Best of the Year: Theater

My opportunities to see theater this year were a bit more limited than in other years. Still, I'm not disappointed. I had the opportunity to see stirring revivals, like Sunday in the Park with George, Equus and Gypsy, and big, new productions, like Billy Elliot and In the Heights. This was the year I finally got to see Blue Man Group, Laurie Anderson (Homeland) and Groovelily, longstanding gaps in my theatergoing education.

But this was mostly the year that I was reminded of the extraordinary power of theater to change your existance--and it happened not once but twice. There are those extraordinarily rare moments sitting in the theater where the audience becomes so engaged, so riveted, that people collectively forget to breathe. If I have two of those moments in a decade, it makes all the bad theater worth it. To have two such moments in a year is nothing short of thrilling, as both of these plays were. So, the best of the year in theater in 2008 is an unbreakable tie: August: Osage County and Passing Strange.

Traci Letts' drama topped most people's 2007 list and won five Tony Awards. My chance to see it came shortly after many in the Steppenwolf cast departed and Estelle Parsons stepped into the lead role of Violet Weston. Parsons gives an incredible performance, and she's a standout among a cast of incredible performances. But the true accomplishment is Letts beautiful words. Nearly four hours and not a single word is wasted. Every moment is raw and honest. And every person who sees the show leaves somehow different.

I hadn't expected to have a best play and a best musical, but that's how it turns out in 2008. Passing Strange was stunning in so many ways. I've rarely had such an intellectual night at a musical, with discussions of identity and race put to a rocking score. Daniel Breaker as Youth and Stew as, well, Stew were flawed, engaging human beings searching for meaning. The music was fantastic.

Passing Strange operates on a variety of levels. On one level it is the simple story of a boy and him mom. But it is also a profound meditation on the middle class African-American experience. It's an exploration of art and life--and which is, in fact, more real.

But what strikes me as most important about Passing Strange and a significant reason to lament its premature demise is the audience it attracted. This was the most age and racially diverse audience I've ever had the honor to sit in.

Passing Strange had the wonderful misfortune to be so complex and so finely integrated that it couldn't be marketed. Nothing I've seen--the commercials, the appearances on The View or The Tony Awards, the cast recording--did justice to the show. Had I not seen the show, none of these things would have attracted me to it.

Spike Lee's documentation of the final weekend of performances plays at Sundance next month. Will it finally do justice to the show that played the Belasco? I can only hope. But short of that, it will certainly provide a triptych to one of the most thrilling theatrical pieces in my lifetime.

Passing Strange: The Original Cast Recording

How do you sell a Broadway show that is so infinitely greater than the sum of its parts? I watched Passing Strange, one of my top-five theater experiences, on The View and thought it came off horribly. I've seen the commercial. Doesn't make me want to see the show. The web site? Well it's a little better, but nothing that makes the show a must-see. So, I had some hope that the original cast recording would capture at least some of the extraordinariness of Passing Strange.

Passing Strange is now available on iTunes and will be available on CD next month. In all honesty, the show doesn't translate all that well to cast album either. It brings back great memories of the experience of seeing the show live, but hasn't been all that impressive to the uninitiated.

The album is a live recording, a great idea given the way the audience's energy informs the show. On the recording, however, the audience seems distant and appreciative rather than enthusiastic. The recording never approaches the level of energy the show itself reaches.

The songs also seem truncated. The endings often seem abrupt. One- or two-minute songs that work seamlessly at the Belasco come across as excerpts on the cast album. So, ultimately don't think the album will sell anyone on the show.

There are some great things about the show and the recording. The performances are excellent. Stew comes off great, as do most of the supporting cast. Daniel Breaker is very good, though he seems less of a presence than on stage. The music is also excellent and the great songs from the show give me memory chills every time I give it a listen.

Passing Strange

Moments into Passing Strange you realize this will be a different theatrical experience. Shortly thereafter you think, "This is going to be great." Then Stew and company arrive in Amsterdam and, well, I can't speak for anyone else, but I was trembling and struggling to catch my breath I was so awed. As the wall of sound from "Keys" washed over me, as the emotional intensity of Youth in Amsterdam punched me in the gut, I was transported.

After that defining moment in my three decades of theatergoing, I was hooked. And things only got better and better. I'd call this a top-5 experience in my life.

Nominally, Passing Strange is the story of Stew, in the show he's the narrator and tour guide, as he travels from L.A. to Amsterdam and Berlin to find himself, his identity--to find what is real. His Black, middle-class existence is a mask he needs to yank from his face. Youth (Daniel Breaker) is the young man looking to find something real.

The journey is less about the physical move from the U.S. to Europe--though this journey is critical to Youth's self-discovery--than it is about the more personal journey that Youth must go through to find his place in the world.

Add to that ongoing ruminations on reality as a social construct, identity, and art, set them to driving rock rhythms, and personify these ideas in the bodies of an extraordinary cast, and you have something so stirring and original my love for the power of theater was ignited again and raised to new heights. Suddenly the brilliant Gypsy felt like a history lesson.

Annie Dorsen's staging is also worth mention. The tiniest moments of interaction between Stew and Youth have tremendous power. The cast is used to brilliant effect on a stage that seems bare and cluttered as needed, sometimes simultaneously.

I was also thrilled to see such a diverse audience. The racial and age diversity gave me great hope for music theater. The 70-year-old women to my right were the first on their feet at the curtain call and engaged in an intellectual comparison of Passing Strange and Spring Awakening. The young men to behind me were high school students.

It's worth taking a look at the website, and the two songs on the site are great, But don't be fooled for one second that you're getting more than the tiniest fraction of the strange beauty that is Passing Strange.