Monologist Mike Daisey in How Theatre Failed America
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The last date listed for Monologist Mike Daisey: How Theatre Failed America was Sunday May 2, 2010 / 7:00pm.
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Few Broadway musicals are more beloved than The Sound of Music, and now you can see it live in a production by Lyric Opera of Chicago, with Hollywood star Billy Zane stepping into the role of Captain von Trapp. It's the story of Maria, an aspiring nun who takes a job as governess to the widowed Captain von Trapp's seven children. As she gradually earns the heart of the family -- and their father -- the von Trapps are threatened by the rise of the Nazis, and must figure out how to escape Austria. "My Favorite Things," "Edelweiss," "Do-Re-Mi," "Climb Ev'ry Mountain," "The Lonely Goatherd" and the soaring title song are just a few of the unforgettable melodies in this classic work of musical theater. The cast includes opera stars Christine Brewer and Elizabeth Futral, Jenn Gambatese of Broadway's Wicked and All Shook Up, and Edward Hibbert of Frasier. Learn More
Reviews & Ratings
Featured review from Norman S.
view more less of this review
A very entertaining,wide ranging,hilarious,utterly
engaging monlogue of a long life(though he's only 35) in the theater and the intrigues and wrong priorities that plague it and its practitioners in 21st Century US. Daisey is not only a brilliant performer but one who has thought deeply about his craft,his fellow actors/Crew/administrators and the audience and seeks to move American theater to
save itself by going back to emphasizing art rather
than making real estate,blandly/mechanically filling subscription slots,pleasing various corporate entities and survival in the narrowest sense at the cost of making art. A must see and hear.Can't wait for
his other show this week,THE LAST CARGO CULT.
In How Theater Failed America directed by Jean-Michele Gregory, Daisey sinks his razor-sharp wit into a subject he knows well: the American theater, from the sublimely crass to the genuinely ugly. From gorgeous new theaters standing empty as cathedrals, to “successful” working actors traveling like migrant farmhands, to an arts culture unwilling to speak or listen to its own nation, Daisey takes stock of the dystopian state of theater in America: a shrinking world with smaller audiences every year. Fearlessly implicating himself and the system he works within, Daisey seeks answers to essential and dangerous questions about the art we’re making, the legacy we leave the future, and who it is we believe we’re speaking to.