There is always a risk when adapting a well-known movie into a musical. Obviously, the advantage is the name recognition of the project to their perceived built-in audience. I would refer to Sara Bareilles’ hit, Waitress the Musical, currently playing on Broadway at the Brooks Atkinson Theatre, as a solid example of successfully transitioning a well-loved cult hit flick to the stage. Which now brings me to the regional premiere of the new musical Little Miss Sunshine, now playing at the Edge Theatre. Adapted from the 2006 Academy Award-winning film, this Sunshine sadly is blocked by the heavy clouds of the largely forgettable score written by William Finn and an insipid book by James Lapine. The delightfully offbeat charms of the characters that connected so well with the film’s audience are lost in this rendition. Directed and choreographed by Maggie Portman and produced by Chicago Theatre Workshop, this low budget concept ran out of gas long before the curtain dropped after the overly-stretched climax.
For those who have not seen the movie, the story of Sunshine revolves around the eccentric Hoover family. The main attraction here, and certainly the best piece of casting, is Sophie Kaegi as Olive. A scene stealing ham with a golden voice, this girl will be sought after long after this production closes. Her delightfully dorky Olive has won a children’s beauty pageant by a technicality. The crux, she now has just three days to make it to the next round of out of town competition with the hopes of being crowned the next Little Miss Sunshine. Joining her on the road trip are parents, Richard (Greg Foster) a flailing motivational speaker and Sheryl (Sharyon Culberson) his exasperated wife, her brother, Uncle Frank (George Keating) fresh out of the hospital after a failed suicide attempt, brother Dwayne (Kyle Klein II) a sullen teen who recently took a vow of silence and Grandpa (Ken Rubenstein) a saucy senior recently kicked out of Sunset Village retirement home for his sexual antics and drug habit. What a collection. Each family member spends the rest of the performance individually facing their personal demons through song played out over their cross country escapade. The addition of a trio of Mean Girls (Chayce Davis, Jersie Joniak and Tatum Pearlman) was a clever attempt to distinguish this from the film, although their taunts of Olive were uncomfortably close to crossing the edge. Robert Groth and Jennifer Thusing’s minimalist set, the cast sitting on movable boxes to simulate their position in the family van, didn’t detract from the cast’s performances.
The biggest payoff came toward the end as the family arrived at the actual Little Miss Sunshine pageant. It was clear most of Martha Shuford’s costume design budget was well spent here. Bit player Jennifer Ledesma nailed her cameo as the former Miss California, serenading the crowd with an overtly toothy grin while performing the original ditty “Little Miss Sunshine.” Sweet Olive nailed her pageant solo, hastily and frenetically working the entire stage, adorned in a rainbow hued leotard, singing “Shake Your Badonkadonk.” This number was the show’s most outrageous and righteous laugh. Had the show ended at that point, Sunshine could have gone out with the bang of a lightning strike, but instead it drizzled on for another ten minutes. At one point, the mother desperately sang “Something Better Better Happen,” a tune which, ironically enough, summed up the entire show. Sadly Little Miss Sunshine played like a piece of experimental theater, nowhere near a cohesive narrative or completely satisfying showcase.
Chicago Theatre Workshop’s Little Miss Sunshine is now playing at the Edge Theatre through June 4, 2017
The Olivier Awards Return
Celebrate the very best in British theatre in a star-studded evening as the Olivier Awards return to the Royal Albert Hall on April 2nd.
Three-time Olivier Award nominee & Primetime Emmy winner, Hannah Waddingham will be hosting the awards for the first time.
The event will feature performances from all of the Best New Musical nominees, including The Band’s Visit, Standing At The Sky’s Edge, Sylvia and Tammy Faye. Also performing will be Oklahoma! and Sister Act, both nominated for the Best Musical Revival award, as well as Disney’s Newsies, which has been nominated for Matt Cole’s choreography.
The multi-Olivier Award winner The Book of Mormon, will be performing to mark its ten-year anniversary in the West End. Additionally, special award winner Arlene Philips will be honored with a tribute from the cast of Grease.
The ceremony will be broadcast live on Magic Radio from 6pm with Ruthie Henshall and Alice Arnold hosting.
The highlights program will also be aired on ITV1 and ITVX at 10:15 pm in the UK and via Official London Theatre’s YouTube channel elsewhere.
And the nominees are:
Out of Town
The Unpacking of the First Métis Man of Odesa, An Interview
Punctuate! Theatre is unpacking a love story. A love story about a couple. A love story about Ukraine. And a love story against an unbelievably complicated backdrop. Starting at The Theatre Centre in Toronto, the company is ushering forth the world premiere of First Métis Man of Odesa before it spins itself out on stages across Canada. Spanning continents and set against the backdrop of the COVID pandemic and the Russian invasion of Ukraine, Métis playwright and Punctuate! Artistic Director, Matthew MacKenzie (Dora Award-winning playwright for Bears, After the Fire, The Particulars) joins forces with his wife, the award-winning Ukrainian actress Mariya Khomutova (Odesa Film Festival Grand Prix – The Golden Duke award-winner NONNA, Two People), to tell the story of their COVID courtship and share an intimate perspective on the personal impacts of the ongoing war in Ukraine.
Drawn from their real-life love story, a story that is ultimately still unfolding to this very day, First Métis Man of Odesa unpacks the journey of Matt and Masha’s love that spans continents where distance and conflicts can’t tame their passionate connection. After meeting on a theatre research trip in Kyiv, a spark is struck, and a romance between a Métis Playwright and a Ukrainian artist is ignited, taking them from the beaches of the Black Sea to the banks of the North Saskatchewan River, within the onset of a global pandemic, the eruption of a brutal war, but also the many joyous moments that this union begets, including marriage and the birth of their son.
During the height of the lockdown in 2021, an initial version of this piece was presented as a radio play at Factory Theatre, written by MacKenzie and directed by Nina Lee Aquino. This March, First Métis Man of Odesa, as directed by Lianna Makuch (Pyretic Productions/Punctuate!’s Barvinok), makes its stage debut, offering a compelling continuation of the initial story told in that first radio play. The couple, Matthew MacKenzie and his wife, Mariya Khomutova, sat down with Frontmezzjunkies and thankfully answered a few questions about their incredible journey from that first love-struck connection to its World Premiere at The Theatre Centre in Toronto.
Tell me, how you decided to embark on telling your own story and what the beginning of this creative process looked like for you two?
Initially, Matt wrote an audio play for Factory Theatre about our romance, then getting married and having their son during the pandemic. The plan had been to expand the piece for the stage, a plan that took on much urgency after Russia’s full-scale invasion of Ukraine.
Both the pandemic and war have a deeply dehumanizing effect, so our hope in telling our love story is to share the human side of these major world events; a human side that headlines and news clips can’t fully capture.
What aspect of your character, or your involvement with/creation of this play resonates the most powerfully inside you?
For both of us, the opportunity to share all the joy, humour, anger, and frustration we’ve experienced in the past few years is a really therapeutic process. Many of our friends and family only know snippets of what we’ve been through, so the opportunity to tell our story across the country is one we are deeply grateful for.
The phrase “you don’t know what someone is carrying with them” has really hit home over the past couple of years, as we have had to contend with some pretty epic challenges as a couple and as individuals.
Tell me a bit about what it is like to bring your character to the stage? What does mean to you to be telling this story?
We play ourselves in the play, but we very much play versions of ourselves in the play. We had to mine conflict between us out of a few outbursts, as there haven’t actually been a lot of [conflicts] in our relationship so that we could bring the drama of what we are going through to the fore.
Challenges of playing ourselves have included the fact that [Matt] is not a trained actor, while Mariya is. Mariya though comes from a theatre tradition that was almost entirely focused on the classics, so playing herself in a play based on her life is definitely a new and challenging experience!
Tell me a bit more about your development process? Was there a typical ‘first read’ or was it different, given your own story inspired the work…
We were able to conduct several development workshops over a period of six months. There was no shortage of content that we could derive from our lives, so the challenge was determining what to keep and what to let fall away. Even after our first read, we cut 15 pages from our rehearsal draft. Events in our lives and in Ukraine will no doubt continue to necessitate the evolution of our script.
What’s been the most challenging part of this process for you?
For Mariya, it was buying into the idea (that is quite a common one in Canada) that a play about someone’s real life can be art. Seeing Hailey Gillis’s My Ex-boyfriend Yard Sale, really helped her believe this was possible.
For Matt, it met the challenge of performing for the first time in ten years. The last time he performed, he made his friends promise they would never let him perform again, but all agreed it didn’t make much sense for anyone else to play him in this piece.
The most rewarding?
Having already performed several shows in Kamloops, the most rewarding part of this process is sharing this story with refugees from Ukraine. Their responses have been incredible and have really encouraged us to share our story with as many people as possible.
What do you want the audience to get from this play, and from your character?
We want the audience to join us as we relive our sweeping love story, from Odesa to Toronto. We want the audience to see the human side of the conflict in Ukraine. And we want the audience to leave the theatre with the hope that love can and will conquer all.
First Métis Man of Odesa is in Toronto for its world premiere run at the Franco Boni Theatre @ The Theatre Centre from March 30 – April 8, 2023 (opening March 31). Following the world premiere in Toronto, First Métis Man of Odesa will appear at the Citadel Theatre in Edmonton, The Cultch in Vancouver, and the Royal Manitoba Theatre Centre in Winnipeg. For information and tickets, please visit theatrecentre.org/event/first-metis-man-of-odesa/
Florence Welch, Martyna Majok, Rachel Chavkin and More On New Musical Gatsby Coming To A.R.T
Florence Welch Photo by De Wilde
Producers Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, Jordan Roth, and American Repertory Theater(A.R.T.) at Harvard University announced today that Gatsby, a brand-new musical stage adaptation of the legendary F. Scott Fitzgerald novel, will make its highly anticipated World Premiere at A.R.T. in 2024, and will be directed by Tony Award® winner Rachel Chavkin and choreographed by Tony Award winner Sonya Tayeh.
Gatsby will feature music by Florence Welch, the Grammy Award-nominated international rock star of Florence + the Machine and Thomas Bartlett, the Oscar and Grammy Award nominee, with lyrics by Ms. Welch, and a book by Pulitzer Prize® winner Martyna Majok.
Gatsby will be produced at American Repertory Theater by special arrangement with Amanda Ghost and Len Blavatnik for Unigram/Access Entertainment, and Jordan Roth, in association with Robert Fox. Hannah Giannoulis serves as co-producer.
American Repertory Theater (Diane Paulus, Terrie and Bradley Bloom Artistic Director; Kelvin Dinkins, Jr., Executive Director) at Harvard University produces groundbreaking work to catalyze dialogue and transformation. Tony Award-winning and nominated productions include Jagged Little Pill; Waitress; Natasha, Pierre & The Great Comet of 1812; All the Way; The Glass Menagerie; Pippin; Once; and The Gershwins’ Porgy and Bess. Its revival of 1776, a co-production with Roundabout Theatre Company, is currently touring nationally. Learn more at AmericanRepertoryTheater.org.
Additional Gatsby news will be announced soon.
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