Ok, I’ve been a fan of this band for years, but is it me, or are their fans just getting younger and younger? Or perhaps it was the symptom of the fact that it was a 16 and up show, but I’ve never seen such an insane crowd in my life. Even at other World Inferno shows. From my vantage point up in the balcony, all I could see was masses and swarms of kids stage diving, crowd surfing, moshing, and generally beating the crap out of each other. After the show ended, I’ve never seen so many kids limping gingerly outside and carrying each other to safety. But hey, they’re young. Their bones aren’t done growing yet anyway so they mend faster.

It was nice to be able to watch the band actually, for once, rather than get caught up in the crowd antics (and wake up with whiplash, which is what happened last time I saw them). They are still as entertaining as ever, and their new music is every bit as good as the old stuff. Though I have to admit I haven’t been paying attention to their latest CD release, which I think is Red Eyed Soul. But it’s a really good album and most of the set was from that one. I was disappointed they didn’t do their famous waltz or “One for the Witches” which is my personal favorite, but a band that tours this much is allowed to get sick of some of their older tunes, I suppose. Their special blend of cabaret, circus, punk rock, lounge and ska never fails to entertain. I’ll probably still be going to their shows when we’re all old and grey. And their other fans are all still 16.

I’ve never been a huge fan of Beckett plays. Mainly because nothing usually happens. And this play is no exception. Except for the first time in my theatre-going history, I wasn’t frustrated by the tediousness of it all. I was riveted. How can this be? Because Fiona Shaw might be a higher power. She, one of the greatest stage actresses of our time, has done it once again.

So, in traditional Beckett style, it’s a play about nothing. A woman is buried up to her waist in a pile. What exactly is surrounding her is unclear. It appears mainly to be the rubble of a post-apocalyptic bomb field, strewn with rocks and sand and vague remnants of humanity (the outline of a window frame jutting out, for example). And much of the rubble appears to be broken down buildings. It is unclear how long she’s been stuck there, with her rarely seen companion, Willie, who’s legs and mental state are both broken. It is also possible that they’re both just being tortured in some hell dimension. Or perhaps it’s nothing specific at all, but just a metaphor for being trapped or stuck, and the consequences.

Act one, Ms. Shaw is ebullient and perky and clear headed, despite her situation. She rambles on in a long monologue, talking to Willie, and thus telling us about their situation. And when we see them again in act two, she is buried up to her neck. So the entirety of act two, all we can really see the entire time is Fiona Shaw’s head, sticking out of a vast wasteland of nothingness. Bleak to say the least. And never boring. The most incredible thing about the performance is that her character (Winnie) never stops holding onto her positivity, even when she’s lost all hope (and all her teeth.) You would never think that just a talking head on stage, just talking, doing nothing, could be so riveting.

And that, is what I find to be most Wonderful!

What can really be said about this monumental piece of theatre? Ranking in my top 3 favorite musicals of all time, I was thrilled to learn it was coming to NYC’s Carnegie Hall. But disappointed when I heard it would only be a 2 night concert version of the musical. I looked at it more like a backers’ audition. Hopefully bringing it to NY will get people excited about a possible Broadway run again, which has been on and off the table for years. Those pesky Christian protesters seem to be enough to scare off the lot of theatre producers because theatre goers these days do tend to be rather conservative. Particularly compared with British theatre goers, where the show ran for years, to rave reviews, and played in London’s Royal National Theatre. The sad (but unsurprising) irony is that most of the complaints the protesters have with the show, simply do not exist. And if any of them had ever actually seen it, they would know this first hand. But any mention of religious allegory in a satirical setting is enough to bring out the crazies.

But who cares about them, right? I still got to see my show that I love in NY, with an all new cast (except David Bedella as warm-up man/Satan, who originated the role). It was great to see the little changes (the words “mad” and “biscuit” are Americanized and switched to “crazy” and “cookie,” naturally) and hear new people singing the roles. Harvey Keitel as Jerry Springer (the only non-singing role) was disappointing in the first act. Flubbing lines and generally having low energy. But then in act 2, his acting chops really came out and he completely redeemed himself. Although he was much more of a low-key Jerry than I’d seen previously.

The cast was great. Solid. And with only 2 weeks of rehearsal, I was surprised to see how fully realized the production was. I thought it was just to be a concert version, but it was almost fully complete, with costumes and choreography, and much of it sung off-book. The orchestra and singers needed some tightening up, certainly, it wasn’t the cleanest thing I’ve heard, but again, 2 weeks rehearsal. And rather than set pieces, huge projections were used instead, and they were extremely effective (and cheaper!). Rather than use an actual burning cross at the end of act one, use a giant projection of one! Almost as effective. But not as eyebrow singeing.

I was thrilled to hear Emily Skinner sing “I wanna sing something Beautiful,” one of my favorite mini-arias. I didn’t like, however, that the character of Chantell, who is supposed to be in her 40s I believe, and quite obese, was played by a not-at-all-fat twenty-something actress. She sounded great, but I think very miscast.

What was most exciting to me was that a NY audience got to hear and see this show that I’ve been in love with for years. And to hear the audience roaring with laughter at all the jokes that I’ve come to know and love (and quote incessantly). It’s filthy and brilliant and hope it someday finds its place in a more permanent way onto the NY-scene. Maybe not Broadway; maybe Lincoln Center or BAM. Where audiences tend to be a bit more enlightened.

And did I mention they say fuck a lot?

The Super Furry Animals played last week at the venue formerly known as North Six. Now, this was a great name for a venue, as it was located on North 6th street, you could never forget where it was. Now that it’s the Music Hall of Williamsburg, I’m not sure I care to remember.

The show itself was great. Holy Fuck is an experimental electronica band from Toronto. Their music incorporates elements of electro, dance, funk, and video game. Really fun instrumentals to bop around to. I’ve never seen so many keyboards, laptops, wires, inputs, and insane ways of wiring them all together. A band of tech/video game dorks. I found them highly enjoyable and highly danceable.

Next up was the Super Furry Animals, a prog-rock/psychedelic band from Wales. I’ve been a fan for years but never seen them live. Their music is astounding and unique, but their live show is pretty much straight up just them performing their songs. I guess I’m spoiled; if I don’t get comedy or a light show or nudity or something additional, it’s a rarity. Almost as if it’s a unique concept when a band really is just about the music, and nothing else.

I was disappointed they didn’t play Sidewalk Surfer Girl and a couple of their other more popular tunes, but I was also thrilled to hear so much new stuff live. And they tend to be quite electronic-sounding on many of their albums, but their live show was much more focused on their straight-up guitar-based songs. Although there was plenty of keyboard and electronic action going on.

The only gimmicky thing they did the whole time was during one song where the lead singer put on a giant Power Rangers-looking helmet and sang the whole song through the eye-hole. He looked like a demonic cyber-alien. It was neat. And didn’t detract from the quality of the music. Oh, and they played for a full 2.5 hours. Was really a good live show.

The venue, however, needs help. For my complaints about the management, please check out my Yelp review of the new space. My review is the one that has the picture of me in front of it.

http://www.yelp.com/biz/music-hall-of-williamsburg-brooklyn#hrid:FYw5V3a2ShlTURf1izm5cQ/query:music%20hall%20williamsburg