ALPHABET SOUP: EPISODE 15. "W"

ALPHABET SOUP
EPISODE 15 (15):

TODAY'S LETTER:

"W"

A musical where pies are a plot point. Dueling cosmetic queens. A child of Hollywood in a frank, hysterical discussion about life, love, mental illness, and addiction. A beautiful and stunning play about a horse named Joey. Joseph Fields, Jerome Chodorov, Betty Comden, Adolph Green, and Leonard Bernstein's 1953 Tony-winning homage to mid-30s New York City. Last, but certainly not least, an audience with Kate the Great. And they all begin with the letter "W."

Grab a cuppa. Let's begin.

WAITRESS – Brooks Atkinson Theatre, New York

Even the show curtain was pie-inspired. The smell of baking pies infused the theatre, and pie was on sale at the concessions stands. The folks in front of us, when asked, said the pie was decent, but not spectacular, especially for the price.

October, 2017. I'll be honest. "Waitress" never especially appealed to me. I'd never seen the film the musical is based on, I wasn't familiar with composer Sara Bareilles, the Tony Awards selection didn't send me, and the brief Telecharge summary of the story didn't make me want to run off and buy tickets. But, Playbill Club had a great offer PLUS the show plays Sunday evenings, so we took the plunge. And we were pleasantly surprised. No, it's not a great show. Diction was sometimes iffy, the band was frequently over-amplified, the ensemble was often intrusive, the frequent 'celestial choir' vocal arrangements were annoying, and Ms. Bareilles' eleven o' clock number for her leading lady, the quite wonderful Betsy Wolfe, played out more like a ten-fifteen number. But the slender story was warm, often very funny, and, well, who doesn't like a happy, though improbably contrived, ending? The best thing about "Waitress" was its uniformly excellent cast. In addition to Betsy Wolfe, big kudos to Maia Nkenge Wilson and Caitlin Houlahan as her sassy co-workers, Drew Gehling as the hot adulterous doctor, Will Swenson as the hot abusive husband, Eric Anderson as an unbelievably easy boss, Christopher Fitzgerald as Ogie, who was probably the most endearing character in the show, and a true theatre icon, John Cullum, as Joe, who effortlessly demonstrated why he's been a star for nearly six decades. This is a "B" show, top to bottom. Everything is skillfully put together, but nothing is exceptional. But, it's an entertaining "B" show, and, in the end, one could do a lot worse. - at the Brooks Atkinson Theatre, New York

WAR PAINT – Goodman Theatre, Chicago

July, 2016. Second preview. At one point during "War Paint's" interminable opening number, Christine Ebersole appeared at the top of a staircase like Mame, only without the costume or material. Co-star Patti LuPone's accent was so thick and unintelligible, you almost believed she was appearing in a Forbidden Broadway parody of her sometimes questionable diction. The creative team of Grey Gardens put together this train wreck of a musical, and it was a slog. The actors, bless their Equity hearts, all tried. Lord knows Misses LuPone and Ebersole used every trick in their considerable arsenals to make the weak material work, but except for the final song in Act One and a couple of pretty ballads in Act Two there wasn't much they could do. The final, fictional, scene where the two rivals meet was excellent, and an indication of what the show could have been. A riveting duet capped that scene and the curtain should have come down then, but, no, there was a coda that just dissipated the excitement of the previous scene. This had the potential of being a tasty morsel of bitchiness, rivalry and fun, but instead it was dull, uninvolving, and a waste of its talented cast, especially the intrepid leading ladies and sinfully underused John Dossett and Douglas Sills, who played the underwritten roles of the men in the ladies' lives. Back in the day, if this show had opened as a tryout in Boston, it would have closed at the end of the run. A major disappointment. - at the Goodman Theatre, Chicago

Chicago Critics: Surprisingly the Chicago critics and bloggers gave the show relatively high marks. Show business "bible" Variety called the Goodman production a "sophisticated and rewarding new musical." I'm wondering what show we saw? It certainly wasn't the same show the Chicago press praised. (Ponder: was the show by that point as good as they indicated or were the local critics and bloggers just too enamored with Misses LuPone and Ebersole?

Cosmetic Changes?: Receiving mixed, though modestly favorable notices, Marilyn Stasio's Variety review neatly, and rather brilliantly, summed up War Paint: "War Paint is a musical about Catherine Zuber’s fabulous costumes and magnificent hats, as modeled by the great Patti LuPone as Helena Rubenstein and her Highness, Christine Ebersole as Elizabeth Arden. And if those hallowed names mean nothing to you, this is not your show." It ran for only 236 performances, a relatively short run, considering the names involved, and closed early to accommodate hip surgery for LuPone. The show's box-office peaked early, then started a decline, a decline that I'm sure was unexpected. Let's face it. LuPone and Ebersole are musical theatre royalty in their own rights. Performing together, this should have been a sold-out smash. The Nederlander Theatre is a bit out of the way on 41st Street and not in the middle of things. Could that have played a factor? Or was it the show itself?

WISHFUL DRINKING – Studio 54, New York

WISHFUL DRINKING – Studio 54, New York

January, 2010. When you're the daughter of a beloved 50s film star, Debbie Reynolds, and a popular pop singer, Eddie Fisher, and whose step-mother for a time was one of the world's most famous and glamorous actresses, Elizabeth Taylor, well, you're bound to have an interesting life. In Carrie Fisher's case, "interesting" did not even scratch the surface. Like all good storytellers, Fisher had the knack for making you feel as though you were hanging out in her living room, enjoying some wine, and just having a good old-fashioned chin-wag. She also made the carefully planned and rehearsed material seem spontaneous, off-the-cuff. Toss in a wicked and sardonic sense of humor, an appreciation of the ridiculous, and a bracing honesty about your mental illnesses and addiction to drugs, and, you, lucky audience member, had a grand old time. Of course she talked about Star Wars and Princess Leia. Of course she talked about her family, even using a helpful family tree graphic to illustrate the rather convoluted six degrees of separation in the family. Of course she peppered the evening with some show biz gossip and fun facts. But what she did best of all was just show us Carrie Fisher, highs, lows, and in-betweens. Being bi-polar, a manic-depressive, and a drug addict does not need to define who you are, no more than being an iconic film character does, or being the child of famous parents does. Spending the evening with Carrie Fisher was inspiring, uplifting, and just damn funny. A tremendous talent gone far too soon. – at Studio 54, New York

Like Daughter, Like Mother or Vice Versa: Carrie Fisher wasn't the only one in the family who was a terrific storyteller, as Bob and I found out when we saw mom Debbie Reynolds in concert a few years after seeing Carrie's show. Reynolds was around 80 at the time and her dancing and singing days were, for the most part, behind her, but she could still tell a story, and, boy, did she ever! She did the figurative letting-her-hair-down, got the claws out and let it rip. Surprisingly gentle about Elizabeth Taylor, apparently they had made-up or something, she reserved her sharpest barbs for her ex-husbands, especially Eddie Fisher. According to Reynolds, Fisher was far from gifted in a certain area, a tasty tidbit that the largely elderly female audience ate up like candy. Who knew our Tammy had such a blue streak?

WAR HORSE – Cadillac Palace, Chicago

December, 2012. I've wanted to see this ever since Bob, Colleen and I went on a tour of the National Theatre complex in London and saw the cast of the National's production of "War Horse" warm up on the stage of the Olivier Theatre. Based on an acclaimed English children's novel (I had no idea until I did some "review" research upon its Chicago opening), this truly remarkable production touched me on many levels. At its most basic, it's a story about a boy and his horse. But though the story may be basic, its thrust is not. Yes, at its core, War Horse tells the story of Albert, a Devon farm boy, and Joey, his beloved horse. But there's much, much more. It's also the story of growing up, the horrors of war, the treasures of friendship, and these stories were told within the framework of a visually sumptuous production that was lit within an inch of its life to magnificent effect. I didn't expect to be so moved by this story, but curmudgeonly me actually got all misty-eyed at the show's conclusion when Albert and Joey reunited and returned safely home. Sentimental? Yes. Heartfelt? Most definitely. Deliberately tugging at the heartstrings? Absolutely. Effective? You bet. Beautifully performed by a cast of first-rate actors, singers, and at times, musicians, the 2.5 hours flew by. Kudos to the wonderful folks who brought the animals to vivid life and gave them all such distinct personalities. Some things that truly are worth mentioning: the rapport between Albert and Joey that made you truly believe how much this boy loved his horse; when Joey nuzzled his horse partner Topthorn in affection and concern just before Topthorn's death; the vivid scenes of human and animal carnage lit in stark white light contrasted with dark shadow; the comic relief of the goose; the very disturbing image of vultures picking at a dead soldier's eyes; the terror of the tank; the joyfulness of Albert and Joey's reunion. The Palace is not an ideal venue for plays and some of the dialogue was lost, but both are minor quibbles. This show was just pretty damn terrific. Full stop. – at the Cadillac Palace Theatre, Chicago

WONDERFUL TOWN

– Al Hirschfeld Theatre, New York

 December, 2003. Joseph Fields, Jerome Chodorov, Betty Comden, Adolph Green, and Leonard Bernstein's 1953 Tony-winning homage to mid-30s New York City and I have a connection that has spanned over fifty years. (!!) Wonderful Town was the first show I was in way, waaaaay back in 1967 at Waukegan Township High School. I was sixteen and played Speedy Valenti. So I was excited to see an old friend again. 

Sixteen. Was I ever that young?

This production originated in 2000 as an Encores presentation, so retaining its Encores roots, the show at the Hirschfeld had a bit of a spare, but entirely functional look, with spot-on period costumes, and its lush, jazzy twenty-four piece orchestra on stage. The show itself, fifty years old in 2003, showed its age and creaked at times, but the quips and jokes were funny as ever, and the ageless Comden/Green/Bernstein score was bright as ever. Wonderful Town's score, though, often seems lost in the Bernstein canon, overshadowed, unfairly in my opinion, by West Side Story and On the Town. Kathleen Marshall's direction and choreography was fresh and crisp and Rob Fisher's musical direction kept the beat moving. Supporting players David Margulies, Michael McGrath, Nancy Anderson, Peter Benson, Raymond Jaramillo McLeod were all excellent. Ditto Matthew Shephard as male lead Robert Baker, filling in for absent Gregg Edelman. But Wonderful Town is really about the Sherwood sisters, Ruth and Eileen. As Eileen, Jennifer Westfeldt had a sweet cluelessness that never grated and often enchanted. Older sister Ruth was originated by the inimitable Rosalind Russell back in 1953. At the Hirschfeld, the equally inimitable Donna Murphy took the part captive, shook off the Roz shadows, and gave a performance that was pretty damn freaking awesome. Her wrestling with a sofa bed was an object lesson in comic timing and audience capturing. We loved her; she loved us; it was a love-in. Vocally, she's a far superior singer to Russell, but, like Russell, she has the wiseacre, madcap soul of a 30s comedienne. She was a marvel. So was the show. – at the Al Hirschfeld Theatre, New York

At This Performance…: Flu felled Donna Murphy during previews, cancelling several and putting the entire project at risk. During the run, she missed numerous performances, and then while on "vocal rest," with the P.R. folks advertising her final weeks, she didn't show up at all. I read somewhere that she missed over 100 performances. That's something like 13 weeks. That's a lot for a scheduled 10-month contract. Articles were written excoriating her behavior and, by association, a perceived lackadaisical worth ethic on Broadway. Murphy, perhaps wisely, never addressed the situation until a few years later when she revealed she had severely hemorrhaged a vocal cord, came back to the show too soon, eventually reinjured it again, and was in danger of completely destroying her voice. Since Wonderful Town, she's appeared in two limited-run musicals and was an ecstatically-received Dolly Levi in the Bette Midler-led Hello, Dolly!, where she filled in for Midler on Tuesday evenings and when Midler was on vacation. I feel she got a bad rap for Wonderful Town, but I also feel the situation could have been handled with more honesty and less speculation on everyone's part. Just my opinion.

– Goodman Theatre, Chicago

September, 2016. Preview performance.The star of Goodman Theatre's largely enjoyable "Wonderful Town" may well truly have been the glorious 17-piece pit orchestra under the baton of Ben Johnson. Those eighteen men and women make Leonard Bernstein's fabulous score sizzle. That Overture! Sigh! Not far behind in the kudos department were Bri Sudia as a wry Ruth, Lauren Molina as a sweet Eileen, and Karl Hamilton's somewhat thankless, but beautifully sung, Robert Baker. Not all of it worked. As mentioned in the previous entry, the show has its creaks and groans. The show curtain looked unfinished (apparently it wasn't) and was butt-ugly. The scenic design, while clever, often left far too much empty space on the Goodman stage, which gave the show a cold, unwelcoming look. Lighting was meh. While the show for the most part was competently directed by Mary Zimmerman (sorry, I just don't get why everyone faints over her), there were parts that were muddy. "Conversation Piece," which should be a comic delight, was a hot mess. It just didn't work. The secondary characters were played more like cartoons than real people. This was especially true of Jordan Brown's Wreck. Mr. Brown apparently played Spike in Goodman's Vanya, etc and it felt like he was still playing that part. His performance was so forced, it was almost painful, and, sadly, not helped by going up on lyrics and melody in a big way during his solo number. "Conga" could have used some heat. One the plus side, "One Hundred Easy Ways" gave Sudia a chance to eat up the stage and stop the show. "My Darlin' Eileen" and the entire scene before it were pure charm and great fun. I'm personally a big fan of "Swing!" and Sudia and the ensemble did it proud. Far better than "War Paint," the previous occupant, this was a tonic for these crazy times. - at the Goodman Theatre, Chicago

THE WEST SIDE WALTZ – Shubert Theatre, Chicago

May, 1982. Katharine Hepburn, aka Kate the Great, played a feisty senior who is a concert pianist. Dorothy Loudon was a prim spinster who plays the violin. There were other characters and a plot in this fairly funny and sometimes touching piece of cantankerous senior citizen drivel by Ernest (On Golden Pond) Thompson, but let's be serious here. Hepburn AND Loudon? Together? Dudes! They could've read the phone book and the audience would have been deliriously happy. But, instead, they played their rather broadly-written parts in this modest and somewhat twee play with seasoned professionalism, dignity, and stopwatch-perfect comic timing, and the audience, including yours truly, was in theatre heaven. Katharine Hepburn. Dorothy Loudon. That's all anyone needs to know. – at the Shubert Theatre, Chicago

And that's it for now. Until later….

© 2018 Jeffrey Geddes

MUSICAL MASH-UP

MUSICAL MASH-UP

All musicals! A spelling bee, tapping feet, conjoined twins, Victorian orphans, and singing and dancing kitty cats. It's all here! This is a longish post, so get some coffee, get comfortable, and let's begin.

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE – Circle in the Square, New York

June, 2005. With over 1100 performances on Broadway and thousands of amateur and professional productions, making its creators and licensor MTI lots of coin, it's obvious many people like The 25th Annual Putnam County Spelling Bee. I am not among them. Rather than the charming, feel-good show that I was eagerly anticipating based on the rave reviews I'd read, I found Spelling Bee to be a predictable, stereotype-laden show, skillful in concept and execution, but with too little heart and too much quirky-for-quirkiness' sake and a underlying smugness shouting "look how cute and clever we are!" that was present throughout the show. The audience participation segment was poorly handled, with the cast clearly rattled by a really good volunteer. That whole thing became awkward and uncomfortable. When the adult actor playing a middle-school-aged boy sang about his "unfortunate erection," it came off as smarmy and creepy rather than funny or fondly reminiscent of the perils of male pubescence. Earlier dialogue established the character's "problem," and that was funny, and the joke was made. Singing about it was too much. The obnoxious character, Barfee, won the Bee, and if that surprised anyone in the audience, they simply weren't paying even the most cursory of attention. Where You're a Good Man, Charlie Brown is charm from beginning to end, Spelling Bee had an almost total lack of it. Perhaps it was because of the lukewarm reaction from the audience, especially after the botched audience participation segment that resulted in some walkouts, but the cast often appeared to be pushing it, trying too hard to win over the sell-out crowd. A lot seemed forced, little seemed natural. The cast did what was asked of them. They were competent and professional, if not especially memorable. I did really like Jesse Tyler Ferguson, who gave Leaf Coneybear a goofy lovability. I also admired Celia Keenan-Bolger's ability to overcome the stereotype she was given and make Olive Ostrovsky a real person. Tony-winner Dan Fogler as William Barfee did his bit and was fine, but it didn't feel like a Tony-winning performance. I realize that I am in the minority with my opinion of the show, but that opinion is based on what I saw onstage at the Circle in the Square on June 17, 2005. I believe the show could be improved by eliminating the audience participation, changing the Bee participants from middle schoolers to high schoolers, and, most of all, have multiple endings a la Edwin Drood. Don't let the obnoxious Barfee win all the time. (For the record I wanted Leaf Coneybear to win.) Furthermore, I feel Spelling Bee needs to decide if it's a family-friendly show or a "kids" show for adults. (I wouldn't take my 8-year-old granddaughter to a musical where a song about penile erection is sung. I'll leave that conversation to her parents.) I really wanted to like it. Sadly, I didn't. – at the Circle in the Square, New York

Sidebar: Spelling Bee alumni Jesse Tyler Ferguson, Lisa Howard, Jose Llana, and Celia Keenan-Bolger would go on to other Broadway shows, and Ferguson would become a household name in the groundbreaking television series, Modern Family. Kate Wetherhead, an understudy in the production, would co-create, write, direct, and star in the not-to-be-missed web series, Submissions Only. Dan Fogler took his Tony Award and left Broadway to have a successful career in television, film, and stand-up.

SIDE SHOW – Stage 773 (Porchlight), Chicago

September, 2015. Preview performance. The men fared better than the ladies in Porchlight Music Theatre's Side Show, and considering this is the story of the Hilton sisters, conjoined twins Daisy and Violet, the women should have been our focal point. But they weren't, and I suspect that is because the two leading performances just didn't land. Oh, Colleen Fee and Britt-Marie Sivertsen sang the fabulous score well, but there was a lack of chemistry between the two actresses. Overall, however, this production was worth seeing. Ignore the occasional, well, more than occasional creaks in the show's construction and relish in the remarkable score that was sung well by the cast and professionally played by the small, but adroit, orchestra. Great-looking set; the less said about the wigs and costumes, the better. The young cast lacked credibility in the older roles and the show could have been enhanced by casting a few more seasoned performers, especially in the more mature roles. I'm not a huge fan of Porchlight, but this was one of their better shows, a commendable production of a difficult show. – at Stage 773, Chicago

42ND STREET

– Winter Garden Theatre, New York

 42nd Street did not stay long at its original home, the Winter Garden. The marquee is still up, but a banner tells customers the show is now playing at the Majestic.

 The front of the Winter Garden. I love this theatre.

The iconic nearly block-long Winter Garden billboard.

October, 1980. The ultimate valentine to Broadway and the enduring dream of becoming a star. This, the

original production, remains Gower Champion's legacy to the theatre and the world. It arrived on Broadway on August 25, 1980, with the roar of a prolonged audience ovation and the devastating announcement delivered from the stage by producer David Merrick that Champion had died earlier that day, leaving the cast, the audience, and the world stunned. Perhaps not the time or the place for such an announcement, but it all but guaranteed favorable press and lines at the box office. Both occurred, and with good reason, for 42nd Street was a triumph, exuberant in its spectacular dances, joyful when singing the timeless songs from Harry Warren and Al Dubin, and period-stylish as acted by a cast of seasoned veterans and a spectacularly talented ensemble. Who wouldn't thrill to the now legendary opening? The overture ended as the curtain rose just enough to reveal a stage full of feet furiously tapping away. Then the curtain rose completely, and we saw the ensemble, all thirty-six of them, yes, that's right, thirty-six, dancing their collective hearts out. Thrilling. Breathtaking. The very definition of show business. The book, oddly billed here as "Lead Ins and Crossovers," by Michael Stewart and Mark Bramble, based on Bradford Ropes' novel, got us from one number to the next with little fuss. The plot about the fresh-off-the-boat, or, in this case, fresh-off-the-bus, chorus girl who fills in for the established star and becomes an overnight sensation is complete nonsense, of course, but, 42nd Street is a fairy tale of show business, and who doesn't like a great fairy tale? And what about that original cast? Tammy Grimes as diva Dorothy Brock was simply delicious…all haughty attitude and star presence with her signature and inimitable voice. Jerry Orbach, one of the theatre's treasures, played director Julian Marsh with a twinkle in his eye and made everything look effortless. Lee Roy Reams danced his heart out as Billy Lawlor. Joseph Nova and Carole Cook were perfection as the show-within-a-show's authors, all delightfully piss and vinegar. Danny Carroll, James Congdon, Don Crabtree, and Karen Prunczik rounded out the supporting players. Wanda Richert, making her Broadway debut, was appropriately demure, sweet, and fresh out of Allentown, Pennsylvania, and knocked the part out of the park with her dancing. And big kudos to the design team of Robin Wagner (scenic), Theoni V. Aldredge (costumes), and Tharon Musser (lighting) for giving 42nd Street a lush, lavish look…legendary designers at their best. The show would play an astounding 3486 performances at three theatres (the Winter Garden, the Majestic, the St. James), winning the 1981 Tonys for Best Musical and Best Choreography. It is currently the 14th longest-running Broadway show. I loved every minute. – at the Winter Garden Theatre, New York

Beware of Boxes: The only seat I could get at the last minute for 42nd Street was a lower stage left box. While it was perfect for being up close and personal when the action was center, much of what was happening upstage and stage left was unseen. I could hear stuff going on, but couldn't see it. When the touring company came to Chicago for the first time and I was sitting in a center orchestra seat, I gasped, "My God, there is scenery!" Moral of story: box seats suck.

More Than Just Broadway Babies: Karen Prunczik made her Broadway debut as Annie. She was also having an affair with producer David Merrick, forty-five years her senior, would become wife number 5, and be divorced a short time later in a bitter divorce with allegations that Prunczik in real-life was playing the golddigger role that she did eight times a week in 42nd Street. She has since dropped the "C" and as Karen Prunzik made her last appearance to date in 1995 as Dorothy Shaw in a critically-trashed revival of Gentlemen Prefer Blondes. She currently runs a dance studio in her native Pennsylvania. Wanda Richert, aka Peggy Sawyer, was Gower Champion's lover at the time of his death. Champion was still married, though separated, to his second wife, Karla, a fact Richert claims not to have known at the time. She was Chicago's Cassie in A Chorus Line, and was very good, if, at 20, far too young for the role. In a curious twist, she would have health issues and was fired from the tour by Michael Bennett. She would last appear on Broadway in the mid 80s and would, ironically, reprise her performance as Cassie in a tour of A Chorus Line in the early 90s. She is currently an interfaith reverend, and, according to her LinkedIn profile, a "Broadway legend." Uh…Legend? Nah. Don't think so. And here's a fun fact: Prunczik and Richert were roommates during the early days of 42nd Street.

– Civic Opera House, Chicago

January, 1983. Launching its tour at the Art Deco beauty known as the Civic Opera House, the First National Tour of 42nd Street looked and sounded mighty fine in its snazzy digs. And with scenery! (see above) Personal favorite Elizabeth Allen was a tart-tongued, smooth-singing Dorothy Brock and Tony-winner Ron Holgate (1776-Best Featured Actor in a Musical) lent his booming voice and comedic talents to Julian Marsh, and pert Nancy Sinclair, Wanda Richert's understudy in New York, was a dynamic Peggy Sawyer. As a bonus, Broadway stalwart and Dolly standby for seven years, Bibi Osterwald gave a supporting role star treatment as Maggie Jones. Top drawer production, first class cast.  – at the Civic Opera House, Chicago

Exeunt "Lead Ins and Crossovers"; Enter "Book": It's been suggested that David Merrick's decision to initially refer to Michael Stewart and Mark Bramble's libretto as "Lead Ins and Crossovers" rather than "Book" cost them the Tony Award for Best Book that season. By the time the show reached Chicago, the billing had long been changed back to "Book." For the record, Peter Stone won that year for Women of the Year, which was an inferior show, but with a stronger book.

From the Trouble in Paradise Files: Karen Prunczik, the original Annie on Broadway and now Mrs. David Merrick, was listed in the Chicago Playbill as Annie, and was in the cast on opening night, but, in late January, an insert told us  that "the role of Annie is now being played by Cathleen McGowen." According to sources, Prunczik was fired days after the show opened in Chicago. A few weeks after that, Merrick suffered a debilitating stroke, and shortly after that, divorce papers were served to Prunczik, and bitter, acrimonious divorce proceedings ensued. Well, all right then! You just can't make this stuff up!

– Shubert Theatre, Chicago

 Not sure why David Merrick decided on a new graphic for the show. I think it's kinda cheesy.

January, 1985. 42nd Street returned to Chicago two years later when the Second National Tour made a stop at the Shubert for a six-week engagement.  This time around Dolores Gray and Barry Nelson played Dorothy Brock and Julian Marsh. Gray lent the part some old-fashioned glamour, and Nelson, definitely not much of a singer, was a gentler Marsh than either Orbach or Holgate. Gail Benedict, a 42nd Street veteran, tapped and sang Peggy Sawyer with skill. Singer and television personality (a regular on The Gary Moore Show) Denise Lor played wise-cracking Maggie Jones. Producer David Merrick was notorious for being, well, a nasty piece of work. He was also notorious for making sure his touring productions looked just as good as their Broadway counterparts, and cast his tours with both an eye to the box office and an eye to talent. In the smaller confines of the Shubert Theatre, this edition of 42nd Street looked big, bold, and sumptuous. But, I must confess, I liked the Opera House production better. – at the Shubert Theatre, Chicago

Critic Fail: In his review, Chicago Tribune critic Richard Christiansen called Gail Benedict "a little too old, but a terrific singer and dancer." Excuse me? Bit cheeky, don't you think? He also referred to James Mellon, who played romantic lead Billy Lawlor, as "pearly-toothed." Richard, Richard, Richard!

 The "pearly-toothed" James Mellon demonstrates his dancing chops.

"A bit too old" Nancy Sinclair kicks like a youngster.Stars and old pros Dolores Gray and Barry Nelson.

– Ford Center for the Performing Arts, New York

June, 2001. The first, and to date only, revival of 42nd Street won 2001 Tony Awards for Best Musical Revival and Best Performance by a Leading Actress in a Musical. In both cases, these are best-of-an-indifferent-lot wins, although I will argue strenuously that Blythe Danner should have won the Tony for a razor-sharp performance as Phyllis in a muddled revival of Follies. We saw this ten days after the Tonys. The show should still have been on a high after their wins. Instead, what we saw was a professional, thoroughly solid production with precision dancing, but little heart. We saw a product, not a show, which was disappointing because I really like this old chestnut of a show. For the revival, a new scene and song ("I Only Have Eyes for You") was added for star Christine Ebersole and cabaret maestro Billy Stritch that added nothing to the show, and, in fact, ground everything to a screeching halt. All the performers (Michael Cumpsty, Mary Testa, Jonathan Freeman, David Elder, Billy Stritch, and Kate Levering) were fine, with one notable exception, Tony Award winner Christine Ebersole, who phoned in her performance. She did what she had to do, and that, my friends, was that. In true David Merrick style, the show once again had a huge 36-person ensemble, remarkable for the economics of 2001, lots of glitz, and nice big sound from the pit. The audience clearly grooved on it, and despite a mixed critical reception, including a very negative one from the New York Times, the show went on to a profitable run of over 1500 performances. The songs and dances still shone brightly, but I missed the original. – at the Ford Center for the Performing Arts, New York

Casting Notes: The wonderful Beth Leavel, who would win her own Tony a few years down the road, was the standby for Dorothy Brock and Maggie Jones (Christine Ebersole and Mary Testa). Richard Muenz, who played Ebersole's former partner and romantic interest in this production, played Lancelot to her Guenevere in a revival of Camelot. Megan Sikora, who we loved in Paper Mill's Can-Can, was in the ensemble.

– Ford Center for the Performing Arts, New York

August, 2003. Jump ahead two years. When I was flying, whenever I had a NYC layover, I would try to go into Manhattan and see a show. On this trip, my captain asked if he could tag along because he'd never seen a Broadway show. Well, I'm always delighted to introduce the wonders of Broadway to someone, so off we went to the TKTS booth. While on line, he mentioned that he and his wife were into ballroom dancing, and I knew right then the perfect show for both a Broadway neophyte and a dance aficionado…naughty, bawdy, gaudy, sporty 42nd Street. Even though my previous experience with the current revival was less than satisfying, I knew that two years had passed and the show now had a different cast, plus, the show itself is great fun with the timeless tunes, the terrific dancing, and all the accompanying glitz and pizzazz. And all I can say is what a difference two years made! Original cast member David Elder was still dancing his feet off as Billy Lawlor, but overall this was a completely new cast. Patrick Ryan Sullivan was a better fit for Julian Marsh than Michael Cumpsty and gave off a understated sexiness, but also gave a hint of ruthlessness. The real revelation, however, was just how absolutely wonderful Beth Leavel was as Dorothy Brock. Night and day from Christine "I'll Phone It In" Ebersole. She was bitchy, she was funny; she was glamorous; she was imperious; she was every inch the past-her-use-by-date diva trying to hold on to whatever fame she still had. She sang like a dream. She was divine! The show, with its August, 2003 cast, seemed brighter, more fun, crisper, and a better show all around. For the record, my captain loved it. So did I. – at the Ford Center for the Performing Arts, New York

– Cadillac Palace Theatre, Chicago

March, 2016. The VERY young non-Equity cast worked hard, often very hard, to keep us entertained, and I was entertained more often than not. The orchestra sounded terrific and the costumes sparkled, but the sets sometimes looked cheap, and at times the stage was so crowded, it made the dancing unfocused and muddy. Almost all of the principals were too young, resulting in competent, but unexciting performances. The lack of both stage experience and life experience was most glaringly apparent in the performance of Kaitlin Lawrence as Dorothy Brock. Too young by at least two decades for the part to have any resonance, she sang well and did her best, but she lacked the sophistication of a Tammy Grimes, an Elizabeth Allen, a Dolores Gray, a Beth Leavel. Matthew J. Taylor's performance as Julian Marsh, however, belied his young age. He was terrific. Well worth the 1/2 price ticket, but it will never be confused with an Equity company. - at the Cadillac Palace Theatre, Chicago

OLIVER! – Walnut Street Theatre, Philadelphia

 The venerable Walnut Street Theatre, Philadelphia

 Hugh Panaro is a total babe. Not, however, as Fagin.

You can see the attempts at dirtying up Nancy. From the audience, though, she looked spotless.

December, 2009. Lionel Bart's masterpiece, Oliver!, was the 2009 holiday offering at Philadelphia's venerable Walnut Street Theatre. The Philadelphia Inquirer was rhapsodic about the production gushing over the "adorable" kids and the "charming" adults and, with that, joining the ranks of millions who think Oliver! is an almost perfect family-friendly show. I don't get it. Seriously, I don't. In "Walking in a West End Wonderland – Part 3," I wrote in detail about my conflicted feelings toward this musical. It's score is admittedly glorious, but the light-hearted and jolly treatment most productions give to this dark Dickensian tale all but completely ignore what are, in my opinion, the two biggest elephants in the room: 1) the fact that the leading lady is brutally murdered onstage shortly after warbling the big hit tune; and 2) the fact that the leading man is, at best, a creepy, but innocuous perv who craves the company of little boys or, at worst, is a full-out pedophile. Mr. Dickens never overtly states in his novel that Nancy is a prostitute or that Fagin is a pedophile, but the subtext for both is in both novel and, if you exam the material closely, the musical. (Big Hint: Nancy wears the de rigueur red dress! Fagin is just a little too "my dears" with the boys.) I long for a darker version of this show, but it was not to be at the Walnut Street Theatre. Onstage was lots of color, lots of energy, a cast of fifty-one (!!) including twenty cute-as-a-button children, a peppy orchestra, and all the bells and whistles one associates with Oliver! For me, the character of Oliver is a plot point. Yes, he sings the poignant "Where is Love?" and starts off the lovely "Who Will Buy?," but he's really secondary to the two leads, Nancy and Fagin. Janine Divita made for a fine Nancy, bringing a buoyant attitude and a nice vulnerability to the part, and sang the dickens, pun intended, out of "As Long As He Needs Me." Note to Costumer and Make-Up Folks: Nancy should look like she's from the streets. There wasn't a speck of dirt or even dust on her, and her dress looked like it came straight from the cleaners. Overall, she was just a little too well-scrubbed. The revelation in this production, though, was Hugh Panaro's magnetic Fagin. The Philadelphia Inquirer thought his portrayal brought a much-needed dimension to a character often played as somewhat of a cartoon. True, Panaro brought an added dimension to the role, but where Howard Shapiro of the Inquirer saw a Fagin with a heart, I saw a subtle, but unmistakable malevolence lurking just below the surface of his outwardly criminal geniality. A look here, a way with a word or phrase there, the smile disguising the rot. It was a magnificent performance. Director Mark Clements is currently the Artistic Director of the Milwaukee Rep and has helmed many excellent productions there. The wonderful Rob McClure played Noah Claypool in this production. – at the Walnut Street Theatre, Philadelphia

Sidebar: The two-hundred-year-old, as of 2009, Walnut Street Theatre in Philadelphia was just as big a draw as the production on its stage and its star, the magnetic Hugh Panaro. Comfortable with all mod cons, the Walnut Street didn't feel like a 200-year-old playhouse. It was all rather contemporary, which was a bit disappointing. I was looking for a bit more elegance and old-school theatre. But, still and all, the Walnut Street is America's oldest theatre, so attention must be paid.

CATS – Elgin Theatre, Toronto

 The glorious Elgin and Winter Garden Theatres.

Not "now and forever" perhaps, but it did score a very respectable two-year run before embarking on a Canadian tour.

September, 1985. This all-Canadian version of the Andrew Lloyd Webber homage to felines playing in a big litter box is largely credited with jump-starting Canada's musical theatre scene. Steve and I saw this about six months into its two-year run at Toronto's Elgin Theatre. "Jellicle Songs for Jellicle Cats" started the evening off in grand style and I was thinking to myself, "Why all the negativity and bad-mouthing of this show? This is terrific!" But then, the show progressed, and, unfortunately I went, "Oh. Now I get it!" Some songs were better than others, "Macavity" was really quite fun, but in the second act, "Gus: the Theatre Cat/Growltiger's Last Stand" played out for nearly twenty agonizing minutes, and I thought I would slit my wrists I was so bored. Cats' big takeaway tune, "Memory," was given a star diva rendition by Kathy Michael McGlynn, who basically eschewed all attempts at characterization and just belted out that puppy. It was, truthfully, freaking amazing. Had nothing to do with the show, but wowzer! I've seen far worse; I've seen far better. Mediocre show; entertaining pablum. – at the Elgin Theatre, Toronto

Sidebar: The Elgin/Winter Garden Theatres in Toronto are the last surviving Edwardian stacked theatres in the world, i.e. the theatres are on top of one another. They are, deservedly so, a National Historic Site of Canada. Bob and I have taken the tour of the theatres twice and will probably do it again on our next visit to Toronto.

And with that…until later! TTFN!

© 2018 Jeffrey Geddes