Broadway in Tucson Review: "Come From Away"

 It's a tough prospect to turn a story based on 9/11 into a feel-good extravaganza, but that's exactly what "Come From Away" succeeds at pulling off.

Set in Gander, Newfoundland, where several planes were grounded immediately following the attacks, the vivacious, incessantly positive musical captures joy and delight in the interactions of people from varied walks of life and parts of the world who were thrust together for the better part of the week.

The core ensemble of Sharone Sayegh, Harter Clingman, Marika Aubrey, Julia Knitel and James Earl Jones II oozes with enthusiasm, chemistry and polish. They make up a troupe of true believers who are locked into their cause of replicating the magic of the original Broadway production, which took home a Best Director Tony in 2017.

From the outset, with the show-starter "Welcome to the Rock" revving up the audience in the manner of Lin-Manuel Miranda's "In the Heights" and "Hamilton" openings, the show soars with irreversible energy. 

The 105-minute production, which has no intermission to trip it up, delivers a stream of related anecdotest that coalesce into poignant moments of truth and understanding. A particularly resonant moment has characters of varied faiths praying in harmonic unison.

While the show courageously tackles racism and homophobia, it embraces a neighborly glee that one would like to think is at the center of all facets of humanity. The magical tendency to make a little more space, rustle up a little more food or lend a bit more of understanding to your fellow man is certainly present in the residents of Gander.

The choreography is adorably hokey, as though derived from a square dance, and the rhythm dares the audience not to clap along. The orchestra matches the cast in high-energy enthusiasm throughout, note for note and beat for beat.

With ample good-natured humor and romance, "Come From Away" guides the shared hearts of the auidence and lifts them airborn to stratospheric heights. Would that we all could be as giving appreciative as the Newfoundlanders on 9/11.

"Come From Away" plays at Centennial Hall through May 29. To buy tickets, click here.

PHIL ON FILM: "Doctor Strange in the Multiverse of Madness"

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Book Report: "The Bell Jar"

The Bell Jar by Sylvia Plath
My rating: 4 of 5 stars

Sylvia Plath's autobiographical novel is chilly, incredibly smart and observant.

A breakthrough in feminist literature, the book feels vital and relevant despite the passage of more than half a century. Maybe its significance continues to grow as society evolves to match the work, which was considerably ahead of its time.

Plath's sardonic mentality reveals how much of an influence she was on Lisa Simpson, who carries on Plath's satirical perspective today.

The protagonist struggles with turmoil brought on by harsh social expectations pressed on her by the patriarchy, as well as inner struggles with her optimism and ability to find a reason to keep pressing forward.

On the downside, the book does read a bit Liver Journal-y, but its navel-gazing tendencies also help demonstrate the askew perspective of life trapped in the bell jar.

In all, the novel is a glorious and vital accomplishment that makes me want to read the rest of Plath's work.

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PHIL ON FILM: "The Sound of Violet"

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Book Report: "Walden"

Walden by Henry David Thoreau
My rating: 4 of 5 stars

Thoreau is proudly the oddest duck on the pond, hurling himself into a self-imposed monkishly minimalist lifestyle by building a cabin and living off the land for two years.

Understandably, the time spent lost in the woods made him even loopier than he presumably started.

The author makes impassioned pleas to live the life without comforts or extravagance, or even the company of others. His seeming lack of sex or social drives is robotic in the way that predates Sheldon Cooper.

The peek inside the mind of such a man is fascinating, even if he indulges his compulsions to a dull degree at times. On several occasions he runs off meaningless statistics about pond depth, his day labor wages and his product costs. This is a man happily lost inside the depths of his own mental interiors. "Walden" is such a sassy and ludicrously pompous read that it is impossible not to be absorbed in some degree.

My favorite passage was his intricately detailed play-by-play of red and black ants doing battle. Without sarcasm or pretense, he praises the valor of the soldiers as they dismember one another.

In a sense, Thoreau is one of the ants and collective social constructs are the other. He rears his pincers with instictive ferocity.

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PHIL ON FILM: Movies and Shows Leaving Netflix in May 2022

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PHIL ON FILM: "The Bad Guys"

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Broadway in Tucson Review: "Hadestown"

Pulsing with entrancing rhythms, tireless choreography and heartbreakingly subtle performances, "Hadestown" seizes control of the audience and never loosens its grip throughout its 150-minute running time.

The musical, which opened on Broadway in 2019, took home eight Tony awards. The national tour was planned in short order, dazzling fans across the nation with its ragtime blues-infused take on "Orpheus and Eurydice."

Carried by Anais Mitchell's inspired book and lyrics, "Hadestown" thrives on its brilliant cast. In the lead roles are golden-voiced Nicholas Barasch as Orpheus and vulnerable yet fierce Morgan Siobhan Green as Eurydice. Their star-crossed romance is the focal point of the drama, with Orpheus vowing to change the seasons with his voice and retrieve his fleeting love from damnation.

Levi Kreis is an affable emcee as the quick-witted, game show-style narrator Hermes, and looming ever large in the background is the booming voice of Kevyn Morrow, who inhabits Hades with a blistering fire. His weakness is his pompous, overbearing bride, Persephone, played with sass and flair by Kimberly Marable.

Even though the show may be padded out with two or three more songs per act than it truly needs to tell its story, it manages to crank out a succession of toe-tapping bangers. Highlights include "Way Down Hadestown," "Road to Hell" and "When the Chips Are Down."

The latter comes courtesy of the diva trio of Fates (Belen Moyano, Bex Odorisio and Shea Renne), whose sprightly lyrics taunt and mock the lead characters. The playful interaction between the actors seems genuine and vibrant. These performers truly feel each others' vibes and channel their characters with inspired empathy.

A remarkable feat of passion and ecstacy, "Hadestown" drives home its themes with a relentless momentum of a fever dream. Its descent into hell unearths heavenly epiphanies.

"Hadestown" plays through April 17 at Centennial Hall. Purchase tickets here.

Book Report: "Black Like Me"

Black Like Me by John Howard Griffin
My rating: 4 of 5 stars

While some aspects of John Howard Griffin's methods are ethically and logistically questionable, his goals and storytelling ability are unimpeachable.

Allegedly disguising himself as a Black man in 1959 in order to explore racial injustices in the Deep South, Griffin's travelogue is beautiful, insightful and powerful. His work set the stage for a decade of cultural revolution.

Remarkably brave, though alarmingly insensitive by today's standards, Griffin's social experiment paid off grandly while exacting a significant personal sacrifice.

It is hard for me to believe that a cocktail of drugs, UV exposure and makeup convincingly transformed Griffin's appearance from white to Black. But his heart was clearly in the right place, and the book that resulted was an admirable work of empathy that no doubt managed to change hearts and minds of the mid-20th century. The spirit of his effort lives on today.

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PHIL ON FILM: "Mothering Sunday"

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PHIL ON FILM: 5 Shows to Binge in April

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PHIL ON FILM: "Morbius"

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Book Report: "Ulysses"

Ulysses by James Joyce
My rating: 3 of 5 stars

This one was a tough nut to crack, but I fault my own ignorance as the reason I didn't like it all that much.

Joyce's stream-of-consciousness writing -- no doubt groundbreaking and edgy for its time -- is also meandering and obtuse. I feel that this is a book you have to re-read and study to truly appreciate, and lack the time or inclination to approach that mountain.

I'm glad to have "Ulysses" in my rear-view mirror. It had sparks of wild intelligence but overall was a homework-style chore. Still, it leaves me curious about some of James Joyce's other highly-praises works.

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Broadway in Tucson Review: "Tootsie"

Filled with "did I really just hear/see that?!?" moments, "Tootsie" is a wildcard of a stage musical. Delivering consistent laughs, workmanlike choreography and inspired musical numbers, it's a modern splash in the face to Broadway traditions, in all the best of ways.

If it's possible to have a "woke" version of a story ingrained with such a problematic premise, this musical is just that. The plot acknowledges the inherent offensiveness to the LGBTQ community in Michael's ruses. The lighthearted, self-aware touch keeps the show tiptoeing on the socially acceptable edge of propriety.

"Tootsie" is also a comedy with something to say. The adaptation of the 1982 Dustin Hoffman film -- which has aged remarkably poorly -- is a wild and raucous dive into the insecurities inherent in acting, aging and navigating the dating world. 

The remarkably talented Drew Becker thrives in the multifaceted role as frustrated actor Michael Dorsey, who crafts the identity of Dorothy Michaels in an effort to land a role in a musical adaptation of "Romeo and Juliet."

This is Becker's show, but Alec Ruiz is in full-fledge scene burglar mode as Michael's cynical pal, Jeff, whose profanity-laden tirade of a number in "Jeff Sums it Up" is by far the show's best song, followed by the frantic "What's Gonna Happen" by the delightfully unhinged Payton Reilly as Sandy.

Also impressive are Leyla Ali in the role of Julie -- whom Michael pursues romantically both as Michael and Dorothy -- and Lukas James Miller as Max, the ditsy reality show star shoehorned into the musical-within-a-musical ina  cynical effort to sell tickets.

Ensemble members including Lexia Baldachino, Kyra Christopher and Michael Bingham are impressive in wildly entertaining background numbers, including a post-bow, full-cast satire of acting warmup techniques.

Good-natured while unabashedly vulgar, "Tootsie" is a riot of a time, bursting with cheer and razzle-dazzle.

"Tootsie" plays through March 27 at Centennial Hall. Buy tickets here.

Book Report: "My Inventions"

My Inventions by Nikola Tesla
My rating: 4 of 5 stars

A man ahead of not only his own time, but our time as well, Nikola Tesla provides a fascinating insight into his life, perspective and vision for the future.

Driven and brimming with a sense of overpowering creativity, he sees not only himself, but all of humanity, as sophisticated robots who only believe they have a sense of free will as they react to sensory prompts and their internal engines.

It's fascinating to peek with Tesla into his childhood years, when he survived mutliple close scrapes with death, endured bullying from his overbearing father, and overcame doubts and doldrums surrounding him to strive for a future only he could see brimming.

Street smart, though, Tesla was not. His oblivious naivete is charming. He speaks of Thomas Edison as a great guy, not bitter about the ways the businessman exploited him. He also dismisses conspiracy theories that the government undermined his research, and pontificates about how the creation of instantaneous death rays might bring about world peace.

His awareness of the shape of technology, though, is mesmerizing. He forecasts the internet, androids with A.I. indistinguishable from human intelligence, global wifi and free global energy sources. He confidently speaks of these things as though they are sure to come. He is pleased and humble to have been what he sees as a dutiful cog in the machine of progress.

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Book Report: "The Red Badge of Courage"

 

The Red Badge of Courage by Stephen Crane
My rating: 4 of 5 stars

Stephen Crane's tale of Civil War hardships is a fascinating plunge into the fog of battle.

The author's technique of withholding key information about the identity of the protagonist helps draw you in as a reader, making your imagination work to piece together context clues to paint a picture of his stature and mindset.

Raw, appealing details about the difficulties and trials brought on by combat abound, with a philosophical struggle between self-preservation and patriotic valor lurking at the forefront.

I wasn't expecting to be as moved as I was by the brutal and intelligent writing. Crane's work is a moving monument to the jarring tribulation of service and combat.

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Broadway in Tucson Review: "Jersey Boys"

Making a compelling case that the Four Seasons deserve equal footing with the Beatles and the Beach Boys, "Jersey Boys" is an incredibly thrilling, fast-moving and emotionally complex story of a band's rise, fall and redemption.

Wafting its energetic, "Behind the Music"-style tell-all story along with the pacing of a concert, the show is a feel-good romp that captures both the letter and the spirit of the group's humble, poverty and crime-pocked origins to dizzying Ed Sullivan Show and world tour heights. 

The infighting and ego-driven self-destruction that follow lead to introspective nuance that fills out the philosophical weight behind a cavalcade of hits that might otherwise seem like bubblegum pop anthems.

No matter how solid the storytelling, "Jersey Boys" would be nothing without pitch-perfect casting and inspired performances. This touring performance lacks neither.

Jon Hacker delivers a spellbinding three-octave vocals as Frankie Valli, leading the way as Eric Chambers, Matt Faucher and Devon Goffman. The robotically quaint choreography nails the sound and spirit of the group, rocketing you decades back through time to make you feel as though you're at genuine Four Seasons shows. 

I was particularly impressed by the nuances in the group's chemistry and harmonies as they roll through their career. Watching the Four Seasons evolve from a ragtag, unconfident group of street performers to a polished machine of 45-rpm immortality is breathtaking.

An overwhelming sense of joy courses through the audience throughout the show, and cast members are eagerly appreciative of the energy, basking in the adulation after show-stopping turns. The smiles on these Four Seasons facsimiles can't be faked, no matter how talented the actors may be. 

This is true-blue channeling of the spirit of the 1960s and 70s, and well worthy of every clap and squeal of delight they earn.

"Jersey Boys" plays at Centennial Hall through March 20. Buy tickets here. 

PHIL ON FILM: Movies and Shows Leaving Netflix in April

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PHIL ON FILM: "Deep Water"

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Book Report: "Fingerprints of the Gods"

Fingerprints of the Gods: The Evidence of Earth's Lost Civilization by Graham Hancock
My rating: 3 of 5 stars

Graham Hancock's bizarre book fueled my guilty-pleasure interest in "Ancient Aliens"-style pseudo science meshed with mythology.

Largely a travelogue interspersed with collected myths that support his sprawling theories, all coalescing into several contradictory and loosely intertwined conclusions, such as that the world will end in the year 2000, 2012 or 2030.

Also amusing is the theory that remnants of the great ancient civilization responsible for building temples throughout the world is buried beneath miles of Antarctic ice. And that the purpose of the temples is to signify the cyclical destruction and reinvention of the global populace.

Could there be a kernel of truth buried somewhere beneath Hancock's haystack of bizarre non sequiturs? I'd like to think so. I appreciate books, no matter how sloppily researched, that stimulate a childlike sense of wonder and yearning to solve the great mysteries.

Hancock's book does at least that.

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PHIL ON FILM: "Turning Red"

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Warpzone Twitch Stream launches

 Here's the first episode. I'll talk games, TV and movies with other KGUNers at 10 a.m. Mondays.

PHL ON FILM: "The Batman"

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PHIL ON FILM: 5 Shows to Binge in March 2022

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BATA Opening Downtown

Owner and executive chef Tyler Fenton's small plate restaurant BATA is opening at 35 E. Toole, in a converted 1930s historic warehouse.

Here are a few dishes the restaurant offers:

Slow-Cooked SD Halibut - with mushroom dashi, Arizona barley, and charred kale

Grilled Pork Belly - with charred onion and kohlrabi 

                    Charred Brussels Sprouts - with black apple and salsa seca

Chiricahua -mezcale oaxacan rum, cherry shrub and egg white

Chocolate Mousse - with smoked almond tart and Arizona olive oil

Pork Loin - with charred squash, pecan, and coffee amino 

Apis Mellifera - small batch borboun, Southern Arizona honey, bitters

Broadway in Tucson Review: "The Band's Visit"

 "The Band's Visit" thrives in understated moments that build slowly up to colossal emotional payoffs.

Its characters stew in unfulfilled longings and grudging acceptance of their mundane day-to-day responsibilities. They are tormented by opportunities squandered and not only a lack of prospects, but uncertainty they would have the will to lunge after them should they come along again.

Sasson Gabay plays Tewfiq, the leader of a traveling Egyptian band set to play a gig in Israel.

Lost and baffled by cultural differences, the band stops to eat at a lonely diner overseen by Dina (Janet Dacal), who has a vague curiosity in the group that grows over time. Eventually, the bandmembers crash with the locals, comparing cultural and life notes in an improvised symphony.

Lithe and direct, the show cruises by at a brisk 90 minutes, with no intermission. Each of the 15 musical numbers are toe-tapping delights, with "Waiting," "Omar Sharif," "Something Different" and especially the post-bow concert powering through as show-stopping stunners that take the crowd by storm.

The musicality of the band members is as superb as their low-key acting, which breaks the live theater norm by saying more in empty spaces and mumbling than with grand gestures and enunciation.

Above all, the story and spirit of the show are about Dina's inner torment and whispered longings, punctuated with overpowering expressions of song and dance. Decal is up to the operatic challenge, belting out tunes with a fevered glory that mends hearts as it breaks them.

An offbeat, driven palate-cleanser, "The Band's Visit" is the polar opposite of the standards, and earns its place alongside them for its brave, genre-shattering methods. The lonely song of its soul is stark and true.

"The Band's Visit" plays through Feb. 27 at Centennial Hall. Purchase tickets here.

PHIL ON FILM: "Big Gold Brick"

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Book Review: "The Accidental Billionaires: The Founding of Facebook, a Tale of Sex, Money, Genius, and Betrayal"

 

The Accidental Billionaires: The Founding of Facebook, a Tale of Sex, Money, Genius, and Betrayal by Ben Mezrich
My rating: 5 of 5 stars

Ben Mezrich's uncanny knack for scuba diving into an ocean of court documents and unearthing a compelling narrative is as skillful as Mark Zuckerberg's transformation of a dorm room website intoa billion-dollar business.

I was led to the book by the film adaptation, "The Social Network," and floored at how much better the book is than that ridiculously absorbing screenplay.

Mezrich deserves credit for taking numerous leaps of faith in imagining socially awkward moments and male bonding rituals in concocting his tale. Even if his vision of the betrayals, misunderstandings and epiphanies that led to Facebook's creation wasn't exactly spot-on, it's certainly the way it ought to have been.

In his matter-of-fact distance and comprehensive empathy for all of the characters who emerge, Mezrich paints convincing portraits of Zuckerberg, the Winklevosses, Eduardo Saverin and Sean Parker. All are complicated egotists whose divergent and blending interests created the monstrosity that the social network giant became. Without any of their help, no doubt it would have faded to black like Friendster or MySpace.

Mezrich's book, on the other hand, will stand strong even after Facebook's relevance has vanished. "The Accidental Billionaires" is an unqualified triumph, and it broke my heart when my time with it ended.

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PHIL ON FILM: "Dog"

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Book Report: "Ready Player Two"

Ready Player Two by Ernest Cline
My rating: 3 of 5 stars

Somewhat of a step back for Cline, the book is a worthwhile sequel for superfans of the first novel, which become a cultural phenomenon.

The story is plagued by a critical tone-deafness, as well as a protagonist whose plight is tough to care about because all he is doing is solving a problem he created. By opening a Pandora's Box of A.I. brain tampering while mass-producing Oasis immersion rigs, the hero drives away the love of his life and puts his mentor and just about everyone he cares about in jeopardy.

Cline follows the same formula he established in the first book, but scales down video game references in favor of obsessions with John Hughes and Prince. This time around, the contest is open to him alone, and there is an arbitrary time deadline he's racing against.

With nothing much at stake, it's sometimes a slog to lumber through the saga, in which seven shards must be collected -- each of them connected by obtuse riddles.

As with the first book, Cline's prose is riddled with stiff dialogue and dull humor.

A strange twist ending left me unnerved, and I credit Cline for the bold choice. It may make some feel alienated.

Despite my disappointment with the book, I enjoyed the experience. Cline is a natural, brisk storyteller, and his geeky enthusiasm is infectious. I would read a "Ready Player Three" if it comes.

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PHIL ON FILM: "I Want You Back"

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Arizona Theatre Company Review: "Women in Jeopardy"

The Bechdel Test-thrashing comedy "Women in Jeopardy" manages to wring two hours of humor out of a murder mystery concept. 

The focus is on three divorced middle-aged women who have forged an ironclad bond of mutual support and judgment.

Working from an insightful, irony-tinged script by Wendy MacLeod, the play maintains fluid momentum throughout its two-hour run, delighting the audience with wit and poise.

Julia Brothers plays the sassy, fatalistic Jo, who cranks out scene-stealing one-liners. Veronika Duerr, stepping in on short notice for Aysan Celik, is Mary, a down-to-earth taskmaster whose wry reactions to the shenanigans deliver continual smiles and smirks.

The third member of the trio is the flighty, impulsive Liz (Gail Rastrorfer), whose budding romance casts with the oddball dentist Jackson provides the focal point of the drama. Jackson's dental assistant has gone missing, the latest possible victim in a string of murders of young women.

Joel Van Liew does double-duty as Jackson and Sgt. Kirk Sponsullar, whose bumbling investigatory ways perks up the romantic interest of Mary. Van Liew's deadpan delivery of morbid material is deliciously effective.

Lurking on the periphery are young on-again, off-again lovers Amanda (Ashley Shamoon) -- and Trenner (Damian Garcia). Amanda, Liz's daughter, has an ill-advised camping trip planned with Jackson. Jo, Mary and Trenner conspire to undermine the trip and dig for evidence that backs up their belief that Jackson is the killer.

Elaborate lights and set switching keep thjigns lively, and scene-transition dances spark moments of unexpected joy.

Filled with surprising twists, incisive observations about gender and age issues and nonstop laughs, "Women in Jeopardy" is a lighthearted treat with messages to boot.

"Women in Jeopardy" plays at the Temple of Music and Art until Feb. 5. Buy tickets here. It plays in Phoenix from Feb. 10 to Feb. 27.

PHIL ON FILM: "Book of Love"

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PHIL ON FILM: 5 Shows to Binge in February

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Book Report: "One Flew Over the Cuckoo's Nest"

 

One Flew Over the Cuckoo's Nest by Ken Kesey
My rating: 5 of 5 stars

Ken Kesey's acid-tinged writing is incredibly incisive and intelligent. His exploration of not only the broken mental health care system of the mid-to-late 20th century, but the plight of mental illness in its varying forms.

Far ahead of its time -- probably even ahead of our time -- the devastating novel is even more rich and nuanced than the landmark Milos Forman movie adaptation.

Randle McMurphy, a walking id and embodiment of American excess, daring and longing, pretends to be insane to beat a criminal rap that has sentenced him to a work camp. Conniving and brimming with bravado, he rebels against the controlling, infantilizing infrastructure that crushes the hearts and minds of those who are committed.

The genius of the novel starts with the narrative device of telling the story through the ever-churning mind of Chief, a gentle giant whom others dismiss as a checked-out, mute man whose mind has been so scrambled that he can't process human interaction and has become a drone obsessed with mopping.

Instead, Chief is secretly a master of observation, nuance and intense feeling. He processes his surroundings for the reader, acting as the entry point.

In the Audible version, John C. Reilly's urgent narration gives listeners an even deeper, more nuanced access to Chief's inner workings.

A tragic and ephemeral experience, "One Flew Over the Cuckoo's Nest" floored me with its style, substance and urgency. It was one of the rare books that broke my heart not only in its storytelling, but that it ended altogether.

Publisher provided review code.

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Broadway in Tucson Review: "Wicked"

The spell "Wicked" casts is tough to emulate. The tireless touring production is a traveling gift to musical theater lovers across the nation. 

Since debuting on Broadway in 2003, the adaptation of the Gregory Maguire novel has thrilled audiences, inspiring passionate devotion akin to that of a sports fan. The story turns "The Wizard of Oz" tale inside out, positioning the Wicked Witch of the West, Elphaba, as the misunderstood hero.

Graced with a knockout soundtrack, edgy cinematography and a boundless sense of momentum, the show is as much a thrill ride as it is a moving drama of acceptance, perception and forbidden romance.

Elevated by ethereal performances by Talia Suskauer as Elphaba, Allison Bailey as Glinda and Amanda Fallon Smith as Nessarose, "Wicked" soars with an elegant majesty. 

Bailey, in particular, thrives in the role of the pompous princess, whose oblivious musings elicit continual chuckles from the crowd. Suskauer's choices with Elphaba are equally moving, drawing pathos for her plight of eputational martyrdom as she pursues some semblance of personal happiness while striving for the greater good for those she loves. Smith's character is one-dimensional, but played with magnetic verve by the smirking, seething actress.

Jordan Litz also impresses as Fiero, instilling a workmanlike nuance and sensitivity into his emotionally torn character.

Spellbinding stagecraft, with giant set pieces, stirring flying, makeup and pyrotechnics give the production an air of class and top-flight quality. Watching "Wicked" is a true modern rite of theater appreciation, and not only a status symbol but a transcendent experience that colors the way you experience all other shows. 

To see "Wicked" is to defy not only gravity, but the weights of society that drag people down and pin them into boxes. The hard choice is not whether to see the show, but whether or not you can stop yourself from going again and again until it takes flight to the next lucky town.

 "Wicked" is playing at Centennial Hall through Feb. 6. Buy tickets here.

PHIL ON FILM: "Rifkin's Festival"

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Phil on Film: Movies and Shows Leaving Netflix in February 2022

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PHIL ON FILM: "Redeeming Love"

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PHIL ON FILM: "Hotel Transylvania: Transfomania"

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Book Report: The Real Sherlock

 

More of a brief podcast than a full-figured audiobook, "The Real Sherlock" is a smattering of interviews and historical factoids about Arthur Conan Doyle, an enigmatic figure who seemed to resent his franchise's popularity, tried and failed to become a politician and spent much of his later life crusading for spirtualism.

The story also delves into his early years, as a medical student, doctor and soldier. A renaissance man who juggled several interests and pursued passions with the vigor and agility -- and often, the gullability -- of a child, Conan Doyle emerges as the polar opposite of Holmes. It's as though he created the grounded, logic-driven detective to complete his own psychological deficiencies.

The Audible book would have benefited from broader sourcing. Many of the interviews focus on worshipful family members and actors who have played Conan Doyle and Watson. Some impartial observations would have helped ground the piece. Author Lucinda Hawksley does deserve credit, at least, for including some of Conan Doyle's embarrassing escapades, such as the time in which he defiantly defended the veracity of the Cottingley Fairies, which were crudely faked supernatural photos that were later debunked.

Despite the silliness of some of his more outrageous beliefs, a measure of respect emerges for Conan Doyle's magical thinking and acting. He was a creator and a storyteller, given to whimsy and impulse. The world was better off for his presence.

Book Report: "The Picture of Dorian Gray"

 

The Picture of Dorian Gray by Oscar Wilde
My rating: 4 of 5 stars

Oscar Wilde's horror story is a thin guise to bunch up and release his wry, cynical takes on life and love.

With little explanation or backstory, he tells a story of a man driven to insanity through vanity as a portrait shows his age and world-wariness as his own faith retains its youthful innocence and symmetry.

Symbolism abounds, but Wilde is more interested in flooding the zone with his sneaky little observations, which are rich with stinging truth.

The Audible version, narrated with sneaky verve by Russell Tovey, emphasizes Wilde's irreverence. 

An immensely funny book, it lacks dramatic impact but that doesn't much matter. The book flows well and always maintains its sense of mysterious intrigue. This is a fun book, and is filled with more one-liners than a vaudeville routine. A definite must-read.

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PHIL ON FILM: "The 355"

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Broadway in Tucson Review: "My Fair Lady"

"My Fair Lady" set the template for the makeover rom-com. In the cynical and cleverly-penned tale, social powerbrokers take a woman off the streets and teach her to fit into high society.

The musical has been sparking smiles and belly laughs from audiences since Julie Andrews and Rex Harrison dazzled audiences in the 1950s. The touring production stays true to the show's roots, resisting the urge to modernize the well-honed beats and one-liners.

The dedication to tradition will likely please musical die-hards, who have likely seen the show and the film it inspired several times, and want things just they way they've always been. On the downside, the lack of evolution exposes some of the story's threadbare faults. 

Rampant sexism and stereotypes inherent in the script haven't aged well, even when spun for comedic effect. Some of the particularly wince-inducing moments occur in the first act, when Henry buttonholes Eliza into a measure of indentured servitude.

The upshot is that Henry -- played with masterful precision by Laird Mackintosh -- is the buffoon who is sure he's the genius, and the unwitting butt of the social experiment he's conducting. 

The show picks up steam after a bit of a stumbling, low-energy start, when the throwaway jokes fade into the background as the stakes rise and the nuances in the characters' conflicts deepen.

Fueled by a powerhouse lead performance by Shereen Ahmed, the production comes into its own in the second act as it continues to pick up momentum toward its emotionally-charged climax. She's got a powerful voice and uses it to cast an enchanting spell. Ahmed's show-stopping singing ability brings her solos to life in concert-style crescendos that echo through the audience.

Mackintosh's workmanlike showing paces the show, thanks to captivating chemistry with Kevin Pariseau as Col. Pickering. Scene-swiping Adam Grupper, swooping in as Alfred Doolittle, is always good for a smile.

The most awe-inspiring facet of the show is the production design. Thanks to clockwork-like orchestration from behind-the-scenes prop masters and smooth blocking by cast members, the set transforms massively from scene to scene, with towering backdrops and set pieces emerging and disappearing to fulfill the needs of the moment.

The makeup team, working in concert with Ahmed's acting, also deserves credit for the impressive transformation of Eliza from street urchin to society princess.

The melancholy conclusion speaks to female and low economic class empowerment, sending off the audience on a note of watershed social justice epiphany. This is a comedy with something to say, and its messages haven't faded since the 1950s. There's little doubt Julie Andrews would smile if she saw her show in this cast's able hands.

 "My Fair Lady" plays at Centennial Hall through Jan. 9. Click here to buy tickets.

PHIL ON FILM: 5 Shows to Binge in January 2022

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PHIL ON FILM: "The Lost Daughter"

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Book Report: "The History of the Ancient World: From the Earliest Accounts to the Fall of Rome"

 

The History of the Ancient World: From the Earliest Accounts to the Fall of Rome by Susan Wise Bauer
My rating: 4 of 5 stars

Setting out to encapsulate thousands of years of foggy, fuzzy human history into a relatable, relevant and cohesive narrative is no simple task.

Susan Wise Bauer accomplishes her goal with ease and simplicity, parsing mythology, conflicting records into a rough stab at what actually happened is a juggling act, and the author is up to the challenge.

I learned a lot from the book, which provided some illuminating insights about human nature and its tendency to organize, unite and divide over the eons. Bauer also lends a feminist perspective to many well-worn stories, offering insight that sheds new interpretations on the boy's club of history.

John Lee's narration in the Audible edition lends a sense of importance and authority to the prose, granting it something of a real-life "Game of Thrones" feel.

A couple significant flaws stifle Bauer's work. Her attention to the Chinese empires seems uninspired and obligatory, and there is no mention whatsoever of what was going on in Africa or the Americas during the rise and falls of the Western empires on which she spends most of her focus. "The ancient world" didn't only exist in Eurasia. A simple retitling to something like "The History of the Western World" would have fixed the issue.

As a whole, the book thrives. The writing is solid and lively, the sourcing is commendable and the momentum rarely wanes. Bauer's book is an empiric conquest worthy of Alexander.



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PHIL ON FILM: "Sing 2"

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Google Pixel 6 Pro flexes its 5G muscles on T-Mobile network

If "New Year, New Phone, Who Dis?" is your 2022 game plan, Android aficionados will be hard-pressed to find much more attractive or durable options than the Google Pixel 6 Pro.

As 5G capabilities and technology continues to come into its own, with app developers scurrying to keep pace while maintaining fidelity with 4G devices, it becomes increasingly crucial to latch onto a reliable network. 

T-Mobile's infrastructure is up to the task, pumping in the gigabytes without any noticable interruption in an impressive array of circumstances. I found the network holding up just as well on rural highway slogs as it did in congested urban environments. Google's slick, slender tech works as a silk-smooth conduit to keep your video and downloads flowing at scorching speeds no matter where you find yourself.

The Google Pixel 6 Pro flies on the network as though it were a magic carpet.

The 6.7-inch device boasts a camera system that can hang with the likes of the latest high-end smartphones, a sharp glass-and-metal form factor and a smooth, easy-to-grasp interface geared to streamline your workflow. It may take some practice to get used to swipe commands rather than traditional back and forward button taps, but the Android 12 interface feels more natural the more time you spend with it. It all hums along on a Tensor processor geared to highlight the phone's strengths while minimizing its weaknesses.

At the top of the list of the phone's features is its gorgeous screen, which displays video, pictures and games with stunning clarity that can rival the iPhones and Galaxies of the world. 

The three-camera sytem, too, is devastatingly edgy, able to snag immaculate detail from distance with a 48-megapixel telelphoto lens and a 1.3-inch sensor that sucks in ambient light to produce stunning imagery in less-than-ideal circumstances. Also aiding the photographically-challenged: a Magic Eraser that wipes out photobombers with precision,

The battery life is a drawback, wilting a little in comparison against the likes of the OnePlus 8T+5G. Somewhat slow to charge and quick to deplete its battery -- especially while multitasking -- the device still easily lasts through an intensive work day, but don't expect it to carry you for long into the night without a little boost.

A case with grip is a must, because the phone is too slick for its own good, with a camera bar that makes for an awkward grip unless counteracted with a cover.

On balance, Google's Pixel line of devices continues to swing a heavy axe in the smartphone arms race. Phones are finally catching up to 5G networks, rather than struggling to catch up. The Pixel 6 Pro is geared to lead the charge instead of following along.

 Review unit provided by T-Mobile.

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PHIL ON FILM: "West Side Story"

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PHIL ON FILM: "Funny Thing About Love"

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PHIL ON FILM: "A Boy Called Christmas"

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T-Mobile, Hasbro Release "Lite-Bite T-Mobile Edition"

 

T-Mobile and Hasbro have teamed up to release an odd and retro-savvy gift idea -- A Lite-Brite consisting of magenta pieces.

The toy, available at this site, is $19.99, with free shipping through Cyber Monday.

Four of the boxes will include a Willy Wonka-style Magenta Ticket, which will give the winner two smartphones, a  year of T-Mobile Magenta Max phone service -- which includes a Netfix subscription -- a flatscreen TV and a year of T-Mobile Home Internet service. 

As Lite Brites go, the magenta pegs certainly pop. So if your child is into crafting pictures promoting T-Mobile's network, this is just the right gift.

But let's face it: The only reason to buy this thing is to stash it away in hopes that it becomes a collector's item, or to angle for one of those Magenta Tickets.

T-Mobile provided the product for review.

Broadway in Tucson Review: "Hamilton"

 

If there is a better musical than "Hamilton," I haven't seen it. The sheer energy that pulses through a venue as the incredibly energetic spectacle delivers one crushingly brilliant song after another is unmatchable. To attend is to feel as though you are part of something resonant and unique.

I first saw the show in Tempe in 2018, and it changed the way I thought about musicals. Heartbreaking, inspirational, incredibly catchy and noble for the strides it makes in musical theater diversity, the experience sticks with you with the impact of a first kiss.

One of the multitude of heartaches brought on by the pandemic was the cancellation of the planned 2020 tour stop in Tucson. The release of the Disney+ version with the original cast only partially sated the disappointment.

Now that vaccines and the subtle waning of the pandemic have allowed live performances to return, the production is back on tour again. As I watched with my wife, the show washed over me with cleansing properties that signified life is getting closer to what we once knew. 

"Hamilton" is far more than a standard show. It's a sign of where we have been and where we are going. And it seemed that just about everyone in the audience realized that.

It helps that the And Peggy company is absolutely crammed with talent. 

Julius Thomas III and Donald Webber, Jr. thrive in the lead roles of Hamilton and Burr, studied enough to pay tribute to the legacies of Lin-Manuel Miranda and Leslie Odom Jr. while confident enough to branch out the characters with their own distinct choices. Thomas underlines his complex figure's tenacity, while Webber leans hard into Burr's cool confidence ever-fractured by his insecurities.

Other standouts include Paris Nix in a dynamic double performance as Marquis de Lafayette and Thomas Jefferson. His Jefferson, in particular, channels the sass of Dave Chappelle. Brandon Louis Armstrong is a chronic scene-stealer as Hercules Mulligan and James Madison. 

Victoria Ann Scovens, with her impromptu beat-boxing, and Marja Harmon are ethereal as Eliza and Angelia Schuyler, and together with Milika Cheree form a tangible chemistry as the trio of sisters who would shape history.

"Hamilton" is an absolute treat, and while still spectacular on TV, encounters new dimensions of resonance and triumph in person. If you care at all about musical theater, find a way to get to the show. You never know when you'll get your next shot.

"Hamilton" plays through Dec. 5 at Centennial Hall. Buy tickets here.

"Jurassic World Evolution 2" Review

"Jurassic World Evolution 2" feels like the stage performance of the dress rehearsal that was the first game.

Building upon the solid foundation of the 2018 original, the park-building strategy game tasks you to craft enclosures that keep your creatures and patrons safe, healthy and happy. 

If you don't have a taste for order and harmony, you can choose to lean into the chaotic aspect of the park, letting dinos run amok, letting natural enemies migrate into the same habitat and recreating wild scenarios from the movies.

At the heart of the operation, the game is all about resource management. A structured virtual sandbox with some of the same satisfaction aspects of a train set, the game hurls administrative challenges at you, putting you on the spot to decide the lesser oftwo evils.

Much of the game is dry and pragmatic, but there are moments of action that shake things up. Chasing down a stray dinosaur with a chopper and taking it down with tranquilizers is a rush.

The sequel makes more of an effort to round up characters from the films, even if the presentation is on the chintzy side, steering toward still images rather than animation.

More fluid menus and a livelier interface might have spiced things up. A wider creature selection wouldn't have hurt either. But the game has come a significant way from its first iteration, and has evolved into a fuller, more intuitive experience for fans of virtual dino displays to sink their teeth and claws into.

Publisher provided review code.

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"Angry Alligator" Review

"Angry Alligator" imagines a swampland in which gators aren't content to skulk in the background, waiting for prey to emerge. 

Instead, your gator is an agile and incredibly hungry predator, dashing along and chomping everything it can. All the while, your life force is connected to a draining timer that requires you to keep eating or face starvation.

A game with more than a touch of shovelware features -- including slapdash visuals and a borderline cruel autosave system that has you backtracking after deaths far more often than is reasonable -- the game is often more fun than it has a right to be. 

Think "Maneater" or "Hungry Shark World."

There is a simple satisfaction in rampaging through and munching largely defenseless creatures. While you do occasionally run into enemies that can ably defend themselves, you are usually the apex predator, and your deaths are often tied to meandering rather than annihilation.

The dev squad at GS2 Games clearly had deadlines to stick to, and prioritized moment-to-moment gameplay over the larger objectives, which are generally scavenger hunts or fetch quests.

"Angry Alligator" won't be anyone's Game of the Year, but it may just be the game they play while they're waiting for their GOTY cut scenes to pass. Like its antihero, the game ably takes a chomp out of your free time.

 Publisher provided review code.

PHIL ON FILM: Movies and Shows Leaving Netflix in December 2021

 

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Book Report: "The Autobiography of Malcolm X"

The Autobiography of Malcolm X by Malcolm X
My rating: 5 of 5 stars

Malcolm X lived a complicated life, full of contradictions, animosity, pain and triumph. The essential civil rights figure has been analyzed and deconstructed to no end, but it's likely that the most crucial Malcolm X critic was himself.

Cowriter Alex Haley elegantly steps into the background to let Malcolm X tell his story. What results is a cohesive, often smoldering, intensely detailed narration of a life lived hard and vigorously.

Laurence Fishburne's narration in the Audible version is not so much a performance as it is a seance. Fishburne brings Malcolm X's fiery delivery to life as though he is speaking from the depths of his soul.

Malcolm X emerges to life as a vital, at times joyous figure blessed with incisive eloquence, gentle and often stinging humor, and exquisite clarity of thought.

He pulls no punches -- especially when criticizing himself -- as he traces his evolution from A-student to street hustler, to Black separatist and ultimately to a figure of compromise, reason and brotherhood. Especially near the end, he is ever aware of the coming assassination he feels blowing in the wind. His choice to live fearlessly inspite of the fatalism is commendable.

He is such a divisive figure that surely many people will refuse to hear what he has to say. Those who fail to listen will be those who lose out. He lived a hard and challenging life and his story bears listening.

Publisher provided review code.   

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"Tales of Arise" Review

A sweeping saga that merges a large-scale RPG with series-length anime cutscenes, "Tales of Arise" is a meaty endeavor that sates the thirst of series fans with dozens of hours of robust thrills, emotional hooks and bewildering twists.

No longer content to tread water with mild disappointments, Bandai Namco Games focused its collective energy on highlighting the franchise's strengths and minimizing its weaknesses. 

With every bit the care that, say, Square Enix takes with mainline 'Final Fantasy" games," the devs channeled heart and intelligence into every aspect of the production. Every moment you spend with the game feels as though you are in the hands of master storytellers with something to say, as well as abundant talent to spirit you through the story.

"Tales of Arise" has the feel of a magnum opus. Although maybe the game is a bit too in love with its storytelling -- cut scenes can be a touch long-winded and laborious -- it feels like an affront to the talent on display if you choose to skip them. 

Required grinding is kept at a minimum, and the combat -- which has not necessarily been a strong point of past entries -- is involving enough not to bore you. Rewarding masters of skilled orchestration akin to real-time strategy, the system discourages button-mashing while elevating the need for resource management and the strength of active and support party members in tactical roles.

A towering challenge, "Tales of Arise" can be intimidating who aren't able to mentally and spiritually commit to the entirety of the journey. But even for a casual sampler, there are rewards to be had in the experience. Miss "Tales of Arise" and you will lose out on one of the shining gems of the 2021 gaming year.

Publisher provided review code.

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Book Report: "The Sandman"

The Sandman by Dirk Maggs
My rating: 5 of 5 stars

A top-notch radio play-style adaptation of some of Neil Gaiman's greatest writing, the Audible adaptation loses little in translation to audio.

Because of the dreamlike, theater-of-the-mind-style nature of "The Sandman" anthology, this may be the strongest possible medium for the storytelling. The bluntness of a film or TV series adaptation might take away from the depth and grandiosity of the material.

Gaiman's narration leads the charge from an excellent voice cast, which includes James McAvoy, Kat Dennings, Bebe Neuwirth and Taron Egerton. The application of music and effects is pitch-perfect, rather than shoehorned into the production in the clumsy manner typical of audiobooks and podcasts.

Bouncing across myriad time periods, settings and species, Gaiman's finely-woven tapestry explores the intricacies of dream and desire in a haunting manner. His series has echoes of "The Twilight Zone" and "Black Mirror."

Fan service also abounds, with connections to the larger DC superhero universe present, without taking center stage. This is thought-provoking and challenging fiction meant for comic book readers ready to graduate to a higher plane of thoughtful analysis.

There's a reason Gaiman's creation has stood the test of time and is continually regarded as a great work of transmedia art. This production only solidifies its grandiosity.

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"Far Cry 6" Review

"Far Cry 6" does its best to shake the exploration-craft-conquer series out of its rut with plenty of Latin flair. 

The gaming equivalent of an exploitation film, the work from Unisoft Toronto leans into stereotypes -- very much in an absurd manner reminiscent of the "Just Cause" series. It's on you to take down the malevolent dictator of a banana republic. 

Along the way, you befriend a bloodthirsty croc -- along with a few other animal helpers in the vein of "Far Cry Primal" -- and face off with the looming grip of Anton Castillo, who is played with ferocious intensity by Giancarlo Esposito.

Esposito's performance -- though used sparingly -- bestows a grander cachet than previous "Far Cry" games had, granting the game more of a serialized TV series flair than the cartoonish nonsense it might have been.

The game gives you a bewildering amount of options, allowing you to take on missions in a number of creative ways. There are plenty of side missions, as well as a ton of hidden areas to seek out and explore.

If you're plowing through the "Far Cry 6" story, you're just doing things wrong. Far more satisfaction awaits those who dig into the sandbox and mess around. The physics, visuals and story twists invite you to stick around rather than rush.

A sleek, gorgeous game that is as rich in character as it is in visuals -- a counterpoint to the dry, stodgy "Far Cry 5" -- "Far Cry 6" is something of a rebirth for the beloved but stale franchise. It's a big event, watercooler style game that's just the thing to sink you into your couch as the thermometer starts to dip. There's nothing like cuddling up with Guapo for a fine meal of a video game.

Publisher provided review code.

"G-Darius HD" Review

A flashback to the 32-bit shooter era, "G-Darius HD" powers up the stalwart bullet hell franchise for Switch deployment.

Since the original game's arcade launch in 1987, the series has thrived on flashy visuals pulsing with fantasy-themed elements. Many fans believe the series peaked a decade later with the release of G-Darius, which introduced paradigm-shifting graphical boosts and level design.

"G-Darius HD" ups the ante further. Taito Corporation took deep care to pay respect to the beloved original, while adding considerable polish and ease-of-life enhancements.

Due to the side-scrolling nature of the game, it seems tailor-made for the Switch, particularly the gorgeous screen of the new OLED model.

The difficulty level remains monumental, which means you're in for a ton of frustration, as well as the thrilling sense of triumph once you take down particularly tough levels and bosses.

The game's replayability is immense due to its difficulty level, but it would have been nice to see a fuller-featured revamp that added extras, other "Darius" titles and more online interaction.

Still, for fans of one of the great shmups, it's tough to top "G-Darius HD," which reinvents the classic for a new era.

Publisher provided review code.

"Space Invaders Invincible Collection" Review

A satisfyingly robust collection of "Space Invaders" titles, "Space Invaders Invincible Collection" stacks 11 permutations of the interstellar shooter into one tight Switch package.

The anthology is a time machine that takes you back to quarter-popping arcade games, with increasingly tumultuous levels.

The games span decades, and include reinventions such as "Space Invaders Extreme" and the "Super Space Invaders '91." The fan-favorite "Arkanoid vs. Space Invaders" also makes an appearance.

Original black-and-white and color versions of the arcade OGs also pop up as well. 

They are by far the weakest components of this slate, but their hardcore retro appeal can't be overlooked. It's a thrill for old-school gamers to start with the originals and work your way forward.

Online leaderboards and instruction slates round out the package nicely. It's tough to imagine a future "Space Invaders" compilation topping this one in any meaningful way.

If you want more "Space Invaders" than this, you're just being greedy.

 Publisher provided review code.

PHIL ON FILM: "Found"

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Book Report: "The Tipping Point"

The Tipping Point: How Little Things Can Make a Big Difference by Malcolm Gladwell
My rating: 4 of 5 stars

I would dub this book "the ultimate term paper." Incisive research and clever applications make this a think piece with teeth.

With tremendous ambition, Malcolm Gladwell sets out to change the way people think and react to word-of-mouth advertising. Using an inconsistent but generally convincing array of case studies, he probes inside the inner workings of social phenomena, tracing them to their humble beginnings.

A few of Gladwell's examples ring hollow -- particularly a worshipful deconstruction of "Blue's Clues" and a questionable study of how 1980s TV news talking heads influenced voters -- but in general the book is sharp and illuminating.

Gladwell's pompous tone is a little distracting at times, but you have to set any prejudice aside and let the egghead on a mission keep his flow. At least he never bores, which is more than you can say for most term papers.

"The Tipping Point" should be a textbook in an essential marketing class at every business school.

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Book Report: "American Dirt"

American Dirt by Jeanine Cummins
My rating: 4 of 5 stars

Accusations of cultural appropriation distract from the torrent of research and authenticity that Jeanine Cummins channels into her writing.

Even though she can't fulfill the promise of her setup with a fully satisfying conclusion, her narrative about the struggles of a mother and her son to evade cartel assassins to make it north of the border is powerful and illuminating.

Careful to paint a respectful and inquisitive -- while still foreboding -- tale of the migrants' journey, Cummins uses eloquence and skilful emotional insight to deliver an often transcendent tale. Packed with stunning twists -- although maybe one or two too many -- and penetrating insight, the book feels like a product of experience rather than study.

Since so much of the book takes place in Southern Arizona and Sonora, the book has particularly high resonance for those from the Tucson and Nogales areas. "American Dirt" is a story that screams to be told, and Cummins was just the right author to answer the call.

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Book Report: "Grant"

 

Grant by Ron Chernow
My rating: 5 of 5 stars

I wish Ron Chernow had enough time and energy to write biographies of every significant historical figure. With a storyteller's flair and a historian's conscience, he sifts through mountains of research and conflicting narratives to suss out the closest thing imaginable to the true story.

His gift is one of empathy. He inhabits and takes in the world in the way that he imagines his subjects might have, probing the records and media accounts to synthesize the feelings and inner mental workings of the time.

In the same superb way he deconstructed Lincoln, Washington and Hamilton, he takes on the stoic icon Grant, transforming him from a poker-faced general and president into a man teeming with insecurities and inner demons. Chernow takes a hard look at his alcoholism, which Grant shielded with intense ferocity.

Orchestrating the myriad forces that Grant navigated as he floated to the upper echelons of Guilded Age celebrity, Chernow explores the complicated relationships Grant had with the likes of Sherman, Twain and Garfield, making the giants of history seem as familiar as drinking buddies.

Throughout the exquisite prose, Grant emerges as a figure of tender ambition, deep care of his family, as well as humanity as a whole, and his careful stewardship of the legacy he built. It wouldn't surprise me if Grant -- for all his flaws and gullability -- was Chernow's favorite subject of all to date.

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