Interludes

VIEWPOINTS – Derivative theater: Hedging risk or inspired entertainment? A look at SPAMILTON and OTHELLO: THE REMIX

• By drediman
• November 17, 2016
• No Comments

Much like the financial instrument that bears its name, “derivative theater” hedges the risk of total artistic failure of a theatrical adventure. Surely, a piece of theater deriving its very being from an established work of art can’t be all that bad. That being said, what’s the upside? These shows, often times in the form of forgettable parodies, are also many times limited by paling in comparison to the underlying work. Over the past week, I’ve had the opportunity to experience two such shows. Let’s explore my thoughts.

The cast of “Spamilton” at the Triad

Up at the Triad in the Upper West Side, Spamilton (HIGHLY RECOMMENDED) is selling out nightly, much like the once-in-a-generation megahit that it’s spoofing. The show is the brainchild of Gerard Alessandrini, the mastermind behind the long-running and much-loved Forbidden Broadway series. With Spamilton, he is back in inspired top form. The brilliance of Mr. Alessandrini’s latest creation is that it transcends merely being a spoof of Hamilton and is ultimately an unabashed love letter to Broadway musicals. And unlike Forbidden Broadway shows and their pure revue format, Spamilton benefits from having a frame on which the entire evening is built. The super-talented cast of five is a total hoot, particularly Dan Rosles as Lin-Manuel Miranda playing Alexander Hamilton. I was in stitches throughout.

The cast of “Othello: The Remix” at the Westside Theatre

Down at the Westside Theater, I caught the jovial hip-hop retelling of Shakespeare’s Othello appropriately entitled Othello: The Remix (RECOMMENDED). This retelling of the Shakespearian tragedy is written, composed, and directed by the Q Brothers (GQ and JQ, who also star in the show), who have made it a specialty of theirs to adapt the Bard’s plays in the hip-hop vernacular. Although their work here is technically accomplished and often times ingenious and very funny, I often times missed the dark undercurrent that permeates the original. Indeed, the Q Brothers’ adaptations lend themselves much better to the comedies. This is Othello-lite. Their take on both The Comedy of Errors and Much Ado About Nothing – The Bomb-itty of Errors and Funk It Up About Nothin’, respectively – were truly inspired theater. That being said, the production at the downstairs theater of the Westside is polished and performed with infectious aplomb by its cast of four.

SPAMILTON
Off-Broadway, Musical
The Triad
1 hour (without an intermission)
Open run

OTHELLO: THE REMIX
Off-Broadway, Musical
Westside Theatre
1 hour, 20 minutes (without an intermission)
Open run