I Don't Take Vacations, I Go to Broadway

A Drama Filled Day, 5/17/11

2011-08-23T21:16:00.000-04:00

Wonderful theater is happening in Manhattan. And not all of it has singing or dancing. Some of it is JUST acting. And some wonderful acting it is. While this years Musicals have left me rather underwhelmed, the plays are another story entirely. Go see a play; the musicals will still be there.

JERUSALEM -- starring Mark Rylance (thank you Great Britain), Mackenzie Crook and John Gallagher, Jr.

Jerusalem follows Johnny “Rooster” Byron, a middle-aged alcoholic who lives in a rundown trailer deep in the woods on the outskirts of an English town. The citizens of the village are fed up with his drunken antics and an eviction notice has been delivered to his door. Byron decides to ignore the notice and spends the remaining day drinking and doing drugs with a group of teenagers who often visit him to escape their home lives. Trouble ensues when one teenager’s father comes looking for his daughter after she has disappeared.

I'm still on the fence with the story itself, but the performances are delicious. Mark Rylance is a true chameleon and I think I would go see him read the phone book. He's just that good. I also found Brit Mackenzie Crook's performance to be riveting. John Gallagher, whom I adore, while turning in a great performance, has played this character one too many times.

The Normal Heart

Starring Joe Mantella, Ellen Barkin, Lee Pace, Jim Parsons and John Benjamin Hickey (Limited run through 7/10, directed by Joel Grey)
Wow. Tagged as a "Coming of Rage Story" this is one intense play. Covering the begining of the aids epidemic, this play, BRILLIANTLY acted by all, is beyond important.

This follows the true story of the playwright as he is thrust into the role of activist: to find funding for the yet unnamed killer disease as well as educate the still hiding gay community that is being struck down in huge numbers. The story is full of information, anger and above all: love.
Certainly an important work for anyone in the gay community, but important for anyone with a heart.
NEXT UP: Book of Mormon (The only true runaway hit of the season and front runner for Best New Musical) and Warhorse (front runner for the Tony for Best New Play.) The Tony Awards will have

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Fall Has Begun!

2010-10-31T19:47:00.002-04:00

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

2010-09-05T08:40:00.014-04:00

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!

2010-09-04T19:12:00.005-04:00

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!!!!

2010-05-19T19:38:00.002-04:00

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.

2010-05-13T06:51:00.010-04:00

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.

2010-05-13T06:30:00.012-04:00

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!

2010-05-09T17:00:00.006-04:00

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!

2010-01-17T06:06:00.002-05:00

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????

2010-01-09T21:03:00.002-05:00

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.

2010-01-09T03:23:00.005-05:00

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!

I have been remiss.

2009-08-19T23:14:00.002-04:00

And I am ashamed. But I have to admit: there is no way I'll catch up tonight.

However....this is what's to come...

From JUNE

Mary Stuart
Fuerza Bruta

From JULY with the kids

Billy Elliot
The Gazillion Bubble Show

From AUGUST

The Departure Lounge (off b'way)
Avenue Q (getting ready to close after almost 6 years)
Vanities (off b'way)
Next to Normal
The Toxic Avenger (off b'way)
Hair
Burn the Floor
Billy Elliot
The Bacchae (At the Delacourt theater in Central Park)
Matt Doyle (in his first solo gig)
Joe Iconis (and friends)
The 39 Steps (FINALLY!)

The Future:
Hard to believe we're experiencing a recession....because you sure couldn't tell from all the shows coming onto the Great White Way for the 2010 season!

Plays!
Revivals!
Musicals!
Hollywood Stars!
British Productions!
Broadway Favorites!

JOHN LITHGOW!!!!

Very exciting. I'll need a second job just to keep up!

Tony Awards Widget

2009-06-06T14:39:00.001-04:00

N2N -- v2 & God of Carnage

2009-06-03T05:58:00.005-04:00

Got to see some friends, got to see some shows. Life is Good, Broadway is Better.

Next to Normal (revisted)

I know, I know...I only saw this a few weeks ago. Additionally, when I left the theater I wasn't sure if I could see this again as it is emotionally draining. But I found I couldn't stop thinking about it, couldn't stop listening to the cd. The cd kept evoking emotions that it hadn't while in the theater. A deeper understanding, perhaps? (If you haven't heard some of the music, there is a player over on the left where you sample about 10 of the songs. It's purple, so a little hard to miss although you need to scroll down a little. Listen and read.)

So, I lucked into a third row seat and prepared myself for an emotional beating. Wow. The entire cast was simply on fire, so much more intense than when I originally viewed the show. I heard from others that the show was like that for all five shows of the weekend. (Impressing Tony voters, perhaps???) I don't care the reason -- it was a theatrical experience NOT to be missed.

The cast:
Alice Ripley -- I don't know how this woman does this show 8 times a week, especially the two a days! The tears and the emotion flow from her as simply as turnig on your faucet. She is giving the performance of a lifetime...and one that will be a measuring stick for years to come. Granted it is an amazing character to play and she's been at it for quite some time. But still, I am in awe. There are folks that complain about pitch problems she may or may not have, people complain about the quality of her voice. Pooh to them all. Alice Ripley is an amazing actress, and I love every quirk and nuance of her.

J. Robert Spencer -- I am "over" Brian d'arcy James no longer being a part of this show. Spencer's portrayal of the family's patriach has gotten so nuanced and stronger even if the few weeks since I last saw it. I love how his character has become consumed with his wife, although sadly at the expense of his daughter. His pain is more evident and the brave face is an ardently failing mask.

Jennifer Damiano -- 18 years old, 2nd B'way Show. Tony Nominee. I wish I could hate her, but she is so incredibly talented. I was listening to a version of N2N from approx 2 years ago, when the show was off b'way at 2nd Stage. I was astounded to hear how much Jenn's voice has grown and matured in that time. She was captivating.

Aaron Tveit -- First, may I just say, "YUM"? When Aaron appears without his shirt, I am fairly certain I had to catch my breath. And I've seen the man in that form of undress a few times. It's wrong that he's so pretty. But since he is the purest form of energy while onstage makes it ok. *spoiler* Aaron plays a spirit, a soul, a hallucintation, an imagination....how fitting. end of *spoiler* Sadly for many of you that haven't seen the show yet: Aaron is leaving N2N for an out of town stint in the premiere of "Catch Me If You Can" in Seattle. The plan is for him to return early September. Kyle Dean Massey will be his replacement....while I will most likely catch him in August, I do not know his work. He is cuter than all get out as I saw him at the stage door last week while I was waiting for a friend.

God of Carnage -- Tony Nominated for: Best new play and all four actors rec'd acting noms as well. Sadly, my seats are less than stellar. I am in the back half of the mezzanine. (As a side note: I find I am becoming more and more of a seat snob) The actors/directors played NOTHING to the mezzanine.

The play is certainly entertaining....but still lacking something. I still can't figure out what, though. The plot surrounds two couples that have come together to discuss a playground accident. This quickly unravels into an evening of accuasations, confessions, lies and redemption.

I love the actors: Marsha Gay Harden, Jeff Daniels, James Gandolfini and Hope Davis. I LIKE the premise. I even liked the performances...except for Ganolfini, who I couldn't understand about 1/3 of the time. There were moments that were PRICELESS. But for the most part, I just kept thinking: Really? Why? Am I missing the point? There seems to be no reason for these people to be talking about the stuff they are, and certainly no reason to tell us about it.

Next up:
THE TONY AWARDS! I'm not going (don't I wish?) but I am watching. FYI more than 1/2 of the awards will be given out PRE telcast and the only way to see them is on a live feed. PS...not too happy with the format this year. CBS wants less focus on the awards and speeches; more attention on the musicals. Even if they aren't NOMINATED or currently plyaing. Yup...you read that correctly: the TOUR casts of Legally Blonde, The Jersey Boys and some show I have forgotten will be performing at the Tony awards. I GET that the Tonys get a limited audience. I GET that viewership is down -- but it is for ALL award shows. I even GET that CBS wants to make money. But it IS a freakin' AWARD show after all, so let's not make it so obvious that it's simply a multi hour commercial for B'way.

Mary Stuart and a re-visit to Fuerzabruta. The day can't be much more diverse!

Spring Awakening -- Revisted on Tour

2009-05-17T08:00:00.004-04:00

You know of the unnatural affection I have for Spring Awakening and some of it's cast members. It's been only 4 months since it closed on B'way and, in talking to a number of people of recent weeks, we'd begun to talk more of it's flaws than anything else. I'd begun to wonder if a huge amount of the beauty of the show was indeed coming from the original cast, which also trickled into the first few replacements. Blake Daniel (Ernst), Emma Hunton (Ilse) & Blake Bashoff (Moritz) were all incredible and worthy additions to the cast. Additional actors as part of the ensemble/understudy crew were also positive: Eryn Murman, Matt Doyle (who has his own bizarre cult following) and Alexandra Socha, who ended up replacing Wendla. After that: not so much.

And now, there is the Tour Cast. The show has been in Boston for three weeks, with one more to go. I'm sure if it weren't for may own production/tech week (The Crucible --which turned out to be AMAZING, by the way), followed by my daughter's production/tech week (Willy Wonka, Jr.) I would have picked up stage seats for each week. But I settled for twice.

Overall, the show is intact. Being able to bring it across country to those that didn't have the opportunity to go to NY, is great and the audiences haven't been dissappointed for the most part. I've had many students find their way there over the last few weeks and only know of one (so far) that didn't care for it. The set travels well, with a few exceptions....there is no pit for Act Two which was bothersome (but probably NOT to new audience members) BUT it interferes with the final entrances of Moritz and Wendla to disappointment. The lighting is still magnificent, although (as always) less effective while on stage.

The performance itself? Well. Hm. The bloom is off the rose now. I do have to preface the following comments by saying seeing the production from onstage does limit your ability to view things as they should, since you don't see the actor's faces well enough. So, a bit of my more dour comments may have been softened had I seen the show from the house. (But I'm not conviced of this.)

To the women: Angela Reed as The Adult Women. LOVED her. In her entirety. I've always felt the only person that played this part well was the Christine Estabrook. When she left the B'way show she was greatly missed. NO ONE held a candle to her, until now. I thought she was wonderful. So varied, so intense, and truly captivating. To open, I thought I was going to love Christy Altomare. I'd heard wonderful things about her and was looking forward to seeing it. Her opening song was strong and I was thinking: Yes! I'm going to like her. Even during the first scene with Reed, I was on her side. Then is just sort of stopped. As she did. No growth, no dimension...just "nice". Steffie D (Ilse) was good (although there were a few clunker notes) but I was not drawn to her in any way. And honestly, that's all about the women worth discussing.The rest of the girls were...fixtures. I thought the beauty of the original cast was how individual they each were...here they only believed themselves to be minor characters.

The men: Many more positive things to be able to say here. Blake Bashoff, will continue to be one of my favorites of all time. I would go to see him unwrap a stick of gum. (Really, I would -- because he'd make it interesting.) He's now been playing this part since December of 2007. To the best of my memory/knowledge he hasn't taken vacation (but I don't follow the tour news) and while on Bway, took almost no days off. At 8 shows a week...that's a lot of suicides and a lot of tears. And he hasn't let down one iota. I am in awe of his talent and likewise his dedication. He plans to stay with the tour as it finishes this leg in Chicago in August. I look forward to what comes next for him. (Donnie Darko on B'way anyone???)

Kyle Riabko (Melchior) also comes from B'way having assumed the role briefly when Jonathan Groff departed. Kyle has improved LEAPS and BOUNDS since B'way, but still did not win my heart. I still don't see enought thought and life within his portrayal. I will never fault his singing, and will bow down to his falsetto any day of the week.

I enjoyed the Adult Men, Henry Stram except for one detail. Acting wise he was second only to Stephen Spinella, and world's above Glen Fleshler. In speaking, however, to Bashoff, I found out that Mr. Stram could not do the physical blocking necessary in the confrontation scene. I missed the smacking of Moritz, I thought it was integral in fully the utter despair into which he falls.

I enjoyed seeing Matt Shingledecker in a role instead of his chair on B'way, and his Georg was fun. Ben Moss and Andy Mientus were nicely cast as Ernst and Hanschen. I am still amazed, sadly, on audience reaction to their passionate kissing. Lord....it's 2009 and they are ACTING. (And it was fierce!)

I'll be returning...just one last time.

Tony Predictions

2009-05-16T14:22:00.004-04:00

I have to admit: I'm pretty impressed with my Tony Award nomination predictions.

Below are my predictions for the out come. I marked it 2 ways: What I think SHOULD win (*) and what I think WILL win (+). Here goes nothing! I took out some of the tech awards that I have no idea whatsoever.

Best Play

Dividing the Estate
God of Carnage *+
reasons to be pretty
33 Variations

Best Musical

Billy Elliot, The Musical+
Next to Normal*
Rock of Ages
Shrek The Musical
Producers: Dreamworks Theatricals, Neal Street Productions

Best Book of a Musical

Billy Elliot, The Musical
Next to Normal *+
Shrek The Musical
[Title of Show]

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

Billy Elliot, The Musical
Next to Normal *+
9 to 5: The Musical
Shrek The Musical

Best Revival of a Play

Joe Turner's Come and Gone *
Mary Stuart
The Norman Conquests+
Waiting for Godot

Best Revival of a Musical

Guys and Dolls
Hair*+
Pal Joey
West Side Story

Best Special Theatrical Event

Liza's at The Palace
Slava's Snowshow*
Soul of Shaolin
You're Welcome America. A Final Night with George W. Bush+

Best Performance by a Leading Actor in a Play

Jeff Daniels, God of Carnage
Raúl Esparza, Speed-the-Plow*+
James Gandolfini, God of Carnage
Geoffrey Rush, Exit the King
Thomas Sadoski, reasons to be pretty

Best Performance by a Leading Actress in a Play

Hope Davis, God of Carnage
Jane Fonda, 33 Variations
Marcia Gay Harden, God of Carnage+
Janet McTeer, Mary Stuart*
Harriet Walter, Mary Stuart

Best Performance by a Leading Actor in a Musical

David Alvarez, Trent Kowalik, and Kiril Kulish ‚ Billy Elliot, The Musical+
Gavin Creel, Hair*
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, Next to Normal

Best Performance by a Leading Actress in a Musical

Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, Next to Normal*+
Josefina Scaglione, West Side Story

Best Performance by a Featured Actor in a Play

John Glover, Waiting for Godot
Zach Grenier, 33 Variations
Stephen Mangan, The Norman Conquests*+
Paul Ritter, The Norman Conquests
Roger Robinson, Joe Turner's Come and Gone

Best Performance by a Featured Actress in a Play

Hallie Foote, Dividing the Estate*
Jessica Hynes, The Norman Conquests
Marin Ireland, reasons to be pretty
Angela Lansbury, Blithe Spirit+
Amanda Root, The Norman Conquests

Best Performance by a Featured Actor in a Musical

David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical+
Will Swenson, Hair*

Best Performance by a Featured Actress in a Musical

Jennifer Damiano, Next to Normal
Haydn Gwynne, Billy Elliot, The Musical+
Karen Olivo, West Side Story
Martha Plimpton, Pal Joey*
Carole Shelley, Billy Elliot, The Musical

Best Scenic Design of a Musical

Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical*+
Scott Pask, Pal Joey
Mark Wendland, Next to Normal

Best Costume Design of a Play

Dale Ferguson, Exit the King
Jane Greenwood, Waiting for Godot
Martin Pakledinaz, Blithe Spirit
Anthony Ward, Mary Stuart*+

Best Costume Design of a Musical

Gregory Gale, Rock of Ages
Nicky Gillibrand, Billy Elliot, The Musical
Tim Hatley, Shrek The Musical*+
Michael McDonald, Hair

Best Lighting Design of a Musical

Kevin Adams, Hair*
Kevin Adams, Next to Normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot. The Musical+

Best Direction of a Play

Phyllida Lloyd, Mary Stuart
Bartlett Sher, Joe Turner's Come and Gone*
Matthew Warchus, God of Carnage+
Matthew Warchus, The Norman Conquests

Best Direction of a Musical

Stephen Daldry, Billy Elliot, The Musical+
Michael Greif, Next to Normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair*

Best Choreography

Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical*+
Randy Skinner, Irving Berlin's White Christmas

April's Shows -- Better Late Than Never!!

2009-05-16T10:15:00.007-04:00

Ok...quite the whirlwind of Activity.

HAIR: I am the most confident I've ever been that Hair will win for Best Revival of a Musical. Not only do the other nominations have little to write home about; but Hair is extraordinary, moving and meaningful theatrical experience. I, indeed, did see this at Central Park this past summer and had my concerns for it's success INSIDE, as I felt the setting OF the park added a beautiful dimension to the story. Any fears I had are incredibly unfounded. Diane Paulus has re-imagined the production and beautifully directed it twice! She is incredibly deserving of her Tony nomination and I am actually hoping for her to win.

Since you can see my original review, I will just talk about a few noticeable differences.

Overall, the confines of the theater actually makes the production more intimate than at the vast openness of the Central Park theater. Theo (see below) put it into fabulous terms: At the park...it was for everyone...people walking through the park, the stars, the air. The theater-setting is more selfish and more about just us. The "us" meant all of us in the theater...not the cast. The amount of cast/audience interaction is insane. I've never been more molested, toyed with and entangled at a show. The energy this young cast expends is beyond the imagination. Gym memberships are not a necessity! I was lucky enough to sit in the front row, and landed front row tix again for August during my annual pilgrimage!

Gavin Creel (Thoroughly Modern Millie, Mary Poppins [London]) has replaced the boy toy of B'way, Jonathan Groff as Claude, the unsure and bewildered of the "Tribe". I adore Groff and adored him in this piece, but I have to admit, Creel brought "something" to the role that I didn't even know was missing. Creel was more centered, more thoughtful. I loved everything about his performance and how beautifully he fit in with the cast. Will Swenson (who should be picking up a Tony Award for Best Supporting Actor) was even better with Creel.

Caissie Levy as Sheila. There were many nay-sayers against Levy well before Hair opened on B'way. I'd never heard of her, so could care less. I loved her performance. I like the contrast she provides to the rest of the cast as the true protester...her Sheila wants to change the world. I was quite drawn to her plight.

There are a number of standouts (still from the Park's production) I'd like to mention for their unimaginable spirits and beauty, on and off stage.

Kacie Sheik -- her loopy and forlorn Jeanie is as delightful as she is. (Doesn't hurt that her brother is one of my musical idols, Duncan!)

Allison Case -- this girl is so incredibly powerful. No matter where she is on stage or what her character is doing, you cannot help but be drawn to her. She is light and beauty and emotion. I will liken her TO Jonathan Groff as being more "in the moment" than any other actors you are likely to see on a stage. I am not ashamed to admit: I got a little girl crush on Allison. I fangirl for her! (If that was too icky to read....too bad!)

Bryce Ryness -- continues his amazing portrayal of Woof. Loved him at the park, love him more now. (I cannot attest to Bryce's off stage beauty, as I haven't met him....yet.) His commitment is beautiful and you just want to be his mom. Go check out his band as well....wow! http://rynessband.com/music.html

Theo Stockman -- is a tribe member, and is glorious. Another ever present being, I found myself looking for him during the performance to "check in".

**********

NEXT TO NORMAL: This should be the Tony Winner for Best New Musical, but I fear it will lose to Billy Elliot. It is truly an ORIGINAL musical and thoughtful and moving and contemporary. (Look for music clips in my side bar, over there <------!!) N2N tells the story of a family riddled with problems. The most obvious is the mother's bi-polar diagnosis along with other mental issues. (To say more would require a spoiler alert!) It is heart-breaking, eye-opening, frightening and real. The cd is amazing and a constant on my playlist.

Sadly, N2N NEEDS to win the Tony to make it as a commercial success. It is not going to attract your average theater goer that thinks that have kept Phantom, Wicked and Mama Mia as long running shows. It's intellingent and sensitive, and a bit of a smack in the face with reality. The kind of show I thrive on.

Alice Ripley is a genius. If she does not win the Tony Award for Best Actress, then the Tony Awards are a total and complete sham. She is performing a tour de force. (I have no earthly idea if that spelled correctly.) The role is difficult, demanding and all encompassing. She is magnificent in all capacities.

J. Robert Spencer replaces Brian D'arcy James (now in Shrek -- more on that later) from the off b'way run. He is wonderful in his own right and worthy of his Tony nomination. I missed Brian, but that's a personal thing more than anything else.

Jenn Damiano as Natalie, the perfectionist daughter headed for trouble. Jenn made her b'way debut in Spring Awakening at 15, but left the show to pursue this role. She is outstanding. At 17, she too is nominated for a Tony Award for Supporting Actress. She is amazing, and I can only imagine what the future has in store for her.

Aaron Tveit, Gabe. Sadly, Aaron did not receive a nomination for his incredible performance in N2N. One of the few true slights in my opinion. He is ethereal and magical. (And he's phenomenal eye candy, too.)

*****

SHREK: Meh. I was disappointed. So were my kids. It was their least favorite show of our trip. I found the book as well as the music to be pedestrian. All the characters were 2-dimensional. I just wasn't made to care.

Sadly, for a family show, the language was suprisingly crude. Even my son remarked on it. It made him uncomfortable.

Sutton Foster (Fiona) is totally wasted here. Or perhaps her status at the "it" girl is fading.

Brian d'Arcy James does a great imitiation of Mike Myers, and physicalizes the part well. Big deal. I wish he'd stayed with N2N. Might Shrek end up running longer thereby providing him with a more consistent income: probably. But I wish he'd made the other choice.

Best part of the show? Neil Patrick Harris (The host of this year's Tony Awards, btw) He was sitting only a few row ahead of us. My daughter wanted to say hi, and he held her hand for a few moments (the result of an awkward failed handshake. I thought she was going to pass out! Priceless.

*****

WICKED: Then? I fell in love with this 5 years ago when I saw it with the original cast. I was not pleased when Avenue Q won the Tony award over it.

Now? It was....good. It's flaws of a weak book and lackluster character development screamed in my face. Luckily, my children where entranced...which is why I went back anyway. When my 8 year started to piece together how things were tying into The Wizard of Oz it was exhilarating! It was their favorite show. (And my son went begrudingly since it was his sister's choice.)

******

STOMP (off B'way): 15 years Stomp has been playing off b'way. It is still and amazing show full of suprises and energy and unique artistry. They are still putting in new material. We love this and would go back to see it again.

This was the first show my kids stage doored for, and I fear I have created a few monsters! They had to wait to get each performer sign their drumsticks. But they were delighted and in awe. The performers got a kick out them both.

Side note: having dinner near the theater we met Ben Baily and the crew of the Cash Cab. He was so kind to the kids. He invited them to come see and sit in the cab. They put the lights on and showed them all the cameras. We took pictures, they took pictures. My kids were in heaven!

My Tony Nominations

2009-05-03T21:56:00.003-04:00

Well, since the real thing gets announced in approximately 36 hours, I thought I ought to go ahead and post.

Below are my PREDICITONS. Note that beyond Best Play and Best Revival, I did not complete the play categories. There are just SO many plays I have seen yet, that I felt like a fish out of Water.

Best Musical
Billy Elliot
Next to Normal
9 to 5
Shrek (?)

Best Revival
Pal Joey
West Side Story
Hair
Guys and Dolls

Best Actor
Gavin Creel (Hair)
The Billys (Billy Elliot)
Brian D’Arcy James (Shrek)
J Robert Spencer (Next to Normal)
Craig Bierko (Guys and Dolls)

Best Actress
Alice Ripley (Next to Normal)
Allison Janney (9 to 5)
Megan Hilty (9 to 5)
Kate Jennings(Guys and Dolls)
Stephanie Block (9 to 5)

Featured Actor
Greg Jbara (Billy Elliot)
Marc Kudisch (9 to 5)
Will Swenson (Hair)
Aaron Tveit (Next to Normal)
Chris Sieber (Shrek)

Featured Actress
Hayden Gwynne (Billy Elliot)
Jenn Damiano (Next to Normal)
Karen Olivo (West Side Story)
Martha Plimpton (Pal Joey)
Heidi Blickenstaff ([title of show])

Director
Daldry (Billy Elliot)
Greif (Next to Normal)
Paulus (Hair)
Mantello (9 to 5)

Choreographer
Darling (Billy Elliot)
Skinner (White Christmas)
Blankenbuehler (9 to 5)
Armitage (Hair)

Costume
Zinn (A Tale of Two Cities)
Robbins (White Christmas)
Hatley (Shrek)
McDonald (Hair)

Set
Walton (A Tale of Two Cities)
McNeil (Billy Elliot)
Hatley (Shrek)
Pask (9 to 5)

BookHall (Billy Elliot)
Yorkey (Next to Normal)
Bell ([Title of Show])
Resnick (9 to 5)

Score
Elton John (Billy Elliot)
Kitt/Yorkey (Next to Normal)
Parton (9 to 5)
Bowen ([title of show])

Best Play
Reasons to be pretty
God of Carnage
Irena’s Vow
33 Variations

Best Revival
Exit the King
Mary Stuart
Norman Conquests
Waiting for Godot

2009-03-24T05:17:00.003-04:00

Taking 93 people to NYC for a weekend is quite the experience. I've done it for the past 15 years....but always as "second banana" and only somewhat responsible. This year the road show was all mine. Except it didn't feel that way. And I mean that in a good way. I have an absolutely amazing support staff helping me out and easing the way....all together there were 20 adults, with only a few of them being ANY kind of hindrance. Couldn't have done it without them.

That being said, I am still amazed at how smoothly everything went, how wonderful the kids were, and what a great time we all had.

The shows we saw were: West Side Story, August: Osage County, and Altar Boyz.

I'd seen 2 of the three this past August and am happy to say that both are in FINE shape. Altar Boyz was even MORE fun the 2nd time around. Maybe it was the seat, maybe it was Neil Haskell (So You Think You Can Dance), maybe it was the energy of being with so many enthusiastic young people. We got to meet the entire cast (Well, there are only five of them.) afterwards and had a truly great time.

August was still riveting and shocking and stunning. MOST of the cast was the same as when I previously enjoyed it. The biggest change is that John Cullum is now in the role of Beverly Weston and wow was he incredible in the 15 minutes or so of stage time he has. I actually HATED the opening the first time I saw this and had actually warned the kids to "bear with it" through the horrid begining. Except it wasn't horrid anymore.

West Side Story.

The classic: West Side Story.

I'm not sure what to say. I was so incredibly disappointed in this production. Despite the word on the street and from the official reviews, I went in to the Palace Theater with high hopes. And they were dashed quickly.

The orchestra sounded amazing. Like Gypsy and South Pacific, the multi-piece orchestra was revived and beautifully so. Jerome Robbins choreography is still amazing. The only actor that I can REALLY send to the front of the class, is the beautiful and talented Karen Olivo (In the Heights fame).

Other than that: Meh. Or worse. The men are woefully weak and miscast. Matt Cavenaugh as Tony had no connection to any other character on the stage, including Maria. He sang with so much vibrato, I thought he might begin trembling. Cody Greene (Step Up and Dance Winner) -- whom I adore -- can dance up a storm. However, his singing, at best, is on pitch and serviceable. His acting....ouch. Maria is a newcomer from Latin America (sorry that I don't remember WHERE) that was good, with a terrific voice, but didn't make huge connections as an actress.

Changes that Laurents (director) made were met with varying success. I didn't feel that ANY of the changes made the show better. Some weakened the show. The change in the ending (which I won't spoil) was incomplete and ineffective. It also ruins the journey of the story.

The addition with adding Spanish was only wonderful in the Quintet. A few places in the dialogue it worked....because it "flavored" the scene; but too often it went on too long and the audience would loose interest. I actually DISLIKED it during I Feel Pretty and A Boy Like That. Again...it creates a disconnect for much of the audience.

The basic failure in the revival of West Side Story, is that it has no soul. In musicals, we sing when words are no longer enough to express our feelings, when song is no longer enough, we dance. This didn't happen at WSS....it was just "time to sing" or "dance break time".

I am saddened; a little part of my soul died.

The Tony Predictions

2009-03-17T20:50:00.002-04:00

This is subject to change...as I rely more on more on personal opinion and less and less on "buzz"

SO: In approximately two months the Tony Nominations will be announced. And while I can't wait, I thought I'd put my own list together.

FIRST the shows that have opened in the 08-09 Season:

2008
June 26 - Cirque Dreams Jungle Fantasy *
July 17 - [title of show] *
Sept 18 - A Tale Of Two Cities
Sept 25 - Equus *
Oct 2 - The Seagull
Oct 5 - 13
Oct 7 - A Man for All Seasons
Oct 14 - To Be or Not to Be
Oct 16 - All My Sons
Oct 23 - Speed-the-Plow *
Nov 13 - Billy Elliot *
Nov 17 - American Buffalo
Nov 20 - Dividing the Estate
Nov 23 - White Christmas
Dec 3 - Liza's At The Palace
Dec 7 - Slava's Snowshow *
Dec 14 - Shrek: The Musical **
Dec 18 - Pal Joey

2009
Jan 15 - Soul of Shaolin
Jan 22 - The American Plan *
Jan 25 - Hedda Gabler *
Feb 5 - You're Welcome America. A Final Night with George W Bush /
Feb 19 - The Story of My Life *
Mar 1 - Guys and Dolls
Mar 9 - 33 Variations *
Mar 15 - Blithe Spirit

Still to open and qualify for consideration:

Mar 19 - West Side Story **
Mar 22 - God of Carnage
Mar 24 - Impressionism
Mar 26 - Exit The King
Mar 29 - Irena's Vow **
Mar 30 - Happiness
Mar 31 - Hair **
Apr 2 - reasons to be pretty **
Apr 7 - Rock of Ages ***
Apr 15 - Next to Normal * & **
Apr 16 - Joe Turner's Come and Gone
Apr 19 - Mary Stuart ***
Apr 23 - The Norman Conquests
Apr 26 - The Philanthropist ***
Apr 27 - Desire Under the Elms
Apr 29 - Accent on Youth ***
Apr 30 - 9 to 5 ***
Apr 30 - Waiting for Godot **
Apr 30 - Tony Nomination Cut Off

* = I've seen it.
** = I have PLANS to see it before the Tony Noms.
*** = I hope to see before the summer is up (AFTER Tony Awards).

The Categories:

Best New Musical (4)
Best Revival of a Musical (4)
Best New Play (4)
Best Revival of a Play (4)

Best Performance Leading Male Musical (5)
Best Performance Leading Female Musical (5)
Best Performance Featured Male Musical (5)
Best Performance Featured Female Musical (5)

Best Performance Leading Male Play (5)
Best Performance Leading Female Play (5)
Best Performance Featured Male Play (5)
Best Performance Featured Female Play (5)

Best Book of a Musical (4)
Best Score of a Musical(4)
Best Choreography (4)

Best Set Design Musical(4)
Best Set Design Play (4)

Best Lighting Musical (4)
Best Lighitng Play(4)

Best Direction Musical (4)
Best Direction Play (4)

Best Costume Design Musical (4)
Best Costume Design Play (4)

OK....so, what do YOU think??

The Cast List!

2009-03-07T06:24:00.011-05:00

For those that stop by to read my blog....ignore this post. Below is a cast list for my HS students Spring Production. The snow we rec'ed earlier in the week put a chink in the armor and the kids couldn't wait until Monday to find out their fate!

CAST NOTES: Read thru on Tuesday in the Green Room...plan on staying until 4:15. There will be NO rehearsals for the rest of the week...but a rehearsal schedule for the following week will be available on Tuesday.

Directorial Staff
Assistant Director: Henry Schwartz
Dramaturg: Steven Schiefele

THE CAST

Betty Parris -- Lizzie Lynch
Reverend Samuel Parris -- Sawyer Paine
Tituba -- Noelle Micarelli
Abigail Williams -- Erin Keif
Susanna Wallcott – Amy Vangel
Mrs. Ann Putnam -- Maggie Weston
Thomas Putnam -- Phil Yudin
Mercy Lewis -- Christine Engels
Mary Warren -- Sarah Gorman
John Proctor -- Grant Ryan
Rebecca Nurse -- Meghan Cashel
Giles Corey -- Will Hall
Reverend John Hale -- Toby Walters
Elizabeth Proctor -- Anna Richardson
Francis Nurse -- John Smoot
Ezekiel Cheever -- Michael Creager
Martha Corey -- Sara Shawless
John Willard -- Chip Miller
Judge Hathorne -- Will Rocheleau
Deputy Governor Danforth -- Andy King
Sarah Good -- Kelly O'Connor
Hopkins -- Tyler Oser

Remember: If you were at callbacks, but NOT cast, let me know if you are INTERESTED in being an extra. It would involve very few rehearsals...and I'm NOT yet sure if we will go that way.

2 Plays and a Musical and more!

2009-02-19T23:59:00.014-05:00

And a little Seth Rudetsky, too. Who doesn't love some Seth? Got to catch his Sirius B'way show being taped...well, most of it. Me and my NY arrogance: I was SOOOO sure that I knew exactly where the show was being taped that I didn't bother to check the address.....and went about 6 blocks out of my way...which made me late. So, I missed Marc Shaiman (composer) and part of Kerry Butler (Xanadu). BUT was happy to catch the silliness of Chris Sieber (Shrek). A delight as always.

********************************

And a little news: Next to Normal (formerly Feeling Electric) was one of my favorite OFF b'way shows from the 2007-08 season. It didn't get picked up and seemed to be "done". THEN it got a transfusion and a re-write and played November/December at the Arena Stage in DC to RAVE reviews. Such rave reviews that it just went into the recording studio to produce the Cast CD. (Hooray...my bootleg of it is sub-standard...not to mention there have been gads of changes.)

AND NOW ITS COMING TO BROADWAY: THIS SEASON! Bringing the DC cast....which, with the exception/replacement of Brian D'Arcy James (Port Authority, Titanic and Shrek) was the entire off B'way cast. Alice Ripley will almost definitely receive a Tony Nomination or her work in this touching, disturbing and frightening beautiful show. Aaron Tviet (Saved, Wicked) is a joy to behold on stage, although this must mean he is dropping OUT of the new show Catch Me If You Can....USUALLY a b'way contract has an initial run of one year. Jenn Damiano (OBC Spring Awakening) and few others.

N2N is taking the Longacre Theatre, but not planning on utilizing the mezzanine to keep the show from losing it's intimate feel. Previews are late March....opening mid April so that it is eligible for Tony consideration. This just changed the entire Tony race....sorry TOS, you just lost out! But wait a few days to see a post on my PREDICTIONS for Tony Noms.

*******************************

Now for the Show reviews (in order of viewing):

The Story of My Life
I will start with the most positive things I can about this new musical. Will Chase and Malcolm Gets turn in good performances, MAYBE even very good performances. I prefer Chase's singing to his acting but that is balanced because Gets' acting is far superior to his singing.

And...

And then....

Perhaps....

Nope...I've got nothing else to say positively....except it will positively have a short life and it will practically be ignored for Tony consideration.

The music is entirely forgettable. Boring even.

The book (the story) is too episodic to ever become invested. It never takes any chances, so there are not payoffs. It hasn't even made any decisions about its own theme and what the play wants to say. Is it a buddy story? A story about creative influences? A story of what we leave in our wake? I dunno.....because THEY don't know. All the questions that are raised are never answered. And somehow that's part of their point, sort of.

There are so many shows that now play without an intermission....here the reason is clear: the audience would have left in droves given the opportunity. In all honesty, I didn't HATE it enough to have left, I would have hoped that Act II cleared up and brought everything to some sort of wholeness.

The most egregious part I found with SOML simply came from the blatant ripoffs from Sondheim's Sunday in the Park with George. The set, some of the story, and even some specific LINES and the score: oh boy. If Sondheim were a fighting man, I suggest he might actually be able to sue them for their blatant use of his music.

NOTE: As of late Friday night; tickets are no longer being sold for The Story of My Life past Sunday's matinee. No official announcement has been made as to it's closing, but it is imminent. (The official reviews have not been kind, either.)

33 Variations
Only a week into previews, this new play by Moises Kaufman (The Laramie Project) is full of splendor, art, intrigue and love. Starring Jane Fonda, the story follows terminally ill (Lou Gehrig's Disease moving at an unexpected pace), music scholar Dr. Katherine Brandt, who is obsessively trying to finish her research/book on Beethoven and his obsession to completing all the variations that exist from a simple waltz. (Basically, the publisher asked many composers of the time to respond with ONE variation so that all of them could be published together....Beethoven writes 33 over many years.) This research in Baan, Germany is seen paralleling the (fictionalized) actual events of Beethoven, his assistant and the publisher. The strained relationship she has with her daughter is also brought to light as the daughter wants desperately to take care of her.

As a director and an actor, I love doing my homework/research on any play I'm working on, but I'm not sure a play alone has ever prompted me to learn more about the subject matter I'd just seen. I've already ordered a cd of Beethoven's variations and am looking for writings about the subject. I'm intrigued to learn more, so that I can more fully appreciate the beauty unfolding on the stage at the Eugene O'Neil theatre.

The acting was truly impeccable. Jane Fonda is SEVENTY and amazing. She takes so many risks with this work that so pay off. She is incredibly powerful on stage, it's hard to describe, even sitting quietly you are moved by her silence and stillness. The three men (Don Amendolia, Erik Steele and Zach Grenier) playing the early 19th Century portions captured the life and style beautifully. (Not everyone can play period.) Samantha Mathis, Colin Hanks and Susan Kellermann round out the cast superbly.

It's hard to get excited for contemporary costuming, but the period pieces are simply beautiful.

The set design is incredibly intriguing. Walls of sheet music encompass the stage and move fluidly by HUMAN HAND! Additionally, the use of (the ever popular) projections truly add a new dimension. Things were seemingly so simply, but in reality were part of the story: as it should be.

The SOUND design is impeccable. (and I can't even believe I'm mentioning the sound design!) All alone the sound created feelings ands moods that fully encompassed the plot lines and characterization. I don't think my words could do it justice. Add this to the live pianist playing the actual variations throughout is also a visceral impact.

I HOPE to see this again, but it is only a limited engagement. My fingers are crossed.

Hedda Gabler
Review on this (both professional and word of mouth) have been HORRIFIC. I went in expecting the worst. It wasn't. Mind you, it wasn't wonderful either.

I remember more heated discussions about Hedda Gabler in my Theater History class than I do about any single play we read. It was such a woman's story....in a time where women weren't given much voice. It is among my favorites. (I'm a fan of Ibsen, anyway.)

There are rumors galore that Mary Louise Parker (Hedda) is difficult to work with. There are rumors galore that MLP and the director, Ian Rickson, didn't see eye to eye and that she invariably led a revolt which caused the director to leave early. And it shows. The blocking and use of the set was not used to any advantage, and at many times it actually got in it's own way. These are things the audience shouldn't even NOTICE. Many of the actors turn in interesting performances. One such actor is Michael Cevaris -- most recently of Road Show and Sweeny Todd. Many have said the he was miscast in the role of Jorgen Tesman, but I disagree. Instead they are missing one of the most integral aspects of theatre: that sense of the world of the play, the being a part of the whole. This cast was not cohesive, they did not connect with the audience. It was more like watching individual character studies. All interesting, but none intertwined. These are all issues that the director brings to a production.

In this show, the sound design took AWAY from the story...too many times the music/sound itself detract my attention and left me wondering: what the hell WAS that?

I'm glad I went so that I got to see it for myself. But I couldn't really recommend Hedda.

I'm So Excited

2009-02-14T12:39:00.003-05:00

So...it's February Vacation, the kids are gone, and I'm gearing up for the Big Apple. (Gee, what a surprise!) And let's face it: I'm really only posting this to brag a little about my plans.

On board:
Story of My Life
33 Variations (with Jane Fonda)
Hedda Gabler (but this has been torn apart by almost everyone I know that has seen it!)

Now, I just have to wait for this wave of nausea to pass. Damn my students if they have gotten me sick!!!! (And just to update: nausea has turned to a terribly bad, bad day. Someone's gonna pay!)

Ah....it'd been too long.

2009-02-05T06:20:00.004-05:00

The Spring Standards (formerly Old Springs Pike) was back in Boston. They sang a few newer songs which I hadn't heard yet as well as a few from their EP (No One Will Know). Sadly, none of their older stuff except Little Bug...but thats on the CD. When I mean older stuff...I'm talking about the early music the stuff they did with Johnny Gallagher. Drink in My Hand, Still Sixteen, etc. etc. Miss it.

Love their new music...I am always amazed by two things:

How often they are plopping new music "out there". Is there no end?
How many different sounds their work takes on. So varied --I mean Smith on the muted TRUMPET????? Very nice.

Both Cleare and Smith were sporting the Mike Nesbit of the Monkees look with their knit winter ski caps. Smith tossed his pretty early on and about 1/2way through Cleare let his locks free as well. Heather was adorable as usual. Sweet when they surprised with her beau on stage....he played the last number with them.

Great Scott in Boston was the venue. What a dump. Freezing. No place to sit unless you stayed in the back of the room. It's an 18+ venue so you get carded and stamped and wristbanded. Oy. I'm too old for bar gigs.

A Musical Interlude

2009-01-20T02:47:00.004-05:00

Thanks to a student, (Henry, my assistant director) I scored tickets to see Adele last week in Boston last Wednesday night. I'd forgotten about it until TUESDAY night.

Anywho...I love listening to Adele's music. Such a great sound, I love her style...so easy going and a rich mellow voice. As a performer, she was delightful, but I have to admit...I could not always hear or understand her through her accent. So her chit chat was rather lost on me, sadly.

While I really enjoyed her, the opening act actaully stole the show for me. Angel Taylor. A similar style as Adele, from California, but I simply found her riveting. Her melodies were playful without being insignificant. Her tone was earthy and feminine. Her lyrics brought a fresh voice and beautiful use of language and imagery to them. A true poet.

She has a cd being released...March 1, I beleive? She had with her 3 song cuts from it and it sounds simply delicious. Cannot wait for the cd. Look for it...you won't be sorry.

Upcoming Music Stops:

In February: The Spring Standards. My favorite NYC band...even though they are totally NOT only a NYC band anymore. LOOOOVE them! Hate the clubs they play. They make me feel old.

In March: DUNCAN SHIEK with Lauren Pritchard. CANNOT wait. I am in awe of the work of Duncan Sheik. I adore Lauren Pritchard's voice. BOTH have CD's coming out as well...Duncan's at the end of the month, Lauren's not until SUMMER she said (postponed since OCTOBER) when we chatted at Sushi. Most exciting...when this was first announced it was scheduled for the western part of the state. THREE HOURS AWAY. That's not a concert...that's a weekender. While visiting Lauren's myspace (music) I happen to check again. Venue changed. Very, VERY happy.

Baby, it's cold outside!!

2009-01-19T17:53:00.011-05:00

Wow! So many great people to catch up with this weekend...and some unexpectedly! Gotta love NYC.

BECKY SHAW at 2econd Stage.

Wow. What a treat. An interesting and thoughtful script. Part love story, part family drama, part searching for self and growing up. Hard to put a label on it. Wonderful acting, great story telling. AND a bonus: an unexpected "talkback session" with the author and one of the lead actresses.

One ridiculous reason that I love going to straight plays....I am one of the youngest people in the theater. Well, at least on the lower half of the average at the least! And older NY'ers are never without comments and opinions! Love Talk Backs.

Garden of Earthly Delights at the Minetta Lane Theater

Martha Clarke brings Hieronymus Bosch’s provocative painting to life. Or so they say. I didn't see it. Ok...I saw it...sometimes...and other times it was movement. Beautiful, intense and dedicated, but the story just didn't happen for me. Granted, I don't know a HECK of a lot dance as a medium when it isn't part of the story (a traditional musical). I know ballet (and enjoy it) and I am often moved by dance on it's own. Maybe I was too tired. Or too full. Or too...just not into it. The friend that watched with me is very much into dance in all forms...she, on the other hand enjoyed it a great deal.

The American Plan -- Manhattan Theatre Club

BTW: never understimate the kindness of strangers. I had purchased my ticket for this with a discount code. I was in the second to last row of the balcony, but determined to make the best of it. I had struck up a conversation with a lovely older couple from Jersey (we find each other out quickly). Then, only minutes before curtain, the gentleman that just sat down behind us interrupts us, politely. Did we want to move to the orchestra? He had some extra tickets and would we like them? He apologized because they were all single seats...none together. Um...I don't KNOW these people: hell yes...I'll take an upgrade any time! They were "comp" tickets and I don't know who the man was...but THANK YOU! I'm sure the view was gads better from the orchestra.

On the whole, I liked and was horrified at this story. A trouble young lady (Lily Rabe), her overbearing, manipulative mother (Mercedes Ruhl) and the man that stumbles into their lives. I thought the performances were amazing. I was intrigued, and yet, I walked out of the theater totally unsatisfied. I talked to a suprising number of people about it. Waiting to cross 46th street to meet a friend, two others were talking about it and we struck up a nice conversation for a few blocks. I wanted more. Maybe 5 minutes more. But I still don't WHAT more I wanted. Sitting and having a drink even the WAITER wanted to talk about it. This is the best part of NY theater...just talking theater with strangers. LOVE it. And the waiter agreed with me. (Then I talked him into seeing Becky Shaw.)

SPRING AWAKENING, Closing Night

I've never been to a professional closing night for any show (or opening night for that matter!); yet alone for a show that has been so near and dear to my heart for almost 2 years. I've been to a few nights that have been closing nights for INDIVIDUALS: Jonanthan Groff's last (an amazing electric experience), Blake Bashoff's Last. All for Spring Awakening.

I hadn't been to the show since August, had seen the "new class", as they were dubbed and Gerard as Moritz. And I had said my goodbyes. My group of SA Junkies had pretty much decided we were over and done with it. MAYBE in a year we'd hit it again. MAYBE we'd see it on tour...dependent on who was actually ON tour. MAYBE we'd grab tickets when they announced the show was closing. And as you know, that's what came to be. A wonderful friend snagged us two seats to closing night and little by little plans fell into place. More and more friends were finding seats, my kids would be with their father for the weekend, tickets for other shows were available.

The show itself? It was good. It was an event. But had this performance, or any performance of the "new class", I doubt I would ever had been emotionally vested in the show at all. The heart of the show was long gone. This cast did an admirable job, their voices had finally melded together as one and even Caitlyn had managed to find some sort of character. (Don't ask.) But the evening was like a sentiment-free journey down memory lane -- without attachment, without emotion, without a soul. The audience was wonderful and supportive and cheered on every actor, every laugh and every song. Each and every actor rec'd applause and adulation for a last solo, song or favorite line. Added "schtick" was revered and appreciated from all. There were several standing ovations throughout the evening. And suprisingly, none of these were ever beyond reason.

The best parts of the evening: the encore of Totally Fucked...which turned into (and I suspect was planned that way) a sing along. Those young actors will never feel more love or emotion than they did at that moment of their lives. The dream of anyone that has ever dared to imagine themselves on a B'way stage.

Almost all of the orginal cast was there Sunday night, sans Lea Michele (Wendla) and Jenn Damiano (ensemble, U/S). Lea being in LA filming what seems to be a train wreck of a tv show, GLEE; Jenn doing more admirable work in Next to Normal in DC...I believe also closed that night. (I saw her in this, WAAAAY back last November. Beatifully haunting piece on mental illness.) To my suprise, both Gideon Glick (original Ernst) and Jonathan B. Wright (original Hanschen) were also in attendance. Neither the director (Michael Mayer) nor the choreographer (Bill T. Jones) were there. I was really hoping to finally meet Jones...the only one I never had the chance to. They all came on stage during the speeches at the end of the night to thunderous applause.

Personal gem: my favorite sushi place in Manhattan is in Midtown Manhattan. Pretty sure I go there at least once each time I visit. It's cheap, it's delicious, it's convenient. I always get to "b'way star" spot, particularly between matinees and evening shows -- adds to the fun. ANYWAY....we were seated in the back part of the restaurant and just about every other table besides ours had b'way people there Little Mermaid, In the Heights, and Amanda Castaños of SA. But, the creme de la creme? Almost the entire OBC of SA was seated right behind us. Very fitting. We had a great time.

As for the individual performances: The women practically went unnoticed with the exception of Christine Estabrook that was stealing every comedic scene she had. She is among my favorites of the show. A true professional. Even Alexandra Socha, whom I adore as Wendla, was not a favored performer last night. Michael Mayer totally screwed with some scenes last August and ruined some of what I thought were her best scenes.

The men: This was my first time seeing Hunter Parish as Melchior. I was non-plussed. He had moments I thought he was wonderful, but mostly, just OK. His singing was too "boy band"-esque for my tastes; and I don't think his acting choices were consistant or strong. He did however, rock the hell out of The Chair during Totally Fucked, THAT was amazing. I would have paid good money to have Jesse Swenson do the role...he's amazing in it.

Gerard Canonico as Moritz...not my favorite to say the least. The kid has stage presence, but seriously needs to attend some acting classes to hone his craft. To HAVE a craft. Only 3 men have played the role...two of them totally stole my heart for their performances...not so here.

Comic and cruel sidebar must be inserted: during Moritz's suicide, there was so much AUDIBLE sobbing going on in the theater that it totally RUINED the scene for me! So much so that I laughed. I just wanted to scream: the actors aren't dying, a play is just closing. GET OVER IT! It was really pathetic. I am a cold-hearted bitch...what can I say?

And return: I've seen Gerard 3 times perform it and he was never able to move me to tears. But he's a great kid...he's the one that gave me a prop from the show back in August. But....he just doesn't cut it for me in this role. Actually, I'd seen him cover another part and he didn't wow me then, either.

The final speeches at the end of the night: by Duncan Sheik and Steven Sater, by the producers (Ira Pettleman and Tom Hulce) were very nice. I wish them all well and can't wait to see what comes next to move us all on the Great White Way.

Why Theatre is Life as told by Sherie Rene Scott

2009-01-10T22:38:00.006-05:00

Or....Why Theater Is My Religion:

"That's the scary thing about theater—it doesn't live on. But that's actually the most beautiful thing about it, too. That's why it's more beautiful than film and certainly more beautiful than television, because it's like life. Real life. Any picture that you take or any video that you make of yourself is not really you, it's only an image that represents the experience you had. In theater, the process of it is the experience. Everyone goes through the process, and everyone has the experience together. It doesn't last—only in people's memories and in their hearts. That's the beauty and sadness of it. But that's life—beauty and the sadness. And that is why theater is life."

-Sherie Rene Scott-

The Day The Lights Went Out on B'way

2009-01-04T09:01:00.004-05:00

Or at least the begining of the slaughter. A sad day indeed, as NINE B'way show close today, with many more following in the next two weeks. I know that B'way isn't "over". But it is still a sad day, a reflection of the weak economic times. There are shows that have been cancelled, true, but there are a number of shows still getting ready to hit the Great White Way.

West Side Story
Guys and Dolls
9 to 5
33 Variations
The Story of My Life
Hair

Not to mention the already opened (and surviving)

Shrek
Billy Elliot

Below is a great article, a love letter to B'way actually, appearing in the New York Times today, 1/4, written by theatre critic Charles Isherwood:

http://tinyurl.com/89nydq

Some quotes:

"The sad superabundance of farewells to choose from obviously places limits on the number of last goodbyes theater lovers will be able to squeeze in this month. On Sunday alone you’ve got nine choices. It is haunting to think that that there could be more shows closing on that day alone than there will be running on Broadway by the time the Tonys roll around in June."

Blah, Blah, Blah.

"Joyous or galvanizing though the experience might be, it’s also undeniable that the undertow of sadness at these closings will be unusually strong this year. To love the theater is to admire from a distance the people who devote their lives to making it — always against tough odds.

This year, as you watch the lights dim on a performance that has meant something to you, that has made something happen in your heart or your head, you may see the real human being through the mask of the fictional characters a little more vividly. The chorus kid with the megawatt smile, the all-but-legendary musical diva with a devoted following, the up-and-coming young leading man — when the curtain falls they will all return to being actors anxiously awaiting their next engagement, at a scarily perilous time for everybody. So keep clapping, please, and a “Bravo!” or two would surely be appreciated."

I'll light a candle.

A Mixed Bag!

2008-12-28T18:28:00.013-05:00

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!

2008-12-23T21:14:00.003-05:00

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

2008-12-14T09:46:00.006-05:00

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!)

2008-12-04T19:20:00.007-05:00

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.

**********

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.)

**********

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

2008-11-24T01:29:00.005-05:00

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.

*****************************************************

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!

2008-11-20T05:12:00.005-05:00

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

2008-11-03T20:47:00.011-05:00

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....

2008-10-27T22:07:00.004-04:00

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

2008-09-27T20:51:00.006-04:00

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!

2008-09-24T22:18:00.003-04:00

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.)

2008-09-17T15:26:00.000-04:00

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....

2008-09-11T20:22:00.011-04:00

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....

2008-09-10T05:26:00.007-04:00

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.

2008-09-07T04:30:00.001-04:00

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...

2008-09-06T00:32:00.005-04:00

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

2008-08-28T23:07:00.013-04:00

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

2008-08-26T21:11:00.012-04:00

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

2008-08-20T21:18:00.021-04:00

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}

2008-08-20T10:59:00.006-04:00

{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.

2008-08-18T20:38:00.012-04:00

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???

2008-08-17T14:54:00.012-04:00

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)

2008-08-17T14:35:00.006-04:00

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???

2008-08-16T13:25:00.004-04:00

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

2008-08-12T23:21:00.004-04:00

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.

2008-08-11T20:23:00.011-04:00

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.

2008-02-28T21:22:00.002-05:00

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...

2008-02-23T09:38:00.007-05:00

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

2008-02-01T21:42:00.001-05:00

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!

2008-02-01T21:14:00.000-05:00

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.