The new Theasy is up and running!
Please visit
theasy.com
for NYC theatre reviews and info.
Thanks for visiting the site!
Monday, September 28, 2009
Friday, September 25, 2009
A Steady Rain (Schoenfeld Theatre)
By Dan
BOTTOM LINE: Contrary to all the hype, you don't need to see this; it is fine, but you’ve probably seen it before.
Every so often there seems to be a Broadway play that quickly becomes “event theatre”- a show that sells out every show, draws huge crowds, and soon becomes the hot ticket of the season. Julia Roberts in Three Days of Rain, the pairing of Nathan Lane and Matthew Broderick in The Odd Couple - these shows had no trouble selling tickets, even though the productions themselves weren't really all that great.
And now we have A Steady Rain, with Daniel Craig and Hugh Jackman. In its first full week of previews, it grossed more money than any straight play in Broadway history. It is likely it's mostly sold out for its entire 12-week run. Seats in the rear orchestra are being sold for premium prices ($276-$376 per ticket) and once it opens on September 29th, tickets may be extremely hard to come by, at any price. At this point, it appears as if spending $125 on a ticket (which is already expensive for most people) won’t even get you a good seat, it will just get you in the theatre. So…is it worth it? Should you pay premium prices to see this play? No. And if your dates are flexible, or you are a student, or you’re willing to stand, you may not need to. More on that in a bit. First, the play.
In A Steady Rain, Craig and Jackman are Chicago beat cops. The play opens with the men sitting in chairs on a bare stage with two lights hanging over them, as if they are in an interrogation room. They tell a story that begins innocuously enough: the two men are partners and best friends. But the tale quickly turns dark and violent. You may have heard that the play is a series of monologues, or that each cop tells their own (different) perspective of what happened. Neither is exactly true; the two men share the storytelling, as if they are both in the same room telling a listener/interrogator what happened. They occasionally interact with each other, but for the most part, each contributes to the joint story.
Throughout the story, the two men deal with various elements of the Chicago underworld. The tone of A Steady Rain recalls movies like Mystic River and Gone Baby Gone. As with these movies, in which the turns of plot are so integral to one’s experience, it is best to see the A Steady Rain knowing as little as possible about the story.
The writing is decent, and certainly evokes the intended atmosphere. Whenever the cops venture out into the seedier areas of the city, a backdrop appears. While these backdrops look great, they aren’t necessary; I couldn’t help thinking that their main purpose was to fill the large stage and justify the high ticket prices. Jackman and Craig are both good. I didn’t love either performance, because I think both characters have the potential to be more complex and layered.
A Steady Rain was produced in Chicago last year, with no stars and in a much smaller theatre. Frankly, I wish I had seen that production. Broadway is a business, and this production of A Steady Rain will make pots of money for everyone involved. But let’s not kid ourselves: Craig and Jackman are both fine, but there are many actors in New York who could play these roles just as well, if not better. To be fair, my seat was in the rear mezzanine, so I missed the more subtle aspects of their performances. So if you can easily afford spending $125 and can find a decent orchestra ticket, it might be worth it. With only two actors on stage, this play is really all about intimate storytelling, something that you won’t get by sitting in the last row of the Schoenfeld Theatre.
But unless money is no object, don’t get swept up by all the hype and feel the need to drop $300 on a ticket. If you’re a student, there are $31.50 student rush tickets available at the box office (see below). I’ve heard that $29.50 standing room tickets will also be available once the show opens (technically, standing room is only sold when the show is sold out, but that won’t be an issue here). Just know that lots of other non-students will also be angling for these standing room tickets, so the competition may be fierce. But at 90 minutes, it isn’t a bad show to stand for. And both student tickets and standing room are sold the day of the show, which means there will always be a few tickets to be had.
Just don’t feel too bad if you miss the show. A Steady Rain is a decent night of theatre, but it isn’t “must see” theatre. While I was never bored, I also wasn’t excited. This is a pretty standard cop drama: pulpy, seedy, dark, and violent. You’ve seen it before. Maybe not with Daniel Craig and Hugh Jackman live on stage, but trust me, you’ve seen it before.
(A Steady Rain plays a limited engagement at the Schoenfeld Theatre, 236 W. 45th St, through December 6th. Performances are Tuesday at 7pm, Wednesday through Saturday at 8pm, with matinees on Wednesday and Saturday at 2pm, and Sunday at 3pm. Running time is 90 minutes with no intermission. Regular price tickets are $66.50- $140, and premium tickets are $276.50- $376.50. $29.50 standing room tickets are available at the box office if the performance is sold out (it will be)- they will probably go on sale a few hours before the performance, but lines will form earlier. Student rush tickets (generally last row of the mezzanine) are $31.50; these are either 1 or 2 per ID (depending on availability), and are available the day of the show when the box office opens. IMPORTANT: the box office will sell you a student ticket, but will hold it until 30 minutes before the show, and you will need to show your student ID to pick it up then. Visit telecharge.com to buy tickets and asteadyrainonbroadway.com for more information.)
5 POINTS OR LESS
the hot ticket of the season • Daniel Craig and Hugh Jackman • pulpy cop drama-not for kids • almost every show will be sold out • don’t feel bad if you miss it
the hot ticket of the season • Daniel Craig and Hugh Jackman • pulpy cop drama-not for kids • almost every show will be sold out • don’t feel bad if you miss it
BOTTOM LINE: Contrary to all the hype, you don't need to see this; it is fine, but you’ve probably seen it before.
Every so often there seems to be a Broadway play that quickly becomes “event theatre”- a show that sells out every show, draws huge crowds, and soon becomes the hot ticket of the season. Julia Roberts in Three Days of Rain, the pairing of Nathan Lane and Matthew Broderick in The Odd Couple - these shows had no trouble selling tickets, even though the productions themselves weren't really all that great.And now we have A Steady Rain, with Daniel Craig and Hugh Jackman. In its first full week of previews, it grossed more money than any straight play in Broadway history. It is likely it's mostly sold out for its entire 12-week run. Seats in the rear orchestra are being sold for premium prices ($276-$376 per ticket) and once it opens on September 29th, tickets may be extremely hard to come by, at any price. At this point, it appears as if spending $125 on a ticket (which is already expensive for most people) won’t even get you a good seat, it will just get you in the theatre. So…is it worth it? Should you pay premium prices to see this play? No. And if your dates are flexible, or you are a student, or you’re willing to stand, you may not need to. More on that in a bit. First, the play.
In A Steady Rain, Craig and Jackman are Chicago beat cops. The play opens with the men sitting in chairs on a bare stage with two lights hanging over them, as if they are in an interrogation room. They tell a story that begins innocuously enough: the two men are partners and best friends. But the tale quickly turns dark and violent. You may have heard that the play is a series of monologues, or that each cop tells their own (different) perspective of what happened. Neither is exactly true; the two men share the storytelling, as if they are both in the same room telling a listener/interrogator what happened. They occasionally interact with each other, but for the most part, each contributes to the joint story.
Throughout the story, the two men deal with various elements of the Chicago underworld. The tone of A Steady Rain recalls movies like Mystic River and Gone Baby Gone. As with these movies, in which the turns of plot are so integral to one’s experience, it is best to see the A Steady Rain knowing as little as possible about the story.
The writing is decent, and certainly evokes the intended atmosphere. Whenever the cops venture out into the seedier areas of the city, a backdrop appears. While these backdrops look great, they aren’t necessary; I couldn’t help thinking that their main purpose was to fill the large stage and justify the high ticket prices. Jackman and Craig are both good. I didn’t love either performance, because I think both characters have the potential to be more complex and layered.
A Steady Rain was produced in Chicago last year, with no stars and in a much smaller theatre. Frankly, I wish I had seen that production. Broadway is a business, and this production of A Steady Rain will make pots of money for everyone involved. But let’s not kid ourselves: Craig and Jackman are both fine, but there are many actors in New York who could play these roles just as well, if not better. To be fair, my seat was in the rear mezzanine, so I missed the more subtle aspects of their performances. So if you can easily afford spending $125 and can find a decent orchestra ticket, it might be worth it. With only two actors on stage, this play is really all about intimate storytelling, something that you won’t get by sitting in the last row of the Schoenfeld Theatre.
But unless money is no object, don’t get swept up by all the hype and feel the need to drop $300 on a ticket. If you’re a student, there are $31.50 student rush tickets available at the box office (see below). I’ve heard that $29.50 standing room tickets will also be available once the show opens (technically, standing room is only sold when the show is sold out, but that won’t be an issue here). Just know that lots of other non-students will also be angling for these standing room tickets, so the competition may be fierce. But at 90 minutes, it isn’t a bad show to stand for. And both student tickets and standing room are sold the day of the show, which means there will always be a few tickets to be had.
Just don’t feel too bad if you miss the show. A Steady Rain is a decent night of theatre, but it isn’t “must see” theatre. While I was never bored, I also wasn’t excited. This is a pretty standard cop drama: pulpy, seedy, dark, and violent. You’ve seen it before. Maybe not with Daniel Craig and Hugh Jackman live on stage, but trust me, you’ve seen it before.
(A Steady Rain plays a limited engagement at the Schoenfeld Theatre, 236 W. 45th St, through December 6th. Performances are Tuesday at 7pm, Wednesday through Saturday at 8pm, with matinees on Wednesday and Saturday at 2pm, and Sunday at 3pm. Running time is 90 minutes with no intermission. Regular price tickets are $66.50- $140, and premium tickets are $276.50- $376.50. $29.50 standing room tickets are available at the box office if the performance is sold out (it will be)- they will probably go on sale a few hours before the performance, but lines will form earlier. Student rush tickets (generally last row of the mezzanine) are $31.50; these are either 1 or 2 per ID (depending on availability), and are available the day of the show when the box office opens. IMPORTANT: the box office will sell you a student ticket, but will hold it until 30 minutes before the show, and you will need to show your student ID to pick it up then. Visit telecharge.com to buy tickets and asteadyrainonbroadway.com for more information.)
Tuesday, September 22, 2009
Fathers and Sons
By Steve
5 POINTS OR LESS
exploration of male roles and relationships • “traditional” and “non-traditional” father/son issues • good discussion material for parents of adolescent males • play within a play • strong performances
BOTTOM LINE: Two actors, one older and one younger, perform six connected scenes exploring various contemporary male relationships including father/son. Fathers & Sons is an earnest attempt to promote mutual understanding between men of different backgrounds, sexual orientations, classes, and generations.
Richard Hoehler has a lot to say about male relationships in his play Fathers & Sons, and he says it with gusto. The play is ambitious and passionate, and has an earnestness that to my mind makes it ideal for family audiences, especially those with adolescent males. Hoehler is an educator who conducts writing and acting workshops for NYC high school students, and you can sense his affinity for teaching in every moment of Fathers & Sons. Parents who are looking for theater that is both entertaining and instructive will find that this play raises tantalizing questions about what it means to be a father, a son, and a man in 21st century America.
Two actors (Hoehler and Edwin Matos, Jr.) portray six pairs of men, each a variation of father/son. Scene by scene, they explore the dynamics of male relationships: power, control, responsibility, abandonment – and love. The scenes are presented as rehearsals for a play called "Fathers & Sons," and the actors seem to be playing versions of themselves. “Richard” is an actor/writer/teacher who has agreed to coach “Edwin,” a talented but undisciplined young man. When Richard gets the chance to present the play to a representative of the Public Theater, the stakes are raised. This is his big chance for recognition in the professional theater. But is Edwin up to the task?
The scenes they perform, while often peppered with humor, take on serious issues of contemporary male identity: a stepfather and stepson compete for primacy in a poor household; a Latino son preparing for college must tell his proud but illiterate father that his presence at an important interview could damage his chance for a scholarship; an acting teacher and his student become sexually intimate only to face unexpected consequences the next morning; a loving but overwhelmed uncle must insist that his learning-disabled nephew move out of his apartment and into a group home; a father who has spent years in prison and who is now dying appeals for forgiveness from his embittered son. The connective tissue is the relationship between Richard and Edwin, fraught with similar tensions. Mutual need forces each to grapple with his understanding of the other man—and himself.
The production is tightly directed by Chris Dolman and both actors give strong performances. Ironically, Hoehler the playwright gives Matos the better roles and material. Richard confesses in the play that he has always been afraid of success and that it’s “easier saving souls in the South Bronx than competing in the Big League” of the New York theater. I was particularly struck by his jaundiced take on the actor’s life, which includes auditions for “don’t-blink-or-you’ll-miss me parts on Law & Order Special Bullshit Unit.” Hoehler is believable in his roles. Matos is truly compelling.
The theme of Fathers & Sons is ageless: how do men learn to express love for each other in a world that seems to demand competitive toughness above all else? These characters struggle to choose love and forgiveness over anger and blame, and for that they--and Hoehler--deserve our praise.
(Fathers & Sons will perform through October 4, Wednesday-Saturday evenings at 8pm and Sunday matinees at 3pm, at the Lion Theatre, 410 West 42nd Street. Tickets are $25 through Ticket Central online at ticketcentral.com or by calling 212-279-4200. For more info visit FathersandSonsOnstage.com)
5 POINTS OR LESS
exploration of male roles and relationships • “traditional” and “non-traditional” father/son issues • good discussion material for parents of adolescent males • play within a play • strong performances
BOTTOM LINE: Two actors, one older and one younger, perform six connected scenes exploring various contemporary male relationships including father/son. Fathers & Sons is an earnest attempt to promote mutual understanding between men of different backgrounds, sexual orientations, classes, and generations.Richard Hoehler has a lot to say about male relationships in his play Fathers & Sons, and he says it with gusto. The play is ambitious and passionate, and has an earnestness that to my mind makes it ideal for family audiences, especially those with adolescent males. Hoehler is an educator who conducts writing and acting workshops for NYC high school students, and you can sense his affinity for teaching in every moment of Fathers & Sons. Parents who are looking for theater that is both entertaining and instructive will find that this play raises tantalizing questions about what it means to be a father, a son, and a man in 21st century America.
Two actors (Hoehler and Edwin Matos, Jr.) portray six pairs of men, each a variation of father/son. Scene by scene, they explore the dynamics of male relationships: power, control, responsibility, abandonment – and love. The scenes are presented as rehearsals for a play called "Fathers & Sons," and the actors seem to be playing versions of themselves. “Richard” is an actor/writer/teacher who has agreed to coach “Edwin,” a talented but undisciplined young man. When Richard gets the chance to present the play to a representative of the Public Theater, the stakes are raised. This is his big chance for recognition in the professional theater. But is Edwin up to the task?
The scenes they perform, while often peppered with humor, take on serious issues of contemporary male identity: a stepfather and stepson compete for primacy in a poor household; a Latino son preparing for college must tell his proud but illiterate father that his presence at an important interview could damage his chance for a scholarship; an acting teacher and his student become sexually intimate only to face unexpected consequences the next morning; a loving but overwhelmed uncle must insist that his learning-disabled nephew move out of his apartment and into a group home; a father who has spent years in prison and who is now dying appeals for forgiveness from his embittered son. The connective tissue is the relationship between Richard and Edwin, fraught with similar tensions. Mutual need forces each to grapple with his understanding of the other man—and himself.
The production is tightly directed by Chris Dolman and both actors give strong performances. Ironically, Hoehler the playwright gives Matos the better roles and material. Richard confesses in the play that he has always been afraid of success and that it’s “easier saving souls in the South Bronx than competing in the Big League” of the New York theater. I was particularly struck by his jaundiced take on the actor’s life, which includes auditions for “don’t-blink-or-you’ll-miss me parts on Law & Order Special Bullshit Unit.” Hoehler is believable in his roles. Matos is truly compelling.
The theme of Fathers & Sons is ageless: how do men learn to express love for each other in a world that seems to demand competitive toughness above all else? These characters struggle to choose love and forgiveness over anger and blame, and for that they--and Hoehler--deserve our praise.
(Fathers & Sons will perform through October 4, Wednesday-Saturday evenings at 8pm and Sunday matinees at 3pm, at the Lion Theatre, 410 West 42nd Street. Tickets are $25 through Ticket Central online at ticketcentral.com or by calling 212-279-4200. For more info visit FathersandSonsOnstage.com)
Sunday, September 20, 2009
The Hole (The Layre/Theatre at St. Clements)
By Le-Anne
FIVE POINTS OR LESS:
Full frontal male nudity and shirtless guysA bunch of sex stuffs (You even get to see a good number of the sex positions you know and love acted out in the background during a sentimental song. Ahh...how romantic...)A musical comedy for adults onlyDefinitely not PC
BOTTOM LINE: If you like musicals, drag shows, and some good ol' gratuitous silliness then you’ll like this show.
Kaitlin Monte, Joey Murray & Scott Martin in The Hole.
Eager to see The Hole, I entered the lobby of The Theatre at St. Clements and was greeted by a beautiful body in a tiny black Speedo. Immediately, I knew what I was getting myself into. “Must be a family show,” I nodded to myself, “a big, gay, drug-filled, prostitute-loving, naked-man-baring, innuendo-laden, melodramatic, family show.” More or less, I was right. By more, I mean there was much more chiseled man-body to be seen. And by less, I mean less than a teeny, tiny Speedo was worn. Oh! And, I almost forgot, there’s singing, lots and lots of singing. The Hole, filled with many mostly-naked men, one crazy little lesbian, and a bitchy drag queen, is not incredibly deep but it’s a good time.
Glam rock Nicky, (Joey Murray), is a struggling actor living in the city. His best friend, Nadia, (Kaitlin Monte), is a prostitute, enabler, and isn't going to win mother of the year anytime soon. They get wasted and pop on down to their favorite East Village club of debauchery, The Hole, where Didi (Stephanie Spano), who is crazy-mad-in-horny-love with Nadia, is spinning. Nicky’s arch nemesis, Phil, (Alex Michaels), aka “Queen LaQueefa,” is performing that night. From there, things get a little absurd. Well, actually, things got absurd long before that when Nadia “forgot” she had a baby (no one even noticed that she was pregnant in the first place). The absurdity continues when they check the baby (Xavier Rice) at the door with the Tourette Syndrome coat check boy (Ari Gold) then, after they watch LaQueefa’s drag show, they spill an 8-ball of coke on the bathroom floor, on which various people proceed to have various forms of sex in various positions, then some people die and go to gold lamay heaven. The end.
Murray (who also wrote the book) is a solid performer. Charming with great comedic timing, he knows how to run with a campy joke. My favorite moments were the glimpses of sincerity that slipped into his performance. Spano simply steals the show with her earnest, heart wrenching, rendition of the song “One Heart, One Bitch.” The girl’s got pipes and acting chops to boot. I mean, she made the question, “Can I land on your landing strip?” sound like the most romantic proposal in the world, come on! Michaels as Phil/Queen LaQueefa is superb. Like the recently late, always great, Patrick Swayze as Vida in “To Wong Foo Thanks For Everything, Julie Newmar,” Michaels plays LaQueefa as a woman, not a man playing a woman. (And, girl, his make-up is flawless!)
The music, by Robert Baumgartner Jr., (additional lyrics by Heidi Heilig), is fun with some tight composition and a handful of damned good songs, especially the group numbers, “Ready to Go,” “Fucking Disaster,” Phil’s “Guttersnipe, Nightlife” and the aforementioned, “One Heart, One Bitch.” This show isn’t going to change anyone’s life but I don’t think it’s meant to. The performances are great, the story is nonsensical fun, and the music is good (great band, by the way including Justin Hosek on bass, Kurt Gellersted on guitar, Andrew Potenza on drums, and Baumgartner on keyboard).
In this play, no one is safe and nothing is sacred. It’s a ridiculous musical comedy that sometimes, even though it’s done well, borders on a little too much camp, (much like LaQueefa advises Nicky about his eyeliner, less is more, darling). Nevertheless, in the end, The Hole is one hell of a fun time. (I know, I know. I couldn’t resist!)
(The Hole is no longer running.)
FIVE POINTS OR LESS:
Full frontal male nudity and shirtless guysA bunch of sex stuffs (You even get to see a good number of the sex positions you know and love acted out in the background during a sentimental song. Ahh...how romantic...)A musical comedy for adults onlyDefinitely not PC
BOTTOM LINE: If you like musicals, drag shows, and some good ol' gratuitous silliness then you’ll like this show.
Kaitlin Monte, Joey Murray & Scott Martin in The Hole.Eager to see The Hole, I entered the lobby of The Theatre at St. Clements and was greeted by a beautiful body in a tiny black Speedo. Immediately, I knew what I was getting myself into. “Must be a family show,” I nodded to myself, “a big, gay, drug-filled, prostitute-loving, naked-man-baring, innuendo-laden, melodramatic, family show.” More or less, I was right. By more, I mean there was much more chiseled man-body to be seen. And by less, I mean less than a teeny, tiny Speedo was worn. Oh! And, I almost forgot, there’s singing, lots and lots of singing. The Hole, filled with many mostly-naked men, one crazy little lesbian, and a bitchy drag queen, is not incredibly deep but it’s a good time.
Glam rock Nicky, (Joey Murray), is a struggling actor living in the city. His best friend, Nadia, (Kaitlin Monte), is a prostitute, enabler, and isn't going to win mother of the year anytime soon. They get wasted and pop on down to their favorite East Village club of debauchery, The Hole, where Didi (Stephanie Spano), who is crazy-mad-in-horny-love with Nadia, is spinning. Nicky’s arch nemesis, Phil, (Alex Michaels), aka “Queen LaQueefa,” is performing that night. From there, things get a little absurd. Well, actually, things got absurd long before that when Nadia “forgot” she had a baby (no one even noticed that she was pregnant in the first place). The absurdity continues when they check the baby (Xavier Rice) at the door with the Tourette Syndrome coat check boy (Ari Gold) then, after they watch LaQueefa’s drag show, they spill an 8-ball of coke on the bathroom floor, on which various people proceed to have various forms of sex in various positions, then some people die and go to gold lamay heaven. The end.
Murray (who also wrote the book) is a solid performer. Charming with great comedic timing, he knows how to run with a campy joke. My favorite moments were the glimpses of sincerity that slipped into his performance. Spano simply steals the show with her earnest, heart wrenching, rendition of the song “One Heart, One Bitch.” The girl’s got pipes and acting chops to boot. I mean, she made the question, “Can I land on your landing strip?” sound like the most romantic proposal in the world, come on! Michaels as Phil/Queen LaQueefa is superb. Like the recently late, always great, Patrick Swayze as Vida in “To Wong Foo Thanks For Everything, Julie Newmar,” Michaels plays LaQueefa as a woman, not a man playing a woman. (And, girl, his make-up is flawless!)
The music, by Robert Baumgartner Jr., (additional lyrics by Heidi Heilig), is fun with some tight composition and a handful of damned good songs, especially the group numbers, “Ready to Go,” “Fucking Disaster,” Phil’s “Guttersnipe, Nightlife” and the aforementioned, “One Heart, One Bitch.” This show isn’t going to change anyone’s life but I don’t think it’s meant to. The performances are great, the story is nonsensical fun, and the music is good (great band, by the way including Justin Hosek on bass, Kurt Gellersted on guitar, Andrew Potenza on drums, and Baumgartner on keyboard).
In this play, no one is safe and nothing is sacred. It’s a ridiculous musical comedy that sometimes, even though it’s done well, borders on a little too much camp, (much like LaQueefa advises Nicky about his eyeliner, less is more, darling). Nevertheless, in the end, The Hole is one hell of a fun time. (I know, I know. I couldn’t resist!)
(The Hole is no longer running.)
Saturday, September 19, 2009
LAUNCH PARTY TONIGHT!
Later today we will launch the brand new re-designed Theatre Is Easy! And we're having a party to celebrate! Join us at Wharf Bar and Grill, 587 Third Avenue between 38th and 39th Street, NYC, from 8-midnight. And check back to theatreiseasy.com or theasy.com soon to see the new site!
World Premiere of EN by dance troupe COBU (Theater for the New City)
By Le-Anne
BOTTOM LINE: A truly unique style - a fusion of funk, hip hop, tap, and traditional Japanese taiko drums. If you like shows like STOMP, Fuerzabruta, Cirque Du Soleil, etc., though it's quite different from them, you'll like this. Outstanding talent, it is apparent that the word “mediocre” is not in COBU’s dictionary.
Last night, I watched some of New York City’s top athletes perform. No, it was not the Yankees. Not the Mets. It did not happen on a field, on a court, or in a ring but on a stage. Armed with sticks, drums, and taps on their feet, COBU tore it up in their world premiere of EN. COBU, (which means “Dance like drumming. Drum like dancing” in Japanese), combine traditional taiko drums, tap dancing, and martial arts with hip hop flavor to create an experience like no other. The energy they create is electrifying. If you think of traditional Japanese performance as slowly moving people in silk robes and white make-up and if you think of tap dance as cheesy smiles and 42nd Street, then you best think again and let the ladies of COBU show you how it's done. An impressive set, lighting design and costumes, together with stellar choreography and explosive talent, EN is a show not to be missed.
The mood is set immediately upon entering the theatre. Something strangely East meets West, old meets new, refined yet raw is suggested by Yukinobu Okazaki’s striking set design. A towering white circle with Japanese symbols painted in black, flanked by angular archways made of wood ripped from the Old West, and surrounded by perfect, shiny, taiko drums lays the foundation for what is about to take place.
The theatre goes pitch black, then slowly a glimmer of light. Is it the reflection of water or could it be the glint of a fire growing? The light dances, slowly intensifying, as does the sound of a single drum pounding. The silhouette of five dark figures can barely be seen. They seem to come from nowhere, or everywhere, as does the sound of the lone drum. Then in a flash of light and sound a sixth figure appears as a symphony of beats begin. The lighting designs of Ayumu “Poe” Saegusa highlight the sounds and the dance beautifully, as if the light is another dancer on the stage. The dancers are adorned in a various costumes that are a mix of traditional fabrics and robes, with New York T-shirts, bits of fur, and funky hair styles. The look of the show mirrors the sounds of the performance: hip, fun, sexy, fresh, rooted in strength and tradition.
Using the taiko drums, tap, body clap, shamisen (a Japanese three-stringed instrument, similar to a guitar), voice, and even sign language, twenty different songs are shared throughout the evening. COBU creates something magical. With passion and soul they hoof, stomping their feet, and cut and thrust through the air with their drumsticks. In the song titled “Combat,” martial arts stick fighting adds another element to the beating of the drums and taps. One song, titled “Dorcus,” (where the taiko drums are placed horizontally), even managed to draw a tear or two from my eye. The beat of the drum reaches deep within, reverberating within the body, deep in the chest cavity, the taps race the heartbeat, the sticks hit the air. Then, without warning, during the briefest moment of silence I felt something wet on my cheek. I have no idea why. But, as Yako Miyamoto, (creator of COBU and performer/choreographer of EN), told me in a recent interview it’s not about knowing, it’s about feeling. And there is no right or wrong way to feel.
I wish COBU had a permanent home in NYC. EN is exactly the type of show that could easily become an NYC staple, the show that one brings out-of-town guests to see for a real “New York” experience. Working seamlessly together, the ensemble consists of Miyamoto, Hana Ogata, Yuki Yamamori, Micro Fukuyama, Haruna Hisada, Nozomi Gunji and supporting member Yoko Ogawa. Each member brings a unique individuality to the show yet the group clearly shares the beat of one heart. They are ridiculously strong (seriously, one of the most physically demanding shows I have ever seen), body and soul. A wonderful collaboration of spirit and fun, this COBU makes EN a show not to miss.
(EN plays September 19th at 8pm and September 20th at 3pm and 7pm. They will return to New York to play the Madison Avenue Festival on December 6th. Performances are at Theatre for the New City, 155 First Avenue between 9th and 10th Streets. The show runs 80 minutes. Tickets are $30 and can be purchased at theatremania.com or by calling 212-352-3101. For more information on COBU, visit www.COBU.us.)
5 POINTS OR LESS:
rhythmic dance show • jaw-dropping talent • limited engagement! (But they tour throughout the country so check out their website.) • fun for the whole family (There was even a toddler sitting in front of me and she was loving it!) • insanely talented (Did I say that already?)
rhythmic dance show • jaw-dropping talent • limited engagement! (But they tour throughout the country so check out their website.) • fun for the whole family (There was even a toddler sitting in front of me and she was loving it!) • insanely talented (Did I say that already?)
BOTTOM LINE: A truly unique style - a fusion of funk, hip hop, tap, and traditional Japanese taiko drums. If you like shows like STOMP, Fuerzabruta, Cirque Du Soleil, etc., though it's quite different from them, you'll like this. Outstanding talent, it is apparent that the word “mediocre” is not in COBU’s dictionary.Last night, I watched some of New York City’s top athletes perform. No, it was not the Yankees. Not the Mets. It did not happen on a field, on a court, or in a ring but on a stage. Armed with sticks, drums, and taps on their feet, COBU tore it up in their world premiere of EN. COBU, (which means “Dance like drumming. Drum like dancing” in Japanese), combine traditional taiko drums, tap dancing, and martial arts with hip hop flavor to create an experience like no other. The energy they create is electrifying. If you think of traditional Japanese performance as slowly moving people in silk robes and white make-up and if you think of tap dance as cheesy smiles and 42nd Street, then you best think again and let the ladies of COBU show you how it's done. An impressive set, lighting design and costumes, together with stellar choreography and explosive talent, EN is a show not to be missed.
The mood is set immediately upon entering the theatre. Something strangely East meets West, old meets new, refined yet raw is suggested by Yukinobu Okazaki’s striking set design. A towering white circle with Japanese symbols painted in black, flanked by angular archways made of wood ripped from the Old West, and surrounded by perfect, shiny, taiko drums lays the foundation for what is about to take place.
The theatre goes pitch black, then slowly a glimmer of light. Is it the reflection of water or could it be the glint of a fire growing? The light dances, slowly intensifying, as does the sound of a single drum pounding. The silhouette of five dark figures can barely be seen. They seem to come from nowhere, or everywhere, as does the sound of the lone drum. Then in a flash of light and sound a sixth figure appears as a symphony of beats begin. The lighting designs of Ayumu “Poe” Saegusa highlight the sounds and the dance beautifully, as if the light is another dancer on the stage. The dancers are adorned in a various costumes that are a mix of traditional fabrics and robes, with New York T-shirts, bits of fur, and funky hair styles. The look of the show mirrors the sounds of the performance: hip, fun, sexy, fresh, rooted in strength and tradition.
Using the taiko drums, tap, body clap, shamisen (a Japanese three-stringed instrument, similar to a guitar), voice, and even sign language, twenty different songs are shared throughout the evening. COBU creates something magical. With passion and soul they hoof, stomping their feet, and cut and thrust through the air with their drumsticks. In the song titled “Combat,” martial arts stick fighting adds another element to the beating of the drums and taps. One song, titled “Dorcus,” (where the taiko drums are placed horizontally), even managed to draw a tear or two from my eye. The beat of the drum reaches deep within, reverberating within the body, deep in the chest cavity, the taps race the heartbeat, the sticks hit the air. Then, without warning, during the briefest moment of silence I felt something wet on my cheek. I have no idea why. But, as Yako Miyamoto, (creator of COBU and performer/choreographer of EN), told me in a recent interview it’s not about knowing, it’s about feeling. And there is no right or wrong way to feel.
I wish COBU had a permanent home in NYC. EN is exactly the type of show that could easily become an NYC staple, the show that one brings out-of-town guests to see for a real “New York” experience. Working seamlessly together, the ensemble consists of Miyamoto, Hana Ogata, Yuki Yamamori, Micro Fukuyama, Haruna Hisada, Nozomi Gunji and supporting member Yoko Ogawa. Each member brings a unique individuality to the show yet the group clearly shares the beat of one heart. They are ridiculously strong (seriously, one of the most physically demanding shows I have ever seen), body and soul. A wonderful collaboration of spirit and fun, this COBU makes EN a show not to miss.
(EN plays September 19th at 8pm and September 20th at 3pm and 7pm. They will return to New York to play the Madison Avenue Festival on December 6th. Performances are at Theatre for the New City, 155 First Avenue between 9th and 10th Streets. The show runs 80 minutes. Tickets are $30 and can be purchased at theatremania.com or by calling 212-352-3101. For more information on COBU, visit www.COBU.us.)
Friday, September 18, 2009
MilkMilkLemonade (The Management, Horse Trade Theater)
By Kitty
BOTTOM LINE: Gross childhood song. Delicious adult play.
Jennifer Harder and Nikole Beckwith in MilkMilkLemonade. Photo by John Alexander.
Glittery dance numbers. Talking chickens. A creepy, wheezing grandmother and a thugged-out spider who lives under the porch. This is my kind of show. Watching MilkMilkLemonade is like taking in an episode of Sesame Street hosted by the guy from Blue's Clues singing Schoolhouse Rock tunes while tripping on LSD. Bizarre and beautiful and as poignant as it is silly-hilarious, Joshua Conkel's literary journey through farmhouse frustration en route to gorgeous, glitzy go-getting is both heartfelt and humorous.
Our hero, Emory (the lovable Andy Phelan), is a young man struggling to survive as a sparkling. showbiz-obsessed homosexual in No-where-ville, USA, under the poor and misguided tutelage of his emphysema-suffering Nanna (the disturbingly convincing Michael Cyril Creighton). No one understands Emory's desire to abandon the confines of rural life in pursuit of his dream to become the ultimate song and dance man in the neighboring city of Mall Town. No one, that is, except Linda the chicken (the engaging Jennifer Harder), who also entertains her own dreams of escaping the chicken shredder to become the Andrew Dice Clay of comedic poultry.
As fantastical as some of the script-based elements of MilkMilkLemonade may be, it is the strength and talent of the cast that brings the sparkle and pizazz to this piece. From the narrator, Lady in a Leotard (the wide-eyed and whimsical Nikole Beckwith) to nasty next door neighbor Elliot (the absolutely incredible Jess Barbagallo), the cast commits to each moment and makes each one so real, that as an audience member, one is reminded that those feelings of awkward pre-teen alienation are not so deeply hidden as just below the surface of one's protective adult veneer.
(The Management and Horse Trade Theater Group Present MilkMilkLemonade by Joshua Conkel through September 26th, every Thursday, Friday and Saturday at 8pm at UNDER St. Mark's, 94 St. Mark's between 1st Ave and Avenue A. Tickets are $18 and are available at www.smarttix.com.)
BOTTOM LINE: Gross childhood song. Delicious adult play.
Jennifer Harder and Nikole Beckwith in MilkMilkLemonade. Photo by John Alexander.Glittery dance numbers. Talking chickens. A creepy, wheezing grandmother and a thugged-out spider who lives under the porch. This is my kind of show. Watching MilkMilkLemonade is like taking in an episode of Sesame Street hosted by the guy from Blue's Clues singing Schoolhouse Rock tunes while tripping on LSD. Bizarre and beautiful and as poignant as it is silly-hilarious, Joshua Conkel's literary journey through farmhouse frustration en route to gorgeous, glitzy go-getting is both heartfelt and humorous.
Our hero, Emory (the lovable Andy Phelan), is a young man struggling to survive as a sparkling. showbiz-obsessed homosexual in No-where-ville, USA, under the poor and misguided tutelage of his emphysema-suffering Nanna (the disturbingly convincing Michael Cyril Creighton). No one understands Emory's desire to abandon the confines of rural life in pursuit of his dream to become the ultimate song and dance man in the neighboring city of Mall Town. No one, that is, except Linda the chicken (the engaging Jennifer Harder), who also entertains her own dreams of escaping the chicken shredder to become the Andrew Dice Clay of comedic poultry.
As fantastical as some of the script-based elements of MilkMilkLemonade may be, it is the strength and talent of the cast that brings the sparkle and pizazz to this piece. From the narrator, Lady in a Leotard (the wide-eyed and whimsical Nikole Beckwith) to nasty next door neighbor Elliot (the absolutely incredible Jess Barbagallo), the cast commits to each moment and makes each one so real, that as an audience member, one is reminded that those feelings of awkward pre-teen alienation are not so deeply hidden as just below the surface of one's protective adult veneer.
(The Management and Horse Trade Theater Group Present MilkMilkLemonade by Joshua Conkel through September 26th, every Thursday, Friday and Saturday at 8pm at UNDER St. Mark's, 94 St. Mark's between 1st Ave and Avenue A. Tickets are $18 and are available at www.smarttix.com.)
Thursday, September 17, 2009
Groovaloo (Joyce Theatre)
By Molly
BOTTOM LINE: A really incredible dance show unlike anything you've seen before.
The Groovaloos are are a dance company from LA. They are hip hop dancers with diverse backgrounds who came together a while back as a community of freestyle dancers who liked to jam with one another. They are perhaps the most talented group of hip hop dancers out there, at least as far as I'm aware. You've probably seen them on TV in one way or another, as they've been featured on several of those reality talent shows over the past couple of years. Their autobiographical show, Groovaloo, has grown and changed since its inception in 2003, and it now comes to New York to play at the Joyce Theater after a successful run in LA. After it's brief stay in New York (it only plays though September 27th), Groovaloo will tour the country beginning January 10, 2010.
Performance-wise, Groovaloo is an athletic, energy packed ninety minutes that gets the audience's attention and doesn't let go. Each of the 14 dancers is better than the next and with men and women of all cultural backgrounds, the cast is totally captivating. Each dancer gets a solo moment and as the show reveals itself, the audience learns each dancer's story and how they got to where they are now. Although there are many featured moments for each dancer where they can break and freestyle and do their own thing, there are also many synchronized and choreographed moments where some or all of the dancers perform the same steps or tricks in smaller groups or as bigger production numbers. The variety keeps the production moving along at a nice pace.
The highlights of Groovaloo are pretty consistently the amazing dance moves pulled off by the cast. You may have seen someone spin on their head, but have you ever seen someone spin on their head for 10 rotations, no hands, and then go right into another cool move? Back handsprings are pretty average, but you've probably never seen someone do six in a row, in place, right into a back flip after performing several minutes of strenuous choreography. It's like gymnastics on speed, with lots of funk and rhythm. And of course, the dancing is cool too. Both the choreography and the tricks make these performances hard to believe.
Groovaloo is a heartfelt show. It's easy to see how much love these dancers have for one another, as well as for their art. They are passionate and their energy radiates through the audience. You are on their side as you witness their struggle to achieve the dreams. Toward the end, the story gets a little tragic, and then the camaraderie truly becomes palpable. After all, it's a true story about the people you are watching (well, most of them anyway, some of the original cast are no longer in the show).
For a dance show and an inspirational production, Groovaloo is a tremendous experience. As a theatrical production, it's a little obvious thematically speaking. Basically, it's A Chorus Line, except with hip hop. It's formulaic to be sure, but it's also true and sincere. For a first production, Groovaloo is a hit. I have to be honest though, I am really excited to see another show from this company, maybe something with fictional content that uses storytelling with dance in a theatrical way, something that pushes the limits of a narrative on stage. I think with the artistic vision of these performers and the storytelling potential, they could create a tremendous show. I don't believe Groovaloo is the peak for this company and I am excited to see what projects lay ahead. They certainly have the ambition and the talent to take them anywhere. But for now, do yourself a favor and check out Groovaloo. It's an incredible dance production with some of the hottest dancers around.
(Groovaloo plays at The Joyce Theater, 175 Eighth Avenue at 19th Street. Performances are through September 27th, Tuesday and Wednesday at 7:30, Thursday and Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7:30pm. Tickets are $10-$59 and are available at joyce.org or by phone at 212.242.0800. For more show info visit groovaloo.com.)
5 POINTS OR LESS
freestyle hip hop • based on the real life stories of the dancers involved • a dance show with a spoken word backdrop • incredibly athletic • the best hip hop dancers around
freestyle hip hop • based on the real life stories of the dancers involved • a dance show with a spoken word backdrop • incredibly athletic • the best hip hop dancers around
BOTTOM LINE: A really incredible dance show unlike anything you've seen before.The Groovaloos are are a dance company from LA. They are hip hop dancers with diverse backgrounds who came together a while back as a community of freestyle dancers who liked to jam with one another. They are perhaps the most talented group of hip hop dancers out there, at least as far as I'm aware. You've probably seen them on TV in one way or another, as they've been featured on several of those reality talent shows over the past couple of years. Their autobiographical show, Groovaloo, has grown and changed since its inception in 2003, and it now comes to New York to play at the Joyce Theater after a successful run in LA. After it's brief stay in New York (it only plays though September 27th), Groovaloo will tour the country beginning January 10, 2010.
Performance-wise, Groovaloo is an athletic, energy packed ninety minutes that gets the audience's attention and doesn't let go. Each of the 14 dancers is better than the next and with men and women of all cultural backgrounds, the cast is totally captivating. Each dancer gets a solo moment and as the show reveals itself, the audience learns each dancer's story and how they got to where they are now. Although there are many featured moments for each dancer where they can break and freestyle and do their own thing, there are also many synchronized and choreographed moments where some or all of the dancers perform the same steps or tricks in smaller groups or as bigger production numbers. The variety keeps the production moving along at a nice pace.
The highlights of Groovaloo are pretty consistently the amazing dance moves pulled off by the cast. You may have seen someone spin on their head, but have you ever seen someone spin on their head for 10 rotations, no hands, and then go right into another cool move? Back handsprings are pretty average, but you've probably never seen someone do six in a row, in place, right into a back flip after performing several minutes of strenuous choreography. It's like gymnastics on speed, with lots of funk and rhythm. And of course, the dancing is cool too. Both the choreography and the tricks make these performances hard to believe.
Groovaloo is a heartfelt show. It's easy to see how much love these dancers have for one another, as well as for their art. They are passionate and their energy radiates through the audience. You are on their side as you witness their struggle to achieve the dreams. Toward the end, the story gets a little tragic, and then the camaraderie truly becomes palpable. After all, it's a true story about the people you are watching (well, most of them anyway, some of the original cast are no longer in the show).
For a dance show and an inspirational production, Groovaloo is a tremendous experience. As a theatrical production, it's a little obvious thematically speaking. Basically, it's A Chorus Line, except with hip hop. It's formulaic to be sure, but it's also true and sincere. For a first production, Groovaloo is a hit. I have to be honest though, I am really excited to see another show from this company, maybe something with fictional content that uses storytelling with dance in a theatrical way, something that pushes the limits of a narrative on stage. I think with the artistic vision of these performers and the storytelling potential, they could create a tremendous show. I don't believe Groovaloo is the peak for this company and I am excited to see what projects lay ahead. They certainly have the ambition and the talent to take them anywhere. But for now, do yourself a favor and check out Groovaloo. It's an incredible dance production with some of the hottest dancers around.
(Groovaloo plays at The Joyce Theater, 175 Eighth Avenue at 19th Street. Performances are through September 27th, Tuesday and Wednesday at 7:30, Thursday and Friday at 8pm, Saturday at 2pm and 8pm and Sunday at 2pm and 7:30pm. Tickets are $10-$59 and are available at joyce.org or by phone at 212.242.0800. For more show info visit groovaloo.com.)
And Sophie Comes Too (SoHo Playhouse)
By Scott
BOTTOM LINE: You should go with Sophie.
And Sophie Comes Too, a sell-out hit at this year’s Fringe Festival, has just moved to the SoHo Playhouse for a well deserved post-Fringe extended run as part of the Fringe Encore series. Sophie boasts a sharp script by Meryl Cohn, crisp direction by Mark Finley and a top notch cast, refreshingly all on the same page. Sophie tells a delightful story investigating, among other things, the complexity of familial relationships, the disparity between our internal and external lives, the search for self, and near-death experiences. The play navigates itself quite well through scenes that alternate between funny and ridiculous to touching and thought provoking. My only criticism is that the play ran out of steam about ten minutes before it actually ended and the last few “fade to blacks” were wrongly assumed to be the end. But when the play actually did end, I was glad I went along for the ride…and I was glad Sophie came too!
(And Sophie Comes Too plays as part of the Fringe Encore Series at SoHo Playhouse, 15 VanDam Street between 6th Avenue and Varick. Remaining performances are Monday, September 21 at 7pm, Wednesday, September 23 at 8pm and Saturday September 26 at 10:30pm. Tickets are $18 and are available at fringenyc-encoreseries.com or by calling 866.468.7619. For more show info visit tosos2.org.)
BOTTOM LINE: You should go with Sophie.
And Sophie Comes Too, a sell-out hit at this year’s Fringe Festival, has just moved to the SoHo Playhouse for a well deserved post-Fringe extended run as part of the Fringe Encore series. Sophie boasts a sharp script by Meryl Cohn, crisp direction by Mark Finley and a top notch cast, refreshingly all on the same page. Sophie tells a delightful story investigating, among other things, the complexity of familial relationships, the disparity between our internal and external lives, the search for self, and near-death experiences. The play navigates itself quite well through scenes that alternate between funny and ridiculous to touching and thought provoking. My only criticism is that the play ran out of steam about ten minutes before it actually ended and the last few “fade to blacks” were wrongly assumed to be the end. But when the play actually did end, I was glad I went along for the ride…and I was glad Sophie came too!
(And Sophie Comes Too plays as part of the Fringe Encore Series at SoHo Playhouse, 15 VanDam Street between 6th Avenue and Varick. Remaining performances are Monday, September 21 at 7pm, Wednesday, September 23 at 8pm and Saturday September 26 at 10:30pm. Tickets are $18 and are available at fringenyc-encoreseries.com or by calling 866.468.7619. For more show info visit tosos2.org.)
Wednesday, September 16, 2009
Theasy Interview with COBU founder Yako Miyamoto
By Le-Anne
After speaking with Yako Miyamoto, the artistic director, founder, and creator of rhythmic dance company, COBU, I can’t tell you how excited I am to see COBU’s newest show, EN. Miyamoto is not only the creator of COBU but she is also a current cast member of the off-Broadway hit Stomp. It’s been said of COBU’s previous shows that one does not need to understand English nor Japanese to understand the show. Miyamoto’s zest for life and ability to communicate through nonverbal expression is a testament to that. It is clear that this talented artist has a great passion for life and her work, and she shares that with the world through COBU.
How did you come up with the name COBU?
Cobu has two words. “Co” means “drumming” and “Bu” means “dancing.” My combination means, “Dance like drumming. Drum like dancing.” The two words together express my style. “Cobu” has a different meaning too. [It means] “cheer up the people.” In Japanese one word has one meaning but two words [put] together has [sic] a different meaning. So, [just] like [with] drumming and dancing, [when you put them] together [you] cheer up everyone!
What inspired you to form COBU?
I started to play the tradition Japanese taiko drums since I was eight years old in Japan and I went to New Zealand to play taiko at ten years old. I want to express Japanese soul and Japanese culture. Young people [think] Japanese culture is so old. It’s not cool. But I feel Japanese tradition is kind of hot! And American culture is so cool. Traditional is traditional [but] it’s not my style. Hip hop is hip hop [but] it’s not my style. I want to combine all of them. Hip hop culture together [with] the traditional culture.
Kind of bridge the gap between the different cultures?
Yeah. [Everyone has] different feelings but [we all] feel the same beat.
East meets West?
Yes, but it starts with West.
What made you want to form your own company?
I just performed by myself. And after a show, a girl, (now fellow COBU ensemble member, Hana Ogata), saw me and she said, “I want to perform with you” and I was like, “OK, we can play together and do competition.” I didn’t say, “OK I want to come to America and make an artistic, rhythmic, group.” Not like that.
Why did you come to America?
At university I started tap dancing. But I couldn’t find a teacher so I came to New York City to take a class from Savion Glover. And I was like, “OK, this is great!” Before I met tap dance I was just dancing with music but [now that I know] tap dance I can dance with my [own] music. That was a great experience.
Did you meet your company members in Japan?
No, everybody asks me. But we met in New York City.
How many company members are there?
Six.
All women?
Yep, all women.
Is it always women?
About five years ago we had a boy but now it’s all women.
Is that on purpose or is it just how it happened?
It just happened. But the last four years we’ve been all women. It’s a great feeling.
Do you hold open auditions? How do you acquire new company members?
Sometimes, once a year, we have an audition. But I don’t announce a lot. I just announce at the preview of my own show. So if they see my show and they really want to do it, just call to get an audition.
How many years has COBU been together as a company?
Ten years. Since, January 1st, 2000...wow, that’s a long time!
So you formed COBU before you were in the cast of Stomp?
That’s right.
Did somebody see COBU and ask you to be in Stomp?
Somebody sent me an e-mail. He saw a COBU show and [said], “You should be in the stomp.” I got the audition information from him. Then I took an audition. Finally, after the audition [I found out] he was just an audience [member]. He is not on the Stomp staff or crew.
Are you still performing in shows with Stomp while you are working on COBU shows?
Yes, I’m doing both of them.
Now, did you learn hip hop in the States or in Japan?
I was at Keio University in Japan, actually my major was chemistry. [That is when] I realized that I loved hip hop dancing. From age 18 to 22 I was a hip-hop dancer. I danced in music videos. Hip hop music has a “psch psch psch psch” beat that sounds for [sic] me like taiko drumming. That, “bosch chka bosch chka bosch” sound. I love taiko drumming. I love taiko drum beats but I didn’t feel exactly like “oh, this is it [for me].” [I wanted to use] taiko drumming [with] that hip hop beat with tap dance. Tap beat is like, “...” (ummm...insane beat-boxing that this interviewer can’t even begin to figure out how to type phonetically!)
(I’m left speechless, clearly in awe of this incredible display of rhythmic talent. We both simply laugh together.)
I’m not good at explain [sic] my work, even in Japanese. I [have difficulty] explaining with words. I just beat to explain something.
The form of expression that you use to tell a story is through sounds and not words. Do you find it difficult to express what you do in words?
Yes. I can hear [the] drum. To explain something, I express through my feeling and I choose my beat. My beat can feel something. So, I choose to make a beat. Make a rhythm. That’s easier for me.
Speaking of stories, you have the world premiere of you show, EN, coming up soon. What is EN about?
It is a story but not like, “I went to the park....” Not like that. I have a fixed performance with my group, it’s the same cast, same beat, same rhythm but every night is a little different, their feeling is [sic] different. It’s alive. And after [each] show each audience [member] has a different feeling. People send me emails [telling me what they took from the show]. I’m one part of the dance but each audience [member] have [sic] their own part of the dance and each performer has one part of the dance. I choreographed the show but I can’t control [the story].
There is no set story because the story is different for everyone?
Yes. After the show, we have a question and answer sheet. The audience write what [they] feel. Sometimes [they are] in [the] same theatre [at the] same show but they feel exact different feelings. Just listen, “poh chk poh chk chk chk poh chk poh.” [Some people hear that and] they feel [like] crying, [for other people] something inside [them] is smiling, some of them feel it’s like a bird in the sky, and some of them feel like I am crying. Everybody’s got a different way and a different feeling and they can have it all from [watching] my show. It’s such a good experience for me. Every time [I perform], the audience shows me a lot of things.
By the way, did you finish your chemistry degree?
No. Not yet.
Well, it seems like you’re doing OK without it!
(EN plays September 17th at 8pm, September 18th at 3pm and 8pm, September 19th at 8pm and September 20th at 3pm and 7pm. Performances are at Theatre for the New City, 155 First Avenue between 9th and 10th Streets. The show runs 80 minutes. Tickets are $30 and can be purchased at theatremania.com or by calling 212-352-3101. For more information on COBU, visit www.COBU.us. Check back to Theasy soon for a review of the show.)
After speaking with Yako Miyamoto, the artistic director, founder, and creator of rhythmic dance company, COBU, I can’t tell you how excited I am to see COBU’s newest show, EN. Miyamoto is not only the creator of COBU but she is also a current cast member of the off-Broadway hit Stomp. It’s been said of COBU’s previous shows that one does not need to understand English nor Japanese to understand the show. Miyamoto’s zest for life and ability to communicate through nonverbal expression is a testament to that. It is clear that this talented artist has a great passion for life and her work, and she shares that with the world through COBU.
How did you come up with the name COBU?Cobu has two words. “Co” means “drumming” and “Bu” means “dancing.” My combination means, “Dance like drumming. Drum like dancing.” The two words together express my style. “Cobu” has a different meaning too. [It means] “cheer up the people.” In Japanese one word has one meaning but two words [put] together has [sic] a different meaning. So, [just] like [with] drumming and dancing, [when you put them] together [you] cheer up everyone!
What inspired you to form COBU?
I started to play the tradition Japanese taiko drums since I was eight years old in Japan and I went to New Zealand to play taiko at ten years old. I want to express Japanese soul and Japanese culture. Young people [think] Japanese culture is so old. It’s not cool. But I feel Japanese tradition is kind of hot! And American culture is so cool. Traditional is traditional [but] it’s not my style. Hip hop is hip hop [but] it’s not my style. I want to combine all of them. Hip hop culture together [with] the traditional culture.
Kind of bridge the gap between the different cultures?
Yeah. [Everyone has] different feelings but [we all] feel the same beat.
East meets West?
Yes, but it starts with West.
What made you want to form your own company?
I just performed by myself. And after a show, a girl, (now fellow COBU ensemble member, Hana Ogata), saw me and she said, “I want to perform with you” and I was like, “OK, we can play together and do competition.” I didn’t say, “OK I want to come to America and make an artistic, rhythmic, group.” Not like that.
Why did you come to America?
At university I started tap dancing. But I couldn’t find a teacher so I came to New York City to take a class from Savion Glover. And I was like, “OK, this is great!” Before I met tap dance I was just dancing with music but [now that I know] tap dance I can dance with my [own] music. That was a great experience.
Did you meet your company members in Japan?
No, everybody asks me. But we met in New York City.
How many company members are there?
Six.
All women?
Yep, all women.
Is it always women?
About five years ago we had a boy but now it’s all women.
Is that on purpose or is it just how it happened?
It just happened. But the last four years we’ve been all women. It’s a great feeling.
Do you hold open auditions? How do you acquire new company members?
Sometimes, once a year, we have an audition. But I don’t announce a lot. I just announce at the preview of my own show. So if they see my show and they really want to do it, just call to get an audition.
How many years has COBU been together as a company?
Ten years. Since, January 1st, 2000...wow, that’s a long time!
So you formed COBU before you were in the cast of Stomp?
That’s right.
Did somebody see COBU and ask you to be in Stomp?
Somebody sent me an e-mail. He saw a COBU show and [said], “You should be in the stomp.” I got the audition information from him. Then I took an audition. Finally, after the audition [I found out] he was just an audience [member]. He is not on the Stomp staff or crew.
Are you still performing in shows with Stomp while you are working on COBU shows?
Yes, I’m doing both of them.
Now, did you learn hip hop in the States or in Japan?
I was at Keio University in Japan, actually my major was chemistry. [That is when] I realized that I loved hip hop dancing. From age 18 to 22 I was a hip-hop dancer. I danced in music videos. Hip hop music has a “psch psch psch psch” beat that sounds for [sic] me like taiko drumming. That, “bosch chka bosch chka bosch” sound. I love taiko drumming. I love taiko drum beats but I didn’t feel exactly like “oh, this is it [for me].” [I wanted to use] taiko drumming [with] that hip hop beat with tap dance. Tap beat is like, “...” (ummm...insane beat-boxing that this interviewer can’t even begin to figure out how to type phonetically!)
(I’m left speechless, clearly in awe of this incredible display of rhythmic talent. We both simply laugh together.)
I’m not good at explain [sic] my work, even in Japanese. I [have difficulty] explaining with words. I just beat to explain something.
The form of expression that you use to tell a story is through sounds and not words. Do you find it difficult to express what you do in words?
Yes. I can hear [the] drum. To explain something, I express through my feeling and I choose my beat. My beat can feel something. So, I choose to make a beat. Make a rhythm. That’s easier for me.
Speaking of stories, you have the world premiere of you show, EN, coming up soon. What is EN about?
It is a story but not like, “I went to the park....” Not like that. I have a fixed performance with my group, it’s the same cast, same beat, same rhythm but every night is a little different, their feeling is [sic] different. It’s alive. And after [each] show each audience [member] has a different feeling. People send me emails [telling me what they took from the show]. I’m one part of the dance but each audience [member] have [sic] their own part of the dance and each performer has one part of the dance. I choreographed the show but I can’t control [the story].
There is no set story because the story is different for everyone?
Yes. After the show, we have a question and answer sheet. The audience write what [they] feel. Sometimes [they are] in [the] same theatre [at the] same show but they feel exact different feelings. Just listen, “poh chk poh chk chk chk poh chk poh.” [Some people hear that and] they feel [like] crying, [for other people] something inside [them] is smiling, some of them feel it’s like a bird in the sky, and some of them feel like I am crying. Everybody’s got a different way and a different feeling and they can have it all from [watching] my show. It’s such a good experience for me. Every time [I perform], the audience shows me a lot of things.
By the way, did you finish your chemistry degree?
No. Not yet.
Well, it seems like you’re doing OK without it!
(EN plays September 17th at 8pm, September 18th at 3pm and 8pm, September 19th at 8pm and September 20th at 3pm and 7pm. Performances are at Theatre for the New City, 155 First Avenue between 9th and 10th Streets. The show runs 80 minutes. Tickets are $30 and can be purchased at theatremania.com or by calling 212-352-3101. For more information on COBU, visit www.COBU.us. Check back to Theasy soon for a review of the show.)
Subscribe to:
Posts (Atom)
