My So-Called High School Rank: This awkwardly named but terrific documentary starts off as the story of how two high-school drama teachers wrote a musical in 2019 inspired by the pressure so many of their students felt to get into a top-rated college. Word of the show quickly traveled to other schools around the country who asked for permission to stage their own productions.
The filmmakers focused in on the auditions and rehearsals at three of them: one in an affluent California community largely populated by highly-educated immigrants working in the upper levels of the tech industry and dreaming of even more successful careers for their kids; the second in a white working-class community in rural West Virginia where theater takes a backseat to sports; and the third at an arts high school in the Bronx where nearly all of the students are Black and Hispanic and hoping that their talent will push open doors to opportunities their parents never had.
But the narrative really kicks into high drive when Covid arrives. The schools lockdown and all of the kids struggle to find ways to still put on their shows. The results in this 90-minute doc are both heartbreaking and heartwarming and a potent reminder of how theater really can change lives, particularly young ones. You can find it on HBOMax.
Kiss Me, Petruchio: The Public Theater’s Shakespeare in the Park productions have been a beloved summer tradition in New York for over six decades but one of the most fondly remembered of its shows still remains the 1978 production of The Taming of The Shrew with Raúl Juliá as Petruchio and Meryl Streep as Kate.
Beautiful and sexy, both actors were also full of the sass that comes from working with a scene partner who is as game and talented as the other. So it’s great fun to watch the back and forth between their characters in this classic battle of the sexes. But it’s even more of a treat to view the interviews the two gave backstage as dressers tighten Streep’s corset before one performance while she talks about bringing a feminist perspective to her role and as Juliá towels off sweat during an intermission while also explaining the importance of adding the rhythms of his native Puerto Rico to Shakespeare’s speeches. You can see it all for free on YouTube.
Streep, of course, is still with us, even if not onstage as much as we might want. But Juliá died in 1994 when he was just 54. His premature death was greatly mourned by the theater community, which you can also see in the documentary that the PBS “American Masters” series did on his life and which you can find here.
Between Riverside and Crazy: Second Stage’s current revival of Stephen Adly Guirgis' dramedy is still playing at the Helen Hayes Theater through Feb. 19 but the company is also simulcasting performances during the final two weeks of the show’s run.
I finally caught up with the onstage version a couple of weeks ago and it’s as thoroughly entertaining as it was when I saw the off-Broadway production back in 2014 (click here to read my review).
The plot centers around a Black ex- cop who is battling his landlord to stay in a large rent-controlled apartment on Riverside Drive (that provides part of the show’s title) and battling the police department over the compensation he feels he’s owed because a white cop shot and disabled him (which supplies the other part of the title).
However the true joy of this Pulitzer Prize-winner rests in the colorful characters Guirgis has created and the even more colorful language—simultaneously scatological and lyrical—that he’s crafted for them to speak.
Most of the original cast has returned, including the invaluable Stephen McKinley Henderson who has nestled himself even more snuggly into the role-of-a-lifetime that Guirgis reportedly wrote specifically for him.
The ticket price for each of the dozen or so remaining simulcast performances is $77, including a $9 service fee, and you can find out more about those shows by clicking here. I haven’t seen any of them so far but my blogger pal Jonathan Mandell has and he compares the experiences of seeing the show live and online in a recent posting that you can check out here.
There are other screen options too, including the latest installment of Paula Vogel's Bard at the Gate series. You can find that and some others on the TDF site by clicking here. Whichever you choose, have a great time and stay warm.
Thanks for the shout-out, Jan, but you apparently linked to an article I did about a different digital theater project, Theater for One's Here is Future (which was also good. To read about the simulcast on Broadway, please click on 6 Reasons to Love The Between Riverside and Crazy Broadway Simulcast
Jonathan, so sorry for the mix-up! Thanks for the fix, which I've also now made in the main text as well, particularly important since they've now extended the simulcast run through Feb. 19
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