crazy game

My son has become enamored with all things Japanese. He recently visited the Land of the Rising Sun and it only heightened his admiration and love for the country and its culture — especially its pop culture. And Japan is brimming with pop culture. A lot of it is a happy amalgam of traditional Japanese lore mixed with a skewed interpretation of American influence and iconography. This produces an interesting blend that is compelling and flashy, but uniquely Japanese.

My son recently enjoyed? endured? experienced? a screening of a 1985 Japanese cult science-fiction musical comedy called The Legend of the Stardust Brothers. The movie — all 100 confounding minutes of it — started life as a concept album by a non-existent Japanese pop group called The Stardust Brothers. Inspired by the quirky The Rocky Horror Picture Show and the even quirkier The Phantom of the Paradise, Japanese singer-songwriter-producer Haruo Chicada wrote a dozen songs and released the album in 1980. A few years later, filmmaker Makoto Tezuka (son of manga legend Osamu Tezuka, creator of Astro Boy, Kimba the White Lion and a zillion other beloved Japanese animated properties) adapted Chicada's work into a live-action, big-screen presentation.

Although my son got to watch The Legend of the Stardust Brothers in a proper theater, I managed to track down the film on one of the free streaming services available though my cable television provider. On a Sunday afternoon, after watching the Phillies drop an early season game to the beleaguered Washington Nationals, I spoke the magic words — "The Legend of the Stardust Brothers" — into the voice-activated search feature on my cable box remote control. My TV screen came alive with several options on which I could view my son's cinematic recommendation. With a few quick navigations, I settled back to watch The Legend of the Stardust Brothers.

The film is about.... um.... it's about... well, it's sort of.... I mean.... it's kind of.....

Honestly, I don't know what it was about. I watched it. At its conclusion, one hour and forty minutes after it started, I wasn't quite sure what I had just seen. Admittedly, it was filled with catchy songs. There were two main characters who seem to be just as bewildered as I was. There was a girl and there was a guy with dark glasses and thick sideburns. There were two bumbling inept security guards. There was a guy who looked like David Bowie. There were girls in shiny jumpsuits. There were monsters. There were gangsters. There was a little cartoon. It was colorful and fast-moving. It featured a lot of jumpy camera work and quick cuts. Did I mention that the songs were catchy? 

Was it bad? No, not really. It held my interest, from a curiosity standpoint. Was it good? No, not really. It was cute, but nearly plotless. The budget for this movie looked to be about 261 yen. (That approximately $1.80 American). But, the songs sure were catchy.

a dedication

I saw The Phantom of the Paradise in its original theatrical release in 1974. I loved it. It was the coolest movie I had ever seen. Granted, I was 13 and it was replaced on my "Gauge of Coolness" just a few moths later by the Who's silver screen adaption of  the rock opera Tommy. I saw The Rocky Horror Picture Show after its midnight showing buzz reached me in my sheltered Northeast Philadelphia cocoon. I ventured down to the exotic world of Philadelphia's notorious South Street to witness the rice-throwing, talk-back-to-the-screen spectacle for myself. Years later, I could definitely see the influence both of these films had on the filmmakers in bringing The Legend of the Stardust Brothers to fruition.

After the final credits scrolled to darkness, I called my son. When he answered the phone, I merely said: "What did you just make me watch?" This echoed my son's own retort after I made him sit by my side to view my newly-purchased DVD of The Phantom of the Paradise approximately two decades ago.

I guess now we're even.

The songs were catchy, though.

The Legend of the Stardust Brothers is streaming for free on Freevee and Tubi.

www.joshpincusiscrying.com

see the man with the stagefright

* * * * * * WARNING * * * * * *
This blog post contains personal opinions. My personal opinions, as a matter of fact. You may not agree with them and that's okay. Just understand that I am very opinionated and I have resigned myself to the fact that my opinions are in the overwhelming minority. Perhaps this disclaimer should begin every one of my blog posts...

I dislike Broadway musicals. I like some movie musicals — Singing in the Rain, Oklahoma!, The Music Man and any number of gala spectacles from the Golden Age of Hollywood. But there is something about musical productions on the live stage that just rubs me the wrong way.

When I was in sixth grade, my mother took me to a matinee performance of Hair!, the hippie culture musical that was as popular as it was controversial. I had the soundtrack album and I used to play it endlessly. I knew every word to every song, even if I didn't understand what a lot of them meant. (I'm sure my mom was a bit on edge to hear her ten-year old singing "Sodomy.") I remember my mom being scolded by a group of protestors outside of the theater for bringing an impressionable youngster to this "smut" as one angry woman with a picket sign deemed it. My mom, in typical "Josh Pincus's mom" fashion, stood her ground, telling that lady to "mind her own business" (in so many words) as we marched through the theater doors. I remember liking the show, but I can't remember too many details aside from the infamous nude scene occurred at an unexpected time and under the camouflage of bright strobe lights.

In later years, I saw Grease! (eh! it was okay), Beatlemania (it was an incredible simulation, he said sarcastically) and The Phantom of the Opera (I hated it). After that, I have pretty much avoided the theater. It's weird because I love going to concerts and seeing live music performed. But there's just something about musical theater....

That said...

Back in 2013, network television began the experiment of bringing live Broadway musicals to the small screen. Although, I don't like Broadway musicals, I do love me some television. So, I watched one of the first ones that was broadcast. This was an over-hyped production of The Sound of Music starring Carrie Underwood. I am not familiar with Ms. Underwood's career, aside from knowing that she was a winner on American Idol, a show that despite having never seen, I have already formed an opinion about.... and it is not a favorable one. I was familiar, however, with the film version of The Sound of Music, but not the stage version, which this particular production would mimic. It was, at best, uneven. Carrie Underwood appeared overwhelmed and not up to the role's demands. Broadway powerhouse Audra McDonald, as "Mother Abess," overshadowed her fellow cast members with her stellar vocals. The rest of the production was highly forgettable (remember... my opinion).

In spite of lukewarm reviews, NBC stuck it out and, a year later almost to the day, presented Peter Pan Live! — a shit show if there ever was one. Allison Williams, in the title role, appeared uncomfortable, displaying a "deer-in-the-headlights" expression for the duration of the show. She was featured alongside a slightly out-of-it Christopher Walken, who seemed to have lost interest midway into the second act.

These two misguided presentations were followed by even more attempts from NBC, (Hairspray! and The Wiz) standing firm as though they were going to continue with this until they got it right (and so far, they haven't). Fox, feeling they had a better handle on things, joined in with Grease! (jumping on the "titles that include an exclamation point" bandwagon), A Christmas Story and The Passion (a musical tale of Jesus's last days, which no one recalls watching).

I actually watched Fox's take on The Rocky Horror Picture Show, touted as an "event," a week before Halloween in 2016. I loved The Rocky Horror Picture Show when I was in high school, having seen well over one hundred audience-participatory showings. This ill-conceived presentation was doomed from the start. Of course, it would suffer from endless comparisons to the now-beloved low-budget (if somewhat dated) original film. The television version played out like Rocky Horror karaoke. The ensemble was obviously talented, albeit miscast (remember... my opinion). Their delivery of the songs, while certainly strong and loud, was soulless, passionless and — more importantly — lacking any attachment to the source material. The casting of Laverne Cox as "Dr. Frank N Furter," was an obvious grab for attention, but, in my opinion, it missed the mark (remember... my opinion). No disrespect to Ms. Cox. She is indeed a powerful presence with a dynamic voice, but having this character played by a woman misses a joke that is important to the campy nature of the plot (remember... my opinion).

Ever the glutton for punishment, I settled down last night to watch yet another one of these "live musicals for television." This time, the mighty marketing department at Disney threw its magical hat in the ring, as they presented The Little Mermaid as an amalgam of the original animated film and new sequences featuring a politically-aware, racially-diverse cast parading around on a freeform stage before an interactive live audience. The production itself was, for the most part, beautiful. It was chock full of the type of theme park "magic" that makes Disney Disney. However, those who have experienced the "Voyage of the Little Mermaid" attraction at Disney's Hollywood Studios in Florida may have felt a twinge of déjà vu. The staging was very reminiscent of that show. Very reminiscent. On the plus side, the cast was very talented. "Ariel" was portrayed (on stage) by 18-year old Auliʻi Cravalho, who previously voiced the titular character in Moana. She was a formidable successor to the now-adult Jodi Benson who voiced the character in the original 1989 animated feature. Ms. Cravalho possesses the voice, appearance and persona that fits perfectly into the cookie-cutter mold of the current trend in Disney Princesses. Graham Phillips, looking fresh from the set of any Hallmark Channel Christmas movie, fit nicely into the part of hunky "Prince Eric." Single-named Jamaican singer Shaggy seemed unfamiliar with the role of stuffy crustacean chaperone "Sebastian." However, he turned in acceptable recitations of "Under The Sea" and "Kiss The Girl," employing his signature growl in each. (Subsequent reviews chided him for not wearing the "claws" of his animated counterpart.) Evil sea witch "Ursula" was played to the villainous hilt by Queen Latifah. From the moment she hit the stage, decked out in a white fright wig and patent leather tentacles, she was determined to steal this show right out from under everyone involved. TV staple John Stamos, as the real-life incarnation of cartoonish "Chef Louie," was determined to upstage even Queen Latifah's over-the-top performance. At times, the entire production seemed like filler between an onslaught of promos for "Disney +," the entertainment giant's new streaming service that launches in a week.

However, there was something missing.

The staging was clever and innovative. The cast was talented. The story was classic. And everything was dripping in Disney magic. Yet something was missing.

Soul.

Passion.

Sound familiar?

The Little Mermaid Live! suffered from the same thing as The Rocky Horror Picture Show Live! It was dead. Lifeless. Cold. Emotionless. It was Little Mermaid karaoke. They were singing the songs. Singing the words to the correct music, but it was... as the kids say... "meh." (Remember... my opinion). Twenty minutes into the first act, I caught Mrs. Pincus — a true lover of lavish musicals — fiddling with her phone, the unmistakable electronic "beeps" betraying her lack of attention.

"I lost interest." she stated after I nudged her to look at a particularly inventive effect. Those three words spoke volumes.

Shared opinion.

www.joshpincusiscrying.com

mary, mary

In December, with a house full of out-of-town guests, Mrs. Pincus and I were unable to fulfill our Christmas tradition of going to the movies followed by a dinner of Chinese food. We did, however, make it down to our son's house to feed his cat while he and his girlfriend celebrated the holiday with her family. But, alas, we missed our chance to see the highly-touted and highly-anticipated sequel to Walt Disney's 1964 Oscar-winning film Mary Poppins.

Until last night.

Nearly two months after its release, and with most of the excitement passed, my wife and I ventured out on a weeknight to see the film. We were enticed by an offer of five dollar admission — something we just couldn't turn down. When we arrived at the theater, it seemed that a lot of folks are not swayed by admission prices knocked down to below half off. The place was empty. That's not a compliant. Actually, that's a preference.

In 1964, my Aunt Clara took me to my first movie in a theater... and that movie was Mary Poppins. I loved it. It was bright and colorful, filled with cheerful songs and funny characters. Although I  was 3 years old, I actually remember standing up in my seat and clapping. In subsequent years, I watched Mary Poppins on television and later on a video tape that I purchased. I knew every scene and every song. My wife and I watched it with our son, who came to love it as much as we loved it. It was a bonafide, multi-generational family favorite.

So, when I first heard about the proposal of a sequel to Mary Poppins, I was very, very skeptical. Over fifty years had passed since the beloved original film. Many of the original cast members were too old to reprise their roles. Others were retired from acting while others were deceased. Of course, the new film would be recast. A new story would have to be written. And, with one of the celebrated Sherman brothers — the original's prolific composers — gone, recreating those infectious tunes would be a tall order.

When our opportunity to see Mary Poppins Returns at Christmas did not arise, I wasn't really that disappointed. I really didn't want to see it. I feared that it would tarnish the sparkling memories of the stellar original. But, when a five dollar admission to the movies presents itself, you don't think twice.

At the theater, Mrs. P and I sat through a number of trailers for forgettable films we decided we have no intention of seeing... not even when they are available on Netflix. Then the sparsely-occupied auditorium darkened and the familiar Disney Studio "castle" insignia filled the giant screen. 

I am happy to report that Mrs. P and I were held spellbound for the next 130 minutes. I wanted to dislike Mary Poppins Returns. I really did. But I couldn't. It was irresistible. It was a love letter to the original, loaded with nods and winks and subtle references. It was perfectly cast with the unflappable Emily Blunt capably filling the poised shoes of Oscar winner Dame Julie Andrews. Fresh from Broadway and settling nicely into his role as cheeky "Jack the Lamp Lighter" was the positively magical Lin-Manuel Miranda, whose put-on British accent wasn't nearly as distracting as Dick Van Dyke's attempt 54 years earlier. The supporting cast was spit-spot on. The sets were beautiful. The direction was snappy. The choreography was inspired (well, inspired by the original). The songs were jubilant when they had to be and sad when that was a requirement. Even the animation sequences were artistic homages to the style and characters of a Disney that wasn't out to sell you a time-share.

I seem to be gushing and you seem to waiting for the other shoe to drop. Sorry to disappoint, but not this time. I genuinely loved this movie. No snide remarks. No sarcastic asides.

No spoonful of sugar needed.

www.joshpincusiscrying.com

and now, the tragic story

Am I about to write a review of a movie that's forty-three years old? Um, possibly.

When I was thirteen, I used to go to the movies with my friends and my family. It was 1974 and I accompanied my parents to see Mel Brooks' Blazing Saddles and Young Frankenstein. Riding on the successful coattails of the 1972's  The Poseidon Adventure, the trend-setter in the disaster film genre, I saw The Towering Inferno, Airport '75 and Earthquake (presented in theater-shaking Sensurround). Although titillated by the provocative TV commercials for the animated adult feature The Nine Lives of Fritz the Cat, I had to settle for tamer, more age-appropriate offerings like Journey Back to Oz and Herbie Rides Again. When I was out with my friends, we gravitated towards cooler movies, like The Lords of Flatbush (with Henry Winkler and a pre-Rocky Sylvester Stallone) and the rollicking, swashbuckler The Four Musketeers. However, one movie stood out among all the others that year. It was a hodgepodge of horror and music and comedy and just plain weird. I'm speaking, of course, about Brian DePalma's Phantom of the Paradise. (Yes, that Brian DePalma.)

Phantom of the Paradise stars singer/songwriter/actor Paul Williams as Swan, a villainous record impresario who flim-flams a poor sap named Winslow Leach out of his elaborate cantata. The film is chock full of everything to appeal to the cinematic masochist. There's mediocre acting, over-the-top musical productions (as over-the-top as the small budget would allow), and a handful of Paul Williams-penned tunes — none of which come close to "We've Only Just Begun," "Old Fashioned Love Song" or "The Rainbow Connection," though spunky Jessica Harper (in her motion picture debut) was obviously coached to mimic Karen Carpenter in her somber take on "Old Souls" about midway through the film.

By no means is Phantom of the Paradise on the level of Citizen Kane. Nor does it pretend to be. It does, however, possess all the elements of a great cult film. It's one of those "so bad, it's good" films. You know, like a big-screen car wreck at which you cannot look away. It pre-dates The Rocky Horror Picture Show by eleven months, and certainly, in my opinion, deserves the same (dis)respect. Phantom of the Paradise boasts similar production values and hokey story, though the Tim Curry-Susan Sarandon-Barry Bostwick trifecta is far superior to Paul Williams and a handful of glitter. When I was thirteen, Phantom of the Paradise was the coolest movie I ever saw — until it was usurped by Tommy only five months later. But those were a glorious five months.

When my son was in high school, Phantom of the Paradise was released on DVD and I bought it immediately. I was so excited to watch this film with my son, hoping that he would enjoy it as much as I did. He was very leery of my big build-up for the film. In his defense, I had not seen it in thirty years and I only had fuzzy but fond memories of it. So the two of us sat on the sofa as scene after garish scene flashed across our TV screen. Out of the corner of my eye, I could see my son giving me that look. "This is the coolest movie you every saw?," he muttered in disbelief. "Well, I remember it being a lot better.," I explained, "Besides, I was thirteen." He was a sport and he sat with me until the end. Then he got up and left the room without saying a word. I got the message, though I think I may have watched it again by myself.

Over the years, I would still pull out my Phantom of the Paradise soundtrack and give it a nostalgic listen. Sure the songs are not particularly memorable, but they are like a visit from an old friend. So you can imagine my excitement when it was announced that there would be a special screening of Phantom of the Paradise at a popular concert venue on the night before Easter. My excitement level could be measured in direct contrast of Mrs. Pincus' reaction when I asked her if she'd like to go. I noted that it was free admission. She gave a defeated exhale and agreed to go. My son even joined us. (Granted, the venue is in the same building where he works.)

All day Saturday, I tweeted about my evening plans and Instagrammed screenshots from the movie (some of which were "liked" by Paul Williams himself, who, for some reason, follows me on social media. Yep, the real Paul Williams.) I was as giddy as I had been when I saw the movie in its initial run.

That evening, we sat in an audience that was comprised of about eight people and a whole lot of empty chairs. I sang along with all the songs. (I still knew all the words.) My son laughed at the terrible acting and my wife checked her eBay auctions and answered emails, pausing several times to ask me "How much longer?" Ninety-one minutes and one big, splashy, puzzling finale later, it was all over.

And it was great!

www.joshpincusiscrying.com

they say the neon lights are bright on Broadway

I am no fan of live theater — plays or musicals. I know, it makes no sense, as I am a huge fan of live music (i.e. concerts). I don't know what it is. Actually, I do know what it is. I don't like the over-exaggerated movements and the shouting of dialogue and songs and actors trying their very best to upstage each other. (I wrote about my dislike for live theater here and here.) 

I am also no fan of televised awards shows. Despite my dislike, I have watched many of them. I've even stuck with most of them until the bitter, tedious end of a broadcast that usually runs well over its allotted time. For the most part, awards shows are long, sprawling, sometimes aimless marathons of self-congratulation and inside jokes, punctuated by celebrities — both big and small — who make it very clear that they should not appear before a camera without a script.

But, on Sunday night, I watched the 70th Annual Tony Awards. And I actually enjoyed it.

Dancing > interviewing

Because of my disinterest in theater, I was not familiar with any of the nominees, save for current media juggernaut, the unavoidable Hamilton. This year's festivities were hosted by James Corden, host of his own talk show on the Tiffany Network following Stephen Colbert. I have seen Corden's show a few times and, while I can say that his interviewing skills leave a lot to be desired, the guy is undeniably talented. He sings, he's funny, he's self-effacing and he's personable. Plus, there wasn't really anything on Sunday night.

I was surprised by how many shows I actually knew, mostly because the current Broadway season is fraught with revivals and musical versions of big-screen movies re-imagined for the stage. I was also surprised by how many actors I recognized — seasoned Frank Langella, enigmatic Michael Shannon, pixieish Michelle Williams, the lovely Jane Krakowski and that redheaded guy from Modern Family (a show I never saw, but I have spotted him in commercials). The brief musical highlights were energetic and richly produced, a stage full of original cast members giving their all, as though it were opening night once again. In between musical numbers, the cameras cleverly switched to the front entrance of the majestic Beacon Theater as the cast of a different current show performed a compact rendition of a song from a classic Broadway musical, much to delight of the crowds gathered on the sidewalk. (The young cast of Spring Awakening belting out "I've Got Life" from Hair was especially amusing.)

Love is love is love is love

I think what I enjoyed most was the heartfelt sincerity expressed by each and every winner in their acceptance speeches. The actors, actresses, directors and assorted "behind the scenes" people all seemed genuinely appreciative, grateful and humbled. Most fought back tears and some didn't bother to fight, delivering their gramercy through red-rimmed eyes and quavering voices. It was truly touching and emotional and very real. Everyone looked happy and happy to be with other happy colleagues. It was especially touching as it was hours after the massacre at an Orlando nightclub in which 50 people were senselessly murdered by a hate-filled miscreant with an assault rifle. It was an incident that hit close to home for a great many of the evening's honorees. Yet they felt the right thing to do, the only thing to do, was to celebrate life. They expressed their support for their fallen brethren, as well as their anger and frustration. There was an overwhelming feeling of love and camaraderie that was palpable to the home viewer.

The entire three-and-a-half hours flew by. It was joyous and sad and entertaining.

And real.

www.joshpincusiscrying.com

so ya, thought ya, might like to go to the show

Once again, Mrs. Pincus scored some free tickets. This time, she got four seats to a Wednesday evening performance of Pippin, the Tony Award-winning musical that recently enjoyed a revival on Broadway. The touring company of Pippin was stopping at Philadelphia's esteemed and opulent Academy of Music for eight performances wedged into four days. Although I love going to concerts, I am not a fan of live theater, musical or otherwise. But, I am a fan of free tickets, so Mrs. P met me after work and after a quick dinner, we made our way over to the Academy which is just a few blocks from my center-city office.

I've mentioned previously on this blog, that I love old movies. Some of the old movies I love are musicals, including Oklahoma, Yankee Doodle Dandy, Best Foot Forward and Singin' in the Rain, to name just a few. But, there's something about watching a musical on stage that just rubs me the wrong way. Maybe it's the overly dramatic style that is so prevalent in stage productions. I don't like the exaggerated dancing and flamboyant gesturing. Yeah, I understand that performers were encouraged to project and enunciate to reach the folks in the last row of the highest balcony, but, these days, actors' voices are electronically amplified. They're wearing tiny microphones taped to their cheeks. They don't need to sing — nay screech! — at the top of their lungs. Yet, they do anyway.

We arrived early and stood in the small entrance area waiting for the doors to open. Other patrons gathered as well and, soon, the golden doors swung open with the help of a smartly-uniformed usher on the other side. The slightly larger (though still small) lobby was outfitted with a bar at either end and a makeshift merchandise table, already announcing that the soundtrack CD was sold out. This was only the second night of performances. I guess that's good for them, although, for the life of me, I didn't know a single song from Pippin. Not that I am an expert on Broadway musicals, but I know a few songs from a few shows. I asked my wife if Pippin was the one that featured "Prepare Ye the Way of the Lord"?

She answered, "No. That's Godspell."

"How about Day by Day?," I pressed.

"No. That's Godspell, too.," she replied.

She's the same age
as your grandma.

Well, I was fresh out of songs with which to associate the show I was about to see. In my defense, Stephen Schwartz composed both Godspell and Pippin, so I wasn't really that far off. Actually, the only things I knew about Pippin was it originally starred the multi-talented Ben Vereen and Irene Ryan, fresh off her nine-season run as "Granny" on The Beverly Hillbillies. Ryan had performed the role of Pippin's feisty grandmother until she suffered a stroke on stage and was hospitalized. She passed away six weeks later. Outside of that, everything I was about to see would be a surprise.

At the front of the lobby, between the two massive theater entrances, there was a large sign that listed the players for this evening's performance. Most of the names were unfamiliar, until I spotted John Rubinstein. I knew the name from the mid-70s TV drama Family, a show that made Kristy McNichol a household name. Turns out, John originated the title role of Pippin on Broadway and was now playing the character's father. A little further down the list was Adrienne Barbeau, the lovely costar of the controversial All in the Family spin-off Maude. Adrienne played star Bea Arthur's staunch feminist daughter "Carol." Although I hated the show, I watched it. I watched it for the same reason every teenage male watched it — and that reason was Adrienne Barbeau. She was a voluptuous 27 year old at the show's premiere and joined the ranks of Farrah Fawcett and Lynda Carter as TV sex symbols. Later, she made her motion picture debut in then-husband John Carpenter's atmospheric popcorn thriller The Fog. She followed that as part of the ensemble cast of Escape from New York, once again under the direction of Carpenter. Never one to take herself too seriously, Ms. Barbeau's campy tour de force came in the horror anthology Creepshow, a movie that poor Mrs. Pincus watched for the first time through fingers laced across her tightly-clenched eyelids. Adrienne played Hal Holbrook's shrewish spouse who, after a series of imagined slaughters at the hands of her henpecked husband, finally gets her blood-soaked comeuppance. There! — is that sufficient gushing about Adrienne Barbeau? Needless to say, I'm a fan.

"Just call me 'Billie.' Everyone does."

We had to take a tiny elevator up to the level where our seats were. We filed into the darkened third balcony and made our way down the narrow aisle to row E, where we (thanks to extra tickets) were able to stretch ourselves and our bulky winter coats across four seats. From our vantage, the theater was beautiful! White lacquered wood trim, deep red velvet seats, regal gold accents topped with dramatic gold statuary. The stage, however, was a small, distant speck, skirted by, what I thought was a collection of children's dolls, but turned out to be the orchestra.

We perused the Playbill until the lights blinked and dimmed and the show began. The opening number, "Magic to Do" (which, I admit, I had to look up because I forgot, as I did all of the musical numbers), kicked things off. It was everything I hate about Broadway musicals. It was loud, with overly-theatrical gestures and a paper-thin, yet unnecessarily convoluted story, bolstered by dancing and jumping and tumbling and actors trying to out-act each other, even walking into the audience at one point. The next two and a half hours progressed in much the same way. Was it horrible? No, not really. Was it unforgettable? Hardly. Was it entertaining? Sure! The current incarnation of Pippin has been enhanced with Cirque du Soleil-style acrobatics and elaborate stage illusions that didn't exist in its initial run. Was I glad the tickets were free? You betcha!

About midway through the first act, Pippin's grandmother was introduced. As "Berthe," Adrienne Barbeau looked stunning in a form-fitting bustier. She displayed the same irresistible exuberance that she did at the beginning of her career, sending everyone in the theater to secretively "Google" her age. She is 70 and she brazenly defies that age. (Am I gushing again?) Incredibly, Irene Ryan, who originated the role, was also 70. Apparently, "70" was different in the 70s. Not content with just belting out her featured solo with a strong, bravado-filled voice, Adrienne doffed her flimsy outer robe and joined a muscular young man ten feet above the stage, where she was inverted, her shapely legs entwined around her spotter's torso. She sang the last verse of her song while swinging upside-down, to the delight of the entire house. May I reiterate — this woman is 70! Of course, my seat was approximately six miles from the stage, yet from my perspective, Ms. Barbeau has still got it.

When it was all over, Mrs. P and I left the theater, braving a wicked downpour that was atypical for late February in Philadelphia. We hustled through what was essentially a car wash to the train station to head home. As we rode on the train, we talked about the show. I decided, while it was indeed entertaining, it certainly wasn't memorable. But, it was free.

The next day, in true celebrity-obsessed, Josh Pincus fashion, I left a message on Adrienne Barbeau's Facebook page, referencing her overbearing character in Creepshow. Within minutes, I can only assume while grabbing a few moments of rest in her Philadelphia hotel room, Ms. Barbeau replied. I rightfully interpreted a sly tone into her reply.

(click to enlarge)

Obviously, she's a good sport. (End gushing.)

www.joshpincusiscrying.com

five hundred twenty five thousand six hundred minutes

A sprawling film deserves a sprawling blog post. - JPiC

I somehow agreed to go to a friend's house to watch Rent — both the 2005 film version and a recording of the final stage production that, while it opened on Broadway in 1996, was filmed live in 2008 after 5,123 performances. I was not familiar with Rent, aside from knowing it had something to do with AIDS and nearly everyone but me had seen it. I didn't know any songs, or plot lines or even actors. Hell, I'm not even a big fan of musicals to begin with. Oh, there are a few classics that I like — Oklahoma, The Music Man, Singing in the Rain and The Wizard of Oz come to mind — but they are the exceptions, not the rule. And, despite my love of concerts and live music, I get antsy and uncomfortable at live stage productions. I've seen a handful to know that. Like movie musicals, there are a few exceptions. My wife and I saw The Lion King, which was big and overblown, but, as a Disney fan, I was already familiar with the songs. We also saw Jersey Boys. I never was a fan of The Four Seasons, but again, I was familiar with the music and I found it to be enjoyable (plus it was free, so it had that working for it). However, I hated the movie version. It was long and tedious and I caught myself looking at my watch throughout the entire two-plus hour run time.

I'm pretty sure I the only reason I agreed to this event was because it was touted as an "80s" themed gathering (since the show takes place in the late 1980s). Invited guests were asked to bring "80s" themed food — whatever that means. A Google search of "80s food" yielded such memorable decades-past treats as "fruit snacks" and "Capri Sun," but our host was looking for more substantial fare. Mrs. P decided to take a shot at making spinach-artichoke dip and potato skins (in addition to a couple of batches of brownies, 'cause brownies were invented in the 80s, right?). Bottom line, if there's food, I'll sit through pretty much anything.

While Mrs. P and our host set things out on the dining room table buffet style, I lazily plopped myself down on the sofa. I noticed the DVD cases for both films lying on the coffee table. I picked them up, immediately searching for the length of each. The film, according to the little specifications legend buried in the corner under a collage of splashy pictures of the cast, runs 135 minutes. The filmed stage show clocked in at almost three hours. I looked up from the boxes and tried to get our host's attention.

"We're watching almost six hours of this?" I asked gesturing to the plastic-clad packaging.

"And a 'making of' documentary! Don't forget that!" she explained.

With the table set and guests fed, our host popped the first disk into the player. By popular demand, we would be starting with the movie. It was shorter. The credits began and eight silhouetted figures wailed the song "Seasons of Love." I was surprised by the fact that I had actually heard the song before, though I didn't know its title and I didn't know it was from Rent. As the list of actors faded in and out of prominence on the screen, I was again surprised by how many I knew. There was sultry Rosario Dawson, finally able to shake the ghosts of Josie and the Pussycats and properly show off her musical prowess. There was that guy from Law & Order who now costars on The Flash. I recognized Tracie Thoms from Quentin Tarantino's Death Proof and from the captivating and unfairly short-lived series Wonderfalls. And I spotted Sarah Silverman's name and thought, "Well, okay. I'll give it a chance."

I watched, taking it in, judging. The songs were — well, they were everything I dislike about the current trends in Broadway musicals. They were big, loud, overly-dramatic show-stopping numbers that, while carried off by the talented cast, were (in my admittedly untrained opinion) totally forgettable. One song, "Tango: Maureen," I thought was clever in its execution, subject matter and staging. The rest, I couldn't remember even under bright lights with a gun to my head.

Three five zero zero

The more I watched, the more I was reminded of a show I saw when I was in sixth grade. My mom (one of the coolest people that ever lived, no bias there.) took me out of school to treat me to a matinee performance of the rock-opera Hair when its touring company made a stop at Philadelphia's Shubert Theater (now The Merriam Theater). We hurried up Broad Street to the venue, only to be greeted by a rowdy group of protesters, beating a circular path on the public sidewalk, just feet from the theater's entrance. One woman in a sensible wool coat, conservative hat and white-gloved hands wrapped around the support post of a sign reading "PORNOGRAPHY!!" (with two exclamation points for extra emphasis!!) screamed at my mother, "Are you taking this child into see this smut?!" Little did this woman know, I had been listening to the soundtrack album daily for the past few years. I memorized every song, every lyric, every note. I sang along, sometimes duetting with my mom. (Told ya she was cool!) My mother turned to the woman and plainly asked, "Have you seen it?" The woman was horrified by the question. "No!," she huffed, "I wouldn't dare!" "Well, I'll let you know how it is when we come out.," my mom replied as we pushed our way past the human blockade. I turned and stuck my little tongue out at the lady as we passed through the doors.

Rent reminded me of Hair in its passion for the seriousness of its subject matter (Rent: AIDS; Hair: The Vietnam War). The rag-tag group of youthful performers in Rent were also reminiscent of the company of hippies that comprised the cast of Hair. Since I made that mental comparison, I couldn't get it out of my head. It stuck with me for the rest of the film's run. It wasn't a bad thing, I wasn't bored by the film. I just wasn't grabbed by it. I felt as though I was watching an updating of Hair and I found that distracting.

16 men and 1.21 gigawatts

Oddly, at Rent's conclusion, I was reminded of another movie-related scenario. I saw Pirates of the Caribbean: Dead Man's Chest, the second installment in the Disney POTC franchise of films, on its opening night. At the grandiose epic's finale, my son turned to me and reported, "That was Back to the Future II." I laughed, immediately getting the reference. Both films were purely set-ups for a third part to wrap up all loose ends and send fans off with closure tied up with a big red bow. Although Rent was not part of a trilogy (at least I don't think it is), it's similarity to another film (in this case Hair) struck me as  — oh, I don't know  —  similar.

I expressed my opinions to our host. A fellow movie fan, she accepted my assessment. We have agreed and disagreed on many movies, but that's a good quality in any friendship. She smiled and reached for the second DVD, however, the general consensus among the guests was "Let's save this for another time." Instead, more brownies were eaten.

The next showing of Rent in currently under consideration.

www.joshpincusiscrying.com

sharp as a pistol

Taking up an area of a little under two square miles with a population of a little shy of ten thousand, you probably never heard of Bristol, Pennsylvania. Oh, wait. There's that song about Bristol — by The Dovells — that hit Number Two on the Billboard charts in 1961. And of course it was the county seat of Bucks County until... um... 1725, but I guess you weren't around for that. Sure, Bristol has its share of history, like any number of towns in one of the original thirteen colonies. I'm sure, at one time, George Washington stopped to ask directions in Bristol or Ben Franklin knocked back a couple of brews at one of the many "publick houses." Actually, Bristol, in all of its charming quaintness, looks a lot like Alexandria, Virginia or Cooperstown, New York or a movie set from a Revolutionary War documentary. It's got that small town, "everyone-knows-everyone-else" homeyness that made you love or hate The Andy Griffith Show. At any given time, it's a good bet that someone is baking a pie in Bristol.

My wife won a pair of tickets to see a production of the Tony Award-winning musical Ragtime at the Bristol Riverside Theatre. Although I am, admittedly, not a fan of stage productions (I love concerts and I love movies, but there's something about stage plays and musicals that rubs me the wrong way), there is very little that I will turn down if it's free. So, on the designated Thursday evening, we drove a mere forty minutes to the tiny burg on the Delaware River. 

Down by the riverside!

We easily found a place to park and made our way to the theater. I was quite surprised to find the place bustling with activity, including a charter bus idling out front, unloading a contingency of folks all dolled up in their weekday finest. The small lobby was alive with chatter, as patrons handed over their tickets and a team of young ushers guided them to their seats. I turned to Mrs. P and commented, "I never imaged it would be so busy." She replied, "Like there's anything else to do in Bristol on a Thursday." She looked at me with that "rolling-your-eyes-without-actually-rolling-your-eyes" look. I smiled in agreement.

We took our seats in the small, darkened theater. The few lights dimmed completely and a very "Aunt Bee" -sort of woman took center stage for some pre-show announcements, most likely to encourage participation in an upcoming bake sale or pancake breakfast to support the church building fund. The the orchestra readied their assorted instruments (a real live orchestra, not a borrowed tape player!) and began the lush overture. On the stage the silhouetted actors moved into position. The lights raised, a spotlight illuminated the group of actors tasked with delivering the opening song and we were off.

I have to confess. I did not have high expectations for this show. In reality, I wanted to hate this show. I mean I really wanted to hate it. In my head, I had already devised a bunch of smarmy lines to incorporate into a blog post (this blog post, as a matter of fact!). I was expecting a high school caliber production with cardboard cutout sets, thrown-together costumes and "amateur-hour" quality singing. I wanted to relish the embarrassment and failure paraded before me. I even hated the book upon which the show was based.*

Boy, was I surprised.

The opening number was fantastic — a word I do not often use. It was professional. It was commanding. It was on par with any Broadway production. Meticulous costumes. Clever, multi-purpose staging. Intricate choreography. Soaring voices. And it was flawless. At the conclusion of the first song, my bewildered eyes met Mrs. P's equally bewildered eyes in the darkness. We were both thinking the same thing — "Holy crap! That was awesome!"

And, so, for the next two hours, we were treated to a totally engaging, totally entertaining production. Staging and special effects were more elaborate as the show progressed, including simulated fireworks and a full-size, working Ford Model T. At the show's conclusion, the cast took many well-deserved curtain calls and the thunderous applause signified unanimous approval.

And this blog post — specifically the distinct reversal of sentiment — is the highest praise I could give.

www.joshpincusiscrying.com

* In all fairness, I never actually finished the novel Ragtime. I got through the first two chapters and I didn't hold my interest,