Jesse Alexander p.2 – Jeph Loeb & His NBC Pilot, ‘Day One’
Our two-part conversation with former Heroes co-executive producer Jesse Alexander, writer of Marvel’s upcoming Howling Commandos: Shotgun Opera concludes today. When we spoke with Alexander, he was in the middle of filming some shots for Day One, a new science fiction pilot he’s created for NBC. While we had him on the phone, we took the opportunity to talk about the upcoming series, and Alexander’s other TV work.
Read the full interview here!
Starting Vertigo’s Crime Line: Ian Rankin on Dark Entries
By Zack Smith
An exlusive talk with the internationally-renowned crime novelist on his all-new graphic novel for Vertigo.
Read the full interview here!
Reprinted from The Independent Weekly
There are two types of musical theater lovers: Those who love Miss Saigon and those who don’t. For some, Miss Saigon is an enchanting, tragic romance; for others, it’s overblown, overproduced and reduces both Madame Butterfly and the Vietnam War to a couple of set pieces and a rhyming dictionary.
I enjoy musical theater but I’m not a connoisseur; as a result, my perspective falls somewhere in the middle. In N.C. Theatre’s production at Memorial Auditorium, there were a few genuinely thrilling parts and a few others where I found myself wincing in annoyance—only to hear the person next to me sniffling and wiping their eyes with a tissue.
On a technical level, this is perhaps one of the most impressive productions ever seen at Memorial; as a work of storytelling, its ultra-earnestness and sometimes-painful lyrics are tailor-made for a wide audience, but leave others cold. The tale of Miss Saigon, by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby Jr., is by now well-known; set against the backdrop of the fall of Saigon, a 17-year-old prostitute named Kim (Jennifer Paz from the show’s first national tour) finds love with the earnest G.I. Chris (Eric Kunze, reprising his role from Broadway and the first national tour, and who was last seen locally in N.C. Theatre’s Jesus Christ Superstar). Circumstances separate the lovers, who reunite years later in a world that has changed. There’s also a helicopter and a pink Cadillac on stage.
The standout here is Broadway veteran Kevin Gray as the wily pimp The Engineer, who gives a comic-yet-desperate spin to his role; at times, I cared more about whether he’d escape Vietnam than Kim. His performance of the satirical ditty “The American Dream” is the evening’s highlight. This ode to the on-stage Cadillac is an old-school Broadway number with excellent choreography and fancy footwork. The rest of the cast does well, though Jennifer Shrader occasionally seems a bit stiff in the underwritten part of Ellen, Chris’s girl back home. Technical credits by director Richard Stafford and choreographer Marc Oka are excellent.
This is a huge hit for N.C. Theatre; the packed house at the performance I attended delivered a standing ovation and shed plenty of tears. Perhaps you will cry, too. Or maybe you’ll be one of those who wonders how many words could possibly rhyme with “Saigon” or “Engineer.” It all depends on what kind of musical theater lover you are.
Memorial clears space to face down DPAC
Theater vs. theater
The early success of the Durham Performing Arts Center’s 2,800-seat theater has created pressure at the older performing arts venue down the interstate in Raleigh.
Recently, the Progress Energy Center, a four-venue facility topped by the 2,300-seat Memorial Auditorium, instituted changes that would open the main stage to more big-ticket touring acts.
Among the key changes was for the Carolina Ballet to relocate most of its non-Nutcracker performances from Memorial Auditorium to Fletcher Opera Theater. This relocation in turn creates space and scheduling problems for several of the smaller resident companies that use the facility.
Read the full article here