The play was anchored by two wonderful performances- James Spader and David Allen Grier- and they were truly terrific. The play was tight, intense, and fascinating, in true Mamet style. Delving in deeply to the question of Race in America, it left you with a lot of questions, and led to some great post-theater discussions. I won’t say too much more, so you can discover it all for yourself. But just know that it is provocative, vulgar, and an all out theatrical thrill ride.

After that, it was dinner time- then onto “Billy Elliot”. We headed over to the lovely Imperial Theater for the show, and needless to say- it was a major dissapointment, in every single way. The show just never really took off from the ground. The score was completely unmemorable, the book was corny, and the performances, save for Jacob Clemente- as Billy, were bland. Other than a few fine dance numbers, (but hardly enough) the show seemed to me like a retread of many stories told before (and better).

Leaving the theater, I couldn’t help but wondering what all the fuss was about. I would love to hear an impassioned defense of the show- because I just don’t get it, nor do I see what has inspired the fanatic fans, who seem to obsess over it. My personal advice would therefore be, skip it. There is so much more to see in NY. The fact that this beat out “Next To Normal” at the Tony’s last year is a travesty.

Oh well, on to the next day.

The show was terrific. I had never seen it before, and I just fell in love with the magic of the entire piece. Sondheim’s music is simply brilliant, and Hugh Wheeler’s book is delightful, and full of wit and love. The cast was uniformly excellent, but the two standouts had their names above the title. Catherine Zeta-Jones made a delightful Desiree Arnfeldt, and commanded the stage with charm, charisma and beauty. Her “Send in The Clowns” was simple, yet devastating.

But the highlight for me personally, was Angela Lansbury. Having a chance to witness this woman- at age 85, command the stage in the way that she did, was a true thrill. She exuded power, grace, and great humor and humanity in the role of Madam Arnfeldt. Her last scene in the show is one I won’t soon forget. What a treat to see her in person, and see a true theatrical master class at work. Her song “Liasons”, was also a highlight.

After the show, we grabbed a great dinner at Sardi’s, then headed down Broadway to see “Promises, Promises.” This was another treat, and fun, and funny evening. Although this show was written in 1968, Neil Simon’s book still crackled, and Burt Bacharach’s score still buzzed with excitement.

The performances were excellent, save for one instance of miscasting. But we will start with the good first. Sean Hayes made for a charming, adorably lovable leading man- with a great knack for comic timing, and a lovely singing voice. You were on his side from his first moment on stage. Tony Goldwyn made a wonderful villian, suave, and complex as the boss with a shady personal life. Dick Latessa was hilarious as the kind-hearted doctor who lives next door.

But the highlight of the evening was Katie Finneran, in one of the most electrifying performances I have ever seen. We don’t meet her until the top of Act two, and she doesn’t stay with us too long, but her performance, as a crazy and lovable girl at a bar was perhaps the funniest performance I have seen in New York- or frankly, anywhere. You never want her to leave the stage, and her comedic choices and line readings had me literally doubled over in laughter, along with the whole audience. She’s simply that good, and will definitely take home the Tony.

The miscasting, is unfortunately with the leading lady. Kristen Chenoweth, who I love- and think is a total genius, is simply wrong for her part. She’s too old to play Fran, and Kristin, with her bubbly persona, is a strange choice to play such a complex, yet insecure woman facing a life crisis. However, she sounds great as usual, and does the best she can given the casting error. Unfortunately, something just seems amiss.

But overall, this is a minor blip on the radar. The show is simply a blast from start to finish, and the show, as directed and choreographed by Rob Marshall (Parade at the Mark Taper) is simply a joy to behold. It’s another one not to be missed. The whole show is just terrific! And especially that Katie Finneran. Someone give her a show of her own!

So now, on to day 7!

After our few hours there in the viewing room, we headed out, and had a delicious quick lunch at Cafe Duke. Then we headed back to the hotel to get ready for our evening’s activities, “West Side Story” and the “After Party”, a legendary New York open mic.

“West Side” was quite wonderful. To see the legendary musical live for the first time was a thrill, and to witness the dancing, and Jerome Robbins’ original choreography was undeniably inspiring. The cast was uniformly excellent, and the set, and lighting beautifully established the mood, and setting.

My only complaint about “West Side” would be the changes made to the show in this revival- changing some of the Sharks’ lyrics, and dialogue to Spanish. I understand the impulse behind doing this, and it sounds like a good idea on paper- but it just ends up being distracting, and sort of dull. It robs a few numbers of their tightness, and mostly just seems forced. I understand that Arthur Laurents’ book doesn’t represent how the Puerto Rican’s would actually talk in 1957, but that’s ok. This is a musical, and people are always willing to suspend their disbelief. You have dancing gang members for God’s sake! Altering a classic show at this time is actually more irritating than any corniness in the script. However, it did not amount to much of a complaint, because the show, and cast was altogether terrific.

After the show, we went to The Laurie Beechman Theatre- located under the West Bank Cafe, where there is a weekly open mic, and show called “The After Party”. Hosted by the hilarious Brandon Cutrell, it was a great evening, with many terrific surprise guests from the Broadway community. After a few hours, my girlfriend and I sang, and had an absolute blast. The audience seemed to really enjoy it, and so did we. It was a real thrill to get up in this theater with brilliant acoustics, and sing in front of so many people in the NY theater community. It is a great opportunity, and I would advise any aspiring New York performers to get over to 42nd and 9th, and go do it!

After that, it was past 3, and we had a quick bite and headed back to the hotel. On to the next day!

This place was completely amazing, as their collection is more extensive than I could ever imagine. We spent a while browsing and perusing the unbelievable variety of shows available to view, and to my amazement many things that I thought would never be seen again. For our first show, we decided to watch “The Pillowman”, which was a play I saw on Broadway in 2005 that I simply never forgot. I got to share it with company, and I was pleased to see they loved it as much as I did. What a treat that I could witness that amazing cast one more time, and actually pass my experience along.

After dinner we went to a lame diner where the waiters sang. Needless to say, they weren’t too hot and neither was the food. But what followed that was the highlight of the trip so far.

We headed to the Booth Theatre, to see “Next To Normal”, and frankly, it was a complete masterpiece. Every performance, every song, every moment was so real, so heartfelt, and so beautiful. Tom Kitt’s score, and Brian Yorkey’s book masterfully brought this fascinating study in mental illness, and its effect on a family, to incredible theatrical life. Alice Ripley was simply divine- and filled every moment, breaking hearts all the way as the tragic Diana. Brian D’arcy James was splendid, matching her every moment in fine voice, as the devoted husband, who witnesses his wife’s utter deconstruction. Kyle Dean Massey, and Jenn Damiano were also wonderful, along with Adam Chanler-Berat and Louis Hobson.

This show is a true must see, and there is no way you can go to New York without seeing it. It is touring, so there can be no missing it, wherever it goes. You will be moved, and inspired, and possibly even changed. This may sound like hyperbole, but, your just going to have to take my word for it.

“Next To Normal” is what going to the theater is all about, and frankly, should aspire to be on every occasion.

The original tales woven by the folks at Pixar are completely original and clever. Movie for movie, no one in the entertainment industry can come close to the ingenuity, wit and heart of the work they produce. WIthout clouding their films with crude humor, stale pop culture references (which date films immediately, it will be interesting to see how Shrek holds up in twenty years) and missing the overall attitude of ironic faux-hipness that taunts and apologizes for quality family entertainment, Pixar has created a body of work that is undeniably brilliant,  and completely timeless.

And on that note, top themselves they did.

Again.

Wall-E  is their finest achievement to date.

A love story about robots framed with a layer of apocalyptic satire sounds like a recipe for unmitigated disaster. But its totally divine. In turns hilariously funny, frighteningly real, devastatingly sad, and profoundly moving, Wall-E manages to provoke, inspire, and entertain, simultaneously. To give anything else away would ruin the magic.

So let’s talk about the craft. From a directing standpoint, it’s a complete amalgam of Stanley Kubrick, George Lucas and Steven Speilberg’s best work. Its what A.I should have been,  but collapsed under the Speil’s intrusive and off putting sentimentality. It evokes the wonder that audiences felt while watching the original Star Wars trilogy, a sensation that Lucas tried so desperately to recreate with the prequels. And in its dark dystopian visuals, biting satire, and use of popular music for irony and wonder, it is very Kubrick.

Yes, thats right. In a Disney film.

Some have expressed concern that children will be confused, bored or indifferent to it.  And that adults might be put off by the darkness and heavy political undertones. Frankly, I could care less. It’s a complete masterpiece. I love the fact that Pixar doesn’t dumb themselves, or their material down for kids, or anyone. That sort of bravery in filmmaking and commitment to excellence reminds me of someone else.

Walt Disney.

He would be so proud of the work that Pixar is doing.

To think that Disney almost let them go…

This film belongs on shelf right next to the classics like Pinnochio, Fantasia, Bambi etc. But frankly, so does most of the Pixar library. However,  I consider this to be their crowning acheivement. There are no more words.

It’s the best film of the year, and not only that, it will go down as one of the greatest films of all time. See it, and you’ll be reminded why we go to the movies in the first place.