Cornering Baby
All creativity has been sucked away from me. I cannot stop watching “The L Word.” I’ve just started season three. With six seasons, there’s far to go before I sleep, or read, or write, or think. Entire series on DVD are dangerous. I’ve become a child at the cookie jar with no parent to restrain my indulgence. I have become “The Garden of Earthly Delights.”
I did take a breather Sunday afternoon to hop on the T and spend three hours at The Opera House in yet more pursuit of mindless entertainment. Dirty Dancing. Sure, there have been some bad reviews, mainly from those who expect their theater to be high art or at least shockingly low brow. One of the favorite digs seems to label the production “theater for suburbanites.” There is some truth to the scorn, but who cares? All I know is that I grinned like a loon the entire time, never got bored, and squealed when Johnny strode down that aisle to mount the stage and claim his Baby with the most famous line in movie history besides “Frankly, my dear…”
I had the time of my life.
Many critics have argued that the production is not worthy of Broadway since it is, word for word, the movie. Even the actors resembled the movie actors in both looks and mannerisms. And thank the stars for that. Can you imagine Baby and Johnny singing to each other in standard Broadway musical fashion? Egads.
The production is perfect as it is, providing its guests with the romance novel experience of highs, lows, and promise of never-ending happiness. There was enough great singing and dancing, of course, and fun stage props to give the audience a live theater experience.
Additions to the movie script were most welcome and made me wish that the movie could be redone with its original cast to incorporate the deeper insights into character as well as the political and social environment of 1963 beyond the confines of Kellerman’s Resort. Subtle conversations about Freedom Riders, civil rights, and musical interludes of political folk songs added richness to the story’s theme. The additions also let us get to know Mrs. Houseman as a female force rather than the arm candy mother we saw in the movie, as well as provide more insight into Johnny and Baby’s relationship.
Even minor characters like Vivian’s husband (so clueless in the movie) and Neil Kellerman become three-dimensional in the stage version. There is closure for all, even these minor characters, and the audience gets a hint about what happens to Johnny and Baby after the curtain falls.
The enhancements succeed in that they emphasize the original premise of the story: do the right thing, fight against injustice, and do not judge others by your own narrow viewpoint. Dirty Dancing, entertaining as it is, reminds us that it’s wise to remember Neale Donald Walsch’s message of “God only sends angels.”
Quote of the Day: Got to find a brightness in the soul / Not look outside to find out where you are / Or you’ll never be satisfied / Until you make possessions of the stars. (“All Come True” by World Party)
I did take a breather Sunday afternoon to hop on the T and spend three hours at The Opera House in yet more pursuit of mindless entertainment. Dirty Dancing. Sure, there have been some bad reviews, mainly from those who expect their theater to be high art or at least shockingly low brow. One of the favorite digs seems to label the production “theater for suburbanites.” There is some truth to the scorn, but who cares? All I know is that I grinned like a loon the entire time, never got bored, and squealed when Johnny strode down that aisle to mount the stage and claim his Baby with the most famous line in movie history besides “Frankly, my dear…”
I had the time of my life.
Many critics have argued that the production is not worthy of Broadway since it is, word for word, the movie. Even the actors resembled the movie actors in both looks and mannerisms. And thank the stars for that. Can you imagine Baby and Johnny singing to each other in standard Broadway musical fashion? Egads.
The production is perfect as it is, providing its guests with the romance novel experience of highs, lows, and promise of never-ending happiness. There was enough great singing and dancing, of course, and fun stage props to give the audience a live theater experience.
Additions to the movie script were most welcome and made me wish that the movie could be redone with its original cast to incorporate the deeper insights into character as well as the political and social environment of 1963 beyond the confines of Kellerman’s Resort. Subtle conversations about Freedom Riders, civil rights, and musical interludes of political folk songs added richness to the story’s theme. The additions also let us get to know Mrs. Houseman as a female force rather than the arm candy mother we saw in the movie, as well as provide more insight into Johnny and Baby’s relationship.
Even minor characters like Vivian’s husband (so clueless in the movie) and Neil Kellerman become three-dimensional in the stage version. There is closure for all, even these minor characters, and the audience gets a hint about what happens to Johnny and Baby after the curtain falls.
The enhancements succeed in that they emphasize the original premise of the story: do the right thing, fight against injustice, and do not judge others by your own narrow viewpoint. Dirty Dancing, entertaining as it is, reminds us that it’s wise to remember Neale Donald Walsch’s message of “God only sends angels.”
Quote of the Day: Got to find a brightness in the soul / Not look outside to find out where you are / Or you’ll never be satisfied / Until you make possessions of the stars. (“All Come True” by World Party)
posted by Dina Keratsis at
7:04 PM
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