The Closing of Broadway?

One my rituals before the curtain rises on a Broadway show is thumbing to the back of the Playbill to the “How many have you seen?” section and counting the number of productions I’ve attended. Currently, the total is 19. In another week that figure will plummet to 13 as six shows on my list will close (an unprecedented 13 musicals and plays will be taking their final bows by the middle of January).

While pundits blame the souring economy on this staggering figure (and it is a contributing factor), a closer examination of the specific shows presents a more palatable picture. First, five of the 13 productions are limited runs, scheduled to close at this time of the year. These are the acclaimed Arthur Miller revival of All My Sons; the comedy, Dividing the Estate; White Christmas; Liza’s at the Palace; and Slava’s Snowshow. You could even count the revival of Gypsy, with Tony Winners Patti Lupone, Boyd Gaines and Laura Benanti, as a scheduled close. Originally, the musical was slated for a March shuttering, but decided to close early due to slow ticket sales. So maybe we say 5 1/2 shows were planning to leave the ranks of Broadway productions, regardless of the economic woes.

Out of the remaining seven musicals and plays there is the critically panned 13, which some people are surprised lasted this long; the ghastly revival of Grease, which should have been put out of its misery long ago; and the very mediocre Young Frankenstein (which, regardless, will have run for over two years). Nine down, four to go. The highly entertaining, Hairspray, will have played for just about 6 1/2 years in New York; and Monty Python’s Spamalot almost four years. Hairspray, the 19th longest running show in Broadway history, has been getting a bit tired lately, notwithstanding the recent infusion of original cast members (and Tony winners) Harvey Fierstein and Marissa Jaret Winokur, and maybe should be closing. I always found Spamalot enjoyable, but not laugh out loud hysterical. News of its closing didn’t send me into a tizzy.

So that leaves Spring Awakening and Boeing Boeing, two shows that are bona fide casualties of the economy. Spring Awakening was energetic, brash, with a great score; Boeing Boeing was something not really seen on Broadway these days—a laugh a minute comedy. Both deserve longer runs. By my count that’s 11 out of 13 shows where their time has come. Not too shabby.

As I’ve stated, and as the press has ceaselessly hammered into our heads, the economic state of the United States is horrible, and this has affected the Great White Way, notwithstanding my aforementioned pontifications. But the root of the downturn on Broadway is much more systemic. It’s been going on for years. To put it simply, Broadway ticket prices have ballooned to a point that attendance on a regular basis for the average citizen is practically impossible—whether the economy is good or bad. Friends constantly ask me about my opinion of shows (word-of-mouth is the most cited reason for selecting a show to see), because they value my choices. Since they are planning to attend only ONE production a year they want to ensure their entertainment dollars are worth the investment. I use my blog and weekly radio program as a bully pulpit, pumping up the Broadway shows I think praiseworthy and carping on the ones I believe should be passed over.

The top orchestra seats to Billy Elliot are selling for $136.00; Wicked is at $121.00. I know producers will blame the unions and other entrenched costs for the skyrocketing numbers, but without a solution Broadway might as well close the stage doors for good. When I was a lad growing up in Central New Jersey my friend and I would take the Suburban Transit bus to New York City and buy FULL PRICE orchestra seats to a Saturday matinee (there was no TKTS Booth). Our first show, 35 years ago when I was a freshman in high school, was the original production of Grease and our tickets cost around eight bucks. I’m not suggesting prices should be rolled back to what I paid in the early 1970’s, but the point is back then a 14 year old kid could pay for an orchestra seat without breaking the bank. My family of six could regularly drive into the city, park, have dinner and see a show without my parents taking out a second mortgage on the homestead. Today, that’s impossible. A similar evening of entertainment today could cost over $900.00! For one night! Who can do that on a regular basis? How can you instill the love of theater into today’s generation if live productions are so out-of-reach? Producers will shout out about all the discounts and specials that are offered to the public. Oh, and there’s still the TKTS Booth. These are all fine and dandy except, why bother? Why not set prices at a lower level so people could afford Broadway productions on a regular basis as opposed to waiting for the sale to begin? And let’s nix the premium seat pricing while we’re at it--Thank you Mel Brooks. These voodoo pricing policies only serve the public that has flexibility in their schedule. But what about the family of four that wants to plan ahead, but their itinerary doesn’t jive with the discounts du jour? Sorry. I know Broadway is a “business,” but higher ticket prices, in order to recoup investments quicker is not a smart decision. What’s the old saying—“cut your nose to spite your face?”

One could point to the mezzanine or the rear mezzanine as a location with much lower prices. Sit there if you can’t afford the orchestra. But forcing people into the cheaper seats is not how you want to introduce individuals or, for that matter, keep individuals interested in the theater. With lower ticket prices, overall, at least you can give theatergoers more of a choice as opposed to dictating where people sit. Hopefully, attending a musical or drama will then become more of a comfortable habit which, in turn, will keep them coming back again and again.

So, producers, technicians, craftsmen, actors, actresses, and everyone else involved in putting up a show--take note. Come up with solutions. Convene a special task force. Do something. Without a viable resolution soon Broadway may see a lot more multi-closing weekends in the near future.

Review of "Emmet Otter’s Jug-Band Christmas"

It’s the holiday season. You want to do something special with the family, but you’ve seen The Nutcracker and A Christmas Carol umpteen times. What to do? Fortunately, there is a new seasonal alternative, now playing at the Goodspeed Opera House in East Haddam, CT. Titled Emmet Otter’s Jug-Band Christmas, the production is a joint effort between Goodspeed and The Jim Henson Company, home of The Muppets and other assorted enchanting creations. Based on the children’s book of the same name and, more notably, the 1977 television special directed by Henson, with a score by Paul Williams, Emmet Otter is, according to the program notes, “where love and family and the hope of the holiday period take the chill off a frozen river, where the sounds of the season bring an infectious boost to the spirit, and where Emmet Otter and his friends make a little bit of magic right before your eyes.”

The Goodspeed production brings the characters of Frogtown Hollow alive, mixing actors portraying the creatures along the river with specially designed puppets by The Henson Company. Henson’s handiwork adds a touch of warmth as well as zaniness to the musical. Think of the old Muppet Show with their madcap skits and humor. Director and choreographer Christopher Gattelli, who also helped out with the book, wonderfully weaves the live action and the assorted animal puppets into a heartwarming and touching Christmas story.

Loosely based on the O. Henry short story, "The Gift of the Magi," Emmet Otter and his mother secretly enter the town talent contest, sacrificing the other’s prized possession, in hopes of winning the fifty dollar grand prize, to make their loved one’s Christmas so memorable.

The musical is highly entertaining and touching at the same time, without all the gooiness associated with most holiday entertainments. The score by Paul Williams incorporates many different styles and shows why he is a Hall of Fame songwriter and multiple award winner. You can listen to two original songs, "Alice Keep Dreaming" and "Waterville," composed by Paul Williams for this stage version and sung by the composer. The human cast, outfitted in costumes by The Henson Company, is marvelous, staying in character without devolving into an overly preening caricature of the creatures they portray (click here to view a slide show of the preliminary costume sketches.)

Kudos to The Goodspeed Opera House and The Jim Henson Company for transforming a 1970’s television special into a magical stage experience for all ages. Let’s hope this production will become a holiday tradition mainstay in Connecticut. Now playing through January 4th.

Review of "Shrek the Musical"

Disney has been very successful in transforming its animated movies into hit Broadway musicals. Beginning with Beauty and the Beast in 1994 through the current The Little Mermaid, Disney has produced some of the most enduring shows in Broadway history—Beauty and the Beast is the sixth longest running production in Broadway history and The Lion King is number nine and climbing.

Seeking to replicate Disney’s enviable stage achievements DreamWorks Animation established a theatrical division in 2007. Their first plunge into musical theater is Shrek the Musical based, primarily, on the first Shrek film. Happily, the production is as entertaining as the screen version, helped by a tuneful, breezy score; a first-rate cast, and sumptuous sets and costumes.

The plot deviates from the movie just at the beginning of the musical where Shrek is thrown out onto the unsuspecting world by his parents, as they gleefully sing about the “Big Bright Beautiful World.” From there the storyline follows the film as Shrek and his wise-cracking companion, Donkey, seek to overturn the edict by Lord Farquaad, which allowed the fairy tale characters in the land of Duloc to overrun the ogre’s swamp. Farquaad agrees to rescind his order so long as the green-skinned Shrek rescues Princess Fiona from the dragon guarded tower so she can be his bride. What makes the stage production of Shrek the Musical work is that it can be appreciated at many different levels—whether you are a tween or adult. Like the movie, this is not necessarily a children’s show, as evidenced early on during our introduction to the fairyland creatures.

Brian D’arcy James plays the hulking Shrek with a combination of pathos and braggadocio. His dramatic musical theater roles, most notably in Titanic and Sweet Smell of Success, has given James the background to present the character in more of a three-dimensional manner as opposed to a cookie cutter rendering as portrayed in the William Steig children’s book (which the movies are based on) or the aforementioned film version. Shrek may be misunderstood as be tramps, roars, and belches across the Broadway Theatre stage, but we also come to realize he is a living being with feelings, hopes and desires.

For the role of Princess Fiona the production required an actress who could more than stand up to Shrek’s shenanigans as well as the larger than life milieu of the show. Fortunately, an audience is once again blessed with Sutton Foster in the cast. Foster is the reigning queen of musical theater comedy as she so aptly demonstrated in Thoroughly Modern Millie and The Drowsy Chaperone (It also reveals how much her talents were wasted in Young Frankenstein). Her comedic timing is perfect and whether her character needs to execute the perfect pratfall, a rousing tap dance routine with the rats of Hamelin, or an emotion-laden ballad, Foster is more than up to the task. Her counterpoint to James’ Shrek gives the musical a necessary balance.

The third actor of this talented triumvirate is Christopher Seiber as the vertically challenged Lord Farquaand. Bringing to life the diminutive ruler was essential to the success of the production and the creative team has scored a knockout. It’s not worth the time to explain “how” they depict a pint-sized Seiber, but let it suffice that his mere presence on stage is hilarious not to mention his big dance numbers.

Two other cast members that deserve mention are Daniel Breaker as the quick quipped Donkey and John Tartaglia in multiple roles but, primarily, Pinocchio. Breaker ratchets up the energy level for his performance, only occasionally providing too much embellishment, while Tartaglia is a gem as the wooden puppet.

The score by Jeanine Tesori and David Lindsay-Abaire is light-hearted, cheerful, yet earnest in expressing the feelings and dreams of the denizens of Duloc. Tesori, who has penned the music for a number of Broadway productions, shows real craftsmanship and variety in her work, from the rousing “I Know It’s Today,” to the silly fanfare as the fairyland creatures depart from Shrek’s swamp. First-time lyricist, Lindsay-Abaire, who also wrote the book of the show, demonstrates he is more than up to the challenge of providing first-rate lyrics to a big budget, splashy Broadway musical.

Director Jason Moore never lets the show bog down, working well with his creative team and choreographer, Josh Prince. He incorporates enough schtick to keep the musical well-paced without descending to chaos. Only the castle scene that introduces Dragon is a bit slipshod and unbalanced.

The sets and costumes by Tim Hatley are both inspired and vibrant. He receives kudos for his outfitting of Shrek—yes, he is green—as well as his creative flair in bringing Lord Farquaand to life. His sets are whimsical and expressive without overpowering the show.

Choreographer Josh Prince adds some razzle dazzle to the musical with a couple of fanciful production numbers.

Shrek the Musical, a welcome addition to the soon-to-be depleted Broadway theatre scene.

Review of "Billy Elliot--the Musical"

Every few years, if you’re lucky, a musical opens on Broadway that mesmerizes, where the sum of its parts creates a much larger whole. Billy Elliot-the Musical, the London import, is such a show. To put it simply, the musical dazzles—from the stunning dance routines to the overwhelming theatricality of the staging. Billy Elliot is one of those productions that actually deserves a standing ovation.

The musical, based on the 2000 movie, centers on a young lad in the north of England during the yearlong coal mining strike of 1984. Pushed, by his father, to take boxing lessons at the local hall Billy, instead, gravitates, inadvertently, to the ballet class run afterwards. Slowly, at first, Billy is drawn to this world where his gift for dance soon becomes apparent.

The show, like Billy himself, begins at a methodical pace. But once Billy finds his true calling, the musical bursts with a creative force that leaves the audience breathless. As with the hit London version, three youths rotate the part of Billy. In the production I attended Trent Kowalik played the part and he was, well, magnificent. Not only was his dancing awe-inspiring, but he can sing and act. For such a talented dancer he made the early scenes of awkwardness and uncertainty at the ballet studio highly believable. When Kowalik took the stage for one of the musical’s extended production numbers it was pure Broadway magic, the reason one goes to the theater, where you can attain a higher plain of entertainment.

But the production is not simply a vehicle to showcase the tremendously talented youths portraying Billy Elliot. Every element, as I stated at the beginning of this review, works in perfect harmony. First, and foremost, is Director Stephen Daldry, at the helm as he did in the acclaimed movie. Daldry, a longtime theater director, masterfully orchestras the visual tableau, whether it be an intimate moment between Billy and the harried, yet caring, dance instructor or, in collaboration with choreographer, Peter Darling, artfully integrating the dance sequences with the large ensemble on stage. Darling receives kudos for the sheer exquisiteness of his choreography—from the graceful ballet numbers to the razz-ma-tazz tap dancing. Combined with the grace and power of the performers, the choreography practically leaps from the stage.

What these men, plus the other creative forces behind Billy Elliot—the Musical have accomplished is forge a connection between the audience and cast. No small feat. We feel for the characters on stage, are aware of their bleak and difficult lives in the northern coal mining district of England. Librettist Lee Hall has done a marvelous job in translating his screenplay to the stage, instilling honest, heartfelt emotions without being overly sentimental and sappy.

The score by Elton John may be his most satisfying Broadway composition yet. Along with lyrics by Lee Hall, John has structured a series of songs that can be solemn and poignant; evoke the grittiness, urgency and intensity of the miner’s plight, and give the necessary backdrop to the rousing and playful dance numbers.

The cast is outstanding. Besides the aforementioned Trent Kowalik the standouts include Haydn Gwynne as the frazzled, but good-hearted dance instructor, Mrs. Wilkinson; Gregory Jbara as Billy’s world-weary, boisterous father; and Frank Dolce as Billy’s fun-loving and exuberant best friend, Michael.

One note about the musical—while Billy Elliot is great family fare there is some, shall we say, colorful language spouted by various players throughout the production. It should not prevent parents from taking their children, but a pre-show conversation forewarning them may be best.

Billy Elliot—the Musical, finally a Broadway musical you can stand up and cheer for.

Review of "A Tale of Two Cities"

The French Revolution lives again in the new Broadway musical, “A Tale of Two Cities.” Based on the Charles Dickens classic novel of love, courage, betrayal, and sacrifice, “A Tale of Two Cities” is presented in Cliff Notes fashion—hitting all the important plot and character points of the intricately woven story. Initially, the musical proceeds at a brisk pace which, for those unfamiliar with Dickens’ work, allows the drama to build to a satisfying first act climax. However, theatergoers looking for more breadth and depth on the Hirschfield Theatre stage will be sorely disappointed.

The second act compounds the drawback. Even though it encompasses just the latter third of the book, providing more time for the action to unfold, the libretto becomes a bit too ponderous for the production’s own good. This is one of the three major shortcomings of “A Tale of Two Cities.”

The second problem is when the musical veers towards “Les Mis” territory. Comparisons, fair or not, are going to be made between the two historic flavored musicals. But “Les Miseables,” one of the longest running shows in Broadway history was, all around, a stronger, more compelling production. When the cast of “A Tale of Two Cities” lined the stage during the Act I finale, “Until Tomorrow,” I thought I was staring at a revisionist staging of the Alain Boublil - Claude-Michel Schönberg classic.

The primary setback for “A Tale of Two Cities” is the rather lackluster score, punctuated here and there with Frank Wildhorn styled power ballads. A musical undertaking of such a well-known, well-regarded and lengthy tome as “A Tale of Two Cities” needs to possess songs worthy of the Dickens saga. First time composer Jill Santoriello (who performs a trifecta by also writing the musical’s book) is simply not up to the task. While the score is not totally unimpressive the songs cannot rescue the show from its own weightiness and self-importance.

Yet with all the demerits affixed to the production, “A Tale of Two Cities” is somewhat salvaged by the performances of the three leading players. Brandi Burkhardt is beautiful, with a gorgeous voice, as the compelling Luci Manette. Aaron Lazar, handsome, upright and committed, perfectly embodies the spirit of Charles Darnay; while James Barbour has been ideally cast as the doomed Sydney Carton. Barbour’s voice is especially noteworthy, wringing all the emotions he can out of each and every one of his solos. Special mention goes to Nicky Wyman as the scoundrelous John Barsad. Wyman plays the rogue with such relish that you wish Santoriello had more fully shaped the other supporting characters with such three dimensional aplomb.

Tony Walton’s prominent set design, moveable skyward towers, allows for a winning variety of abstract constructs throughout the show. While not ideal, for a musical of this magnitude, they allow for the momentum of the show to carry forward.

Warren Carlyle’s direction gives ample stage time to the three principles, allowing them to bring their forceful presence to the forefront. However, his fast-paced tempo of the show’s beginnings is allowed to implode under its own girth by the musical’s end.

“A Tale of Two Cities” – now at the Al Hirschfield Theater in New York.

Review of "Half a Sixpence'

Take the age old story of boy-meets-girl, boy-loses-girl, boy-wins-girl-back; add a touch of Pygmalion; crowd pleasing choreography; and an endearing and beguiling lead character; and you have the key ingredients to The Goodspeed Opera House’s winning production of the infrequently revived, Half a Sixpence. Based on the H.G. Wells novel, “Kipps,” the musical follows shop clerk Arthur Kipps, an everyman’s bloke in the seaside town of Folkstone, as he woos his childhood sweetheart, Ann. Along the way Kipp’s financial fortunes take a huge leap forward and his romantic courtship becomes temporarily sidetracked. Social class and standing are also an underlying theme throughout the show.

Steeped in the British music hall tradition, Half a Sixpence boasts numerous large-scale production numbers that are as delectable and frothy as any of the confections sold along the seaside’s boardwalks. Choreographer Patti Colombo pulls out all the stops in her inventive and rousing dance routines, most of the time employing all of the large cast on the diminutive Goodspeed stage.

Central to the show’s sustainability and enjoyment is the lead actor portraying Arthur Kipps. The person needs to be a sure-fire triple threat—singing, dancing, and acting up a storm. Without the proper fit, the musical would languish under Beverley Cross’ rather pedestrian book. Fortunately, Goodspeed landed Jon Peterson for the role of Kipps. He is an engaging and affable performer that immediately connects with the audience. Peterson is the type of mate you’d go out to have a beer with or just shoot the breeze. He brings a satisfying singing voice and dazzling, athletic dance moves to the role.

The rest of the sizeable cast is professional and spirited, most notably Jeff Skowron as the bon vivant playwright, Chitterlow. The one shortcoming was the rather lackluster chemistry between Peterson and Sara Gettelfinger, who portrays the love of his life, Ann. For a couple supposedly smitten with each other, their scenes together produced far too few sparks.

The lean score by David Heneker provides a number of gems including the rousing “Money to Burn,” “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop;” and the lovely ballads, “Long Ago’” and “I Know What I Am.” Selections from Half a Sixpence can be heard on the August 10, 2008 edition of my radio program, "On Broadway." The production numbers accompanying “If the Rain’s Got to Fall,” and “Flash, Bang, Wallop” alone are worth the price of admission.

The creative team of Rob Bissinger, scenic design; David Woolard, costumes; and Jeff Croiter, lighting design; provide the musical with an authentic feel for a turn-of-the-century English coastal town where the working class and the upper stratum of society exist side by side.

Director Gordon Greenberg deftly guides the action through the multiple set changes, keeping the buoyancy of the production gliding along smoothly throughout.

“Half a Sixpence,” a flash, bang, wallop of a show, now at The Goodspeed Opera House through September 19, 2008.

Review of [title of show]

[title of show], the first musical of the new Broadway season, gives hope to the multitudes of individuals that dream of creating a show for The Great White Way. Hunter Bell, who wrote the show’s book; and Jeff Bowen, the score; were two out of work actors when the genesis of their quirky, decidedly downtown flavored show, came together. Simply, with three weeks until the submission deadline for the 2004 New York Musical Theater Festival, the two thespians concocted a musical based on two struggling actors named, surprisingly, Jeff and Hunter, who have only three weeks to write a musical for an upcoming festival. The rest is, as they say, theatrical history:

1. their entry was accepted.
2. after playing their six performances at the New York Musical Theater Festival, an Off-Broadway producer optioned the production for an open run at the Vineyard Theater.
3. a cast album was recorded and released on Ghostlight Records.
4. after the Off-Broadway stint, the two collaborators produced a series of Internet videos for YouTube to keep interest in their off-spring alive.
5. the videos reignited interest from producers.
6. the newly tweaked [title of show] opened on Broadway.

So, what exactly is [title of show]? Well, it is not a large scale musical with a huge cast, lavish sets, over produced production numbers, or a fully stocked pit band. [title of show] consists of four, casually dressed people—Hunter Bell and Jeff Bowen, and their two female friends—Susan Blackwell and Heidi Blickenstaff--who work on bringing the musical to life in Hunter’s slightly drab apartment. With only four chairs on stage, along with musical director, Larry Pressgrove, sitting behind his keyboard—the sole musical accompaniment, [title of show] concentrates on the actor’s angst and insecurities and, finally, their exuberance as they conceive and mold their show.

The 90 minute, intermissionless production, caters to a more knowing theater going crowd then a bridge and tunnel or tourist clientele. Obscure musical theater and cultural references populate the show. One ongoing gimmick is listening to the playback of Hunter’s answering machine as one musical theater actress after another, including Marin Mazzie, Alice Ripley, and Christine Ebersole, turn down an offer to appear in their show. The casual theater going public would probably be scratching their head for lack of recognition (okay, they would know Patti Lupone), but for people like myself the bit brought a knowing smile.

One of the best numbers in the production is a showcase for the arcane as memorable, and not so memorable, Broadway flops are commemorated in the song, “Monkeys and Playbills,” which incorporates the titles of such failed shows as “Dude,” “Merrily We Roll Along,” “Smile” and many others into the lyrics of the song. The July 27, 2008 broadcast of “On Broadway” features these songs.

The four actors are affable and funny while at the same time exuding the whole gamut of emotions—the good, the bad, the ugly--inherent in individuals pursing the acting profession. The score can be witty and knowing; the direction and choreography by Michael Berresse is breezy and light.

[title of show], a musical that provides proof in the power of positive thinking as well as being a tonic for all the musical theater aficionados in the world.