REVIEW: Kylie Minogue at Verizon on Wed.

dailyrecord.co.uk

With a Pantheonic background and severe allusions to the theme of her Aphrodite Tour, Kylie Minogue and crew were clearly high on showmanship. Fantastic imagery in both the set and costumes were well done and recalled a combination of a Las Vegas stage show and an uber-gay Caligula. Despite all its spectacle, something was missing from the entire show. That seemed to be Kylie.

The boys came out in droves for Kylie at the Verizon Theatre last night. The girls, well, they were there, too. Upon walking into the venue, the stage was magnificent with its descending stairs and digital Greek columns, not to mention a large squadron of dancers. And there she was in all her glory with her Grecian-draped costume and winged ears. Opening with “Aphrodite,” she appeared to the hordes of screaming men in the audience. It was an impressive beginning. I dug the dancing gladiators.

But the visual onslaught began to be too much. And while she was clearly live on the microphone, she seemed hazy in her delivery. She screamed out to the audience several times and gave nods to Dallas, but they felt more squeezed in because the show is so tightly wound. She ascended on a golden Pegasus, which got hollers, but it didn’t amount to anything and it was after the show began. A big bust (of Aphrodite? Kylie? Kylie as Aphrodite?) appeared later and just sat there. Flying birds? Cool. What should I be doing? I began to question what it meant other than to show an embarrassment of riches. None of which helped her performance.

—  Rich Lopez

Concert Notice: Kylie Minogue at Verizon in May

Kylie Minogue has been plugging her non-North American tour mostly, but she’s finally announced the U.S. leg of her tour with one stop in Dallas. OK, Grand Prairie to be exact. Pre-sale tix for the U.S. leg go on sale to the public Jan. 22. Her North American dates will be presented by Logo TV, so this could be the gayest concert of the year — so far.

“The reaction to Aphrodite has been absolutely incredible and has inspired me and my creative team to develop a new show that will take all of us on a euphoric journey of joy, excitement and glamour.  I can’t wait to get on the road and see all my fans in 2011,” said Minogue.

Euphoric? Whoa.

—  Rich Lopez

News: Aphrodite, Sarah Palin, Beauty Sleep, Gavin Henson, Baldness

Road Director Blake Edwards dies.

RoadHidden above Manhattan, a gay son's link to his dad.

RoadBaldness solution in five years? Hair follicles grown from stem cells.

Aphrodite RoadAphrodite statue and mosaic floor thought to be from Roman bathhouse wash up in Israel after storm.

RoadPrince Harry had an affair with D.C. housewife Cat.

RoadScreen Actors Guild (SAG) awards nominees announced.

Road Rep. Mike Rogers (R-MI), the next chairman of the House Permanent Select Committee on Intelligence, says Wikileaks soldier Bradley Manning should be executed: "death penalty clearly should be considered here…If they won’t charge him with treason, they ought to charge him with murder."

RoadSaturn's moon Titan thought to have massive volcanoes which spew ice.

RoadHeterosexual couples flocking to civil unions, which were created for gay couples, in France: "Whatever their reasons, and they vary widely, French couples are increasingly shunning traditional marriages and opting instead for civil unions, to the point that there are now two civil unions for every three marriages."

RoadMariah Carey is having twins.

Beauty RoadGet your beauty sleep.

RoadTrey Songz says he won't let gay rumors bother him: "Let them talk man. I remember the actual day [I found out]. I was with my manager and he was like, 'You heard about this? We didn't know that.' I was hot about it because I love the ladies. "What I've learnt in this business is that people will make up their own reality of whatever they want to. What I encourage my fans and people to do is… you can't allow what someone else says to be your truth."

RoadMan hatches undercover plan to prove UPS employees stole his laptop computer.

RoadGavin Henson wants to be your Christmas pin-up.

Colfer RoadChris Colfer: Best Supporting Actress?

RoadMeghan McCain: My father will filibuster DADT repeal.

RoadFormal apology recommended in Atlanta Eagle police raid case: "A financial settlement with the Eagle Bar will be followed by a formal apology from Atlanta city government. That is the recommendation of Atlanta's public safety panel."

RoadDavid Beckham trying out a new look.

RoadGays not a part of Sarah Palin's America: "Never once in 'America by Heart' does Palin use the words homosexual, gay or lesbian.  She does, however, hint at what she thinks of sexual minorities.  'When it comes to raising good citizens,' she writes, 'all 'lifestyle choices” are not equal.'"

RoadHalifax radio station changes holiday ad after complaints: "On Wednesday, Q104 agreed to change a promotional advertisement for the station that elicited an allegation that it negatively stereotyped gay people. The station’s management consented to alter the in-house radio ad after the Nova Scotia Rainbow Action Project issued a news release and set up a Facebook page about it. According to Q104, the offending ad said: 'We’ll deck the halls, but we draw the line at gay apparel.'"


Towleroad News #gay

—  admin

Mything the mark

Puppets rule in ‘Mount Olympus,’ but the effect ends up wooden

Theatre TooJeffrey Schmidt | Theatre3Dallas.com

Puppets and theater don’t come to mind often, save for Avenue Q. That Broadway hit knew how to mix its Sesame Street-like puppets with a contemporary storyline.

Theatre Three’s world premiere of Bruce Coleman’s Tales of Mount Olympus tweaks the idea using puppetry to tell the classic stories of gods and monsters from Greek mythology. Coleman, who wrote, directed and designed Mount Olympus, exudes innovation. He mentioned that this show is a built of worldly components of theater. The Greek myths are narrated in American storytelling fashion with Hungarian black lights and Japanese Bunraku puppetry. If only as a whole, they all worked.

The show begins with more primitive puppets. Gaia, or Earth, was a large globe with her face painted on and rotated thanks to the actor in black. Her husband, Uranus, was an interestingly constructed creature made up of Christmas lights. Ultimately though, they came off as school craft projects. This remained the same for the following set of gods, Cronus and Rhea.

Two-dimensional pedestals with large heads depicted the married couple while actors from behind emoted with their hands. When Rhea gives birth, her babies are delivered by a magnificent puppet of of a bird in beautifully done Day-Glo feathers to Cronus who ate them for fear they would revolt and overthrow his power. There is some injected humor here as he burps after each devouring and the bird acts as a busybody telling everyone’s business, but there is nothing compelling here. Actors don’t voice the characters. Instead, they are pre-recorded and acted out. This is more of a disconnect than an effective too, but more on that later.

Before long, we are introduced to the glorious puppets of the gods. We see Aphrodite borne from her shell albeit not nude. Coleman initially planned for that bit of nudity, but construction became an issue. Hades, Poseidon, Hera and others are all brought out in striking puppet form. The faces are bold and can be seen clearly from each seat and two actors control most of the characters with one as the brain, and the other as the body.

Zeus however is part of the stage. His huge face is depicted on a wall with a moveable jaw like Big Tex. Understandably, it depicts his grandiose standing, but it’s also underwhelming. When he speaks, the bottom of his beard scrapes the floor and distracts from everything else.

Act 1 has been filled to the brim with more Greek stories before intermission. The tale of Aphrodite infidelity to Hephaestus by her affair with Ares and Persephone’s trip to the Underworld to become Hades’ wife all play out before the break and feel a little rushed.

The first half lacks any emotional punch and the visuals wear off quickly despite the detailed construction of the sets and puppets. Coleman did allow for humor so there are moments when a puppet is actually funny by way of a gesture or the shakes. When two gods give a high five in Act 2, it’s a priceless, hilarious moment.

Theater Three
Jeffrey Schmidt | Theatre3Dallas.com

Thankfully, this is where Olympus redeems itself somewhat. By telling the whole tale of Perseus and Andromeda (or for the cinematic-minded, Clash of the Titans), there is time to get invested into the characters as Perseus sets out to save Andromeda from the Kracken. The innovation explodes here. When Perseus meets Pegasus, the winged horse provides a gasp of wow and although Medusa isn’t as threatening as she needs to be, it is an inspired piece of work they created. I don’t want to give too much away — either in the Kracken’s appearance or Cerberus’ the three-headed dog — but there is some room for surprise in the show, even if they are small ones.

Act 2 may stick with you, but the show won’t. The play feels much more like a production intended for school-age children, which is hard to reconcile with Theatre Three’s usual professional standards. The recorded narration is also miscast, as the voices are never powerful enough. Zeus should ring through the stage, but instead sounds far from almighty-ness. Actors could have possibly voiced the characters with more depth and emotion but the choice to go with recorded narration takes away from the dramatics. I wanted so much more from this show, which I would have gotten if I was a whole lot younger.

Tales from Mount Olympus at Theatre Three (in the Theatre Too space), 2800 Routh St., Suite 168. Through Nov. 28. $20–$30.  214-871-3300. Theatre3Dallas. com.

—  Rich Lopez