Colleen McLaughlin as Sibella Hallward, Blake Price as Monty Navarro, and Erin McIntyre as Phoebe D'Ysquith in A Gentleman's Guide to Love & Murder.
Photo by Jeremy Daniel
A light musical about murder that will make you laugh your head off? Sounds like an unlikely combination, but it’s one that has definitely worked for 2014 Tony Award-winning musical A Gentleman’s Guide to Love & Murder. The irreverent, funny show makes its Austin debut March 20-25 at Bass Concert Hall.
Lead character Monty Navarro sets his sights on a lofty prize after learning that he’s ninth in line to inherit a fortune. Erin McIntyre plays Phoebe D’Ysquith, one of Navarro’s love interests. “The entire show is hilarious. [Writers] Robert L Freedman and Steven Lutvak did such an amazing job, writing so many twists and turns,” she says. “It’s all very tongue and cheek, very much a farce.”
With Phoebe (sometimes) on his arm — he also has a mistress — Navarro creatively contributes to the demise of most of the eight people ahead of him in line. These eight family members are all brilliantly played by one actor, who has perfected the 14-second costume change.
“There’s no other show like it. Eight characters being played by one actor definitely makes for a unique show,” explains McIntyre. “James Taylor Odom does a phenomenal job portraying them all.”
McIntyre sought the role of Phoebe after seeing the show, and says the character is a dream to play. After performing extensively in Australia and the U.K., this run marks McIntyre's first American tour. “It’s been so wonderful to make my U.S. debut in a show that I absolutely love. Performing in the United States has been so fascinating,” she says.
McIntyre is looking forward to sharing her dream role with Austin audiences in the musical that proves just how funny murder can be. “It’ll make you forget your worries and have you laughing all night long."
For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.
The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).
Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.
Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred 3D viewing method makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.
The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.
Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.
A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.
There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.
