The Future of Broadway

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




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

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


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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REALLY?

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

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

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

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

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



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

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

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

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

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

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

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

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

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

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

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

Not kidding. How I wish I were.

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

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

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

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

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

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

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

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

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

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

Long Time No See!

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

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

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



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

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

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

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


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

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


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

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

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

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

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

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

The Good.

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

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

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

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


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

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

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

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

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

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

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.

The Day The Lights Went Out on B'way

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!

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)

Closings

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

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

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

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

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.

It's been a while....

Busy, busy, busy....

Some random things piling up:

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

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

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

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

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

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

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

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

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



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

On one hand....

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

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


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

THIS won a Tony Award???

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

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

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

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

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

Grade: A+++