The acting, dancing, and singing were exceptional. Ntomb ‘Khona DIamini as Rafiki made me laugh, and Adam Kozlowski’s performance of Simba was just as heart wrenching as Sydnee Winter’s of Nala. Young Nala (Kailah McFadden) and Young Simba (Niles Fitch) impressed me to no end and pulled my heartstrings. However, the graceful ensemble dancers made the biggest impression on me. They played lionesses, birds of paradise, jungle plants, and various animals. Their dancing was beautiful and their use of puppet inspired costumes brought eveerything alive, from savanna grass to giraffes. When the animals walked down the aisles, nothing could have wiped the delight from my face.

And now we come to what I’m probably most excited about! The very first scene drew my breath away by turning the stage into a warm, glowing sunrise. The lighting stayed on point the whole show, beautifully conveying the mood and the setting. The bright yellow light and minimalist use of fog made me feel like I was on a dusty, hot savanna. At night, what seemed hundreds of stars twinkled clearly against the black sky. Clever scenes utilized shadow puppets in small spotlights adding the perception of distance.  A tiger-striped, diagonally lit backdrop added visual tension to serious dialogue. In the Shadowlands, the stark contrast with cold white light and a grey set gave me chills. The sets and effects looked impressive, but were still the simplest answer for what needed to be achieved, and they worked elegantly.

I have spent a good amount of time trying to identify ways in which this production disappointed or fell short. After much effort, I have to admit that either this musical was perfect (unlikely), or that I was unable to maintain a critical eye in the face of such a sweeping personal experience. My inability to criticize first made me feel as though I were failing in some way, but after much reflection, all I can think to say is “thank you” to the cast and crew for the gift of The Lion King.

The Lion King was a nostalgic, magical visit to my childhood, and a beautifully put-together musical I would recommend to kids from 6 to 66.

Incarnate

Incarnate by Jodi Meadows was a compelling read. My fleeting initial reaction to Ana, a new soul born after thousands of years of reincarnation, was Cinderella. Li, Ana’s mother, reminded me too much of Cinderella’s evil stepmother. The only redeeming factor about her was that she didn’t starve Ana to death, but it wasn’t for lack of trying. There seemed a large theme of black and whiteness insofar as good and evil, which I was not fond of. 

  The farther I got, however, the more intriguing this world became. This story lends an interesting new outlook to the idea of reincarnation and deals with the hardships of facing both exciting fantastical danger and all too real discrimination. Ana is a strong girl who refuses to let others take charge of her fate, which is one of the things I look for most in books for teenagers. I was wary of the romance at first, but it was well done. There was enough fluffiness to satisfy readers of romance novels but it was realistic enough to satisfy me. The time it took time to develop made it heartfelt and believable.

  I enjoyed reading Incarnate. I'd recommend this book to those who like light fantasy adventure and romance. 

Les Miserables Speaks the Grief That Can't be Spoken

To say I had high expectations for the longest-running musical of all time would be an understatement, and those expectations were met and surpassed. On December 6th at 7:30, I went to see Cameron MacKintosh's version of Les Miserables at the Orpheum Theatre. Directed by James Powell and Laurence Connor, this musical based on Victor Hugo's book of the same title revolving around the French Revolution was everything I expected and more.

Jean Valjean was played by J. Mark McVey, winner of the Helen Hayes Award for Outstanding Actor. This title is well deserved. His voice and acting were brimming with emotion and power. Juliana Simone's performance of young Cosette was heartfelt. Her clear, tear-jerking voice was strong for a very young girl, perfect for the role. However, Jenny Latimer, playing older Cosette, seemed far less fitting. She overused vibrato and was less believable than her younger counterpart. I also found Max Quinlin's Marius to be insincere, so the love at first sight relationship between Marius and Cosette was a low point in the musical; forced, cheesy, and unconvincing. Quinlin did impress me singing "Empty Chairs at Empty Tables" with the utmost grief, but the portrayal of his relationship with Cosette didn't improve. Chasten Harmon as Eponine, on the other hand, gave a stunning performance. Her voice stood out to me as the strongest and most unique of the cast. Her heartbreak over Marius' infatuation with Cosette was painfully real, and her death was the first scene that made me cry. Every character who died pulled at my heart, especially Gavroche as portrayed by Sam Poon.

The set and effects were stunning throughout the play, especially the use of projections as part of the set. The moving projections made it look as if people were walking through the city, through sewers, and even jumping off a bridge. It contributed a unique aspect to a theatrical experience, making it look in some scenes like a movie shot from multiple angles. That effect wouldn't cater to everyone's taste, but I personally appreciated it. Although there was no revolving stage, the scene transitions were seamless, the set pieces rolling on and off while the action was happening without distracting from the dialogue. The lighting was also artistically done. The opening number stood out, beginning heavily shadowed then transitioned to numerous spotlights trained dramatically on Valjean. They were obstructed by the moving set, creating an ominous barred effect over him. The set was spectacular, making the story seem real, as if it were happening right then in downtown Minneapolis. All the set pieces were huge, making me feel insignificant in the face of the characters’ revolution and their world.

Les Miserables is an experience I will never forget. The acting, for the most part, was beautiful. The strength of my personal investment in the story surprised me. It sent a powerful message about the importance of love and kindness. Even for the few hours of my life that have now been spent in tears, I am grateful I had the opportunity to see this production.