20
Aug
2008
One of my clearest memories from childhood is seeing the 1978 disaster "epic" Avalanche - starring Mia Farrow and Rock Hudson! - with my family, and roaring at the ridiculous dialogue (even though, at age 10, I barely understood why it was ridiculous) and effects (which even a 10-year-old knew were shoddy). To this very day, I'll exit some piece of crap at the cineplex and think, "Well ... at least it wasn't Avalanche-awful ... ," and terrible though it was, the movie - or rather, my family's reaction to the movie - remains one of my absolute favorite film-going experiences.
Saw it at the drive-in.
America's first drive-in theatre - which was also the world's first drive-in theatre - opened on June 6, 1933, and the act of watching movies from one's car proved so enduringly popular that now, 75 years later, hundreds of drive-ins can be found in locations all across the country.
Prior to its appearance on the Richmond Hill Barn Theatre's 2008 schedule, I hadn't heard of the Jessie Jones, Nicholas Hope, and Jamie Wooten comedy Dearly Beloved, so I was reasonably surprised when I arrived for Thursday's opening-night presentation and saw that, barring a handful of seats, the house was completely full. (Did these people know something I didn't?) I took it as a good sign, however, and there was an even more promising one not 60 seconds after the show started, when its first line, its very first, earned a huge, unexpected laugh.
Church Basement Ladies is a show I'd love to be hateful towards, because it sort of compresses everything I don't traditionally enjoy in musical theatre into one convenient package, and because its four-nonsecular-girls-and-a-guy conceit is such a blatant ripoff of those pitiful sequels to Nunsense, in which creator Danny Goggin decided to spice things up by adding a man to the mix. (I'd call Church Basement Ladies an unapologetic ripoff, except we Lutherans are apologetic about damn near everything.)
VICKY CRISTINA BARCELONA
In its opening minutes, Quad City Music Guild's Evita is so thrilling that even though the production begins with a funeral, I found it nearly impossible to stifle my giggles.
Dear Sarahjayne:
PINEAPPLE EXPRESS
If you weren't able to get tickets for the Green Room's weekend presentations of Assassins, I'm guessing you weren't alone, as all three performances wound up selling out. But over the next two weekends, I urge you to try again - there are scenes in director Derek Bertelsen's production that are so good they'll give you the chills. And the scenes that don't? They're pretty amazing, too.
