Theatre Aficionado at Large

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2010-06-16T01:34:00.003-04:00

Hello readers!

If you subscribe to Theatre Aficionado through RSS, we're implementing a small change. We're going to ask you to resubscribe to a new feed URL.

The new URL is... http://feeds.feedburner.com/theatreaficionado.

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Thanks,

-Kevin

Random Thoughts on the Tony Awards

2010-06-14T11:49:00.005-04:00

Last night I was very fortunate to be watching the Tony Awards at SarahB's annual Tony party (which I lovingly call "Lady Iris' Annual Moon Lady Extravaganza"). We were in a different suite this year, but the company was the same. While it rained on the NY, up inside 1820, the moon was the full, the gin was in the bathtub and a glorious time was had by all. There was a Twitter corner for those who wished to tweet during the ceremony, but we all had such a marvelous time with one another that no one left the couch!

The greatest acceptance speech of the night belonged to Marian Seldes. The beloved actress was honored with a Lifetime Achievement Award which was presented on the pre-show telecast on NY1. There had been some conjecture wondering how long Ms. Seldes' speech would run. However, she trumped all by merely walking to the microphone, taking several glances at the house and merely put her hand to her cheek in astonishment as she walked offstage. I think it will go down as one of the greatest Tony moments ever (and is that now officially the shortest acceptance speech on record...)

I've seen some speculation on web boards and twitter that Ms. Seldes' speech was either disingenuous or indicative of failing health. But the truth of the matter that it is neither. Marian is an animal of the theatre, one who has a unique quality of eccentricity about her. But this eccentricity is pure sincerity. I don't know that there is another person alive or dead who genuinely loves theatre like Marian Seldes, who recently sat through a three hour performance of A Little Night Music, backstage visit and dinner with a smashed shoulder (which would require surgery). She is wholly dedicated to her profession, and I for one say "Brava!"

Last July, the Tony Management Committee released a statement to the press to inform the world that members of the press were to lose their voting privileges in the awards. There was a huge backlash at the time because of the hypocritical statement that removing the press would make the awards more balanced and fair. Bullshit. It was a choice that removed the most impartial members (approx. 100 folks, accounting for 1/8 of the voters). The results of last night's awards were indicative of that choice.

Producers were given far more influence in the voting results, which were reflective of the trends of this weary, underwhelming theatre season where the great financial successes were star driven limited engagements. Stars were given preference; not necessarily saying that their performances weren't meritorious, but it seemed more like a plea on the producers' part to entice other stars to come to Broadway. While I welcome any and all to give it a try onstage... I am weary at the unhealthy trend this could set as more and more producers look to shy away from artistic risks and pander to middling tastes.

There weren't as many sound gaffes as last year, but that didn't help much when it came to Tony performances. Once again they felt rushed and were at extremes. There was no balanced excerpt. Green Day was given two songs while Christiane Noll was given the bridge of "Back to Before." Nominated revival, and the best reviewed show of the season Finian's Rainbow wasn't even represented in song. The television direction once again proved entirely incongruous, giving the audience very little feel for the shows in contention. Matthew Morrison needs to do another musical, but I'm not sold that Lea Michelle is ready for a revival of Funny Girl.

The trouble remains the need for CBS to draw ratings (which it always fails to do) so they limit the performance time for shows and make it impossible to get a sense of the shows currently playing. Also with the show being held in Radio City Music Hall, a cavernous barn fit only for a revival of Jumbo, much intimacy is lost. Radio City Music Hall is not Broadway, nor will it ever be. It's unlikely to change unless the awards are given the boot from network television (and the way it's going, it would probably be better off on PBS), but I wish the tradition of going to a different Broadway house each year would return.

Then there is the legend of Catherine Zeta-Jones. While I am not a big fan of the stage revival currently playing the Walter Kerr, I did think that the star could have been exceptional Desiree Armfeldt with a more nuanced director, such as Bartlett Sher. The performance of "Send in the Clowns" ranks as one of the worst renditions of the song I have ever seen/heard, whether it was the choice to remove Alexander Hanson (who should have been nominated for his exceptional Fredrik Egerman) from the moment so she would have someone to play to or nerves, or projecting to the house at Radio City Music Hall. It heightened what was problematic about her performance to me - the need to oversell, oversing and the overall lack of nuance and balance in her performance. Even folks I know who liked the performance found themselves screaming at the pregnant pauses, jerky head movements and crazy eyes. What seemed mediocre at the Kerr was downright terrifying in HD closeup. Barbara Cook introduced the number, but truth be told I think she should have been the one singing the Sondheim classic last night.

The Best Musical Tony should be renamed "Best Vehicle for Marketing on Tour." It was a weak year for original musicals, very few properties were represented and there were only two eligible nominees for score (with Fences and Enron filling out the rest). Memphis won because it was the most wholly original and traditional musical in the bunch, a diluted and derivative hybrid of Dreamgirls and Hairspray. (I'd have voted for Fela!, one of the great experiences of the year).

Sean Hayes was an exceptional host. Funny, affable, self-deprecating. He was genuinely funny and his one liners and shtick worked very well. His quips as well as his numerous costume bits were very amusing and as the night progressed further and further into tedium, I looked forward to seeing what the Promises, Promises star would come up with next. Also, props on the classical piano skills - I was sort of hoping that he and David Hyde Pierce would engage in a round of dueling pianos.

Angela Lansbury did not break the record for most acting Tony wins last night, but she was still the epitome of class and grace as she was announced the first ever Honorary Chairman of the American Theatre Wing, an announcement which brought the entire crowd at Radio City Music Hall to its feet.

Oh - and one more thing. NY Jets quarterback Mark Sanchez was on hand to present the Best Musical performance of Memphis. In his introduction he was touted as a theatre aficionado, to which I said, "That doesn't look like me." It was unexpected, but I think it's nice to see someone from the world of sports taking an interest in Broadway.

Lily Tomlin's Special Tony Acceptance Speech

2010-06-12T23:53:00.002-04:00

It's the eve of the Tony Awards. By this time tomorrow, we'll know what the voters decided on and we will Monday, Tuesday and Wednesday morning, afternoon and evening quarterback (and possibly still further... Two Gentlemen of Verona over Follies anyone...?). Twitter, facebook and the blogosphere will be a jumbled mess of opinions, arguments, commentary and 20/20 hindsight. But for now I want to share one of my favorite Tony acceptance speeches -and one of the more unique -in Tony history.

Lily Tomlin has appeared in two solo shows on Broadway, both solo works and has won Tonys for both. The more famous is her 1985 vehicle The Search for Signs of Intelligent Life in the Universe, which she revived in 2001. But in 1977, Tomlin made her Broadway debut in a special limited engagement Appearing Nitely, which she directed and cowrote with her partner Jane Wagner. She received a special Tony award for her acclaimed appearance and in turn they made her work for it. Happy Tony watching and may you all win your Tony party pool. In the meanwhile, here's Lily. Enjoy:

Melba Moore sings "I Got Love"

2010-06-11T23:16:00.005-04:00

High belting doesn't really excite me as much as it does some others. But, that doesn't mean I don't have some favorites. One of the all time greats is Melba Moore, who made her professional debut as Dionne in the original cast of Hair. Moore came from a musical family (her mother was singer Bonnie Davis and her father Big Band leader Teddy Hill; her stepfather and great influence was jazz pianist Clement Moorman). Moore eventually moved into the role of Sheila, a couple years into the run (replacing none other than Diane Keaton).

In 1970, she opened in a new musical based on Ossie Davis' Purlie Victorious. A light comedy with satiric edges about race relations in the Deep South, the play was about a charismatic and cunning preacher who returns to his Georgia hometown to save the church and also to get the cotton pickers out of the clutches of the mean old plantation owner (who treats the workers like slaves). The plan is to get an inheritance out of the old racist codger and use the money to help the townspeople, with the help of the plantation owner's liberal son.

The musical starred Cleavon Little as the "new-fangled preacher man Purlie Victorious Judson, and featured Sherman Hemsley, Novella Nelson, Helen Martin and Linda Hopkins. The score was written by Peter Udell and Gary Geld, the book by Udell, Davis & Philip Rose. (Davis had no actual involvement with the musical, but so much of his original work remained that Udell and Rose felt that he deserved credit).

Playing Purlie's love interest, Lutiebelle, Moore created a sensation out of town with the musical when she stopped the show with the show's title song in act one. She went over so well, that Udell and Geld wrote another song for her, which was such a sensation it would bring the show to a complete stop. The song is "I Got Love." It comes towards the middle of the first act, and begins as a quiet, plaintive reflection. But it soon explodes into one of the most joyous musical theatre numbers I've ever heard. It pops out on the original cast album, but the recording doesn't contain the alternate ending that Moore used in the theatre. (For the record, the show has one of my all time favorite opening numbers too).

Melba won the Tony for Best Featured Actress, besting Penny Fuller and Bonnie Franklin in Applause and Melissa Hart in the bomb Georgy. (Little won for Lead Actor, the show was nominated for several others including Best Musical). The success of the musical jumpstarted Moore's career as a recording artist and actress, with several successful albums and some film and TV work.

Moore returned to Broadway in 1978's reboot of Kismet called Timbuktu, but reportedly friction with co-star Eartha Kitt sent Moore packing within a few weeks after opening. She provided music and lyrics and starred in the 1981 play Inacent Black, which lasted 14 performances. Later stage work includes a Broadway stint as Fantine in Les Mis and the national tour of Brooklyn.

Here is "I Got Love" in its show stopping splendor from the 1981 telecast of Purlie, which I think is even better than her high octane performance on the 1970 Tony telecast. Much of the original cast was involved, with the noted addition of Robert Guillaume, who replaced Little on Broadway, in the title role. Oh... and she does her alternate ending here...

"Follies" - A glimpse of the original

2010-06-10T04:12:00.003-04:00

Who's got the budget to recreate this spectacular piece of theatre? Here are fragments of the original cast, in a final dress rehearsal. Watch...marvel...enjoy... (The first part is viewable here).

Patrick Lee (1959-2010)

2010-06-09T23:50:00.008-04:00

Ever since I started blogging, I have been experiencing so many firsts. My first press invite or my first interview. There have been first trips to various theatres, seeing various folks perform and it's been such a joy. However, today with the sobering intensity of a sucker punch, I experienced another first, one that I wasn't exactly prepared for: the death of a fellow theatre blogger.

I first met Patrick Lee a little over a year ago when Ken Davenport had what would be the first meeting of the Independent Theater Bloggers Association. Over the course of the year, as I volunteered to help out I got to spend some time with Patrick as we worked to bring structure to the fledgling group. It was to my great shock and sadness to learn of his death of a heart attack, at 51 years old.

Every so often we would all meet up in Ken's offices for meetings discussion our progress and whatnot. But as is the case with so many of the bloggers, I found myself chatting him up before and after the meetings. There would be times when we would end up talking for a half hour on the sidewalk on 49th Street, catching up on what we have seen. Discussing some of the great flops that interest me (namely 1600 Pennsylvania Avenue), he told me that he used to travel into the city constantly with his father to see theatre when he was a kid, and as a result saw so many shows (such as 1600) that most of the general public would have missed.

I don't know if there is anyone who went to the theatre as often as Patrick did. Last August, we would jest over the amount of Fringe shows he was running off to see. You could catch his reviews, interviews and features for Broadway, off-Broadway and off-off Broadway theatre on Theatermania, his own blog Just Shows to Go You and Show Showdown. He was a member of the Outer Critics Circle and a juror for the GLAAD Media Awards. Just recently, we announced the 2010 winners of the ITBA awards, with Patrick taking charge of an admittedly thankless task and handling everything with aplomb.

The last time I saw Patrick was, of course, at the theatre. We were heading in to see the Encores! revival of Anyone Can Whistle and were able to chat amiably for a couple of minutes. I do wish I had a chance to know him better, but will be grateful for the conversations we had, online and in person. He will be greatly missed among the theatre blog community.

He is survived by his mother, sisters and other family members.

The 2010 Theatre World Awards - Recap

2010-06-08T23:45:00.000-04:00

For the first time since I started blogging I made it to the 66th annual Theatre World Awards with considerable ease; no train chasing or train hopping this year! The ceremony was once again held at New World Stages (where it was in 2007), in the theatre which currently houses Avenue Q (seeing the set made me want to see it again).

This year it was very important for me to be there as the awards were handed out, as it's not been the easiest year for the organization. Financial troubles left the future of the awards ceremony in doubt, but thanks to Meryl Streep, Mamie Gummer as well as the Dorothy Loudon Foundation and others, this year's ceremony went on as planned. While still not out of the woods yet, things are looking up (To make a tax deductible donation to the Theatre World Awards, click here).

The afternoon got started with a visit from Jennifer Barnhart and John Tartaglia, who brought along one of the Bad Idea Bears and Rod. After establishing the rules for the afternoon, they introduced Peter Filichia who seemed to get Rod a little...shall we say flustered...? The affable emcee smiled as the smitten musical loving investment banker made his exit.

Filichia, as always, hosts the event and is actively involved with the Theatre World in almost every capacity. He usually starts with a few digs at some of the current shows but got off to a bit of a false start when he quipped that his 12 year old suit was now eligible for a Tony (that remark landed like a lead balloon, esp. since half the Ragtime company was in attendance). However, he eased into his usual form: very brief commentary in between presentations. Peter knows lots of minutiae about almost everyone in show business and usually regales the audience with a "Rest of the Story" anecdote.

The tradition remains: a previous winner is on hand to bestow the award to the newcomer. Whenever possible, the event planners try to pick winners with a connection to the new recipient. There is no script, there is no time limits - the afternoon always progresses in a free-form manner and ends up being the most moving of all ceremonies; often the winners are surprised at how overcome they are. Every year without fail, the presenters speak fondly of the award and its place in their lives.

In order to make her evening performance of Johnny Baseball in Cambridge, MA, the first recipient was Ragtime's Stephanie Umoh, who received her award from original Broadway cast member Brian Stokes Mitchell, who said it was the most magical show he's ever been a part of. The stunning Umoh, overcome with emotion, took a moment and told herself to pull it together.

Michael Cerveris presented to Bill Heck of The Orphans' Homes Cycle. Filichia mentioned that there was a connection between the two of them because of Sweeney Todd, which Cerveris famously revived on Broadway. Heck was cast in a production of the show as Judge Turpin and it was what started him on the path as a professional actor. Heck quipped that the award was "pretty kick-ass" and thanked everyone who sat through all nine hours of the performance.

Heidi Schrek's (Circle Mirror Transformation) proud mother was on hand to accept the award on her behalf, as the young actress is currently at Berkeley Rep. Mrs. Schreck read a statement from her daughter, including the parentheticals (which garnered a bit laugh). Robert LuPone was also on hand to accept for Andrea Riseborough, who won for MCC's (The Pride). Condola Rashad still seemed quite overwhelmed from her win last year as she recalled the moment to moment experience of how the afternoon felt for her. She presented to Keira Keely of The Glass Menagerie, who charmed with her quirky shyness.

Jon Michael Hill received his award, most fittingly, from his Superior Donuts costar Michael McKean, who is one of funniest and most intelligent actors working today (Hill commented on his winning Celebrity Jeopardy). McKean regaled us with a couple of stories about his own career. He attended Carnegie (before the Mellon) and NYU (before the Tisch), figuring they didn't get endowed until after he left. He also talked about his own Theatre World Award acceptance speech. Carol Lynley was his presenter and told him "I haven't a clue who you are." He then told the audience to google Carol Lynley.

Vanessa Williams was on hand to present to her Ugly Betty co-star Michael Urie (The Temperamentals). She claimed to have planned a very extensive presentation with song and video a la Sondheim on Sondheim, but said time just got away from her. Instead, she narrated her idea in between snippets of "Good Thing Going" from Merrily We Roll Along. Urie told the crowd that Williams was entirely responsible for his casting on the hit series, as initially Williams' was supposed to go through a different assistant each week. It was Urie's work on the pilot that made Williams go to bat for the younger actor.

Seated behind us throughout the ceremony was Scarlett Johansson, who was dolled up to the nines (and whose Theatre World snapshots made the style tabloids today). She was presented her award by her A View from the Bridge co-star Michael Cristofer, who - as it turns out - is the only person to have won a Tony, Theatre World Award and Pulitzer. He took a moment to talk about film acting vs. stage acting and proffered that they aren't as different as they seem. His evidence was Ms. Johansson's performance, her first professional stage experience and the seemingly alchemical way she inhabited the character.

Johansson expressed gratitude and was thrilled at her reception by the New York theatre community. She admitted that had she not been welcomed she wouldn't be able to do it again (and even proferred an awkward interview where the reporter asked her what she would do if she got bad reviews). Her wish for the theatre goes back to her childhood, when she pounded the pavement in NY in order to be Cosette in Les Miserables.

Kate Burton was on hand to present two awards. The first was the Dorothy Loudon Foundation's "Starbaby" Award, which was given to Bobby Steggert for his performances in Ragtime and Yank! Loudon's agent Lionel Larner was on hand to talk about the award and mentioned the late actress' fondness for the Theatre World - because it wasn't politically motivated, was non competitive and was run by people who loved theatre. Burton met Steggert only weeks earlier when they started rehearsals for The Grand Manner at Lincoln Center. She mentioned that he one day wants to play Bobby in Company and hopes she can play Joanne (I'd see that) then called him up to the stage with the "Bobby" section of the title song. Steggert met his costar with tears in his eyes (her praise was quite effusive and incredibly heartfelt) and was quite humbled. My only quibble - there was a mention of Dorothy Loudon's "Vodka" but no clip.

Her other presentation was later in the show to Fela! star Sahr Ngaujah. When Burton won, she was awarded for three different shows she did in one season, but felt that Ngaujah did more in his one performance than she did in all three combined. Burton found parallels in their lives. Both Burton and Ngaujah are first generation Americans and faced reticence from their fathers. Burton's father (Richard) knew the business and based his worries in experience. Ngaujah's father, on the other hand questioned what acting could do for the people of Sierra Leone (where Ngaujah's family is from). It was seeing his son in Fela! that changed his mind.

Peter introduced Tovah Feldshuh by commenting that a cartwheel is what kept her employed on her first Broadway show (the failed musical Cyrano). In response, Tovah, dolled up in a vintage looking summer dress (Oh, Eileen..! was the comment I heard) offered to delivery another cartwheel, apologizing in advance for a Tallulah moment. Feldshuh introduced Nina Arianda of Venus in Fur by talking about a rumor that the actress stripped in her audition (which Arianda later put to bed) and then read one of the reviews she got, in the only way Tovah can. Arianda talked about how she was on her sixth callback for As You Like It the day she auditioned for Venus in Fur. She proceeded to get the part five hours later.

One of the most ebullient winners of the afternoon was Chris Chalk of Fences, who received his award from costar Viola Davis, who thought she was too young to be playing his mother (but neither the critics nor her husband agreed). Chalk's high energy and enthusiasm brought roars of laughter, as he confessed to stalking Jon Michael Hill on Facebook after seeing his performance in Superior Donuts. He added that the night he saw that play he and the middle aged white man next to him were holding onto each other. He also got the biggest laugh of the afternoon when he told the audience he didn't have an agent, so he didn't have to thank any of them.

Much to my delight, Peter Filichia introduced Alfred Molina by talking about how he met his wife in the original London production of Harold Rome's Destry Rides Again (which we both later agreed would be a great show for Kate Baldwin). Filichia commented on seeing he and his wife eating and conversing lively - and that nothing makes him happier than watching a married couple still in love after 25 years. Molina entered and quipped "I think that was my agent." He graciously presented to his Red costar Eddie Redmayne, saying that the younger acting is teaching him and helping him grow as an actor, to which Redmayne genially said "Bollocks!" and insisted he was the pupil.

There were, of course, the obligatory performances. Alli Mauzey sang her big number "Screw Loose" from the short-lived, unrecorded Cry-Baby (Peter turned front and said "Gentlemen, turn on your recorders). Loretta Ables-Sayre, who won for her indelible turn in South Pacific (and who is still seriously one of my favorite people ever) sang a wonderfully jazzy rendition of "The Best is Yet to Come," one of the more fitting numbers I've heard at the ceremony. Jonathan Groff was also onhand to sing "Only in New York" from Thoroughly Modern Millie in the eleven o'clock spot.

Every year we've been blessed to have John Willis in attendance. Though frail, the 93 yearold founder of the Theatre World Awards was in high spirits as he was helped to his feet for recognition from the audience. We stood in admiration and appreciation for this gentleman who not only helped found the organization, but kept it running for years.

The first year I attended, I found myself sitting with a couple of Peter's guests. Now, I look forward to my annual meeting with Karen, with whom I sat the very first year. We've ran into each other outside the Theatre Worlds, and we joke about it since we always see each other every spring! It's indicative of the award ceremony's spirit - people gathering to celebrate theatre, greeting one another as old friends. If you need positive energy, this is the place to be.

There was one notable difference this year: the award itself was redesigned. In recent years the winners received a small bronze statue featuring Janus. This year they were replaced with large (and incredibly heavy, as per the winners) slabs of cut glass.

The new season hasn't even started, but I confess I'm already excited for next year's awards.

Karen Morrow sings "I Had a Ball"

2010-06-01T20:51:00.009-04:00

"She'll sing the hell out of it."

That, my friends, is Jerry Herman's ringing endorsement for the one and only Karen Morrow, who possesses one of the best belt voices I have ever heard. Morrow got her start in the early 60s with a Theatre World Award for the off-Broadway musical Sing Muse! and several shows at the City Center. Following a tour in The Unsinkable Molly Brown, she found further off-Broadway success in a hit revival of The Boys from Syracuse.

However, Morrow is another great voice cursed by a series of Broadway flops. She made her Main Stem debut in I Had a Ball playing the brassy belter opposite star Buddy Hackett (who thankfully kept his singing to a minimum and is the reason the show closed - check out Not Since Carrie or the original cast recording for details). The plot is convoluted nonsense about romance on Coney Island (gee, where have I heard that recently...?) and gave Morrow the eleven o'clock showstopper: the title song.

The first time I ever listened to the cast album, nothing really grabbed my attention. That is, until I this song popped on. I stopped what I was doing and proceeded to repeat this one song 13 times. It is, without a doubt, one of the most unabashedly joyous pieces of musical theatre ever written. The cast album features only a portion of the dance break, a bit of belly-dance music but it features one of the most brassily orgasmic transitions back into singing. A treat from start to finish.

If Karen Morrow is on the album, I have it. I'm especially grateful that "The Babylove Miracle Show," the absurdly infectious faith healer song cycle from The Grass Harp is recorded in its entirety. Morrow basically entered and sang for 15 minutes non-stop, getting the likes of Barbara Cook, Carol Brice and Russ Thacker to speak in tongues (and "Time to hang the moulah on the washline") - but that's another post for another day.

After I Had a Ball, Morrow was featured in A Joyful Noise in 1966 opposite John Raitt and Susan Watson. This show folded after a mere 12 performances and no cast album, even though Morrow tore things up with "I Love Nashville." I'm Solomon in 1968 which ran for 7 performances (and both played the Mark Hellinger Theatre). The Selling of the President ran even shorter: 5 performances at the Shubert in 1972, a musical in which Morrow didn't sing a single note - which I like to think is one of the main reasons it failed. (During her opening night curtain call, a gentleman near the stage called out, "You should have sang, honey!") Her final Broadway appearance to date was much happier: she replaced Cleo Laine as the Princess Puffer in The Mystery of Edwin Drood.

In spite of those flops, Morrow's never wanted for work: performing in concerts, with symphonies around the country, numerous TV appearances (especially Merv Griffin, who adored her) - and she's even won an Emmy. She's one of Jerry Herman's favorites, and whenever there is a concert in his behalf you can count on her being there. She also toured as Parthy in Hal Prince's Show Boat and was involved with White Christmas: the Musical, and is featured on that original cast album.

Anyway, here is Karen Morrow with the dancing company of I Had a Ball. The choreography is by Onna White. Also, take note of what Buddy Hackett does during the song's big finish.

"Next Fall"

2010-05-28T19:18:00.002-04:00

(Possible spoilers ahead. You've been warned).

There has been much hype surrounding Geoffrey Nauffts' play Next Fall, which has become something of a critical darling in a rather ho-hum season for new plays. The play, about the contentious romantic relationship between two gay men - one Christian, one atheist/agnostic. The play literally starts with a bang - a car crash to be specific, which places one half of the couple in a coma. In a style reminiscent of Diana Son's Stop-Kiss, the narrative unfolds in a series of scenes that switch between the present and past, alternatively unraveling the precarious and unlikely nature of the relationship.

But ultimately, Next Fall fails to deliver on its promise of profundity. Instead the audience is subjected to a lackluster play that is half sitcom, half melodrama (complete with expected hospital waiting room histrionics). The characters don't fare much better: they lack complexity and ultimately become ciphers, allowing the playwright to get on his soapbox. There is some shading to Adam and Luke, but everyone on the periphery is flatly written. Dad is a redneck fundamentalist Christian, mom a bizarre reformed free-spirit addicted to painkillers, and there's the obligatory Grace Adler-esque best friend. Then there's the ex-boyfriend, but more on him later.

The relationship between Adam and Luke is represented in a perfunctory fashion. Adam is a high-strung, neurotic New York mess (think Woody Allen minus the wit). Luke is presented as a pure, naive Christian, well-meaning and ignorant. Luke's parents are presented as narrow-minded, stereotypes of conservative Christianity. In relying on these cultural stereotypes, Nauffts' gives himself an outlet for his worldview, but doesn't offer anything compelling or revelatory in the process.

The strident, snarky Adam is both irritating and aggravating because of his insensitivity and unyielding narcissism. There were certain questions he asked Luke which had credence, but that was undermined by his total lack of compassion, especially in the scene where he asks Luke to love him more than God. Perhaps it's just me, but if you really love someone you accept them for who they are, and it seemed as though Adam never did. I wanted to paraphrase The Sound of Music for them - just because Luke loves God doesn't mean he loves Adam less. For someone who demands acceptance from others, Adam is very unwilling to offer it himself.

It's to the play's disservice that Luke is written and portrayed in such a simpleminded way. There's an infinitely more interesting play to be written when the two characters are intellectual equals, or last on an even playing field. There was no one there to represent the middle-ground where ultimately most of the people I know tend to fall. One particular idea that is completely missing from the discussion are those who believe in God, or some other higher power, but not in organized religion (and there are many out there who do).

Breen does what he can with Adam's uptight persona, but is mostly monotonous. Heusinger has similar troubles with Luke, but managed to get my sympathy (I tend to root for the underdog in a situation). Connie Ray and Cotter Smith are strong performers in search of strong material as Luke's parents Arlene and Butch (why don't you just hit us over the head with a hammer) but fail to register. Maddie Corman is a pretty, talented actress with charm and comic sensibility, but she seems more interesting than the character she is playing. The role of Brandon, Luke's ex-boyfriend is cripplingly underdeveloped and given a stultifying portrayal by Sean Dugan. Even after Brandon's big scene in the second act, there is very little to warrant his presence in the play.

Ultimately, Luke dies of his injuries at the end of the play leading into a sober denouement in which the characters slowly disperse. But after 2 1/2 hours of watching him vilified by his lover for his beliefs, it felt more like the playwright was sacrificing the character because of his faith. A first-time playwright, Nauffts needed more time to workshop and shape his text. What we are left with are talking points that are never molded into anything definitive, dialogue that wouldn't pass muster in a second-rate sitcom and the vague outlines of character. When the houselights came up, I was left with a decidedly autumnal chill.

Dorothy Loudon sings "Vodka"

2010-05-28T03:16:00.009-04:00

On the night of the 1983 Tony Awards, the Uris Theatre (where the ceremony was taking place) was renamed for George Gershwin. Throughout the evening performers sang the composer's material, including Dorothy Loudon's fearless, showstopping performance of "Vodka!" from the 1925 musical Song of the Flame. Gershwin and Herbert Stothart (who won an Oscar for his underscoring in The Wizard of Oz) shared duties as composer; Otto Harbach and Oscar Hammerstein II cowrote the book and lyrics. The show was an operetta spectacle set against the backdrop of the Russian Revolution. A film adaptation was released in 1930 and is now believed to be lost.

Loudon mines comic gold with the material, a performance that many still recall fondly from the telecast. It never fails to make me laugh (especially her outrageous ad libs). Enjoy:

Drama Desk Awards: Tuesday Night Quarterbacking

2010-05-25T23:00:00.007-04:00

The Drama Desk Awards, held Sunday evening, were once again shown via web cast on Theatermania. I recall the time they used to show them on PBS, but I guess that's ancient history at this point. Anyway, this year the quality of the live stream was better than ever. However, from a technical standpoint there were some unusual shots, angles and closeups. I know it takes place in a glorified high school auditorium, but can't they place the winners closer to the stage? Most of the time was filled up waiting for them as the presenters looked out during what seemed dead air.

The ceremony itself was rather uninteresting on the whole. Patti LuPone was an adequate host, who got in a couple of laughs but was really just there to keep things moving (at a clip). No performances, nothing too too exciting in terms of winners. The onstage pianist played far too many bizarre pieces, most jarringly "Don't Fence Me In" every time Fences won an award. Many of the wins had me nonplussed; I was genuinely bored at a second tie between Montego Glover and Catherine Zeta-Jones for Best Actress in a Musical. (They shared the prize with the OCC too). Let's not go for the trifecta on that front, folks. However, there a couple of surprises including Christopher Fitzgerald's win for Finian's Rainbow. Santino Fontana's unexpected win for Brighton Beach Memoirs provided the most memorable of all acceptance speeches. He was genuinely shocked and completely amazed, and it added to its charm

Another surprised winner was Jan Maxwell, who won for Best Actress in a Play for her superlative comic turn in The Royal Family. She's likely to be bested by Viola Davis in Fences (who was a Featured winner here) at the Tonys, so it was nice to see her recognized here for that work (Maxwell is a Drama Desk regular, but a Tony bridesmaid). She was very emotional and immediately apologized, "I'm sorry, I'm usually an aloof bitch. Surprises get to me."

Martha Plimpton inadvertently established a memorable running gag following a spirited non sequitur about Mitzi Gaynor complimenting her shoes. Other Mitzi comments would follow, but the biggest laugh went to Outstanding Solo Performance winner Jim Brochu who started his acceptance with "Oh, and Mitzi Gaynor just told me to go fuck myself." Brochu, who won for his turn as Zero Mostel in Zero Hour declared F. Scott Fitzgerald a big fat liar, stating, "there are second acts."

For a ceremony that boasts recognition of Broadway, Off-Broadway and Off-Off Broadway, the deck seems quite stacked in favor of Broadway. I'm not saying it's a crime, but it just seems that you're more likely to get it if you're a Main Stem show. There were five major Off-Broadway wins - The Scottsboro Boys won for lyrics, Bloody Bloody Andrew Jackson won for its book and When the Rain Stops Falling won for its sound design. Love Loss and What I Wore took home Unique Theatrical Experience and Zero Hour won Outstanding Solo Performance. Other than that, it was all Broadway. Scottsboro and Yank! are now ineligible for Drama Desks next year, so automatically next year's nominations should be interesting.

Seeing as it was the Lost finale, there were fewer fellow watchers on Twitter and environs this year. However, participants inside the auditorium were encouraged to tweet so that kept it somewhat interesting throughout the night. Let's hope the Tony Awards are more interesting.

"You remind me of a man..."

2010-05-22T23:12:00.002-04:00

There's been some fun banter on Twitter between SarahB, Chelsea and myself about various Cary Grant films. Chels is going to be taking in some of his features which will be shown as part of Washington DC's National Theatre Summer Cinema 2010.

One of my all-time favorite Cary Grant moments, courtesy of the 1947 classic The Bachelor and the Bobby-Soxer. Cary Grant, Myrna Loy, Shirley Temple (all grown up), Harry Davenport and Ray Collins star. Sidney Sheldon won the Oscar for his original screenplay (which has been adapted for stage by F. Andrew Leslie and is licensed by Dramatists Play Service). Enjoy:

2nd Annual ITBA Awards Announced

2010-05-20T10:52:00.005-04:00

The second annual Independent Theater Blogger Association awards were announced this morning via youtube by Susan Blackwell, Jeannine Frumess, and Ann Harada (who are currently appearing off-Broadway in The Kid). Congratulations to all nominees and winners!

OUTSTANDING NEW BROADWAY PLAY
Red

OUTSTANDING BROADWAY PLAY REVIVAL
A View From The Bridge

OUTSTANDING NEW BROADWAY MUSICAL
American Idiot

OUTSTANDING BROADWAY MUSICAL REVIVAL
La Cage Aux Folles

OUTSTANDING NEW OFF-BROADWAY PLAY
Circle Mirror Transformation

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Yank!

OUTSTANDING OFF-BROADWAY REVIVAL
The Glass Menagerie

OUTSTANDING OFF-OFF BROADWAY SHOW
Viral

OUTSTANDING SOLO SHOW
A Boy And His Soul

OUTSTANDING ENSEMBLE PERFORMANCE
Circle Mirror Transformation

CITATIONS FOR EXCELLENCE BY INDIVIDUAL PERFORMERS
Nina Arianda, Venus In Fur
Kate Baldwin, Finian's Rainbow
Desiree Burch, The Soup Show
Rebecca Comtois, Viral
Viola Davis, Fences
Jon Michael Hill, Superior Donuts
Douglas Hodge, La Cage Aux Folles
Sarah Lemp, The Pied Pipers of the Lower East Side & Happy In The Poorhouse
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family & Lend Me A Tenor
Bobby Steggert, Ragtime & Yank!
Amy Lynn Stewart, Viral

Mitzi Gaynor Razzles and Dazzles at Feinstein's

2010-05-19T02:50:00.006-04:00

It's hard to believe it, but before last night Mitzi Gaynor had never played New York City. I know, right? You'd think with Hollywood, TV, Vegas and countless tours and appearances under her belt, that she'd have taken the Big Apple by storm years ago. But it's better late than never and Ms. Gaynor is conquering NY in an extended engagement at Feinstein's at the Regency.

The ballroom at the Regency was packed as celebrities, friends and fans turned out in droves to see the star on her first night (including Mr. Feinstein, Chita Rivera, Polly Bergen, Paul Shaffer and Joy Behar). At about a quarter to nine, an old TV clip started playing as the crowd discovered that the CBS Saturday night lineup was going to pre-empted for a Mitzi special. Her band (four musicians with an unnecessary synthesizer) played a brief overture. Then, to the delight of all, Ms. Gaynor strutted out onstage in that trademark Nellie Forbush sailor suit. Once she gained composure she launched into that outfit's complement: "Honey Bun."

Mitzi Gaynor in South Pacific is something that reaches far back into my childhood. It was the second Rodgers and Hammerstein film musical I ever saw, and was noteworthy b/c it was the only other musical aside from The Sound of Music that my father liked. So whenever it was on TV, we would be watching. My appreciation also grew with There's No Business Like Show Business where she danced with Donald O'Connor, belted with Merman and held her own against Marilyn Monroe. Then there was also Les Girls, an MGM film that paired her up with Gene Kelly and made her a foil for brilliant comedienne Kay Kendall. Anyway, when I was invited by Feinstein's to come see the show, I RSVPed - more than three months ago.

The voice isn't as full as it once was, but she is still a supreme entertainer and can communicate beautifully through the words and music. Once she smiles that megawatt smile of hers, the years melt away and you are left with the one and only, now and forever Mitzi. When Mitzi takes charge, she has a congenial affair with her audience; the sort of thing that most younger artists will never know. She's a charmer, for sure; warm and genuine, but also sassy and self-deprecrating - with razor sharp wit and the ability to laugh first and laugh last. Plus, she's still got a knock-out figure.

The entertainer is one of the last links to a bygone era of entertainment, someone who sang with the greats - Sinatra, Merman, Kelly, etc. Her material ranged from songs she made famous to amusing specialties, most notably an adapted "Show Off" from The Drowsy Chaperone, which involved Mitzi twirling boobie tassles, climbing on the piano and showing off those knockout gams. In between sets, she would go off to change into yet another eye-popping Bob Mackie gown. During the interim, video montages would play - highlights from her films, TV appearances and pop culture references. From the hilarious to the poignant, she showed everything - the film soubrette, the camp icon of the 60s & 70s, but also her favorite role: as Mrs. Jack Bean.

Mitzi is a singer and dancer, yes, but she is also one of the greatest storytellers I have ever heard in my life. Striking the perfect balance between elegant and bawdy, we were given a glimpse into her private life as a young starlet being romanced by Howard Hughes (who advised her to buy property - off the Vegas strip!), falling in love with the man who would become her husband and dearest companion, Jack Bean (the moment she fell? when he told her she was "full of shit") and stories about working with the one and only Ethel Merman. She said that if she went into the whole story of how she got South Pacific and the experience making it, her show would turn into "Nicholas Nickerby, or whatever the heck it's called."

The biggest laughs came from the two Merman stories. Flying into NY for the premiere of Show Business, Merm (whom Mitzi called "Mom" - Merm called her "Mitzeleh") invited her and her husband to dinner with the Duke and Duchess of Windsor at "Elmers" (El Morocco). She turned an anecdote about the simple act of putting on a cincher into comic art. Another story involved a chaotic evening at a Jersey casino, finding Merm and her pal Betty Bruce (who replaced Maria Karnilova in Gypsy) in the back seat of a Rolls Royce with a gallon of champagne.

Despite the presence of some pure camp and lowbrow humor, there were moments of unexpected vulnerability and openness. The termination of her film contract in 1954 and its devastating impact on her segued into a low-key, ruefully ironic reading of "There's No Business Like Show Business," transitioning into an upbeat number on the lyrical cue "But you go on." She brought a moving silence to the crowd as she spoke and sang of her late husband, who died of pneumonia in 2006.

It's not the most polished show I've seen at the Regency, but that's a moot point. You're going for Mitzi and you get a helluva lot of Mitzi. Now that's what I consider getting your money's worth.

Following her encore, "You Are the Sunshine of My Life," a young lady got up onstage, much to our surprise. She was there representing the NY area Emmy Awards. As it turns out, Gaynor's PBS special won last month but since the star was on tour with her show she couldn't be in attendance. The overwhelmed Mitzi gave a gracious acceptance speech, bringing the crowd once again to its feet for a final standing ovation.

Since it was opening night, there was a champagne reception in the ballroom foyer following the performance. SarahB and I were quite fortunate to chat with Mitzi for a couple minutes. The star was ever so grateful and gracious, and it was a thrill for all of us in that room last night to be there for such a star. The next morning, my parents were both curious to know about the evening, and I showed them the picture above. It marks the first time in all my years of going out to theatre and solo shows that my parents have ever been jealous. I think Mitzeleh would get a kick knowing that the first thing my mother did was to call the neighbors letting them know she's in town.

Mitzi's playing Feinstein's (remember, the ballroom!) until May 29. Don't miss this show, whatever you do.

The Awkward Rings Out Like Freedom

2010-05-14T18:47:00.004-04:00

Last week the theatre community was abuzz with talk about the Drama Desk and Tony Award nominations, celebrating those who were honored and shaking their fists for those who were overlooked. To the surprise of many, the short-lived revival of Ragtime received a lot of love from both nominating committees, with eleven and seven nominations, respectively. There was much rejoicing, especially for the ardent fans of the revival (myself included).

Well, that was last week. In the last two days, both organizations rescinded nominations for the revival. First it was the Tony committee who revoked the Costume Design nomination since designer Santo Loquasto had reused much of his work from the 1998 production. Then today, the Drama Desk honchos withdrew two nominations: Loquasto's and one for William David Brohn's orchestrations.

The Tony Awards Productions had the following to say:

"Yesterday, it was affirmed to Tony Award Productions that Santo Loquasto's designs for the revival of Ragtime are predominantly those from the original 1998 production, and therefore do not meet the Tony rule which states, work that 'substantially duplicate(s)' work from a prior production is ineligible. We learned this too late to remove the costumes from consideration by the nominators, but feel that we cannot allow the designs to remain in contention this year, and we must regretfully withdraw them from consideration as a nominee in the Best Costume Design of a Musical category."

Following on the heels of that decision, the Drama Desk Awards released the following statement:

"The Drama Desk makes its own decisions. But when the Tony Awards withdrew its nomination for the Ragtime revival's costumes because they were not sufficiently different from the original production and when the lead producer and nominated costume designer Santo Loquasto did not disagree with the decision, we revisited the issue. The Drama Desk concurs that the excellent costuming was not sufficiently new to make it eligible. Therefore, the nomination will be removed from the ballot in the Outstanding Costume Design category.

"We have also determined that the nomination for Ragtime for Outstanding Orchestration [William David Brohn] should not be on the ballot because the highly regarded orchestration was not different enough from that of the original production to be eligible."

I understand that there are a lot of shows to be considered when doling out nominations at season's end. But I cannot understand how both nominating committees let these gaffes slip. I'm surprised there aren't any interns or research assistants on hand to help the ladies and gentlemen in charge make informed decisions.

The information has been well established since the regional production played at the Kennedy Center last spring. I recall reading last summer that the production was using the costume design of Santo Loquasto (who was always open about what was new and old in this production from the get-go) and the press release also cited "original orchestrations by William David Brohn." Revisions were made to both for this more intimate revival, but the work from both artists remained fundamentally the same. For the record, Loquasto remains nominated for his work on the revival of Fences.

The one that really surprises me here though is the Drama Desk nomination for Best Orchestrations, which I admit I missed when the nominations came out last Monday (or I would have already called them out on this). Brohn actually won the 1998 Drama Desk (and Tony) for his Ragtime orchestrations. How that nugget slipped by is beyond me. The fact of the matter remains that the nominations should never have been given, and never made public.

The producers, Mr. Loquasto and Mr. Brohn have put up no disagreement in regards to the decision, but putting these esteemed gentlemen in this spotlight, especially since they had nothing to do with these decisions. I only hope that next year they take this a bit more seriously and save all involved parties from the inherent embarrassment.

The 66th Annual Theatre World Award Winners!

2010-05-13T13:31:00.003-04:00

It's time to celebrate some of the breakthrough performances and debuts of the 2009-2010 theatre season! The ceremony will go on as planned this year: June 8 at New World Stages. As always, Peter Filichia will be there to host and previous winners will be on hand to present and perform.

Congratulations to the winners!!

Nina Arianda, Venus in Fur
Chris Chalk, Fences
Bill Heck, The Orphans' Home Cycle
Jon Michael Hill, Superior Donuts
Scarlett Johansson, A View from the Bridge
Keira Keeley, The Glass Menagerie
Sahr Ngaujah, Fela!
Eddie Redmayne, Red
Andrea Riseborough, The Pride
Heidi Schreck, Circle Mirror Transformation
Stephanie Umoh, Ragtime
Michael Urie, The Temperamentals

Remembering Lena Horne: The Lady and Her Music

2010-05-10T03:57:00.011-04:00

Lena Horne, legend, diva, activist, actress and one of the most iconic singers of the 20th century, has died at age 92. Her dynamic career and life have been well documented, from her relatively brief stint in films, where studio executives didn't know what to do with her, to ardent civil rights activist to acclaimed nightclub singer. The Horne, as she was affectionately termed by Redd Foxx in his sitcom Sanford and Son, was one of a kind: a class act talent, the likes of which will not be seen again.

A light-skinned black actress, Horne was often cast as herself in a singing cameo that could easily be cut when the films were distributed in the segregated South. Stardom came with two big hits: Cabin in the Sky and Stormy Weather. It was in the latter she would sing the 1933 song from which the film got its title - and it would become her signature number. While in Hollywood, Horne broke major barriers as the first black performer with a major studio contract and she also the first African American to appear on the cover of a movie magazine. Lena was also a pin-up girl for black soldiers during WWII, which the star claims help make her career. After her contract with MGM expired, she would only make two more film appearances: 1969's Death of a Gunfighter and the 1978 adaptation of The Wiz as Glinda (in which she sang "If You Believe").

Outspoken and unapologetic, Lena Horne was also unafraid to speak her mind and was very vocal in her frustration regarding racial injustice. Her left-leaning views, as well as her criticism of Army segregation led to her blacklisting in Hollywood. At the same time, however, she started to become a major presence in television and in nightclubs, and career never slowed down until her retirement in 1999 at age 82.

Horne's Broadway career included five credits over the span of almost fifty years. Her first appearance was a small part in the 9 performance flop Dance with Your Gods which opened closed in October 1934. Her next Broadway show, Les Leslie's Blackbirds of 1939 didn't fare any better, and it too shuttered after only 9 performances. She was a Tony nominee in 1958 for the calypso flavored Jamaica (in a leading role originally written for Harry Belafonte - no joke), starring opposite Ricardo Montalban. The 1967 musical Hallelujah, Baby! was originally conceived and written by Arthur Laurents with Horne in mind, but the star passed on the project. She also teamed up with Tony Bennett for a brief concert engagement in 1974 at the Minskoff.

But it was The Lady and Her Music which made Lena Horne a bona fide Broadway legend. A concert revue, her show opened at the Nederlander Theatre to rapturous notices from both theatre and music critics. Lena talked about her life and career while singing many of her greatest hits. But it was the way that Horne sang to and included the audience in the evening's journey that made it a spectacular audience favorite. The show extended its engagement, running over a year with a total of 333 performances and closed on the star's 65th birthday in 1982. For her efforts, Lena walked away with the Drama Desk Award for Best Actress in a Musical and a Special Tony Award. The show was preserved on a cast album (which won two Grammys for Best Show Album and Best Vocal Performance, Female), and was also taped for PBS. Horne toured extensively following the engagement.

If you don't own the cast album, you should. It's an electrifying theatrical event; the sort of vehicle that comes so rarely and sweeps the town off of its feet. Horne is funny, personable and every inch a gracious, elegant star. For what it's worth, the show is well overdue for a DVD release, too. Anyway, in the show, she takes a moment to talk to the audience about why she loves being a performer:

"I love it! I love it! I love this business. I wouldn't do - look, I can't I don't, know how to do nothin' else, but if I did, I wouldn't change this for anything in the world. Whoo. I mean, you don't know. You-you don't know, but there is something that goes on between us, I must tell you. When you get home into the quiet of your wherever, think about what you are doing for me. You're sending in - it's a- it's, it's tangible, I can feel it. I can hear it, even when you're quiet. It may just be pockets around here that don't even like it, but what you sendin' in is so positive that I'm workin' with it, you know! I'm using it! Really, it's fantastic. I not - I not only am - exist on you and really, when I'm out here, I don't give a damn about anything that's going on outside..."

And here is Ms. Horne in the show that made her a Tony award winner in her finale, a medley of "Stormy Weather" and "If You Believe":

Mary Martin in "Hello Dolly!"

2010-05-07T00:16:00.005-04:00

There's Carol, there's Barbra and of course Pearlie Mae. But Mary Martin was the one who not only opened Hello, Dolly! in London but also toured with the show in Vietnam and Japan during the Vietnam War. This is incredibly rare footage of the curtain call and Martin's specialty encore of the title song at the show's first performance in Vietnam. The audience is made up of thousands soldiers, mostly American troops as well as some from Vietnam, Korea and New Zealand. This was taped for a 1966 television special called "Mary Martin: Hello, Dolly! Round the World," which was a documentary about this touring production, narrated by Martin. Truth be told, I find this incredibly moving. Take a look:

Seth Rudetsky Deconstructs Barbara Cook

2010-05-07T00:05:00.001-04:00

When it comes to certain Golden Age musicals, I find that there are titles that are more likely to raise the eyebrow of your fellow enthusiasts than others. One of the titles that I love and take some flack for is Meredith Willson's The Music Man. I've heard enough people scoff at it, calling it corny and old-fashioned. Some have suggested that its sacrilege to enjoy the show that trumped West Side Story for Best Musical. The show itself, about a con man who brings music and change to a small town in 1912 Iowa, was something of an unexpected surprise smash.

Willson was known as a bandleader and musical director for "The Big Show," a popular radio program hosted by Tallulah Bankhead. He was also a two time Oscar nominee for his musical scoring of the classics The Great Dictator and The Little Foxes. He worked for eight years on numerous drafts of The Music Man, loosely basing the show on upbringing in Mason City, Iowa and people he knew in his life. With the encouragement of Frank Loesser, Willson created this unique, one-of-a-kind musical comedy that makes ample use of marching band techniques, contrafactum and counterpoint. The show opened in late 1957 and took critics and audiences by storm, winning five Tonys and racking up 1,375 performances.

The 2000 revival with Craig Bierko and Rebecca Luker is where I cemented my appreciation for the show and score. I had seen the fun feature film (exceptional for its preservation of Robert Preston's Tony-winning star turn) but never realized what a joyous show it was until March 15, 2001 when I was taken by friends to the Neil Simon Theatre as an surprise graduation gift.

There is one song in the stage show that didn't make the cut in the 1962 film (we won't discuss that awful 2003 TV remake with Matthew Broderick and Kristin Chenoweth here - I'm saving that for a rainy day). "My White Knight," a plaintive ballad sung by Marian in the middle of the first act expressing her deepest romantic longings, was replaced by the more upbeat "Being in Love." In an unusual move, Willson only contributed half a song - "My White Knight's" bridge remained intact. The second song is nice, but it doesn't capture the essence of Marian's MO quite as well (in fact it seems to portray as man-mad).

I've never quite felt that "My White Knight" is as well known as it should be. It makes for an arrested stage moment - the up-to-now priggish and uppity librarian, who hints at her wants in "Goodnight My Someone" finally opens up to the audience and in turn wins their affection. It's simple, yet soaring. The night I saw the revival, Rebecca Luker brought the show to a crashing halt with the song's final high Ab that seemed to go on forever.

However, the song was introduced to Tony-winning effect in the original Broadway production by Barbara Cook, who is currently back on Broadway in Sondheim on Sondheim. For as much as I enjoy Luker's rendition, and that revival experience, the original cast album cannot be beaten. Preston has never been bettered, it's a charming representation of the score (and sounds pristine - unusual for Capital Records) and Cook is absolutely radiant in what was her only Broadway blockbuster. For an interesting alternative, I suggest listening to her 1975 Carnegie Hall album, where she sings a very different version of the song that is mostly comic patter which segues into the familiar ballad.

Here Seth Rudetsky (who generally would like less soprano and more riffing, but we'll agree to disagree) confesses unending admiration for Barbara while deconstructing her rendition of the song from the original cast recording:

Nominations for 2nd Annual ITBA Awards

2010-05-06T12:41:00.003-04:00

The Independent Theater Bloggers Association is pleased to announce its nominations for the 2nd annual ITBA awards. The membership is currently in the process of voting; the winners will be revealed on May 20.

OUTSTANDING NEW BROADWAY MUSICAL
American Idiot
Everyday Rapture
Fela!

OUTSTANDING NEW BROADWAY PLAY
In The Next Room (or the vibrator play)
Next Fall
Red
Superior Donuts
Time Stands Still

OUTSTANDING BROADWAY MUSICAL REVIVAL
Finian’s Rainbow
La Cage Aux Folles
A Little Night Music
Ragtime

OUTSTANDING BROADWAY PLAY REVIVAL
Brighton Beach Memoirs
Fences
Lend Me A Tenor
Oleanna
A View From The Bridge

OUTSTANDING NEW OFF-BROADWAY PLAY
Circle Mirror Transformation
Clybourne Park
Orphans Home Cycle
The Temperamentals

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Bloodsong of Love
Bloody Bloody Andrew Jackson
The Scottsboro Boys
YANK!

OUTSTANDING OFF-BROADWAY REVIVAL (PLAY OR MUSICAL)
The Glass Menagerie
A Lie Of The Mind
Twelfth Night

OUTSTANDING OFF-OFF-BROADWAY SHOW
Alice In Slasherland
Girls In Trouble
In Fields Where They Lay
Lear
Rescue Me
Samuel & Alasdair: A Personal History of the Robot War
The Soup Show
Viral

UNIQUE OFF-OFF-BROADWAY EXPERIENCE
The Lily’s Revenge

CITATION FOR EXCELLENCE IN OFF-OFF-BROADWAY THEATRE
Company XIV

OUTSTANDING SOLO SHOW/PERFORMANCE (ALL VENUE CATEGORIES)
A Boy And His Soul
Zero Hour

OUTSTANDING ENSEMBLE PERFORMANCE (ALL VENUE CATEGORIES)
Circle Mirror Transformation
A Lie Of The Mind
Twelfth Night

"We Will Rock Q"

2010-05-05T23:14:00.007-04:00

The folks over at Avenue Q got wind of that Muppets music video turned viral sensation of Queen's "Bohemian Rhapsody." Not to be outdone, the gang at New World Stages (including Mrs. T!) have made their own music video using "We Will Rock You" and "We Are the Champions." This kinda makes me want to go back and visit the Q again. Enjoy.

Quote of the Day: Ben Brantley on Jan Maxwell

2010-05-04T14:12:00.002-04:00

Speaking of the “Royal Family,” I’m especially heartened that Jan Maxwell was nominated for best actress for her smart, delicate and eccentrically witty performance in that play, as well as for her supporting work in “Lend Me a Tenor.” Ms. Maxwell is one of the best and most undervalued actresses we now have in the New York Theater, and if this helps keep her in our line of vision, I’m all for it. And I hope she wears a really terrific dress to the Golden Globes – I mean, the Tonys. Psst, Ms. Maxwell, I know somebody who works at Chanel.

- Ben Brantley, in his Tony nominations round-up

The City Center Encores! 2010-2011 Season

2010-05-04T13:15:00.003-04:00

Bells Are Ringing
Music: Jule Styne
Book & Lyrics: Betty Comden & Adolph Green
November 18-21, 2010

Lost in the Stars
Music: Kurt Weill
Book & Lyrics: Maxwell Anderson
February 3-6, 2011

Where's Charley?
Music & Lyrics: Frank Loesser
Book: George Abbott
March 17-20, 2011

Tony Awards 2010 - And they're off...

2010-05-04T11:05:00.006-04:00

There are many things about this year's award nominations with which I am pleased. There is love for the long closed Ragtime, Finian's Rainbow and The Royal Family. The estimable Jan Maxwell is a double nominee for two superlative comic turns. Christiane Noll and Bobby Steggert, the heart and soul of Ragtime are in contention. It's also nice to see that Jon Michael Hill's supporting turn in Superior Donuts, the talk of Broadway this fall, was not overlooked. And of course, there is Lansbury's 7th nomination as she sets her sights on a record sixth award (if she doesn't get it, you can be assured that Julie Harris Harriet-Waltered her). But the one nomination that makes me truly smile is the one for the lovely, incandescent Kate Baldwin, who is next in the line of our great leading ladies. She's also the first Tony nominee that I've known personally, so I am just thrilled for her - she is as lovely, gracious and exceptional as she seems. Team Kate!

Here is the full list of this year's Tony nominees:

The 2010 Tony Award Nominations
Presented by The Broadway League and the American Theatre Wing

Best Play

In the Next Room or the Vibrator Play
Author: Sarah Ruhl
Producers: Lincoln Center Theater, André Bishop, Bernard Gersten

Next Fall
Author: Geoffrey Nauffts
Producers: Elton John and David Furnish, Barbara Manocherian, Richard Willis, Tom Smedes, Carole L. Haber/Chase Mishkin, Ostar, Anthony Barrile, Michael Palitz, Bob Boyett, James Spry/Catherine Schreiber, Probo Productions, Roy Furman, Naked Angels

Red
Author: John Logan
Producers: Arielle Tepper Madover, Stephanie P. McClelland, Matthew Byam Shaw, Neal Street, Fox Theatricals, Ruth Hendel/Barbara Whitman, Philip Hagemann/Murray Rosenthal, The Donmar Warehouse

Time Stands Still
Author: Donald Margulies
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove, Nelle Nugent/Wendy Federman

Best Musical

American Idiot
Producers: Tom Hulce & Ira Pittelman, Ruth and Steven Hendel, Vivek J. Tiwary and Gary Kaplan, Aged in Wood and Burnt Umber, Scott Delman, Latitude Link, HOP Theatricals and Jeffrey Finn, Larry Welk, Bensinger Filerman and Moellenberg Taylor, Allan S. Gordon/Elan V. McAllister, Berkeley Repertory Theatre, Awaken Entertainment, John Pinckard and John Domo

Fela!
Producers: Shawn "Jay-Z" Carter and Will & Jada Pinkett Smith, Ruth & Stephen Hendel, Roy Gabay, Sony Pictures Entertainment, Edward Tyler Nahem, Slava Smolokowski, Chip Meyrelles/Ken Greiner, Douglas G. Smith, Steve Semlitz/Cathy Glaser, Daryl Roth/True Love Productions, Susan Dietz/Mort Swinsky, Knitting Factory Entertainment, Alicia Keys

Memphis
Producers: Junkyard Dog Productions, Barbara and Buddy Freitag, Marleen and Kenny Alhadeff, Latitude Link, Jim and Susan Blair, Demos Bizar Entertainment, Land Line Productions, Apples and Oranges Productions, Dave Copley, Dancap Productions, Inc., Alex and Katya Lukianov, Tony Ponturo, 2 Guys Productions, Richard Winkler, Lauren Doll, Eric and Marsi Gardiner, Linda and Bill Potter, Broadway Across America, Jocko Productions, Patty Baker, Dan Frishwasser, Bob Bartner/Scott and Kaylin Union, Loraine Boyle/Chase Mishkin, Remmel T. Dickinson/Memphis Orpheum Group, ShadowCatcher Entertainment/Vijay and Sita Vashee

Million Dollar Quartet
Producers: Relevant Theatricals, John Cossette Productions, American Pop Anthology, Broadway Across America, James L. Nederlander

Best Book of a Musical

Everyday Rapture - Dick Scanlan and Sherie Rene Scott
Fela! - Jim Lewis & Bill T. Jones
Memphis - Joe DiPietro
Million Dollar Quartet - Colin Escott and Floyd Mutrux

Best Original Score (Music and/or Lyrics) Written for the Theatre

The Addams Family - Music & Lyrics: Andrew Lippa
Enron - Music: Adam Cork & Lyrics: Lucy Prebble
Fences - Music: Branford Marsalis
Memphis - Music: - David Bryan & Lyrics: Joe DiPietro, David Bryan

Best Revival of a Play

Fences
Producers: Carole Shorenstein Hays and Scott Rudin

Lend Me a Tenor
Producers: The Araca Group, Stuart Thompson, Carl Moellenberg, Rodney Rigby, Olympus Theatricals, Broadway Across America, The Shubert Organization, Wendy Federman/Jamie deRoy/Richard Winkler, Lisa Cartwright, Spring Sirkin, Scott and Brian Zeilinger

The Royal Family
Producers: Manhattan Theatre Club, Lynne Meadow, Barry Grove

A View from the Bridge
Producers: Stuart Thompson, The Araca Group, Jeffrey Finn, Broadway Across America, Olympus Theatricals, Marisa Sechrest, The Weinstein Company, Jon B. Platt, Sonia Friedman Productions/Robert G. Bartner, Mort Swinsky/Joseph Deitch, Adam Zotovich/Ruth Hendel/Orin Wolf, Shelter Island Enterprises, The Shubert Organization

Best Revival of a Musical

Finian's Rainbow
Producers: David Richenthal, Jack Viertel, Alan D. Marks, Michael Speyer, Bernard Abrams, David M. Milch, Stephen Moore, Debbie Bisno/Myla Lerner, Jujamcyn Theaters, Melly Garcia, Jamie deRoy, Jon Bierman, Richard Driehaus, Kevin Spirtas, Jay Binder, StageVentures 2009 Limited Partnership

La Cage aux Folles
Producers: Sonia Friedman Productions, David Babani, Barry and Fran Weissler and Edwin W. Schloss, Bob Bartner/Norman Tulchin, Broadway Across America, Matthew Mitchell, Raise The Roof 4 Richard Winkler/Bensinger Taylor/Laudenslager Bergrère, Arelene Scanlan/John O'Boyle, Independent Presenters Network, Olympus Theatricals, Allen Spivak, Jerry Frankel/Bat-Barry Productions, Nederlander Presentations, Inc/Harvey Weinstein, Menier Chocolate Factory

A Little Night Music
Producers: Tom Viertel, Steven Baruch, Marc Routh, Richard Frankel, The Menier Chocolate Factory, Roger Berlind, David Babani, Sonia Friedman Productions, Andrew Fell, Daryl Roth/Jane Bergere, Harvey Weinstein/Raise the Roof 3, Beverly Bartner/Dancap Productions, Inc., Nica Burns/Max Weitzenhoffer, Eric Falkenstein/Anna Czekaj, Jerry Frankel/Ronald Frankel, James D. Stern/Douglas L. Meyer

Ragtime
Producers: Kevin McCollum, Roy Furman, Scott Delman, Roger Berlind, Max Cooper, Tom Kirdahy/Devin Elliott, Jeffrey A. Sine, Stephanie P. McClelland, Roy Miller, Lams Productions, Jana Robbins, Sharon Karmazin, Eric Falkenstein/Morris Berchard, RialtoGals Productions, Independent Presenters Network, Held-Haffner Productions, HRH Foundation, Emanuel Azenberg, The John F. Kennedy Center for the Performing Arts, Michael Kaiser, Max Woodward

Best Performance by a Leading Actor in a Play

Jude Law, Hamlet
Alfred Molina, Red
Liev Schreiber, A View from the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences

Best Performance by a Leading Actress in a Play

Viola Davis, Fences
Valerie Harper, Looped
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family

Best Performance by a Leading Actor in a Musical

Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Sahr Ngaujah, Fela!

Best Performance by a Leading Actress in a Musical

Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Best Performance by a Featured Actor in a Play

David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts
Stephen Kunken, Enron
Eddie Redmayne, Red

Best Performance by a Featured Actress in a Play

Maria Dizzia, In the Next Room or the Vibrator Play
Rosemary Harris, The Royal Family
Jessica Hecht, A View from the Bridge
Scarlett Johansson, A View from the Bridge
Jan Maxwell, Lend Me a Tenor

Best Performance by a Featured Actor in a Musical

Kevin Chamberlin, The Addams Family
Robin De Jesús, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime

Best Performance by a Featured Actress in a Musical

Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

Best Scenic Design of a Play

John Lee Beatty, The Royal Family
Alexander Dodge, Present Laughter
Santo Loquasto, Fences
Christopher Oram, Red

Best Scenic Design of a Musical

Marina Draghici, Fela!
Christine Jones, American Idiot
Derek McLane, Ragtime
Tim Shortall, La Cage aux Folles

Best Costume Design of a Play

Martin Pakledinaz, Lend Me a Tenor
Constanza Romero, Fences
David Zinn, In the Next Room or the Vibrator Play
Catherine Zuber, The Royal Family

Best Costume Design of a Musical

Marina Draghici, Fela!
Santo Loquasto, Ragtime
Paul Tazewell, Memphis
Matthew Wright, La Cage aux Folles

Best Lighting Design of a Play

Neil Austin, Hamlet
Neil Austin, Red
Mark Henderson, Enron
Brian MacDevitt, Fences

Best Lighting Design of a Musical

Kevin Adams, American Idiot
Donald Holder, Ragtime
Nick Richings, La Cage aux Folles
Robert Wierzel, Fela!

Best Sound Design of a Play

Acme Sound Partners, Fences
Adam Cork, Enron
Adam Cork, Red
Scott Lehrer, A View from the Bridge

Best Sound Design of a Musical

Jonathan Deans, La Cage aux Folles
Robert Kaplowitz, Fela!
Dan Moses Schreier and Gareth Owen, A Little Night Music
Dan Moses Schreier, Sondheim on Sondheim

Best Direction of a Play

Michael Grandage, Red
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View from the Bridge

Best Direction of a Musical

Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!

Best Choreography

Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

Best Orchestrations

Jason Carr, La Cage aux Folles
Aaron Johnson, Fela!
Jonathan Tunick, Promises, Promises
Daryl Waters & David Bryan, Memphis

* * *

Special Tony Award for Lifetime Achievement in the Theatre
Alan Ayckbourn
Marian Seldes

Regional Theatre Tony Award
The Eugene O’Neill Theater Center, Waterford, Connecticut

Isabelle Stevenson Award
David Hyde Pierce

Tony Honor for Excellence in the Theatre
Alliance of Resident Theatres/New York
B.H. Barry
Tom Viola

Lynn Redgrave (1943-2010)

2010-05-03T17:49:00.005-04:00

Lynn Redgrave, esteemed actress and vivacious presence in film and theatre, has died after a seven year battle with cancer. She was 67. One of the many talents in the Redgrave acting dynasty, Lynn was the younger sister of Vanessa and Corin, aunt to Natasha and Joely Richardson, daughter of Michael Redgrave and Rachel Kempson.

Of her extensive film and television credits, she is probably best remembered for her Golden Globe winning, Oscar nominated star turn in Georgy Girl, as the well-educated, charming lower class working girl who finds herself facing love and parenthood (in very unusual circumstances). She also received a Golden Globe and Oscar nom for her performance in Gods and Monsters. While Georgy was tall, plump and awkward, Ms. Redgrave was lithe, gracious and striking, with piercing blue eyes and a warm disposition.

Redgrave made her Broadway debut in 1967 in the Peter Shaffer's Black Comedy/White Lies. She would receive Tony nominations for Mrs. Warren's Profession, The Constant Wife and her solo tribute to her father Shakespeare for My Father. She won a Drama Desk Award for a 2003 off-Broadway production of Alan Bennett's Talking Heads.

Her most recent credit was Nightingale for MTC, a solo show she'd written as a tribute to her late mother. Her illness became a topic of conversation, as Redgrave revealed she was at stage IV and would be on script for her performance. The actress was very open about her cancer struggle, releasing the book Journal: A Mother and Daughter's Recovery from Breast Cancer, in which the star - with her daughter, photographer Annabel Clark, documented her experiences with diagnosis, mastectomy and recovery.

She is survived by three children from her marriage to actor John Clark, as well as her sister Vanessa. Her brother Corin died less than a month ago, also a victim of cancer. Her niece Natasha was tragically killed over a year ago in skiing accident. The lights of Broadway will be dimmed in her honor on May 4. But for now - how I'll always remember the delightful actress - here's Georgy Girl:

The Times Square Bomb Scare

2010-05-02T02:35:00.007-04:00

Last evening, at around 6:30PM, some dimwit parked a dark green Nissan Pathfinder on 45th Street between the Minskoff Theatre and Marriott Marquis Hotel early last evening in a failed attempt to detonate a crude car bomb. The identity of the individual, as well as his motive are at this time unknown.

It was at 6:34PM that one of the t-shirt vendors on that particular corner noticed there was smoke coming from the vehicle. He proceeded to tell one of the mounted officers in the vicinity. Officer Wayne Rattigan assessed the situation and took immediate action bringing in the FDNY and NYPD. In the backseat of this vehicle were suspicious items that turned out to include three propane tanks, two gasoline cans, consumer grade fireworks, two clocks with batteries, wire and what appeared to be an empty gun locker. The bomb squad was called in, and the robot was used to detonate the hood of the car and explore the interior contents.

It was a bit of chaos as the perpetually busy Times Square was forced to come to a halt due to the need for safety and security. Broadway shows were forced to hold their curtains while weighing whether or not they should cancel performances. People found themselves being removed from various restaurants in Times Square as police cordoned off the area between 44th & 46th Street, bringing the center of Manhattan into lock-down.

Because of the safety precautions there were folks unable to get back to their hotel rooms or make it to their shows on time. There were reports on twitter that certain shows, specifically The Lion King, which happens to be playing the Minskoff. It appears that all shows had a performance, though some took 30-45 minutes to get under way. Crowds started milling around the perimeter of the crime scene as tourists wondered when they could get back to their rooms, while the natives wanted to see what was up.

According to ATC poster "TheGuy," who was at the Saturday evening performance of Lend Me a Tenor, once the show ended the police retained the entire audience until they could figure out a safe way to get the audience out. In the meantime, the police also questioned theatregoers to see if anyone might have seen something pre-show. He elaborated in his post: "The police then led us, single file, through a back exit of the Music Box that leads to an alley behind the Richard Rodgers and into their exit alley. We all then had to go west to 46th street, where there were police barricades not letting people in but, thank goodness, letting us out!"

As the evening progressed and shows let out, more and more people began to show up on the street, possibly from the coverage on the local newscast. According to Tom Llamas, who was reporting for NBC4 New York, that it seemed as though 90-95% of the people didn't know what was going on. The police called for the perimeters to be expanded as the evening progressed, with a final block from 43rd to 48th Streets and 6th to 8th Avenue being blocked to all traffic. News sources started releasing unconfirmed information regarding the nature of the elements of the car.

Mayor Bloomberg and Police Commissioner Kelly had been in Washington, DC where they were attending the annual White House Correspondents Dinner. According to the reports throughout the evening, it was learned that Bloomberg, Kelly and President Obama were regularly briefed on the incident throughout the evening. As soon as the President finished speaking, Bloomberg and Kelly immediately returned to NY where they continued to be briefed. At approximately 2:15AM, they spoke in a press conference with other city officials and Governor Patterson in attendance - a mere block from where the incident took place.

Bloomberg answered what questions he could, but stressed that they hadn't a clue as to who did this and why. He recounted, in brief, what the Mayor's office knew in regards to the facts at hand. He said that the device was amateurish, and that the explosive elements had been contained by the NYPD bomb squad. He also said that they were going to be letting folks back into the area soon. More tourists who had flown in had taken to sleeping in the streets. The south tower of the Marriott was evacuated, and those residents of the hotel were staying in one of the auditoriums.

Kudos to the wonderful men and women of the NYPD, FDNY, etc who did a brilliant job of evacuating everyone, securing the area and keeping citizens safe (even if they hadn't a clue what was going on, or the gravity of the incident, as evidenced by a fleet of morons behind NBC's Tom Llama during live coverage). Everyone from the street vendor right on up to the Mayor were on their A-game. It's a miracle that not a single person was harmed throughout this whole ordeal. I know those displaced tourists are far from thrilled at the turn of events and the inconveniences. But it's something they're going to dine out on for years.

The Sunday matinee shows are expected to continue as scheduled, but if you have tickets you'd best check in to make sure everything will be going on as scheduled. It's a stroke of incredible luck that this attack failed, and it just goes to show you that sometimes a hokey catchphrase like "If you see something, say something" can do the world a lot of good. If you might have any information regarding the bomb scare, you are encouraged to call 1.800.577.TIPS.

Thank God everyone is safe.

Orchestrators on Orchestrating

2010-04-30T21:16:00.007-04:00

What exactly are orchestrations? The word gets bandied around quite a bit, particularly when discussing musical revivals. You have shows that re-orchestrate to accommodate revisals (like those of the late 90s), those that re-orchestrate for economy (the Menier Chocolate Factory imports) and then there are those which tout the full, original orchestra like Gypsy and West Side Story. The Lincoln Center revival of South Pacific has a pit of 30 that was cause for rejoicing all around; whereas the current A Little Night Music has a chamber orchestra of 9 which has proven divisive among musical theatre fans.

Many of my friends and fellow bloggers know that I am a stickler for orchestrations. For me, there is nothing more fulfilling than the sound of a full orchestra playing the hell out of Rodgers or Bernstein or Sondheim, et al. Perhaps I'm too much of an old soul to adapt to the thinner orchestras, or the result of years of musical education. Maybe a combination of both. But it's my personal preference. I don't mind a small orchestration if it fits the scope of a show, but I am loathe to reductions for cost-cutting "chamber" productions. If I'm shelling out my hard earned clams, I want the works, plus a cherry on top.

The following excerpts are printed in the foreword to The Sound of Broadway Music by Steven Suskin, the columnist, scholar and critic. Suskin's new book is a substantial contribution for those curious to understand the function of the orchestrator vs. composer. I've only just begun reading it, and it's going to be a bible of sorts for me over the next couple of months, as this is the first in a series of posts.

Robert Russell Bennett (Kiss Me Kate, My Fair Lady, Oklahoma!, Show Boat, South Pacific):

"You are engaged to work with a composer and put his melodies into shape for a performance in the theatre. Your task is to be part of him - the part that is missing. He may be capable of doing the whole score himself or he may not know a G clef from a gargoyle. Your job is to bring in whatever he doesn't, and make it feel like it belongs there."

Ralph Burns (Darling of the Day, Funny Girl, No No Nanette - 1971, Sweet Charity):

"Orchestrators are like good, high-priced whores. You're paid to make people look good. You may think of a better idea, but you try the best way that you can to do it their way and make them look good."

Philip Lang (Annie, Carnival, Li'l Abner, Mame, My Fair Lady):

"Like the construction manager, you get the right instrumentation; you understand the limits of the artisan and the technology; and you build something that lasts."

Hans Spialek (Anything Goes, The Boys from Syracuse, On Your Toes, Pal Joey):

"An artist, having an idea for a painting, draws first a sketch before putting the actual picture in all its contemplated color harmonies and combinations on canvas. Painting a musical picture follows the same procedure, with the exception that in musical theatre one man (the composer) furnishes the sketch from which another man (the arranger) paints the musical picture an audience actually hears. While the painter works either in oil, pastel or watercolors, the arranger uses the tone colors of the individual orchestra instruments."

Don Walker (Carousel, Fiddler on the Roof, She Loves Me, The Most Happy Fella, The Music Man):

"Orchestration is the clothing of a musical thought, whether original or not, in the colors of the musical instruments and/or voices. The Composer creates the basic themes of a composition. The Arrangers develops the basic themes into the desired form. The Orchestrator adjusts the arrangements to fit the size and composition of whatever orchestral combination has been selected."

The Fantasticks 50th Anniversary Festivities

2010-04-29T20:36:00.000-04:00

I don't think anyone in 1960 would have remotely thought that The Fantasticks would become one of the most popular musicals in the world. The original off-Broadway production ran for 42 years; a run of 17,162 performances at the Sullivan Street Theater. By popular demand, a revival was mounted a mere four years later, one that is still running at the Jerry Orbach Theater (named in memory of the beloved star of the original cast) in the Snapple Arts Center on 50th Street & Broadway. The little musical that could is celebrating its fiftieth birthday in high style with a weekend-long golden celebration:

- Saturday, May 1 at 5PM: The Fantasticks will host a rare screening of the 1964 Hallmark Hall of Fame version of the show at The Snapple Theater Center. This obscure print, which hasn’t been released since 1964, features a cast including Bert Lahr, Ricardo Montalban, Susan Watson, Stanley Holloway and John Davidson. It will be screened complete with original commercials and will be introduced by film historian Phil Hall, author of The Encyclopedia of Underground Movies. Following the one-hour screening, there will be an audience Q&A with Fantasticks lyricist/librettist Tom Jones and one of the film’s stars, Susan Watson. Admission is free.

- Saturday, May 1 at 8PM: The Fantasticks will celebrate “The Sullivan Street Legacy”. At curtain call, a once-in-a-lifetime reunion of over 50 Fantasticks actors from the show’s original run on Sullivan Street from 1960 to the present will come on stage to sing a special song to commemorate the occasion.

- Sunday, May 2: The Fantasticks will be honored at the 25th Annual Lucille Lortel Awards at Terminal 5. Edward Watts, the show’s current El Gallo, will sing “Try To Remember” and a photo montage will recount the show’s amazing 50-year history. Tom Jones, the show’s co-composer, will present the final award of the evening, to the winner of Best Musical.

- Monday, May 3: The evening of the show's actual 50th anniversary will bring together members of the theater community together to celebrate the milestone. All audience members at the historic 8PM performance will receive a complimentary commemorative program including a reproduction of the show’s opening night program from May 3, 1960. *A select number of remaining tickets for this performance only are currently on sale for the special anniversary price of $50 each. This offer is available by calling the box office at (212) 921-7862. It is not available via Ticketmaster.

"Collected Stories"

2010-04-28T20:22:00.007-04:00

Yesterday afternoon I found that a good friend had written a short story inspired by something I had told her about myself. There are few parallels between the protagonist in the story and myself, but I was amazed that someone found something I did was interesting enough to spark her creativity. I read the story, and loved it. There are only a few threads that connects her protagonist and myself, but she has tapped into her imagination to create this poignant, wistful story. I don't remember the last time I have felt so flattered or honored.

When something similar happens to Ruth Steiner in Donald Margulies' two-hander Collected Stories, the NY based writer and professor doesn't handle it quite nearly as well. The idea of artistic responsibility and ownership comes to the forefront of the debate between her and her former student/assistant turned fellow writer. Unfortunately, the potential remains woefully unfulfilled in a play which tries to be a literary All About Eve but winds up a rote, by the numbers dramatic exercise that is rarely compelling.

The play has its moments whenever Professor Steiner is holding court. She's given the best zingers and one liners and is easily the audience favorite. After the play, I found myself having a spirited talk with friends and strangers alike outside the Samuel Friedman Theatre where Margulies' 1997 play is having its Broadway premiere. The play follows six years in the lives of the teacher and student, as the latter becomes a noted literary figure and the surrogate mother-daughter relationship that forms between the two. I was amazed at the breadth of our conversation, as it was far a more interesting dissertation on the questions raised by the play than the play itself.

The relationship comes to a head when a wistful, and decidedly private anecdote Steiner tells Lisa about a relationship with poet/short story writer Delmore Schwartz becomes the source of inspiration for Lisa's first novel. The mentor-pupil, mother-daughter dynamic is shattered, as the younger writer is accused of stealing Ruth's story. Margulies makes an interesting case for both characters in the argument but might have made it stronger if the showdown wasn't something that could be predicted in the middle of act one.

At the center of the play - its heart and soul - is a captivating turn from Linda Lavin, in the role originated by the indomitable Uta Hagen. Ms. Lavin's Professor Steiner is the perfect embodiment of New York; she's gruff, sardonic and likely to push you out of her way when walking down 7th Avenue. Ruth spends a great deal of the evening ruminating on her past and her literary position and is not one to suffer fools; there is very little that changes about her character, save for the subtle physical effects of an unnamed terminal illness. Lavin's performance is fearless, funny and quite touching, particularly when she lets down her guard to Lisa and especially in the play's final moments. It's one of the acting highlights of an already impressive season of non musical performances and is poised for recognition from the various awards committees.

Sarah Paulson is the protege turned antagonist. Lisa's the one with the arc, but in the way she's written feels more like a stock character. The audience sees her transform from a gawky sycophant to sophisticate, but it's like watching an automaton changing a dress. Paulson is barely able to turn Lisa into a credible human being. It was my first time seeing Paulson and I'd like to think that she, who is tauted as one of the more prominent New York theatre actors, has been better served by other plays and productions.

One of the main problems I had with the play is that the deck is stacked in Steiner's favor. Had there been a more level playing field the characters' conflict might have had more credence. When Lisa reads from her novel, it becomes evident to the audience that she is actually quite a horrible writer, while Ruth has already been established as a well-respected and well-regarded author. The play as is might be better served as a Lifetime or Hallmark movie than play.

The production is staged with great simplicity and clarity by Lynne Meadow, MTC's artistic director supplemented by another winning set design from Santo Loquasto. But if you want to get into the debate over what accounts for artistic ownership you'd be better off skipping the play and just diving into a spirited talk. Then again, you'd be missing Linda Lavin giving one of the most memorable performances of the season.

The Theatre World Awards Need Our Help

2010-04-27T12:42:00.005-04:00

Earlier this afternoon, it was brought to my attention that the Theatre World Awards is facing some financial difficulties this season. In an exclusive item on Playbill, the committee discussed the precarious nature of the not-for-profit organization's future, and that they are in the middle of a fund raising drive to keep the establishment afloat. This particular award, given for notable debuts and breakthrough performances, is the oldest award given for NY theatre, both on and off Broadway.

John Willis, along with Daniel Blum and Norman McDonald, established the award during the 1944-45 season. Mr. Willis, now 93, is still active with the Theatre World committee and is still very much the heart and soul of the organization. Each year, winners talk with great love and pride about Mr. Willis, who continues to send each and every living recipient a card on his or her birthday.

It's imperative to maintain the award, with its rich history and legacy. The list of winner is immense. Just some of the recipients include: Paul Newman, Marlon Brando, James Earl Jones, Patricia Neal, Audrey Hepburn, Richard Burton, Rosemary Harris, Janet McTeer, Michael Douglas, Laura Linney, Alec Baldwin, Jane Fonda, Zoe Caldwell, Audra McDonald, Bernadette Peters, Cynthia Nixon, Annette Bening, and so on and so forth. (Here's a complete list of the winners by year).

I first attended the Theatre World Awards in 2004, and have made it a point to return ever since. There is something incredibly special about the afternoon. Falling in the middle of the awards season, this particular ceremony allows the actors a chance to breathe. Of all the ceremonies that happen in May and June, this is best exemplification of community in the NY theatre district. Even the Tony Awards fall short of the sense of family and tradition found here. Every year there are performances by formers, often recreating numbers from the shows for which they won. But the really classy touch comes in the presentations themselves. Only winners of the award are allowed to present to the actors; a sort of passing of the torch. The afternoon turns into a relaxed, off-the-cuff, moving and funny experience that can best be described as loving. Attending the ceremony is the highlight of my season.

Due to the nature of the economy, and rising costs for putting the annual ceremony, hosted by my pal Peter Filichia, the Theatre World's future appears to be in jeopardy. The good news is that the 2010 event will go on as scheduled on June 8 at a venue to be determined. However, it doesn't mean that they are out of the woods quite yet, and right now they need the help of those in and around the theatre community.

The organization's statement to Playbill was as follows:

"As recently as early April, we had serious concerns as to whether this year's Theatre World Awards ceremony would take place. In the past, the Theatre World Awards organization has relied almost entirely upon the founder John Willis and donations from former winners. With rising costs and the downturn in the economy, we now have begun an outreach to the theatre community for support and are planning our first major fundraising event for this fall (as well as seeking corporate and private sponsorship).

"While exploring alternative venues outside the Broadway theatre district, we have implemented cost-cutting measures and look forward to making an announcement soon about the venue of this year's ceremony."

The goal is "to create an endowment to ensure that the recognition of important new performers continues into perpetuity." Currently, a mailing signed by winners Meryl Streep and (her daughter) Mamie Gummer has gone out seeking financial support offering donors the chance to attend the awards ceremony and after party.

To make a 100% tax deductible donation to the Theatre World Awards, you can do so by clicking here. Or you can snail mail it to:

The Theatre World Awards, Inc.
P.O. Box 246
Radio City Station
New York, NY 10101-0246

"Company" turns 40

2010-04-26T22:02:00.011-04:00

Tonight there is the latest in a long line of festivities celebrating the 80th birthday of composer-lyricist Stephen Sondheim at the City Center. It seems quite fitting to me as today is the anniversary of the musical that established Sondheim as the voice of new musical theatre: Company. On this day half a lifetime ago, his brittle, sophisticated portrait of marriage in NYC opened at the Alvin Theatre, dividing critics, surprising audiences and taking home awards left and right.

A series of vignettes based on plays by George Furth, the musical was directed by Harold Prince and starred Dean Jones as Bobby. What separated Company from other book musicals up to that point was its virtual lack of plot. The show was a series of vignettes - glimpses into Bobby's lack of commitment and the relationship he has with other couples as well as his series of girlfriends. The setting and time? "New York City. Now." Aside from that piece of information in the Playbill, there is no sense of chronology to what's seen onstage. Characters step out of scenes to sing, commenting rather than continuing the action. It was daring, it was bold and it was pretty much unlike anything that had been seen up to that point.

Jones headlined the original production, but left after opening because of personal reasons (Larry Kert replaced him). The cast also included Charles Kimbrough, Beth Howland, Pamela Myers, Barbara Barrie, Susan Browning, Donna McKechnie and of course Elaine Stritch as Joanne. Boris Aronson's set and Michael Bennett's choreography are still often discussed in theatre circles; the show has been revived twice, including a Tony-winning turn in 2006 but none have come close to this production, whose original cast album remains the definitive reading of the score.

The songs of the score are well known to musical theatre fans. Bobby's girlfriends singing "You Could Drive a Person Crazy" with its Andrews sisters style vocal arrangements; Marta's "Another Hundred People," Amy's borderline insanity in the rapid fire patter song "Getting Married Today." Bobby's summation in "Being Alive" and Joanne's condemnation of her peers and herself in "The Ladies who Lunch." Jonathan Tunick charted the orchestrations, capturing the frenetic energy of 1970 in his superlative arrangements, foreshadowed in his work on Promises, Promises a couple years earlier (I think his charts for "Another Hundred People" captures the pace of NY better than any other I've heard).

It was the start of an unbelievably productive decade for Sondheim and Prince: Follies, A Little Night Music, Pacific Overtures, Sweeney Todd and Merrily We Roll Along (which is. Prince and Sondheim became the face of contemporary musical theatre. Jonathan Tunick, with chameleon brilliance, smartly orchestrated each one of these scores so thrillingly that any other charts pale in comparison.

In Sondheim on Sondheim, the composer has written a self-deprecating song called "God!" taking aim at his own revered position in the world of music theatre. But looking at Mr. Sondheim's contribution to the art form from Company to the present, it's hard not to agree with the people's assessment.

Donna Murphy for Mame

2010-04-26T21:01:00.009-04:00

The Encores! production of Anyone Can Whistle has been closed for a mere two weeks. However, I cannot stop thinking about Donna Murphy's triumphant turn as Mayoress Cora Hoover-Hooper. In the last line of my assessment of the production, I speculated as to whom we'd have to talk to in order to mount a major revival of Mame showcasing Murphy.

With that performance fresh on my mind, as well as the second Broadway revival of La Cage Aux Folles settling in with great notices, I've been thinking more and more about Murphy taking on the role of that bohemian aunt. I'm not the only one who has thought so. The other night I was talking about this with die hard "Mame-ist" SarahB, who has come up with a grassroots campaign slogan "Murphy for Mame!"

And why not? After the last revival, the Nederlanders promised to revive both Mame and Hello, Dolly! successively. I'm sure the failure of that production of La Cage had something to do with the kibbosh on their Herman project. Both shows have only been seen in their original productions, or in replications of their original productions and it's time to pass along both treasures to a new generation of theatre kids who think Idina Menzel is the epitome of Broadway belting (saints preserve us!)

I went into further detail last September pondering who would be the right actress for the part. When you look at our leading ladies, it's easier to find a Dolly or a Vera, but Mame requires an alchemical element to pull off successfully - that unspeakable star quality that Lansbury brought to NY in 1966. She's funny, sexy, larger-than-life, the belle of the ball; the ideal aunt that we all wish we could have. But she's also got an immense heart, a fiery liberal passion and is well, a borderline alcoholic in an idealized world where that's just part of the fun. All of this is rolled into one strikingly costumed, timeless creation of sheer theatrical joy. The shoes are not easy to fill.

Murphy is fearless, versatile and brilliant. Yes, she missed performances of Wonderful Town. However those critics are quick to harp on her attendance record even after it turned out she was seriously sick and could have permanently damaged her voice. I say, cut the lady some slack and welcome her back. This is a woman who was able to bring the Mayoress Hoover Hooper, who's more a cartoon than character, to genuine tears while singing "A Parade in Town."

Like the role's originator, Angela Lansbury, Murphy is mindbogglingly versatile and there is very little she can't do. With the right director (maybe Nicholaw? we can decide that later), we'd have a production of Mame for the 21st century. I'm convinced there is - at this moment - no other musical theatre actress who could successfully pull off what is actually one of the most iconic leading lady roles in musical theatre.

Outer Critics Circle Nominations

2010-04-26T14:59:00.000-04:00

Outer Critics Circle - 2009-2010 Award Nominations

OUTSTANDING NEW BROADWAY PLAY

Next Fall
Red
Superior Donuts
Time Stands Still

OUTSTANDING NEW BROADWAY MUSICAL

American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim

OUTSTANDING NEW OFF-BROADWAY PLAY

Clybourne Park
The Orphans’ Home Cycle
The Pride
The Temperamentals

OUTSTANDING NEW OFF-BROADWAY MUSICAL

Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!

OUTSTANDING NEW SCORE (Broadway or Off-Broadway)

Bloody Bloody Andrew Jackson
Memphis
The Scottsboro Boys
Yank!

OUTSTANDING REVIVAL OF A PLAY (Broadway or Off-Broadway)

Fences
Lend Me a Tenor
The Royal Family
A View From the Bridge

OUTSTANDING REVIVAL OF A MUSICAL (Broadway or Off-Broadway)

La Cage aux Folles
Finian’s Rainbow
A Little Night Music
Promises, Promises

OUTSTANDING DIRECTOR OF A PLAY

Doug Hughes, The Royal Family
Kenny Leon, Fences
Stanley Tucci, Lend Me a Tenor
Michael Wilson, The Orphans’ Home Cycle

OUTSTANDING DIRECTOR OF A MUSICAL

Christopher Ashley, Memphis
Terry Johnson, La Cage aux Folles
Susan Stroman, The Scottsboro Boys
Alex Timbers, Bloody Bloody Andrew Jackson

OUTSTANDING CHOREOGRAPHER

Rob Ashford, Promises, Promises
Bill T. Jones, Fela!
Susan Stroman, The Scottsboro Boys
Sergio Trujillo, Memphis

OUTSTANDING SET DESIGN (Play or Musical)

John Lee Beatty, The Royal Family
Beowulf Boritt, Sondheim on Sondheim
Phelim McDermott & Julian Crouch, The Addams Family
Donyale Werle, Bloody Bloody Andrew Jackson

OUTSTANDING COSTUME DESIGN (Play or Musical)

Jane Greenwood, Present Laughter
Martin Pakledinaz, Lend Me a Tenor
Matthew Wright, La Cage aux Folles
Catherine Zuber, The Royal Family

OUTSTANDING LIGHTING DESIGN (Play or Musical)

Kevin Adams, American Idiot
Kevin Adams, The Scottsboro Boys
Ken Billington, Sondheim on Sondheim
Justin Townsend, Bloody Bloody Andrew Jackson

OUTSTANDING ACTOR IN A PLAY

Bill Heck, The Orphans’ Home Cycle
Jude Law, Hamlet
Liev Schreiber, A View From the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences

OUTSTANDING ACTRESS IN A PLAY

Nina Arianda, Venus in Fur
Laura Benanti, In the Next Room, or the vibrator play
Viola Davis, Fences
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family

OUTSTANDING ACTOR IN A MUSICAL

Brandon Victor Dixon, The Scottsboro Boys
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles
Chad Kimball, Memphis
Nathan Lane, The Addams Family

OUTSTANDING ACTRESS IN A MUSICAL

Kate Baldwin, Finian’s Rainbow
Barbara Cook, Sondheim on Sondheim
Montego Glover, Memphis
Bebe Neuwirth, The Addams Family
Catherine Zeta-Jones, A Little Night Music

OUTSTANDING FEATURED ACTOR IN A PLAY

James DeMarse, The Orphans’ Home Cycle
Jon Michael Hill, Superior Donuts
David Pittu, Equivocation
Noah Robbins, Brighton Beach Memoirs
Reg Rogers, The Royal Family

OUTSTANDING FEATURED ACTRESS IN A PLAY

Hallie Foote, The Orphans’ Home Cycle
Rosemary Harris, The Royal Family
Marin Ireland, A Lie of the Mind
Jan Maxwell, Lend Me a Tenor
Alicia Silverstone, Time Stands Still

OUTSTANDING FEATURED ACTOR IN A MUSICAL

Kevin Chamberlin, The Addams Family
Christopher Fitzgerald, Finian’s Rainbow
Levi Kreis, Million Dollar Quartet
Dick Latessa, Promises, Promises
Bobby Steggert, Ragtime

OUTSTANDING FEATURED ACTRESS IN A MUSICAL

Carolee Carmello, The Addams Family
Katie Finneran, Promises, Promises
Angela Lansbury, A Little Night Music
Cass Morgan, Memphis
Terri White, Finian’s Rainbow

OUTSTANDING SOLO PERFORMANCE

Jim Brochu, Zero Hour
Carrie Fisher, Wishful Drinking
Judith Ivey, The Lady With All the Answers
Anna Deavere Smith, Let Me Down Easy

JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)

John Logan, Red
Jon Marans, The Temperamentals
Geoffrey Nauffts, Next Fall
Bruce Norris, Clybourne Park

Wine, Women, Some Song...and More Wine

2010-04-26T00:03:00.007-04:00

Perhaps I am the only person grateful for the eruption of that volcano in Iceland. Yes, I'm well aware of the havoc which has been wrought throughout the travel industry, as well as the overwhelming inconvenience at hand. But Mother Nature proving yet again that she's still running things helped turn my weekend into one for the ages.

You see, the West End Whingers (of "Paint Never Dries" fame) were in town meeting everyone in sight, taking in opening night shows and parties, and even taping an episode of "Theatre Talk" with Michael Riedel and Susan Haskins. The two gents had been scheduled to fly out until Eyjafjallajokull (toss that into a spelling bee, why don't you?) blew its top. As a result they ended up with an extra week on holiday, continuing to meet more folks and take in more parties.

And as it happened, my buddy Steve on Broadway was also in town for the week taking in the last shows of the theatre season (meeting his personal goal of seeing all 38 Broadway productions). Originally slated to meet for ITBA business, we decided we wanted to catch up earlier so Steve arranged for us to meet Thursday afternoon at the Dean & Deluca on 46th Street next to the Paramount Hotel. Knowing that the Whingers were in town, I really wanted to meet them as theirs is one of the most prolific London theatre blogs. However, I thought it too gauche to be all "Hey Steve. Nice to see you, now can I meet the Whingers?"

Anyway, we settled in and as always started our usual back and forth on the productions we had seen recently, the latest news, gossip, twitter, etc. The conversation turned several times to Whingers, and the exploits that they have had from La Cage Aux Folles' opening night to a notable incident at the Theatre Talk studios with Billie Joe Armstrong and Michael Mayer that had me applauding their honesty and chutzpah. Lo and behold, Steve looks up as my phone (inconveniently) rang and says "And there they are now!" and proceeded to wave them into the cafe.

I can tell you without hesitation that they are as downright funny and genuine as their writing. What you read is what you get, and it makes for the most amusing banter. The twosome can dryly toss out witticisms in the twinkling of an eye. I sat in total amusement as they recounted the whirlwind of activities they've had since coming to New York. The gentlemen are never short on anecdotes or opinions and are delightful raconteurs. All this over afternoon tea! (The last time non alcoholic beverages would factor into my weekend). The discussions we had were spirited; filled with interesting opinions and immensely engaging and friendly.

While they went off to get some writing done for their site, Steve and I continued our visit at the Atrium in the Marriott Marquis lobby where I got started in with a white Russian. We met again later that evening at the Hourglass Tavern on 46th & 9th to celebrate Andrew's birthday (who shares it with QEII). Steve charmed the hell out of our waitress, who was a dead ringer for Anna Magnani. And that, ladies and gentlemen, is when I found myself enjoying red wine for the first time in my life (whenever the Whingers are around there is wine, they famously give out glasses of wine in lieu of stars in their blog's rating system).

I thought it was a perfect afternoon, but little did I realize that I would be trumping this ace the very next night. I was in back in town to cover MTC's Collected Stories with Linda Lavin and Sarah Paulson (more on that later this week) and lo and behold I found myself on the same block as Steve! We chatted for a few moments before we participated in a conference call with the delightful Alicia Silverstone (see previous parenthetical), an exclusive event set up through the ITBA. More wine flowed on the patio at Sosa Borella before we went our separate ways for the evening shows.

Post-show we all met up again at Angus. I walk into Angus, see Andrew and Phil at the barJoining in the fun was SarahB, her delightful best friend Beth from Texas and the irrepressible Karigee, as well as the Daily Mail's Baz Bamigboye (the Michael Riedel of the West End, but much more likable). The theatre talk continued, as did the laughter. There I was double fisting with wine in one hand, water in the other recreating Donna Murphy's greatest hits from Anyone Can Whistle with Kari and Sarah. Theatre was shop talk and how I wish it could have gone on forever. It was yet another night when we closed down the joint, those are admittedly some of the best nights we have as a group. I even got to pose for a quick pic with Eglantine Price who dropped in for a nightcap. It reminded me of that first blogger brunch I attended almost two years ago where I met Steve, where I got to know many extraordinary theatre lovers.

My weekend with the Whingers ended there, but I wasn't quite done with theatre folk. The following afternoon, Roxie and I ended back in New Paltz to work with some of the college kids on a revue that will be going up next month. Over the course of an amusing rehearsal found myself playing Anne, Fredrik and Fredrika in a four person version of "A Weekend in the Country." (I'm officially Fredrik when everyone is in attendance) It was so good to be back, and even more delightful to have my ass kicked in rehearsal once more (it's been over five years since I've done anything of this sort). As always - I love New Paltz, I love reminiscing about my memories (which all burn in my head with a steady glow) and revisiting my favorite places. I'm looking forward to going back and working with the kids again.

And on the Sabbath, I rested. It was so good to spend time with theatre friends, old and new. My world has gotten both a little bigger and a little smaller and I couldn't be more thrilled. Oh, and by the way, should I become a wino it is entirely Andrew and Phil's fault. Steve's too.

Last Fall

2010-04-21T20:28:00.006-04:00

Broadway is heading down the finish line of yet another season. There is a glut of shows opening this month before the Tony cut-off on April 29 (the tally is eleven for the month). However, as the Tony committee and voters get lost in this whirling dervish of new productions, I figure it's time to give some love to a superlative fall season which can often be easily forgotten. So... for the consideration of the Tony committee - as well as the Drama Desk, Outer Critics' Circle, etc. (and to jog their fickle memories), here are some of the shows that came and went this fall:

Finian's Rainbow - The unfortunate casualty of a star-driven fall season and the desire to import American Idiot as soon as possible, this seemingly ill-advised revival of a seemingly unrevivable classic took the critics and audiences by storm and is one of, if not the, best reviewed productions of the entire season. From its lovely direction and spirited choreography by Warren Carlyle, to the enchanting breakthrough performance of leading lady Kate Baldwin, this one was a winner from start to finish, a genuine crowd pleaser. Also worth mentioning: Jim Norton and Christopher Fitzgerald's impish comic charms as, respectively, Finian and Og. There's also the divine Terri White, who took "Necessity" and belted it into oblivion (and whose overall presence was more of a supporting role here than the cameo it was at Encores).

Oleanna - This David Mamet revival was volatile, divisive and short-lived. However, it was a spirited thought-provoking production that got the audience talking. For those fortunate enough to have seen the show during previews, the post-show talk backs offered release for the explosive tension that builds in the mere 80 minutes of play time. It also was interesting to me personally because my beloved SarahB and I found ourselves at odds with each other afterward; the conversation was vibrant, spirited and very involving. It raised many questions about ourselves, the filters through which we see the world and the overall idea of gender roles in society.

Ragtime - A sublime, intimate revival that closed far too soon for my liking, and seemingly a similar response for many in the theatre community. Moving away from the epic nature of the original production, director and choreographer Marcia Milgrom Dodge emphasized the humanity of its characters, especially in Christiane Noll's fully realized portrait of emerging feminism as Mother as well as in Bobby Steggart's thrilling turn as Mother's Younger Brother. I know that critically, reviews were divided, but I don't think I've ever been part of such vociferous audiences - the reactions were overwhelming and spontaneous in the three times I saw the show.

The Royal Family - MTC gave us this sublime revival of the classic Kaufman & Ferber comedy about an eccentric acting dynasty a la the Barrymores. Doug Hughes' direction was superb and succinct, managing to introduce the show to an entire generation of younger theatregoers, and a lovely revisit for those who recall the last revival directed by Ellis Rabb starring Rosemary Harris. Harris was on board as the matriarch this time around, offering one of the most haunting moments of the entire year. Jan Maxwell, now tearing it up in Lend Me a Tenor was nothing short of breathtaking, particularly in that showstopping second act monologue, culminating in a face plant on the lip of the stage.

Superior Donuts - It would have been lovely to see Tracy Letts replicated the success of August: Osage County, but 'twas not to be. His second play, a decidedly lighter and less scathing look at an awkward but warm father-son relationship between a jaded hippie and his young, idealistic black assistant was a charmer. Michael McKean was excellent and anchored the production, but it was Broadway newcomer Jon Michael Hill who walked away with the show and the audiences' hearts in his pocket.

It appears that due to its fast closure, Brighton Beach Memoirs is ineligible, depriving its heart and soul - Laurie Metcalf - of deserved consideration. (Even more criminal is the brilliant tour de force that was never to be in Broadway Bound, where Metcalf would have taken center stage). There were a couple of limited runs I didn't get into - A Steady Rain, In the Next Room (or the Vibrator Play) and After Miss Julie so I can't comment there.

Since the Tony committee foolishly eliminated the Best Theatrical Event award (they say "retired"; I say they're "stupid") it forces unique presentations such as Burn the Floor, Wishful Drinking, All About Me, and Come Fly Away into competition with more traditional plays and musicals (and the actors involved).

Oh, and remember Bye Bye Birdie? By all means, don't.

Hudson Valley Shakespeare Festival Announces 2010 Season!

2010-04-20T13:46:00.005-04:00

Just in time to celebrate Shakespeare’s 446th birthday on April 23, founding Artistic Director Terrence O’Brien has announced the line up for the Hudson Valley Shakespeare Festival’s 2010 season. Considered to be one of the best nights out at the most reasonable price, the Festival offers something for everyone from high comedy and romance to betrayal, battlefields; iambic pentameter and hip-hop rap.

This season will take the audience to the Trojan War where love turns to infidelity in the bedroom and on the battlefield. A cast of celebrated Greek heroes bring intrinsic values of honor and love into question with Troilus and Cressida. From classic war time battlefields to the battle of the sexes, the question ‘who’s taming whom?’ will be answered with classic wit in the comedy, The Taming of the Shrew. And what would a season at HVSF be without an all out irreverent takes on Shakespeare, in this case The Bomb-itty of Errors, a comic hip-hop rapping romp through The Comedy of Errors?

The Bomb-itty of Errors, directed by Associate Artistic Director Christopher Edwards, opens the season on Saturday June 19 (previews begin Tuesday, June 15). The Taming of the Shrew, directed by Kurt Rhoads opens on Saturday, June 26 (previews begin Friday, June 18). Terrence O’Brien, Founding Artistic Director of the Festival, directs Troilus and Cressida which opens Saturday, July 3 (previews begin June 16).

Performances begin at 7pm Tuesday, Wednesday and Thursday (grounds open for picnicking at 5pm); 8pm Friday and Saturday (grounds open at 6pm); and 6pm on Sundays (grounds open at 4pm).

“I am very excited about this season. It’s a great mix of plays and a real exploration of men, their views on women and the world. It should offer some interesting dialogue with our audience. As I work on Troilus and Cressida I am struck by the fact that the play doesn’t really seem to fit into any true Shakespeare “categories”. It seems to defy what we’ve come to expect - taking on somewhat of an experimental form said Mr. O’Brien. “I am also very happy to welcome Festival veterans Chris Edwards and Kurt Rhodes back this season as directors of our two other shows.

The Hudson Valley Shakespeare Festival has inspired and delighted audiences with its vigorously original interpretations of the great works of William Shakespeare for twenty-three seasons to much critical acclaim from The New York Times, The Wall Street Journal, The New Yorker, The Poughkeepsie Journal, The Journal News and numerous other national and regional publications. Founding Artistic Director Terrence O’Brien has maintained a commitment to making the timeless plays accessible to all audiences, relieving the burden of heavy language and over-dramatization that so many equate with Shakespeare. “We want the audience to feel the same way about the plays as we do,” explained O’Brien. “The stories are timeless and we work to eliminate the affectation so often associated with Shakespeare. Our productions are lively, fast-paced and reflect our own excitement. You know it’s working,” he continued, “when you not only have people return season after season but every year they bring more new friends.”

The region’s only professional resident Shakespeare Company, HVSF, makes its home under an open-air tent theater perched high up on the banks of the Hudson River on the grounds of the historic 19th Century Boscobel estate in Garrison, New York. Using the dramatic views of the Hudson Highlands and the sweeping vistas from the elegant lawns of Boscobel as near-perfect stage scenery, the critically acclaimed Hudson Valley Shakespeare Festival presents unparalleled productions with the perfect marriage of theater and nature. Audience members are invited to arrive two hours early in order to enjoy a picnic meal - with one of the most spectacular al fresco views - on the grounds of the estate.

From a personal perspective, I was introduced to the HVSF last year as I had the opportunity to sit in at the rehearsal studio and also ventured up to Garrison-Cold Spring to take in their season, which was only enhanced by the jaw dropping view of the Hudson Valley (God has a way with scenic design). For those who find Shakespeare lofty and elitist, I have to ask "What gives?" (Reader, you'd be surprised). Go see a Shakespeare play. If you're in the Hudson Valley this summer, go up to Boscobel. If not, find out what's playing nearest you. Shakespeare is meant to be seen, not read and you'd be amazed how one can be thoroughly transported by his writing 400 years removed.

Ticket prices for all performances are $29-$47. Tickets are available through the HVSF Box Office, which opens May 3: 845-265-9575 and are now available online. Discounts are available on most nights for groups, students, senior citizens and children 12 and under. The Festival offers several special packages, including a tour of the Boscobel mansion and Exhibition Gallery plus tickets. In addition discounts at local hotels and restaurants are also available. For packages and information visit the Festival website, www.hvshakespeare.org and are available through the box office. On-line sales are currently available. The Box Office opens on May 3.

For more information about the 2010 Hudson Valley Shakespeare Festival, as well as information about their ongoing Education and Community Outreach Programs, contact the Festival at (845) 265-7858.

Reconsidering Irma La Douce

2010-04-19T23:04:00.003-04:00

A couple of weeks back, I introduced myself to Billy Wilder's film adaptation of Irma La Douce, starring Jack Lemmon and Shirley MacLaine. For the most part, it's an amusing movie but it suffers due to its overlong running time. But more importantly, I started thinking about the original musical from which the film came. Irma, in a situation parallel to Harold Rome's Fanny, had all of its musical numbers removed for its film version. The musical themes heard on the Broadway stage were adapted as underscoring (Andre Previn, who won the Oscar for it) and there was no singing and dancing, except an homage to the first act's major showstopper "Dis-Donc, Dis-Donc" with MacLaine kicking up her heels on top of a pool table.

The show's origins are unusual: it is the most successful musical comedy ever to originate in France. With music by Marguerite Monnot (Piaf's best friend and favorite songwriter) and book and lyrics by Alexandre Breffort, Irma La Douce (which translated means "Irma the Sweet') opened in Paris in 1956 to wide acclaim and popular success, running for four years. In a move that foreshadowed the journey of Les Mis some twenty-five years later, the show was optioned by British producers.

Plotwise, it was a rather innocent, albeit farcical adult fairy tale of a Parisian prostitute living near the Place Pigalle, who is the most popular girl on the block. A young law student (cop in the film) falls in love with her, becomes her pimp and is so jealous at the thought of other men being with her, he creates an alternate identity and becomes her sole customer. When Irma feelings for this new "customer" start to threaten the initial relationship, the pimp kills off the alter ego only to be sent to Devil's Island for murder. And there's also a baby. Oh, it's ridiculous, but it's ridiculous fun. With enough charm, the show works quite well. The score matches that sense of fun, with some dynamite musical numbers, especially for Irma who shines with "Dis-Donc" and the title song in the second act.

The English translation of the script and songs was done by Julian More, David Heneker and Monty Norman. Directed by the famed Peter Hall, the new version of the show opened at the Lyric Theatre in London where it was a tremendous success. The cast was led by Elizabeth Seal, who had previously scored a triumph as Gladys in the London company of The Pajama Game, Keith Michell as the lover and Clive Revill playing several roles, but is mainly the bartender and confidante to the lead characters (and also the show's narrator). The show ran for 1,518 performances.

Then David Merrick got involved. Merrick is probably best known as the Abominable Showman for his ruthless (if admittedly effective) marketing schemes and especially for his blockbusters like Hello, Dolly! and 42nd Street. However, he was also known for importing London successes, including such diverse shows as Stop the World I Want to Get Off! and Marat/Sade, among many others. Irma La Douce was another of his imports.

The three London stars made the trip across the pond. Among the supporting cast were the perennial George S. Irving, a pre-Munsters Fred Gwynne, Elliot Gould and Stuart Damon. (Virginia Vestoff, later to find success in Man with a Load of Mischief and especially 1776, was Seal's standby). New dance music was arranged by John Kander for Onna White's choregraphy. Robert Ginzler supplemented Andre Popp's orchestrations to accommodate changes made for the show's NY berth.

The show was a hit. Critics and audiences raved and the money poured out. Even before the show opened in NY, it was announced that Billy Wilder was to direct Jack Lemmon in the film version. Elizabeth Seal was the toast of Broadway, winning the show's sole Tony Award for Best Actress in a Musical, besting Julie Andrews in Camelot, Carol Channing in Show Girl and Nancy Walker in Do Re Mi. (The show was nominated for six others). Irma closed after 524 performances, a solid respectable hit.

Michell later headlined productions of Man of La Mancha and La Cage Aux Folles and is familiar from his recurring role as Dennis Stanton on Murder She Wrote. Revill opened Oliver! on Broadway for Merrick, and later took on the title role in Sherry! He was also the voice of the Emperor in The Empire Strikes Back. However, Seal's career never quite took off. She made one more appearance on Broadway in the Cicely Tyson revival of The Corn is Green. She's done some BBC radio appearances, notably taking on Solange la Fitt in a concert of Follies. Her most recent film credit was a bit part in Lara Croft Tomb Raider in 2003.

The musical itself held international appeal. Hookers with a heart of gold seem to be a popular draw in musical theatre and many international cast albums were recorded. However, the musical hasn't received many major revivals. As it turns out there was some disagreement between the French and English estates involved with the property making professional English language productions almost impossible to pull off. But there is good news: I attended the first NY revival of the show was presented by Musicals Tonight in October '08 which showed that Irma still has some life left in her. I can only hope that now we might see more productions of the show, perhaps at Encores! But then again it might be too small a show for the City Center: the cast is comparatively small and the show's original orchestration is a producer's dream: nine pieces (with some considerable prominence given to the xylophone).

There is a London release of the OLC through Sepia, and that particular recording is a slightly more intimate affair with more dialogue (including the entire "There is Only One Paris for That" musical sequence) but I have a greater affinity for the Broadway cast album, especially since it contains that sparkling, infectious overture - one of my absolute favorites. If you've never heard Irma La Douce, pick this one up, I don't think you'll be at all disappointed. The question now comes down to this: who could play Irma?

The pictures interspersed throughout the post are from the November 14, 1960 issue of Life Magazine entitled "Sweet Irma in a Wicked World."

How to Succeed with Wolves

2010-04-15T21:52:00.004-04:00

Two major productions were announced today. One of the two was official confirmation of a project long rumored to be in gestation. The other, a left field surprise.

Spring 2011: Daniel Radcliffe, famously of the Harry Potter series will star in the second Broadway revival of the Tony and Pulitzer prize winning musical (and one of my personal favorites) How to Succeed in Business without Really Trying. Perhaps he's younger than the other actors who have played him (specifically Robert Morse and Matthew Broderick, both to Tony-winning effect) and perhaps some might think fifteen years is a bit too soon for another revival. But it doesn't seem as fast a turn around as revivals of Gypsy and La Cage Aux Folles within five years of each other. I'm curious to see what Radcliffe does with the part, as he's been rumored to be quite good in the workshops they've had recently. The director-choreographer is Rob Ashford, currently represented with Promises Promises. I only hope this is the sort of revival that makes audience go crazy a la Guys and Dolls (1992, not 2009). It's encouraging to see one of the most recognizable movie stars in the world interested in doing theatre - and a musical at that. I wish him nothing but the best with the experience.

Opening unknown: The left field announcement came from producer Matt Murphy (Thurgood, Impressionism and the current Memphis) who announced plans for a musical adaptation of Dances with Wolves. Originally a novel by Robert Blake, its 1990 film adaptation won seven Oscars including Best Picture. The story is that of an isolated US Army lieutenant who finds himself connecting with Sioux culture while Americans start to invade the territories of the West. Frankly, I've never been that compelled by the film; I find it something of a slog (three long hours in its theatrical cut, four in its masturbatory director's cut). But I am curious what could be made of the project. I admit my initial reaction is to scream "bad idea." Then again I can't imagine that Sweeney Todd looked that great on paper either. But for every Sweeney Todd there are countless Gone with the Winds, Lolita My Loves, Here's Where I Belongs, Civil Wars, etc. Even if they use the novel for the adaptation, many are just going to assume it's a musical version of a well received film. Apparently there isn't even a creative team in place for this one therefore it's completely in its infancy. It will be some time between now and its premiere. We shall see...

"Anyone Can Whistle" at Encores

2010-04-12T16:31:00.011-04:00

I would like to call for a coronation in New York City. I don't know if there are any statutes in the NY government that allow for such activity, or even whether her colleagues would appreciate my hubris. But if there is anyone who deserves to be crowned the Queen of Musical Comedy (at least this year) it is Donna Murphy, who experienced another in a series of career triumphs in this weekend's Encores! revival of Anyone Can Whistle. If you missed her performance, I am legitimately sorry for you because it was the most scrumptious, delectable, laugh out loud hilarious musical comedy performance I've seen in the last several years.

Lusty, shallow, greedy, neurotic and deliriously oblivious, Murphy sashays through the evening like a Las Vegas nightclub diva, complete with a quartet of male dancers who follow her everywhere she goes. Her voice is in exceptional form and each one of her numbers was a pure knockout. Every nuance in her delivery, her physical movement, even the way she pronounces her own last name is enough to bust a gut. Her physicality is fearless, brash and just about the greatest thing since sliced bread. Every moment she is onstage you can't help but watch her - she's not only funny, but fascinating.

Murphy, coiffed by Gregg Barnes in an homage to the role's originator Angela Lansbury (who insisted she play the part), and is so winning that she would win every theatre award in sight were she eligible. It's even more impressive when you think of her career trajectory: the bleak, depressive Fosca in Passion, the prim Mrs. Anna in The King and I, Ruth Sherwood in Wonderful Town and Phyllis in Follies. There are not many actresses with such extensive range and ability.

It bears mentioning that Ms. Murphy is not onstage alone. Sutton Foster is lots of fun as a Fay Apple, the uptight pragmatic nurse who can only let down her guard when dolled up like a French tart. She brings that now trademark belt to "There Won't Be Trumpets" and offered a touching rendition of the title song. Raul Esparza flits around wildly as Hapgood, the would-be doctor who is actually a patient running the asylum. Edward Hibbert, Jeff Blumenkrantz and John Ellison Conlee provide enormous comic support as 'Hoovah-Hoopah's' sidekicks, partners in crime (and possibly some more unmentionable extra-curricular activities).

This legendary flop played nine performances at the Majestic in 1964, an overreaching satire about a bankrupt city whose corrupt mayoress (and minions) concoct a phony miracle in order to capitalize on it. I won't get too far into the plot as, well, with this show it doesn't particularly matter. Laurents' libretto is a meandering mess that tries too hard to lampoon everything imaginable. It seems that by trying to make the show all about everything that the creators inadvertently made it about nothing. David Ives made judicious cuts to the book, but to little avail: the piece as a whole is still unworkable and unsalvageable.

But there is still that score. Goddard Lieberson had the foresight to record the score in spite of the show's closing. Sondheim, at this point, was primarily known as a lyricist and whose only Broadway composing credit was the smash hit A Funny Thing Happened on the Way to the Forum. It was in Anyone Can Whistle that Broadway had its first taste of the Sondheim style and sound, which would revolutionize the genre in 1970's Company. The album turned the show into a cult favorite, keeping Sondheim's music and lyrics alive.

In honor of the composer's 80th birthday, Encores! offers the rare NY revival and it is highly doubtful this production could be bettered. Director-choreographer Casey Nicholaw, also responsible for the winning Encores! concert of Follies three years ago, has staged the piece with winning originality, especially in the subtitled bedroom scene. His dances are especially polished. They culminate in a showstopping climax with the "Cookie Chase," a comic ballet complete with butterfly nets and tumbles. It's a zany, absurd piece that simultaneous recalls the Keystone Cops and Tchaikowsky and is utterly ingenious, and an homage to the work of Herbert Ross, the original choreographer.

This is one of the best I've seen at the City Center. However, if producers are thinking of transferring this one, I don't think that would be a wise move. It's unlikely that we'll ever see a commercial production that could make the show work or make it as fun as this one. But this is the ideal Encores! experience: a show that wouldn't ordinarily be revived. This one will be best remembered for its triumphant weekend. Let's hope next season can produce such a winner. Now I just wonder who'll we have to see about getting Donna Murphy onstage in that other Lansbury star vehicle, Mame.

Dixie Carter (1939-2010)

2010-04-10T22:08:00.011-04:00

Dixie Carter, the actress/singer who epitomized Southern class and elegance on TV's Designing Women, has died at the age of 70. The cause of death was endometrial cancer.

While most famous for her television work, Carter also had an extensive stage and cabaret career. Carter was born in McLemoresville, Tennessee. A lyric soprano, Carter had originally dreamed of being an opera singer until a botched tonsillectomy in her childhood changed that. She received a degree in English at the University of Memphis and was also a runner-up in the Miss Tennessee pageant of 1959. It was in Memphis that she appeared in her first professional production, a revival of Carousel.

Carter made her Broadway debut in the short-lived Sextet in 1974. She played Melba, the reporter show sings "Zip" in the 1976 revival of Pal Joey (she would later play Vera in a production in LA in the early 90s, with Elaine Stritch as Melba). More recently, she was a notable replacement as Maria Callas in Master Class and as Mrs. Meers in Thoroughly Modern Millie. Off-Broadway, she received a Theatre World Award in 1975 for Jesse and the Bandit Queen and was nominated for a Featured Actress Drama Desk Award in 1979 for Fathers and Sons. Regional credits ran the gamut from Tennessee Williams to Shaw to Rodgers and Hammerstein. She was scheduled to appear at the Shakespeare Theatre in Washington, D.C. this summer in a production of Mrs. Warren's Profession.

It is for her extensive television credits that she is became most well known. She had recurring roles on Filthy Rich, Diff'rent Strokes, Family Law and more recently on Desperate Housewives. However, it is her performance as the erudite interior designer Julia Sugarbaker in Designing Women for which she is best remembered. The series ran seven seasons on CBS and was immensely popular for its depiction of four southern friends living and working in and around Atlanta, Ga. Carter's characterization became immensely popular for her "tirades," in which the mild-mannered Julia got fired up over something she perceived to be an injustice or which offended her liberal feminist sensibility.

In reality, Carter was actually a libertarian Republican. She struck a deal with Designing Women's creator and friend Linda Bloodworth-Thomason. For each tirade, she was given an opportunity to sing. The material ran the gamut from Schubert's "Ave Maria" to "Bosom Buddies" from Mame, among many other memorable musical moments in the series' run.

Carter is survived by her husband of 26 years, Hal Holbrook as well as her daughters Mary Dixie and Ginna from her first marriage to Arthur Carter. She was also briefly married to George Hearn.

My introduction to Dixie came from reruns of Diff'rent Strokes, where she spent one season as the fitness instructor who married Mr. Drummond. It wasn't until many years later that I saw her on reruns on Designing Women as well as other appearances. She was always a welcome presence on television, whether she was acting or singing, and was always a class act. Here is what is probably the most popular of the many tirades given on Designing Women, "The Night the Lights Went Out in Georgia:"

Sandy Duncan is Peter Pan

2010-04-09T13:29:00.002-04:00

There have been three major performers who have played the title role in the 1954 musical adaptation of Peter Pan on Broadway. The original and most iconic was Mary Martin, who won a Tony for it and famously played the part on TV three times. Twice it was presented live (and kinescopes exist), but the third was taped in color in 1960 for future broadcasts which forever cemented the show's (and Martin's) popularity. Then in the 1990s, gymnast Cathy Rigby played the role in four separate Broadway engagements (earning a Tony nod for the first time out in 1991), took the show on numerous tours and also preserved her version for TV.

In between these two, there was a major Broadway revival in 1979. Sandy Duncan played the title role, with George Rose as Captain Hook. The show played the Lunt-Fontanne for 554 performances making it the longest Broadway production of this vehicle (to be fair, the other four engagements were all limited).

Duncan was immensely popular in the show, but unlike her predecessor and successor, she didn't get a TV version nor did she get a cast album. (However, like the other ladies, she was nominated for a Tony). Perusing the Youtube, I discovered some video clips of Duncan in the part, easily the best dancer of the three ladies to have had a turn at this show. Enjoy:

Appropriately, Mary Martin introduces Duncan in "Neverland" on the 1982 TV special "Night of a 100 Stars:"

An Omnibus TV special taped live during a performance at the Lunt-Fontanne presented "I'm Flying." It's really incredible to see the effect the show can have on children, and just how enthusiastic they get into the show especially when Peter is flying.

The cast performed "Ugg-A-Wugg" on the 1979 Macy's Thanksgiving Day Parade. Robert Iscove directed and choreographed. Note Sandy Duncan's high kicks:

Catching Up - Fela! & Yank!

2010-04-08T21:47:00.008-04:00

Both shows are completely different but they are two of the most important musicals to open this season and attention must be paid, especially from yours truly.

I don't quite know how to start with Fela! The new musical is unlike anything I've ever seen, and that's a good thing. The show is a fascinating, riveting and very infectious entertainment that uses the life story of Fela and his music to showcase his impressive achievements as a musician and activist.

The Eugene O'Neill Theatre has been transformed into his nightclub. The premise: it's Fela's last performance before leaving his country in the wake of military dictatorship and the oppression of civil rights. Lights are strung throughout the audience area, there are artifacts and pictures on the wall, recalling the ancestors of those who have long since passed on. Afrobeat is piping in overhead, and slowly the band makes its way to the stage and suddenly the music is live and no longer canned.

The title role is the entire show. He carries the evening from start to finish on his shoulders, talking, singing, dancing and playing the saxophone. It's little wonder that the role is split between two actors, Sahr Ngaujah (who originated the role off-Broadway) and Kevin Mambo (whom I saw and enjoyed).

Bill T. Jones' choreography is some of the most impressive I've seen in recent seasons. The energy level and athleticism is unlikely to be forgotten. The book consists mostly of Fela telling us about himself. It gets a bit tedious, The majority of the evening is spent in monologues. Only Lillias White (who, equally impressive as Fela's activist mother, blasts the roof off the theatre with an eleventh hour appearance) and the delicious Saycon Sengbloh have lines, and are clearly supporting parts. No one else in the ensemble has any lines, but given the nature of the choreography I doubt they'd have the breath to get out any words. But it's more than just the words and the music. It's more the unspoken energy and the impact the show can have on audiences. It's not very often you see the tired businessman on his feet dancing without reservation. You're more like to see this wave of energy at Fela! than even over at Hair.

Musical doesn't seem quite the perfect word to describe Fela!, but it really is the most appropriate for the experience. I knew absolutely nothing about Fela Kuti going into the show, and made it a point to avoid research because I felt like going into the show knowing as little as possible. The result fascinated me, and I can tell you I am now in the possession of several Kuti albums and have read far much more about the activist/singer than I thought possible. Would I take in Fela! again? In a heart beat.

Yank! has been gestating off-off Broadway and in fringe circuits for several years. Written by the Zellnick brothers (Joe and David), the tuner is a throwback to the Rodgers and Hammerstein musicals of the Golden Age. I've seen some comparisons to South Pacific and while the parallels are obvious, structurally the show owes more to Oklahoma! right down to its eleventh hour dream ballet.

The musical is a love story between two soldiers from WWII who find themselves forced to keep their romance a secret. The show succeeds for the most part. It's a fascinating look into a subculture of the Second World War that doesn't get as much attention as other historical events. It's mostly engaging with a tuneful score, though the company number numbers and pastiches are surprisingly far more memorable than the material sung by the leads. There are some aspects of the libretto that could use some ironing out. The show runs a bit too long, and the flashback device (the show starts with a contemporary kid finding a journal in a junk shop) doesn't work. Also, some of the set-ups to certain musical numbers recall more Rodgers & Hart then Rodgers & Hammerstein. The dream ballet isn't terrible, but it isn't terribly exciting either and seems out of place in the eleven o'clock spot.

The cast is mostly excellent with Bobby Steggert especially memorable as Stu, the young and impressionable gay soldier. Fresh from his turn in Ragtime, Steggert is on a winning career path and it will be interesting to see where he ends up next. Ivan Hernandez is quite formidable as Mitch, the seemingly macho heterosexual with whom Stu falls in love. The ensemble is a sort of take-off of that Battleground cliche: different backgrounds, ethnicities, etc. (But did we need another homophobic, possibly racist redneck to wreak havoc? It would be more interesting if they set that up to be one of the more likable buddies who is placed in that situation).

The production's greatest asset is actually its leading lady. Nancy Anderson embodies every single woman in the show, from Stu's mother to a sympathetic lesbian Army officer. Anderson gets the chance to parade out in the best costumes (well, it is about the military...) shining in diegetic pastiche numbers that comment on the action. One of the funniest moments of the entire evening is her spot-on turn in a black and white WWII era film, a sort of operetta spin on So Proudly We Hail.

Jeffrey Denman's tap-heavy choreography is clever (especially in "Click"), but for the most part feels repetitious, save for the aforementioned dream ballet. The show is moving on from the York Theatre Company and is now slated for a Broadway berth this fall. The show thrives on its intimacy and the smaller the house the better.

In the wake of the current DADT controversy, the creators have written what has turned out to be a timely musical. With some more work, they can make it timeless.

"Lend Me a Tenor"

2010-04-04T17:08:00.015-04:00

Leaving the Music Box Theatre after seeing the infectious new revival of Lend Me a Tenor, I found myself unable to stop humming "La Donna è Mobile," the famed aria from Rigoletto. No matter what I did or what song I played, it remained at the back of mind - buoyant, effervescent and melodic. The aria is heard as the house lights go down and curtain comes up on Ken Ludwig's popular farce, instantly grabbing you and immersing you into the roller coaster ride of sidesplitting comedy about to enfold onstage. Like that aria, this new production sings out with gusto that will leave you buoyant, effervescent and smiling long after you have left the theatre.

The original production was a big hit in 1989. Starring Victor Garber, Tovah Feldshuh, and Tony-winning Phil Bosco, it ran for over a year and instantly became a staple in stock and community productions. (Its world premiere was in London in 1986). The plot in brief: the Cleveland Grand Opera is expecting a world-renowned Italian tenor for their gala. When he becomes indisposed, hijinks, misunderstandings and a hell of a lot of door slamming ensues. As a farce, the play itself is merely good, not great. Ludwig's text as a whole feels more like a rough draft of a greater comedy that has yet to be realized. There are some missed opportunities (especially with the Bellhop, who should have more to do) and its ending seems somewhat abrupt and rushed. However, this production is so laugh out loud hilarious and features a top notch ensemble of actors, that it's incredibly easy to both forget and forgive the shortcomings of its writing.

Anthony LaPaglia shines as Tito, the egomaniacal tenor in question whose propensity for women and booze causes most of the evening's chaos, and is especially memorable for the fearlessness of his physicality, particularly in the scene where he gives the impressionable would-be tenor Max a lesson in voice and relaxation. It must be seen for full effect. Tony Shalhoub is in full cigar-chomping mode as the temperamental producer Sanders. Jay Klaitz is a comic revelation as the endearing Bellhop (and operaphile). Movie star Justin Bartha makes an impressive Broadway debut as the nebbishy Max, who vacillates between the sadsack producer's assistant and confident opera diva when masquerading as Tito with considerable aplomb.

Mary Catherine Garrison winningly proves that ingenues have dirty dreams as Saunders' daughter and Max's girlfriend, and whose scream in the second act is one of the funniest moments I've seen on this or any other stage. The ever-reliable Jennifer Laura Thompson, always a welcome presence, taps into her quirky comic skills as the seductively ambitious diva Diana. Brooke Adams is far too striking to convince as a dowdy, past-her-prime matron, but the actress - mercilessly decked out like the Chrysler building - scores some big laughs.

Jan Maxwell effortlessly walks away with the entire evening as Maria, Tito's fiery, jealous wife. Maxwell, who was last seen giving a bravura star turn in the shimmering revival of The Royal Family, hits another home run as she rages, seethes and breaks down with an exaggerated Italian accent. Whenever she is onstage she is in total command, somehow maintaining her character's elegance in spite of her antics. She brought the first act to a crashing halt by merely hissing. After the disappointments of To Be or Not to Be and Coram Boy (which deserved to be a hit), it is especially welcoming to see Maxwell having such a banner season. Ms. Maxwell is one of the unquestionable treasures of the NY theatre scene, equally adept in both plays and musicals. If there is a God, Maxwell should be nominated for a Tony (for this and The Royal Family) - and she should win.

Then, of course, there is the director. Stanley Tucci, in his first Broadway directing gig, is as gifted a director as he is actor. His task is not an easy one; staging a successful farce is incredibly difficult as it involves laser-sharp timing from the loudest door slam to the tiniest gesture. His work here is infectious and inventive, bringing lightning pace and visual gigs, but also a certain touch of humanity that wouldn't normally seem possible in pure farce. Tucci's directorial touch is solid 14 karat gold. Anyone sitting center orchestra should also watch out for flying objects - all spit takes and such gags are directed out at the audience, a rather zany, inspired touch from a genius actor turned director.

John Lee Beatty's sumptuous set captures the elegance of a posh hotel suite in the 30s, so vividly realized its as though a penthouse was cut in half and placed onstage. Martin Pakledinaz has once again outdone himself with his period costumes. His eye-popping outfits worn by his leading ladies are especially memorable (the image of Jan Maxwell casting off her fur-lined wrap is a vivid image that will aways stick with me).

Lend Me a Tenor is undoubtedly the hit comedy of the season, and the funniest thing this side of The Norman Conquests. I look forward to making another visit, especially to revel in the genius of Ms. Maxwell, but also in appreciation of Mr. Tucci's immense achievement. Oh - and for that tour de force curtain call, which is worth the price of admission alone.

How Donna Murphy Got Cora Hoover Hooper

2010-04-02T02:16:00.004-04:00

Playbill's Andrew Gans talks to Donna Murphy on her relationship with Sondheim and her upcoming role as the Mayoress in Encores! Anyone Can Whistle. The following is an excerpt on how she got the part:

'Murphy is now getting ready to tackle her latest Sondheim role, Mayor Cora Hoover Hooper in the upcoming Encores! production of the short-lived Sondheim-Arthur Laurents musical Anyone Can Whistle, which co-stars Tony winner Sutton Foster and Tony nominee Raul Esparza. It was another multiple Tony winner, however, who Murphy says helped get her the gig: Angela Lansbury, who starred in the original production of Whistle.

"This year [the Drama League was] lucky enough to be honoring [Lansbury], and I was asked by Michael Mayer to learn and sing [Anyone Can Whistle's] 'Me and My Town.' I'd only heard that song once before, and I thought, 'Oh, what a great song!,' and I said, 'Yeah! Yeah!' . . . I had such a good time, and that night [Lansbury] came up to me afterwards and kind of took me by the shoulders and she said, 'Have they called you?' And I said, 'Who?' And she said, 'Encores! Have they called you?' And I said, 'No.' And she said, 'Why aren't you doing it?' And I said, 'Well, I haven't been asked.' She said, 'I'm calling them! I'm calling them!' And, it was incredibly flattering, but it was also one of those situations where I [didn't] know what's going on [with the casting]. It certainly was on my radar that they were doing this show because any time that there's a Sondheim show happening, my ears prick up and I'm like, 'Is there something in it for me?,'" she laughs.'

Does this mean Angie is entitled to ten percent...?

Masterworks Broadway

2010-04-01T22:24:00.007-04:00

April Fool's Day annoys me. Mostly it's because everyone thinks they're suddenly writing for The Onion and inundate the interwebs and my email box with attempts to "get me." As a result, I tend to skip out new on this particular day - both real and faux, just because I prefer the facts (and not to be sallied with countless fake information, etc). However, that said, there is something wonderful happening today - Sony Masterworks is celebrating the launch of the Masterworks Broadway website. I first got wind of the new site a couple months ago and being the musical theatre geek, I immediately signed up for an account. (Come join me!)

The website has been dubbed "Where Show Tunes Take Center Stage" and they are not wrong. A few years ago, due to some corporate blah blah blah, Sony founds itself with both its own Columbia Masterworks catalogue as well as RCA's. The consolidation brought about the new Masterworks Broadway label in 2006. The new catalogue will eventually feature 400 cast albums (about 275 are already available) and the productions represented have acquired 265 Tony awards, 450 Tony nominations and 27 Grammy Awards. Not too shabby.

Now, to celebrate and to bring it into the era of social media, they've decided to create a place for showtune lovers to gather. The aim of the website is to "document the history of the cast album from Finian's Rainbow (even if Columbia's first cast album was the 1946 revival of Show Boat, but that's neither here nor there) to last year's revival of West Side Story."

The site allows the individual to establish an account, friend other album enthusiasts as well as browse through the catalog. Masterworks has planned that every single cast album under its label will eventually be released digitally. Some of the more famous titles: Annie, My Fair Lady, Sweeney Todd, Mame, Hello Dolly!, The Producers, A Little Night Music, The Sound of Music, Gypsy, among many many others. But now, many albums that are long out of print or have been hitherto now only available on LP will now be introduced to an entirely new generation of theatregoers (and as one who has collected many obscure LP cast albums, and has had many of them ripped to mp3 use I approve wholeheartedly).

They are continuing to build the site, with more albums to be added. A streaming radio of continuous Broadway musical is up and running. My pal Peter Filichia, who writes for Theatremania, is now hosting a new blog every Tuesday. There are also podcasts, including one recorded for the release of Stephen Sondheim collection The Story So Far and another on the 50th anniversary of The Sound of Music last year. Each recording has its own page and readers can rate, review, and purchase the albums through amazon or itunes. There is of course the obligatory message board forum for folks to rehash the perennial "Merman or Lansbury" debate.

In celebration of the site's official launch, there will be a giveaway every day in the "You Gotta Get a Gimmick" sweepstakes. Some of the prizes include: A trip for two to NYC to see a Broadway show, the entire Masterworks Broadway catalog (over 275 CDs!), signed copies of Kristin Chenoweth’s memoir A Little Bit Wicked as well as her latest CD A Lovely Way To Spend Christmas, and a rare framed pigment print of Gwen Verdon from the Sony Music archives/ICON Collectibles. Every Tuesday and Friday the site will feature a prize related to the work of Jerry Herman and Stephen Sondheim respectively, including an autographed CD collection of their works. New prizes will continue to be announced throughout the month. Visitors can enter the daily drawing by visiting the site and signing up for free membership.

June Havoc (1912-2010)

2010-03-30T22:37:00.012-04:00

The musical was named after her sister and it was about her mother. But it's impossible to forget Baby June, dancing on point to those hokey routines thought up by her mother, the formidable Madame Rose. June Havoc, the real-life counterpart to that character is probably best known to contemporary audiences through this fictionalized depiction of her in the iconic Gypsy. The musical itself - one of the greatest ever written - is "suggested" by her sister, Gypsy Rose Lee's memoirs and dubbed "A Musical Fable" by librettist Arthur Laurents because of the show's skeletal resemblance to the truth. (Laurents also wrote in his memoirs that the former ecdysiast was "allergic to the truth").

Their lives were the stuff of legend - especially of their mother's ruthless attempts to commandeer her children into show business (along with the forged birth certificates, their gypsy-like existence and even of Rose killing someone at her boarding house). If we were to compile the story from all three, we'd probably end up with Rashomon with spangles.

However, Havoc maintained successful career as an actress, comedienne, singer, dancer, author and director. In the musical, June elopes with Tulsa (in reality, his name was Bobby Reed) and the story shifts focus to Rose's attempts to turn the lesser talented Louise into a star. That's the last you see of her, though there is a vague reference in the climactic dressing room scene where Gypsy says, "June's the actress, Mother." But that's it. June was far from thrilled with the way the musical portrayed her and her mother, and it led to long-standing rift between her and her sister (They reconciled when Gypsy was diagnosed with lung cancer. She died in 1970).

Both daughters had fascinating lives. Gypsy went on to become the highest paid star of Minsky's and launched a career as a personality that resulted in books, plays, films, and her own TV show. Havoc had to work harder, struggling as a vaudevillian (and later single mother) during the Depression before a major break came on Broadway in the original cast of Pal Joey. She took herself to Hollywood where she appeared in the 1942 film version of My Sister Eileen, Hello Frisco Hello and her most notable role, Gentleman's Agreement (as Gregory Peck's Jewish secretary passing for Gentile). The time she spent as a marathon dancer led to her writing Marathon '33 a short-lived but critically acclaimed play starring Julie Harris that brought Havoc a Tony nomination for her direction. Later notable appearances on Broadway included Dinner at Eight and as the last Miss Hannigan in Annie. In the 1980s, she toured as Mrs. Lovett in Sweeney Todd and also in her own one woman show (amusingly called An Unexpected Evening with June Havoc).

Their mother, the indomitable Rose Hovick died of cancer in 1954, at which point both daughters felt they could finally write their memoirs (avoiding what would have been an inevitable lawsuit from Mama). Gypsy's was published first in 1957 and the rest on that front is history. However, Early Havoc was released in 1959, followed by More Havoc in 1980 - two books that I am seeking out myself because I am really interested to know June's side of the story. The first time I really saw Havoc was on TV in various interviews, most notably her contributions to Rick McKay's essential documentary Broadway: The Golden Age. I've always felt that Gypsy was always in "Gypsy mode -upholding a persona. Whereas June is the opposite, always genuine and warm with parts of her performing self seeping through. There was one particular moment in Life After Tomorrow in which a camera backstage after the closing of Annie captured Havoc warmly consoling a particularly distraught young girl.

Havoc spent most of her remaining years living in Connecticut. Havoc's good mental and physical health kept her active and energetic for many, many years. In 2003, an off-off Broadway house on 36th Street was dedicated to her. She was one of the last links we have to the era of vaudeville and burlesque, not to mention pre-Rodgers and Hammerstein musical theatre). June is survived by her nephew Erik Lee Preminger. Her daughter, the former actress April Kent, died in 1998.

The following is an outtake from Broadway: The Golden Age in which Havoc talks about her audition experience with Pal Joey, most appropriate titled "That's Show Business." Enjoy.

Stage Door Johnny

2010-03-29T20:23:00.005-04:00

The show was Noises Off. I had entered a mall contest expecting nothing. Much to my surprise, I won 2 orchestra seats for the farce during the last week of performances for its original cast. Patti LuPone, Peter Gallagher, Faith Prince and Richard Easton were headlining. The cast also included T.R. Knight and Robin Weigart before television made them household names. Oh, and the ever-reliable Edward Hibbert was on hand to droll things up a bit. The critics showered the production and its cast with lots of love and the show was a nice comic hit.

However, there was one particular cast member who managed to walk away with the show. Katie Finneran took home a Tony that year as Brooke Ashton, the slow-on-the-uptake blonde bombshell who wreaks havoc with the worst fitting contact lenses known to man.

A friend and mentor regaled me stories of waiting at the St. James stage door to meet Ginger Rogers after Hello, Dolly! and I was curious about that experience. I decided that Noises Off would be my first attempt at this long-standing theatre tradition. I made sure to bring a sharpie and eagerly waited outside the Brooks Atkinson with the friend I had brought with me. There is this ebb-and-flow sense of anticipation that arises every time the door opens. Much to our surprise, we were there the night Neil Patrick Harris was visiting backstage and that threw us for a loop.

Lo and behold, the first actor in the cast to emerge was Ms. Finneran. There weren't many of us waiting around. It was a Tuesday night and there couldn't have been more than 20 people milling around. This wasn't one of those shows where a barricade was necessary. I was standing right by the door and stepped up to her. She then greeted me with a beaming smile. Staggered by her effusive warmth (and those strikingly beautiful eyes), I told her how much I appreciated her performance and would she please sign my playbill.

Amiable and lovely, she agrees. She goes to sign with my sharpie, and lo and behold it didn't work. "Ooh, we got a clunker!" she said as she tried to make it write. It wouldn't. Then she asked around to other theatre patrons milling around if they had a pen she could borrow. They all looked at her nonplussed, as though they hadn't just seen her in the play. Then, in a moment which I shall never forget, she looks me straight in the eye with determination and says "Hang on." She then took off her backpack and knelt on the sidewalk in front of me rummaging through her things. I'm standing there not knowing what to do, somewhat panicked as this was all new to me, thinking to myself "There is a Tony-award winner kneeling on sidewalk just for me."

When her bag failed to produce an implement (this was before the current era where I literally keep 20 or more pens on my person), she turned to some suit - it might have been her agent or a producer, whatever, and asks if he has something she can use. He does. She signs for me and chats a bit more with me about the show, about what it was like to win a Tony (something that still seemed to take her breath away) and anything else I can't remember.

The only other signature I got that evening was from Peter Gallagher, the last to emerge, but the most energetic. He seemed genuinely interested in every single person hanging around, took time made eye contact and that was when my star-struck stammer finally hit, and mostly a result of absorbing the entire experience of all these actors milling about.

I don't do the stage door experience any more as after a couple years I realized it wasn't really my thing. But I fondly recall that hot July evening: all I can see is the gorgeous Katie Finneran smiling up at me from the sidewalk. I've remained a fan ever since, and am looking forward to seeing her again in Promises Promises (where she's playing another choice supporting role that will put her on the Tony radar yet again). And, oh yes, I'm still smitten.

The Oscar Hammerstein II Theatre

2010-03-23T02:40:00.005-04:00

News broke late Monday evening that Stephen Sondheim was to receive the ultimate 80th birthday gift - his own Broadway theatre. Henry Miller's Theatre, which famously reopened this fall with an infamous production of Bye Bye Birdie, will become The Stephen Sondheim (or will it be Stephen Sondheim's?) Theatre some time this summer around the time the current occupant, All About Me, closes. It's a high honor and one truly deserved by this seminal musical theatre composer and lyricist, whose musicals forever changed the landscape of musical theatre.

There are a limited number of theatres and so many theatre artists deserving of such an accolade. So it's understandable that there are a great many icons who have gone without: Arthur Miller, Tennessee Williams, Irving Berlin (though the Music Box is forever linked with his legacy), among others. But the one that comes readily to my mind as most deserving of his own theatre is Oscar Hammerstein II, whose achievement as lyricist, librettist, producer and director is significant.

Hammerstein was one of the first musical theatre writers to look at the entertainment and see the potential for a greater art form within. The landmark Show Boat took that first major step towards serious musical theatre in 1927. With composer Jerome Kern, Hammerstein fleshed out Edna Ferber's sprawling, epic novel and gave it a sense of scope and history. His fervent belief in racial tolerance was prescient: the miscegenation scene involving Julie LaVerne was unheard of in musical comedy. Most shows opened with chorines singing and dancing and mostly providing eye candy. Hammerstein opened Show Boat with a chorus of African Americans in the 1880s singing of their hardship ("while the white folk play"). It was ambitious material, the likes of which hitherto that point had been unheard of. The idea of racial tolerance was something he championed in many of his shows, particularly South Pacific.

In 1943, Richard Rodgers teamed up with Hammerstein (when Lorenz Hart declined) to adapt a flop play Green Grow the Lilacs into a musical for the Theater Guild. The result, Oklahoma! was a game changer in the way musicals were developed, written and executed. There are shows that pushed the envelope in the thirties and forties, namely Porgy and Bess, Pal Joey and Lady in the Dark, but this particular show incorporated every single element in the service of the play. There were no extraneous specialties or gags 'n gals mentality. It was even to their benefit that they had no stars in the show; the focus remained on the story. Each lyric was reflective of character and propelled the story forward and/or advanced character.

The Rodgers and Hammerstein style of musical theatre writing completely changed how musicals were created. Others emulated their style; writing for character and plot, etc. The R&H shows were overwhelming blockbusters. The duo became household names and recognizable celebrities, their songs were the heard all over the radio, their film adaptations were mint at the box office. They even branched out into producing other work, most notably Annie Get Your Gun. Hammerstein's attempt at Allegro in 1947 was considered the first try at a concept musical. The show was a failure, but is still regarded for the artistic risk taken.

It's our good fortune that Stephen Sondheim's mother should have bought a house next to the Hammerstein's farm in Doylestown, PA. Taking Sondheim under his wing, Hammerstein taught the young man almost everything he knew about theatre and writing for the theatre, as well as his insistence that Sondheim write from his own voice. Though Hammerstein died in 1960, his impact was still felt long afterward and I like to think that he would have been immensely pleased at how Sondheim raised the standard for musical theatre in the 1970s.

Sondheim now has his own theatre. Richard Rodgers received his own theatre in 1990 when the Nederlanders renamed the 46th Street Theatre, leaving Hammerstein in the dark. (The Ed Sullivan Theatre was briefly Broadway's Hammerstein's Theatre from 1927-1931, but that was named after Hammerstein's grandfather Oscar I). Even Samuel J. Friedman has a theatre (and frankly, who cares about him?)

Now that we have the option of going to the Sondheim or the Rodgers, wouldn't it be nice to say "I'm going to see *insert title* at the Hammerstein?" I don't quite know what house would be appropriate. There is a legacy attached to so many of the major musical houses (and it would have to be a major musical house, nothing less for such an artistic giant) that it's inconceivable to see the Majestic or St. James (et al) without their original names. But if they can rename the Martin Beck, the Royale, the Plymouth and the Alvin, I'm sure there is a place for Oscar.

The most ideal (and improbable, I know): should Broadway ever regain control of the Mark Hellinger Theatre on W 51st Street, the first order of business should be to rechristen the theatre after Hammerstein.

Good Thing Going

2010-03-22T11:40:00.009-04:00

Today is Stephen Sondheim's 80th birthday. Celebrations, concerts, jubilees have been underway for days and will continue through next month (if not longer). Last week it was the NY Philharmonic, next month the City Center delivers a double on the rocks with Anyone Can Whistle and a gala concert. There are major celebrations planned for Chicago, London and all around the world.

His career spans well over fifty years and his name is attached to some of the most important musicals of all time. The impact of Sondheim on the American musical theater has been well documented by practically everyone in Christendom and I won't rehash it all here. However, in honor of his birthday (which is coincidentally Andrew Lloyd Webber's birthday, but we can't blame SJS for that), I would stop and take a brief moment to talk about some of my Sondheim related favorites:

Favorite show/score. Sweeney Todd. It's a tough call between this and A Little Night Music, but this masterpiece edges out every time. I can still recall the first time I watched the Grand Guignol "black operetta" (as the composer himself has termed it) late at night in my parents' house on break from school. Halfway through the first act I said aloud "I can't believe they got this to work!" and it was just pure respect and admiration from then on out. It took me two days to watch as I found myself rewinding the last 10 minutes of the first act over and over again for about two hours. The joy of discovery!

Favorite orchestrator. Jonathan Tunick, the foremost orchestrator of the last forty years and one whose genius knows few limits. From his contemporary sound in Company (whose original cast album presents the definitive arrangement and sound for the score) to capturing the essence of pastiche in Follies, the cynical romanticism Night Music, the ominously operatic in Sweeney or the brash Broadway of Merrily, the man knows how to deliver and serve the composer, the song and the production simultaneously.

Favorite Librettist. Hugh Wheeler did the honors on both A Little Night Music and Sweeney Todd. The former is a masterful farce, with brittle lines and fascinating characters of another era. In the latter, he helped shape the overall arc of the musical, whose touch is subtle but profound in successfully finding the balance between Christopher Bond's original play and Sondheim's near operatic score.

Favorite Director. Hal Prince. The combination of the two revolutionized the genre forever. Lapine was an excellence choice to follow-up the combination, but the impact of their three shows together doesn't come near the glory days of 1970-1981.

Favorite Song. This is the really hard one. I thought about lyric, but realized I'd need to write a book, and frankly, Sondheim is doing that himself. I don't know that I could nail it down to one particular song as it could shift regularly.

Here are a few finalists in the category: "A Little Priest," "Please Hello," "Send in the Clowns," "Liaisons," "A Weekend in the Country," "Could I Leave You?," "The Ladies Who Lunch," "Another Hundred People," "Getting Married Today," "Move On," "Sunday," "Last Midnight," "Everybody Ought to Have a Maid," "There Won't Be Trumpets," "How I Saved Roosevelt," "Now You Know," "I'm Still Here," and... well, you catch my drift. I'm sure in a day or so another great one I've left out will pop into my head as well.

So, Happy Birthday, Mr. Sondheim! Though you're turning 80, I hope that doesn't keep you from giving us another new show. It was far too long between Passion and Road Show, and New Yorkers hate to wait - especially for excellence.

It Might as Well Be Spring

2010-03-20T14:47:00.007-04:00

And so it is! The season of pastoral rebirth is upon us (don't forget to balance an egg on its other end today!). It is 70 degrees out, sunny and I even spotted a subtle glimpse of purple crocus peeking out from our front lawn. After such a maudlin winter (and those wretched snowstorms everywhere) it's always such a delight when the warmer weather returns. Though I do in fact have a love hate relationship with the season itself due to some severe grass, pollen and tree allergies, I still find much to appreciate in between the watery eyes and incessant sneezing.

Spring hasn't been lost on the musical theatre writers either. Oscar Hammerstein's chorus for Very Warm for May's "All the Things You Are" starts with the line "You are the promised kiss of springtime that makes the lonely winter seem long." (It's a killer song, one of the all time great ballads). Hammerstein also gives Lt. Cable "Younger than Springtime" in South Pacific as a starting point for a list of romantic platitudes. Rodgers and Hart wrote "Spring is Here" for I Married an Angel. Inga Swenson spent her run in Baker Street "Finding Words for Spring" while Jon Cameron Mitchell's Dickon sang "Winter's on the Wing" in The Secret Garden.

But leave it to Rodgers and Hammerstein to write a song for a character who gets spring fever in the middle of August. It's the song that often comes to mind when I find myself mired in the gloom of autumn and spring (especially when I'm out shoveling snow that comes up to my knees).

In honor of the new season, here's Louanne Hogan dubbing for Jeanne Crain in the 1945 film State Fair:

Happy St. Patrick's Day!

2010-03-17T00:40:00.004-04:00

I had the good fortune of being born in a predominantly Irish family and proudly maintain dual citizenship with both the US and Ireland. However, one of the sayings about March 17 is that "everyone is Irish on St. Patrick's Day." Keeping in line with the festivities, here are the famed Leprechaun Brothers with their rendition of an Irish classic:

The Ides of March

2010-03-15T14:49:00.007-04:00

"Beware the Ides of March." Well, I'm sure glad I didn't heed the soothsayer's warning. March 15 is probably most famous as the day Julius Caesar was stabbed in the Senate by his little friends (including Brutus). The date also marks the anniversary of Tsar Nicholas II's abdication, Maine's admittance into the United States and Constitution Day in Belarus. But it's also the anniversary of the Broadway opening night of My Fair Lady, as well as my brother's birthday. However this particular day is also very personal to me.

On this day ten years ago, I went to see my very first Broadway show. When I tell this story there are some who are surprised, assuming that I'd been going to the theatre since I could walk. But I'm not from a particularly theatrical family, so I had to wait. Years of asking to see things fell on the unwilling ear of my parents (who would finally get to Broadway themselves in 2008 for South Pacific). I had taken in local community, high school and regional shows but it appeared to my young mind that the allure of Broadway would forever elude me.

The opportunity finally manifested itself in high school. It was my junior year, and I had recently become involved in our theatre arts department. The advisor and director arranged for various theatrical trips during the year, and arranged to take a group of students to see a Wednesday matinee of the long-running hit Miss Saigon. I knew a couple months in advance that this was going on. It didn't matter the show. All that mattered was that something I'd always wanted to do was finally within my grasp. I made it a mission that I just had to get to Broadway.

The usual information was involved: permission slips, money for the ticket and bus fare and the unwritten permission from the teachers whose classes I'd be missing that day. All of that cleared, and I was all set to go. Then much to my personal panic, an even greater obstacle struck - sickness. It was my father - who never gets sick - who brought this one home. By Tuesday, everyone in the house except for myself was sick. I knew it was inevitable that I was next.

Wednesday morning came, and I did not feel well. Deciding that there was no way in hell I was going to miss the production, I persevered to get to that show. It was a battle of wills that I won... or at least staved until after getting home. There might have been some rosaries and a little bit of zen meditation involved, but focus was where I was at. I was ably distracted on the ride from northern Westchester into Manhattan while we watched South Park: Bigger Longer and Uncut. (It was a fun ride, in spite of how I was feeling).

My teacher handed us our tickets outside the Broadway Theatre around 12:30ish. We then had some time to roam around the Times Square area with other students. I figured lunch was a bad idea, so I roamed down into Times Square where I discovered the Virgin Megastore for the first time. I made a mental note that I needed to come back this store; this time with more money. Keeping careful track of the time, we made sure to get back up to 52nd Street in time for the show.

I took in every part of the process: the mob of people lining up to get into the theatre, the organized chaos of finding our seats (we were seated in Row J & K right orchestra) and settling in for the show experience. Reading my first playbill as I placed by ripped ticket stub inside as a bookmark. (I have faithfully kept every playbill and ticket stub from every show I've seen). There I was, feeling somewhat feverish and unwell, absorbing everything I could about this experience. I was in a Broadway theatre. Hell, I was in the Broadway Theatre. There was an announcement about pagers (remember those?) and cell phones. And we were off.

I wish I could say I remembered every single detail of the show. I don't. What I can recall:

- There are a lot of chorus girls in g-strings. That means they must be promiscuous
- Our heroine, Kim. A virgin, but not for long. Decent singer. (Deedee Lynn Magno).
- I know this song. ("The Last Night of the World")
- That Will Chase sure is pretty good. (Chase was playing Chris).
- People are singing far too much. This first act is going on too long.
- Okay, first act finale. I'm curious for act two.
- The Engineer is such a fun role. How the hell was Jonathan Pryce cast in it?
- "Bui-Doi,"eh?
- The helicopter is interesting, but distracting. Good sound design, but not the best thing for a feverish teenager to experience.
- This show has a curiously structured sense of time.
- Oh, Ellen. You're the reason Kim can't have nice things...
- This isn't going to end well.
- The second act is a bit tighter, but this is still too long.
- "The American Dream" is fun. (This was before I knew what an eleven o'clock number was)
- What an abrupt final curtain.

Well, I made it. I got through that entire Wednesday matinee without getting sick, and without getting anyone else sick too. Slept on the ride back to our high school and then proceeded to a choir practice. When I got home, that's when I went to bed and stayed there. It was like a perfect storm illness as I found myself battling three separate infections simultaneously. I was out of school until the following Tuesday, when I made a feeble but grand return. I had never been that sick in my life before (or since). But, if I had to do it all over again, I would.

Ever since, I have tried to get to the theatre on or around March 15. Exactly a year after Miss Saigon, I was surprised by friends with a trip to see The Music Man revival. Others include Urinetown, Come Back Little Sheba and most recently last year's opening night performance of Blithe Spirit.

For years, the idea going to Broadway continued to thrill me. For the first four years of my theatregoing, my trips to the Broadway were few and far between; I could count the annual trips on one hand. Now that I go to the theatre with considerable regularity, I no longer quite have that sense of being awestruck (though I take note if I'm entering a house for the first time), but still sometimes smile at the idea that I'm entering a Broadway house to see a Broadway show. There is no way to put it into words, but there is nothing like it in the world.

The Ides of March may have cursed Julius Caesar, but for me it will always mark the beginning of one of the more interesting chapters of my life.

"America, America"

2010-03-12T21:16:00.011-05:00

True to form, I have been partaking in my own 31 Days of Oscar, watching Oscar nominated and winning films I own and getting into the spirit for the ceremony. This year, I also took it to the library. Titles that I have checked out so far include Tender Mercies, Irma La Douce and Friendly Persuasion (to the latter, I can only say that I actual use the phrase "Sweet mother of Jessamyn West!" to express surprise). Lots of eclectic titles to be had. However, I also realized that the libraries still carried a vast quantity of VHS copies, and aside from half.com I think the library may be the last bastion for renting this long outdated technology.

It was a little strange; I cannot remember the last time I popped anything into the VCR (I have one of those convenient combos, just because) and even might have groaned a bit when I realized I would have to rewind the tape once the film was over. But after being amused by ancient videotape logos and the old FBI warning, I settled in for the movie, America, America.

America, America was written, directed and produced by Elia Kazan and released in 1963. The film is a semi-biographical account based on the trials and tribulations through which Kazan's uncle came to the United States at the turn of the 20th century. The first time I ever heard of it was while browsing through Robert Osbourne's 70 Years of the Oscar. It amazed me that I had never heard of it, considering Kazan's pedigree and the classic status of his earlier films such as A Streetcar Named Desire, On the Waterfront and East of Eden (and that in effect was trumped by his notorious association with HUAC, but that's neither here nor there in this discussion).

The three hour odyssey follows a young man named Stavros, living with his Greek family in Turkey at the height of the Armenian genocide. They are constantly in fear for their lives and are living in abject poverty. Stavros sells ice, and is generally miserable but dreams of a better future in America. After getting in trouble in his town, the family sends him to Constantinople with their entire life savings and the hope of making them money. The film follows him as he faces considerable obstacles in getting to the United States - loses everything due to naivete, is robbed by a prostitute, gets involved in a failed uprising and almost concedes his dream in order to marry comfortably.

The film is long, yes, but never boring. It actually builds momentum from scene to scene as his story becomes more and more interesting and more personal. Stavros is far from perfect, but there is something admirable in the way he wants to help his parents and bring them to America and the promise that our country meant for so many oppressed and impoverished during the 19th century. I can best describe it as an intimate epic; it's a big story but told in small, uncompromising terms. Kazan shot the film on locations with star black and white cinematography, and projected in a spare 1.66:1 ratio.

The acting isn't perfect, there is far too much looping and a couple of wooden performances (in a film of virtual unknowns), but it doesn't detract from the overall experience. With its gritty, naturalistic look, the film has considerable realism especially evidenced once Stavros goes on the road. The most notable actor in the cast is Paul Mann, whose only other film appearance was in Fiddler on the Roof as Lazar Wolf. But the film belongs equivocally to Stathis Giallelis, a 21 year old unknown picked by Kazan to play Stavros. Giallelis is present in almost every scene of the film and gives an understated, pensive performance as the idealistic, but jaded hero who perseveres through some extraordinary circumstances to get to America. He won a Golden Globe as a Best Newcomer for his appearance here, and was nominated also for the Globe for Best Actor. However, he was unable to capitalize on his overnight stardom to maintain a reputable career (the range is limited, but he is mostly effective here). His last film appearance was in 1980; he apparently left acting altogether and taught at the United Nations International School in Manhattan.

Kazan considered this the most personal and favorite of all the films he directed in his career. He is visible in every aspect of the film, even narrating over the opening credits as himself, and again over the end credits (where he actually reads out the names of everyone involved with the project). There was much trouble for Kazan to get the film made. Since it depicted the Armenian genocide in sobering terms, Turkish officials were worried about the impact the film would have on their image worldwide. He moved to Greece to finish shooting, but not without almost losing his footage to Turkish customs. The film was completed and released to considerable acclaim. The movie was nominated for four Oscars, including Best Picture, Director and Original Screenplay. It won for its Art Direction.

However, the film seems to have slipped into relative obscurity. It's a far superior film to some of the other Best Picture nominees of 1963 (How the West Was Won and Cleopatra, the latter more notorious than noted), but many friends have never heard of it, let alone seen it. For whatever reason, this film isn't available on DVD in Region 1. There was a Region 2 release, but that doesn't seem to be an official release from Warner Bros. I hope there will be a reissue sooner rather than later - and not in their DVD-R archive collection. This particular film is a powerful look at the immigrant experience. As one whose grandfather came to Ellis Island in 1928, I was fascinated. If you have time, check your local library to see if they've got an old copy lying around. I think you'll be fascinated, too.

"There's Gotta Be Something Better Than This"

2010-03-11T11:56:00.005-05:00

Just because.

Kate Baldwin at Birdland

2010-03-10T18:53:00.005-05:00

It's no secret that I am a fervent admirer of Kate Baldwin. From Finian's Rainbow to her solo album to her debut at Feinstein's last December, I have been impressed by the singing actress' charm, poise and quirky sense of humor. And that's to say nothing of her rangy, versatile soprano. When SarahB asked if I would be interested in seeing Kate at Birdland, it didn't take me long to say yes. I didn't care if the evening was an encore of her December show, I could listen to Baldwin sing Lane & Harburg from here to eternity.

The first time I met Kate, we were a table apart for Jonathan Tunick's Broadway Moonlighters in November '08. Over the course of the year that has transpired, Kate has achieved so many great things - a solo CD of Broadway standards, a successful cabaret debut and most notably, become a real, live Broadway star. On a personal level, none of this has changed Kate. She is exceptionally warm and gracious, easily evidenced by the time she took to talk with each and every fan following her performance Monday evening.

The program wasn't very different from her set at Feinstein's. The evening was again mostly devoted to her solo album (in short: buy it), and a lot of humorous banter between songs (including a lesson on "Googling Kate Baldwin," the audio of which she played for us). However, she did add some new material, most notably bringing down the house with a spirited rendition of "The Rhythm of Life" from Sweet Charity, assisted by Devin Richards, James Stovall and Bernard Dotson, who led "The Begat" in Finian's Rainbow. She also scintillated with Comden, Green & Bernstein's "I Can Cook Too" from On the Town and was especially beguiling with "Will He Like Me?" from Bock & Harnick's She Loves Me.

I consider the musical She Loves Me to be in my top three shows of all time (you can try and guess the others). It's an utterly perfect jewel of a musical comedy, with score that is so intricately integrated with its book. The two lead characters are two of my favorites (I consider Georg the musical theatre character with whom I most connect). Kate played Amalia Balish and sing the showstopping "Ice Cream" a couple years ago in a production at Huntington a couple of years ago. After hearing Kate's sublime delivery of that one ballad, I think it's time NY had another production of the show. So if anyone wants to pass on the word to Jack Viertel and the Encores! crowd: they have an ideal show for the Summer Stars series, on the one condition that they cast Kate.

Meanwhile, Kate is heading to Washington DC later in the month for a Library of Congress concert of Harold Arlen's revue Life Begins at 8:40 (with lyrics from Yip Harburg and Ira Gershwin), which will subsequently receive a cast album from PS Classics. Then in May, she is hopping the pond to make her London debut in the world premiere of Harold Prince/Susan Stroman's latest collaboration Paradise Found at the Menier Chocolate Factory, with a cast that includes Tony-winners Mandy Patinkin, Shuler Hensley, John Cullum and Judy Kaye.

We had a chance to talk briefly about the new musical, which uses the music of Johann Strauss with new lyrics from Ellen Fitzhugh (and a book by Richard Nelson) to tell a sweeping romantic story of fin de siècle Vienna. As it stands now, the plan is to transfer the production to Broadway. The way that Kate describes it, the project sounds quite intriguing, plus she'll have ample opportunity to do a lot of legitimate singing. (To the operetta haters currently groaning, this is NOT going to be a retread of The Great Waltz, mark my words). I only hope that Kate will soon be back on Broadway where she truly belongs sooner rather than later.

Oh - by the way, here's "Googling Kate Baldwin":

The Best Original Song Oscar Goes Broadway

2010-03-07T12:27:00.014-05:00

Tonight is Oscar night. I had to miss last year's ceremony as I was in the process of boarding a plane to visit my newborn nephew in the Philippines. Well, I'll be back at the television, with my usual assortment of ballots and pens. The phone will be silenced and anyone who gets between me and the television should brace him or herself for flying objects. (Those who have watched with me before know what I mean).

The Oscar for Best Original Song has been given since 1934 (when "The Continental" won) and has been awarded to Jerome Kern, Oscar Hammerstein, Richard Rodgers, Alan Jay Lerner, Frederick Loewe, Harold Arlen, Frank Loesser, Jule Styne, Irving Berlin, Yip Harburg, Stephen Sondheim, Alan Menken, David Shire, Howard Ashman and Stephen Schwartz, to name just a few. It used to be that the custom at the ceremony was to present the Best Song nominees with big names performing them, but not those who originally sang them. More recently, the composers or singers who introduced the songs performed the songs in a simple setting, usually solo. Here are a few of the telecast performances, with a decidedly Broadway feel:

Mitzi Gaynor, Georgy Girl. The song "Georgy Girl" was originally performed by The Seekers, in what would be their biggest and most notable pop hit. The song had music from Tom Livingston and lyrics by none other than Tony Award winning actor (and Harry Potter book on tape voice) Jim Dale. Gaynor seized the moment and brought down the house with her spirited delivery of the song. This performance went over so well that it inspired TV executives to give Mitzi her own TV specials, which scored big ratings in the late 60s and early 70s. Georgy Girl made a star out of Lynn Redgrave and was so popular it was a Broadway musical in 1970 - folding after four disastrous performances.

Angela Lansbury, Thoroughly Modern Millie. It just so happened that Lansbury was in LA with Mame when the 40th Annual Academy Awards were handed out in 1968. Along with some of the chorus boys from her show, the star took the opportunity and ran with it, in what was considered by many to be her unofficial screen test for the film version of Mame (which eventually bombed with Lucille Ball).

Richard White, Paige O'Hara & Jerry Orbach, Beauty and the Beast. The three voices from the animated film perform their songs live and in costume ("Belle" & "Be Our Guest"). I wonder if this is where Disney got their idea to put the brilliant animated film on stage. Angela Lansbury later sang "Beauty and the Beast" with Celine Dion and Peabo Bryson on the telecast (the only song listed here that actually took home the award).

Robin Williams, South Park: Bigger, Longer, and Uncut. This animated film from the hit Comedy Central series surprised critics and audiences alike with its tongue-in-cheek and highly irreverent musical score supplied by Marc Shaiman and Trey Parker. (One that even Stephen Sondheim greatly enjoyed). There are many amusing moments spoofing various stage and screen musicals, but it was this song "Blame Canada" that nominated for the Oscar, and presented on the telecast in full Broadway mode.

Catherine Zeta-Jones & Queen Latifah, Chicago. John Kander and Fred Ebb wrote this song specifically for the film adaptation, which was sung over the closing credits by Zeta-Jones and Renee Zellweger. Claiming stage fright, Zellweger opted out of singing live on the telecast and their costar Latifah stepped in for the event. It doesn't really have much of a production number (Zeta-Jones was duequality, but they throw in appropriately lithe dancers around.

Finally, this isn't related to the Best Song Oscar, but I'd say it was the greatest production number I've seen from any Academy Awards telecast. It's only the second half of the twelve minute tribute to Irving Berlin featuring Bernadette Peters and Peter Allen (I posted it in its entirety last September, part one was taken down) but it's worth sharing again, particularly for that voracious audience response (they applaud for the last 40 seconds of the song!). This is from the 1982 telecast. Enjoy:

"Wunderbar"

2010-03-06T21:32:00.007-05:00

Many of the great musical theatre hits of the Golden Age of Broadway found their way to the silver screen, big stars, big voices and big everything (especially with the introduction of widescreen in the 1950s). However, it was less likely that you would find the stage stars who helped to make the show a big hit recreating their roles on screen. There were some notable exceptions: Ethel Merman in Call Me Madam, Yul Brynner in The King and I and Robert Preston in The Music Man (to name a few). But for the most part, Hollywood wanted to bank on their bigger, more established stars.

Kiss Me, Kate opened on Broadway at the tail end of 1948, and was smash hit for composer Cole Porter, whose style up to that point had been considered passé. The musical was a farcical romp, using Shakespeare's The Taming of the Shrew as inspiration. Sam and Bella Spewack wrote the book, framing the Shakespeare play as a show-within-a-show during a Baltimore tryout. The two larger than life stars of the musical have more in common with their characters as they battle it out backstage, onstage and in the dressing room rehearsal during this world premiere performance. The leading lady's first line: "You bastard!" And they were off!

The show starred Alfred Drake, Patricia Morison, Harold Lang and Lisa Kirk. It opened to unanimous raves in late 1948, running for 1077 performances. Kiss Me Kate would win the first-ever Tony award given for Best Musical. Drake found the greatest stage success of the four, winning a 1954 Tony for his star turn in Kismet and numerous operetta, musical and Shakespearean performances (most notably as Claudius in Richard Burton's Hamlet in 1964). Morison, who will turn 95 this month, made only one more appearance on Broadway as a replacement Anna in The King and I. The cast made an original cast album for Columbia records in 1949, and reunited in 1959 to record a stereo cast album for Capitol.

Though Drake and Morison found indelible success with the project, when MGM got around to making the film version they signed two of their leading musical contract players: Howard Keel (who would also take Drake's role in the movie version of Kismet) and the recently deceased Kathryn Grayson to play the roles. MGM, as is their wont, played around with the script and score. The stage libretto and Porter's risque lyrics were toned down considerably. The famed "Another Openin', Another Show" was reduced to underscoring. A rather bad prologue was invented with Fred and Lilli meeting with a fictional Cole Porter. To top it off, the musical was filmed for 3-D, and as a result the performers constantly throw things at the camera throughout.

I have loved Kiss Me Kate ever since I saw this bowdlerized film version. Then the show opened in an acclaimed Tony-winning revival in 1999 starring Brian Stokes Mitchell and Marin Mazzie. I listened to the revival cast album ad nauseam until I saw that production on January 9, 2001. It was my third Broadway show, but the first that gave me that transportive feeling that can be best described as walking on air. The London production was taped for TV and DVD with Brent Barrett and Rachel York. They're fun, but it's got nothing on the superlative original NY cast (though Michael Berresse repeated his showstopping turn as Bill Calhoun).

Getting back to my initial thought, there were many musical theatre performers who didn't get to recreate their acclaimed turns on film. Since television musicals were quite the ratings boon in the 50s, there were many occasions when a star would make a live appearance in his or her hit show. Ethel Merman performed with Frank Sinatra in Anything Goes, Rosalind Russell recreated Wonderful Town and most famously Mary Martin was Peter Pan. The trend continues well into the 60s and 70s, but most of those productions are mostly notable for their camp value (Lee Remick as Lola in Damn Yankees, Jose Ferrer and an unbelievably awful George Chakiris in Kismet, and a ridiculous It's a Bird, It's a Plane, It's Superman).

In 1958, the Hallmark Hall of Fame presented an abridged version of Kiss Me Kate (almost all musicals adapted for TV were cut down significantly) reuniting Drake and Morison. Bill Hayes and Julie Wilson were the younger lovers. Jack Klugman and Harvey Lembeck played the gangsters. The telecast was one of the earliest uses of long-form videotape and was aired in color. I've never seen the color video, and wonder if it still exists. But a black and white tape has survived and that has since been shown on PBS in recent years. I nominate that the powers-that-be bring it to DVD. (And for my money, Patricia Morison may be the most beautiful woman who ever appeared anywhere).

Here's Alfred Drake and Patricia Morison singing "Wunderbar" from that Hallmark telecast:

Our Heroines

2010-03-05T21:56:00.004-05:00

This week I saw God of Carnage starring Janet McTeer and have started reading Dorothy L. Sayers' Strong Poison, a mystery which introduced the literary world to Harriet Vane (most famously played by Harriet Walter on the BBC). So what better way to spend a Friday evening than recalling the two ladies in their acclaimed run of Mary Stuart from last season? (And PBS, where was Great Performances when we needed you to air this gem?)

First up are some of the favorite scenes:

And here are the ladies being interviewed during a Vanity Fair photo shoot:

After seeing both this production and the import of Hamlet last year, I will gladly see anything the Donmar Warehouse wants to bring to NY.

The Art of Co-Existence, or the Parenting Fail Revisited

2010-03-03T14:26:00.006-05:00

Had the powers-that-be not bungled the whole idea of a "Best Replacement Tony" a few years back, I would readily nominate the new cast of God of Carnage, who started performances last night. The mere fact that I want to shower them with such accolades after merely one paid public performance should be enough evidence of how thrilling this new quartet works in Yasmina Reza's study of good intentions gone awry.

The play has been running for a year, opening to rave reviews with a cast of stars who turned the play into a sell-out event, breaking house records and winning Tonys, etc. I saw the show last May, just before the awards hoopla ensued, and had a ridiculously good time from my seat in the rear mezzanine. (Thanks to KariG, we were in the front row). I hadn't planned on taking in the show a second time, sometimes once can be enough.

However, when it was announced that original London star Janet McTeer would be reprising her role of Veronica (Veronique in the French-set London production), I was suddenly interested in a revisit. I'd fallen in love with this imperious talent during her acclaimed run of Mary Stuart opposite the estimable Harriet Walter last season, and am willing to hear her read the phone book. I had rumors that she was coming into the NY production, and was curious to see what her performance was like. McTeer was preferred by many friends who saw both the original London and Broadway companies. I was also intrigued at how she would fit into this Americanized version of Reza's play. Rounding out the company was Dylan Baker as Alan, Lucy Liu as his wife Annette and Jeff Daniels (the production's original Alan) as Veronica's husband Michael (originally played by James Gandolfini).

Watching the play this time around, I was most taken with how playwright Reza keeps the actors (mainly Alan and Annette) in the living room for the play's 90 minutes. This is especially more of a challenge as the play progresses, rum is served and verbal and physical assaults ensue. The couples have gathered because their sons were involved in a playground scuffle and hope to settle the incident in a civil manner, avoiding law suits and insurance claims.

McTeer dominates the stage. She is a natural presence; a living, breathing creature who unravels in front of her husband, two strangers and the entire house at the Jacobs Theatre. Her performance is simply tremendous, and I will admit a slight preference over Harden's (whom I loved). She is so fascinating to watch in performance, it's almost impossible to take your eyes away from her. I've rarely seen an actress who can be simultaneously gut-busting hilarious and tragic, and on top of it, McTeer makes it look so effortless.

Liu is making an auspicious Broadway debut as Annette; it was a delight watching her progress from an apologetic, sickly simp to a drunken Martha-in-training. Hers was the most surprising and unexpected performance, and I only hope she considers frequenting the NY theatre scene more often. She is especially memorable in her drunken monologue where she discovers her long-dormant confidence and unleashes her fury with $80 worth of imported tulips (seated in the front row, we got splashed - Kari even got a glass stone in her lap!).

Onto the men - Alan is a tailor made role for Baker: stringent, bored, clearly inconvenienced to be dealing with Michael and Veronica, as well as his own wife. Jeff Daniels was another curiosity - having played Alan so successfully, how would he transition into the other role? Quite brilliantly. It's a testament to his versatility as an actor he can portray the two antithetical leading men in the same production without so much as blinking an eye. There is nothing in his Michael that even remotely suggests his disconnected, sardonic performance as Alan.

Putting all four together in that savagely blood red living room, it becomes something of a volatile game of doubles tennis. The two couples are innately juxtaposed, but things get interesting as allegiances shift among the quartet, exposing unpleasant truths about both marriages - which only provides more ammunition for the onslaught. Nothing amuses me more than watching characters shattering false illusions about themselves while completely falling from grace (and it is Veronica who has the farthest to fall, as she grasps onto notions of morality and humanity dismissed by the other three).

The play is still fiercely funny from start to finish, much of that credit is due to Tony-winning director Matthew Warchus (who hit two home runs last season with Carnage and, more impressively, the revival of The Norman Conquests). If you haven't seen the play, yet, by all means, run! If you have, rest assured that the production is in excellent hands and worthy of a second glance.

Walking Among My Yesterdays... "Carousel"

2010-03-01T13:16:00.007-05:00

I was first exposed to Carousel through its 1956 film adaptation back in middle school. I was on a major Rodgers and Hammerstein kick from having seen the special Rodgers & Hammerstein: The Sound of Movies, a two hour retrospective on A&E hosted by Shirley Jones. I liked the film well enough, but truth be told I've only seen it once in the last ten years since I did the show at my high school. Reading the stage libretto and hearing the entire stage score and orchestrations throughout the rehearsal and performance periods, I realized that the show was darker, more substantial and ultimately more effective in its stage incarnation.

We felt inordinately proud of our production. As a cast we were very much aware of the show's legacy and the difficulties in performing the material (especially in a high school setting). It marked the second time I ever appeared onstage in a musical. I was a sailor in the first act and Enoch Snow, Jr in the second. Even though I had really wanted to be Enoch Sr. (I sang "Geraniums in the Winder" for my audition... anyone? anyone?), I took a great deal of pride in what I did onstage in this show. It was the one and only time I completely costumed my own character, without any assistance (borrowing heavily from my father's wardrobe).

It was quite possibly the most fun I ever had rehearsing a show. I had previously worked on a production of Funny Girl where I played about nine different characters in the course of the evening, with multiple quick changes. However, playing in the ensemble of Carousel was much more rewarding. I've always enjoyed the chance to get my legit on, and the score provides so many opportunities (and it was the first time I ever hit a tenor A in my life) and had the chance to do some physical comedy (as Enoch Jr).

Even after performing the show, I had never seen Carousel from an audience perspective. So I pounced on the news that there would be a concert at Carnegie Hall starring Hugh Jackman in his New York musical theater debut. The concert was months and months away, almost a year if I recall it correctly, so I kept on the lookout for ticket information. When it came time for tickets to go on sale, I set my alarm and spent about an hour on the phone getting busy signals from the Carnegie Hall box office. Eventually I got through and got the seats. The concert was June 6, 2002 and it also be my first time inside the legendary venue.

The day of the concert, I got up and the skies were cloudy and threatening. As soon as I left the house, a downpour like none other started to fall and didn't let up until the next day. Two high school friends (also in the show, one was our Nettie, the other our Heavenly Friend) went with me and we enjoyed an adventurous - if wet - day in Manhattan. I stopped at the Virgin Megastore, as per my old custom, and picked up a few cast recordings. We then dined at the TGIFridays in Times Square before we made the trek up to Carnegie Hall.

Now if we had been functioning like real adults instead of fresh-faced college kids, we would have taken the subway and/or been fully prepared for the inclement weather. But no, so we walked and walked in the rain - and in what was a first, I walked directly into the side of a moving cab. Amazingly enough, I wasn't hurt. But oh, did we laugh.

Settling into our seats, the house was buzz with excitement. Carousel was last seen in NY in the acclaimed Tony-winning 1994 revival at Lincoln Center. The cast they had gathered together with Jackman was nothing short of exceptional. Audra McDonald, who won her first Tony as Carrie in the previous revival, was graduating into the role of Julie. Lauren Ward was Carrie, Jason Danieley was Enoch, Norbert Leo Butz was Jigger, Judy Kaye played Nettie. But it didn't stop there: Blythe Danner was Mrs. Mullin, Philip Bosco was the Starkeeper and original Billy Bigelow John Raitt made a brief appearance to introduce the concert; his entrance brought down the house with a lengthy ovation.

Directed by Walter Bobbie, the conceit of the evening was to really showcase the music and lyrics of Richard Rodgers, as well as the orchestrations of Don Walker and dance arrangements of the brilliant Trude Rittmann. Bobbie and John Weidman adapted the book for concert, similar to Encores, only it was even more spare in terms of scenery and costume than anything you find at City Center. There was absolutely no scenery, and very subtle but effective costume coordination by John Lee Beatty. Leonard Slatkin directed the Orchestra of St. Luke's and the principals were assisted by the Concert Chorale of New York.

I doubt you could ask for more perfect casting, particularly in the two leads. With McDonald and Jackman, the chemistry was palpable and the famed bench scene was not only superbly sung and acted, it was also incredibly sexy. When the two kissed at the end of it, the audience burst into spontaneous applause. McDonald's crystalline soprano was perfect for Julie, with heavenly renditions of "If I Loved You" and "What's the Use of Wond'rin'." The two leads were ably supported by the others, particularly Kaye, who was and is ideal casting as Cousin Nettie, who brought a great sense of fun to "June is Bustin' Out All Over" and a stirring warmth to "You'll Never Walk Alone."

The evening, though, belonged to Jackman. He was more than ideal, and was probably as close to perfection as one could get for the part. At the time, he was only starting to make a name for himself in Hollywood but had previously scored raves for his portrayal of Curly in Susan Stroman and Trevor Nunn's West End reincarnation of Oklahoma!

His "Soliloquy" was so impassioned, so thrilling, it brought sporadic bursts of applause mid-song. A year and a half later he would carry The Boy From Oz in one of the great male star turns in recent memory. But his Tony-winning performance as Peter Allen pales in comparison. He sang the role with gusto, and delved deeply into Billy's psychology, giving a performance that was ready for a Broadway opening. There was talk of him starring in a second film version of the property. I don't know if that is still in the cards, but it would be wondrous to have the star revisit the property, especially for those who weren't lucky enough to be there that night. It was one of the greatest musical theatre performances I've ever seen in my life.

The finale brought the sold out house at Carnegie Hall to its feet almost instantly, in a warm ovation. That ovation increased as Mr. Raitt returned to the stage where he proceeded to embrace Jackman, in a spontaneous display of mutual admiration. Though Mr. Raitt didn't sing a note that evening, just his mere presence made the evening that more perfect. I don't know for certain but I believe it was one of his last public appearances in NY.

My friends and I hoped that there would be a recording of the evening, and were so generous in starting applause that we wondered if we'd be able to hear ourselves if there was one. But unfortunately, the powers that be hadn't the foresight to consider such an enterprise. Three years later when the powers-that-be put together the South Pacific concert, they made it available on CD and DVD and even aired the presentation on PBS. I'd like to think this was in part to missing the boat the first time around. For as much fun as that South Pacific concert was - it wasn't nearly as special nor as memorable as Carousel.

Numerous albums of Carousel have been made throughout the years, but there is no complete recording of the score, in its original orchestration and with all of Trude Rittman's brilliant dance arrangements intact. Even when we performed the show, the musical directors made some splices and edits within the dance music of the score: which includes a rarely performed "Hornpipe" for the sailors in the first act, as well as the famed twelve minute ballet in the second. There have been recordings of South Pacific, The King and I and even the recent studio recording of Allegro which give us the score in its entirety. I would like to think that Rodgers and Hammerstein's greatest score might be given its due sooner rather than later.

The rain was still coming down in torrents when we left Carnegie. We had even considered stagedooring it (with mostly soccer moms in attendance, a precursor to what was to come during his Broadway runs), but we were informed by one of the stage door attendants that the cast was going to be sitting down to dinner before emerging. We decided the show had already been enough and walked through the rain all the way down to Grand Central (why none us thought about taking the subway or a taxi, I'll never know) but we maintain great memories of that experience, and I for one couldn't get that score of my head for days, as I nursed my inevitable cold. But dammit, it was worth it!

A Trip to the Library

2010-02-26T21:51:00.006-05:00

Over the past couple of weeks I have been going through the house and sorting out the debris of my life. There are a lot of memories ensconced within my three rooms, and felt the need to organize it. While shuffling through some papers and sheet music, a CD fell out from the pile. It was the second cast album of Kiss of the Spider Woman with Vanessa William, Brian Stokes Mitchell and Howard McGillin. I had borrowed it from the local library about five or six years ago and had lost it. The thing was, I had gone back to college and someone else in the family was going to return it for me. Well, that didn't happen and I ended up paying $20 for it, in spite of the fact it was nowhere to be found.

Anyway, I was so surprised to see this and decided that I should return it. I checked the library system online and they had even removed its listing. In the years since, I had acquired a cheap copy of the recording for myself and felt it would be better served back in their catalog. Suddenly I got excited at the idea of going to the library. I hadn't used it in a long time since I spent so much time working at Barnes and Noble, and really didn't need. I have a lot of books and was able to borrow hardcovers from the store.

I'm an unabashed book nerd; I was legitimately excited by the prospect of using the library again. So here I was back in the building and after filling out the necessary paperwork, I had a brand new library card (my old one was lost somewhere... three days after this trip during more sorting and organization that also fell out of a pile). I felt it most necessary to inaugurate the card while I was there. I went up to the theatre arts section on the second floor, where I made frequent trips during high school and embarked on my musical theatre studies.

I checked out two books: Rodgers and Hammerstein by Ethan Mordden and Mainly on Directing by Arthur Laurents.

The former is one I've read cover to cover several times; I am tempted to pick up my own copy. It's a coffee table sized book which has the added bonus of generous history and criticism of the entire R&H canon. There are copious amounts of photographs, both color and black & white interspersed throughout. Captions abound. I don't necessarily agree with Mordden on some of his theories, but I do find it fun to read what he has to say about every work from Oklahoma! to The Sound of Music, including comments on their film and television projects. For some reason the book is out of print, but there are used copies available on amazon, and it is one to remember.

Laurents' book focuses on his career as a director. The first chapter is devoted to his immense dislike for the 2003 revival of Gypsy starring Bernadette Peters. The star emerges unscathed, but there are very few kind words for director Sam Mendes. The majority of the book is devoted to his direction of the Patti LuPone Gypsy reviewing the course of the show from the City Center to Broadway. The general feeling I get as I read is that Laurents feels he's the only one can direct any of the works he has written. He takes the usual swipes at Merman and Robbins, for whom he had little love in his memoir Original Story By. But this time there are a couple of pointed digs at Sondheim as well. The writer-director also talks La Cage Aux Folles (and again, no love lost on the revival) and his dislike of drag and how he came to rediscover West Side Story He also claims it to be about love; the book came as a tribute to his late partner, Tom Hatcher. However, the only love to be found in the text, which makes for an interesting read, is for Hatcher.

So I'm off to a solid start; there are a lot of theatre books I want to reread and others which I have yet to pick up. Mordden's series on musical theatre decade by decade, William Goldman's The Season, among others. But first? I assuage my ladies of the DLS/HWS with a quartet of Dorothy L. Sayers books.

Any suggestions as to what I should read...?

"Like Shiloh and Valley Forge..."

2010-02-25T23:49:00.003-05:00

The sublime revival of South Pacific is poised to end its run at the Vivian Beaumont after a monumental 1,000 performances this August. I've seen the show twice; once on its opening night and the other on the night Barack Obama was elected our President. The production is a personal favorite of mine, and I hope to make another trip back before it ends.

The musical is based on the collection of short stories by James A. Michener, and there are two simple references to the original text. They are quotations which bookend the book's introductory chapter which are projected onto white scrim; one before the overture, the other after the curtain call.

We have had an old mass market paperback edition of Tales of the South Pacific lying around the house for years. I got it in elementary school, but I didn't read it until 2005, a result of seeing the concert at Carnegie Hall. It's a collection of tangentially related short stories all revolving around Operation Alligator, a fictive military operation which took the restless Seabees and sailors out of their restless waiting and into the heart of the Pacific theatre of WWII. I couldn't put the book down, I was fascinated - as I always have been and always be - with the history of the Second World War.

I can't say that I grew up as a military brat, as my father (officially - he was Marine and it's true what they say) left the military more than 20 years before I was born, but there was an immense amount of military influence in my childhood. Many friends are veterans of WWII, Korean Conflict and Vietnam. So I have spent much of this time talking with them about their experiences, and have an immense appreciation for the sacrifices they have made and difficulties they have gone through for my (and our) benefit.

This past week marked the 65th anniversary of the famous flag-raising on Iwo Jima. Some of my time this past week was spent helping my father get ready to go halfway across the world. He is currently on a military tour with other veterans who are meeting in Guam. They will be visiting the Iwo Jima for a ceremony honoring the loss of both US and Japanese life during that bloody battle. On an entirely different note, I am seeing the new musical Yank! at the York Theatre on Saturday, so there's been a lot of WWII on my mind lately. I have seen practically every film about it, read numerous books - both fiction and non-fiction, and have seen countless documentaries about it. It's been something I've been aware of ever since I can remember and my fascination continues.

It was the Michener quote at the end of that I recall today. I didn't expect it, nor did I expect to be as moved as I was by it:

"They will live a long time, these men of the South Pacific. They had an American quality. They, like their victories, will be remembered as long as our generation lives. After that, like the men of the Confederacy, they will become strangers. Longer and longer shadows will obscure them, until their Guadalcanal sounds distant on the ear like Shiloh and Valley Forge."

-James A. Michener, Tales of the South Pacific

The Liz Ashley

2010-02-24T18:02:00.003-05:00

One of the most memorable moments from the opening night performance of Superior Donuts occurred prior to the actual show. I was at Angus having drinks with Steve, his partner Doug and Gil of Broadway Abridged, when on our way out we encountered upon the estimable Elizabeth Ashley. The actress was seated quite casually, drink in one hand, cigarette in the other and in a moment of pure nerve I decided to speak with her. Our conversation lasted five minutes, but it was one of most cordial, invigorating exchanges I have ever experienced with an actor.

A couple weeks ago, SarahB gifted me a copy of Ashley's long out of print memoir Actress: Postcards from the Road, that she had found while out shopping in Texas. There were certain things I knew of Ashley - her Tony win and shoot to fame with Take Her She's Mine, having Barefoot in the Park written specifically for her by Neil Simon and of her marriage to actor George Peppard. But - and this shouldn't be as surprising as it was, but it is - there was a lot about the legend that I did not know. This book offered unusual candor in talking about the acting world of the 60s and 70s, and also regarding the struggles and challenges of being an artist of the theatre.

She doesn't consider herself to be much of a writer, but with the help of Ross Firestone, she told her stories and he magnificently captures her voice in the text. The book is rather episodic and conversational - she establishes who she is and what she's doing in her brief introduction. In the book she's not going to separate her public and private persona and vows to be blunt:

"I know one thing for sure: You can tell an American the truth about anything and if you are really straight you are probably in for a terrific conversation. You may not get agreement, but you will almost certainly have a good, hot, rich exchange. Curiosity, compassion, and imagination are the most consistent spiritual characteristics I have found in the American psyche. This book is not an autobiography. It is about how I found my ticket to ride..."

She starts off with a breakdown during the run of Barefoot in the Park, where she felt she wasn't good enough and sensed that everyone, especially co-star Robert Redford was aware of it. Highs and lows are traversed - the betrayal of her confidence by Sydney Pollack that cost her the lead in The Slender Thread, her volatile marriage to alcoholic Peppard, for which she gave up her acting career, the birth of their son, Christian, who really gave her the first real sense of identity she'd ever known. She left Peppard when alcohol started dictating violence and jealousy, culminating in an episode where she had to place a gun at the back of his skull to get Christian out of his drunken clutches.

She had given up on her career after turning down the film version of Barefoot in the Park and needed to work from the bottom up to get back into shape as both a performer and a professional. This involved one-shot appearances on minor television shows and appearances in movies of the week; anything to get her back into shape and so she could earn her stripes. In one episode of Mission: Impossible, she challenged herself to work as hard as possible on a climactic scene, and the director saw the effort she was making and why she was making it and it really clicked. Her comeback was fully realized in her highly acclaimed turn as Maggie the Cat in the revival of Cat on a Hot Tin Roof that opened in Stratford, Connecticut, moved to Broadway and became the hottest ticket in town.

However interesting her acting career, it is always the personal information that is the most fascinating; alternately amusing or harrowing. On the former path, she relays with considerable non chalance an affair with screenwriter Thomas McGuane. She and McGuane dallied for quite some time - with the full approval of McGuane's wife who became one of Liz's good friends. The three of them, taking sexual liberation by the horns and exercising their free love thought they had established the great sexual utopian experiment. Though she doesn't mention her by name, merely a polite but terse "star-lette," she mentions how Margot Kidder came along, snatched up McGuane ending his relationship with both his wife and Ashley.

The harrowing - and one of the most personal stories she relays was a recollection of her first pregnancy, with actor James Farentino (also her first husband) in the early sixties. She was about to go into Take Her, She's Mine when she discovered she was unmarried and pregnant. She recounts with grim precision the abortion she had, up to and including her need for hospitalization afterward. It's a devastating, chilling account of what things were like in our not so distant society. And she does not hold back.

Ashley takes is a no-nonsense, Southern gal: she suffers no fools but it brutally honest about herself and the events in her life. There is no glossing over her insecurities - from acting school, to the dismissal she received from her peers from the success of her first Broadway play (seen as commercial and not art). There is no stone which she leaves unturned in talking about her chosen profession, or the work she's had to do and speaks of her successes and failures with considerable nonchalance.

She doesn't delve very deeply into her childhood or her family life - just glimpses here and there of an impoverished upbringing, her lack of education, etc. The book is more a window into her life as a reflection of her career; all the more interesting since she wrote this in 1978. Her career has continued steadily, becoming one of the prime interpreters of her friend Tennessee Williams' plays and taking Broadway by storm last year in Dividing the Estate and August: Osage County.

I had great respect for Ms. Ashley prior to reading her book, but now that respect has grown tenfold and I hope she might consider a follow-up. These last thirty years must have given this salt of the earth actress many more tales to tell. And I sure as hell would love to read about them.

Uta Hagen as Martha

2010-02-22T16:51:00.004-05:00

For the first time in years, I watched the 1966 film adaptation of Edward Albee's Who's Afraid of Virginia Woolf? starring Elizabeth Taylor and Richard Burton as part of my own "31 Days of Oscar." In the time since I have last watched the film, I have gained a considerable understanding of the play through multiple readings of the text, two viewings of the phenomenal 2005 revival and (the apotheosis) the acquisition of the incredibly rare original Broadway cast album.

The film does hold up quite well, in its text and especially in Burton's brilliant performance. Oscar-winner Taylor is fascinating, once you get over the fact that she's Liz Taylor and the makeup used to make her look older. She has to work harder than other actresses I've seen in the part but it's still a worthy performance. George Segal is a bit too stiff as Nick, and Sandy Dennis is her usual otherworldly self in her Oscar-winning turn as Honey. Albee's qualms about music and expansion of the play from its unit setting are merited, but those don't detract from the overall experience. It's said that screenwriter Ernest Lehman tried to rewrite some of the script, but the leading actors insisted on performing Albee's text (with the exception of a couple of lines that Lehman contributed).

However, while watching the film, I couldn't get Uta Hagen's Martha out of my head. Her performance in the original Broadway production has been regarded in textbooks as one for the ages, so I'd been curious about her work for years. Co-starring with Hagen were Arthur Hill as George, George Grizzard as Nick and Melinda Dillon as Honey. All four were acclaimed for their work, but it was Hagen's performance that stood out from the rest. The actress and teacher received some of her best reviews (and a second Tony), in what would become the defining performance of her career. One of the most thrilling days to me as a theatre historian was the day I acquired the recording of the original Broadway cast, allowing me the opportunity to finally hear what all the fuss was about.

Well, after seeing Taylor and Kathleen Turner (who was quite good opposite Bill Irwin), it amazed me that a mere aural capture of the performance could be so thrilling. My general opinion of the two booze-soaked leading characters in Who's Afraid of Virginia Woolf? is that Martha is the showier role, but George is more interesting. But here on this album, as interpreted by Hagen, Martha is showy and interesting. Riveting, fascinating, gutteral. I'd never experienced any of her acting work before, just clips of her acting classes at HB Studios (she was married to Herbert Berghof until his death) and also from her interview in Rick McKay's brilliant Broadway: The Golden Age documentary.

It's a titanic performance. It's rare that an iconic performance lives up to its hype, but hearing Hagen tear through Martha, you realize that she is simply definitive. She is funny, vulgar, volatile and ultimately devastating. She pulls out all the stops as Martha, triumphant in an incredibly difficult, demanding role. The producers insisted upon matinee alternates for all four actors. Hagen didn't want that - she wanted to do all eight. But it was probably a good decision that she didn't. Matinees were performed by Kate Reid. Mercedes McCambridge and Elaine Stritch also played the role during the original production's 664 performance run. But it is Hagen who is best remembered from this cast, and rightly so.

Goddard Lieberson at Columbia was the one had the foresight to put the play on record, released in a 4-LP set. There were some who took issue with Albee's text, as it made great use of various vulgarities not often heard in polite conversation (it's believed that the controversy is what led to the denial of its Pulitzer Prize). That didn't curb Lieberson, who was adamant about making the record. Even Albee didn't think there would be a large audience for it, as he observed in comments he wrote for the LP booklet. But nonetheless, the performances were captured, complete with atmospheric sounds from their stage action, most notably the clinking of ice in their glasses.

Hagen died in 2004, leaving behind a great legacy as actress and acting teacher. Before the stroke that ultimately led to her death, the octogenarian revived the role of Martha in a couple of staged readings of Who's Afraid of Virginia Woolf? The evenings were to benefit the HB Studios, and actors held scripts. But the critics came out in droves and were full of superlatives for her performance. Thirty-five years removed, her performance was as prescient as ever.

The album went out of print on LP and has never been reissued in any format. Rare copies can be found in Amazon z-shops and occasionally on Ebay. I have long hoped that perhaps one of these days it would be released; I thought the DRG release of the film's soundtrack was supposed to be this first recording. I hope now that Masterworks Broadway is intent on paying homage to all the musical theatre recordings in its catalogue (of Sony & RCA) that they will consider issuing a remastered edition of this play. It is an original cast recording, an important documentation of one of the most iconic plays of the 20th century. Drama students would be well-served by access to this landmark recording.

Here are a couple of excerpts from the recording. First up is from the opening scene of Act I, "Fun and Games"

Act III, "The Exorcism" - "Our Son." Since it comes toward the end of the play, I warn those that are unfamiliar with the piece of the possibility of spoilers.

Remembering Kathryn Grayson (1922-2010)

2010-02-18T15:33:00.009-05:00

Kathryn Grayson, blue-eyed, button-nosed brunette star of MGM musicals who played opposite Gene Kelly, Mario Lanza and Sinatra, has died at the age 88 in her home in Los Angeles. The first time I ever heard Grayson sing was while watching That's Entertainment on television years ago. I have always been drawn to soprano voices, and knew several accomplished sopranos myself. But this was the first time as a kid that I ever heard anyone applying the coloratura technique, which fascinated me. I made it a point to seek out her other films, including the 1951 adaptation of Show Boat and Kiss Me Kate, both co-starring Howard Keel, who once said she was "the most beautiful woman in the history of movies."

She was born Zelma Kathryn Elisabeth Hedrick on February 9, 1922 in Winston-Salem, North Carolina, and would relocate to St. Louis and finally Los Angeles. MGM was desperately seeking a rival for Universal star Deanna Durbin, a young soprano whose career unexpectedly skyrocketed after MGM let her go. A talent scout for Metro gave the teenage Kathryn a screen test and she reluctantly signed (she wanted opera, not film). After she signed her contract, she was offered the chance to sing Lucia at the Met, but was convinced by Mayer that she should turn it down. Grayson wouldn't appear onstage in opera for years, though she would sing many of the famed operatic arias in her films.

Her film debut was in 1941's Andy Hardy's Private Secretary who unwittingly caused Mickey Rooney's eye to wander away from Ann Rutherford. Typical of the studio system, her role was basically an excuse to showcase her talent and to test her bankability; she sang Johann Strauss' "Voices of Spring" in Italian, capping it off with a coloratura cadenza that culminated on a G above high C. After a few more roles, her career would take off as the top-billed star of Anchors Aweigh, in which she would introduce the song "All of a Sudden My Heart Sings."

She would prove a cross-over artist as she brought much of the classical repertoire to film audiences, playing many characters were either aspiring or established opera stars or headlining numerous stage to screen adaptations. In many such films she was often paired with piano virtuoso Jose Iturbi, who served as an onscreen mentor of sorts. In The Toast of New Orleans (1950), Grayson would introduce the standard "Be My Love" only to be upstaged by Mario Lanza, who was the one co-star with whom she didn't get along.

Though I have seen better singing-actresses (particularly coloraturas) in the years that have passed since I first encountered Grayson, I hold a special place for her for being that first. Many of the roles she played are negligible, excuses for a beautiful soprano to sing. For what it's worth, I think her finest moment onscreen was as Lilli Vanessi in the bowdlerized film version of Kiss Me Kate, it offers her the rare chance to be something other than an ingenue, and she really took the opportunity to heart. She was slated to star in the film version of Brigadoon, but her contract expired and Kate would prove to be her final film as an MGM player. She would make three more films, none of them very successful. The last, a Paramount produced adaptation of The Vagabond King, proved a misguided flop and one that Grayson herself admitted should never have been made.

Grayson appeared in regional and stock productions of musicals and operettas after her film career waned, recreating some of her film roles in their original stage incarnations. She made only one appearance on Broadway, as a replacement Guenevere in the original production of Camelot in 1962 (where she reportedly sang the score up a third and added unnecessary coloratura flourishes). She would take star in the show's national tour for almost a year and a half. In the '60s, she also made many appearances in various operas with companies around the country.

There were a few TV appearances, including a recurring bit as Ideal Molloy on Murder She Wrote. She lived in peaceful retirement, teaching voice and making appearances about her MGM days and taping a few recollections for TCM.

Grayson was married twice. Her first husband was actor John Shelton, her second singer-actor Johnny Johnston. She is survived by her daughter Patricia Kathryn Johnston and several grandchildren and great-grandchildren.

From Anchors Aweigh, "All of a Sudden My Heart Sings" & "From the Heart of the Lonely Poet":

Well, that's interesting...

2010-02-17T21:23:00.003-05:00

"Since Bobby also played Younger Brother in the recent Ragtime revival, we talked about its untimely closing. The devastating thing he said was that the producers were willing to keep the show running (!), but the theatre made them leave because they had another show that wanted to come in. So, Ragtime had to close to make way for The Orphan's Home Cycle to open at the Neil Simon…but then it wound up going to another theatre! So, now, the Neil Simon is empty. Wah! The other sad news is, there is no full cast album. But, the good news is there's going to be a Flaherty/Ahrens compilation CD coming out, and the new cast of Ragtime is going to record four songs for it!"

- Seth Rudetsky recalling his interview with Ragtime and Yank! star Bobby Steggert in his Onstage & Backstage Column, 2/15/10

Mitzi Gaynor to Make NY Debut in May

2010-02-16T17:53:00.005-05:00

It seems unbelievable that Mitzi Gaynor has never played the Big Apple, but finally after decades of television, film and touring, the South Pacific star is excited to make her New York performance debut. The star will bring her one woman show Razzle Dazzle: My Life Behind the Sequins in an intimate setting like Feinstein’s to get up close and personal with her fans. In her show, Ms. Gaynor will bring her incomparable brand of showmanship to the stage in a glittering multimedia one woman tour-de-force of music and memories from her show-stopping life and career.

Gaynor says “over the years I’d been asked to play New York on numerous occasions but the stars never quite aligned. That’s why I was thrilled when Michael Feinstein asked me to bring my show to his club and said I could have the Regency’s Ballroom so I’d have more room to play. I really can’t wait to be there. There’s no city in the world like New York.”

It's interesting that Mitzi has never played Broadway, yet has done so many great roles in tour and in stock. I, for one, think she would have been a fantastic replacement in the original production of Mame (among many other shows). But it's better late than never. I'm going to be with there with a certain Elsa-in-crime. And whenever Miss Mitzi is onstage, it's bound to be an event.

Gaynor will play five engagements at Feinstein's at the Regency from May 18 to May 22. Tickets are available online or via phone (212-339-4095) and mention the code MG101 for complimentary presale seating upgrade.

'A Little Night Music' goes to Paris

2010-02-16T12:12:00.009-05:00

Here is a brief video clip containing scenes from the production of A Little Night Music that is playing a strictly limited engagement this week at the Théâtre du Châtelet. This marks the Paris debut of the Sondheim-Wheeler classic, which is also currently a sell-out in a new Broadway revival (by way of London). Gretta Sacchi is Desiree; Leslie Caron her mother Madame Armfeldt. It's a full-scale production with sets, costumes, 31 piece orchestra and it's being performed in English. The theatre's youtube channel has a lot of other clips, including interviews with the cast and clips from other productions they have done.

Our very own KariG is currently in Paris and will be seeing this production tomorrow evening; looking forward to what she has to say about it (she's a tough cookie on this one - it's her favorite musical).

Vilja

2010-02-14T13:39:00.003-05:00

Beverly Sills as The Merry Widow. The widow is entertaining guests at a party she has thrown and sings this particular aria. The lied tells of a mountain nymph named Vilja who entrances a hunter with her great beauty.