Wynton Marsalis and the Lincoln Center Jazz Orchestra at Sonoma State

Friday night Wynton Marsalis and the Lincoln Center Jazz Orchestra performed some of his original compositions along with some classic jazz standards for the great pleasure of the guests at Sonoma State Univ. The opening score was an original work by Marsalis entitled "The Struggle to Become Aware."  I enjoyed the composition which had a big band swing sound and a cheerful, upbeat rhythm.  It didn't bring to mind struggles or conflict. The piece had a flute solo performed by the only woman to grace the orchestra.  It may be the flutist was a substitute for the evening.  She wasn't photographed or listed listed in the program.  Delightful to see gender integration but the soloist struck too many shrill notes.  Her warbling on the flute was the only suggestion of a struggle and solo down beat of the evening.  Wynton introduced the next piece by Ellington, "Concert to Coolie" and the soloist Ryan Kaiser on trumpet.  Kaiser has long been with the Orchestra. His playing the trumpet with a plug made the instrument speak, "wha wha wha" from the 40s/50s epoch.   Ellington's music is the epitome of sophisticated jazz.  One pictures women in evening gloves, scarlet lips and cigarette holders amid swanky nightclubs. A second Elligton number was a movement from his "Far East Suite." I was intoxicated by the mystical, Arabian arrangement and will listen to the work in its entirety.  Cushioned in a musical mood indigo, I was jarred by the next, suprisingly discordant shift.  An original work by Marsalis written for the Chinese Ballet Co. entitled "Gold Story."  It's a testimony to his versatility, originality and scope,  although the first movement was arhythmic.  I strained to envision it to accompany ballet dancers.   Pianist, Dan Nimmer, performed solo on the two highest octaves giving a chiming, Asian aesthetic.  The piece merged east and west sounds into a lofty arrangement from which grand-jete's would soar.  The final work on the program was Marsalis' work to choreograph for the Alvin Ailey Dance Theater.  This was the consummation of the world's best dance theater and jazz orchestra.  The only way this could've been better would've been with Ailey Dancers on stage.  Still, it was easy to visualize Ailey dancers sinewy moves and jazzy flair in long,  slinky strides.  As I listened, watched and grasped the music, I noted musicians' and audience's  moving in harmony; emulating the visceral reverberations involuntarily.  Wynton was garrulous between numbers sharing amusing anecdotes.  He performed three lengthy solos from Ellington, Brubeck and his own music demonstrating his triumphant, jubilant virtuosity.  Marsalis is already an established jazz legend.  His regret to date - missing Duke perform when he was nine opting instead to play ball.    

Happiest Place on Earth...The LA ZOO

Disneyland has become synonymous with the phrase the happiest place on earth.  But, saying so doesn't make it so and no, it's not.  If you been to Disneyland then you know that families are going with high expectations and determination to have fun.  Unfortunately, the cost of taking a family of four is exorbitant if not cost prohibitive.  The financial squeeze alone puts pressure on parents to make sure they're going to get their money's worth of entertainment.  Once inside, the long lines (even with timed tickets) make for frustrated kids and their frazzled parents.  And, when not waiting in line, there's the added enticement of snacks and souvenirs to besiege youngsters and waylay their parents.  Sorry - back packs and coolers are not permitted in the park.  There's plenty of lockers to stow your cost saving gear lugged from the cars left in the pricey parking lots.  Not that there's a lack of Disney characters or picturesque photo ops, but good luck not getting jostled or pushed aside by people wanting their chance to make memories.  Add to this is the constant fear of losing sight of one's child in the park.  Meanwhile, when was the last time you took a trip to the LA zoo?  The cost to get in for a family of four is much less than the admission price for one adult at Disneyland.  And, no one is screening strollers or backpacks.  You're welcome to come right on inside after you've left your car in the free parking lot.  Once inside there's lots to see, experience and learn from.  The zoo offers plenty of scheduled talks and have staff at exhibits to answer questions.  And, ample room for strollers and space for kids to move about without being shoved.  The people who came to visit the zoo were are all relaxed and friendly.  Adults and bigger kids were happy to let those smaller viewing space.  As you stroll through you'll find plenty of animals, big and small to visit.  And, numerous exotic animal sounds and smells to take in.  What there isn't is whining, pushing or stressing.  Souvenir shops are in contained stores at the entrance/exit of the zoo and easily circumvented.  You'll find a covered pavilion with live calypso music and space for everyone who wants to dance or relax on chairs under the shade.   Free art projects are available for children to make.  The elephants and giraffes were big attractions.  The monkey's were swinging about or hanging out with their babies.  The elephants and koala bears were big attractions with their own little ones.  The huge gorillas were seemed ambivalent to their adoring fans.  The tiger and leopard were magnificent to watch as they moved stealthily about.  Best of all, the awe on the faces of children and adults alike.  Two hours is plenty of time to spend instead of a whole day but that's more than enough for non-stop enjoyment and wonder while building life time learning and fond  memories.   

CASSONDRO-Bio Film of Gay Wrestler Saul Armendariz with Gael Garcia Bernal

CASSONDRO is a scripted bio pic on the life of Saul Armendariz, a gay wrestler whose rise to fame took the rigid, anti-gay, macho wrestling world in Mexico down to the mat with his over the top, ingratiating pizazz and perseverance.  The makings for a riveting film including international star, Gael Garcia Bernal in the lead role for this colorful character in within an eccentric entertainment sport.  The film has the look of an art house film and the fighting scenes sparkle with drama and acrobatics.  I have to offer up a few jabs at the film which felt emotionally repressed.  Saul as Cassandro only came alive only in the ring or when he was with his married lover.  Saul was forced to keep this relationship secret for fear of losing it   Perhaps, the choice was to play the character as a showman whose persona is what animates them.  And, having to live in the shadows of his lover's wife and family kept him under wraps.  Gerardo, Saul's lover told him he didn't like hearing him talked about Cassandro as if he was real.  Saul and his mother had a close relationship but that too was burdened by his mother's rejection by his father who had a wife and family.  His mother put much of the blame for her lover's abandonment on Saul because of his homosexuality. Saul never seemed to feel shame about being gay, in fact her seemed comfortable in his own skin.  Later in life after Saul has gained fame, he meets with his father.  The scene had no resounding impact or resolution and fell flat.  I did like that the movie didn't strive to make itself into a Rocky hero tale but I'm torn not having grasped a wallop in the norms of gay acceptance.  Overall it's wonderfully filmed and acted buck lacking in a continual cinematic charisma.  Cassandro was the only wrestler who never donned a mask with his flagrant costumes.  In everyday life, Saul wasn't hidden behind a facade so much as his lived his life in a quiet and non-confrontational manner.  I needed more energy, more oomph, more zeal, to recommend this film despite its star power and incandescent cinematography. It bounces off and on the ropes but never lands a knockout.  It misses packed with elusive appeal.     

The Korean film PAST LIVES-A Perfectly Disarming and Unforgettable Work of Art

The Korean/English language film PAST LIVES is a penetrating examination of human connection.  The story contemplates the relationship of two childhood friends, Na Young (Greta Lee) and Hae Sung (Teo Yoo)  in Korea which is interrupted by the emigration of Na Young with her family to Canada.  The 12 year old friends walk to and from school daily and established a closeness bordering pre-adolescent infatuation.  Na Young's mom arranges a last afternoon for the two friends before she is "never to return."  The two are clad in colorful rain gear while frolicking in a soft drizzle amid a sculpture garden.  Hae Sung's mom asks if they must emigrate because she warns, "you will lose so much."  Na Young's mom replies, "There is also much to be gained."  The film is visual stunning throughout.  Each scene is crafted with a tender, natural allure paramount in establishing a serenity and sensitivity for the emotions of its characters.  Twelve years pass in which Hae Sung serves in the Korean military.  Nora (as she is now called) is an established playwright living parsimoniously in New York City.  Nora and her mom are conversing on the internet looking up people they recall from Korea when Nora thinks to look up Hae Sung.  She discovers he's been trying to get in touch with her over the internet.  She reaches out and the two are delighted to become reacquainted.  They develop a deepening friendship over zoom sharing each other's lives.  An awakening attraction leads to wanting to meet, either in New York or Seoul.  The timing doesn't work and the two lose touch for another period of 12 years.  During this time, Nora meets and marries American writer, Arthur whom she met at a writer's retreat.  Hae Sung becomes involved with a woman in Korea.  Hae Sung has a business trip to New York and he contacts Nora.  The two are reunited in person for the first time in 24 years.  Their restrained emotions do not mask a bond they both cherish.  Arthur's sense of security in their marriage comes into question.   There's a searing, honest conversation between Arthur and Nora while in bed after the day Nora spent with Hae Sung to where her heart lies.  The movie is perfectly framed at the beginning and end by a scene with the three at a bar conversing.  At the start of the film,  unseen onlookers are trying to determine the dynamics of the three.  It appears nebulous which two form a couple.  The movie's quiet beauty transfixes us with powerful introspection.  How and why certain people come in and out of our life leaving their imprints.  What could have been is a never ending question that weighs heavy on us.  The sheer grace of introspection and commitments we make to others and ourselves is something honed continuously.   PAST LIVES is a perfect film to experience making our present lives richer.    

TEENAGE MUTANT NINJA TURTLES; MUTANT MAYHEM-May have Its Moments

As a young parent,  I have a fondness for this fearsome foursome which allotted my son plenty of imaginative, active playtime fun.  Now streaming on Prime Video is a full length animated action kid movie, TEENAGE MUTANT NINJA TURTLES.  I was curious but skeptical that these characters could charm me with their capers in a full length film.  The film is written by established comedians and filmmakers Seth Rogen and Evan Goldberg.  There was a lot going for the movie from the get-go including martial arts fight-scenes, brotherly bantering, teenage angst of acceptance and the aesthetics of New York City at night.  The look of the film has a bold, daring style using a mix of animation tricks.  Artistic flourish and terrific voice overs did not suffice to sustain interest.  Still, there should be shout outs to star power voice overs of Jackie Chan the turtles' loving, over-protective adoptive dad, sensei Splinter, Maya Rudolph as the villianous Cynthia, Ice Cub as the mutant Superfly out to destroy mankind, Rose Byrne and Paul Rudd as other weird mutants.  The young actors giving life to the Ninja Turtles were all excellent and Ayo Edebiri as April, the human teen who collaborates with the Turtles while aspiring to be a reporter is sensational. There are additional moments in the film that offered refreshing entertainment.  April's interview questions to the Turtles, most of them as jotted notes in her journal were laugh out loud funny and precisely what one would want to ask given this exclusive scoop.  Sensei Splinter's flashback story to how they all became mutants and family was gratifying.  The soundtrack to the film offers up 80s and 90s hip-hop works with the movie's tone.  The powwow where the Ninja Turtles convene with the other mutants and they decide to consider themselves cousins added a pleasing twist.  Despite these interspersed moments of levity and creativity there was not enough to overcome the trodden supercilious plot to stop total annihilation which forces me say to MUTANT MAYHEM, meh, unless you're still a kid.  Better still, if you're a kid, go out and play.  

WELCOME to WREXHAM A Welcomed Doc. with Real Life Ted Lassos Ryan Reynold/Rob McElhenney

Ted Lasso won the hearts of many soccer and non-soccer fans with his irrepressible good nature and a lively cast of characters.  For those looking to replace the vacuum left by the completed fictitious series, look no further than WELCOME to WREXHAM (WTW).  Set in Wales where football (or as Americans know it) soccer, is the succor of life.  Coming to breathe new life into the Wrexham team is Hollywood elite, Ryan Reynolds and not nearly as rich or renown actor, Rob McElhenney.  Like Lasso, they lack any knowledge of running or managing a team although all share the dream of bringing glory to a fledgling team and to the hometown devotees.  Ryan Reynolds is as likable and bankable a star as Tom Hanks.  Without having met, Rob reached out to Ryan for his star leverage and deep pockets to purchase the Wrexham team.  The first two episodes give us an interesting look into the town, the league and the various league standings along with the players and management already in place.  The sincerity to the mission of building a winning franchise is earnest coming from both Rob and Ryan. Also apparent is their lack of expertise.  The documentary draws the viewers in on the learning curve with these two showmen whose passion for winning is based solidly on their gravitas as owners and sense of decency that feels paramount. The significance of the team to the local community is not lost on either.  The documentary series promises to deliver behind the scenes decision making and front and center reaction from them and the locals.  I plan to stay tuned in to observe the real deal trials and tribulations of running the team.  I expect the series will be taken serious as well as filled with good hearted fun through the contributions made by both comedic actors.  The journey is in the quest.  I anticipate a few curve balls or should I say red flags.  As an aside, I hope to catch glimpses of both men's lives at home.  Mainly, the ingredients for mixing the real working class Wrexhams with real Hollywood hunks promises to be quirky and sweet.  It should prove a real comparative treat between America's obsessive football culture and that of its "soccer" counterpart across the pond.   

Hulu Series TINY BEAUTIFUL THINGS based on Cheryl Strayed's Writings

TINY BEAUTIFUL THINGS is based on Cheryl Strayed's writings and her advice column, "Dear Sugar".  Stayed's column was made into a one act play at the Public Theater in NYC.  I had the pleasure of seeing this intelligent play which brought life to the sensitive and eloquent responses Stayed offered those who turned to her for guidance.  The play showed Strayed's chaotic household from which she managed to find time devoted to answering letter writers with self-reflection and soul searching empathy.  The pensive consideration she provides those overwhelmed by grief, dealing with infidelity or stymied in making life altering decisions is profound.  Her responses resonates with wisdom and compassion.  The series airing on Hulu also benefits from the jewels found amongst her replies but are buried underneath mounds of melodrama portraying Stayed's self-destructive behaviors as a young adult and as a grown woman with  problems in her marriage, with her daughter and at work.  The talented actress Katherine Hahn plays Clare a.k.a. Sugar, in her 40s as intense, irrepressible and her own worst enemy.  The smart casting also includes Sarah Pidgeon as Clare in her 20s, Merritt Wever as Clare's mom, Quentin Flair as her estranged spouse.  The poignancy of the concern Clare shares with strangers is mangled amongst the disasters that surround Clare in her life wrought upon herself by her impulsive behaviors.  Fans of shows like "This Is Us" may find the past / present juxtapositions of family dramas appealing entertainment.  I found the exaggerated chaos burdensome while waiting for the winsome rejoinders to real life altering dilemmas.  The lyrical, heartfelt comfort gently lingers on after the show.  "Be brave enough to let your heart be broken."  she offers.  Clare encourages us to trust our inner selves.  "The voice inside of you telling you to go is enough."  The need to appeal to a mass audience with a soap opera comedy/drama does a disservice to the kernels of inspiration and solace available from Sugar's articulate answers.  The producers should've gleaned from Stayed's innermost musings that less is more.  "Life is the  great unknown unfolding, allow yourself to accept the tiny beautiful things life has to offer."

Season 3 Only Murders in the Building Only Gets Better

Only Murders in the Building has been back for the third season with more reasons to tune in for this delightful murder mystery cleverly disguised as showcase for comedic talents.  It's odd couple pairings of comedy legends Steve Martin (Charles) and Martin Chase (Oliver) with the younger, tech savvy Selena Gomez (Mabel).  The three bond over dead bodies and combine their budding detective skills despite their generational divides. They transmit their progress on solving who done into a pod cast with a devoted cult following.  This die hard fan has fallen hard for the friendship that's grown organically amongst the three amidst their sleuth solving shenanigans.  This third season, big stars have lined up to be cast among the crew including Meryl Streep and Paul Rudd.  Rudd is as an obnoxious super hero movie star who gets the lead in Oliver's play.   Our mainstay trio, Charles, Oliver and Mabel all find love interests only to find dissension in their alliance and their relationship crumbles.  Their scuttles sting and the three take a break from each other.  Only Mabel continues to pursue leads to crack the case of the most recent corpse to land conveniently in the building.  Enter stage right, Matthew Broderick auditioning for Oliver to replace Charles who quits after he quits.  Broderick is brilliant as a neurotic actor who over thinks his character.  Oliver phones his friend, Mel Brooks to question what his working experience with Broderick was like on Broadway.  The FaceTime call between Brooks and Oliver is uproarious.  Oliver's firing a pathetic Broderick is priceless and reuniting with Charles is heartwarming.   There's plenty of comic genius that add to this already disarmingly, good-old fashioned fun.  Andrea Martin is marvelous as Charle's love interest,  Jackie Hoffman shines as a fellow smart mouthed tenant and Michael Cyril Creighton as the over burdened assistant to Oliver is a scene stealer.  But then, everyone in the show adds to its magical glow from the building's doorman, Oliver's "Death Rattle" chosen cast and official detectives who circumvent crimes in the building add to the fun.  Murders Only in the Building is a bona fide delight that mixes mystery, camaraderie and comedy in palatial portions to keep you coming back for more.  

Disney's ELEMENTAL-Simply Terrible

ELEMENTAL, Disney's latest animated film now screening on its Disney Channel fails in every conceivable way to be entertaining.  PIXAR's feature is ambitious in its mission to be a good faith messenger for environmental concern and compassionate for immigrants or those unlike ourselves, is an unlikable mess.  The animation itself poorly executed with staid backgrounds, minimal action and neon purples, pinks and orange that are all off-putting.  There's also a Romeo/Juliette love story between Ember, the fiery tempered daughter of an immigrant parents and Wade, the wavering water boy whose tears flow constantly.  There's no charm here, no beguiling story, no art direction worthy of Disney or Pixar.  There's no there there to make you care.  Instead, its's something for the studio execs to bawl over together, just how bad this movie is and how far the film's quality sunk.  It's majorly disappointing from what we've grown to expect from these mega conglomerates.  We've come to expect a film with mass appeal, if not for all ages, at least for pre-adolescents.  My imagination was never engaged except to wonder what the filmmakers were thinking when they gave this project the green light.  Perhaps, they were spurned on by challenging themselves to animate fire and water and personify trees.  The results are puerile. The plot is pithy.  All in all, it's a pity this project didn't get smoked before it was unleashed on an unsuspecting fan base that has had reasons in the past to anticipate, at the very least, an enjoyable experience.  It's time to recalculate previous established standards of excellence. Pass on watching this unwatchable disaster.  

HIJACK with Idris Elba Has Intrigue

Looking for a limited series that will keep you interested?  HIJACK airing on Apple might foot the bill.  So far, there's plenty of intrigue and tension on board to keep you guessing as to how this seven segments of an airline hijacking on a flight destined between Dubai and Heathrow in the first two episodes.  There's the supposed thrill of how will it be resolved and who may prove heroic.  Idris Elba as Sam Nelson is slated as the irrepressibly calm and calculating passenger.  Sam, however, is not a sky marshal, or an a officer, but a civilian who works as shrewd mega-business negotiator.  Does this make him equipped to handle gun-wielding terrorists in flight?  It's not clear but if cool charisma could solve for anything then put your trust in Sam.  The plot is convoluted and punctured with problematic holes.  But, there's plenty of passengers to plug some holes who are apt to play into over powering the English/Arabic hijackers.  The action switches from the air to the ground where it flounders.  There's an ex-wife with still unresolved issues despite a new man in the picture and a teenage son not happy with the current beau, who favors dear old dad.  And there's an extra-marital affair between flight captain and flight attendant that makes things messy for everyone.  A grizzly multi-murder involving a TSA scanner complicit in letting a passenger through with arms and an air traffic controller who smelled something fishy that didn't quite adding up.  Several signs bear following-up which would alert authorities to the hijacking.  This begs the question of what would happen next should it be determined a hijacking is occurring.  You should be scratching your head for what the hijackers hope to accomplish as they've yet to make their demands known.   All in all,  a lot is riding on Sam's shoulders as he assumes negotiations with the leader of the hijackers.  So far, there's more to be curious about than and edge of your seat thrill ride.  This may serve to keep the series airborne or it may just sputter out in a ridiculous flight of incredulous shenanigans.   Can the sexiest man alive manage to help the passengers survive against all odds or will this turn into a predictable crash and burn?  It remains uncertain whether to return or escape now by parachute. 

THEATER CAMP-Totally Charming with Ben Platt and an Excellent Cast

THEATER CAMP screening on Amazon Prime delivers exactly what you'd expect, a misfit group of kids that are perfectly at home in a summer camp that caters to their thespian yearnings and an eccentric staff that provides plenty of charm and laughs.  There is the quasi theme of putting on a show to save the camp with a slight revamp. The wayward, thick-headed son Troy (Jimmy Tatro) gains an epiphany of the purity in purpose his mother's camp provides.  By observing the cast and crew at work and play, Troy realizes it's more important to keep the camp afloat than sell off to the more sophisticated theater camp for financial gains.  The ingratiating, ensemble cast are all excellent even when played with exaggerated characterizations in this breezy, Easter egg infected film which is fun from start finish.  Leading the pack of beloved counselors are Tony winner Ben Platt and comedic actress Molly Gordon ("The Bear").  Some truly heartwarming moments come from the photos of both actors when they were young and acting in theater together.  These shots underline the goodwill that goes into student theatrical productions.  Nathan Lee Graham and Owen Thiele offer over the top performances as the dance counselor and costume designer that are hilarious.  New counselor Ayo Edebiri ("The Bear") is astonishing as she connives her way into the job and manages to find a method to the madness of teaching campers and relating to the die hard theater devotees.  Noah Given's earnest performance as the over-worked, problem solving stage manager is pitch perfect.  All the campers are ingratiating with tons of talent to wow any wizened casting director.  There are stand out singing performance by young cast-mates Luke Islan, Donovan Colan, and Alexander Bello.  Kendra Sanchez is delightful as the aspiring ingenue and Alan S. Kim steals his scenes as an enterprising talent agent.  The only duplicitous character, a plodding buyer for the camp, Patti Harrison, is played with comical cunning.  Watch for the dazzling, camper auditions and the night-time counselor entertainments.  The build up to the final production for parents pays off in a non-surprising smash hit.  A sub-plot between Platt and Gordon concerning dissension in their relationship is a testament to the treasure of friendship.  This dazzling gem of a film is bookended with priceless cameos from Amy Sedaris, Rita Cohen and Susie Essman.   The film feels less like a satire as it wraps and more as a resounding ovation for kids and adult alike who share a passion for the stage.   THEATER CAMP will keep you laughing' cause it has miles 'n miles of heart which is more than you need,     

JAWS-Does it Still Have Bite 50 Years Later

JAWS was a major motion picture hit back in the summer of 1975 keeping people off the beaches and audiences screeching at the bloody body parts thanks to a menacing shark.  I was one of the patrons in the theater who lapped up every gory detail and every part of this film a young Steven Spielberg captured on the big screen.  While in New York, I saw the Broadway show, THE SHARK IS BROKEN.  The play has the three leads from the film, Richard Dreyfuss, Roy Scheider and Robert Shaw stuck on the vessel while the menacing shark was undergoing mechanical maintenance.  The three actors bickered, bantered and argued the merits of theater and serious acting as opposed to popular melodrama cinema.  The dialogue was credibly forged as writings by Robert Shaw were kept during the filming.  Shaw's son, Ian Shaw found and developed these notes into a very clever and entertaining play.  So my question is does the splash hit still spike terror or possess strong acting chomps today. The opening of JAWS maintains the look of the 70s throughout and the young ingenue still chews up the screen as we wait for her attractive below water limbs to feel a nimble.  The incredible score was by the brilliant John Williams at the beginning of his burgeoning career. Great start but then the movie falls apart as the dubious n'er do well, mayor wants to sugar coat any threat that would keep tourists from trafficking to Amity for its financial saving season.  The movie stalls on land, especially with the hundreds of extras on the beach.  Learning to herd hundreds of extra must have exasperated Spielberg who couldn't get crowds to convincing flee from the shark infested waters or blend naturally into the background. The slap by the grieving mom to Scheider's face still resounded loudly.  The film finally gets its sea legs when the three actors are left adrift to kill the beast.  Dreyfuss as the smart-mouthed shark expert is put in his place by the wizened, hard drinking Shaw and Scheider finally shows some backbone.  They're interactions are what steer the drama and are far more convincing than the mechanical shark which is less menacing than remembered gnawing on the ship's stern.  Still, the relative novice Spielberg shows star promise as a director.  His choices in camera angles, cast and composer Williams were all brilliant.  The 70s was the epoch of big disaster films.  JAWS remains at the top of this genre with better story telling, character development and special affects.  But, the movie flounders in retrospect.  I suspect Spielberg would tell you he was still honing his craft but bound for bigger and better things to come.  

MJ on Broadway-Mostly Jejune Jukebox Crowd Pleaser

Michael Jackson, a.k.a. King of Pop would have turned 65 this past August.  Alas, this indisputable artistic genius and multi-talented singer/song writer, dancer, arranger and trend setter's self-destructive trajectory proved fatal from an involuntary overdose of prescribed narcotics from his personal physician.  The 2022 Tony winner for best choreography, direction and orchestration doesn't delve into Michael's death at 50 or the allegations of sexual abuse.  This lively musical takes a stroll down the yellow brick road with a mostly white washed, innocuous past except for the bullying he received from Joseph, a.k.a. as Michael's dad.  These scenes of a father who withheld love and drove Michael and his brothers relentlessly does little to generate sympathy consider the celebrated achievements in the music and entertainment industry.  Where this musical soars; as it often does, is during its plentiful, elaborate musical numbers which deliver show stopping dancing and singing from the the young and older Michaels, his brothers and the various backup dancers. Credit famed Tony winning choreographer, director and professional ballet dancer Christopher Wheeldon who wields magic with the major suffusion of talent on stage.  It's a jukebox joyride when the Michael's sing some of his many hits, taking us through his evolutions as an artist.  The show begins before the gauzy curtain rises revealing a warm-up rehearsal on stage and Michael's handwritten notes on acclaimed musical artists along with inspiring, work ethics.  MJ was made with the cooperation of the Jackson estate (which at times Michael gambled) to create his visions.  The show is easily enjoyed with the musical legacy the show pays robust homage.  It's still fair to be cynical when critiquing a biopic show that offers up hit after hit but fails to flush out his multi-dimensional character and controversies surrounding Michael.  The book is written by two time Pulitzer Prize winner Lynn Nottage. Nottage also received the Tony for Best Book of a Musical for MJ.  Still the show has plenty of holes and the staging of the young and old Michael's together doesn't deliver the emotional impact it intends.  Instead, it relies on Michael Jackson's music, dancing and showmanship that would make PT Barnum envious. MJ the Musical is light on its feet when it comes to storytelling but it can afford to when the King of Pop left us a stupendous soundtrack that should stand the test of time and you don't pay attention to the man behind the curtain.  

Broadway's THE SHARK IS BROKEN Dreyfuss Shaw and Scheider Snap at Each Other on Set

The opening bars of JAWS; doo doo, doo doo, is arguably more famous than Beethoven's dah dah dah dah!  Fifty years since JAWS first broke box office records and scared people from venturing into the ocean, the lure of JAWS has not diminished the film's "fin"nome on pop culture.  Spielberg, an up and coming director at the time made Benchley's novel into a whale of tale using animatronics and by casting Robert Shaw, Richard Dreyfuss and Roy Scheider in the lead roles. The mechanical sharks for the film were continually problematic.  For long stretches while on set, the actors were kept on standby as the shark was being repaired. This clever, comedic play on Broadway at the Golden Theater is a three actor,  one act. one set play onboard the fishing boat.  What's captured is the banter, hard drinking and fiery dynamics between the actors during their downtime.  Lest you think these rantings are conjectures or that you're seeing Shaw's doppelgänger, know that Shaw is played by his son, Ian Shaw, who found his famous father's writings of what transpired while the three were stranded at sea.  Besides starring as his dad, Ian also co-wrote the play.  Dreyfuss (Colin Donnell) is portrayed in all the fast-talking, nueroticism you would expect. Shaw (Ian Shaw) comes off as an inebriated, intellectual brut who took pleasure in tormenting Dreyfuss.  Scheider is a voice of reason and acts as the peace-maker in the group.  All three actors are wonderfully convincing and entertaining in the cast. Scheider's NYTimes is as ubiquitous as Shaw's flask. Scheider updates the others daily on the Nixon/Watergate scandal.  The play acts a zeitgeist for the 70's and much of the humor comes from Shaw's ironic predictions of relentless sequels and Scheider's incredulous comments on corrupt politicians.  The three are left to find ways to pass the time which leads to betting games, baiting each other and personal revelations.  Dreyfuss questions whether their work as actors constitutes art or whether it's silly and self-indulgent. Scheider counsels from a business perspective in which many people are depending on them as actors.  Whereas Shaw, who is held in unabashed esteem by Dreyfuss, lords theater, Shakespeare and writing over mainstream, popular movies.  The ingenious set is the rustic, fishing vessel which lends itself to the gruffness and isolation conducive to anchoring a forced camaraderie.  The show opened with the ominous notes and a fierce, animated shark swimming in the water which suddenly sputters, smokes and sinks.  This dubious event sets the tone for a chuckle worthy 90 minute cruise laden with grit and wit allowing the audience to fathom human nature and entertainment extending leagues down into its depths.   For those seeking smaller, smarter productions vs. major Broadway musicals, this is the show to catch.   You're gonna need to bring bigger expectation for this unique and uproarious production.