Spring Awakening -- Revisted on Tour

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.

Baby, it's cold outside!!

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.

Spring Awakening, AKA My Obsession

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

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

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


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

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

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

There's a moment you know....

A few NY jaunts to talk about...

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

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

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

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

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

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

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

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

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

I am done FanGirling.

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

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

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


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