Pop Quiz Of The Week: Zombies

Image by Laughing Squid

Via Plinky, today's question:

What will you do when the zombies come?

Write your answer in the comments below, or write a response on your own blog and email us with the link. We'll add it to this page.

ModFab's own answer will be in the comments later today.

The Monday ManScan

Argentine Men : Pablo Rodriguez
Black : No. 399
The Daily Slab : A Long Shot
Definition of a Man : Neck Laced Lads
Fantasies of a Virgin : Four Hunks From Nora Roberts
Five Star Men : Kellan Lutz
Hans Is Great : Eye Candy
Sexy Muscle Dudes : Male Wallpapers
Swimpixx : Thank God It's Sexta
Tropical Desires : Tantalizing

Showtune Sunday: "The Wild Party"

God, but I do miss you deeply, Miss Eartha. "You are looking at a woman who invented The Walk. You know The Walk? I INVENTED THAT." Hotter than Hell's furnance at the equator in July.

Spider-Man Musical Casting: Don't Believe The (Most Recent) Hype

A follow-up on the new Spider-Man musical, if I may. It may be true, as Michael Reidel "scooped" today (a full day after our piece, but who's counting), that Reeve Carney, one of the actors who sang at the Spider-Man: Turn Off The Dark preview last Wednesday, is the new choice to don the webslinger's tights. But if I were you, I'd stay a bit skeptical about Reidel's "news"...over half of the crap Reidel says these days is complete fabrication, and as a man who saw Carney in the flesh, it strikes me as a very odd casting choice if true.

Now, Bernie Telsey is casting the show (or at least, he was present in the audience on Wednesday), so stranger things could happen. (I'll spare you my rant on how Telsey is singlehandedly destroying Broadway...some other time.) And Carney, to be fair, is one helluva singer. His rendition of "Rise Above," in particular, was stupendous...even Bono praised him.

But Reeve's not, in my view, a Peter Parker in any way, shape or form. First, he's got a loose sexuality, like a fey Jim Morrison, and a hip, androgynous rocker vibe. Which is all fine and good, but not exactly the type to play an uptight virgin nerd superhero. He lacks a little in the star power department...I question whether he's got the presence to hold audiences in the cavernous, huge Hilton Theatre space. At the preview, he seemed noticeably cowed by the audience. If he's the choice, frankly, my doubts about the musical might return.

I could be wrong...but for the musical's sake, I hope not.

I'm Swinging Out, Sister!

Swing Out Sister

One of my favorite bands in this whole entire universe, Swing Out Sister, is coming to New York on June 8th! And I just got tickets for me and Mr. ModFab to attend! Woo hoo!

They haven't been to America in ages (I've bought their last four albums on import, since they weren't ever released here), and I'm in love with their recent disc Beautiful Mess, which I got a copy of late last year. I can't wait!

Previously on ModFab:
Catching Up With Swing Out Sister
Disco Friday: Notgonnachange

ModMusic: Royksopp's "Junior"

For most Stateside listeners, the Norweigian electronic duo Röyksopp is perhaps known more for their TV commercials than their Top 40 singles. (If you've ever seen the Geico caveman ad on the moving airport sidewalk, you've heard "Remind Me," their instantly identifiable, uplifting midtempo hit.) After two well-regarded but underperforming global releases, Melody A.M. (2001) and The Understanding (2005), it wouldn't be surprising to see their idiosyncratic, atmospheric pop sensibilities turn more straightforward (and commerical).

Not surprising at all. Junior, Röyksopp's latest stab at music for the masses, is packed with hipster-savvy guest vocalists (Robyn, Lykke Li) and pared-down, dancefloor-digestable arrangements. (Junior is the precursor to a second disc, Senior, that will be released later this year.) The album's first two singles, "Happy Up Here" and "The Girl and The Robot," epitomize the 80's-era synths and driving electro basslines that dominate the majority of Junior's tracks. From song to song, echoes of Visage, Heaven 17, and New Order are plentiful, replete with urgent undercurrents and angst-ridden lyrics. Is this bad? Not at all. In fact, it's an entrancing approach for many reasons, not the least of which is its of-the-moment currency and radio-friendly appeal. (Don't get too wistful and teary for the old, neo-symphonic Röyksopp, however; the band throws longtime fans a couple of bones, including the buffed tinniness of "Silver Cruiser" and the operatic soprano wailing over "You Don't Have A Clue.")

The trappings of heartbreak adorn almost every song on Junior, but rarely has melancholy had such bouncy verve. The depth of field, metaphorically speaking, seems quite shallow; if a relationship ends, at least you can dance the pain away. Or you can look inward, navel gaze, and distract yourself while the frizzed-out keyboards play in the distance. With Junior, Röyksopp may have fashioned a new-millennium treatise on solipsism, but to dismiss it as self-absorption would be a stretch. No album as meticulously constructed for consumers could be guilty of dancing with itself.

Listen: "The Girl and the Robot"
Watch : "Happy Up Here"
Buy: Röyksopp, Junior

Disco Friday: Style Council "My Ever Changing Moods"

Never fails to cheer me up, regardless of how down I am...

Stage Addiction: Inside the Preview of "Spider-Man: Turn Off The Dark" With U2's Bono and The Edge

You know, some days I really like my job.

This evening, after seeing a matinee of Exit The King (more on that challenging, exciting, difficult, witty, utterly brilliant production later), I headed down to The Times Center on 41st Street for a special sneak preview of Spider-Man: Turn Off The Dark, the new mega-musical opening next January at Broadway's Hilton Theatre. The talent is tremendous -- Julie Taymor (The Lion King) directing, Eiko Ishioka (Coppola's Dracula and the Beijing Olympics Opening Ceremony) on costumes, and, of course, U2's Bono and The Edge, composing their first-ever score for the stage. I think it's safe to say that no other musical this decade has generated more excitement or interest, and its pre-sales -- currently available only through specialty groups -- are through the roof.

But is it any good? Are the casting rumors true? Will Taymor's vision please both fanboys and theatre queens? Your intrepid editor was about to find out...and perhaps shake hands with Bono. (Hot!)

The presentation began with Taymor, who spoke at length about the elements that drew her to the project...essentially, the classical structure of Peter Parker's journey from everyman to hero. Unlike Sam Raimi's Spider-Man films (which moved from the story's comic book roots toward a more naturalistic, real-world interpretation), Taymor is, unsurprisingly, going the other way -- embracing the webcrawler's inherent theatricality, and placing him inside a stylized New York City populated with heroes and (multiple) supervillains.

The set designs, displayed on the huge projection screen in the photo above, drew inspiration from the pop-art colors and the lines of comic book panels while playing with multiple perspectives. Ishioka's costumes were breathtaking -- a rogues gallery of the villains that appear onstage in the musical received audible gasps from the audience, including the Green Goblin, Lizard, Kraven, Swarm, and a new female villain created at the behest of Taymor, Swiss Miss (dressed in immaculate white dominatrix gear and multiple knives...hot!). Fans of Dr. Octopus and Sandman should know, however, that neither made an appearance in the presentation, although Taymor hinted at a special villain yet to be identified who appears in the piece.

Taymor addressed the question on everyone's mind right away: will Spider-Man spin webs and fly through the air? The answer was a resounding yes...the character will swing through the theatre and over the audience. She then showed a video from last year's top-secret "flying workshop" in Los Angeles, where she, stunt designers from the Spider-Man movies, and aerialists from Cirque du Soleil spent two weeks in a studio lot working on "webslinger technology" for the musical. The results were pretty impressive...the wires are visible, but the moves are so stunning you forget them very fast. I'm only one opinion, but I loved the effect. Can't wait to see it with all of the production elements next January!

After a rambling, geektastic speech by book writer Glen Berger, there was nothing left but to hear the songs. To wild applaus, Taymor introduced Bono and The Edge, and the two men ambled out onto the stage. Perhaps the biggest surprise of the day -- these two global superstars, who have played stadiums all over the world and won every award imaginable, actually seemed a little nervous playing these songs to an audience for the first time! They were, if you can imagine it, even a little adorable, like kids with a new toy...playful, smart, interesting, and genuinely excited to be working on a stage musical. (Bono mentioned that they first got the idea to do a musical from Andrew Lloyd Webber, and name-dropped Rodgers and Hammerstein in their opening remarks.)

Bono and The Edge previewed eight songs (five in their entirety and three snippets) over speakers in what sounded like prerecorded studio demos. The vocals, however, were sung live by five unknown actors who, Taymor mentioned, had only had one day of rehearsal. (This quintet was not, necessarily, part of the cast; she also mentioned that they had just started the audition process, and throughout the day there was never a reference to ANY possible cast members...not even the oft-mentioned Evan Rachel Wood and Jim Sturgess.)

My favorite songs included two beautiful ballads written for Peter Parker which bookended the presentation, "Rise Above" and "Boy Falls From The Sky." Both were incredibly successful at marrying story to lyric; they also managed to simultaneously sound like U2 rock tracks AND Broadway classics. I also liked the title ballad, "Turn Off The Dark," a minor-chord metaphor for heroism, and an uptempo rocker, "Bouncing Off The Walls," which will have Peter taking the title literally...with walls that move to accomodate his bouncing!

Less successful were a character number called "Bullying By Numbers," a percussive track called "Pull The Trigger," and a ballad that (I think) was called "If The World Should End." The latter might have just been the female performer, who had breathing problems and sang out of tune for long sections. It's hard to evaluate songs that haven't yet been taken to the production level, so I reserve the right to change my opinions, for good or ill, once it opens!

All in all, though, I was thoroughly impressed...energized, even, by Taymor's thoughtful approach to the material, the dynamic execution of the designers, and the palpable energy of the production team. Can we dare to hope that Spider-Man: Turn Off The Dark might be a great musical in the making? A week ago, I didn't imagine such a thing was possible. Today, I'm not only thinking it. I'm betting on it.

American Idolatry: Visiting Hitsville (And Living Up To The Reputation)

I've decided that I'm going to wait to do more American Idol recaps until we get down to the serious contenders; I think we're two or three weeks away from that point. (Until then, my TV gurus, Tapeworthy and Low Resolution, are the recappers I'll be reading!) But last night's "Motown Night" deserves a quick mention, because it was clearly the most fantastic episode of the season. There were best-yet performances from Matt Giraud ("Let's Get It On"), Kris Allen ("How Sweet It Is To Be Loved By You"), Anoop Desai ("Oooh Baby Baby") and especially Allison Ireheta ("Papa Was A Rolling Stone"), who has more natural ability than everyone else put together. Adam Lambert turned in a gentle acoustic version of "Tracks of My Tears" (dressed like a young Elvis, to boot!) that deservedly got the biggest applause of the evening, and even the wildly overpraised Danny Gokey was good. Pretty stunning two hours of television, all things considered.



On the weak side, I think the bottom three will be:

Scott MacIntyre ("You Can't Hurry Love")
Megan Joy ("For Once In My Life")
Michael Sarver ("Ain't Too Proud To Beg")

Sarver and McIntyre simply aren't up to par with the top six, and tonight's by-the-numbers performances exposed that once again. Joy (didn't she have a different last name last week?) simply had a bad night; the band started too slow, and the song didn't suit her Adele-like jazz alto. I'm guessing she'll say goodbye tomorrow night.

Your thoughts?

The Top Ten Songs In The Universe

Frankmusik : That Much Is True
Hot Pink Delorean : Molester Francais
The Juan MacLean : One Day (Surkin Mix)
Kate Bush : Sexual Healing
Lil' Wayne : Prom Queen (Russ Castella Piano Mix)
Lucky Soul : Whoa Billy
Man Is Doomed : Take Off Your Pants and Dance (Kid Color Mix)
Massive Attack vs. Lily Allen : Massive Fear
Nadia Ali : Love Story
Royksopp : Junior

Classic of the Universe : Maxwell : Ascension (No One's Gonna Love You, So Don't Ever Wonder The Tribute Uncut)
Album of the Universe : Alcazar : Disco Defenders (Special Edition)

BeBe, Nina or Rebecca?

Image via Wikipedia

Which queen will reign triumphant tonight? Bitchslap it out in the comments.

If you're curious, ModFab is officially a member of Nina Flowers Nation. Well, really a member of Ongina Nation, but that dream ended weeks ago. (Sob. Love me some Ongina!) And no, I won't be at Therapy tonight to see the ladies live, because that much fierceness at one time could be too much for my little queer heart. But Mr. ModFab and I will have our martinis in one hand, remote in the other, ready to cheer Nina (and Ru) on!

Hottie Alert: The Only Possible Reason To Watch NCIS

Well, not the old NCIS. I mean, who would ever watch that show? (I've never met anyone, ever, EVER, who watches it. Or The Unit. Or Two And A Half Men. CBS, are your Nielson ratings a fraud perpetrated by aliens? Or are they simply a lie, like the idea that yogurt tastes good?) I'm guessing that the "NCIS" acronym stands for something military, or militia-like, or randomly violent...I vaguely remember a commercial where Mark Harmon was holding a rifle, looking pensive and stressed out. But that was years ago, the show might be about adorable kittens now for all I know. As I said, no one has ever watched NCIS to find out.



The new spinoff to the series, however -- NCIS Legend -- will probably find its way onto my DVR when it premieres next fall. Why? Because the recently announced cast hit the hottie trifecta, that's why. First, you got my fantasy husband, LL Cool J, taking the lead on the show and in my dreams. (I hope whatever unit or battalion he's in, they have to do sweaty maneuvers and covert operations while shirtless. Mmmm.) Add to that Chris O'Donnell, who used to be a little twinky, but has developed some daddy status in his thirties. (Yum!) And from Broadway, they've scooped up the always adorable Barrett Foa, the blond bombshell from Avenue Q and Spelling Bee fame. With sexyfication like that, honestly, I don't care what it's about. Bring on the bullets and hand grenades! Let's see some foxhole action!

The Monday ManScan

Serenidade : Segunda-feira
Sexy Hot Male Models : Beautiful Muscular Shirtless
Sexy Muscle Dudes : Monday's Muscle
Stunning Sexy Guys : Sport Lad
Suvacos de Machos : Esteban
Swimpixx : Preto & Branco
Taste of Vanilla : At Lunch In Gaucho Grill
The Daily Slab : diedandgonetoheaven
Tropical Desires : More Of Mendez
Truly Madly Deeply : Pawel Milner

Showtune Sunday: "West Side Story" Cool

I saw the new revival of West Side Story earlier this week, right before it opened. And...well. Uhh. Hmmm.

While I lowered my expectations way down beforehand (I felt it would be unfair to compare it against my memories of the movie, which is one of my top ten films of all time), it was a disappointment nevertheless. The direction was cold and formal; the piece never developed an emotional core. (What happened, Mr. Laurents? I was so happy with your work on Gypsy, and now this!) Some of the voices were strong (especially Broadway newcomer Josefina Scaglione, who is an exquisite Maria), but most were not. Suddenly, I think Hair might have a chance at that Tony Award yet. (I see it next week, and will report in.)

Of all elements, though, the biggest horrors were The Jets...terrible acting, subpar dancing, and almost every song off-key. Cody Green -- aka, the winner of Bravo's Step It Up And Dance -- plays Riff so stiff and untextured that he might as well move back to the chorus. Xanadu's Curtis Holbrook, playing Action, was flat-out embarrassing. In the group numbers, The Jets butchered "Jet Song" and "Gee, Officer Krupke," in my opinion. But it was "Cool," with its stunning Jerome Robbins choreography, that should have sailed. And it didn't. Posted above is the original company, who land every move with sharp edges, clean lines, and vibrant energy. If you've seen the new version, compare the two. The difference is astonishing.

But maybe it's not a total loss. It's a great musical, maybe the best of all time. And that may help them with the public and some of the critics, because hearing those amazing songs is a joy. (And the Tony/Maria duets are really, really good.) But taken as a whole, this West Side Story tarnishes a great work of art's legacy. Stay cool, boy.

Our Mind Is Officially Now Blown

Yesterday I said Battlestar Galactica was my favorite show of all time. After last night's finale -- a mind-shattering alternate creation myth unlike any other -- I'd like to amend my statement. It is unquestionably the BEST television program of all time.

Let me know your thoughts in the comments. I'm still too stunned, thrilled, and awed to be rational about it.

Disco Friday: Was Not Was "Walk The Dinosaur"

via videosift.com

If you can't love the ridiculous lyrics, if you can't enjoy the masterfunk of that bassline, if, in fact, you are not completely powerless against shaking it like a polaroid picture when the trumpets hit that riff...well, then we must all feel sorry for you. Truly.

Departing The Battlestar

I know that I should probably be more upset about Natasha Richardson, or even Alexis Grace, at this particular moment in time. But the end that I've been mourning all week, and the one I'm feeling most palpably, is that of my beloved Battlestar Galactica, which ends its four-season run tomorrow. I've been a relentless champion of the show, and have always argued that if new viewers would just try it, they'd love it.

That is not the case for tomorrow night, people. Sure, you can watch the all-day marathon and try to catch up, but at this stage, the mythology is just too dense and complex for newcomers to grasp the nuances. (My advice? Wait for the DVD box set, which I hear will hit in July.) The mantra of this show is "all of this has happened before, and all of this will happen again"...and with an epic mandate like that, you know it's more than a casual viewer can take in.

Now the eulogy. I've loved many television shows over the years. Twin Peaks. Murder One. Six Feet Under. Heck, I was a Fame junkie when I was twelve. But I have never been so enamored, so entranced, so captivated by a television program as I am by Battlestar. It is partly its vision, coupled with its superb execution, dynamic performances and design. But if I am truthful, it is because Battlestar -- as a post-9/11 New Yorker, who cannot stand the divisions of race, religion, and gender that have trapped humankind for the last eight years -- dealt with the issues of our time with dexterity, helping me discover my own truth. As Baltar and Six passionately ripped apart the bonds of faith, as Roslin and Adama sought refuge in their personal moments, and as Starbuck and Sharon muddled through wars both romantic and real, I felt like I was being shown a third path. A path that saw through the falsity of the Bush Administration's demonization of Muslims. A path that recognized value in all kinds of life, whether they be gods, men, women, or even machines.

I'm sure that I'll love another TV show again...someday...why just this week, I became glued to Breaking Bad, the suprising (and incredibly well-written!) cable drama I've been catching up to on DVD. But I fear that we've lost something more important than entertainment with the demise of Battlestar Galactica. Yes, it was a frakkin' good time. And as The Film Experience points out, the guys were smokin' hot. But it was also a prophetic vision of how to make the most complicated machines of all -- and that would be US -- better. So Say We All.

Casting Couch: Who Should Be Thor?

If one believes the internet (and one should always believe the internet), these five men are the finalists to play the title character in the Marvel Comics movie adaptation of Thor. Clockwise from top left -- Charlie Hunnam (Sons Of Anarchy), Tom Hiddleston (HBO's The Gathering Storm), Joel Kinnaman (God Save The King), Liam Hemsworth (Knowing) and Alexander Skarsgard (Generation Kill and True Blood). None of them are exactly Norwegian musclestud gods (which would have been my choice...whadaya mean The Rock's not Norse enough?), but maybe the movie is more targeted to the wispy Twilight teen audience than aging homos like myself.

So place your votes in the comments: who should be Thor, the God of Thunder? The IMDB has its money on Skarsgard, but I think I'd prefer Hunnam or Hemsworth.

The Top Ten Songs In The Universe

Architecture In Helsinki : That Beep (Radioclit's French Mix)
Ari Gold : Human (Steve Skinner Black President Mix)
Chris Cornell : Part Of Me (Grandtheft Disco Mix)
Girls Aloud : Untouchable (Single Mix)
Ladytron : Tomorrow (Vector Lovers Lucky Remix)
La Roux : In For The Kill (Heartbreak Mix)
Little Boots : New In Town (Fred Falke Mix)
New Order : Jetstream (Richard X Mix)
Nouvelle Vague : Come On Eileen
Pet Shop Boys : Did You See Me Coming?

Classic of the Universe : Nuyorican Soul : It's Alright, I Feel It! (M.A.W. Mix)
Another of the Universe : Banderas : She Sells
Album of the Universe : Pet Shop Boys : 25 Years Of Hits
Another of the Universe : Talking Heads : Remain In Light
Yet Another of the Universe : Various Artists : Watchmen Soundtrack

I Am A Complete Whore For Alcazar

I love Kylie Minogue. Love her with a passion I normally reserve for sex and double chocolate cupcakes. If you read this blog even intermittently, you know this for a fact.

But if I could multiply Kylie by three, give her a cheesy wit, and make her Swedish, you would have my favorite trashy band in the world, Alcazar. Wondering who I'm talking about? If you're American, don't sweat it; despite five albums and a lengthy string of hits around the globe, the band has never had a disc released in the States. Probably, it's some combination of their bubblegum disco sound (which isn't the fashion of the day), their playful approach to music and sex (America is too uptight), and their openly gay vocalist Andreas (who is hotter than a box of fire).

But if you know your way around import sites or torrents, you'll be able to grab the band's latest confection, Disco Defenders. After a four-year break from recording, the trio (having dropped Andreas' ex-boyfriend, Magnus Carlsson, from the roster) has returned with a joyful, sugar-smacked slice of Europop. More fun than fellow Swede popsters ABBA, Alcazar isn't for everyone; kitschy trinkets like "Burning" or the new blazing cover of "Funkytown" spread the goo a little thick. The word "derivative" pops into the mind frequently, and the contemplative moments are few (although one track, "Baby," was written by the Pet Shop Boys), and the sophistication is all studio-tech wizardry.

But to be fair, this isn't music for quiet contemplation...it's a superlative dance record, built for activity, intensely focused on the listener's enjoyment. Release your inner snob, let go, and have a ball. Listening to the bubbling brook of synths under "My, My, Me and Mine" or the grungy smash of "Inhibitions," one can easily forget (as I did) that you're on the subway listening to an iPod. Dancing on the subway makes you look crazy and homeless, as I learned. But in an Alacazar World, I simply. Don't. Care.

Download: "Inhibitions"
Watch: "We Keep On Rockin'"

Stage Addiction: The Earliest Tony Predictions In History!

With award season swinging into action, it's time for ModFab's weekly Broadway series to return! But let's be clear at the outset -- it's waaaaaaay too early to be making predictions about what shows and performers will win Tonys next June. Heck, many of the big contenders haven't even opened! How could we possibly know what's going on?

We can't. And we don't.

But that's not going to stop us. Because this year, we're armed with inside-the-industry gossip, blogger chutzpah, and three intrepid "Broadway Experts": a house manager for a major Broadway institution, a singer with deep connections in the producers' offices, and an arts professional who regularly interacts with the publicists up and down the Rialto. Together, we'll be handicapping, prognosticating, truthtelling, and most of all, revising...all the way up to Tony Night in June. So let's get started!

We're beginning today with the eligible candiates for Best New Play and Revival of a Play.

BEST PLAY
33 Variations
Dividing The Estate
God Of Carnage
Impressionism
Irena's Vow
reasons to be pretty
To Be Or Not To Be

Four nominations will eventually be culled from these seven candidates, which include three premieres, one London transfer, and three upstarts from Off-Broadway. You can strike To Be Or Not To Be immediately, because, frankly, it sucked major ass. For now, I'll also eliminate Impressionism, which has terrible buzz after a withering attack by a gossip columnist (but I wouldn't trust that...not yet, at least).

33 Variations recently opened to good-but-not-great reviews, as did Dividing The Estate late last year. Similar reactions were had by the original 2008 incarnations of Irena's Vow and reasons to be pretty. God of Carnage won big in the West End, and previews are generating great word of mouth.

In our experts' discussion, they noted the recent death of Horton Foote, a semi-legend whose demise might engender enough sentiment to help Dividing's chances. The Broadway debut of writer/director Neil Labute brings a certain attention to reasons, which also has the distinction of being the most controversial contender with the raciest subject matter. (Fat girls. Again.) But if I've learned anything in life, it's this: for Oscar nominations, never bet against Streep, and for the Tonys, never bet against Jews. Which means that I think Irena's Vow, a sometimes sleepy play wrapped around a great true story (about a woman rebelling against the Nazis during WWII), will take the fourth slot.

House Mgr Predix : 33 Variations, Dividing, Carnage, reasons
Singer Predix : 33 Variations, Dividing, Carnage, reasons
Arts Pro Predix : 33 Variations, Dividing, Carnage, reasons
ModFab Predix : 33 Variations, Dividing, Carnage, Irena's Vow

BEST REVIVAL OF A PLAY
Accent on Youth
All My Sons
American Buffalo
The American Plan
Blithe Spirit
Desire Under The Elms
Equus
Exit The King
Hedda Gabler
Joe Turner's Come and Gone
A Man For All Seasons
Mary Stuart
The Norman Conquests
The Philanthropist
The Seagull
Speed-The-Plow
Waiting For Godot

Yep, you read that right....SEVENTEEN contenders for Best Revival! And of them, only half of them have opened. The brutal reviews for Hedda Gabler and American Buffalo make it easy to dismiss them. All My Sons, Equus, The American Plan and A Man For All Seasons fared better with the critics (and at the box office), but none made a lasting impression...and are quickly becoming distant memories in a crowded field.

But last fall did include two lasting contenders: the much-publicized revival of David Mamet's Speed-The-Plow, and the acclaimed revival of Chekhov's The Seagull. Opening just last Sunday was Blithe Spirit, which seems to be more popular for its star turns (by Angela Lansbury, Jayne Atkinson and Rupert Everett, in that order) than as a Best Revival candidate. Still, don't count it out yet.

One can't tell much about the shows that are still in rehearsal, other than to say that they are the starriest of the bunch: Accent on Youth (David Hyde Pierce), The Philanthropist (Matthew Broderick), Waiting For Godot (Nathan Lane), Joe Turner's Come and Gone (Arliss Howard) and Mary Stuart (Janet McTeer). Word on the street? It's good for Exit The King and the Chicago-borne transfer of Desire Under The Elms.

For our expert panel, the big question was The Norman Conquests, the comic trilogy by Alan Ayckbourn coming next month to Circle in the Square in what seems to be a press blackout. Is it good? What is it, exactly? Why is it? Many questions...perhaps too many. Our panel, working with limited information, gave it their best shot.

House Mgr Predix : Desire, Joe Turner, Mary Stuart, Speed-The-Plow
Singer Predix : Blithe, Mary Stuart, Speed-The-Plow, Godot
Arts Pro Predix : Blithe, Mary Stuart, Speed-The-Plow, Godot
ModFab Predix : Desire, Exit The King, Mary Stuart, Godot

Coming Next Week: The Musicals!

Fabstuff: Tilda Swinton As Future Fashion

Project Rungay has a mind-reeling spread from AnOther Magazine featuring alterna-diva Tilda Swinton, who models (models!) new items from Britain's most cutting-edge designers, including Peter Pilotto, Peachoo + Krejberg, Mary Katrantzou, and (above) a swooping gown from Mark Fast. This is the universe I want to be a part of, people!

The Monday ManScan

101 Boys : Anthony, Shane, Ray
Black : 391
Dude Flesh : Malachi Marx
Ethan Says : Hugh Jackman, Shirtless In Australia
Fantasies of a Virgin : Radoslav Vanko
Gay Man in the Desert : Great Shots
GayTwoGether : The Very Thought Of Him
Get Ur Pantz On : Matthew Brookes
Guycandi : Ziv
Jerry In Paris : Obsession

Showtune Sunday: "In The Heights"

Broadway's spring awards season officially gets underway this week, with big-time openings falling in rapid succession (Blithe Spirit, West Side Story, God of Carnage, etc.) and high-profile transfers starting previews (Rock of Ages, reasons to be pretty). Perhaps it's a good time to look back and remind ourselves of the gold standard for Tony winners these days...namely, last year's Best Musical, In The Heights. Still enjoying a healthy run at the Richard Rodgers on 45th Street, the show gives us some important clues about Tony voters and their preferences...namely, traditional narratives, catchy pop tuneage, and a smidge of cultural relevance. If I were a betting man (and it's VERY early to be doing so), I'd place a healthy wager on Billy Elliot: The Musical, which seems to have these criteria nailed. And Elton John doesn't hurt their chances, either.

By the way, the best official Broadway show website this season, hands down, is this one. The video and interactive polls are brilliant...and the URL address is simply genius.

A Final Curtain

I'm in mourning, today, so no posts...Steve On Broadway has taken his final bow. There are so few great theatre blogs, it's a real shame to lose one of the best. Miss you already, Steve!

Showtune Sunday: "Guys and Dolls"

The reviews were pretty brutal last week for the new iteration of Guys and Dolls, now playing (but probably not for much longer) at the Nederlander Theatre. I'm loathe to pile on, so I'll leave it by saying that the reviews were, um, correct. And that's a shame, because G&D deserves a stellar rendering -- it's got magnificent songs, well-drawn characters, and enough verve for five musicals. So let's focus today on the wonderful revival from 1992, with a cast that included Nathan Lane, Faith Prince, Peter Gallagher, and in this number, Walter Bobbie as Nicely-Nicely. (In the background, you'll also see fine performers like Ernie Sabella and JK Simmons.) If this doesn't cheer up your hopes for Broadway's spring season, nothing will!

Disco Friday: Depeche Mode "I Feel Loved"

As the excitement at ModFab HQ grows to a fever pitch over next month's release of Sounds of the Universe, I've been revisiting the catalog of Depeche Mode on the iPod more often than I should admit. (261 tracks by the band on my DM playlist...remixes, outtakes, bootlegs, etc. Yes, we're Mode Whores. What of it?) We keep coming back, though, to the propulsive frenzy of "I Feel Loved," a very danceable track off 2001's underrated Exciter disc. Even more fun are You Tube's many homemade remixes of the song, which show the durability and elasticity of Martin Gore's songwriting.

When The Cards Go Wild!

Anyone who thought the American Idol wild card round would consist of also-rans found themselves seriously mistaken last night -- the eight performances gave viewers the most consistent and talent-packed evening so far. Quickly:

Idol Wannabe : Jesse Langseth
Song Choice : "Something Good"
Fashion Sense : Mini-length leather one-piece (hot!) with a beige shawl-like sweather (not hot!)
ModFab Verdict : B
When you decide to perform old-school Rufus and Chaka, I'm halfway down the road with you already. She's got a lovely instrument, too. If I have any complaints, it's that she doesn't really have the grungy swagger in her performance or in her voice. The judges were mixed...boys didn't like it, girls did. We'll see.

Idol Wannabe : Matt Giraud
Song Choice : "Who's Loving you"
Fashion Sense : Black fedora (soooo 2007) and a jacket. At least the brownish gypsy scarf was interesting, although a little odd.
ModFab Verdict : B+
Sung like his like depended on it. Scatting and strutting and showing off like a white boy possessed by the spirit of Beyonce Knowles. If this gets him in, I'll be shocked...too showy, too over the top.

Idol Wannabe : Megan Corkrey
Song Choice : "Not The One For Me"
Fashion Sense : Marvelous duotone patterns dress over black pants...sophisticated and adult, without being dull.
ModFab Verdict : B+
A perfect song for her (it sits in the middle of her register like it was born there). It was also a little feisty, a little kicked-up, like a midwestern variation of Gwen Stefani. The judges were quite positive, which leads me to believe that she'll be one of the selections tonight.

Idol Wannabe : Von Smith
Song Choice : "Sorry Seems To Be The Hardest Word"
Fashion Sense : Black jack over a horizontally-striped sailor's crew shirt. Nice and subtle.
ModFab Verdict : B-
It's an indisputable fact that Von has one of the most dynamic abilities in the competition. But when he showboats -- sliding around the melodies, acrobatically leaping over the harmonies -- it becomes, for me, a little karaoke. I mean, he'd be the BEST at karaoke night, but still. It's too big, too much, too obvious.

Idol Wannabe : Jasmine Murray
Song Choice : "Reflection"
Fashion Sense : A purple goddess...shimmery fabric dyed to flow downward to a dark bruise color. Gorgeous gorgeous and did I mention gorgeous?
ModFab Verdict : B
I really hated the choice to do Xtina's most cloying ballad...it's a song meant for drag queens and drunk people to feel cheap sentiment. She's also sooooo young. The judges liked her A LOT. And I'm shocked at that. Who knows, maybe she'll sneak in?

Idol Wannabe : Ricky Braddy
Song Choice : "Superstition"
Fashion Sense : A carbon-copy clone of Justin Timberlake from the "SexyBack" era -- white shirt with grey vest and tie, over black hip huggers. Shameless ripoff, if you ask me.
ModFab Verdict : B
Smart decision to go uptempo...the audience jumped and clapped along to Stevie's move-your-feet jam, showing the most appreciation of the night. He also did his best to bounce and sling the song around, but it all struck me as a huge slice of Wonder Bread...filling, tasteless, and ultimately bland. The judges (save Simon) were positive. So what do I know.

Idol Wannabe : Tatiana Del Toro
Song Choice : "Saving All My Love For You"
Fashion Sense : All sparkle and glitter...like a less talented, more inebriated teenage Liza.
ModFab Verdict : C
Singing the same song from her first-round appearance, Tatiana made a shamelessly blatant attempt to play it "safe." Her performance style is so cabaret, so patently constructed, so artificial, I could barely stand to watch her. Yes, she's got a good voice. So what? She's got zero understanding of artistry, of originality, of why the world needs music. (And can we talk about her suddenly-present Spanish accent? Guess someone decided that Jorge Nunez's win from last night was due to the power of the Puerto Rican voting bloc.)

Idol Wannabe : Anoop Desai
Song Choice : "My Perogative"
Fashion Sense : A blue knit dripping in faux brocade. Well. Okay.
ModFab Verdict : C
God bless you, Anoop. I haven't laughed that hard in ages. My brother sang that song at his senior prom, but he was drunk at the time. And he sang it better.

My Predix at the Last Commercial Break : Matt Giraud, Megan Corkrey, Jasmine Murray
The Three Who Were Actually Picked : Jasmine Murray, Megan Corkrey, Matt Giraud...and Anoop Desai

ModFab Reaction : Yeah, there were four. Well, fine. Anoop will entertain the masses (and me) for at least a few weeks. I think the other three are formidable competition. At the moment, your money has to be on Lil Rounds, right? Who are you pulling for?

Next week...the Top 13! Woo hoo!

American Idolatry: Tatiana Cannot Be Killed, No Matter How Hard I Try

I was two for three last night on American Idol -- the sentimental plea by Jorge Nuñez trumped the pretty-boy charm of Von Smith, giving Puerto Rico a reason to vote (and vote, and vote) -- but the real news wasn't the winners (Lil Rounds, she of the great pipes, and Scott MacIntyre, whose blindess undoubtedly softened hearts and eardrums in the voters, were the other two). The eight comers for tonight's Wild Card Round were named. In the "hey, great picks, Simon" column are:

Von Smith
Jasmine Murray
Matt Giraud
Jesse Langseth

And in the "well, they can't all be winners, Simon" column:

Ricky Braddy
Megan Corkrey
Tatiana Del Toro
Anoop Desai

Yeah, I see her. Tatiana's back. Surprised? You shouldn't be. She's catnip for the producers, who like a little crazy in the mix. With her return, of course, I must reinstate my public death threat...which is not me being cruel and homicidal, but rather, a manifestation of my desire to keep the desecration of popular music to a minimum. For me, I'd have chosen instead of those four (in order of preference) Ju'Not Joyner, Kai Kalama, Felicia Barton and Mishavonna Henson.

And my early, sight-unheard picks for tomorrow night? Von, Jasmine, and Anoop. More tomorrow...

American Idolatry: Or, How To Completely Decimate An ABBA Song In Three Easy Steps

Finally. We've been through all 36 of the American Idol finalists, an achievement which is kind of like saying you've read all of Proust or watched all of Kieslowski's Decameron, only much less respectable. Unlike last week when the finalists were obvious, the mix of talent, personality, and telegenics in this last group made it hard to predict a final three. Who did the ModFab punditry finally settle on? Only one way to find out...

Idol Wannabe : Von Smith
Song Choice : "You're All I Need To Get By"
Fashion Sense : From the Miami Vice collection, a brown suit with a maroon blouse underneath.
ModFab Verdict : B-
If you're like me, you know Von not as the "screamer" from this season of Idol, but as the preteen You Tube sensation from a few years back, when he terrified the populace with a scat-filled variation of "And I'm Telling You" from Dreamgirls. He's grown up a little since then, and clearly, he took Simon's critique from Hollywood Week -- essentially, to lose the showy stuff -- to heart. This performance, by contrast was plain, a little low in his register, soulless, and notably free of trills. To me, it seemed constrained, caged, and dismally safe. But the judges loved it...and Simon's vaguely homophobic comparison to Clay Aiken was mean-spirited enough that voters will probably come to Von's defense. It's early in the evening, but I think he might be safe.

Idol Wannabe : Taylor Vaifanua
Song Choice : "If I Ain't Got You"
Fashion Sense : High School Musical meets Heidi...a black-and-white-and-brown gypsy jumper with thigh-high boots and sassy hoop earrings. A fabulous disaster.
ModFab Verdict : C
This Alicia Keys track, arguably one of the great romantic ballads of the last decade, needs heavy emotional connection to plumb its depths. Taylor, who is all of 16 years old, simply hasn't got the life experience to do more than sing it note for note. Her performance was technically precise and (in a rarity this season) rich with breath support...but it had no life, no spirit. And probably, no chance.

Idol Wannabe : Alex Wagner-Trugman
Song Choice : "I Guess That's Why They Call It The Blues"
Fashion Sense : Untucked black shirt and black jeans...dude, if you're not even going to make an effort, I can stop this right now. Don't make me pull this blog over.
ModFab Verdict : B-
A nerdy dweeb with a sunny disposition and sweet smile, I was pulling for Alex...he reminds me of the kids in my high school science club, and I always felt a little sorry for them. And he had a great voice...for the first eight bars of Elton John's ballad, before he started making throaty growls and weird rock-star posturing. It reeked of karaoke. It reeked of amateurism. (And for those of us who like to be terrified of such things, I'll say this...it reeked of Sanjaya.)

Idol Wannabe : Arianna Afsar
Song Choice : "The Winner Takes It All"
Fashion Sense : Aqua blue sundress, slightly above the knee, but that might have been meant to distract me from the enormous high heels that kept her nearly stationery throughout the song.
ModFab Verdict : D+
To paraphrase Randy, Really Not Good Dawg. Ryan mentioned that this was "the first ever live ABBA song" on Idol, and it unexpectedly revealed the deceptive difficulty of the vocal lines in the Swedish supergroup's tunes. Arianna simply wasn't up to the task, cracking on the long notes, unable to manage her breathing, and noticeably out of tune in half a dozen places. Dramatically, she seemed to mirror Taylor's earlier performance, in being a young girl singing lyrics about lessons learned at the end of a lifetime. In her after-performance interview, Arianna mentioned that she had been concerned the song might have been too "old" for her. True, but not in the way you think, dear.

Idol Wannabe : Ju'Not Joyner
Song Choice : "Hey There Delilah"
Fashion Sense : Leather bomber jacket, jeans, and a little what-the-fuck touch of silver handcuffs hanging off the belt loop. Okaaaaay.
ModFab Verdict : A-
First, an admission. I have always, always hated this song. I find it cloying and saccharin, and indicative of everything that's wrong with the music industry these days. But in the hands of a soulful, moving interpreter like Joyner, the song is rendered into a thing of next-gen, Smokey Robinson beauty. Delicate and serene, the vibe was refreshingly intimate and devoid of glitz.

Another thought: Joyner creates both a dilemma and an opportunity for the Idol experiment -- he's a real singer with a point of view and an adult perspective, neither of which is a regular commodity on the show. But he is, in my view, the best artist of the evening, and maybe the best interpreter in the competition. Will voters get over their fetish for youth and showboating vocals? I sincerely hope so.

Idol Wannabe : Kristen McNamara
Song Choice : "Give Me One Reason"
Fashion Sense : A pink number meant to evoke Elle Woods, but instead evokes Pepto Bismol.
ModFab Verdict : B+
Ever so often, Idol has a moment where you find yourself shellshocked. My first experience this season was when Kristen ripped into the opening notes of Tracy Chapman's bluesy classic. The fullness of her tone, the confidence in her phrasing, and the sheer musicality was something else; the dexterity, too, was unexpected. If vocals were all there were to this show, she'd definitely be in. I don't know, though. I'm not sure she's a superstar in terms of presence or style, but she's got truly dynamic pipes.

Idol Wannabe : Nathaniel Marshall
Song Choice : "I Would Do Anything For Love"
Fashion Sense : A walking, talking, breathing Gay Nightmare...headband over badly-dyed side-swept tresses, a green pullover that made him look fat, and hip-hugging pants that even Liza wouldn't be caught dead in. Wowsa.
ModFab Verdict : C-
I should probably have more enthusiasm for my gay brother Nathaniel (and if you're unsure of his sexuality, you are blind AND retarded), but I don't. Maybe it's his butchering of Stephen Sondheim, but probably, it's because he's trying way too hard. Incredibly theatrical and not in the good way, his meatheaded song choice highlighted his weakness for vocal pyrotechnics. He might have a good voice underneath all of that blinding, forced, arch personality, but I'm not at all interested. Frankly, he exhausts me. (The second homophobic moment of the night, by the way, came from Paula...calling the kid "Boy George" isn't nice in this context. It's code for "faggot," and we all know it.)

Idol Wannabe : Felicia Barton
Song Choice : "No One"
Fashion Sense : Sparkles! Sparkles on the tight black shirt! Sparkles in the eye shadow! But a black jacket, to dampen the sparkle spirit. But no one, NO ONE, can kill the sparkles!
ModFab Verdict : B+
Another Alicia Keys hit, but this one might as well have been Memorex. Down to the intonations, Felicia seemed like a vocal clone of Keys (and since she looks exactly like Nelly Furtado, the pop diva-ness was tres confusing). I guess there are worse things than sounding exactly like a superstar. In fact, in a context like this, it probably helps her...and it definitely puts her neck and neck with Kristen in the running for the top female slot of the night.

Idol Wannabe : Scott MacIntyre
Song Choice : "Mandolin Rain"
Fashion Sense : Well, he's blind. And yet, he's wearing the same black untucked shirt and stonewashed jeans that every other male contestant has worn in the last three weeks, so you know the costume designer must be blind, too. This time, to be fair, they've added a subtle vest, to highlight that James Taylor-ish quality in his voice. (Side note: was there some kind of bulk sale on black shirts at Target last month?)
ModFab Verdict : B-
Let's be totally honest, okay? It was merely adequate. Not special in the least. In fact, he flatted at least four or five times. And for Kara to say in the judging that he "moves mountains when he gets up on that stage" is merely PC bull. For Simon to suggest that "America should put you straight through" is...well, how'd you like to be the singers who have to follow him? There's no denying (or escaping) Scott's blindness, since it's been a part of his narrative arc from the first audition. But at this stage, it's criminal for his vocal mistakes to be glossed over by the judges. He wants to be treated as an equal, so do that.

Idol Wannabe : Kendall Beard
Song Choice : "This One's For The Girls"
Fashion Sense : Hey look, it's Carrie Underwood! Oh wait, it's just some other blonde country hottie in a citrus sundress. My bad.
ModFab Verdict : B-
Like everything else these days, American Idol has been hit by the recession. Back in the boom years of 2005, we had full, rich voiced Carrie Underwood. Now, we get the relatively thin, strained tones of Kendall Beard. Nothing wrong with her, except that she's got predecessors who were better and stronger and finer and...well, you get it. Enjoy obscurity, Kendall.

Idol Wannabe : Jorge Nuñez
Song Choice : "Don't Let The Sun Go Down On Me"
Fashion Sense : A trim and tailored black blazer over a popped-collar white shirt. Hey, it's not exactly a fashion revolution, but at this point, I'll gladly take it.
ModFab Verdict : B
It's not that Jorge isn't tuneful, or talented. He is. But every time I've seen him in this competition, the same phrase has entered my head: "wedding singer." He's got power but no grace, fluidity but no form. He lacks an original style, and his attempt to forgo his accent makes him bland. I admire his dedication with the dialect coach; as someone who once went to a similar coach to reduce my Southern accent (when I moved to Yankee country, I was treated like an idiot until I lost the sprawling vowels) it's incredibly difficult to achieve his success. But should he get called back by America, he'll need to embrace those Spanish roots...and find some soul instead of a dialect.

Idol Wannabe : Lil Rounds
Song Choice : "Be Without You"
Fashion Sense : Now THIS is what I'm talking about! A form-fitting black dress topped by a bright yellow stripe. Fashion-forward and sexy! Can I get an amen?
ModFab Verdict : A-
It's about time we had some Mary J. Blige up in here. And in my opinion, Lil nailed it, ripping the roof off both vocally and dramatically. I don't know if America will like her, but she got an unadulterated rave from Simon ("my favorite of the night...you have great, great prospects in this country...you are undoubtedly one of the best this season"), and she won big personality points. She's also beautiful, and that doesn't hurt a bit.

Best Of Night: Ju'Not Joyner
Worst Of Night: Arianna Afsar
The Three Going Through To The Final 12: Lil Rounds, Von Smith, Scott MacIntyre