April 1, 2019 MIKE JEKNAVORIAN Local Events

DEAR EVAN HANSEN

The first national tour of the Broadway hit musical Dear Evan Hansen plays at the Broward Center through April 7

SHADE-O-METER RATING

4 OUTTA 5 WERKS: “SHE GAVE GOOD FACE – SHE SERVED IT”

What’s Dear Evan Hansen? It’s a hit Broadway musical. It opened on Broadway in December 2016, and it won the Tony Award for best musical, as well as other numerous awards. What’s the Au-Rene Theater? It’s the main theater at the Broward Center for the Performing Arts. It holds about 2,600 people, and it has three levels. How was the venue? Elegant. How was the parking? They have valet, or you can park in the garage for $12. The garage is about a block away. There’s also parking lot for $10—which is a bit of a hidden gem—that’s a couple blocks away. It’s across the street from the Museum of Discovery and Science.

Does the venue serve liquor? Yes. How were the drinks? We didn’t get any. Does the venue serve food? They have some finger food. How was the food? We didn’t get any. Where were the seats? Row X in the orchestra. How much were the tickets? $175.00 each. Was the show sold out? It sure seemed like it. And I looked at what’s available for Sunday April 7 at 6:30 p.m., the last show of the run. Even that show is almost sold out.

How was the show? An intimate show—which is one part a story about deception, and another part about mental illness—Dear Evan Hansen is most likely the direct heir to the similarly-themed Broadway musical, Next to Normal. The dialogue-heavy plot (commence spoiler alert) concerns a high school senior in the titular role who suffers from some undisclosed psychiatric condition, which is mostly agoraphobia/generalized anxiety disorder and/or Asperger syndrome. A sullen classmate, Connor Murphy, commits suicide, and in a turn of events, a fallacious connection is perceived between the outcast Evan Hansen and the recently deceased. In an eerie parallel that foreshadows the events of the Parkland shooting, the remainder of the story is about the community’s desire to understand and make sense of a tragedy, all the while as the middle-class Hansen gets closer and closer to the affluent Murphy family. But it’s only at the very end of the show that that curtain is pulled back on it all. If the title role is performed correctly, and it was for the most part in this touring production, the deceit of Hansen is that he’s viewed as a hero, as opposed to what he really is—someone who tricked a lot of people for a long time, and all for his own gain. The fact that the show doesn’t require that the Caulfield-esk Hansen has to contend with his deeds—it essentially lets him off the hook—underscores the superficiality and fantasy-aspect of this aspect of the text. Another critique of the story might be that it presented a sanitized version of mental illness, characterized as a quirky and charming attribute that enhances the persona and endears one to others, as opposed to a real impediment to an individual’s health and to the larger society.

How was the music? The mostly contemporary score consisted of equal parts light pop-rock music and acoustic music. As a comparison to the aforementioned Next to Normal, which is similar in musical style, that show likely has a higher percentage of better songs. It is assumed that most people will be familiar with the popular, “Waving Through a Window.” However, the more poignant numbers were “For Forever,” where Hansen presented a fantasy version of his friendship with Murphy, and “So Big/So Small,” where Hansen’s mother attempts to reconcile her relationship with her son.

How was the set design and staging? The set design, which consists of computer and phone screen, compartmentalizes the characters, as well as their individual traumas, within those respective devices. But when the screens finally vanished at the end of the show to reveal Candide’s Garden of Eden, was when one of the show’s main themes—a critique of social media—was revealed. How was the costume design? The outfits were contemporary non-fashion attire, so there wasn’t much to look at. Regarding merchandise, that people were buying Hansen’s famous Charlie-Brown-inspired stripped shirt can certainly be seen as some form of proof of the show’s popularity.

How did the audience react? I heard some people say that the story itself was depressing, but that they didn’t feel depressed because of the music and the way that the story was presented. Others appeared to cry out at some of the more dramatic moments. Particularly, right before Hansen is outed as a fraud in the Mama Rose-like confessional, “Words Fails.” What could have improved the show? As previously expressed in other reviews, in my opinion, theatrical shows should be experienced in intimate theaters. All the more so, for this work. Despite that, unless you plan on seeing the show on Broadway, I wouldn’t let the venue’s size deter you from seeing this production.

What was surprising about the show? There’s a line in it where Murphy’s father said that kids do everything on Facebook. Please. If anything, it’s those who are in their 30s, 40s and 50s that are obsessed with Facebook, not “kids.” The producers and/or writers might want to consider replacing that Facebook line with Instagram, etc.

The Broward Center for the Performing Arts is located at 201 S.W. 5^thAve., in Fort Lauderdale, Florida. Dear Evan Hansen runs through Sunday April 7. Tickets can be purchased on the website or at the box office.

December 22, 2018January 8, 2019 MIKE JEKNAVORIAN Local Events

HAMILTON

As the heir-apparent to Les Miserables in tone, if not musical style, Hamilton is everything that you thought it would be, and more. You’ll cry, you’ll laugh, and then you’ll cry some more.

SHADE-O-METER RATING

5 OUTTA 5 WERKS: “10s ACROSS THE BOARD – LEGENDARY STATUS”

By Mike Jeknavorian

What’s Hamilton? It’s the smash Broadway musical that tells the story of one of America’s Founding Fathers, Alexander Hamilton. It swept the 2016 Tony Awards with 11 wins, including one for Best Musical. But really, who doesn’t know this show? What’s the Au-Rene Theater? It’s the main theater at the Broward Center for the Performing Arts. It holds about 2,600 people, and it has three levels. How was the venue? Elegant. The foyer is spacious.

Hamilton Original Broadway Cast Recording. Two discs. $18.89.

How was the parking? They have valet, or you can park in the garage for $12. The garage is about a block away. We also found a parking lot for $10 that’s a couple blocks away. It’s across the street from the Museum of Discovery and Science. This parking lot is a hidden gem, as there’s no line to enter it—you just pull right in. Fabulous! Does the venue serve liquor? Yes. How were the drinks? They were fine. We got one each. They measure the pour with a jigger, though, so you don’t get a drop extra. A double costs about $20. Does the venue serve food? They have some finger food. How was the food? We didn’t get any.

Where were the seats? Row V in the orchestra. How much were the tickets? $272.75. And if you think that’s a lot, they’re even more on Broadway. As a comparison, in the 1970s the ticket price for the Liza Minnelli vehicle, The Act, caused a stir for being too high. And what was the top price for that show, you might ask? $25. Was the show sold out? Yes. And if you’re think about seeing it, I wouldn’t wait to get tickets. I looked, and even the last show only had about 10 tickets left that weren’t re-sale ones. And these unprecedented sales aren’t just happening in South Florida. The first stop of the first national tour—there are now two national tours running simultaneously—was in San Francisco, with a run of about five months. The entire run sold out in 24 hours after it went on sale.

How was the show? The show started with an un-egalitarian audio notice from King George III, with him telling you to enjoy “my” show. The show then began with the famous “Alexander Hamilton” number, which foreshadowed the events of the show and of Hamilton’s life (think the “Ballad of Sweeney Todd” from Sweeney Todd). From there, the show moved to the year 1776. But to get full enjoyment from the show’s first few numbers likely requires knowledge of the score. It’s when the Destiny’s Child-ish Schuyler sisters appeared that the show really picked up for the uninitiated. And it never let up until the end. The entirety of the show vacillated between Hamilton’s private and public life (although dramatic license was taken with both). Regarding his public life, one saw how Hamilton rose all the way from an orphaned immigrant with no money to become the first Secretary of Treasury, only to be killed in a duel by Vice President Aaron Burr. His private life saw equal tragedy with the death of his first child and first son in a duel defending Hamilton’s honor, and a period of estrangement from his wife because of a sex scandal. The acting and singing from the performers in this tour, monitored the “Phillip Tour,” was fine. But the original Broadway cast, they ain’t. A standout performance came from Jon Patrick Walker as King George III. And although his performance was in contrast to Jonathan Groff’s Broadway take of the king as icy and unhinged, nevertheless, Walker’s version was resplendent with pomp, circumstance and rolling r’s. And when the end of the show finally came (the running time is just short of three hours), it was not bombastic. To the contrary, it featured an economy of craft, as all good works of the stage or screen should have, and left the viewer wanting more. The curtain call consisted of one line of actors—including Mosieur Hamilton—instead of individual bows, which could be considered a nod to the democratic predilection of America’s Founding Fathers.

How was the crowd? They were into it, but their response did not equal the popularity of the show. It’s possible that some were emotionally overwhelmed at the end. It’s also possible that some of the audience consisted of season subscribers, who may not be familiar with the work. What could have improved the show? Some of the dialogue was inaudible during some of the parts, which can be a problem with large booking houses.

What was surprising about the show? Spoiler alert: If you want to be completed surprised by the show, don’t read any further. Oh, where to begin? One, I had no idea that the show utilized a double rotating stage—otherwise known as a concentric stage—with one stage rotating within another. The show’s choreography capitalized on these mechanics for maximum dramatic effect, probably even more so than with Les Miserables’ famous rotating stage. And two, it’s a requirement of both tours that they not only have the concentric stages, but they must be able to duplicate the original Broadway choreography and lighting design. Beyond the quality of the music and the lyrics, if there was one standout, it was the combination of the choreography, lighting and staging. I have never seen those theatrical elements used as effectively in the theater as they were in this show.

The Broward Center for the Performing Arts is located at 201 S.W. 5^thAve., in Fort Lauderdale, Florida. The show runs through January 20. There are also a limited number of lottery tickets that are available online two days before each show for $10, in commemoration of the “ten-dollar Founding Father.”

November 5, 2018November 27, 2018 MIKE JEKNAVORIAN Local Events

BOB DYLAN AND HIS BAND

Bob Dylan played a standing-room-only show in Fort Lauderdale last month as part of his 2018 tour

SHADE-O-METER RATING

5 OUTTA 5 WERKS: “10s ACROSS THE BOARD – LEGENDARY STATUS”

By Mike Jeknavorian

Who’s Bob Dylan? I’m sure that we all know who he is. What’s the Au-Rene Theater? It’s the main theater at the Broward Center for the Performing Arts. It holds about 2,600 people, and it has three levels. How was the venue? It’s first-rate. How was the parking? They have valet, or you can park in the garage for $12. The garage is about a block away. Does the venue serve liquor? Yes, and there are multiple bars. We got one double chardonnay for $19. How was the drink? Fine.

The latest chapter in the highly acclaimed Bootleg Series makes available the pivotal studio recordings made by Bob Dylan during six extraordinary sessions in 1974 that resulted in the artist’s 1975 masterpiece, Blood On The Tracks. The 2 LP configuration of More Blood, More Tracks assembles 10 of the most emotionally resonant alternate takes of each of the 10 songs appearing the original Blood On The Tracks plus a previously unreleased version of “Up to Me.”

Does the venue serve food? They have some snacks. How was the food? We got a chocolate bar. It was good; it costs about $3. Where were the seats? At the back of the mezzanine, a.k.a., the second level. How much were the tickets? About $110 each, including those annoying Ticketmaster fees. The flat price was $93.75 each (how did they come up with 75 cents?). Was the show sold out? Yes, completely. They even had a standing-room-only area. Was there an opening act? No.

How was the show? I’ve seen him several times before, and, concerning the sound of the whole band, there’s no one that sounds quite like them. The closest comparison I can think of is The Stones. The reason that The Stones sound different than everyone else is that the songs are driven by Richards on the guitar, as opposed to just about what everyone else does, where the rhythm section (the drums and bass) drives the song. It’s said that this is a dangerous way to play, but, if one can do it right, there’s nothing that sounds like it. The same thing is going on here with the Dylan band—He’s leading the songs from the piano. Regarding the songs, it’s common knowledge that Dylan’s not going to perform them as written, and this show was no exception. The set consisted of a mix of standards and the obscure. Standards consisted of “It Ain’t Me, Babe” (a fabulous subverted version of it), “Highway 61 Revisited,” “Like A Rolling Stone” (this one really got the crowd jazzed up), and “Don’t Think Twice, It’s Alright.” The band consisted of either four or five members (I couldn’t quite tell because of the distance) and, particularly with the lighting, came off like the house band from a David Lynch film.

How was the crowd? Here’s where it gets interesting. No photography was permitted, and the ushers were swirling around like hawks over this one. The crowd mostly consisted of baby boomers, and we all know how they are when it comes to cell phones—those fingers had to of been itching like mad to satisfy the Facebook beast. And satisfy it they would, for they started with the phones during the last few songs. The ushers tried to stop it, but there was just too many at once. I can guess why Dylan prohibits the phones, but one wonders if it would be less distracting to just let them do it than to try to hold them back, because, ultimately, there’s really no stopping them. You also had a fair amount of ones who left halfway through the show, no doubt, because they weren’t getting the typical “rock concert” experience. Have they watched one live video of Dylan’s that was recorded over the past 30 years?

What could have improved the show? Really, nothing. Either you like him or you don’t, but the music was on point. And for those who are critical about Dylan’s voice, it is what it is. They should know what they’re getting into by now. Regarding the abundance of merchandise, I’m not sure that that aligns with Dylan’s no-nonsense image. What was surprising about the show? The way that Dylan interacts with the crowd. I thought that I remembered him at least greeting the audience in the past. There was none of that here. He never addressed the audience (not once), he either stayed behind the piano or very far upstage the entire time, there were no spotlights or video screens of him, and his exit consisted of one brief bow with the rest of the band. I can’t think of anyone in the history of show business who’s at this level that did something like this. Even Elvis and Michael Jackson—both were known for having little interaction with the audience—said at least a few words to them.

The Broward Center for the Performing Arts is located at 201 S.W. 5^thAve., in Fort Lauderdale, Florida.

April 25, 2018April 25, 2018 MIKE JEKNAVORIAN Local Events

TRIXIE MATTEL

Trixie Mattel played a sold-out show in Fort Lauderdale last Friday, where she entertained the audience with comedy and music

SHADE-O-METER RATING

4 OUTTA 5 WERKS: “SHE GAVE GOOD FACE – SHE SERVED IT”

Who’s Trixie Mattel? She’s a drag performer/musician who came in sixth-place on the seventh season of RuPaul’s Drag Race and who won the third season of RuPaul’s Drag Race All Stars. She also had her own TV show, The Trixie and Katya Show, which aired on Viceland. What’s the Amaturo Theater? It’s a 590-seat theater at the Broward Center for the Performing Arts. How was the venue? The venue is great, and there really isn’t a bad seat in the house. It really should be utilized more by entertainers, but it seems that many would rather play, for example, at a half-empty Parker Playhouse instead of here.

Trixie’s second album, featuring the single, “Moving Parts.”

How was the parking? There’s a garage across the street, or you can valet. Does the venue serve liquor? Yes. And child, those queens never laid off of it. It seemed like there was always a line for da liquor. A well drink and a glass of wine were both $9. How were the drinks? The well drink was strong enough. At least they’re served in real glasses, which is a nice touch, and not those tacky plastic cups. Does the venue serve food? They only have a few snacks. There’s no kitchen.

How much were the tickets? $41.08. Where were the seats? On the side. Unless you’re sitting right up in the front, the side seats actually seem better than the ones in the main section. Was the show sold out? Yes. Was there an opening act? If you can believe it, she actually had one. Brandon James Gwinn, who also doubles as her on-stage assistant, did a short musical set. How was it? Completely not needed. Gwinn performed from 8:10-8:30 p.m, and after that, the lights came on.

How was the show? Trixie came on the stage at 8:45 p.m. to thunderous applause and proceeded to launch into her comedy routine. Of which, the material itself was slightly better than Miss Mattel’s ability to deliver it. Maybe as a backlash against her self-professed burgeoning appeal to teenage girls, the show also contained a proliferation of raunchiness, such as, “I used to get black-out drunk, and one time my friends wrote ‘faggot’ on the inside of my stomach in cum,” and, “Oh, you can laugh at the molesting jokes, but not the STD jokes?” One of her better comedy lines cleverly utilized localism. When one of the jokes didn’t go over as expected, Trixie explained that it’s new material, “[but] I’m a white misfit from a mid-west town. If I wanted something to bomb, it would have been the local high school.” The show was also punctuated with some musical numbers, where there was a fair amount of audience recognition a la singalongs. In all, there was a 20-minute intermission, and the show ended at about 10:45.

How was the crowd? Mostly gay, but peppered with some straight couples and some “bridal party” looking ones. What could have improved the show? Ditch the opening act. If it ain’t a rock concert, and a rock concert this was not, then that foolishness ain’t needed. Regarding the songs, it’s a shame that Trixie’s vocal ability wasn’t better, because of the two, the comedy and the music, it was the music that stood out. The songs were all original compositions, and they were catchy. Maybe she’ll have a career as a songwriter at some point.

What was surprising about the show? The number of straight couples that were there. Who would of ever thunk that we’d live to see that day that “drag” would become so mainstream. It seems inevitable that one of these RuPaul girls will crossover into either Hollywood or pop music, but it’s anyone’s guess which one will do it first. If only Divine could have lived to see all this.

The Broward Center for the Performing Arts is located at 201 S.W. 5th Ave., in Fort Lauderdale, Florida.