FIVE DAYS/SEVEN SHOWS - BOSTON and NEW YORK, FEBRUARY 15-19, 2013

Five Days/Seven Shows - The Good, The Bad, The Indifferent

Bob and I returned this week from a theatre marathon in Boston and New York City.  We were gone five days and saw seven shows.  For some, this may seem staggering, but for us, it's the norm.  We're theatre pigs, plain and simple.  This is what we do.  Many of our vacations are planned around what's playing where and it's an infrequent holiday that doesn't include at least one theatrical outing.

On this particular trip, we saw three plays and four musicals.  The productions seen were a mixed bag of styles and themes.  Although on paper all of them should have been winners, some were better than others and one was a flat-out dud.  And that is the reality of the theatre.  Some truths: casting a classic with a stellar cast does not necessarily translate into a brilliant production; a dull play is a dull play no matter who is playing in it; spoofs are not always successful; theatrical brilliance can be found in a one-person show; not copying the original staging in a revival of a beloved show is not always a good move; Tony Awards are not always given to the show that truly deserves it (perfect example: The Lion King won the 1998 Tony Award for Best Musical over Ragtime) and sometimes Tony Awards are given to the best show of an indifferent lot (the 1986 Tony Award contenders for Best Musical). And, that, kids, is show business!

Without further ado…here are the shows in viewing order.

February, 2013.  Let me state right off that I've never been much of a Williams fan. I think Suddenly Last Summer is a wonderfully over-the-top hot mess and I'm a fan of that, but as for the rest? Meh. But with a cast that included Cherry Jones, Zachary Quinto and Celia Keenan-Bolger, this production of Williams' classic made my "must-see" list.  Sadly, I wasn't overly impressed.  (Bob hated it; I liked it better than he did.)  I liked the tower of fire escapes, but I thought Laura's being pulled out of the sofa at her entrance and retreating back into the sofa at the end a bit, well, stagey for staginess' sake.  And I so agree with Bob on this… if you're going to mime props and working with props, make sure the audience knows what you're doing and much of the time, I didn't.  The performance itself seemed muted.  I saw few flashes of fire.  Amanda was more naggy and irritating than dangerous and delusional and Tom was more selfish instead of a man having the soul sucked out of him.  Only the scene between Laura and The Gentleman Caller, beautifully played by Keenan-Bolger and Brian J. Smith, gave an indication of what this production could have been.  I felt as though the director was trying to impress upon us that this is an important play and forgot that first and foremost, it's a play.  Tell the story, cleanly and clearly.  Let us determine its importance.  Given the restraints imposed upon them by the director, the actors did their best, with top honors going to Celia Keenan-Bolger whose Laura was just so beautifully realized.  The NY Times reviewer fainted over this.  I didn't. I wish I'd liked it better.  - at the American Repertory Theatre (Loeb Drama Center), Cambridge, MA

February, 2013. The orphans are back and I'm glad they are. This is a first-rate revival of a first-rate show. Yes, you read that correctly…a first-rate show.  It has a fine book and a sparkling score.  It's tight, nicely paced and has a warm heart and this production wisely played up Annie's inherent assets. Katie Finneran, as Miss Hannigan, chewed everything in sight, and delicious as that was, I felt it was also at the cost of a real character. Lilla Crawford did everything right as Annie. Her New York accent was a nice touch. Aussie Anthony Warlow took top honors as a superb Warbucks (actually the best I've seen). Two negatives. 1) Andy Blankenbuehler's choreography was serviceable at best, but nothing more.  His "Easy Street," frankly, was just plain dull and turned this show-stopper into just another number.  2) Sunny, as Sandy, basically "barked" in his canine performance. Totally disinterested in doing the work. I'm serious. The dog tanked. The gazillion kids in the audience loved the show.  Boring choreography notwithstanding, so did we. - at the Palace Theatre, New York 

February, 2013.  Much frivolity was onstage for the packed Saturday matinee we attended.  Not all of the spoofs hit the mark, but most did.  The Once and Evita segments were hysterical, as was the Diane Paulus dig. This franchise has done funnier Les Miz spoofs in the past and the Mandy Patinkin/Patti LuPone segment was overlong and under-funny. That being said, we laughed lots. An added bonus for me was new cast member Lindsay Nicole Chambers, who kills as Gail in "Submissions Only." All involved were so talented and versatile. It's reassuring to realize that the Fabulous Invalid is in such wonderfully capable hands. (Note: notice the title of the program. I missed it; Bob brought it to my attention.) - at the 47th Street Theatre, New York

February, 2013. Edie Falco abruptly places her classroom in the care of a six-year-old girl, leaves her family and, for all intents and purposes, vanishes, but we're never told why, which makes the whole play rather pointless. And as a result, I didn't really care what happened to anyone. And worse, it made Falco's character simply another selfish, self-absorbed person who could not care less about the consequences and ramifications of her actions. Yawn. One or two nice individual scenes, but as a whole the play was just plain dull. I think the playwright may be a flavor-of-the-month writer based on an earlier success at the MTC, but I wasn't impressed with her dramatic skills. Falco was underwhelming and the marvelous Frances Sternhagen was cast in a part that could have been lifted directly from an episode of "The Closer." You don't hire Frances Sternhagen and then not utilize that talent! The other actors were all professionally competent, but everyone played their parts with a listlessness that bordered on boredom.  Impressive production values, but this really was a miss. Or as Bob so succinctly put it, "Watching paint dry would have been more exciting."  Oops. - at the Manhattan Theatre Club/New York City Center Stage 1, New York

February, 2013.  Roundabout's critically acclaimed production was the first revival of the 1986 Tony Award winning show for Best Musical. And, with apologies to Drood diehard fans, I firmly believe this show won simply because it was the best of a mediocre lot.  Not that this show is mediocre.  Not at all.  It's clever and fun with lots of delightful interaction with the audience in music hall fashion, but it's not a terrific show either. In my humble opinion, I feel this show is a good, solid "B" musical. I really loved the second act, but I felt, in the first act especially and the show overall, that Rupert Holmes wrote a better play than a musical. (Holmes wrote book, music and lyrics for this.) I've never been a fan of the score, although it does have its share of good, if not especially memorable, tunes. This production was also blessed with a nifty orchestra and lush production values.The A-list cast, including the legendary Chita Rivera, worked hard to ensure the audience had a good time. I truly enjoyed it, but…  - at Studio 54, New York

February, 2013.  At the risk of sounding like a paid shill for the All the Rage company, all I can say is A...MAZ...ING!! Full stop. A perfect example of why I love the theatre. Martin Moran was simply superb and has the ability to make one feel like he is talking only to you and that you are very special to him. Thank you, Mr. Moran, for sharing this very personal journey that was both moving and often so funny. This was just so, so good. It touched me to my core.  Bravo. - at the Peter Jay Sharp Theatre, New York

February, 2013.  A one-night only event that was not to be missed. And I'm so glad we didn't! A 36-piece orchestra; a chorus of over 100 comprised of Broadway Equity talent and amateur singers from across the country; a cast that included, in alpha order, Michael Arden, Phillip Boykin, Kerry Butler, Matt Cavenaugh, Lilla Crawford, Tyne Daly, Jarrod Emick, Manoel Felciano, Lewis Grosso, Dick Latessa, Norm Lewis, Jose Llana, Michael McCormick, Howard McGillin, Patina Miller, Lea Salonga and NaTasha Yvette Williams and a completely sold out house.  It was insane!  And wonderful!  And a memory that I will cherish.  Top honors go to Lea Salonga as Mother who's perfectly sung "Back to Before" was rewarded with a thunderous ovation that rocked Lincoln Center's Avery Fisher Hall.  Other top kudos to Michael Arden's Younger Brother, Howard McGillin's Father, Patina Miller's Sarah, and Manoel Felciano's Tateh.  As Coalhouse, Norm Lewis was fine, but oddly low-key. Although nicely sung, he never soared and his "Make Them Hear You" didn't elevate.  He was the one "okay" in an otherwise WOW evening.  Simply divine! - at the Avery Fisher Hall, Lincoln Center, New York

Until next time...Ta!

CACTUS FLOWER, BOB, MARVIN & I...A VERY SPECIAL BLOG POST

A TRUE STORY...IN NOT SO FEW WORDS

I grew up in Waukegan, Illinois, an industrial, blue-collar town on Lake Michigan about forty miles north of Chicago. In addition to having a deep harbor suitable for cargo ships and a yacht harbor patronized by yachters throughout the area because of its reasonable fees, Waukegan is also noted for being the former home of writer Ray Bradbury, actor Jerry Orbach, comedian and legend Jack Benny, and the family of actor Vincent Price. In fact, the Price mansions on Grand Avenue were just a few blocks from my home (my aunt used to live in one of them after it had been converted to very small apartments) and urban legend has it that a small graveyard was on the estate, just a few feet from the sidewalk. Really? Well, all I can say for certain is that there was an area surrounded by high bushes that looked like a small graveyard (are those gravestones?). But I digress. (I often do that. I also change tenses frequently when telling stories. It's a blog, not a literary masterpiece. Sue me.) 

Waukegan's community theatre group was called Waukegan Community Players, or as everyone called it, Players or WCP. When I was involved with the group, they typically produced a season of two plays, one musical and a "bonus" show that was not part of the official season. The regular shows ran for two weekends; the bonus show for one. Like theatre groups everywhere, and the industry itself, Players was rife with politics and favoritism. (Don't start.You know exactly what I'm talking about.) And like theatre groups everywhere, and the industry itself, Players had its share of talented folks and its share of untalented folks, who, nevertheless, were often involved with or cast in productions due to the reigning political landscape. I bring all of this up because I was so not a member of the inner circle. I was, and am, opinionated (me??), was vocal about it and did not walk the Players line. So it was somewhat of a shock when I was chosen to direct Cactus Flower as the first show of Players' 24th season and the premiere production at its new home in the North Chicago High School auditorium, a comfortable, mid-sized space with a raked orchestra and raised mezzanine. Totally unexpected and to this day, I'm not sure why I got the gig. Again, I digress….

In the fall of 1979, something else, far more exciting than my upcoming production of Cactus Flower, was going on. Robert Redford was filming Ordinary People in the northern Chicago suburbs, primarily in nearby Lake Forest. In the film, the characters played by Mary Tyler Moore (brilliant in the role) and Donald Sutherland (ditto) are seen attending a community theatre production. At the time, Cactus Flower was the only show in the area getting ready to open. We were totally gobsmacked when we found out that the Ordinary People people wanted to check out our little community theatre production. Like immediately.  Well, this was during the week of our opening, a very hectic period for any show, but you just don't say 'no' when Hollywood calls, so we arranged to have the OP people come to the final dress.

Final dress. About twenty minutes into the first act, the OP contingent arrived, including, to our surprise, Robert Redford, and discreetly took seats mid-orchestra. About thirty minutes later, and just as discreetly, they left with the exception of R.R. who stood quietly in the shadows of the lobby door. Why is he standing there?, I thought, not taking the subtle hint.  My best friend and assistant director, Pat, however, did get it, gave me a sharp nudge and whispered, "I think he wants to talk to you."  Me?  Robert Redford wants to talk to me? Deep breath. I walked up to him, stuck out my hand, and said, in what I hoped was a breezy, casual, what?-I-have-to-talk-to-another-star? voice, "Hi, I'm Jeff Geddes. I'm the director."  R.R. smiles and shakes my hand and says, "Bob Redford."  (Well, duh!)  We chatted for a few minutes about the play and some logistics before he wished me a good opening and started to leave. But then, he stopped, turned back and asked, "Do you act?"  Whoa!  Where did that come from? I shrugged and replied, "Well, I don't act, as in for a living, but I've done some stuff in the area, plays, musicals, that sort of thing."  R.R. smiled, said goodbye, exited and I returned to watching our final dress.

A couple of days later, I got a call from a woman who identified herself as the casting director for OP. Lovely, I thought to myself, why is she calling me?  Well, I found out. "Mr. Redford would like to know if you'd be interested in reading for him for a small part in Ordinary People."  Sorry?  "Uh, sure," I somehow managed to get out. Casting Director: "Oh, good. He'll be so pleased."  Sorry??  Casting Director: "I know this is short notice, but would this Wednesday be good for you?"  Me: "Uh, sure. Fine."  Casting Director:  "Wonderful. Just go the south door at Lake Forest High School at, say, 4? We'll see you then!"  Sorry???

Wednesday, 4:00 PM. Lake Forest High School. Not quite sure if this was a joke or not, I showed up promptly at 4 and gave my name to the doorkeeper, who, much to my surprise, checked my name off a list and told me which room to go to. After a few minutes, I meet the casting director. Casting Director:  "I tried to reach you, but you must have already left. Bob's running a bit late. Would you mind waiting?"  Me: "Not a problem."  Casting Director: "Oh, good."  Time ticked by and it was time for yours truly to visit the men's room. You know where this is headed, right? Mid-poop. A knock on the door.  "Jeff? Bob's ready to see you now."  Awkward!  I'm shown to his Winnebago. Inside is R.R., the casting director and a few other people. All of them, except Casting Director, are eating take-out. It's a bit surreal. Me: "Hi, Mr. Redford."  R.R.: "Hey, Jeff. Nice to see you again. What something to eat?" Me: "Uh, no thanks."  (What?)  R.R. "Did Name-of-Casting-Director tell you about the part I'd like you to read for?"  Casting Director: "Oh, my God. I got so busy with that other thing, I completely forgot to fill Jeff in. I'm so sorry."  Me: "Uh, that's okay." (As you can tell, I've got an eloquent way with words.)  R.R.: "Well, Jeff, I'd like you to read for the Choir Director. Are you familiar with the story?" I nod yes, having the good sense to do a quick read of the novel before going to this. R.R.: "Well, Conrad (the Timothy Hutton role) likes the Choir Director and choir is important to him. Your scenes would be with Tim and the choir. "  I am handed some pages of dialogue. All total maybe 25 or so lines for the Choir Director. R.R.:"Do you want some time to look these over?" I glance over them. Me: "No, I'm good."  (What? I'm not good. I'm usually terrible at cold readings. And, no, I'm not being modest or self-effacing. I suck at cold readings.)  So it starts. Casting Director, or was it someone else?, reads with me. R.R. stops me a few times, gives me some direction (okay…like, wow. I'm getting direction from Robert Redford. What the hell?), and asks me to read some bits again, incorporating his suggestions. And then, it's over. R.R. thanks me for coming, I mumble my thanks and leave, not at all sure what just happened.

Two days later I get a call from a very chipper Casting Director who offers me the part of the Choir Director. Huh? Well, okay, then. Poor Cactus Flower, however, doesn't make it. Logistics, she explains, couldn't be worked out. (As it turns out, in the final cut of the movie, the scene at the community theatre performance is only a few seconds long.) From that point, things moved forward. Somewhere along the line, I signed a contract and met with the costumer to get measured. And then I waited…and waited…and waited. Finally, about six weeks later, I got the call requesting my presence at the high school.

Filming Day!  After checking in with the doorkeeper, I'm escorted to a long trailer behind the school. There, on one of the doors, is my name!  I have my own dressing room!! Wowzer! I'm barely in the door when a makeup person comes in and does her thing, followed by a costuming assistant who does his thing and then followed by a production assistant who invites me to get some food since things are running a bit behind. The food was tasty, but no time to savor it, though, because mid-bite, the production assistant comes back and says: "Bob's ready for you."  I'm taken to the choir room where R.R. is sitting on top of a table and watching the real choir director rehearse the choir. Timothy Hutton is not there, but a somewhat familiar-looking man is standing by the piano. R.R. sees me, smiles, waves me over and pats the table next to him. R.R., as I sit next to him: "Hi, Jeff. Nice to see you again."  Me: "Hi, Mr. Redford." R.R.: "Please, call me Bob." (Okay, seriously, "Call me Bob?”) We chat for a bit about the part, the choir stops rehearsing and goes on a break. R.R. calls over the familiar-looking man. R.R.: "Marvin, this is Jeff Geddes. He'll be playing the Choir Director. Jeff, this is Marvin Hamlisch.."  Oh, yikes!  Big fan!  And I tell him so. God, I am such a dork!  But wait, it gets dorkier. The three of us are chatting away when I look up and standing in the doorway are … my parents!!  Yep. I don't know how, but somehow Barb and Cliff managed to convince everyone to let them in to see their darling boy on the set. (To be truthful, my dad could charm honey out of a very angry bee, so…) Bob, yes, I'd started calling him Bob, sees the look of horror on my face and when I tell him about my unexpected visitors, he jumps off the table, asks to meet them and that's how Barb and Cliff hobnobbed, albeit briefly, with Robert Redford and Marvin Hamlisch. I was mortified. Bob and Marvin thought it was adorable. We talked some more, but then something unexpected came up and the shooting schedule had to be changed. We wouldn't be shooting my stuff that day. I was sent home and told shooting would be sometime the next day (a Saturday).

Well, that didn't happen. A production assistant called me early the next afternoon to tell me the bad news. As near as I could figure out, that morning the high school choir members had a major hissy fit because their choir director wasn't going to be used and apparently threw a collective temper tantrum. End result?  I was out; the real choir director was in. But, I would get two days pay and was thanked profusely for being so understanding and professional about this strange turn of events. And with that, my budding film career was nipped. Ah, well.

Footnote: Make no mistake. This was a bit part, yet, as written, it added a little something to the film. Or would have had the scenes made the final cut. Oh, the choir and the choir director were in the film, for about three seconds and the choir director did yell something to the choir, but actual dialogue? Actual scenes? No. I'd like to think if I'd played the part, the final cut of Ordinary People would be a minute or so longer. Jeff, a bit vain, you ask?  Probably. Sue me.

And that's the conclusion of our VERY SPECIAL BLOG POST.  Tune in next time for more ... Remembrances of Performances Past.