A Mixed Bag!

Five shows; three days. My kind of weekend. And such a mixed bag to report upon. Where to start? With the Good? The Bad? or the It-Was-Fun-While-It-Lasted?

Billy Elliot Wow! Really an amazing piece of theater. I sat in the bargain seats--there are about 10 seats for each performance that sell for a paltry $41.50--and they are in the last row of the theater in the mezzanine. Suprisingly, not a terrible seat as the theater is wider than most so not as deep (seats approx 1400, I think). I could see and hear everything beautifully.

As you may know, the leading role of Billy is shared by three boys that rotate performances. There is no overt way of pre-planning who you will see as the schedule constantly changes and is guarded closely. I was lucky enough to see Trent Kowalik, who already had played the part in London. (see bio here of all the boys: http://www.billyelliotbroadway.com/cast-creative.php?Billy )

There are few changes between the movie of 2000. Normally that bothers me, but here it didn't....perhaps because it wasn't already a musical...just a story about dance. Both the film and the stage version are directed by Stephen Daldry and both are written by Lee Hall, who has also created the lyrics. The music was composed by Sir Elton John. For a musical, the score left me rather non plussed. The singers, while apt, did not amaze. The true star of the show is the choreography along with the execution of it. (Congrats to Peter Darling) I've never seen movement that advances the story as beautifully as does this in a traditional musical. It is said that when a character can no longer SAY what he feels, he must burst with song and when song is longer enough, he must dance. Billy Elliot is the epitome of this way of thinking; I can think of no better example! I think that Billy Elliot could truly BE a ballet...except it might be odd to tell a story of folks that don't understand a boy dancing WHILE dancing. (Ok...maybe NOT a great idea. I can admit that.)

Some of my favorite moments were of dancing juxtaposition: The mine workers and the children; the police, the mineworkers and the dancers. Really very moving and visually stunning. I was truly enchanted.

There were individual performances that were amazing. Greg Jbara as Billy's Dad; Haydn Gwynne as Ms. Wilkenson the dance teacher, Carole Shelley as Billy's alzheimer-stricken Grandmother and Santino Fontana as brother Tony. I could see Tony nominations for any or all of these performers. Another shout out heartily goes out to David Bologna as Billy's cross-dressing, budding gay friend, Michael.

When there was joy is was exhaulted; when there was sorrow it was heartbreaking. A truly lovely piece of theatre...and so far the ONLY success story of the 2008-09 season. Unless 9 to 5 can kick some major butt....Billy Elliot has NO competition at the Tony Awards come June; but that's ok, because it soars.

Boeing, Boeing Winner of the 2008 Tony Award for Best Revival of a Play. A little farce. And when I say farce, I mean silly bit with doors opening and closing and close call and more silliness. Now starring Mark Rylance (winner of Tony Award for Best Actor in a Play); Greg Germann (Ally McBeal); Paige Davis (Trading Places); Christine Barnanski (too many things to mention), Rebecca Greyheart, Missi Pyle.

What a delightful way to spend an afternoon! Greg German has three fiances, all flight attendants, all thinking they are the only one. One is American (Davis); another is Italian (Greyheart) and the other is German (Pyle). They are all on different route schedules so it works out nicely for him. His atypical french maid (Baranski) helps keep things running smoothly. And they do until his school pal (Rylance) shows up. Naturally, the schedules fail and the friend is left to straighten things up....or at least not make them worse.

I'm glad to have caught this before it closes, all too soon. Laughs abound -- the healthy guffaw type of laughter that we all need!

What's That Smell? This new comedy has us a part of a studio audience as the host interviews imaginary Songwriter Jacob Sterling about his career and his unproduced b'way bound shows.

I enjoyed this show for the most part. I thought the performances were fun as was the spirit of the show. However, I felt that the show was simply based on a one joke premise. There was no where for this plot "to go". And I found it grew a bit tiresome...even at only a 90-minute no intermission running time.

I'd heard many wonderful things about the show, so perhaps my expectations were too high. If felt more like a SNL skit than a complete play.

Road Show
Music and Lyrics by STEPHEN SONDHEIM
Book by JOHN WEIDMAN
Directed and Set Designed by JOHN DOYLE

Stephen Sondheim. THE American Musical Icon.
Public Theater debuts Road Show, which spans 40 years from the Alaskan Gold Rush to the Florida real estate boom in the ‘30s. Road Show is the story of two brothers whose quest for the American dream turns into a test of morality and judgment that changes their lives in unexpected ways. Director John Doyle (Sweeney Todd on Broadway), acclaimed for re-imagining Sondheim’s works, joins Weidman and Sondheim in exploring some of the great American issues: real estate, capitalism and crooks. (The above is from the Public's Website)

Sondheim and Weidman have been working on this piece for near a decade. It's had several titles, most recently as BOUNCE.

I was truly intrigued by this story. I knew nothing about the Mizner brothers, Wilson and Addison, brilliantly played by Michael Cerveris (Sweeney Todd -- Revival) and Alexander Gemignani (Sunday in the Park with George -- Revival), respectively. At each turn, I was eager to see the story unfold, and was never a step ahead. There was an interesting combination of pathos and humor, of salty with the sweet. John Doyle is a master at directing, and does not disssappoint here. So carefully crafted, so beautifully executed. Sondheim is never simple, always sophisticated and fierce.

Sadly, this show closed the day after I saw it; but it was only scheduled as a limited run. I do not know what, if anything, the future holds for Road Show; but I would not expect to see it anytime soon.

Re-Write Oh, my friend, Joe Iconis. What can I say? Love you. (OK, don't know you well enough to actually LOVE you) Wanted to love Re-Write. Wanted to look forward to your next cd that is said to be getting made. Wanted to be able to look you in the eye and congratulate you. [insert loud sigh] Alas, alack, I cannot.

I was truly so incredibly looking forward to seeing this that I'm not sure where to begin. Three one act musicals performed in an evening. Simply put: this was not good theatre. The plots were too sophomoric, too simple, too full of stock stereo type characters, too loud, too obnoxious and all played by the regular "Joe Players". Joe writes what he knows...perhaps too much. When I watch his pieces and I know what's real and what's not; or why a certain line exists or what the reference is, it's just too much. Maybe Joe just needs to know....more. His pieces need to grow up with him. In one of the stories, talk goes on about many of his criticisms (see my list above) and rather makes fun of them....but maybe they are right.

I'm still a Joe Iconis fan....just not on this ride.

Upcoming reviews:
Closing night of Spring Awakening
Garden of Earthly Delights (off bway)
The American Plan (New with Mercedes Ruehl)
Becky Shaw (new)
Hair (On Broadway)
Hedda Gabler (FINALLY!)
33 Variations (Jane Fonda)
West Side Story
Wicked (Revisted, 5 years later)

Short and Sweet!

Really: it can be done!!!

Happy Holidays to all, be safe, be happy. Have a wonderful and relaxing vacation...we've ALL earned it.


Reviews coming soon (before New Years, hopefully) of:

Billy Elliot
Boeing, Boening
What's That Smell?
Road Show
Joe Iconis' Re-Write

Casting Festival

As I've mentioned before, "we" refer to the festival show as Varsity Drama. It's the most competitive audition we hold; the most intense production of the year. Certainly, there are some kids that hold the musical more near and dear to their hearts. But this is THE show. USUALLY the smallest cast and the show that gets the most "public" attention since it IS competitive and awards are given. It is MY favorite production.

This year just over 50 kids auditioned for 16 to 22 parts. Truth be told, I was hoping to keep it closer to the 16; but that just didn't happen. The play were are producing, Things Fall (Meanwhile) by Barton Bishop, is the truest form of an ensemble piece that could be written. Yes, many of the 40 roles are only 2 to 5 lines each, which is why the ensemble plays multiple parts. Even the "single" parts are not overwhelmingly "huge". The cleverness of the play relies a great deal on the intertwining of several concurrent stories. It actually reads more like a movie...moving in and out of various places in various stories.

About half the students make the callback list, which makes many happy and many walking away from the list sad. It was a bad year for freshman as none of them made it that far. To be honest, it IS rare for freshman to make it that far in the process not BECAUSE they are freshman, but because they simply do not yet have the experience, ability and work ethic to truly compete with the older kids. However, in the last few years there HAVE been one or two that at least MADE callbacks. On the other hand, there are seniors that don't make callbacks, too. It isn't an automatic thing by any means. I keep telling the kids how rare it is for ANY student to be cast in all four of their festival shows. I'm pretty sure in my tenure, I've only had one. Currently, no one is even eligible for that honor. I know there have been kids with huge leads in the musical that don't make festival.

Once callbacks were over, I really, REALLY avoided the task at hand. I knew it was going to difficult to cast (and more difficult to cut) and I simply didn't want to face it. This casting was more difficult to cast than any in recent memory. (Possibly of all time.) Usually once one or two of the major parts have been cast, everything else falls in place and just "fits" (remember the puzzle analogy from the Millie casting?). But since there weren't TRULY any major parts, this just wasn't happening. I talk all the time about actors being "right" for the part; how the best actor is not always best for the biggest part. I was looking for the "right" choices to become evident. And then I realized: the ensemble parts are SOOO open to interpretation and character choices that there wasn't necessarily "right" choices so much as choosing the people that were indeed simply the strongest actors -- those truly adept at creating CHARACTERS, those that would look for ways to be sure each character they were playing was distinct from the others, and full and complete. There were really about 6 or so roles that had to be the "right" fit.

At the end of auditions, I was only certain about two parts. And only 100% sure about one of those. I had multiple names in many individual parts. Additionally, there was even ONE part I couldn't seem to find any name to put next to it. And, sadly, there were the names that simply weren't landing anywhere. Harsh reality. I even added a few non speaking parts, which I normally hate doing. Festival requires an intense commitment...and committing to be a non-speaking "extra" is a tough thing to ask. The good news: those folks will be called upon to both create physical uses of themselves when necessary...and I'll put that in their hands as well as if anyone DOES have to drop out of the show, we'll already have folks familiar with the show to be able to step in. (In this day and age, there are academic responsibilities that must be heeded or students cannot participate in extra-curricular activities. The bizarre connection with that: in the last three years we have gone to State Finals twice...both shows had a replacement actor!)

Finally, the deed is complete. I type, I print, I put away for school the next a.m. About 3 minutes from work the next morning, I realize I never put my schoolbag IN my car....and panic momentarily as I remember that I did indeed also EMAIL the list to myself! Whew. The list goes up. I hear squeals; I see sad faces. I ask around to find out if anyone is terribly upset. At first the word is good. But it quickly disintegrates. I won't go into details but there is indeed a few folks terribly upset; some even in tears. Have I mentioned I'm not good at tears? Mine or anyone else's. Even my kids. I'm a horrid woman, through and through. And it's not that I don't understand what they are feeling, even though I only remember crying at one cast list myself. (And that was when after FIVE callbacks for the role, I lost the lead to a Moliere play because I could play comedy and the other girls couldn't so I got a one scene comedic role while she walked away with the female lead. Oh, and she made PHIL sandwiches and baked him cookies.) I try to speak to those I'm aware that are upset, but am not sure if I'm really the person they WANT to be talking to at the moment. I hope I am of some comfort, but seriously doubt my effectiveness: what they are feeling is emotional and not logical.

Monday is our first read thru and only rehearsal of 2008. Tech theater class will begin creating the sets this week. Even with all the turmoil, I'm excited to get started...I'm happier when "in production".

Happy Holidays to all!

It's always something! (ten points to whomever knows that reference!)

More closings.

Grease -- can't say I'm sorry about this one, as the show...well, sucks. Granted, I don't like the show under the BEST of circumstances but this was like seeing a HS production. Don't get me wrong: I LOVE HS productions...particularly good ones, but I don't want to spend over a hundred bucks a seat to see one! And please, no lectures on me being a horrid person being glad that the closing has put many out of work. I'm not glad for the individuals...just getting dreck off of my beloved B'way. (and yes, I realize there are people that loved this show...I am not friends with them.)

Boeing, Boeing winner of the 2008 Tony Award for Best Revival of a Play. Hadn't seen it, but thanks to the Christmas week special performance schedule, I now have a ticket!

I say on Jan 4th (the night the lights go out on B'way) we all hold our own private candlelit vigils. I am truly saddened...even with all the new shows planning to come in.

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But new beginings as well on a personal nature: Even though we closed our three night run of Thoroughly Modern Millie less than two weeks ago, today we started our next "mainstage" production. We had our 'festie' meeting which is just me rambling about what the experience is like and giving all of the commitment dates and other important stuff. The room was PACKED!

The funny part: I started having "meetings" about Festival when I didn't work in the building. I couldn't talk to the kids about the show during the school day, so we created the "meeting". I forgot that. Now I'm IN the building...and scheduled the meeting ANYWAY. OY. What was I thinking? I said that to one of the classes and someone replied: but you should keep it...it's a great way to start fesie off.

Now on my white board there is a countdown of how many HOURS until the first rehearsal of festie starts! I thought that was pretty funny! I think that's one of the things I love most about my job. The enthusiasm youth has. It's beautiful and inspiring. And keeps me young...but adds to my gray hair count. (Yes, I know how many I have. Not.)

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As for my annual Christmas Pilgrammage to Manhattan: A whirlwind couple of days of seeing shows and catching up with friends and being in my element.

On the line up:
Billy Elliot -- I am SO excited to see this...even from the crappy 41.50 seat I have.

Boeing, Boeing -- When the closing notice was announced, I flew my fingers over the keyboard to get tix!

Re-Write 3 one act musicals written by the one and only Joe Iconis (Black Suits; The Plant that Ate Dirty Socks, Things to Ruin) and starring the usual Iconis Crowd

Road Show, the new Stephen Sondheim musical. I'm all a twitter over this one too!

Believe it or not, I still have one spot open (and I'll only be there Thurs thru Sat!!! I holding out hope that Playwrights Horizon will extend Jonathan Groff's play: Prayer for My Enemy; but it's not looking too good. I'm just dying to see Groff truly act...because I'm not sure if he can. I hope that he can. He's got to be the luckiest young man in Manhattan in a loooooong time. Not only did he land his first b'way show in freakishly a short amount of time; but the boy hasn't been out of work since. He even got to TURN DOWN reprising his role in HAIR as it comes to B'way! Something about previous commitments! No one seems to know what they are, and he won't answer my emails about it. I'm kidding...he always answers them. (kidding again, I haven't talked to Groff since Hair way back in August. That one's true.)

Oy. I'm silly.

Closings

For those involved in theatre: Endings stink. For all those involved. You put so much of yourself into every moment. The closer the production is, the more of your life that is immersed, the more of a family everyone is, the more fun is had....and then: it's over.

As a director (and probably as an old person) I am no longer "affected" by the closings. But that is probably because it is "over" for me before it is those involved. Once we go up, it is no longer my show. It belongs to the kids: in the cast, the crew, the orchestra. During our three night run of Thoroughly Modern Millie, I only ventured backstage twice: once to check on an injured dancer and another time to check on an actress that was upset over a missed cue and wardrobe malfunctions. (OK...I WAS there before the show, during intermission and at the end....but that doesn't count.)

To lessen the blow of closing night, I announce the next "mainstage" productions. I'm actually already fully immersed in them. Three class one acts and the show we take into competition will develop simultaneously. There will most likely be overlap between casts as well. As long as I've SOMETHING to be working on, I don't "jones". (I don't even know who knows what that means anymore!) The announcements were met with positive reactions...even the show that no one's ever heard of.

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The closing announcements on B'way continue, and I STILL expect a few more to fall. The shows scheduled to close now include:

13 - 1/4/2009
*All My Sons - 1/11/2009
American Buffalo - 11/23/2008
Dividing the Estate - 1/4/2009
*Equus - 2/8/2009
Hairspray - 1/4/2009
*Irving Berlin’s White Christmas - 1/4/2009
*A Man for All Seasons - 12/14/2008
Monty Python’s Spamalot - 1/11/2009
*Pal Joey - 2/15/2009
The Seagull - 12/21/2008
*Speed-the-Plow - 2/22/2009
Spring Awakening - 1/18/2009
Young Frankenstein - 1/4/2009
Gypsy - early 3/2009

* = PLANNED Limited Engagement

It would not suprise me if some of these end up closing earlier then posted...it's happened often lately.

Add that to the frightenly DISMAL list of shows ALREADY closed since the TONY Awards:

Cry-Baby: June 22, 2008
Cat on a Hot Tin Roof: June 22, 2008
Curtains: June 29, 2008
*Sunday in the Park with George: June 29, 2008
Top Girls: June 29, 2008
*Les Liasins Dangereuses: July 6, 2008
November: July 13, 2008
*The Country Girl: July 20, 2008
Passing Strange: July 20, 2008
A Catered Affair: July 27, 2008
A Chorus Line: August 17, 2008
Thurgood: August 17, 2008
*Cirque Dreams: August 24, 2008
Rent: September 7, 2008
Xanadu: September 28, 2008
[title of show]: October 12, 2008
Legally Blonde: October 19, 2008
A Tale of Two Cities: November 9, 2008
*To Be or Not To Be: November 16, 2008

* = Planned limited run...but some ran shorter OR longer than originally planned.


Sigh. 'Tis sad.

Opening Night!

Well, it's finally here. After weeks of creativity, disappointments, frustrations and rehearsals...it's opening night for Thoroughly Modern Millie.

The school has suffered a horrid setback. A much beloved staff member was tragically killed in an early morning car accident. The school was in a fog all day, either people were personally affected by the news or KNEW someone that was in pain over the accident. And of course, during it all: still work to be done.

I am not one that outwardly handles grief well. I deal with things by working. On anything. In this case, I had a set to finish. I had technology to fix. I had a million things to take my focus from the sadness. The strange thing for me: I will cry like a baby when moved by literature, art, theatre. Reality? Cannot deal. Which is why theatre works so well for me. I am the living example of how catharsis actually works. (Look up the word: catharsis. It'll be worth your time.)

In spite of everything our final dress rehearsal on Tuesday night went truly beautifully. The orchestra has truly mastered incredibly difficult music and sound wonderful! The backstage crew, which has an incredibly large and cumbersome set, has gotten total of control of things. The actors have truly created some wonderful characters and can sell the hell out of their songs. My light and sound crews are feeling the show. Even the technology worked well. (After all my worries...the translations were actually an easy fix.)

I have surprises for the cast over the next few nights. I can't divulge all the info since some of them check out this blog (which I love!) The culminating surprise is that I will announce not only the title of the next show (the piece we take into competition) but the spring play. (Usually only the NEXT show is announced.)

Break a leg to all the students involved with Thoroughly Modern Millie!!!

A Drama-ful Weekend

Day-um it was good to be back in the city. It'd been almost 2 months, and I forget how "at home" I feel there. The weather was gorgeous....as was the company, the food and the frolicking.

I suppose we'll take this in order of the Good, Better and Best.

Farragut North, off b'way, the Atlantic Theater Company, still officially in previews. This political drama is written by Beau Willimon, directed by Doug Hughes and starring John Gallagher, Jr.,(Spring Awakening, Port Authority) Chris Noth (Law and Order, Sex in the City).

The plot is timely taking place during the earliest of primaries in Iowa, during a presidential campaign. It deals with the behind the scenes look at wheeling, dealing, manipulating and backstabbing of running a political campaign. While it IS a work of fiction, much of it is based on truths.

First the bad: I simply HATED the costuming. THis is a PRESIDENTIAL election and everyone is dressed like a schlump. Drove me nuts. The promotional materials are misleading...all the talk is that a sex scandal rocks the boat and puts the boy wonder's (Gallagher) career in jeopardy. It doesn't. Yes, there is questionable sex but not only is NOT innappropriate, it is NOT a scandal. So watching Act I you keep thinking: when is this going to turn? There are parts of the plot that are too "pat" and made me roll my eyes. I was not overly impressed with ANY of the actors. I didn't dislike any of them, just not wowed by them. (and I'm a BIG fan of John Gallagher, Jr.) I thought most of them OVER-acted for the space (the Atlantic/Linda Gross Theater is TINY.) I also found a lack of depth in the character portrayals. Since these "faults" pretty much hit all the actors, I place the blame on the directing. Not inventive, not complex enough.

The good: The story is terribly intriquing. I love a plot that makes me think and this one certainly does. Although I am not sure how it would be rec'd past January. (There is "talk" that there might be interest in moving it to B'way....I'm thinking they shouldn't...I don't think there will be enough interest.)


Speed The Plow, written by David Mamet, directed by Neil Pepe, starring Jeremy Piven (Entourage), Raul Esparza (Company, The Homecoming) and Elisabeth Moss (Mad Men). I believe this production marks the 30th Anniversary of STP.

I really like this production. I really like Mamet. I REALLY love Raul. Which is good, because it is SO his show. Piven is mostly very good, however, it was discerning that this far into the run he's still going up on lines and momentarily losing himself. I found his strength to be in the third act when his character is at his lowest status. Sadly, his character here is very much the character he plays in Entourage. I don't mean this as an acting mistake....the choices he makes really make sense for both characters.

Moss is "ok"; but I have a sneaking suspicion that it might be more the fault of the character than actress. Without providing "spoilers" I don't see the turning points in her journey. I love the reason for this third character I just don't feel she is fleshed out as completely as the other two. She needs to use her strength at some point.

And now Raul. Wow. He is beautifully subserviant, nervous and neurotic in ACT I. His physicallity and energy pushes the edge of over the top, but he gracefully reels it back in, just when necessary. You are left delightfully unawares and unsuspecting of his Act III catharsis. He is quite brilliant. I smell a Tony Nomination! (Maybe this time, Raul!)

Sets....very nice and they worked well...my only realy complaint is the set changes. The only reason they are as long as they are is to give the actors time for costume changes. The set is automated which would be neat to see. However, since it's a play about getting movies made, they decide to use a stobe light and annoying noise to simulate a movie being played. But it gave it more a film noir feel. Costumes were impeccable, too.


EQUUS by Peter Schaeffer, Starring Daniel Radcliffe and Richard Griffiths. Wow. Wowee wow.

Art.
Pain.
Beauty.
Love.
Loathing.
Family.
Religion.
Sex.
Horses.

This play is near and dear to my heart. While I had never seen it produced; I had done extensive work on it my senior year of college. This is a transplanted production from London and it came with glowing reviews. I was hoping for the best, and trying not to let my expectations make for unobtainable goals.

A quick overview of the plot: An overworked, unhappy and unfulfulled psychiatrist takes on another patient. The boy is Alan Strang who has viciously blinded six horses at the stable he works. (BTW, The event itself is true, the story is not.) We meet the people closest in the boys life both in flashback and during visits to him and the dr. at the hospital. It is obvious from first meeting Alan that he is a truly disturbed lad.

The set immediately strikes you. (Can I just say I do not miss the act curtain at all??) It is stark and ominous and immediately sets the dark mood. The basic feel is that of a horse barn complete with stalls. At center stage are four rectangular boxes set askew, which become all the necessary furniture throughout and is simply flipped and turned by the actors. Adorning the walls of the stable are six horse heads, made of metal and leather. They are striking. I want one; not a life size one, but a desktop version -- dont' know why they don't sell them. These life size horse heads are adorned by the actors that will symbolize the horses.

The actors:

Let's start with the one most are curious about Daniel Radcliffe. For the most part, I thought he was spot on. It is difficult to play a tortured soul, it is difficult to portray such viciousness and soulessness and, let's face it, it's hard to portray ANYTHING naked. (but only for about 20 minutes, not the entire time.) Radcliffe is certainly dedicated and up to the challenge. I found him quite connected to the work at all times, and indeed, there were many moments where I thought he was truly fascinating. Harry Potter is all grown up and I look forward to seeing where else he allows his career to take him.

Two other actors that I was in awe of were Carolyn McCormick (Law & Order) and T. Ryder Smith as Dora and Frank Strang. McCormack had me in tears for the first time of the evening...all that failure as a mother type stuff! Smith is a dislikable character at first, but you come to see that he simply represents human fraility. Just wonderfully. (Got to chat with him briefly after the show. So earnestly pleased to be a part of this producion and on B'way.)

The movement/choroegraphy of the horses, in general, and of Lorenzo Pisoni (in the dual roles of Nugget and the Young Horseman, in particular, was stunning. I was suprised to find out that they were not present the entirity of the show. At the very opening of the show, they don the previously mentioned horse heads and are human no more. On their feet are these gloriously crafted horse hooves which help provide a horselike gait as well as the visual of the hoof.

I have saved the best for last in Mr. Richard Griffiths. (Not a "Sir" as of yet, but I can't imagine what the queen is waiting for.) This could possibly be my favorite male performance to date. Martin Dysart is never off of the stage and the story is driven by his observances and insecruities. The man is simply brilliant, he doesn't have a single movement that is wasted, every eyebrow lift is placed impeccably and deepens and furthers the story. His focus is perhaps the most beautiful I have ever seen. Mr. Griffiths was simply mesmorizing. At times, I literally could NOT take my eyes from him; and I tried.

More than a fare share of credit must be given to director, Thea Sharrock. It seems so effortless that it is practically etheral. I almost feel manipulated (in a good way) to see only what she wanted us to see. I never had a choice in what to see...I always was looking at the most important and interesting thing available.

As a whole the show is simply impeccable. For me, it achieves the greatest of theatrical goals: true catharsis. I was so entirely and emotionally drained that I (if you could possibly imagine) was rendered speechless. I truly could not find words to express the beauty and poetry that had unfolded before me.

It's been a while....

Busy, busy, busy....

Some random things piling up:

1. Spring Awakening has joined the throng of shows announcing their closing. While I saw it coming, it still saddened me...more than I thought it would, actually. Luckily -- thanks to a truly great friend -- I currently have a ticket to closing night. Don't know if I can use it...but it's great to know its available if I can make it.

Rumors are that much of the original cast will be there for the closing as their schedules allow. I'm supposing that means those out on the tour that appeared ON B'way: Blake Bashoff, Kyle Riabko and Matt Shingledecker would NOT be included...which is kind of sad.

It had a great run, set records by re-couping it's initial investment in only 8 months on b'way and had a profound effect of so many people. Personally, I have some lovely and lasting friendships because of it: and you know who you are and why. And gads of memories...which will keep me laughing when I am old and gray. (Ok, old-er and gray-er.)

2. I'm sadly confident that there will be several more closings before January comes to an end. My guesses: Avenue Q; Mary Poppins; 13; Young Frankenstien and possibly A Tale of Two Cities will all get the ax. Here's to hoping that I'm clueless.

3. On the encouraging side: I have heard NOTHING but wonderful reviews of B'way's newest musical, Billy Elliot. Based on the movie of the same name, this West End hit of two (?) years has crossed the pond. I had a chance to see it this weekend, but opted for a musical free weekend. I am now busy kicking myself in the behind. (Although I couldn't tell which play I'd sacrifice...)

West Side Story, although the casting has been bizarringly hush-hush, supposedly began rehearsal today for their DC "try out" which opens mid-December. It hits NY late Feb and opens late March. (I'm so thrilled that my students scored tix for this for their annual NYC trip in March.)

Stephen Sondheim, 78, has a new musical opening on 10/29 at the Public Theatre. ROAD SHOW. I believe I will see it over the winter vacation. Mr. Sondheim spoke of it during a public interview this past Friday at Northeastern U. He was gracious, generous and a true delight to listen to. I was mesmorized by him. From Playbill.com, Road Show in a nutshell: "Spanning 40 years from the Alaskan Gold Rush to the Florida real estate boom in the '30s, Road Show is the story of two brothers whose quest for the American dream turns into a test of morality and judgment that changes their lives in unexpected ways." It might not SOUND amazing, but it's SONDHEIM. So, even if it's just AVERAGE....that's still damn good and thought provoking in Sondheim terms.

4. For those of you that haven't caught this super silliness, Please RUN to www.drhorrible.com for a real treat. (And keep an open mind.) I started to watch this as the webisodes first started airing but didn't keep up with it. A student (thanks Andy!) reminded me of it and burned a cd of the music from it. I'm SO in adoration with the Whedon Bros and Mr. Hammer and Dr. Horrible and in love once again with Neil Patrick Harris (you remember him: Doogie Howser? Who didn't crush on him way back when?)

Which brings me to a question: Neil -- when are you returning to B'way? Please.



Whew. Promising another post next week after my weekend of non musicals! Stay Tuned

Casting Thoroughly Modern Millie

Well, the deed is done. After sign ups, auditions and callbacks: a cast list has been made and posted. We even got in a few scant rehearsals. All is good.

For those that have never been part of the casting process, let me assure you: it is not fun. My best analogy for the casting process is a huge jigsaw puzzle...where every piece fits....but you have no picture to guide you. Then add to it that you are casting high school kids and mix into it how well you KNOW most of them and how much it means to many of them: it turns into a hot mess of sleepless nights. Truly. I never sleep better then the night AFTER a cast list is posted.

There are always a few you worry about for a variety of reasons: will they be upset to have gotten a smaller part than they hoped? Will they be anxiety ridden upon finding out how big of a part they have?

Is part of "show biz" learning disappointment? Naturally. But as a public school educator, I am always concerned with the whole student. And to be honest; it is more important to me to keep their love for theatre alive, along with their drive to create than it is to teach them about the harsh reality of life. Don't get me wrong...I cast the best show that I can (and I can say that in 15+ years of casting, I have only doubted ONE decision). I just worry.

This is the first year I've had to be physically present at the high school when the cast list was posted. Previously, my (newly retired) colleague would put up the list while I was safely hidden at the middle school. In all honesty, it wasn't as bad as I'd thought it might be. In fact, watching what seemed to be true joy for friends that had fared well was inspiring.

I haven't heard of any tears or anger...and I am always certain to ask around. Most of the feedback seems really positive. I'm always willing to talk to a student that needs to. I don't mind if kids are dissappointed...it just means it meant a lot to them. Tears? You can't help how you feel. I think the "getting over it" is more important than the initial knee-jerk reaction.

Millie is an odd musical: MANY more roles for the girls than the guys. And even the parts for the men are less visable then their female counterparts. Once you get past the leading roles the pickin's are slim. Most of the men's remaining are one or two liners. Which left a lot more disappointed guys then girls. (From a purely sexist point of view: it's about time!!)

Close-tastrophe!

So sad on the Great White Way. In less than ten days THREE b'way shows have announced their closing. Perhaps sad isn't the right word. I'm not one to get emotional over the closing of a show, but it seems so fast to resort to closing.

TITLE OF SHOW. Not suprising as it has not been able to fill their theatre past 50% capacity since the second week of their (very) short run. An adorable show, but I always felt it was really an "off b'way" show and would never truly be able to make a go of it on B'way.

XANADU. This one DID suprise me. Having Whoopi in a role really proved that with stunt casting, this show COULD pack in an audience....so why the push to kill it? Then, to make matters worse...they CHANGED the closing date: BY TWO WEEKS! Uncanny.

On a personal note....I had somehow secured stage seats for my kids and I for Oct 4. They were SO excited, and couldn't wait to be on stage. I was excited for them. How disappointing to have to tell them we wouldn't be going. There were tears, and it simply wasn't pretty.

I'm GUESSING that the Helen Hayes Theater has a show that is already coming in...and made it worth their while for them to exit before the first of the month.

LEGALLY BLONDE. A truly delightful and entertaining show. (As much as I don't want to admit it, the true guilty pleasure!) There had been rumors that this would be exiting the Palace Theater to make way for West Side Story in early 2009. No official announcement about that.

Best wishes to the casts and crews of these shows and may they find work knocking down their doors!

Off Broadway is Alive and Well. (So is Jacques Brel, apparently.)

This past Saturday I had a whirlwind day down to Manhattan. (From Boston, for those that don't know.) First: Another inexpensive way to get there...ta-dah! MEGAbus. Not as cool as BOLT, as there is no internet. But clean, guaranteed seating and expedient.

First off: Mandy Patinkin in William Shakespeare's The Tempest at the Classic Stage Company, a delightfully intimate theater.

Upon entering you are visually you are struck by the stage. (Designed by Jian Jung) The seating is arranged in a modified thrust setting and you see only two things: a large square of sand over which hovers a HUGE platform suspended from the ceiling at an angle. On one side is a beautiful painting of clouds; the other side is pure whit with a model ship attached to it. All four corners of the platform are attached to pulleys from which the hardworking stage hands (interns, I'm sure) adjust and manipulate the vision.

Overall, I truly enjoyed the production, but I must warn you: I am a HUGE Mandy Patinkin fan as well as a lover of Shakespeare. Add to that that Patinkin actually SANG was just icing on the cake. Did I LOVE it...no. Do I encourage/reccommend seeing it? Certainly.

As another reveiw stated: Mandy was Mandy. His big, bold and intense gruffness was fitting and he certainly commands any stage on which he enters. But I wanted MORE out of his Prospero. I wanted to see....doubt? insecurity? disbelief? concern? I only got a two dimensional Prospero, sad to say.

There were several absolute stand out performances for me. Bhavesh Patel (Boatswain/Adrian/Male Sprite) was truly riveting to watch no matter which part he was undertaking. His depth of character in addition to the contrasting choice he made BETWEEN characters was stunning. His eyes were so intense and I felt him to be 100% dedicated.

The suprise and most remarkable performance, for me, came from Elisabeth Waterston (daughter of Sam) as Miranda. First let me say her beauty is unconventional and striking. Her Miranda was so heartfelt and subtle, that you almost feel as though you are eavesdropping or spying on her private life. She could, perhaps, be the first actor that I felt compelled to watch that was sharing a stage with Patinkin. She LIVED in the moment, and Miranda's joy at seeing actual "people" was more delightful than a single moment should be. I look forward to her future career immensely.

And may I GLEEFULLY mention Fela! Playing at 37 Arts. It was recently extended and rumors are that it is looking around for a B'way house. The sign at the box office, however, said that the entire run is sold out...but it can't hurt to try! And I HIGHLY reccommend that you do. Quite the experience. Intimate, big, lively, spiritual, angry, encompassing.

Written, directed and choreographed by (Tony Award Winning) Bill T. Jones, Fela! is full of love, admiration and heartache. The production is more like a one man show with back up, as we are guided throught the life and times of activist/musician Fela Anikulapo Kuti of Nigeria. The costumes and make up are beautiful, sensual and tribal as seen on Kuti's "queens", that compose much of the dance and energy of the production.

SAHR NGAUJAH as Fela Kuti is practically mesmorizing as he commands the stage. His warmth, humor and energy permeate the entire theatre. If Ngaujah's portrayal of Kuti is even remotely accurate of the man, he is indeed someone I'd like to have dinner with. His level of comfort breaking the fourth wall as well as dealing with the sensitive language and situations is unbelievable. Here is another man who has an amazingly bright future on Broadway.

You can feel the spirit of all those involved and how much this production means to them. Very simple lines of dialogue could bring a tear to one's eye. The simplicity at times was staggering. I understand that many aspects of Kuti's life are underexamined within the book...but as an audience member that only knew of the premise of his life, I did not feel cheated. Rather I spurned on to research and learn more about the man and his music.

I find it difficult to put into words many aspects of the show as it is almost etheral. I found myself holding my breath at times from the beauty and at other times I was truly horrified at the events unfolding.

SHOULD this be a full fledged Broadway show? I am not sure...and worry that it might suffer the same result as {TOS} in a less intimate setting. WOULD I go see it again should it make its way to the Great White Way? In a heartbeat.

On one hand....

There is good news that makes me beyond joyful. Hair is OFFICIALLY opening on B'way early 2009. No cast or theater named...but I would suspect that MUCH of the current cast will jump at the chance to stay with this. Since it would only be a short time before they went into rehearsal again, they'd be back on a payroll pretty quickly.

Jonathan Groff MIGHT be available; he had to leave HAIR before any of the extentions because he was (is?) filming with Ang Lee (a movie about Woodstock). But he also has a commitment with Playwrights Horizon (love that place) to star in A Prayer for My Enemy scheduled to open Mid-November. (limited engagement) Will he be done in time? Does he WANT to work non stop? Knowing him: definitely. Maybe he'll get another TONY award nomination? Could be....who knows....?


On the other hand...some NOT so great news...but common enough....To Be or Not To Be has postponed their opening again. But not by very much, a few days...which probably means technical difficulties.

Just some info for the locals....

Wow...the Lyric Stage has a truly notable season coming in.

While I don't know what I'll actually get to see here's what I'm hoping for (and encouraging YOU to try to see)....

FOLLIES (This is an amazing Sondhiem musical, so haunting!) It makes me shake my head to remember that my first experience with this show is being cast as Hattie when I was only 17. Wonderful song (Broadway Baby), RIDICULOUS casting.

THE YEAR OF MAGICAL THINKING I never had a chance to catch this in NY.

CAT ON A HOT TIN ROOF One of Tennessee William's most passionate plays dealing with love, marriage and homosexuality.

SPEECH AND DEBATE This was one of my all time favorite Off B'way Plays. It was a sleeper hit in NYC last season. Second Stage premiered this lovely 3 person play and it ended up being extended two or three times due to its popularity. The basic story involves 3 high school misfits that band forces when they realize a dark thread they have in common. Quite the dark comedy, I won't be missing this.

GREY GARDENS An off beat and bizarre musical that garnered a huge following the short time it was on B'way. The story (based on a documentary of the same name -- I think) tells of the eccentric lives and downfall of two of Jackie Kennedy Onassis' cousins. Phenominal story telling, interesting music....and it shows how different a musical can be.

Tickets for all of Lyric's shows are currently being sold. Go. Buy. See. Share.

And of course, lots of stuff coming in for Broadway Across America: Boston
(Sadly, two shows I was really excited about (Pre NY try outs) have been "postponed", which in professional terms usually means CANCELLED: Brigadoon and Harry Connick, Jr's Nice Work If You Can Get It.)

My picks:

A Chorus Line (but only if you haven't seen it before, the revival did NOT live up to the original for me.)

Legally Blonde Just a FUN, lively and PINK show that will keep you smiling and singing!

How the Grinch Stole Christmas But JUST for the younger kids!

Chicago Always fun to see, but a little risque....but I think FUNNIER than the movie.h

Frost/Nixon Stacy Keach? OH MY! Political Drama

Movin' Out Billy Joel music. Twyla Tharp choreography. A beautiful ballet.

Spring Awakening High school students and up: GO SEE THIS. Just don't sit with your parents! This is an important musical to see, but it is NOT for everyone. If there were "ratings" for stage shows, this would be rated R...but since it is live the sexuality is much more raw and intense. While stage seating is available...spring (no pun intended) for house seats unless you've seen it before.


Just as a side note: MANY of these shows are not yet on sale. Just keep an eye on things.

The Theatre Blogger's Creed
From Sister Sarah, with Father Kevin:

I believe in Rodgers & Hammerstein, the almighty, creator of musical theatre heaven. I believe in Stephen Sondheim, their only Son, our Lord. He was conceived by the power of the composer and born of the Divas. He suffered under the critics, was crucified, died, and was buried. At the the Tony Awards he rose again. He ascended into theatre heaven and is seated at the right hand of the Fathers. He will come again with a revival and will judge the living and the dead ticket buyers. I believe in the original cast recording, the holy revival cast recording, the Tony Award, the forgiveness of critics, the proliferation of the Divas, and the eleven o’clock number. As it was at the overture and shall be at the exit music, bliss without end. Amen.

And another school year begins...

Let me start by saying the first week of school
is ALWAYS the most difficult one. Suprisingly, even more difficult than the last. The early starts (even though I am naturally a morning person), the routine, getting your BRAIN back in gear...all more difficult than most can imagine....for me AND for the kids. Oh...and it's been unseasonalbly hot and humid as hell--my room is a sauna....with windows that are 10 feet off the ground and unusable. (Supposedly, there is a "stick" to open and closes them...but no one knows WHERE it is.)

And I'm short. I mean REALLY short. I've always KNOWN that, but now I'm smacked in the face with my shortness. Like every MOMENT. No matter where I look...there is tallness. Just a few years ago, they were smaller than me or at least still I was able to look them in the eye without having to fight being blinded from the ceiling lights!

I am utterly and joyfully exhausted as the week has been a whirlwind -- in the best of ways. I cannot begin to explain how different the energy is at a high school vs. a middle school. I am lost and and I am found. (And if THAT doesn't sound overly dramamtic, what does?) But it's true....I'm home. (Couldn't resist another platitude.)

In case you NEED a reason to watch Conan O'Brien

One of my absolute FAVORITE bands will be performing on Conan on FRIDAY, August 29!!

Please tune in and enjoy the musical love that is The Spring Standards. I've been following the band (formerly Old Springs Pike) for almost a year now. While former member and Tony Award winner Johnny Gallagher, Jr. left the band back in January (which was a few tumultuous and emotional weeks for all involved) the band re-grouped slightly and has come back stronger than ever, just having released their first EP a month ago.

They are a folk rock 3 part harmony group that plays with the intensity of a punk rock band....if that is at all possible. Their sound is AMAZING and their music/lyrics are even better. You can most definitely search YouTube to start gathering MORE of their music and see them rock out!


Please meet: James Smith, Heather Robb and James Cleare. They make beautiful music. And they've written so much NEW music since the cd came out, that I'm ready for the next one!

A Teacher's Summer Ends

I know, I know. No one wants to hear a teacher complain about going back to work in the fall. After all, here it is August 26 and I haven't "officially" been to work since June 15 (approximately). Well, that's not true. I did get paid to go to work for one day to train my replacement. AND...I did put it another four unnoffical days, meeting with drama officers to put out a mailing for the incoming freshmen, putting up 3 bulletin boards (I haven't put up a bulletin board for about 13 years!), organizing, prepping and only god knows what else. This does not include the time at home I've put in all summer to get ready for this point.

And I STILL don't feel ready for tomorrow. Ok...tomorrow isn't a day to be ready for, really. There won't be any students. In my district, teachers put in what's referred to as two "in-service" days. Which translates to meetings coming out of your wazoo combined with SOME time to get work done. Since this is my first time at the meetings at the HIGH school level...I'm not even sure how much of which time I do get. I do know this:

Wednesday AM....District-wide meeting.
Wednesday AM....Secondary Department Meetings (English for me)
LUNCH
Wednesday PM....Open for working (as far as I know)
Thurdsay AM.....School-wide Meeting
Thursday AM.....Freshman Orientation
Thursday PM.....Computer Software Training

Sound like fun? It's not. Most teachers do not do well with just sitting and listening. It's not what we do. We'd all rather be doing. And there's SO much to do before the students show up.

I say: to heck with me having to deal with adults and reality. Send the kids in and let me have some fun!!!!!

Spring Awakening, AKA My Obsession

2007 Tony Award winner for Best New Musical, Spring Awakening, is one of those shows that you either "get it" and therefore, love it; or you don't get it, and walk out of the theater unsatisfied. There are very few folks in the gray area for this show. I myself am a (not so) proud member of the former group, and much to my embarrassment, have seen the show 16 times in the past year. I will be the first to admit that I can understand some people being offended with some of the subject matter. The rock musical deals with masturbation, sexual and physical abuse, sexuality, abortion, and death.....and does so with characters that are (for the most part) in their mid-teen years. Some scenes are graphic; and some are humorous.

The musical is based on a German play by Frank Wedeken in the 1890's and was viewed as so morally deprived that it was banned for YEARS. While Stephen Sater and Duncan Sheik have definintley but a contemporary slant on things with the rock-style music, much of the spoken dialogue is taken directly form the original source, and is kept as a period piece. Why contemporary music if it's a period piece? To show that things haven't really changed as much as we might like to think. For me, personally, it gave me an invaluable insight to the opposite sex during the time of adolescence. Unlike MOST musicals, the music here acts as inner monologues for the characters.

I've been lucky to seen the original cast (only missing the lovely Krysta Rodriguez) all the way to the current cast (only missing Hunter Parrish). I will simply point out some of my favorite outstanding performers.


From the original cast:
Jonathan Groff (Melchoir, Tony Nominated), not the perfect actor but perfect for this role. A more committed actor you would be hard pressed to find.
John Gallagher, Jr. (Moritz, Tony Winner) a true rock star, and a fabulous actor. Johnny also writes and performs his own music and is just the nicest, most sincere guy. (And he's fun in a bar at 3a.m.)
Gideon Glick (Ernst) one of the first to leave, went on to college but ended up running about 6 months with a wonderful off b'way show called Speech and Debate.
Jonathan B Wright (Hanschen) No one has owned this part like JBW. He was born for this role and played it to perfection. He has two movies coming out, both with Michael Cera.
Lilli Cooper (Martha) probably the most underrated actress on the SA stage.
Gerard Canonico (original ensemble, understudy, current Moritz) It took me a while to warm up to Gerard. But the first time I could specifically hear HIM from my stage seats changed everything. And then I got to know him a little and they changed even more. I beleive the first words I spoke to him went something like this: You can sing in my ear ANY day, and he could. Also look for his cd with his Jersey based band Taking Chances.

ANY of the replacement cast members:
BLAKE BASHOFF (Moritz) I can not say enough about this actor, coming into a b'way show when the MOST beloved member was leaving ALL TOO SOON, is not easy. Bashoff never tried to be Gallagher, but from day one made the role his own. Personally, as much as I adore JGJ, Blake's acting choices worked better for me. The day he left 8/2 was a sad day for me: but he left to head up the Nat'l tour of SA...at least for a few months. He's a delightful and sincere guy.
Matt Doyle (ensemble, understudy extradinaire, current Hanschen) Talented and underused guy. I don't actually think Hanschen was his strongest part, but I see great things in his future. I could listen to him sing forever.
Jesse Swenson (understudy) The only part, I've seen Jesse cover has been Melchior. Personally, I really love his interpretation. He has two three scenes where he becomes my favorite Melchior (although Groff officially holds that position) and the one that he steals my heart with is the Graveyard Scene. It works so much better with his interpretation.
Morgan Carr (ensemble, u/s Ernst) I loved Morgan's take on Ernst....I fell in love with him. Another thing that makes him stand out: when you watch him in the ensemble it is so obvious how utterly THRILLED he is to be on that stage. I went out of my way to relay that to him and he was sincerely touched by the compliment. Can you imagine being on B'way at 18??? OY.

August 6th was my last time (forever) seeing Spring Awakening...after all, enough is enough and there is so much amazing theater ON and OFF B'way to see. (Ok...if Gerard and Shingledecker are in the tour in Boston, I GUESS I'll drag myself) Thank you Duncan Sheik, Steven Sater, Michael Mayer (director) and Bill T. Jones (choreographer) for bringing a beautiful piece of art to Broadway.

There's a moment you know....

That is so {Title of Show}

{TOS} comes to the Lyceum theater with a rich and long history, which I won't bother you with in detail but you can check out here: http://www.titleofshow.com/. BASICALLY, it's a show about two guys writing a show about two guys writing a show. Really. It follows their real life escapades on that journey from getting the idea, to it getting picked up for theater festivals, going to OFF'B'way and more. It's full of theater "insider" jokes/references so it's easy to think it's only for "theater people" It's so much more than that: it's about following your dreams.

It's funny, and much of the music is delightful and I listen to the OBC often. The cast consists of only 5 people: Jeff, Hunter; their two gal pals: Susan and Heidi (who left understudying "Ursula" in The Little Mermaid) and their musical director: Larry. The set consists of 4 chairs and a keyboard. (and some walls).

The show is certainly heartfelt, entertaining and (a bit) inspiring. Is it a great piece of theatre? Not really. Will it be a hit on Broadway? No, sadly it's struggling and has barely been filling the theater to half capacity since it opened in July, and I don't expect it to last to Halloween. Making it TO October would be suprising. (BTW, Susan hasn't even quit her "day job" as an office manager...but did cut her hours back to only 30...ON TOP of doing 8 shows a week!) Should you go see it if you have a chance? YEEEESSSSSS!

Grade: A-

This is not your father's HAIR.

Every summer the Joe Papp's famed Public Theater produces two show to perform in Central Park at the Delacourt Theater. Tickets to the Delacourt Theater are free. ABSOLUTELY. And yet you need a ticket. How? you may ask does one score a FREE ticket to amazing productions? Well, there are several ways:

1. You "donate" $165 per ticket. (THAT'S NOT FREE you are thinking; but read on...)

2. You attempt a virtual line by logging in ONLY the day that you are hoping to attend from midnight to 1pm. Then you check the site AFTER 1pm to see if you were graciously and randomly selected to receive the coveted free tix. Almost no one is....because a huge percentage of the tickets are for:

3. You go to Central Park (CP) and get in an incredibly LONG line. AND you LIVE at CP for the day.

OK...guess what we did. I dare ya'. That's right ladies and gentlemen....I camped out at Central Park. And I'd do it again in a heartbeat. (Maybe even next week!)

My friends and I decided rather than risk over sleeping we would just find ways to stay up all night. Really. We WERE in NYC for crying out loud: the city that never sleeps. I will not divulge trade secrets of our shenanigans (mostly to protect those involved) but it was SO worth it.

We arrived at CP West at 5:30am. Really. And we weren't even first in line. We were about 20th in line. Not too shabby. Did I mention: they don't start handing the tix out until 1pm. You do the math. We put down our mat and covered it with our blanket. And promptly fell asleep. Oh, yes we did. And we slept off and on througout the morning...never getting gads of rest...but enough to keep us from killing each other. We had each other, we had music, we were set. The line behind us just kept growing, which as most of you know is oddly satisfying.

At approximately 8am or so the official Line Watcher Nazis start giving you the official rules. Which basically is: if you are ON line you must STAY in line. (But using the theater potty was fine and not too far from us.) If you are not ON line you may not join the line except at the end. Each person on line was entitled to 2 tix and they would indeed keep our "party" together when giving you tix. (Which we knew...we had more folks meeting us at dinner time.) He also provided us with the number of a local deli that would deliver. (This is NY...I kid you not.) We promptly called up for some egg and cheese type sandwiches and coffee. All you need to do is tell them sort of where you are in line, but that doesn't matter because the delivery guy just rides his bike up and down the line calling out your name. (And he's happy to give out menus too.) 20 minutes later we had breakfast.

Just between you and me: I outsmarted the line police. TWICE. Once I just walked around the Delacourt to see what it was like, at least from the outside, and the other time I went to the concession stand and bought my self a new Public Theater Hoodie! Now WHY would they open the concession window if they didn't want the line waiter to buy stuff??? I love my hoodie. It is so "title of show". (I know most of you don't get that reference....too bad.)

OK, so now it's 9 or 10. We just got slap happy and silly. I believe I started singing show tunes out at the top of my lungs. Well, just ONE show tune: Take Back Your Mink from Guys and Dolls. It got real quiet around us...which meant one of two things: either I was doing a decent job and entertaining folks or I was doing an utterly horrid job and they were gathering stones. We had a terribly incoherent phone call to one of our friends coming in later. We napped some more. There really isn't more to the story except to say that we landed tix and were on our way OUT of the park by 1:20.

Hair is now 41 years old, and, trust me, the only reason I actually know this is because LAST September, The Public Theater produced Hair in the Park for ONE weekend to celebrate the 4oth Anniversary. MOST of the cast from that mounting is indeed a part of the current production. I don't know how much an of you might know about HAIR, but if the late 70's movie version is your only reference PLEASE remove it from your mind. It was horrid. They re-wrote the entire concept, they even misconstrued some of the music. There WERE a few great performances (Treat Williams, Annie Golden -- whom I LOVE!) but it was awful. (Although I VIVIDLY remember the boy that took me to see it: I was SO in love with him. His name was Steve--um...er, but that's another story.) I will not insult you with the details of the plot, "google it" should you need to. The themes 40 years ago were obviously Free Love, pro-drug, anti-war (Vietnam), and wicked hippie. Now the themes that seem to resonate are: LOVE, hippies, search for beliefs and self....and the whole anti-war thing...but to a lesser extent.

The cast, led incredibly by director Diane Paulus, is practically perfect as a whole and individually. They were amazingly dedicated and beautiful: visually, vocally and spiritually. It's hard to single people out as this is so much an ensemble piece as you are likely to encounter, but I will anyway. Jonathan Groff (Claude), brought so much energy and love to his character that you simply wanted to embrace him and bring him home. Already a fan of Groff's (and let me tell you the boy is a lovely young man in person.) it was hard not to feel for him. Will Swenson was electrifying as the defiant ring leader Berger. Kacie Shiek (Jeanie, ironically the role that Annie Golden portrayed in the movie) was the real stand out suprise for me. It was hard NOT to watch her on stage, whether singing or not...the girl has got presence!

To top of a theatrically spiritual evening, the grand finale included inviting the audience to dance and sing on the stage of the Delacourt with the amazing cast. Believe it or not, I am not usually one to join in on 'audience participation' type things...but the spirt simply took me to the stage. It was truly exhilarating! (And I danced and sang and chatted with Kacie Sheik and a few other cast members -- another sweetheart)

Hair has been extended THREE times and will now play through 9/14; sadly without Jonathan Groff who is off now filming a movie about Woodstock. Christopher J. Hanke (Cry-Baby) is replacing and most reports have said he does the role justice. It is so worth the wait...you should all experience the Delacourt theater AND HAIR.

There are STRONG rumors that Hair is currently LOOKING for a B'way House for the Spring. While I don't think it will be able to compare to seeing HAIR in the open-air Delacourt...I'd pay a hundred bucks to see it again!

THIS won a Tony Award???

August: Osage County. Oh, yes it did and I'm SURE there isn't a play at any time or anywhere that deserves it more. This was glorious even with some cast replacements. It's not the "feel good play" of any season, but it is an amazing, funny, horrifying, suprising most amazingly acted play EVER. Yes, there is much adult language and situations: not for the under 14 crowd (and some of you might think THAT'S too young.)

Written by Mr. Tracy Letts, this spellbinding new play tells the story of the Westons, a large extended clan that comes together at their rural Oklahoma homestead when the alcoholic patriarch disappears. Forced to confront unspoken truths and astonishing secrets, the family must also contend with matriarch Violet, a pill-popping, deeply unsettled woman at the center of this storm.

As intriguing as the story is, and trust me, NO ONE could be prepared for the story about to unfold before you, the true beauty is in the acting. Estelle Parsons (Violet Weston) and Amy Morton (Barbara Fordham) are at the core of this riveting family drama. It's been a long time that I've left a theater, ANY theater, thinking I WANT to play that part. Well, here are two of them. Barbara is the no nonsense, take no prisoners, eldest daughter suffering her own demons that must take charge of the matriarch of this dysfunctional clan. Morton's power, understanding, and ability to "be" is one of the most amazing things I've ever witnessed. Parsons is almost unbelievable. The journey her character takes is full of twists and turns, ranges from drug dependent to helpless to backstabbing. In another 30 years I'd kill to play her, too.

Let me just praise the amazing writing of Tracy Letts. Its unusual for a man to write amazing and strong female characters. Writers usually write what they know, so all I can say is that Letts knows some really messed up but fascinating women! He is currently penning the screenplay adaptation. There is not a woman in Hollywood (and many in Chicago and NY, I'm sure) that wouldn't give their eye teeth to land ANY of the roles in this epic story. I'm sure that they will end up casting a powerhouse of talent which will, hopefully, be a huge box office draw.

Sadly, it is unusual for 'straight' plays to last a long time on (and off) B'way. August has recently reached it's 300th performance and shows little signs of slowing down. Long may it live.

Grade: A+++

Altar Boyz (off B'way)

Altar Boyz tells the holy inspiring story of 5 small-town boys—Matthew, Mark, Luke, Juan and Abraham—trying to save the world one screaming fan at a time. It is the final night of their whirlwind tour and it's hysterical.

This was really adorable. High energy and fun. This is a show that, again, garners many repeat audience members which adds to the infectious joy in the theater. The night we went we got several understudies which normally I could care less about, but one of the main reasons we chose to finally see this was to see Neil Haskell, runner up from LAST summer's So You Think You Can Dance. While I am disappointed to NOT have seen him, I doubt I would go back JUST to see him. I suppose I'll have to wait for his next stage role (and as a side note: MTV's American Mall did NOT cut it.)

One thing I really LOVED about this show: it HAS fun with Christianity without making fun of it. A very tricky proposition indeed. Indeed, I feel it really embraces the spirituality that draws so many to whatever religion they feel passionate about. (By the way, one of the characters is even Jewish.)

I reccommend this if you are looking for a fun night out!

Grade: B+

Xanadu, Anyone???

Currently on the Great White Way is 2008 Tony Award Nominee (but still LOSER) XANADU. Yes, Xanadu....like the gawd-awful movie from the 80's with Oliva Newton-John. Well, in the year or so it's been open, it has garnered a HUGE following of repeat audience members that call themselves: Fanadu's. Oy.

I've never had the desire to see this show, but many of my theater friends kept saying how much fun it was and that I should go. Well, it seems as though the on stage seating for this is not that hard to come by and they only cost $40 a seat. A bargain. (Well, by Broadway Terms.) And then fate stepped in: I had tickets to see the critcally acclaimed Passing Strange, but due to poor tix sales, that closed...about 2 weeks before we were to see it....leaving us with an open spot to see a show. THEN, it was announced that Whoopi Goldberg was stepping into one of the roles for 6 weeks. Deal closed.



Now, unlike other shows with onstage seating (Spring Awakening and the soon to open Equus), Xanadu's stage seats are "general admission". It's a first come, first served seating...so you need to get to the theater early if there are certain seats you want. There are "popcorn seats" and "hair playing" seats and seats that sit next to certain actors etc. All I wanted was to be able to see as much of the show as possible. So we got there early and were "adopted" by two aforementioned "fanadu's". Some that had NOTHING good to say about any other show. But they helped us find our way, because the theater opened up "special" doors for entrance instead of the house doors. With that insider info: we were the first ones at the special "stage seat doors". (Not that I knew there were special stage seat doors.) So, we were able to get the front row stage right seats. One of the Fanadu's sat with us. And boy was she a talker.

But the show is about a magical muse named Kira who comes to earth in 1980 (disguised in roller skates, leg warmers and an Australian accent), to inspire what the Gods call truly great work and discover the meaning of the universe's greatest secret: the gift of Xanadu. Kira meets the handsome artist Sonny, who needs her help in achieving his greatest dream. But bringing earthly dreams to life and obeying the many rules of her muse-hood at the same time, is not an easy task! (Especially while roller-skating.) It is only when Sonny teaches her the true meaning of inspiration, that the secret of Xanadu is revealed. Oh and some of her evil muse sisters try to ruin her out of jealousy The score is by Electric Light Orchestra and John Farrar, including such hits as "Xanadu," "Evil Woman," "Magic," and "Have You Never Been Mellow".

Overall, the show is....well....fun. The entire thing is tongue in cheek, making fun of the original movie and itself. You'll laugh, you'll tap your toes and you'll find yourself rooting for the good guys. But that's about it. Cheyenne Jackson (Sonny) is a delight to watch on stage. Considering the last time I saw him on stage (All Shook Up) I walked out of the B'way theater at intermission, I think that's great news. Oh...and as far as "eye candy" goes it doesn't get any better than Cheyenne -- from any view. Kerry Butler (Kira) was sweet, but I found her annoying.

Whoopi and Mary Testa (Calliope and Melpomene, the evil muses) must be treated as a unit. They are fun and caustic. In all honesty, I didn't think Whoopi brought anything special to the show, nor did she detract from it in any way. I loved Tony Roberts (Danny, Zeus)...who knew the old guy still had it in him!! But the two that stole the show, IMHO, were Curtis Holbrook (Thalia) and Andre Ward (Terpsicore). They were simply delightful and I was never more happy than when they were on stage. Humorously, they understudy the parts that Whoopi and Mary Testa play. Curtis is a favorite actor of mine anyway having seen him in Playwrights Horizon of SAVED. It is also rumored that he has been cast in the upcoming B'way revival of West Side Story.

Bottom line? I'd take my kids to see it, at the discounted tickets on stage and if my HS kids wanted it to be part of our annual pilgrimmage...I'd even encourage it: they'd have fun. Other than those two examples, I would not see it again nor would I ever care to produce it.

My Grade: B

My Last Middle School Musical

My creative team and I decided to produce Seussical, Jr for my "swan song" show. Not because it was a favorite of mine, or even a burning desire. I'd never seen it, I just know that it existed and hadn't done too well on B'way. I'd been told by other drama teachers/directors that is was just FUN to do. Good enough for me.

So we did it. And we did it freakishly well! Much of the time you know what kind of production you have. A good one. A great one. A show. And thats all I thought we had....was a show. But it was ok...we really were having fun and it would be over one way or another.

People would ask how it was going, and my reply would be: it's going. And then it was our first big "putting it all together" rehearsal -- not really a run through, certainly NOT a dress rehearsal -- just a working on all the little things we hadn't had time for. This rehearsal is usually filled with yelling and anxiety and stress. Not so. We finished early. My nearly 100 7th and 8th graders were cooperative and hard working. Hmmm...maybe we had more than a "show".

Then we had our first dress rehearsal. And, oh my! We had a good show. A really good show. By performance time we had a GREAT show. Probably one of the best I've produced for the middle school. And one of the best things: it was SO incredibly evident how much FUN they were all having. It was really beautiful. And many people remarked on seeing how much fun the kids were having. I was so proud of them and happy for them.

It didn't suck for me either: to have so much of what I "preach" show up live in front of sold out audiences!

It was a nice way to say goodbye to the my middle school home of 15 years.

I've been a bad, bad, blog girl.

I know, I should be ashamed of myself for ignoring this for so long. Of course, I haven't actually TOLD anyone about this blog....so who the heck cares.

So...what has happened since FEB? Well, as a drama teacher, the play I told you about (the one in competetion?) made it all the way to state finals!!! FINALS. Only 14 out of over 120 make it to state finals. I was incredibly proud and happy for my students. They'd worked incredibly hard and taken so many risks...they truly deserved it. Along the way, my cast and crew won many wonderful individual awards and great public kudos. We had students from other rounds of competition come BACK to see us perform at States because they loved the show so much. I'd met other students that HEARD about our show (the one about coming out of the closet) and came to see it.

Sadly, at states, the judges were less postive. But the audience loved it: we were the only school to be entirely "sold out" and to recieve a standing ovation from the ENTIRE 1,500 seat audience. It was a joy. And the other school worthy comment: I was FINALLY moved from my 15 year stint as the middle school drama teacher to the coveted post of HIGH SCHOOL Drama Teacher. Sounds silly perhaps, but I'd been waiting forever for this to happen. Of course the biggest obstacle was the man already IN that job. STOP....that didn't sound right. I ADORED the man that was also an obstacle, and I didn't take anything away from him, he simply and finally RETIRED.

Getting the school to turn over the job to me was not simple at all. Or maybe it was. All I know, is that after working for the school for FIFTEEN FREAKING YEARS, I had to jump through hoops unknown to mortal man. A resume???? Didn't they KNOW what I'd been doing? Still seems RIDICULOUS to me. I had to interview, I was observed, and basically, I felt as though "they" were dangling a carrot in front of me: all year. Could this totally been in my head? Certainly. Am I paranoid? To a certain extent. Was the job mine all along but they needed to follow all of the "proper channels"? Very likely.

But none of that actually matters: because they FINALLY offered me the job! OY. Now the work begins. I'm going from teaching 2 classes I've been teaching for 15 years to teaching SIX classes I've never taught before. And two of them are academic writing classes. Craziness.

This one IS about being a drama teacher.

I simply hate a day of the highest highs followed by the lowest of lows.

This week has been grueling, but with a big theater competition on Saturday, that is to be expected. First: a little background. This is a one-act play festival, in short you have up to 40 minutes to perform a non musical play and then have some people write up a critique, and choose some winners to advance. Out of 8 schools, 3 are chosen to go on, however, that is taking place at about 14 places at the same time. I know: confusing. But intense. We call it "Varsity Drama".

So: we are doing this GREAT little comedy, called Removing the Glove, which is an allegory for coming out of the closet. But instead of anyone being GAY, being left handed is what is being talked about.

Today we "previewed" the show for the entire school...which can be a tricky proposition as you never know how the "general public" which is NOT neccessarily a FAN of ANY kind of theater will react. Well, they loved it. My students heard nothing but wonderful comments all day.

THEN, it's time to go to the school at which we will compete on Saturday. We are given an HOUR to use their space: which much include placing and marking where our set pieces need to go, learning their sound system, learning their light system, and figuring out how to utilize all those things. Not an easy feat in 60 minutes under the best of circumstances.

Now: the lights are suppose to be set to that there are six separate distinct areas that can be lit up all at once or individually. THIS is how my entire play is designed. (Note: that's the MINIMUM of lighting capabilities they are suppose to provide us with.) Did I mention that my show is DESIGNED ENTIRELY around this capacity? It is. So we get there 10 minutes late: because OUR bus forgot to pick up up. (even though we confirmed yesterday). So...we go to begin our tech rehearsal and there ARE NO LIGHTS SET UP IN ANY WAY. They are either ON or they are OFF. And there is NOTHING they will do about it. NOTHING. They start arguing with me that they didn't HAVE to have anything like 6 areas because we didn't ASK for it. Of course we didn't ask for it: cuz it's suppose to be a freaking GIVEN!!!!!!!!!!!!!

NOW...we have to use spot lights to TRY to isolate the areas. Spotlights do NOT work the same way stage lights to. They are blaring, stage lights can be sublte. Spotlights are either on or off, stage lights operate in variation and degree. NOT the same thing at all. Not even close.

We have to now rehearse these changes when we were NOT suppose to REALLY be having a rehearsal to practice this. AND...it suppose to snow tomorrow, sothey could cancel after school activites tomorrow meaning no freaking rehearsal.

I am dying. My kids don't deserve this. AT ALL. Life sucks.

A few NY jaunts to talk about...

1. Has anyone else noticed that I'm not really talking about BEING a drama teacher. I don't kinow what I'm thinking. I don't even know if anyone is reading this besides me. Who the hell knows what this will turn into.

2. I hit Manhattan 2x this month...both for fun and frivolity

No more numbers. Numbers are too orderly and I'd rather ramble.

Back on Feb 9th and 10 I hit Manhattan for a fun girls weekend. Saturday night we hit Forbidden Broadway. It was cute...but I won't be running back to see future additions. Much of what they did was clever, but fluff. (For those unfamiliar with FB: they pretty much spoof all the current and successful b'way musicals) My two favorite seqences were the the Les Mis spoof...which I'm guessing they pulled out from the previous run and the Spring Awakening "dis". THAT was truly hysterical...but perhaps because I am such a fan of SA.

Later that night we hit the Laure Beecham Theatre housed in the West Bank Cafe. This is the second time I've ventured there and haven't been dissappointed. The first was for a Joe Iconis "Rock and Roll Jamboree" and then here for another late night b'way style caberet/piano bar type of gig. Annie Golden was there both nights and she is simply adorable (which isn't a great word when you are of the age that she and I are...but you can't get around it.) Joe Iconis was there too. I like Joe, he is an up and coming composer, lyricist and a truly great guy.

On Sunday, I had the most amazing experience...which reverted me to a 16 year old girl...in a good way. In addition to having stage seats for both the matinee AND the evening shows of (my obsession) Spring Awakening, my friend had somehow gotten us invited to a meet and greet event with the cast in between the two.

Granted, the begining was a bit awkward, but it was so much fun. Most of the cast was there, and many of them hung out the entire time with us. It was rather like going to a party where you didn't know too many people. If you were willing to find something to talk to them about you had a great time. Well, I did anyway. I am not one to gush over actors (normally) and I am certainly NOT the stage door type. Instead of just telling them how wonderful they are (and they are) I tried to engage actual conversations.

I resorted to talking about my BEING a drama teacher and how my students were wicked jealous of my being there. This led to some great conversations with the cast about WHAT I was directing, what musical I last did. (They were pretty impressed that we had recently done Urinetown and that I was currently directing a show about coming out of the closet) That garnered me a kiss from Blake Bashoff...for the camera...but still! BLAKE BASHOFF. (for those of you that don't know him: he is the current "Moritz" in Spring Awakening and never ceases to amaze me with his performnace, but he is also on LOST as Karl. ) Most of the cast were really nice and personable and as much as I'd like to THINK that I made an impression, I'm guessing they wouldn't know me from a hole in the wall should I run into them. (Well, that's a sad thought.)

But the truly neat thing -- did I just say 'neat'? I hang my head in shame. The truly fabulous thing was watching the evening show afterwards. Some of the cast had made some, er, ummm promises about the performance and lived up to them. Being personally "serenaded" during a B'way show is something that must be experienced. Remember, I was onstage that night, so it was a heavenly experience. I won't go into details, but it was exhilarating. We ended up waiting for the cast at the stage door, which is a different experience in itself. I am not one that usually goes in for stage dooring, but it was fun....it was amazing how much MORE gracious they were having spent the afternoon together. I think that show was my favorite one of all time. I mentioned to Blake how incredible the show had been that night and his reply made a lot of sense. He said that since they have the next day off, they seem to pour whatever they have left into it. It's Groff's favorite show.

I am done FanGirling.

This past week I took my own children into Manhattan for one of our 3 trips in as a family. We took in Little Mermaid: which I do NOT RECCOMMEND. And an off B'way play called: JUMP! which I wholeheartedly DO reccomend. (but is now closed.)

LM was simply resting on its laurels assuming it was wonderful and that because it had outrageous costumes and "heelies" that the audience would forgive. Well, I didnt'. I was bored. Truly. I have no problem with spectacle, but make sure you can back it up.

I even ventured to bring my kids to the MoMA for the first time. It went pretty well and they seemed to enjoy it...mostly.


Well, hell week is coming up for our production going into competition production this week. Think of us all.

My obsession

They say the first step in finding a solution is admitting you have a problem. Here goes: I go to NYC to see Broadway shows WAY TOO OFTEN!!!! It seems like everytime my ex takes the kids I'm heading to the Great White Way to spend gads of money on theater. It's not REALLY a complaint, but I need a life. Yes, theater is extremely important to me, and it does touch my soul, but is it keeping me from other stuff, that truly defines "a life"?

Well, I've always threatened to do this!

I cannot believe that I'm doing this. Not that I expect anyone to read it or anything. I'm not sure WHY I'm doing this. Perhaps for myself, perhaps for ...posterity? Who knows? Will I even keep up with it? Probably not. I never have before. But someone suggested trying it and I think I will.