The new Broadway season begins in a few short weeks. Unlike last year’s overall lackluster offerings, this year there are a number of productions I am highly anticipating. Of course, there is never a guarantee of an announced show, even the most high profile production, of opening (Can you say Spider-man, Turn Off the Dark?).
Below is my Top Ten list. Mostly musicals, the list includes shows with powerhouse casts, a taste of Star Trek, Harry Potter singing, a couple of superheroes, and a bit of Pee-Wee for good measure. Here, now in alphabetical order, the Broadway productions I most want to see.
A LIFE IN THE THEATRE
I am not a huge David Mamet fan, but his A Life in the Theatre is uncharacteristic Mamet meaning the characters are not cursing ever other word. More importantly, I am a huge Star Trek fan so the Broadway premiere of Mamet’s drama, which stars Jean-Luc Picard, I mean Patrick Stewart, and T.R. Knight from Grey’s Anatomy, is something to rejoice. Seriously, Stewart’s appearance on the Broadway stage is few and far between so his return is most welcome. Beam me up for this one.
First Preview: scheduled for September 23, 2010
Scheduled opening: October 12, 2010
Special note: This is a limited run with a scheduled January 2, 2011 closing.
ANYTHING GOES
One of my top ten (maybe five) musicals of all-time is the 1987 revival of Anything Goes with Patti Lupone and Howard McGillin. The casting was perfect, the Cole Porter tunes, the staging, everything was just so right. I remember getting goose bumps during the overture. So, why would I include an upcoming revival of a musical that I hold so near and dear? Two words: Sutton Foster. If there is an actress tailor made for the role of Reno Sweeney then it is the multi-talented Ms. Foster—actress, singer, comedienne, and dancer. It’s almost like most of her other starring roles in past Broadway musicals—Thoroughly Modern Millie, The Drowsy Chaperone, and Shrek (but not Young Frankenstein where her talents were so wasted)—have been preparation for her star turn in Anything Goes.
First Preview: scheduled for March 10, 2011
Scheduled opening: April 7, 2011
DRIVING MISS DAISY
Last season Denzel Washington recreated one of James Earl Jones signature roles, that of Troy Maxson, in a revival of August Wilson’s drama, Fences. So, happily (coincidentally?) Jones is returning the favor by heading back to the stage in a revival of Alfred Uhry’s Pulitzer Prize winning play, Driving Miss Daisy. But James Earl Jones is just one part of the dream cast for this production which will also be starring acting legend, Vanessa Redgrave and four-time Tony winner Boyd Gaines. I can’t wait for the acting master class to begin!
First Preview: October 7, 2010
Scheduled opening: October 25, 2010
Special note: This is a limited run with a scheduled January 29, 2011 closing.
ENTER LAUGHING
One of the highlights from the 2008-2009 theater season was the Off-Broadway production of the musical Enter Laughing at the York Theatre Company. The show, in reality, a revival of the failed 1976 musical, So Long 174th Street, was hysterical and featured a comic tour de force by the young actor, Josh Grisetti. A Broadway run has been announced for 2010-2011, but little else has been revealed. I am assuming Grisetti will once again star as the stage struck teenager trying to break into show business, especially since his Broadway debut, in Broadway Bound last year, was derailed. It would be great if members of the York production also made the trip to Broadway. That cast included Jill Eikenberry, Michael Tucker, Marla Schaffel, and Bob Dishy and they were terrific.
First Preview: To Be Announced
Scheduled opening: To Be Announced
HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING
In addition to being a Trekker I am a huge Harry Potter fan so I was intrigued, as well as excited, when it was announced that Daniel “Harry Potter” Radcliffe would be making his Broadway musical debut in the 50th anniversary revival of Frank Loesser’s, How to Succeed in Business Without Really Trying. He has big shoes to step into, following in the footsteps of Robert Morse (1961) and Matthew Broderick (1995). Can the teenage Gryffindor sing? Will his J. Pierrepont Finch have an American accent? Will he be an English lad on assignment at the World Wide Wicket Company? Maybe the “Coffee Break” will be replaced with a friendly inter-office game of Quidditch? Radcliffe wasn’t much of a dancer at the Triwizard Tournament Ball, but that will probably change with Director/Choreographer Rob Ashford at the helm. BTW, did I mention the luscious Frank Loesser score?
First Preview: February 26, 2011
Scheduled opening: March 27, 2011
IT’S A BIRD, IT’S A PLANE, IT’S SUPERMAN
One of my favorite original cast recordings is the Charles Strouse/Lee Adams, It’s a Bird, It’s a Plane, It’s Superman. The fourth Broadway score from the duo—following their Broadway debut, Bye Bye Birdie; the flop, All-American; and the semi-success, Golden Boy. 1966—Superman was another dud for the team. Most people blame Batman. The enormously successful, campy television show opened around the same time and took the thunder from the musical. Still, the score is fun and tuneful.
Enter the Dallas Theater Center which mounted a slightly modified version this summer—revised book by Roberto Aguirre-Sacasa and some newly added songs—to very positive reviews. Starring Broadway’s Matt Cavenaugh, the word on the street is the production is looking north to Metropolis. Nothing firm. Just talk, for now. Let’s hope The Man of Steel returns for another try on The Great White Way. It’s big enough to handle two super heroes this season.
First Preview: Unknown
Scheduled opening: Unknown
LOVE NEVER DIES
Has it really been 22 years since The Phantom of the Opera opened on Broadway? The last of the over-sized London imports just keeps chugging along. Now comes the sequel—Love Never Dies, a continuation of The Phantom story set in Coney Island. Having already opened in the West End, to generally positive reviews, the Broadway version must overcome some discouraging history, namely sequels have not found much success on Broadway. The musical graveyard is filled with failed sequels, going all the way back to 1933 with the Gershwin’s Let ‘Em Eat Cake (sequel to Of Thee I Sing). Other flops on the sequel landscape have included Bring Back Birdie, The Best Little Whorehouse Goes Public, and Annie 2: Miss Hannigan's Revenge. Still, for the millions of us that have seen The Phantom of the Opera over the past 20 years, can we really resist his lure a second time?
First Preview: To Be Announced
Scheduled opening: April 2011
THE PEE-WEE HERMAN SHOW
I admit I am a huge Pee-Wee Herman fan--from the late 1980’s children’s show to his big screen escapades in Pee-Wee’s Big Adventure and Big Top Pee-Wee. So, I am both intrigued and enthusiastically expectant about The Pee-Wee Herman Show on Broadway. How will Paul Reuben’s man-child transform his celluloid persona to the live stage? Well, I’ll be in my chairy at the Stephen Sondheim Theatre to find out.
First Preview: October 26, 2010
Scheduled opening: November 11, 2010
Special note: This is a limited run with a scheduled December 5, 2010 closing.
SPIDER-MAN, TURN OFF THE DARK
Probably the most anticipated musical of the past few years. Spider-Man, Turn Off the Dark, should finally make its way to Broadway at the end of the year, now that all the financing is in place. Can the genius of Julie Taymor score a hit with Spidey in what will probably be the most expensive musical in Broadway history? And what about a score by U2’s Bono and The Edge? There have been rock scores in the past, but no group with the worldwide stature and appeal of U2 has ever written specifically for Broadway (I don’t count Tommy since it started life as a Who album; same with Green Day’s American Idiot). Lastly, let’s not discount the special effects and sets which will, again, probably be something we haven’t witnessed before on a New York stage.
First Preview: November 14, 2010
Scheduled opening: December 21, 2010
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN
As Phil Rizzuto would cry, “Holy cow!” Patti LuPone, Brian Stokes Mitchell, AND Sherie Rene Scott all in the same cast? I can’t remember a Broadway musical with such star power in one show. Enough said!
First Preview: October 2, 2010
Scheduled opening: November 4, 2010
Special note: This is a limited run with a scheduled January 23, 2011 closing.
Will all these productions open this season? Probably not. Will those that do be hits? Again, nyet. Will there be other shows that will steal the limelight? Most indubitably. Stay tuned.
Sunday, August 15, 2010
Sunday, August 8, 2010
Review of "Zero Hour"
Zero Mostel has always been one of my favorite actors. Even though I only saw him perform in a handful of movies, most notably The Producers, he seemed to come alive through his comic numbers or poignant ballads in the original cast recordings of both A Funny Thing Happened on the Way to the Forum and Fiddler on the Roof.
Bringing such an iconoclastic, bigger-than-life personality as Zero Mostel to life is no easy feat, but Jim Brochu, in his one man show, Zero Hour, thoroughly captures the essence of Mostel the comedian, actor, and painter.
The painting studio is the setting for the show as Mostel grudgingly sits for an interview with an unseen reporter. Actually, sitting would be the wrong word as Brochu, a large man himself, just like Mostel, is constantly in motion on the small stage at the Actor’s Temple Theater, an actual synagogue that rents out its sanctuary space part of the week as an Off-Broadway theater. Sparring with the reporter, peppering his answers with good-natured ribbing, we slowly get to know the Zero Mostel behind the exuberance and gaiety portrayed on stage and screen. We learn about his loving marriage to a Catholic woman, a move that exiled him from his highly religious, Jewish parents. Even on his mother’s deathbed she would not forgive his transgression. There is the beginning of his high-spirited and flamboyant career, first in nightclubs and then onto the stage.
The most moving and dramatic part of the 90 minute, intermission-less production centers around the Hollywood blacklist. Not only was Mostel ensnared in the hysteria produced by the hearings and recriminations of the House Committee on Un-American Activities and Senator Joseph McCarthy, but so were many of his friends and colleagues. Flourishing careers were snuffed out in a heartbeat while others committed suicide. The more fortunate actors, such as Mostel, were out-of-work for only a couple of years, but still shunned by many of his acting brethren. At one point during the show Mostel relives the seemingly doomed out-of-town tryouts of A Funny Thing Happened on the Way to the Forum. Brought in to fix the musical is Jerome Robbins, a man who named names to the Committee on Un-American Activities, sending many of Mostel’s friends on the path to oblivion. A pariah in the actor’s eyes, he agrees with producer Hal Prince to let Robbins work his genius to save the show, but not without delivering, at the first rehearsal, a blistering speech eviscerating the acknowledged director/choreographer for his past deed.
The back-story of Forum as well as his recollections of Fiddler on the Roof are just a small part of Zero Hour. There is no singing or dancing. The production is really about the Zero Mostel the public never knew—the suffering and tortured artist who, in reality, just wanted to be a painter.
Jim Brochu, who also wrote the show, eerily conjures up Mostel in both speech and girth. Friends in real life, Brochu serves himself well by not trying to recreate memorable moments from Mostel’s past that could easily turn into parody or self-serving aggrandizement. Instead, he keeps the audience enraptured with personal stories that captivate, enthrall, and charm.
Bringing such an iconoclastic, bigger-than-life personality as Zero Mostel to life is no easy feat, but Jim Brochu, in his one man show, Zero Hour, thoroughly captures the essence of Mostel the comedian, actor, and painter.
The painting studio is the setting for the show as Mostel grudgingly sits for an interview with an unseen reporter. Actually, sitting would be the wrong word as Brochu, a large man himself, just like Mostel, is constantly in motion on the small stage at the Actor’s Temple Theater, an actual synagogue that rents out its sanctuary space part of the week as an Off-Broadway theater. Sparring with the reporter, peppering his answers with good-natured ribbing, we slowly get to know the Zero Mostel behind the exuberance and gaiety portrayed on stage and screen. We learn about his loving marriage to a Catholic woman, a move that exiled him from his highly religious, Jewish parents. Even on his mother’s deathbed she would not forgive his transgression. There is the beginning of his high-spirited and flamboyant career, first in nightclubs and then onto the stage.
The most moving and dramatic part of the 90 minute, intermission-less production centers around the Hollywood blacklist. Not only was Mostel ensnared in the hysteria produced by the hearings and recriminations of the House Committee on Un-American Activities and Senator Joseph McCarthy, but so were many of his friends and colleagues. Flourishing careers were snuffed out in a heartbeat while others committed suicide. The more fortunate actors, such as Mostel, were out-of-work for only a couple of years, but still shunned by many of his acting brethren. At one point during the show Mostel relives the seemingly doomed out-of-town tryouts of A Funny Thing Happened on the Way to the Forum. Brought in to fix the musical is Jerome Robbins, a man who named names to the Committee on Un-American Activities, sending many of Mostel’s friends on the path to oblivion. A pariah in the actor’s eyes, he agrees with producer Hal Prince to let Robbins work his genius to save the show, but not without delivering, at the first rehearsal, a blistering speech eviscerating the acknowledged director/choreographer for his past deed.
The back-story of Forum as well as his recollections of Fiddler on the Roof are just a small part of Zero Hour. There is no singing or dancing. The production is really about the Zero Mostel the public never knew—the suffering and tortured artist who, in reality, just wanted to be a painter.
Jim Brochu, who also wrote the show, eerily conjures up Mostel in both speech and girth. Friends in real life, Brochu serves himself well by not trying to recreate memorable moments from Mostel’s past that could easily turn into parody or self-serving aggrandizement. Instead, he keeps the audience enraptured with personal stories that captivate, enthrall, and charm.
Sunday, July 25, 2010
Support an Off-Off-Broadway Musical
My oldest daughter’s high school friend, Steven Mooney, stopped by today. He graduated this past May from the Musical Theater program at Marymount Manhattan College in New York City. Unlike many theater graduates across the country, he actually has a role in an upcoming New York musical. He has been cast in one of the New York Fringe Festival productions at the end of August. The show, entitled, I Don 3 U Ne Mor, is billed as “a musical comedy about humanity in the tangled cables of modern society... and zombies.”
In addition to rehearsals, costuming, lighting and all the other components of putting on a shoestring budgeted show, everyone involved has to pitch in to help raise funding. According to Steven, the way the festival works is they turn funding over to each of the shows. “We are required to raise a minimum of $3,000 before the festival itself will aid in our funding,” he said. “So we’re using a program, along with most of the other productions, called Kickstarter. This program enables us to reach out to friends and family and ask them to pledge a donation.” To pledge via Kickstarter you just need an Amazon.com payment account, which you can sign up for quickly if you don’t have one. No pledge is too small. In fact, you can even donate $1.00 to become an official Off-Off-Broadway backer. Just remember--these are donations as opposed to an investment opportunity. If the production does not reach its $3,000 goal your credit card is not charged.
So why not considering taking the plunge? Support the arts. Support the New York Fringe Festival. Support the ambition of a newly minted college grad.
In addition to rehearsals, costuming, lighting and all the other components of putting on a shoestring budgeted show, everyone involved has to pitch in to help raise funding. According to Steven, the way the festival works is they turn funding over to each of the shows. “We are required to raise a minimum of $3,000 before the festival itself will aid in our funding,” he said. “So we’re using a program, along with most of the other productions, called Kickstarter. This program enables us to reach out to friends and family and ask them to pledge a donation.” To pledge via Kickstarter you just need an Amazon.com payment account, which you can sign up for quickly if you don’t have one. No pledge is too small. In fact, you can even donate $1.00 to become an official Off-Off-Broadway backer. Just remember--these are donations as opposed to an investment opportunity. If the production does not reach its $3,000 goal your credit card is not charged.
So why not considering taking the plunge? Support the arts. Support the New York Fringe Festival. Support the ambition of a newly minted college grad.
Saturday, June 19, 2010
Those "Hollywood" Types
We are a society that loves to label people, usually with a negative connotation. He’s a Liberal. She’s a Conservative. Feminist. Jock. Geek. Environmentalist. After this week’s televised Tony Award ceremony a new label is now circulating through cyberspace – Hollywood, as in “they’re from Hollywood.”
Anyone who viewed the Tonys knows there was a heavy presence of A-List Hollywood actors, both in the audience and in the winner’s circle. Carrying away the prized medallion were Denzel Washington (Best Actor in a Play for Fences), Catherine Zeta-Jones (Best Actress in a Musical for A Little Night Music) and Scarlett Johansson (Best Supporting Actress in a Play for A View From the Bridge). It’s no wonder that a backlash against “those people” has been building. Actor Hunter Foster has even started a Facebook group, Give the Tonys Back to Broadway!! Over 6,300 people have joined.
But has Hollywood really taken over Broadway? This past season there were many actors more associated with the film industry on stage then in year’s past. However, while movie stars sell a lot of tickets they don’t always receive the accolades and awards. Were either Hugh Jackman or Daniel ‘James Bond’ Craig nominated for their performances in A Steady Rain? Antonio Banderas, while nominated in 2003 for a Best Actor in a Musical Tony for his performance in the revival of Nine, lost out to a theater stalwart, Harvey Fierstein. The list can go on and on.
More importantly to the discussion--is the Hollywood label even accurate or fair? Let’s examine a couple of high profile examples. First, Angela Lansbury. Would anyone doubt Ms. Lansbury is anything but a person of the theater? She’s won five Tonys. However, she came to the world of musical theater when she was just about 40 years old, having first made a splash in such films as Gaslight, The Picture of Dorian Gray, and The Manchurian Candidate, among others. She was 41 when she starred in Mame. Were people hopping mad that this film star was taking away plum roles from theater veterans? Or should we label Ms. Lansbury a television personality? She did star in Murder, She Wrote for 12 years. The point is Angela Lansbury is an actress who easily moves between film roles, the stage and TV and, rightfully so, should not be pigeonholed into one specific category.
Next up—Hugh Jackman. We all know Jackman epitomizes movie stardom, with big budget action films and romantic period pieces. But Jackman began his career as a musical song and dance man in his native Australia, appearing in such shows as Beauty and the Beast and Sunset Boulevard. He hit the big time playing Curly in the acclaimed 1998 National Theatre’s production of Oklahoma in London. From there, the movie industry beckoned and two years later he was Wolverine in the blockbuster, X-Men. The rest, as they say, is history. So, when Jackman makes his occasional foray to Broadway is he seen as a Hollywood interloper, or a multi-talented actor looking to vary his career opportunities or go back to his roots? Remember, he did wow Broadway in his Tony award winning performance in 2004’s The Boy From Oz.
A more productive argument should be about the appropriateness of a role for an actor—remember Madonna in David Mamet’s Speed-the-Plow--as opposed to silly arguments centered around classifying and labeling. All three “Hollywood” stars who won Tony Awards this year received rave reviews. They were well-suited for their roles. So, shouldn’t we be celebrating the opportunity to see them live instead of whining about “them” taking away plum roles from “theater people?”
Anyone who viewed the Tonys knows there was a heavy presence of A-List Hollywood actors, both in the audience and in the winner’s circle. Carrying away the prized medallion were Denzel Washington (Best Actor in a Play for Fences), Catherine Zeta-Jones (Best Actress in a Musical for A Little Night Music) and Scarlett Johansson (Best Supporting Actress in a Play for A View From the Bridge). It’s no wonder that a backlash against “those people” has been building. Actor Hunter Foster has even started a Facebook group, Give the Tonys Back to Broadway!! Over 6,300 people have joined.
But has Hollywood really taken over Broadway? This past season there were many actors more associated with the film industry on stage then in year’s past. However, while movie stars sell a lot of tickets they don’t always receive the accolades and awards. Were either Hugh Jackman or Daniel ‘James Bond’ Craig nominated for their performances in A Steady Rain? Antonio Banderas, while nominated in 2003 for a Best Actor in a Musical Tony for his performance in the revival of Nine, lost out to a theater stalwart, Harvey Fierstein. The list can go on and on.
More importantly to the discussion--is the Hollywood label even accurate or fair? Let’s examine a couple of high profile examples. First, Angela Lansbury. Would anyone doubt Ms. Lansbury is anything but a person of the theater? She’s won five Tonys. However, she came to the world of musical theater when she was just about 40 years old, having first made a splash in such films as Gaslight, The Picture of Dorian Gray, and The Manchurian Candidate, among others. She was 41 when she starred in Mame. Were people hopping mad that this film star was taking away plum roles from theater veterans? Or should we label Ms. Lansbury a television personality? She did star in Murder, She Wrote for 12 years. The point is Angela Lansbury is an actress who easily moves between film roles, the stage and TV and, rightfully so, should not be pigeonholed into one specific category.
Next up—Hugh Jackman. We all know Jackman epitomizes movie stardom, with big budget action films and romantic period pieces. But Jackman began his career as a musical song and dance man in his native Australia, appearing in such shows as Beauty and the Beast and Sunset Boulevard. He hit the big time playing Curly in the acclaimed 1998 National Theatre’s production of Oklahoma in London. From there, the movie industry beckoned and two years later he was Wolverine in the blockbuster, X-Men. The rest, as they say, is history. So, when Jackman makes his occasional foray to Broadway is he seen as a Hollywood interloper, or a multi-talented actor looking to vary his career opportunities or go back to his roots? Remember, he did wow Broadway in his Tony award winning performance in 2004’s The Boy From Oz.
A more productive argument should be about the appropriateness of a role for an actor—remember Madonna in David Mamet’s Speed-the-Plow--as opposed to silly arguments centered around classifying and labeling. All three “Hollywood” stars who won Tony Awards this year received rave reviews. They were well-suited for their roles. So, shouldn’t we be celebrating the opportunity to see them live instead of whining about “them” taking away plum roles from “theater people?”
Sunday, June 13, 2010
2010 Tony Award Musings
11:10 p.m.
Yes! I called it. The choice for Best Musical makes sense. MEMPHIS is the most straightforward of the four nominated shows and should tour well. MILLION DOLLAR QUARTET was never really in the discussion and while AMERICAN IDIOT and FELA! have substantial merits neither one of them garnered enough acclaim to merit snagging the big prize.
Final thoughts—
-Sean Hayes did better than I originally would have thought as host.
-The telecast finished on time. Not too shabby.
-The major presenters towards the end did have their speeches truncated. Why don’t they limit those winners at the beginning of the show?
-Big night for Hollywood stars. Good or bad?
-Overall grade: B-
10:55 p.m.
My ears are pounding all the way in Connecticut after the AMERICAN IDIOT number. I can’t wait to see the audience reaction when this show tours. You do have to admit it was a great song to promote the musical to the young masses.
So how does one get the stars of THE ADDAMS FAMILY—Bebe Neuwirth and Nathan Lane--on stage? Get them to present the Tony for Best Actor/Actress awards. Whoa! Shocker. Catherine Zeta-Jones winning Best Actress. I had my money on Montego Glover for MEMPHIS. Well, at least Douglas Hodge puts normality back to the awards by winning Best Actor.
10:35 p.m. Posting--
Great number by Matt Morrison! Really injected some zip into the broadcast. Can you say 2011 Tony Award host? Was Lea Michele auditioning for lead in the projected revival of FUNNY GIRL? Put a windscreen on the microphone.
You have to say one thing for Sean Hayes, he does seem he is having a lot of fun out there.
Question--how many Broadway producers can you fit on the stage of Radio City Music Hall?
You can tell time is running short so keep those acceptance speeches short or experience the fate of the LA CAGE acceptors
10:15 p.m. Posting--
Was that Sahr Ngaujah wailing on the sax at the end of the spirited number from FELA!?
Bill T. Jones, a deserving winner for Best Choreography for FELA! COME FLY AWAY, while great dance routines, I prefer dance within the context of a book musical. I thought it was interesting that PROMISES, PROMISES was nominated in this category since one of my big complaints about the musical was its lack of choreography. Interesting about the number they showcased--it takes place during the show’s overture.
10:00 p.m. Posting--
The opening snippets of musicals was a bit bland. I love the musical GREEN DAY, but their mini-concert, while highly entertaining, was just a bit out of place. Good pyrotechnics, though!
First award—Best Featured Actress in a Play goes to Scarlett Johansson. Didn’t she say she couldn’t think of anything to say? So why was her thank you SO LONG?
I think the way the Best Play nominees were presented—short, staccato commentary by the two lead actors/actresses along with a computer generated set of the show--was very well done. The two guys from NEXT FALL were hysterical. Give them their own network television show.
Was it just me or were you also getting more and more uncomfortable as Terry Johnson went through his acceptance speech for the Best Director Tony for LA CAGE AUX FOLLES? Between not looking at the camera and manhandling the award I thought he was going to collapse.
Mark Sanchez, quarterback of the New York Jets did an admirable job introducing the MEMPHIS production number. By far the best of the night—energetic, tuneful song that enveloped the stage. Too bad the other excerpts weren’t as lively.
I love Kristen Chenoweth. Great bit with Sean Hayes introducing Best Featured Actor in a Musical.
Catherine Zeta-Jones is beautiful and delivered a haunting rendition of “Send in the Clowns.”
Best Revival of a Play introductions—ditto from the segments for Best Play.
Sean Hayes started off his hosting chores slightly off, but as the evening has gone on he’s had some great jokes and bits.
Yes! I called it. The choice for Best Musical makes sense. MEMPHIS is the most straightforward of the four nominated shows and should tour well. MILLION DOLLAR QUARTET was never really in the discussion and while AMERICAN IDIOT and FELA! have substantial merits neither one of them garnered enough acclaim to merit snagging the big prize.
Final thoughts—
-Sean Hayes did better than I originally would have thought as host.
-The telecast finished on time. Not too shabby.
-The major presenters towards the end did have their speeches truncated. Why don’t they limit those winners at the beginning of the show?
-Big night for Hollywood stars. Good or bad?
-Overall grade: B-
10:55 p.m.
My ears are pounding all the way in Connecticut after the AMERICAN IDIOT number. I can’t wait to see the audience reaction when this show tours. You do have to admit it was a great song to promote the musical to the young masses.
So how does one get the stars of THE ADDAMS FAMILY—Bebe Neuwirth and Nathan Lane--on stage? Get them to present the Tony for Best Actor/Actress awards. Whoa! Shocker. Catherine Zeta-Jones winning Best Actress. I had my money on Montego Glover for MEMPHIS. Well, at least Douglas Hodge puts normality back to the awards by winning Best Actor.
10:35 p.m. Posting--
Great number by Matt Morrison! Really injected some zip into the broadcast. Can you say 2011 Tony Award host? Was Lea Michele auditioning for lead in the projected revival of FUNNY GIRL? Put a windscreen on the microphone.
You have to say one thing for Sean Hayes, he does seem he is having a lot of fun out there.
Question--how many Broadway producers can you fit on the stage of Radio City Music Hall?
You can tell time is running short so keep those acceptance speeches short or experience the fate of the LA CAGE acceptors
10:15 p.m. Posting--
Was that Sahr Ngaujah wailing on the sax at the end of the spirited number from FELA!?
Bill T. Jones, a deserving winner for Best Choreography for FELA! COME FLY AWAY, while great dance routines, I prefer dance within the context of a book musical. I thought it was interesting that PROMISES, PROMISES was nominated in this category since one of my big complaints about the musical was its lack of choreography. Interesting about the number they showcased--it takes place during the show’s overture.
10:00 p.m. Posting--
The opening snippets of musicals was a bit bland. I love the musical GREEN DAY, but their mini-concert, while highly entertaining, was just a bit out of place. Good pyrotechnics, though!
First award—Best Featured Actress in a Play goes to Scarlett Johansson. Didn’t she say she couldn’t think of anything to say? So why was her thank you SO LONG?
I think the way the Best Play nominees were presented—short, staccato commentary by the two lead actors/actresses along with a computer generated set of the show--was very well done. The two guys from NEXT FALL were hysterical. Give them their own network television show.
Was it just me or were you also getting more and more uncomfortable as Terry Johnson went through his acceptance speech for the Best Director Tony for LA CAGE AUX FOLLES? Between not looking at the camera and manhandling the award I thought he was going to collapse.
Mark Sanchez, quarterback of the New York Jets did an admirable job introducing the MEMPHIS production number. By far the best of the night—energetic, tuneful song that enveloped the stage. Too bad the other excerpts weren’t as lively.
I love Kristen Chenoweth. Great bit with Sean Hayes introducing Best Featured Actor in a Musical.
Catherine Zeta-Jones is beautiful and delivered a haunting rendition of “Send in the Clowns.”
Best Revival of a Play introductions—ditto from the segments for Best Play.
Sean Hayes started off his hosting chores slightly off, but as the evening has gone on he’s had some great jokes and bits.
Wednesday, May 19, 2010
Review of "Annie Get Your Gun" at Goodspeed Opera House
After one of the most lackluster Broadway seasons in recent memory, the arrival of the Goodspeed Opera House’s first production of the year, the Irving Berlin musical, Annie Get Your Gun, is a welcoming tonic. Like comfy food, pleasing and enjoyable, you know what you’re getting with Berlin’s biggest Broadway hit—a rousing, tuneful score and top notch performances.
The story follows sure-shooting Annie Oakley, played by Jenn Gambatese, as she rises from country bumpkin to world class star in Buffalo Bill’s Wild West show, as well as the sometimes tempestuous courtship with Buffalo Bill’s reigning sharpshooter, Frank Butler, played by Kevin Earley. As Oakley, Gambatese is a natural, exuding a winning charm as she morphs from unsophisticated country girl to the toast of New York society. Unlike Bernadette Peters, who starred in the 1999 Broadway revival, Gambatese is age appropriate for the part, which makes her portrayal more entertaining and believable for the audience. Peters was over 50 when she played the spry Oakley (and, yes, I know Ethel Merman was almost 60 in the 1966 Lincoln Center revival). Gambatese also has a beautiful voice that underscores the consummate Berlin score. And what a score it is—almost every number a gem -- “You Can’t Get a Man With a Gun.” “They Say It’s Wonderful,” “I Got Lost in His Arms,” “I Got the Sun in the Morning,” and “Anything You Can Do,” are just a few of the memorable songs Berlin penned for the show.
In addition to Gambatese’s performance, Kevin Earley is up to the challenge as the pompous, blusterous marksman Frank Butler, who slowly falls in love with Oakley. He has boyish good looks, a swaggering charm and a powerful voice. Other notable performers include Rebecca Watson as the scheming Dolly Tate and James Beaman as Buffalo Bill’s right hand man, Charlie Davenport.
The show’s sub-plot, revolving around the romance of the juvenile leads, Winnie Tate, played by Chelsea Morgan Stock and Tommy Keeler, portrayed by Andrew Cao, diverts a little too much attention from the main thrust of the production, but does provide the best dance numbers of the show by choreographer, Noah Racey. Unlike many past Goodspeed musicals, Annie Get Your Gun doesn’t lend itself to many large-scale productions numbers. Think of this show as having more choreographed flourishes.
Director Rob Ruggiero guides the musical with sure-handed ease. He skillfully allows the two stars to wrangle and good-naturedly spar on stage without too much interference.
Annie Get Your Gun, a crowd-pleasing triumph, at the Goodspeed Opera House now through July 3rd.
Saturday, May 8, 2010
Review of "Promises, Promises"
Promises, Promises was the first musical to make an indelible impression upon me. I don’t really remember much from the 1971 national touring production I saw in Washington, D.C. except I thought the Burt Bacarach/Hal David score was captivating and the lead was a young Tony Roberts. That’s it. However, my memory of that evening has continued to be been strong over all these subsequent years. Interestingly, for a show that was a big Broadway hit, playing over 1,200 performances, the musical has been rarely mounted. A surprisingly lackluster 1993 Goodspeed Opera House production was the most recent. So, when a Broadway revival, featuring Sean Hayes and Kristen Chenowith, was announced for this season I was truly excited. Maybe this time my expectations and fond memories would be rewarded.
The plot, taken from the Billy Wilder movie, “The Apartment,” centers on the topsy turvy life of a lowly office clerk, Chuck Baxter, played by Sean Hayes, as he pines for co-worker Fran Kubleik, Kristen Chenowith, while dreaming of climbing the corporate ladder. One asset he has—a one bedroom apartment that all the office bigwigs covet in order to carry out their weekly affairs.
While this latest incarnation of Promises, Promises is not overly satisfying, the production does have much to offer. First, and foremost, is Kristen Chenowith, as the forthright, yet vulnerable waitress/hostess, Fran Kubelik. Chenowith is always a joy to behold in her too infrequent stage appearances. While not always coming across as the young, defenseless girl trying to find love in the big city, she does exude enough vulnerability to make you believe in her character. And what a voice!
Tony Goldwyn is sickly sweet as Personnel Director, J.D. Sheldrake who preys upon the young, innocent females of Consolidated Life Insurance. He’s a conniving charlatan that would make the men of television’s “Mad Men” proud.
The score, the only theatrical output by the team of Burt Bacharach and Hal David, is bouncy and tuneful—just what you’d expect from the hit-making team. There are so many outstanding songs, which include the title track, “Our Little Secret,” “Where Can You Take a Girl?” “A Young Pretty Girl Like You,” and “I’ll Never Fall in Love Again.” The show’s producers, looking to enhance Chenowith’s role have added the Bacharach/David hit “I Say a Little Prayer” and “A House is Not a Home” to her repertoire. It’s a shame the two never wrote another show.
So, what about Sean Hayes? At first, I wasn’t too enamored with his performance as the slightly nebbish Chuck Baxter. I wanted more Tony Roberts or Jerry Orbach, who originated the role in the 1968 Broadway production. What we get on stage is a more heterosexual version of his Jack McFarland role on the television sitcom, “Will and Grace.” He’s a goofy sad sack of a character. It wasn’t until midway through Act I, when I admitted to myself that this is what the creative team wanted in the role, that I settled in to enjoy Haye’s antics on stage. Not a great singer, but someone with solid comic credentials.
My main problem with the show was, surprisingly, its lack of vitality. The liveliness was there during the overture as dancers slinked and shimmied to the music, but then all but disappeared until the rousing Act I ending, “Turkey Lurkey Time.” Sure, there flourishes here and there, but Choreographer Rob Ashford, as opposed to Director, Rob Ashford, could have done so much more. Likewise, I wasn’t impressed with Scenic Designer, Scott Pask’s more minimalist sets. Over the years I have been critical of sets that overpower a production, but here I thought more would have been better.
Director/Choreographer Ashford could have ratcheted up the tempo more in Act I, but does a much more admirable job in Act II, which is more melancholy in tone.
Promises, Promises, maybe more a period piece, but with some rousing performances and sparkling score, worth seeing.
The plot, taken from the Billy Wilder movie, “The Apartment,” centers on the topsy turvy life of a lowly office clerk, Chuck Baxter, played by Sean Hayes, as he pines for co-worker Fran Kubleik, Kristen Chenowith, while dreaming of climbing the corporate ladder. One asset he has—a one bedroom apartment that all the office bigwigs covet in order to carry out their weekly affairs.
While this latest incarnation of Promises, Promises is not overly satisfying, the production does have much to offer. First, and foremost, is Kristen Chenowith, as the forthright, yet vulnerable waitress/hostess, Fran Kubelik. Chenowith is always a joy to behold in her too infrequent stage appearances. While not always coming across as the young, defenseless girl trying to find love in the big city, she does exude enough vulnerability to make you believe in her character. And what a voice!
Tony Goldwyn is sickly sweet as Personnel Director, J.D. Sheldrake who preys upon the young, innocent females of Consolidated Life Insurance. He’s a conniving charlatan that would make the men of television’s “Mad Men” proud.
The score, the only theatrical output by the team of Burt Bacharach and Hal David, is bouncy and tuneful—just what you’d expect from the hit-making team. There are so many outstanding songs, which include the title track, “Our Little Secret,” “Where Can You Take a Girl?” “A Young Pretty Girl Like You,” and “I’ll Never Fall in Love Again.” The show’s producers, looking to enhance Chenowith’s role have added the Bacharach/David hit “I Say a Little Prayer” and “A House is Not a Home” to her repertoire. It’s a shame the two never wrote another show.
So, what about Sean Hayes? At first, I wasn’t too enamored with his performance as the slightly nebbish Chuck Baxter. I wanted more Tony Roberts or Jerry Orbach, who originated the role in the 1968 Broadway production. What we get on stage is a more heterosexual version of his Jack McFarland role on the television sitcom, “Will and Grace.” He’s a goofy sad sack of a character. It wasn’t until midway through Act I, when I admitted to myself that this is what the creative team wanted in the role, that I settled in to enjoy Haye’s antics on stage. Not a great singer, but someone with solid comic credentials.
My main problem with the show was, surprisingly, its lack of vitality. The liveliness was there during the overture as dancers slinked and shimmied to the music, but then all but disappeared until the rousing Act I ending, “Turkey Lurkey Time.” Sure, there flourishes here and there, but Choreographer Rob Ashford, as opposed to Director, Rob Ashford, could have done so much more. Likewise, I wasn’t impressed with Scenic Designer, Scott Pask’s more minimalist sets. Over the years I have been critical of sets that overpower a production, but here I thought more would have been better.
Director/Choreographer Ashford could have ratcheted up the tempo more in Act I, but does a much more admirable job in Act II, which is more melancholy in tone.
Promises, Promises, maybe more a period piece, but with some rousing performances and sparkling score, worth seeing.
Subscribe to:
Posts (Atom)