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.

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.

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....

This is not your father's HAIR.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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