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Monday, June 27, 2011
THE PHILADELPHIA INQUIRER
Perry brings real talent to ‘Dreams’ tour By Katherine Silkaitis
in an era of self-made YouTube stars such as Justin BieA number of girls strolled ber and Rebecca Black, Perry around the Wells Fargo Cen- is a bit of a throwback. A perter on Friday night in lollipop- former with talent and desire, and cupcake-studded bras- she cut short her attempts to sieres. Also frequently sighted be a gospel singer in favor of were pepper- being molded into a pop star. mint-striped It would be an understateReview and fruit-in- ment to say that the change Music spired dresses, was successful. Even if her blue wigs, neon name isn’t instantly recognizminiskirts, and LED-lit cotton able, her songs are. Not only candy. are they seemingly everyIt was the Philadelphia stop where, but they are almost inof pop star Katy Perry’s nine- furiatingly catchy. They are month “California Dreams” pop anthems: emotional, uptour, and slightly bizarre out- beat, bombastic and full of fits with lots of sequins turned joie de vivre. out to be the norm. And though Perry, with her Since the release of her two backup singers, eight 2008 chart-topping album One dancers, and full band, has of the Boys, the 26-year-old been putting on the California singer has transformed her- Dreams performance for four self into a global celebrity. But months, she pulled it off with FOR THE INQUIRER
STEVEN M. FALK / Staff Photographer
Singer Katy Perry, with lollipop accents and fairy-tale staging, covered all of her hits at the Wells Fargo Center on Friday.
Silliness takes a bow
vigor, passion, and whimsy Friday night, with nary a scent of fatigue. A bit after 9, Perry emerged onto a stage decked out in lollipop and candy-cane staircases, cotton-candy-bordered projection screens and gumdrop cutouts. Wearing a red-andwhite dress with twirling peppermint, she launched into the title track from her second album, Teenage Dream. The crowd — mainly females of all ages, plus a smattering of love-struck junior high boys, boyfriends, husbands, and gay men — was ecstatic. Throughout the night, they belted out the lyrics with Perry, dancing in the aisles until security forced them back to their seats. Her two-hour performance covered all of her hits and
then some, including a few MTV Unplugged-style interpretations of tunes such as Willow Smith’s “Whip My Hair” and Jay-Z’s “Big Pimpin’.” There also were pyrotechnics, confetti, costume changes, a whipped-cream bazooka, and a cotton-candy cloud that hovered over the audience with Perry perched on top. Perry’s whimsical and humanizing stage banter, along with the show’s attention to detail and well-played effort to create a fairy-tale world, left a very satisfied crowd. From the choreographed dance routines to the well-executed special effects, it was a top-notch performance that left the audience still singing Perry’s songs long after the last notes of her closing song, “California Gurls.”
Review Music
Mighty like an orchestra The Wanamaker organ, age 100, took on Strauss and Rachmaninoff.
This production takes Shakespeare’s shortest, lightest comedy and plays it for laughs that all ages can enjoy.
By David Patrick Stearns INQUIRER MUSIC CRITIC
By Wendy Rosenfield FOR THE INQUIRER
At its heart, The Comedy of Errors is a ridiculous play with a preposterous premise. Scholars will point out its classical roots — two works by Plautus, conjoined — or its early window onto the playwright’s later inquiries into identity and power. But this Review Pennsylvania Shakespeare Festival production, directed at the Theater fest for the second time by Russell Treyz (the first was in 1997), aims straight for the groundlings. It’s up to festival favorite Carl Wallnau as Syracusan merchant Egeon to set the story’s tone, and Treyz makes sure it is loud and clear by turning Egeon into a prop comic. He describes, with the assistance of baby dolls and stuffed animals, the shipwreck that separated him from his wife, one of his twin babies — both of whom are conveniently named Antipholus — and half of another set of twins — both named Dromio — whom he purchased to raise as his boys’ servants. Wallnau pulls ushers onstage to help dramatize his plight, and when the Syracusan Antipholus/ Dromio pair appear on the shores of Ephesus in search of their lost kin, Treyz widens the fun to include paying spectators. (Bald? Bearded? Consider yourself warned.) But this production belongs almost entirely to its Dromios, the diminutive Jacks to their masters’ twice-as-tall but not nearly as clever giants. Steve Burns plays Syracusan Dromio, with the always sympathetic Chris Faith as the Ephesian. And yes, Burns is the original host of Nickelodeon’s Blues Clues, a show whose young fans are old enough to thoroughly enjoy watching him mug, taunt, and swagger his way through a piece that, since it is one of Shakespeare’s shortest and
TV Today The Ellen DeGeneres Show (3
p.m., NBC10) — Lauren Graham; the cast of Jersey Shore; Usher performs.
How I Met Your Mother (8
p.m., CBS3) — When Nora causes Barney’s heart to literally skip a beat, he fears that he’s got a real cardiac issue.
Antiques Roadshow (8 p.m.,
WHYY TV12) — Fragile 1700s and 1800s miniature portraits and a 1964 Chrysler turbine automobile.
Gossip Girl (9 p.m., CW57) —
Jenny is tempted to venture back into Manhattan to meet Tim Gunn of Project Runway.
Law & Order: LA (10 p.m.,
NBC10) — Guests at a birthday party are beaten to death by a group of party crashers.
Daily Show With Jon Stewart
(11 p.m., COM) — Jennifer Aniston.
Conan (11 p.m., TBS) — Jason Sudeikis; Ke$ha performs.
Colbert Report (11:31 p.m., COM) — Grover Norquist.
Late Show With David Letterman (11:35 p.m., CBS3) — Shia LaBeouf; comic Bert Kreischer; Dawes performs.
The Tonight Show With Jay Leno (11:50 p.m., NBC10) — Jim Carrey; Selena Gomez.
Jimmy Kimmel Live (Midnight, 6ABC) — Louis C.K.; Missy Peregrym; Steel Magnolia.
Lopez
Tonight (Midnight, TBS) — Larry the Cable Guy; Gabrielle Anwar; Lloyd. The Late Late Show With Craig Ferguson (12:37 a.m.,
CBS3) — Dennis Miller; Melissa Joan Hart.
LEE A. BUTZ
Featured in the Pennsylvania Shakespeare
Festival’s “Comedy” are Eleanor Handley (top), Lauren Orkus (left) and Abbie Richards.
The Comedy of Errors Playing at: Pennsylvania Shakespeare Festival, Labuda Center for the Performing Arts, DeSales University, 2755 Station Ave., Center Valley, Pa. Through Sun., July 17. Tickets: $25 to $50. Information: 610-282-9455 or www.pashakespeare.org.
silliest, makes an excellent introduction to the canon. Eleanor Handley also holds her own here as neurotic, headstrong Adriana, wife of Ephesian Antipholus. Set designer Bob Phillips gets in on the levity with a purple-and-green Harlequin diamond-patterned rear facade, studded with windows like a Renaissance version of Laugh-In’s joke wall. Costumer Marla Jurglanis also has a bit of fun with the women’s headgear, including one wireframed fascinator featuring what appears to be a fishing lure, that might rival Princess Beatrice’s recent royal wedding topper. Though Treyz allows the action to sag during the second act, it is not entirely his fault; by Act 5, Shakespeare has pulled this plot to its outer limits. But in a wink at the audience, Treyz continues the joke even after the big reveal, an end worthy of the script’s credulity-stretching means.
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The Wanamaker organ arrived at its 100th birthday this week so fabulously refurbished and grandly enthroned in the second floor of the Center City Macy’s department store, you could almost believe this huge musical instrument (and Philadelphia institution) can do anything. Fearlessly, resident organist Peter Richard Conte capped a week of concerts Saturday with a program that, intentionally or not, competed with the Philadelphia Orchestra on its own territory. The program was Richard Strauss’ suite from the opera Der Rosenkavalier, in Conte’s own transcription, and a particularly intriguing plan for Rachmaninoff’s Piano Concerto No. 2 — pianist Jeremy Filsell accompanied not by orchestra but the Wanamaker mammoth. Here was an organ created before most of America’s great orchestras became great. Now, it begins its second century when many cities wonder whether those same orchestras can be supported. By the end of the concert, however, any concerns that one might replace the other could be left at the Macy’s door. Though Strauss is business as usual for any orchestra, Conte’s tour de force transcription was fun to witness. His choice
SHARON GEKOSKI-KIMMEL / Staff Photographer
Organist Peter Richard Conte played the mammoth instrument,
accompanying Jeremy Filsell on a nearly overmatched piano.
of stops and timbres was refined, avoiding obvious primary colors, and he captured the elusive Viennese lilt in waltz sections. Yet musical seams — and gear shifts — were audible. Tempos often seemed dictated by the time the organist needed to manipulate the instrument. One couldn’t help listening with a mental checklist, comparing Conte’s version and Strauss’ original. Only in the Act 3 trio did I lose myself in the piece, when the music became a wall of sound that need not answer to any comparisons. The Rachmaninoff experiment had more compromises. The concerto’s ocean-of-music orchestration was easily approximated by the Wanamaker instrument, whose lack of sharp attacks and releases
wasn’t a problem the way it would be with, say, Beethoven. For logistical reasons, pianist Filsell was positioned quite apart from the organ, forcing him to commune with Conte through video monitors. Since the organ’s sound has an enveloping effect on everything around it, the piano had to be amplified; the sound quality, unfortunately, was penetrating and clattery. The almost Mozartean precision that Filsell brought to the music was a joy, often transcending the factors that are inevitable in an organ concert held in a department store — great for a special occasion, but not as a regular practice. Contact music critic David Patrick Stearns at dstearns@phillynews.com.
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