Reverend's Reviews: MaXXXine, Cats and NYC Pride Shows

Midsummer has brought an abundance of cinematic and theatrical thrills. From new twists on serial killer and alien invasion tropes, to a fantastic revival of a classic musical plus a new off-Broadway LGBTQ event, there is truly something for everyone available right now. Here is Reverend's rundown:

MaXXXine, now playing in theaters from A24 releasing.
Mia Goth's title scream queen turned murderess first made a splash in 2022's X, then became the retro Pearl in last year's gory throwback to an earlier era of filmmaking. Writer-director Ti West again proves himself to be a master at recreating cinematic eras with this new sequel, set in the excessive mid-1980's. Goth returns as now-porn star Maxine Minx, who is desperate for mainstream crossover success and will stop at nothing to achieve it.

Soon after being cast in the lead role of sequel-within-a sequel The Puritan 2, Maxine's friends start turning up dead and a creepy private investigator played by none other than Kevin Bacon begins trailing her. Could her imperious director, the real-life serial killer dubbed "The Night Stalker," and/or Maxine's religious fanatic father be behind things? No spoilers here. While MaXXXine doesn't quite reach the deliriously campy heights of Pearl nor the intensity of X, it is a worthy entry in this smart and lovingly self-aware series. Goth remains one of today's most exciting, unpredictable big-screen actors. And I really hope they release this movie's song soundtrack — featuring the likes of Frankie Goes to Hollywood, Kim Carnes, ZZ Top, New Order, Animotion, John Parr and more — on old school CD!

A Quiet Place: Day One, now playing in theaters from Paramount Pictures.
This engrossing prequel to actor-director John Krasinski's previous two sci-fi/horror films about blind yet sound-sensitive aliens decimating the human race revitalizes things in a rather ingenious way: It relates the beginning of the invasion from the perspective of a terminally-ill woman and her therapy cat. I'm not kidding. Eventually, they meet up with an anxiety-stricken young man who becomes an unexpected ally, but this movie definitely belongs to Lupita Nyong'o's Samira (or Sam for short) and the impressively loyal Frodo (played interchangeably by two real cats, Nico and Schnitzel).

Sam is making her anticipated final visit to New York City with fellow residents of her hospice on the day the vicious aliens arrive, which can be perceived as either unfortunate or fortunate timing. She subsequently makes her way through the devastated metropolis in single-minded pursuit of her dying wish: a slice of pizza from her favorite Harlem restaurant. Uniquely, the intervention of the aforementioned young man (Joseph Quinn of Stranger Things and the upcoming Gladiator II) threatens to upend her plans more than the aliens.

As written and directed by relatively new but gritty filmmaker Michael Sarnoski (Krasinki was apparently busy with his Jack Ryan series and charming, recent movie IF), Day One is unexpectedly thoughtful and moving. I can attest to its authenticity as a depiction of a dying woman's experience, since I work full-time with diverse hospice patients. Thankfully, most dying people don't have to contend with evil aliens in addition to their serious illnesses!

Cats: The Jellicle Ball, now being performed through August ​11th at the Perelman Performing Arts Center (PAC) in New York City.
Speaking of cats, Frodo above isn't the only feline currently strutting their stuff in audience-pleasing offerings. The 40-year old stage musical Cats, written by Andrew Lloyd Webber and inspired by the writings of T. S. Eliot, has been re-envisioned as an NYC-set queer ballroom story à la the classic documentary Paris is Burning and more recent FX-Hulu series Pose. This new interpretation is nothing short of sensational, and one of my all-time favorite theatrical experiences to date.

I was not a fan of the original production of Cats; in fact, I prefer the much-maligned 2019 film. I love actual cats and have 3, but the sight of adult dancers in feliney leotards plus ears and tails left me underwhelmed. Happily, there are few literal feline allusions in this new Jellicle Ball. Instead, co-directors Zhailon Levingston and Bill Rauch have re-defined the term cat as "slang for any queer person or ally who is part of the Ballroom scene," in the context of their production. They are aided delightfully by co-choreographers Omari Wiles and Arturo Lyons, not to mention an amazing cast of LGBTQ performers and allies headlined by 78-year old Tony Award winner Andre De Shields as Old Deuteronomy. Best of all for fans of Paris is Burning like me is the participation of Junior LaBeija ("O-P-U-L-E-N-C-E!") as Gus, the Theatre Cat!

The palms of my hands were sore from applause by the end of the performance I attended, and I had cried at least twice. If you'll be anywhere near NYC this summer, you simply MUST attend Cats: The Jellicle Ball.

From Here, also being performed now through August 11th by Renaissance Theater Company at the Pershing Square Signature Center in NYC.
I closed out Pride weekend in NYC with a preview performance of this striking new musical inspired by the tragic shooting of 49 LGBTQ people and allies at the Pulse nightclub in Orlando, Florida 8 years ago. Donald Rupe wrote, scored and directed a semi-autobiographical and undeniably affecting story that focuses on a group of friends impacted by the massacre in various ways.

The engaging Blake Aburn leads the cast and holds center stage throughout as Daniel. While struggling for acceptance from his mother for being gay and having difficulty committing to a long-term relationship, Daniel nevertheless secures a chosen family of devoted friends. Although they all survive the June 12th, 2016 shooting at Pulse, they understandably bear emotional and spiritual scars. The musical gives almost everyone a literal spotlight in which to share their experience.

Rupe's book and songs are strong as are his cast members, who are mostly transplanted from Orlando and making their NYC stage debuts. His direction is at times too self-referential and threatens to become cloying but thankfully did not during the performance I attended. Most bothersome to me was the sound mix in a theater that is ultimately too small for this powerful production. Here's hoping From Here graduates soon to a larger venue in NYC and/or elsewhere.

Reverend's Ratings:
MaXXXine- B+
A Quiet Place: Day One- A-
Cats: The Jellicle Ball- A
From Here- B

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Reviews: Jessica Lange IS Mother of Broadway

Maya Rudolph may have recently been declared as the mother of Mother's Day 2024 and late-night TV in a must-watch, Gaga-esque opening sketch courtesy of SNL. However, and with apologies to Maya, the current Mother of Broadway is two-time Oscar winner Jessica Lange. She is currently headlining Paula Vogel's appropriately titled Mother Play at NYC's (Helen) Hayes Theater and has been nominated for the Best Actress Tony Award for her performance. In this semi-autobiographical work that spans six decades, Lange plays Phyllis, the less-than-enthusiastic mother to a gay son (played by Jim Parsons of The Big Bang Theory and Young Sheldon fame) and a lesbian daughter (played by previous Tony Award winner Celia Keenan-Bolger). Both Parsons and Keenan-Bolger are also Tony-nominated this year for their turns here.

Subtitled A Play in Five Evictions, Vogel's new work follows Phyllis and her children in the wake of her separation from their father. Between affordability and infestations by pests (gloriously visualized by projection designer Shawn Duan), they are evicted from their first three apartments in fairly quick succession. The trio gradually find their footing both collectively and individually but continue to experience ups and downs as the decades progress. Women's rights, LGBT rights, and the specter of AIDS all intervene along the way.

I was privileged to see Lange live on stage for the first time last weekend, even though this is not her first Broadway appearance and she already has one Tony Award to prove it. Like myself and many others in the Northeast recently, she was apparently grappling with some allergies and had to cough at times during the performance. (The next day's matinee performance was cancelled due to her health issues.) But Lange nonetheless imbued Phyllis with vitality, humor and dramatic vulnerability. Heck, she even dances more than once during Mother Play!

Director Tina Landau can be considered guilty of a few excesses in her staging. Most questionable is an approximately 10-minute scene in which Lange is alone onstage. I don't know how it was written by Vogel, but it is showy to say the least. The production's best scenes are when Lange, Parsons and Keenan-Bolger are all together... and accompanied by a chorus of dancing cockroaches!

Also causing a stir on Broadway currently is the Tony-nominated musical Illinoise. Inspired by the 2005 album by queer singer-songwriter Sufjan Stevens, I exited a recent performance asking the same question some fellow critics have asked: Is it truly a musical? Or is a dance piece with choral accompaniment (and no singing principal cast members)?

Whatever it is as determined by award nominators, Illinoise does prove to be an affecting theatrical experience. Director-choreographer Justin Peck has conceived Stevens' album as an opportunity for a group of diverse young adults to come of age via dance around an on-stage campfire. At the center is the adorable Ricky Ubeda's Henry, a gay man tortured by his doomed first romance even as he is currently in a loving relationship with a more mature man. We've all been there, honey, and the album/production could have just as easily been titled Arizonoise or Indianaise, based on my personal experience.

Stevens' music, Peck's choreography, Brandon Stirling Baker's lighting design and Adam Rigg's naturalistic scenic design all work together effectively to create an engrossing, engaging tapestry. But is it really a musical? I tend to consider Illinoise more of a dance piece but still expect it to win a Tony or two come June 16th.

Reverend's Reviews:
Mother Play: B+
Illinoise: B

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Reviews: Outsiders and Elephants on Stage

I went into the May 4th performances of new Broadway musicals The Outsiders and Water for Elephants knowing they bore a few similarities to one another. Both are drawn from beloved literary works that were adapted into generally successful movies. Both productions were directed by women — Danya Taymor (Julie's niece) and Jessica Stone, respectively — and they have both been nominated for this year's Tony Award for Best Direction of a Musical. Finally, both musicals are nominated for the 2024 Tony Award for Best Musical.

But they also share a few things in common of which either I was not aware or did not remember from their source material. Somewhat oddly but tragically, both The Outsiders and Water for Elephants feature a central protagonist who recently lost their parents in a fatal car crash. They both incorporate musical scores written by a conglomerate of composers: the Pigpen Theatre Company (Water for Elephants) and Texas-based band Jamestown Revival with Justin Levine (The Outsiders). And finally, both shows employ significant, impressive theatrical techniques in telling their stories. Water for Elephants boasts a menagerie of circus animals brought to life via puppetry, while The Outsiders has both an onstage church fire and a rain-soaked fight scene to keep viewers engaged.

Apart from these various similarities and attributes, however, both musicals end up being fairly standard or good-but-not-great. The Outsiders, based on S.E. Hinton's acclaimed novel about class differences among youth in 1960's Oklahoma, benefits from a strong first act but unfortunately suffers from its over-long and sentimental second act (though it isn't as mawkish as Francis Ford Coppola's 1983 movie, thank God). The fact that the story's teenaged characters are being portrayed by actors in their 20's-30's also makes a negative impact. That being said, Brody Grant in his Broadway debut is an affecting, Tony-nominated Ponyboy.

At least The Outsiders has some still-potent social commentary on its side. The plot of Water for Elephants proves dated apart from its "be kind to animals or they might kill you" message. Headliner Grant Gustin, best known as The Flash on the long-running TV series, was sadly out sick the night Reverend attended. He plays one third of the story's love triangle, with Isabelle McCalla as the circus performer object of his affection and her husband, abusive ringmaster August (played by Paul Alexander Nolan). But these characters aren't particularly well-developed, which allows the show's puppet animals and real-life circus performers to justifiably take center stage.

Perhaps most critically of all, neither musical's songs are particularly memorable. Ponyboy's Dickens-inspired "Great Expectations" and Water for Elephants' second act opener "Zostan" made the biggest impressions on me. Audience members around me, though, responded strongly at the end of both shows with The Outsiders taking a noticeably emotional lead. Will this translate into Tony Award success come June 16th?

Reverend's Ratings:
The Outsiders: B
Water for Elephants: B-

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.

Reverend's Interview: We Love You, Mommie Dearest

Where were you when you first watched Mommie Dearest? Acclaimed and reviled in equal measure upon its release, the movie has been a camp phenomenon in some segments of our LGBTQ+ community for over four decades now. Watching it has become a rite of passage for many.

My late, beloved grandmother Phyllis was a fan of Hollywood legend Joan Crawford, and I fondly remember attending an opening weekend screening of the movie with her in September, 1981 (I was a mere 14 years old at the time). I recall we both thought it was well-done, even if a few over-the-top scenes strained credibility. But I also recall seeing a report on TV’s long-running Entertainment Tonight just a week or so later about how the movie was becoming a cult experience, with some male viewers dressing in drag as Joan and wielding wire coat hangers. If you’ve seen the film (and if you haven’t, you must watch it ASAP) you know what that’s all about.

Mommie Dearest was adapted from an infamous autobiography of the same title published in 1978 by Joan’s adopted daughter, Christina Crawford. Her mother had died a year earlier at the age of approximately 73 (Joan was notoriously cagey about how old she was) and had left Christina and her adopted brother, Christopher, out of her will. Christina subsequently felt compelled to write about her physically and emotionally abusive relationship with her late, Academy Award-winning mother.

A. Ashley Hoff

Her book became a bestseller but also tarnished Joan’s image, justifiably so. Now, a new book exploring this history is being published on May 7th. With Love, Mommie Dearest: The Making of an Unintentional Camp Classic, by A. Ashley Hoff, details the writing and selling of Christina's book and the aftermath of its publication as well as the filming of the motion picture, whose backstage drama almost surpassed what was viewed onscreen.

Hoff is also the author of Match Game 101: A Backstage History of Match Game and My Huckleberry Friend: Holly Golightly and the Untold History of Breakfast at Tiffany’s. He previously worked for talent agencies in Chicago and Los Angeles, and has written articles on Hollywood for The Advocate and Films in Review. Hoff has also been interviewed about numerous pop culture subjects on various talk shows and podcasts.

During a recent phone conversation with Hoff, this writer asked him when and where he first saw Mommie Dearest.

“I had known of its reputation, but the first time I saw it I was in high school and it was on cable TV,” the author replied. “It was really cut up with some scenes missing, including the bathroom scene. I took it seriously, as a horror movie and not as camp.”

IRL: Christina and her "mommie dearest" Joan Crawford

He continued: “The first time I saw it on the big screen was at the Music Box Theater in Chicago in 1997 or ’98. They had a ‘Mother’s Day with Christina Crawford’ event. She was there, and it was kind of creepy watching this movie about her abuse knowing Christina was in the lobby. So, I went out and talked to her. We had a nice conversation.” Hoff subsequently kept in touch with Christina and excerpts from a 2021 interview he conducted with her are in his book.

Indeed, With Love, Mommie Dearest contains many interviews and anecdotes from people involved in the movie’s production. Readers will learn that, shortly after her book was published, Christina was approached by producer Frank Yablans for the movie rights. In addition to buying the rights, Yablans agreed to pay her to write a first draft of the screenplay. She did so but he did not use it.

“The sad part about Mommie Dearest was that I really wanted to make a film about child abuse and the manner in which child abuse can occur,” Yablans wrote in his later, unpublished memoir cited by Hoff. “Child abuse can also happen in extremely wealthy homes with extremely powerful people… That was what compelled me to make the movie, and it was well ahead of its time because today child abuse is a much bigger issue than it was in 1981.”

When the movie was released in US theaters on September 18th of that year, Christina Crawford was unable to enjoy its initially successful reception at the box office. She had suffered a massive stroke one month earlier and was given a one percent chance of survival. Thankfully, she recovered within a couple of months following risky surgery. Once again, Christina proved herself a survivor.

Faye Dunaway as Joan in Mommie Dearest

Both directors and lead actresses came and went during the film’s pre-production process. Ultimately, Academy Award-winner Faye Dunaway was cast as Joan. It is her performance that largely drives the movie’s reputation as a camp classic, and it negatively affected her career.

I asked Hoff more about this. “Does she give an over-the-top performance? Absolutely,” he replied. “Does she chew scenery? Absolutely. But she gives a truly operatic performance, which is what the director (Frank Perry) wanted. To be fair, she gives a phenomenal performance!”

Some agreed with this at the time: Dunaway placed second as Best Actress of 1981 with both the New York Film Critics Circle and the National Society of Film Critics. But she also “won” the Golden Raspberry Award, or Razzie, as Worst Actress of the Year for Mommie Dearest (to be fair, Dunaway actually tied with Bo Derek’s non-performance as Jane in Tarzan, the Ape Man.) Even today, some reputable critics including Leonard Maltin and yours truly admire the film for its groundbreaking depiction of child abuse.

“I recently showed the film to two friends of mine who had not seen it before and they were riveted by it as a serious depiction of abuse,” Hoff told me. “Their response was not what I expected. They did not see it as camp. And then I know some people who have watched the film hundreds of times and will always enjoy it as camp.”

Diana Scarwid as Christina in Mommie Dearest

So what makes Mommie Dearest so campy to some people, especially gay men? Well, the exaggerated moments in Dunaway’s performance are definitely one factor, and none more so than when she angrily crosses her eyes while her face is smothered kabuki-like in white cold cream. The screenplay also features some enjoyably harsh dialogue spoken by both mother and daughter Crawford that is undeniably fun to shout out with them.

In his book, Hoff quotes critic and Palm Springs resident Marc Huestis regarding the film’s popularity in the gay community to this day. “Gay guys have a thing for their mothers, let’s face it,” Huestis said. “I had a relationship with my mom, who was in show business as well, that was very much physically abusive like the one in Mommie Dearest; my mother actually did hit me with wire hangers… So just seeing that scene, the laughter was a release from the ghost of not only Joan Crawford but my own mother.”

Whether we love it, hate it and/or laugh at it, Mommie Dearest continues to stand the test of time for various reasons. I highly recommend reading A. Ashley Hoff’s new book for his detailed, insightful exploration of these… but not before you’ve trimmed your rose bushes in the middle of the night and/or bought stock in Pepsi Cola!

Author photo credit Atila Sikora.

Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine.