Fall Has Begun!

I've been in the city a few times, caught N2N with my children...and it was a bit much for them....in a good way for the older and in the not-so-good way for the younger.

The Flying Karamozov Brothers

What a delightuf family show! I would imagine, on a Friday or Saturday night it might be a little less so.

More like a Vaudeville review, this was simply fun. My kids were entranced and wanted more...and now they want to learn to juggle. Got kids under 14, don't miss this one.

Bloody, Bloody Andrew Jackson -- now on Broadway

"History just got all sexypants."

Nearly the entire cast has made the broadway transfer and the changes seem to work well.  There is expanded dialogue...all that I think works well.  While I still enjoyed the show immensely, I really feel that the general audience did not...it was a relatively staid audience, that was not sold on the piece.  My fear for this show coming to the Great White Way has always been: WILL it find an audience?  The theater was pretty full, but not in love and not enthusiastic.

Ben Walker is still the hottest president ever.  (Scroll down to see my original review) 

The Scottsboro Boys

I'm not 100% sure that my words can do this production the justice that it deserves.  I knew little of what to expect upon walking into the theater.  I knew minimal plot:  Dealing with the true story of the Scottsboro Boys of being wrongfully accused of a crime that didn't even exist. At the brunt of the story is the racially motivated happenings.  A truly horrifying story, that adds to the shame that we as a country still have not come to terms with.

A cast of 13 playing approximatly 30 roles, set in the worlds both of reality and the Minstrel Shows, I sat for 105 minutes in total awe: of the set, of the concept, of the performances, of the actors. And all that is with a lousy seat (only because I was too close and too far to one side)!  Joshua Henry is a young (and REALLY attractive) actor to keep our eye on: I suspect his career to be bright and impressive. The ever wonderful John Cullum did not fail to impress once again.  But then again, NO ONE in this cast disappointed, not the oldest (Mr Cullum) nor the youngest, Jeremy Gumbs.   A note to the Billy Elliot producers: this young man proves something that you seem to ignore:  A young man CAN be good at dancing,acting and singing -- no need to just "wink" away two of those three.

One of the most interesting things that keeps me drawn to this show is the amount of personal conflict I felt.  There were things that were funny...but should I laugh?  There were heroes that were far from perfect...then why root for them?  There is plenty to be ashamed of....and yet the work is fascinating.  Perhaps these things putting me at odds were a big part of the connection to the piece.

I am personally drawn to stories about race and inequalities so perhaps I am the ideal audience member for The Scottsboro Boys.  I like musicals with a message, I prefere intellectual entertainment over fluff, I beleive art can make a difference and this show rises to the occassion on all fronts.  It's sophisticated and thoughtful and beautifully crafted.

Please go and see this,   It will change you.

The Future of Broadway

There are SO many things in store for the great white way. I can't remember being so excited for a SEASON before. Individual shows, sure, but a whole season? Very exciting.




Below are the shows that are either already slated or strongly believed will be coming in this season, even if the Preview/Opening date is not set.

Just LOOK at that list! Granted, not all of these shows will actually end up opening this season, and some won't open at all. Pretty impressive. I've added my thoughts on these upcoming shows, titles with without comments are simply shows I don't know enough about to even have an opinion!


A Free Man of Color (Previews 10/21; Opening 11/18)
Lincoln Center Theater's presentation of a new John Guare play set in 1802's New Orleans.

A Life in the Theater (Previews 9/17; Opening 10/12; Closing 1/2)
Cast: Patrick Stewart and T.R. Knight
A revival of David Mamet's drama centering on two thespians: a veteran performer and a relative newcomer.

T.R. Knight has been rumored to be coming to Broadway in at least THREE shows over the last 18 months. Glad to see one has actually come to fruition! And Patrick Stewart? This is high on my list of "must sees"

Anything Goes (Previews 3/10; Opening 4/7)
Cast: Sutton Foster
Roundabout presents this revival of the Cole Porter classic, featuring such tunes as "You're the Top," "Blow, Gabriel, Blow," "It's De-Lovely," "I Get A Kick Out of You" and "Anything Goes."

I'm not a fan of Sutton (she is the same in every show I've seen her in, and I'm not a fan of Anything Goes. 'Nuff said.)

Bloody Bloody Andrew Jackson (Previews 9/20; Opening 10/13)
The Public Theater's acclaimed emo-rock musical, which takes an irreverent look at the life of seventh U.S. President Andrew Jackson and his rocky legacy, transfers to Broadway.


I saw this twice off b'way at the Public Theater. LOVED it. Can't wait to see it again, and I plan to on my next jaunt. Sadly, I don't see this making it as I think it will have a difficult time finding an audience to sustain it. But Benjamin Walker (Jackson) is well worth the price of admission, and the young supporting cast is beyond enthusiastic and talented. Love the new artwork and looking forward to getting my hands on the cd that is most likely sitting in my mailbox at school! Populism, yeah, yeah!

Brief Encounter (Previews 9/10; Opening 9/28; Closing 12/5)
Roundabout Theatre Company's presentation of the stagework inspired by Noel Coward's Still Life and the later David Lean film.

Catch Me If You Can (Previews TBA; Opening TBA)
Cast: Norbert Leo Butz, Aaron Tveit
New musical based on the film of the same name.

I've been dying to see this since it premiered in Seattle LAST summer. Please announce a theater -- I'm getting nervous!

Driving Miss Daisy (Previews 10/7; Opening 10/25; Closing 1/29)
Cast: James Earl Jones, Vanessa Redgrave, Boyd Gaines
Alfred Uhry's Pulitzer Prize-winning play returns to the New York stage.

Elf (Previews 11/2; Opening 11/14; Closing 1/2)
Based upon the 2003 film, Elf features a score by Matthew Sklar and Chad Beguelin and book by Bob Martin and Thomas Meehan.

I am torn. I love this story, I loved the movie, I love both James Earl Jones and Boyd Gaines. I have some issue with Ms. Redgrave and her political past. I am thinking long and hard about whether I can and will support this. It has the potential to be stunning.

Elling (Previews 11/2; Opening 11/21)
Cast: Brendan Fraser, Denis O'Hare, Richard Easton and Jennifer Coolidge
Simon Bent's play tells the story of two inmates from a mental institution who, under the supervision of a social worker, are given a shot at living on their own.

Godspell (Previews TBA; Opening TBA)
Revival of the Stephen Schwartz and John-Michael Tebelak musical based on "The Gospel According to St. Matthew."

PLEASE? My heart broke when this was cancelled two years ago. And, please, bring Gavin Creel back to it. He'll be wonderful. But I think this will hit the boards until NEXT season.

Good People (Previews 2/8; Opening 3/3)
Manhattan Theatre Club's world premiere presentation of David Lindsay-Abaire's Boston-set story about a newly-unemployed woman and an old fling.

How to Succeed in Business (Previews 2/26; Opening 3/27)
Cast: Daniel Radcliffe
Tony and Emmy Award-winner Rob Ashford directs and choreographs this 50th anniversary revival of the Pulitzer Prize-winning musical comedy. Daniel Radcliffe makes his Broadway musical debut as Finch.

This is brilliant casting. I cannot wait to see this.

La Bete (Previews 9/23; Opening 10/14)
Cast: Mark Rylance, David Hyde Pierce and Joanna Lumley
Transfer of the new London revival of David Hirson's play that pits a classical dramatist against a street clown.

Great cast, but the show is rumored to not be fabulous.

Lombardi (Previews 9/23; Opening 10/21)
Eric Simonson's new play about the legendary American football coach Vince Lombardi.

REALLY?

Love Never Dies (Previews TBA; Opening TBA)
Andrew Lloyd Webber, Glenn Slater and Ben Elton's musical continuation of The Phantom of the Opera story.

This is rumored to be dead in the water. Boy, I hope so.

Mrs. Warren’s Profession (Previews 9/21; Opening 10/12)
Mrs. Warren's Profession tells the story of Kitty Warren, a mother who makes a terrible sacrifice for her daughter Vivie's independence.

Priscilla Queen of the Desert (Previews TBA; Opening TBA)
A new musical, written by Stephan Elliott and Allan Scott, based upon the film of the same name.

I've heard good things from London, Looking forward, most especially due to Will Swenson.



Rain -- A Tribute to the Beatles (Previews 10/19; Opening 10/26)
Limited run of a multi-media concert that fuses historical footage with songs by the Fab Four.

Sister Act (Previews TBA; Opening TBA)
Currently playing in London, this stage adaptation of the film features a score by Academy Award winner Alan Menken and Glenn Slater and a book by Cheri and Bill Steinkellner

I think this will be another year before it gets here.

Spider-man, Turn Off the Dark (Previews 11/14; Opening 12/21)
New musical based on the Marvel comic book hero featuring songs by Bono and The Edge with a book by Taymor and Glen Berger.

On and off again, I don't have a lot of faith in this even if it DOES open. Word on the street is that pre production costs are well over FIFTY MILLION dollars, possibly over sixty. Assuming that to be true, the show would need to play to sold out audience just to BREAK even. While I am curious to see WHAT a 50m dollar musical LOOKS like, I think it is obnoxious and irresponsible and don't want to give my hard earned money to see it. If the high school student CHOOSE to see it, that's a different story entirely!

The Book of Mormon (Previews TBA; Opening TBA)
A new musical from "South Park" creators Matt Stone and Trey Parker with Avenue Q creator Robert Lopez based on the title tome.

Not a fan of South Park, so this will take lots of convincing.

The Merchant of Venice (Previews 10/19; Opening 11/7, Closing 1/9)
Cast: Al Pacino
Director Daniel Sullivan's staging of the Shakespeare work moves to Broadway for a limited run following an acclaimed run at 2010 Shakespeare in the Park.

SO disappointed I couldn't see this at the Delacourt Theater in Central Park. This is very high on my list.

The Old Masters (Previews TBA; Opening TBA)
Simon Gray's work premieres at Long Wharf in January prior to a Broadway transfer.

The Pee-Wee Herman Show (Previews 10/26; Opening 11/11)
Cast: Paul Reubens
A stageshow inspired by the Saturday-morning TV series with the signature bow-tied man-child and his cast of characters.

Not kidding. How I wish I were.

The Pitmen Painters (Previews 9/14; Opening 9/30)
Transfer of London's Live Theatre Newcastle/National Theatre production of Lee Hall's play about 1930s miners-turned-artists.

The Scottsboro Boys (Previews 10/7; Opening 10/31)
New musical by the team of John Kander and the late Fred Ebb with David Thompson inspired by the infamous case of American injustice.

I want to see John Cullum. I'll see him in nearly anything.

Time Stands Still (Previews 9/23; Opening 10/7)
Cast: Laura Linney, Brian d'Arcy James, Christina Ricci and Eric Bogosian
Return of Manhattan Theatre Club's presentation of Donald Margulies' new play about a war photographer and a journalist.

No one is quite sure why this is returning to Broadway after its limited run in the spring. It wasn't highly reviewed, critically or from the public. LOVE the cast, so that could indeed sway me.

Unchain My Heart (Previews TBA; Opening TBA)
A new Suzan-Lori Parks-scripted musical centering on the life of entertainer Ray Charles.

War Horse (Previews 3/17; Opening 4/14)
Lincoln Center Theater's transfer of the National Theatre's production based on the Michael Morpurgo novel.

Women on the Verge … (Previews 10/2; Opening 11/4, Closing 1/23)
Cast: Patti LuPone, Brian Stokes Mitchell, Sherie Rene Scott, Laura Benanti
Lincoln Center Theater's presentation of a new David Yazbek-Jeffrey Lane musical inspired by the 1988 Pedro Almodóvar film.

Amazing cast, and yet I have no desire. Maybe my mind will be changed.

Wonderland (Previews 3/21; Opening 4/17)
The new musical by Frank Wildhorn and Jack Murphy is a "story about a new Alice who has lost her joy in life. Estranged from her husband, alienated from her daughter and in danger of losing her career, Alice finds herself in Wonderland where she encounters strange though familiar characters that help her rediscover the wonder in her life while searching for her daughter."

Long Time No See!

First, I did remarkably well in my Tony Predictions, but since that is yesterday's news, enough said!

A lot has changed these last few months and there is now a side bar to show what is currently "on the boards". Take a gander. (On your left.)

I'll try to have some insight (albeit lacking detail) on the following productions:



OUR TOWN, Barrow St Theater (Off Bway) Written in 1937 by Thornton Wilder, Our Town is considered a masterpiece by theater folk everywhere. But not by me. I respected it. I appreciated it. I even LIKED it. But I never really was "wowed" by it. Until now. The Barrow St production opened in Feb of '09 and I'd heard nothing but wonderful things about it. And I wanted to see it, but I just kept putting it off. And then it announced its closing.

I went alone last week (down in the village) and had secured a "on stage" seat smack dab in the middle of the action. I was so unprepared for the beauty of this production. I was enthralled, entranced and simply taken on a journey that will reverberate in my soul for quite some time. I cried like I've never cried as an audience member before. Perhaps only to be rivaled by the emotions of my grandmother Sadie's death. I actually felt terrible for the actors having to see my anguish. I cannot single out performances because this production goes BEYOND ensemble acting, if that's possible. THIS is why plays are written and performed. Perfection and light.

MEMPHIS Winner of Best Musical. The kids and I got the cd to this a good 2 months before seeing it. I rather LIKED the cd; my kids loved it. I was actually looking forward to it despite the criticisms. I was...underwhelmed. Certainly a talented cast, GREAT choreography but it left me (to quote 10 Things I Hate About You) 'without'. Without caring, without feeling, without soul. I didn't believe or care about the story.

I wouldn't try to talk anyone OUT of seeing it, but I'm certainly not encouraging anyone TO see it, either.


LA CAGE AUX FOLLES (Revival) Winner of Best Revival. Deservedly so. I liked this, but sadly, I still didn't love it. Maybe the story isn't as cutting edge as it once was. Maybe there have enough more thoughtful stories with leading gay characters, that this is now dated and passe. I couldn't help but think that I was watching FRASIER and not a character. And I just wasn't moved, and I didn't even laugh all that much.

NEXT TO NORMAL (Replacement Cast) SO many folks were going nuts over the new cast (Jason Danieley, Meghann Fahy and Marin Mazzie), stating they were oh-so-much better than the originals. I was so looking forward to seeing how that was possible. It wasn't. Don't get me wrong, they were good. REALLY good. But they certainly didn't erase the originals from my memory. Both Danieley and Mazzie (husband and wife in real life) sing with facial distortions that were quite distracting. Meghann was often sharp and flat throughout the performance. Acting wise, I enjoyed all their performances, but was not wowed by the different choices they made. (Nothing bothered me about them, but nothing stood out and made me say, "Yes! THAT'S better!)


LOVE, LOSS and WHAT I WORE (Off B'way) What a pleasant suprise! A number of gal pals and I decided to see this, due to a lack of other choices. We were thrilled. We laughed, we cried, we sympathized. An evening being...well...women. Love, Loss and What I Wore follows fragmented stories about the nostalgic power of women’s clothing. An ever-changing cast of five women enrobed in chic black sit on stools and tell funny, wistful and universal memories about their families and loved ones through the prism of their closets. Like a long heart-to-heart with your best friend over coffee, the conversation meanders from a bittersweet story of a stepmother wearing the same style bathrobe as her husband’s late wife (to the dismay of the children) to a couple’s musings of what they wore on their wedding day to a rant about loathing the need to carry a purse. With odes to black clothing, cowboy boots and outfits that makes mothers cringe, Love, Loss and What I Wore is unabashedly girly—in a good way.

I saw this twice only about 3 weeks apart (sadly without the benefit of a new cast) and I do believe I enjoyed it every bit as thoughoughly both times. I look forward to the rights and royalties being released as I so look forward to directing and even (gasp!) performing it!!!!

SOUTH PACIFIC (Before it closed.) Still beautiful. Thank you, Lincoln Center.

PROMISES, PROMISES (Revival) I do NOT know why anyone would choose to revive this insipid show. Is it the Mad Men rage? I'm guessing so. Maybe it's me, but a show that shows all men as cheating, mysogynistic and immoral creatures; and all women as stupid and easy is simply NOT my cup of tea. Add to that a tacky plot contrivance of suicide and you have a recipe for disaster.

Let's talk PERFORMANCES: Sean Hayes was actually really sweet albeit a tad old for the role. He doesn't have an amazing voice, but it is pleasant and well suited in this show. Katie Finneran, who won a WELL-DESERVED Tony Award for this role, was an absolute standout in this show. So funny, so alive! Tony Goldwyn in a supporting role was quite impressive. This is a man that I've had a crush on since the movie GHOST. NOW: Kristin Chenoweth. I want to say Kristin is a major talent, and I really like her work. Just not here. Cheno is only a few years younger than am I (late forties for me) and is playing a TWENTY SOMETHING? REALLY? I was in the fifth row and I wasn't buying it. It was distracting and unnecessary.

The only shows currently on Bway that I haven't seen as I have no desire!
Come Fly Away (closing)
Jersey Boys
Million Dollar Quartet
Rock of Ages
The Addams Family

It's Tony Time!!!!

Here come the Tony Awards: June 13, CBS, 8pm (Always a nice birthday present)

This season has truly been lackluster, what with two of the best revivals having been closed only a few months after they openend, and I'm not all that into the results but it's worth a gander. I've marked my HOPE for the winner (*) and my prediction for what will win (!) And the Nomiees Are:

BEST MUSICAL
American Idiot
Fela!*
Memphis!
Million Dollar Quartet

BEST PLAY
In the Next Room, or The Vibrator Play
Next Fall*
Red! (I haven't seen this yet, but have heard great things.)
Time Stands Still

BEST REVIVAL OF A MUSICAL
Finian's Rainbow
La Cage aux Folles!
A Little Night Music
Ragtime*

BEST REVIVAL OF A PLAY
Fences!*
Lend Me a Tenor
The Royal Family
A View From the Bridge

BEST BOOK OF A MUSICAL
Everyday Rapture, Dick Scanlan and Sherie Rene Scott
Fela!, Jim Lewis and Bill T. Jones *
Memphis, Joe DiPietro !
Million Dollar Quartet, Colin Escott and Floyd Mutrux

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATER
Note: TWO of these shows are NOT musicals!
The Addams Family, Music and Lyrics: Andrew Lippa
Enron, Music: Adam Cork, Lyrics: Lucy Prebble
Fences, Music: Branford Marsalis
Memphis, Music: David Bryan, Lyrics: Joe DiPietro and David Bryan!*

BEST PERFORMANCE BY A LEADING ACTOR IN A PLAY
Jude Law, Hamlet
Alfred Molina, Red*
Liev Schreiber, A View From the Bridge
Christopher Walken, A Behanding in Spokane
Denzel Washington, Fences!

BEST PERFORMANCE BY A LEADING ACTRESS IN A PLAY
Viola Davis, Fences
Valerie Harper, Looped*
Linda Lavin, Collected Stories
Laura Linney, Time Stands Still
Jan Maxwell, The Royal Family!

BEST PERFORMANCE BY A LEADING ACTOR IN A MUSICAL
Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises
Douglas Hodge, La Cage aux Folles!
Chad Kimball, Memphis
Sahr Ngaujah, Fela!*

BEST PERFORMANCE BY A LEADING ACTRESS IN A MUSICAL
Kate Baldwin, Finian's Rainbow
Sherie Rene Scott, Everyday Rapture
Montego Glover, Memphis
Christiane Noll, Ragtime*
Catherine Zeta-Jones, A Little Night Music!

BEST PERFORMANCE BY A FEATURED ACTOR IN A PLAY
David Alan Grier, Race
Stephen McKinley Henderson, Fences
Jon Michael Hill, Superior Donuts*
Stephen Kunken, Enron
Eddie Redmayne, Red!

BEST PERFORMANCE BY A FEATURED ACTRESS IN A PLAY
Maria Dizzia, In the Next Room, or the vibrator play
Rosemary Harris, The Royal Family
Jessica Hecht, A View From the Bridge
Scarlett Johansson, A View From the Bridge!
Jan Maxwell, Lend Me a Tenor*

BEST PERFORMANCE BY A FEATURED ACTOR IN A MUSICAL
Kevin Chamberlin, The Addams Family
Robin De Jesus, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Levi Kreis, Million Dollar Quartet
Bobby Steggert, Ragtime***** (Please: this is the only one I care about!)

BEST PERFORMANCE BY A FEATURED ACTRESS IN A MUSICAL
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises*
Angela Lansbury, A Little Night Music!
Karine Plantadit, Come Fly Away
Lilias White, Fela!

BEST DIRECTION OF A PLAY
Michael Grandage, Red!*
Sheryl Kaller, Next Fall
Kenny Leon, Fences
Gregory Mosher, A View From the Bridge

BEST DIRECTION OF A MUSICAL
Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime*
Terry Johnson, La Cage aux Folles
Bill T. Jones, Fela!!

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

I have chosen not to include some of the tech awards for simplicity sake. Let see how many I get.

The Good.

Bloody Bloody Andrew Jackson (off B'way, playing THREE times extended at the Public Theater) This is the best new musical HANDS DOWN of the season! LOOOVED it so much, hope to get back to see it before it closes (Now the end of June) Cannot wait for the CD to be released.

The story is raw, the music is 'emo' (who knew there was such a thing AS Emo music?), the tone is raunchy, the humor is irreverant and I loved every minute of it. OH...and it's based on the life of the 7th President of the US: Andrew Jackson, the populist president.

Benjamin Walker alone (Playing Jackson) is worth the price of admission. Him and his tight pants. (I'm not being fresh, it's from the show.) I don't know how much is accurate and how much is not...but I don't really care. It made me care, it made me laugh, it made me think, it made me smile. I even BOUGHT a book ABOUT Andrew Jackson because I was so intrigued. http://www.youtube.com/watch?v=KTbdBeTU11c&feature=related

Hope you catch this if you can. I'm hoping this makes a transfer to a long running OFF B'way house (New World Stages Anyone?) I think it could make a great run! A what a wild ride it is!


NEXT FALL, I'd heard mostly good things about this straight play about a gay relationship. One of the things I love the most, is that this show decided to be a story and not a "cause". It escaped being an in-your-face propaganda piece about gay issues/rights (of which I am a strong supporter) but gives the audience a story, about a couple, that happens to be gay. Sure, we have issues surrounding it, but in a thoughtful way. Basic premise: at the hospital waiting room, we re-vist the 5-year relationship of Adam and Luke (the latter is now in a coma). Luke is the agressor in the relationship, however, not only does his very Christian family not know that the men live together, they don't even know that he is gay. And they probably would not be accepting.

A well-written script, by Geoffrey Nauffts, Next Fall has been nominate for a Tony Award for Best New Play. I'm not sure if it's THAT good, but the story was fresh and suprisingly funny at times, and the performances were grounded and touching. Kudos.

Lend Me a Tenor, revival -- I was lucky enough to see the original production with (a very young) Victor Garber, Tovah Feldshuh and Phillip Bosco. I loved it, and I still consider this to be my favorite farce.

When news broke that Stanley Tucci (whom I adore) was directing, it came with the thought that Grey's Anatomy's T.R. Knight would star, I was ecstatic. But that was short lived, sadly. The revival cast includes: Justin Bartha (The Hangover, National Treasure), Jan Maxwell (nominate for TWO Tonys this year), Tony Shaloub and Anthony LaPaglia. This has so many pieces that are right, but they just don't seem to actually fit. While I thoroughly disliked Bartha's performance, I though the others were quite good. Both the set and costumes were gorgeous. So what is missing? Timing? Commitment? Pacing? I don't know. I LIKED it. Maybe even liked it a lot. Maybe I was expecting too much...because I wanted to fall in love with it again. (Note: the critics were quite harsh to LMAT.)

Next to Normal (yes, again)-- Not much to say other than no one is calling it in. Still moving. Still rip your heart out amazing.

NEWS FLASH: Brian d'Arcy James is RETURNING to the role of Dan (which he originated off b'way)! It is a limited run, as Brian is re-opening on B'way in the fall with the extention of TIME STANDS STILL. So, they have suckered me into going back in June!

The Mediocore.

New Cast of Hair -- Weeelll.....not as bad as I feared, not as good as I hoped. Three weeks into their run after taking over, they still hadn't found their true ensemble. Kyle Riabko (Claude) was MUCH better than I expected. I knew vocally he could handle it (beautiful voice) but I was concerned about the acting: after the first few moment where I thought I would HATE him, he delivered a Claude that was sensitive, perplexed and caring. We got to chat for a few minutes after the show, and he was as gracious as ever. Ace Young (Berger) didn't fare as well in my eyes, but he was serviceable. He just didn't seem real. I felt he was trying to be Will Swenson trying to be Berger. Sadly, Diana DiGarmo was out the performance we saw, but I heard she is wonderful.

The Burnt Part Boys -- Zzzzzzzz. Why? WHY? It's just not right. An uninspired story, a redundant score (I'm SURE Bluegrass can be more diverse that what is here.), a cheesey ending. However, many talented folks trying their best to make it work.


American Idiot -- I wanted to love this, I really did. And there were things I truly liked, but I cannot be passionate over this, or go so far to reccommend it, and that breaks my heart. Truly.

First, this has made me a fan of Green Day. I get THEM, and I love listening to their music. Michael Mayer pretty much gave birth to this telling of Green Day's American Idiot concept album. They created more to the basic idea, but only added minimal lines of dialogue. Basic story line: three slacker friends run off to the big city only to have their lives continue to spiral toward death. One never makes it because his gf is preggers so he stays home. But he sucks as a partner AND a parent, so she leaves him. He's just as unhappy after she leaves. Buddy number two, makes it to the city but is somehow swept away my the media (???) and joins the army ***SPOILER*** where he loses a leg. He does fall in love with his nurse. We know nothing more. The third gentleman, gets to and stays in the city. He falls in love but falls to the perils of massive drug use. Somehow he sobers up enough to know he needs to straighten up. So he does, wears a tie and gets a job. And is miserable. Bottom line? I didn't feel a thing for a single character. And if I don't feel anything, I just don't care.

I fault the book for this. There just isn't anything to MAKE you care! We never get to know more than the slacker side to these characters -- and really, what the heck is appealing about that?. THAT being said, I think the cast is AMAZINGLY talented and the energy they expel is beyond belief. They dedicated themselves like nobody's business. They SOUNDED amazing -- the harmonies are beautiful. (Although, sadly, little of that transfered to the recording.) There is a part of me that sorta kinda wants to go back and see if a second viewing might make a more emotional connection -- but that feeling is waning.

John Gallagher, Jr was stupendous, and I'm a little suprised he did not garner a Tony Nomination. Other worthy mentions: Tony Vincent as the truly evil St. Jimmy, Rebecca Naomi Jones as Whathername and Gerard Canonico of the ensemble.

Everyday Rapture Hm. Where to start? Everyday Rapture is Sherie Rene Scott's life story, starring Sherie Rene Scott. And it's a musical. And the music is all pre-existing. And I didn't know a single song.

Scott is talented and highly entertaining. After all, her b'way resume is damn impressive: Rent, Aida, Dirty Rotten Scoundrels, Little Mermaid. AND she has a HUGE following. But as I sat there for 90 uninterupted minutes I kept thinking: WHY? Why do we care? Why is HER story worth telling? Why is this considered inspirational? WHY did I chose to see this? Ok...sure, she use to be a mennonite. Well, HALF mennonite. So what? She's not now. People praise her honesty for discussing an abortion early on in her life. WHY? When she talks about it, it's not any big deal...not to make the decision or live with the decision. It's not a frightening ordeal, no one is trying to keep her from doing it. She talks about it with no emotion whatsoever...so again I ask: WHY???

Thank goodness I only paid TDF prices. I think I would have HATED it if I'd paid full price! Please note: MANY people this is the best thing on the Great White Way...gosh, I hoope not.

One last thought: if Meghan Mullally (Of TV's Will and Grace and B'way's Young Frankenstien) hadn't walked out of the revival of Lips Together, Teeth Apart causing the Roundabout to cancel the show, this show would have never seen the light of day on B'way.

Another attempt to catch up!

This blog is an attempt to figure out WHAT I still need to catch up on. It won't be easy. But here goes:

New Cast of Hair
Next to Normal (yes, again)
The Burnt Part Boys
Bloody, Bloody Andrew Jackson
American Idiot
Lend Me a Tenor
Everyday Rapture
Next Fall
Matt Doyle at Joe's Pub
In the Heights with Corbin Bleu (really!)

The Tony Award Nominations


Hmmmm.....what to discuss HERE? Short blurbs:

Corbin Bleu as Usnavi at In The Heights. I liked this show the first time. Sweet, fresh although not terribly orignal. BECAUSE of the introduction of Mr. Bleu (from High School Musical fame) both my kids decided they DID trust my opinion of them enjoying this show. While I still don't LOVE the show, I will say I enjoyed it JUST as much as I did the first time. Both the kids really loved it, too. Watching THEM watch a show is indeed, priceless. Corbin was really wonderful on stage and captured the essence of Usnavi completely. I will admit, many were skeptical of his being cast, but he won over all of the naysayers I'd heard from -- well, those that actually saw him perform. My DD begged to stage door, so we obliged her. By the time Corbin came out, we were half frozen but it was well worth the wait. He was warm and gracious and took a little bit of time with everyone that waited for him. He was incredibly sweet to my daughter and was happy enough to pose for a few pix with her. You'd have thought he was an old b'way pro and fit in the atmosphere of SD very nicely.

Matt Doyle at Joe's Pub
My favorite little club for some b'way performers cabaret style shows, indeed. Matt is working on releasing an album and this gig was a pre-cursor to that endeavor. He sang mostly songs from up and coming composers. I'm sorry I don't have the play list and can't list any of the numbers. But I will say...I would go out of my way to hear Matt sing, he has such a true quality to his voice...so honest. It was also lovely to hear him sing with Jen Damiano (Next to Normal, Spring Awakening). My favorite moment, though, was when former student, Katie Gassert, sang with him. I couldn't have been more proud if I were her mom. It's something seeing someone you've directed since they were TWELVE blossom the way Katie has. I wish her well and hope a suited casting comes her way soon.
(see her here: http://www.youtube.com/watch?v=ZxOGJFD5qTc)

Everyday Rapture
First, the ONLY reason this has made it to B'way is because Megan Mullalley dropped out of Lips Together, Teeth Apart causing the Roundabout to cacel the show...so they had an empty theater.

This is Sherie Rene Scott's autobiographical musical. Most of you are thinking: Who the heck is she? She IS well known on the B'way circuit with such originating roles as Ursala (Little Mermaid), The Last Five Years (Off B'way), Dirty Rotten Scoundrels, Aida, and Rent. But what needs to be asked is WHY? She is crazy talented, and I was entertained. But I had to keep asking myself WHY does her story need to be told? It isn't hardship filled. She didn't overcome great adversity. She had a life...and one she's still filling. The whole thing just seemed...well...indulgent. (BTW...she managed to snag a few Tony noms...showing was a weak year this has been for musicals.)

That's enough for now. I promise: in a few days, I'll write some more! I swear that I will be all caught up before I see any new shows. (And that's not likely to happen before Father's day weekend.)

FINALLY!

Bye Bye Birdie (Revival) -- We waited 50 years for THIS? Ok, I do need to state that I did NOT hate this the way so many of my 'theater friends' did. I was just incredibly disappointed and bored. Most people will review BBB as horrid miscasting. Nope. This is simply a case of the worst direction of a musical. I truly believe that Robert Longbottom TOTALLY missed the boat on this production. He missed the entire point of the show. Where was the commentary on popular entertainment? Where was the disdain for "FanGirls"? His actors were instructed off the mark as to WHO their characters were. Additionally, the characters were not existing in the same 'world of the play'. Bill Irwin (whose work I usually adore) was practically inhuman. Jayne Houdyshell took one of the funniest characters to exist and made her heartless and mean. John Stamos was incredibly inconsistent throughout...WHO IS Albert Peterson? Stamos cannot answer that question, obviously. The kids ensemble, while energetic and lively, lacked character and depth.

Gina Gerson. Singing is nothing more than 'ordinary'. Her acting (she was incredibly in Boeing Boeing) was misguided at best. Her dance skills? Totally ill equipped for this paricular role. Allie Trimm has an absolutely lovely voice (and I hear she is an adorable person -- she certainly was very sweet to my kids at the stage door) but I felt her "Kim" was incredibly boring. Nolan Gerard Funk as Birdie was adequate bordering on good, but nothing stands out about his performance. His undertstudy, Robi Hager, got to play the role a few times (Nolan got sick in previews) and I understand he was WONDERFUL.

Matt Doyle is perhaps the real stand out in Birdie as Hugo. Sadly, this is a small role, so not enough stage time for Mr. Doyle to get the attention he deserves. Thankfully, they re-arranged One Boy so that Matt could sing -- a real treat for any audience. I simply felt that Matt's choices were the only ones that exhibited the true understanding and intent and style of a show like Birdie.

God of Carnage -- Winner of the 2009 Best Play, starring Jeff Daniels, Hope Davis, James Gandolfine and Marcia Gay Harden. (ALL nominate for Best Actor, although only Harden won.) Mind you, the cast is entirely different now, and is not pulling in the audiences that is was during the orignal cast's run. (Still: Annie Potts, Jimmy Smits and Christine Lahti SHOULD be able to reel them in.)

From Broadway.com: What happens when two sets of parents meet up to deal with the unruly behavior of their children? A calm and rational debate between grown-ups about the need to teach kids how to behave properly? Or a hysterical night of name-calling, tantrums and tears before bedtime?

My basic feeling was this was a good time and quite a ride, but I couldn't help thinking, "this is it?" I wanted there to be something more, something beyond the jokes and physical suprises. I felt that while the circumstance were believable, the character development was not. I (obviously) am far in the minority with my lack of adoration for this show. Maybe I'm getting to be too much of a seat snob and it's affecting my enjoyment. I was sitting mid-mezzanine, as there were NO discounts available for this show during the original cast's run. (ME? A snob? Naaaah.)


Superior Donuts -- by Tracey Letts (August: Osage County)
Do NOT compare this to A:OC, which was a masterpiece beyond description, truly. This is a thought filled comedy set in Chicago. Superior Donuts centers on Arthur Przybyszewski (Michael McKean) a former hippie and current lost soul, that owns the doughnut shop that houses the entire scope of the play. Franco Wicks (Jon Michael Hill), a black teenager who is his only employee, wants to change the shop for the better. The play explores the challenges of embracing the past and the redemptive power of friendship.

First, let me say that Jon Michael HIll is a young man to watch for in the future. I think given the right vehicle, he could be successful on TV, in movies or on B'way. He was intriguing and believable and had such an 'essense' about him. You cannot help but be drawn to him. Second, it was delightful to see McKean (LENNY!) on stage, who totally inhabited his character.

However, the evening ws pleasant. But that's it. Sure, I laughed, but I didn't care all that much. I could see the entire plot unfold a mere 30 minutes in. The stage 'fight' was laughable. Too, too long and too, too ineffective. I don't want to go to the theater for "pleasant". LIFE is pleasant and I don't have to ride a bus for 4 hours to experience it. Rumor is that Letts never wanted Superior Donuts to hit b'way, as he new it was far inferior to A:OC. He should have stuck to his guns.

Another play to be on the look out for: Next Fall. On my list which is growing too fast. I do not expect to be in Manhattan again until next Month with the kids and seeing In The Heights and the Fantastiks. Then again in April with the HS kids: Hair, Next to Normal and Fuerza Bruta) For me? Sadly, I do not know. This makes me frown.

Life is Good, Broadway is Better!

Can I truly catch up in one more blog????

You betcha, I can!

It's another sad January for the Great White Way. Not as many closings as last year...but still quite a few. More sad, from my point of view, are the shows that didn't seem to get a real chance to shine, namely Ragtime and Finian's Rainbow. Both Revivals and both well rec'd by the majority of folks I know.

On the other hand, there is a lot of exciting things (and people) coming along as well. Green Day's American Idiot, fresh from its twice extended run at Berkely has just announce it's plans to open on Bway THIS spring. While not announced, it's expected that the majority of the cast is staying with the show including: John Gallagher, Jr. Couldn't be happier even though I've heard mixed things as well as the fact that I'm DEFINITELY NOT the demographic for this musical. Still, I am oddly drawn to it...and perhaps because of the cast more than anything else.

Also coming:
Kelsey Grammer in La Cages aux Folles
Abigail Breslin in The Miracle Worker
Bebe Neuwirth
Nathan Lane in The Addams Family
Tony Shaloub in Lend Me a Tenor directed by Stanley Tucci

Oh, there's more...but my mind swims.


Ragtime (Revival)
I never caught the original production (approximately 11 years ago) so I was THRILLED to hear of this revival. The reports out of DC where this production originated were STELLAR. I was excited. I caught this with my sister Thanksgiving weekend. I was intrigued, I was impressed, I enjoyed. But I was not overwhelmed with love. My sister was even less so impressed. On my travels home that weekend, during a visit with a friend, it was suggested that I go again with my dear friend so that she could see it. I declined. Once was enough.

Then a strange thing happened. I couldn't stop thinking about the show. The story, the music, the faces....it was haunting me (but in a good way). I DID want to see it again and pretty promptly made arrangements to do so with the above mentioned accomplice. It was so moving and so nuanced. I was in love. (I'm fickle, I know) Based on the novel by E.L. Doctorow, this is primarily a story of an ugly time in our country's history, a story of racism. It is also a story about finding purpose in life in a myriad of circumstances. While the score may not be hummable, it certainly is powerful. Standout performances go to Christiane Noll as Mother, Quentin Earl Darrington as Coalhouse Walker, and Bobby Steggert as Younger Brother (My personal favorite by far.)

Sadly, the day afterwards they announced they'd be closing 1/4. This beautifully crafted show just couldn't find it's audience. Then a mere 2 or 3 days later, they announced a one week extention because NOW folks were coming out in droves. the rumor NOW? Is that they will take a hiatus for approx 6 weeks and then comeback. At the root of this talk -- is that Sir Andrew Lloyd Weber may be SUBSIDIZING Ragtime to keep it going. Why? Because he wants the Neil Simon for the Phantom of the Opera sequel. It would be cheaper to subsidize Ragtime than just pay to hold theater. Time will tell.

A Little Night Music (Revival)
Sondheim. Lansbury. Zeta-Jones. Who could ask for anything more? Me. This production (and not the show itself....because I LOVE the show) left me cold. I cannot put my finger on WHAT about this show didn't quite work for me. I was enamored of many of the performances. I didn't mind the scaled down orcestra. The vocals were impressive. The costumes were lush and the set was satisfactory. Granted....when I saw it, the show had only had a few days in previews...maybe they hadn't found their 'groove' yet.
Race

In the Next Room or the Vibrator Play by Sarah Ruhl
From the Lincoln Center: IN THE NEXT ROOM or the vibrator play is a provocative, funny, touching and marvelously entertaining story about a young doctor and his wife. Dr. Givings (Michael Cerveris) is obsessed with the marvels of technology and what they can do for his patients. His wife, Catherine, (Laura Benanti) is only a bystander in her husband's world - listening at the door from the next room as he treats his female patients. Dr. Givings is not sure exactly how the vibrators help the women he treats - but they do keep coming back. The only woman whose problem is not helped by the doctor is his own wife who longs to connect with him - but not electrically.

While I wouldn't say this was my favorite play -- of the season or all time - I had a great time. It was fun and even a little thought provoking. The cast each had some really wonderul moments all. One point of contention: the final scene involves snow falling. I don't feel I've "spoiled" anything for the viewer for two reasons -- 1. The show closed last weekend or is it this weekend; it was a limited engagement and 2. If you'd caught the show yourselves, you'd have known it was going to snow later within the first five minutes of the show. ALL throughout the evening, snowflakes kept falling. About every 10 minutes a flake or two would flutter through the living room. Incredibly distracting, for me, anyway!


Nope, couldn't finish up in one more blog post. Ok, ok but we're that much closer now! Still to come:
Bye Bye Birdie
God of Carnage
Superior Donuts

Life is Good, Broadway is Better!

Sheesh....I am just TERRIBLE.

Now I am even further behind. I am bad. I hide my head in shame. Shall I wear a cone? (UP reference.)

Other things to add:

Ragtime
Race
A Little Night Music
In the Next Room or the Vibrator Play
Bye Bye Birdie
God of Carnage
Superior Donuts

I feel as though I am missing things. Oy.



As far as the things I am woefully behind on I've decided the following:

I will try to simply to a BRIEF wrap up and skip any repeat shows unless I have something earth-shattering to add to a previous review.

Mary Stuart -- an amazing evening of theater, incredible performances, beautiful (even if inaccurate) history lesson.

Fuerza Bruta -- still exhilarating, still breathtaking. I cannot urge people enough to go and experience this show. Keep an open mind, let go of fears and just BE. For those unfamiliar with Fuerza Bruta, it is performance art at its best. The experience IS you. I imagine that people that are highly religious must get the same feeling from prayer and services that I receive from this show. It assualts your senses. It takes you away from yourself. It makes you SEE things differently. It is nearly an out of body experience. I fear for it's future as it is only selling tix through Feb. My HS group has been trying to get tix for our Spring trip...and it looks like we have to go another route. They are saddened, but life goes on.

Billy Elliot -- I have now seen this three times, and wish it were fewer. It is incredibly manipulative and formulaic. That does not mean that it is drek or without merit. It is just flawed, and I don't think I will quite get over it beating N2N for Best New Musical. Congrats to it's success, it needs no words of praise from me.

The Gazillion Bubble Show -- UGH. My kids liked it, but I just wanted to take hot forks and insert them thusly into my corneas. Don't. Please. (Unless you have young children.)


The Departure Lounge (off b'way) -- At the Public Theater, playing during their SPF Festival. I cannot say anything bad about Jonathan Bradford Wright. I adore him. You may recognize his name from the original cast of Spring Awakening, or two of Michael Cera's movies (Nick and Nora's Infinite Playlist and the upcoming Youth in Revolt). Since those movies are NOT of my liking, I was incredibly happy to see JBW back on stage and SINGING. The show itself about 4 longtime friends finding out the truth about themselves and each other after a free sprited vacation was "nice" enough. I believe the blurb from the festival states it is a "testosterone-driven new musical." Yup.

I will go and see JBW sing the phone book. Or simply SIT on a phone book. The man oozes talent and is incredibly hot. Chatting with him afterwards, he was incredibly sweet...and much more outgoing and comfortable than in previous meetings. He mentioned he saw us in the audience and thought, "Aw, there's my 'peeps'". (As a sidebar....I saw him in NYC Christmas week as he walked by 5Napkin Burger where we were eating. Yum -- JBW AND the restaurant.)

PLEASE cast this incredibly young man in a musical on b'way. American Idiot, please? (Even thought I highly suspect that the entire cast is staying with the show.)

Avenue Q -- Over five years since it opened and close to 4 since I saw it the first time, this show has since closed ON Bway.. It was still fun, still inappropriate for the masses. Grown up Sesame Street. Puppet Porn. The most UN-"PC" show out there. And a real entertaining delight. I've heard it has survived the transfer to Off B'way quite well (New World Stages).

Vanities (off b'way) -- This has been one of my favorite plays since college. I was more than curious, even though I'd heard less than stellar reports. This was a show that was originally slated for a B'way opening when the economy turned south. Well, the reports weren't wrong. It wasn't wonderful, but it wasn't terrible. It was just...meh. It would have been a colossal error to allow this to open ON B'way. I happened to get to the closing performance, which if you haven't been to the closing of a professional show, have a tendancy to run high on emotions. It's hard letting go of something that has been a part of you for some time. I suppose I would liken it to sending your kids off to college. (not that I've been there yet...only with students)

Next to Normal -- I am fairly certain I have spewed enough adoration and love for this show for the next decade. I am excited to see this again with my students in April. Aaron Tveit has permanently left the cast and the producers have replaced him with Kyle Massey, who temporarily replaced him during the summer during his run in Catch Me If You Can out in Seattle.

The Toxic Avenger (off b'way)-- another fresh, inappropriate, noisy and tacky show. And I loved every minute of it. Sadly, this too is closing at New World Stages. Based off a TERRIBLY B-movie from the 80's, nothing is too lowly for this raunchy musical. And I had a blast.

Hair -- LOVE. Nothing but love. Got to catch Jay Johnson on for Claude as Gavin had the NERVE to be on Vacation. Jay was lovely. Young, yearning and pure. Will Swenson nearly made love to me in my seat. (No complaints) And SOMEHOW (thanks, Nix) we ended up BACKSTAGE. Got to meet nearly everyone and hang about on stage and in the wings. Cannot begin to be giddy enough about THAT experience. I so had the opporutuinty to steal props....but there was nothing inconsequential to lift. Not a freakin' draft card or love beads. MAJOR disappointment. My friends tried to convince me to take a spear...but that seemed a bit much.

A few weeks later we ran into Jay at the Equality March rally held at the Delacourt Theater. What a lovely kid.

Burn the Floor -- ugh. Wanted to leave. Wanted there to be SOME meaning. Wanted to get two hours of my life back.


The Bacchae (At the Delacourt theater in Central Park)-- Not one of my favorite theatrical experiences. I didn't even really enjoy seeing Jonathan Groff attempt this mess of a show. I'm a fan of classical theater...but not 1/2 baked ideas that leave you cold and unmoved.

Matt Doyle (in his first solo gig)-- a beautiful person, a beautiful voice, a really nice gig. Of course, it was brimming with fan girls that would have been ecstatic had Matt showed up and simply passed gas. Special guests: Blake Daniel, Wes Taylor and someone else from the final cast of Spring Awakening.

Joe Iconis (and friends)-- you can't have more fun with your clothes on. Really.

The 39 Steps (FINALLY!) -- and yet, I was disappointed. Truly. It was cute, but mostly because of the gimmick....4 actors playing an obnoxious amount of characters. This is also closing it's bway run but will ALSO be taking up residence at New World Stages to see about an OFF b'way go. Hm. A new trend???


OK....that's enough for now. I'll try to catch up on the fall experiences in the next few days!