SIMPLY "S" – Part 3

 SIMPLY "S" – Part 3
(a wholly-owned subsidiary of Alphabet Soup)

Concluding the series of shows beginning with the letter "S"… Part 2 ended with a revue of early Sondheim. Part 3 starts with the return to Broadway for one of its iconic stars in a hybrid musical/revue covering the entire Sondheim oeuvre. Also in Part 3 are: two of Christopher Durang's early one-acts; a sentimental, very traditional musical buoyed up by its magnetic star; the problematic musical version of Billy Wilder's masterpiece about the fleeting nature of fame; John Guare's fascinating, yet dated, study of "liberal" society; and lastly, an absolutely ridiculous, totally delightful musical spoof. Let's jump right in, shall we?

 SONDHEIM ON SONDHEIM – Studio 54, New York

March, 2010. First preview. Picture Side by Side by Sondheim updated to cover all of Sondheim's works. Picture Side by Side by Sondheim on steroids, with the Master himself commenting on his life and works via artistically placed onstage screens, courtesy of designer Beowulf Boritt, instead of the tart and always genial commentary of a Ned Sherrin or Burr Tillstrom. Then mark the occasion with the return to Broadway of legendary theatre icon Barbara Cook, with castmates the caliber of Vanessa Williams (classy, classy, classy), Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton, Erin Mackey, and Matthew Scott. Heady stuff. And yet, for all that, the show lacked warmth, fun, the feeling of joy at performing this music. It was all done well, mind you, just remote and, frankly, impersonal. For a first preview, the show was remarkably assured and nothing outwardly seemed to go wrong. I wanted more Gypsy and less Passion; more Do I Hear a Waltz? and less Merrily We Roll Along; more Pacific Overtures full stop. The critics were divided with a couple of raves, a couple of pans, but most were mixed. (For the record, I was in the "mixed" category.) Highlight of the evening, hands down, was the juxtaposition of Vanessa Williams' "Losing My Mind" with Barbara Cook's "Not a Day Goes By." Thrilling. And one of the few moments of genuine excitement. Ms. Cook, overall, fared the best of all the performers with material that was carefully chosen to show off her magnificent skill set, closely followed by the wonderful Vanessa Williams and the endearing Euan Morton.  I enjoyed it, but, for my money, the more modest SxSxS is the better show. Sue me. – at Studio 54, New York.

About Ms. Cook: We went with our friend, Michael, who had never before seen Barbara Cook live. Prior to the show, he said he was eager to see it because he wanted to see what all the fuss was about re: Ms. Cook. At the interval, he said with awe and admiration, "Oh. Now I get it!" She was a marvel.
 

SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU/THE ACTOR'S NIGHTMARE – Wisdom Bridge Theatre, Chicago

May, 1982. Playwright Christopher Durang is very much an angry, bitter Catholic, or, if you will, ex-Catholic, recovering Catholic. Take your pick. Sister Mary Ignatius, etc., his diatribe about everything Catholic, decided to switch course midway through from being hysterically funny and dead-on pointed, especially to Catholics, ex-, recovering or otherwise, of which I am one, to being pointlessly violent and unfocused, and, well, that rather doomed the evening for me. The evening's opener, The Actor's Nightmare, fared better, but its premise got old quickly. This was the Midwest premiere of both plays, headed by acclaimed Chicago actor, Mary Ann Thebus, who did what she could with the material and how she was directed, but her performance, like Ignatius itself, became tiresomely one-note. Both plays have been popular with theatre companies and Durang's reputation grew as a playwright who could be counted on to never play it safe. I found the evening disappointing. Steve hated every minute of it. – at the Wisdom Bridge Theatre, Chicago

Tidbits: Christopher Durang would finally achieve mainstream success with his Tony Award-winning Best Play, Vanya and Sonia and Masha and Spike, a lovely play which is a far cry from the unrelenting anger of Sister Mary Ignatius. Wisdom Bridge Theatre, an Equity company and one of Chicago's premiere companies for many years, closed in the mid-1990s.  

SHENANDOAH – Arie Crown Theatre, Chicago

October, 1977. When Shenandoah opened at Broadway's Alvin Theatre on January 7, 1975, it was greeted with both love and dismissal. Fortunately for the show, one of the critics who gave Shenandoah some love, a rave-level love at that, was the New York Times's powerful Walter Kerr, one of the premiere and most astute critics of his time. (There are collections of his reviews. Read them. Fascinating stuff.) Although it never was anyone's first choice, in a lackluster season of musicals, the love it got was enough to propel it to a run of over 2 ½ years and a modest profit. Plus it won two Tony Awards that season, for Best Book, and more importantly, for John Cullum for Best Actor in a Musical. Based on the 1965 James Stewart-starrer film of the same name, Shenandoah wrapped its pacifist, anti-war message in a earnest, let's-leave-no-sentimental-trope-unturned package and brought it to Chicago with John Cullum leading a company of generically talented actors, each doing their assigned tasks competently, but without particular distinction. Thankfully, the show's darkest moment, when Cullum's son and daughter-in-law are murdered, took place offstage, which made it creepily effective. (Think The Diary of Anne Frank when you hear the Nazis coming up the stairs, but never actually see them. Brrrr!) The score by Gary Geld and Peter Udell was pleasant and tuneful, but, again, not especially remarkable, but had the great good sense to give Mr. Cullum opportunites to wow us with his vocal chops. In the end, it was John Cullum's compassionate and powerful performance that was the reason to see Shenandoah. Even in the inhospitable environs of Arie Crown, he gave the show a warmth and intimacy that, in that "theatre," and I use that term loosely, was often impossible to achieve. Was it the best show I've ever seen? Not by a long shot. But Cullum's performance was not to be missed. Like many "B" shows of the era, Shenandoah has more or less faded away.– at the Arie Crown Theatre, Chicago

Shenandoah bits: Two of Shenandoah's songs, "Freedom" and "We Make a Beautiful Pair," made their way into many of the musical programs that BFF Pat and I did for social clubs and organizations in the late 70s. Both good songs, and, bonus!, both utilized harmony, always a big crowd-pleaser at these events.

  - Shenandoah's lyricist and composer team of Peter Udell and Gary Geld had their longest Broadway run with Shenandoah, but probably their biggest success with the superior-in-every-aspect Purlie in 1970. Their third and final entry on Broadway was an ill-fated musical version of Look Homeward Angel, entitled Angel. It ran for five performances in 1978.

  - John Cullum would win his second Tony award in 1978's On the Twentieth Century, where he gave co-stars Madeline Kahn, Imogene Coca, and Kevin Kline a run for their money in a sensational over-the-top performance as Oscar Jaffee.  In his long and illustrious career spanning over sixty years (!!), he has consistently turned in remarkable and memorable performances that seemed effortless in their execution. This was made abundantly clear a few years back when Bob and I saw the pleasantly middling Waitress, where Cullum played the secondary role of Joe. His performance was quiet, gruffly gentle, and, frankly, the highlight of the evening. In a theatre world of flavors-of-the-month "stars," John Cullum is a theatrical treasure.

 

SUNSET BOULEVARD

 – Minskoff Theatre, New York

March, 1996. First NYC show with Bob! When I saw Betty Buckley in London in May, 1994, shortly after she'd assumed the part of Norma Desmond from originator Patti LuPone, I thought her performance, though vocally assured, was a little too suburban housewife and not enough grand dame. What a difference two years made! Oozing star presence and glamour, Buckley was every inch the "greatest star of all." Utilizing her arsenal of stage savvy, Buckley knew that her two "wow" moments musically were her two arias, "With One Look" and "As If We Never Said Goodbye," and she wisely saved the power pipes for those two numbers. After the first number, Bob whispered to me, "Okay, how does she top that?” After the second, he simply said with awe, "Oh!" She was magnificent. Her supporting cast of Alan Campbell (Joe Gillis), Alice Ripley (Betty Schaefer), and 1995 Tony-winner for Best Performance by a Featured Actor in a Musical, George Hearn, as Max Von Mayerling, were all excellent in their roles. But, here's the thing: as in London, the physical production tended to overwhelm the characters, the story, and the uneven score. It's hard to compete with a house that goes up and down on cue. And also as in London, as directed by the estimable Trevor Nunn, the characters were all somewhat odious creatures. I just didn't care about them. Norma's vain and delusional, Max is enabling both, Joe is a gigolo, and Betty's an adulterous opportunist. Not nice folks. Having said all that, though, one simply cannot deny the musical, thanks to its classic film roots, its considerable power and appeal. We in the audience roared our approval. Buckley for the win! – at the Minskoff Theatre, New York

 – Palace Theatre, New York

      

April, 2017. Remarkably, without all the design bells and whistles of the original, this "reduced" version, and "reduced" is a relative term since it was beautifully designed and lit to death, the focus was now strictly on the story without a levitating house to distract you. And somehow in the process, as directed by Lonny Price, who knows a thing or two about staging, uh, "concert" versions of musicals, all four of the principal characters became people you had empathy for. Sunset is still a flawed show, and some of the lyrics are just painfully awful, but it was now a more accessible show. Norma drives this bus, and Glenn Close still had what it takes, at 70, to whip that audience into an idolizing frenzy. Proud and vulnerable, she had us from her entrance. She was wonderful. Applause to Siobhan Dillon, Fred Johanson, and especially Michael Xavier, whose Joe Gillis was the best I've seen. He was also very hot in a skimpy blue swimming suit. Bonus!! Kudos to the talented ensemble and especially that divine 40-piece (!!!) onstage orchestra. Swoon! Bravo/Brava all!  - at the Palace Theatre, New York

SIX DEGREES OF SEPARATION – Barrymore Theatre, New York

Spare, stunning scenic design for Act 1.

April, 2017. John Guare's Six Degrees of Separation is widely considered to be one of the signature plays of the 1990s. The somewhat rambling story of a young black con artist claiming to be Sidney Poitier's son, offering the gullible upscale New Yorkers who are his victims to have his father cast them in a film version of Cats (Yes, I know, been done and we all know how that turned out!), was frequently very, very funny, but also, at times, maddeningly obtuse and verbose. The whole endeavor left one with a sour taste in one's mouth. That's the play itself. The production on display at the Barrymore was stunning to look at, directed with a dynamic flair, and cast pretty much to perfection. The kids alone were worth the price of admission. I'm a firm believer that one should never knowingly miss an opportunity to see Allison Janney onstage and she did not disappoint here. She was  the glue that held the show together in a welcome return to Broadway. If you're a Guare fan, this would have been your cup of tea. If, like me, you're not, it was still worth a visit. - at the Barrymore Theatre, New York

SOMETHING ROTTEN!

 – St. James Theatre, New York

August, 2015. First cousin to the superior Spamalot, this was both wildly derivative and wildly entertaining with two, not one, but two, flat-out showstopping numbers, one led by the scenery-chewing Brad Oscar and the other by the show's multitalented star, Brian d'Arcy James. How many shows can claim that? The second act faltered a bit, but the energy never flagged, and we laughed a lot, relished the musical theatre references, and overall had a great time. With nary a dud in the bunch, the absolutely top-notch cast, including a hysterically pompous and vain Christian Borle, John Cariani, the aforementioned Messrs. James and Oscar, Heidi Blickenstaff, Kate Reinders, Brooks Ashmanskas, Peter Bartlett, Gerry Vichi, Michael James Scott and an ensemble of talented folks, made the material soar. They all seemed to be having a blast doing the show, and their fun was infectious. The house at the St. James was on the smallish side (the mezzanine was less than half full), but we were a mighty vocal one. This show will make a killing on the regional/am-dram circuit. Terrific fun. - at the St. James Theatre, New York

 – Oriental Theatre, Chicago

July, 2017. I liked this show when I saw it in New York...a lot, but I LOVED it here in this top-grade Equity tour with an insanely terrific cast lead by Rob McClure. In a word, Mr. McClure was stupendous, and the reason this played better here than at the St. James. Funny and adorably dorky, he was so damn charming, he had the very enthusiastic audience in the palm of his hand from his entrance. He was a marvel. Adam Pascal was a preening, sexy Shakespeare. Special kudos to Kyle Nicholas Anderson, the cover for Nigel Bottom. He was great. Packed house. Great fun. - at the Oriental Theatre, Chicago

 – Marriott Theatre, Lincolnshire, IL

September, 2019. One of Marriott's most consistently excellent elements in its shows is the ensemble, and in the sparkling production of Something Rotten!, the ensemble once again did not disappoint. Crisply staged and choreographed, with nary a weak performance among its excellent cast filled with Chicago stalwarts, including Alex Goodrich, Adam Jacobs, Ross Lehman, Terry Hamilton, and Gene Weygandt, with special kudos to Cassie Slater's top-drawer Bea, this was the perfect antidote to the stress of a Trump-infected world. Marriott spends money, and it shows - show after show after show. Silly and tuneful, we had a grand time. - at the Marriott Theatre, Lincolnshire

And that ends the "Simply S" series. Stay healthy, stay safe, VOTE, and social distance!! Cheers!

© 2020 Jeffrey Geddes

NOTES FROM NEW YORK CITY

NOTES FROM NEW YORK CITY

(June 6-11, 2013)

Six shows; five days. It's what Bob and I do. We love the theatre. Museums and sights are fine, but for me, nothing beats sitting in a darkened theatre and watching the magic that only occurs in live theatre. Oh sure, sometimes the shows are not very good; sometimes, in fact, they're pretty awful, but good, bad or indifferent, it's fascinating and exciting and I love it. (Sidebar: I am also mad about theatres, the buildings, as well. I'm thrilled when I have the opportunity to wander around a theatre…walk on the stage, go up to the highest balcony, poke around the backstage area. When doing that, the history of that building comes alive for me. It's as exciting as watching a show, walking on the same stage as some of our finest actors and seeing what they see as they look out from center stage.) I digress. Seeing shows on Broadway during Tony week has an extra layer of excitement to it. Actors in Tony-nominated shows seem to add a bit more spark to their performance. We saw Pippin on the afternoon of the Tonys and the cast was almost giddy with excitement. You could feel it and it made an electric performance even more electric. During this visit, all except one of the shows we saw had at least one Tony nomination to its credit (more on that later) and over the past Broadway season we saw many of the nominated shows, revivals and actors. It was a privilege to spend time with so many talented artists and from the bottom of my heart, I thank you! You all have enriched my life.

Without further ado....

June, 2013. Family. Expectations. Friendship. Loss. Betrayal. Love. A memorable evening at the theater. Flawless acting by the entire cast, but special kudos to Jessica Hecht, Jeremy Shamos and Tony-winner Judith Light for anchoring this exceptional cast with their honest, truthful performances. Gorgeous set by Santo Loquasto provided the environment for Richard Greenberg's solid, wonderful and multi-layered script that skillfully and effortlessly worked its magic. A perfect way to start the weekend. - at the Friedman Theatre, New York

 

June, 2013. When Nathan Lane is on target, he's a wonderful, nuanced actor. And he was a wonderful, nuanced actor often during the evening. When he screams, however, he's not. He screamed a lot in this play which isn't to the play's benefit. (Note: He screamed a lot in The Iceman Cometh last season at the Goodman here in Chicago and that didn't work either.) I don't know if the screaming is a Nathan Lane thing or a director's thing, but, news flash, kids, screaming is not always the best choice when expressing strong emotion. When Lane screams his way through dialogue, all subtlety disappears and he's just another loud actor. I felt there were too many burlesque routines, which were entertaining and telling in their own way, but took away from the story. I wanted to know more about Chauncey and his internal and external struggles. Solid performances by a talented cast, but I have to single out Jonny Orsini as Chancey's lover, Lewis J. Stadlen as Chauncey's boss, and an especially wonderful turn by Cady Huffman as the socialist-leaning and wise burlesque performer. From a production point of view, this was awesome (and won Tony Awards for Scenic Design (John Lee Beatty), Costumes (Ann Roth) and Sound Design (Leon Rothenberg)). A super band helped provide period atmosphere.  I felt there were missed opportunities in Douglas Carter Beane's script, but overall, I enjoyed it quite a lot and I'm glad I saw it. But, Nathan, honey, turn down the volume!! - at the Lyceum Theatre, New York

June, 2013. The critics fainted over it. This was it: the musical everyone had been waiting for. I was so looking forward to it and, sadly, so disappointed by it. Rarely have I seen a show so manufactured to such a shiny sheen. Lots and lots of money was spent on this show. And yet, for all its glitz and technical wizardry, I have seldom seen a show so almost totally devoid of heart and warmth. Low bows to Lauren Ward as the caring Miss Honey for providing what warmth there was with a nice, understated performance. Playing Matilda that afternoon was Milly Shapiro, the Matilda of opening night and the recipient of glowing reviews. Although obviously talented, she had little presence and not a whole lot of energy. I know the character is downtrodden, but, seriously, a little energy would be nice. Gabriel Ebert's Tony-winning turn as Matilda's loathsome dad was fun - cartoonish, but fun. Bertie Carvel recreated his celebrated role here in New York and it was good, but I'm not quite sure what the fuss was about. Full disclosure: there were great moments here and there throughout the show, but great moments do not make for a great show. Major, major complaint: diction pretty much sucked (exceptions: Ms. Ward, Mr. Ebert, and Lesli Margherita who played Matilda's mother), especially by the overwrought tykes who played their roles as though they were hyped up on massive doses of amphetamines. And in my book, with all the electronic aids available to boost an actor's volume these days, there is absolutely no excuse for bad diction. Except for the scenes with Ms. Ward, everything was played at the same level: loud and very intense. Tim Minchin's score was not terribly memorable with the exception of Ms. Ward's numbers, especially the really quite wonderful "My Room" (I said there were moments throughout) and "Quiet," which was nicely done by Miss Shapiro, in a rare exhibition of stage presence. I suspect I might have felt differently about the score had I been able to understand what was being sung. Production-wise it was a wow. The kids seated near us were bored out of their minds and the audience reaction was somewhat muted. The other show named after a girl is so much better. Major misfire. - at the Shubert Theatre, New York

June, 2013. A gentle, life-affirming play beautifully designed and sensitively directed and performed by a cast of talented actors who brought everything brilliantly to life. Vanessa Williams, Cuba Gooding, Jr and Condola Rashad were pitch-perfect. (FYI: Tom Wopat was out; his cover was fine.) Cicely Tyson took my breath away. Funny, dignified, determined, loving and stubborn, she effortlessly wound the audience around her talented little finger. So much so that during a scene where her character started singing a hymn, a large portion of the audience, by this time completely in the palm of Ms. Tyson's hand, started singing along with her. Not softly, mind you, but at full volume. There was even a "Amen, sister!" at the end of the hymn. And then later when Ms. Tyson's character received bad news about a childhood friend, there were gasps and groans of "Oh, no!" from the house. I'm telling you, this audience was involved. There's a reason why she's considered one of our premiere actors, folks. A theatrical treat! (Note: her Tony win as Leading Actress in a Play was well-deserved. Brava!) - at the Stephen Sondheim Theatre, New York

June, 2013. Simply put...Pippin is terrific! To be truthful, this rather surprised me since up until now, I've never been a big fan of the show. The original production was performed without an intermission, which made for a very long sit, the finale went on forever and pretty much made no sense, and there was an archness to it that I found off-putting. Back in the early 70s, I found it entertaining enough and have always felt the score was one of Stephen Schwartz's two best, but never especially wanted to see another production of it. (Sidebar: the other best score is The Baker's Wife, which contains his best song ever, and one of the finest theatre songs written, "Meadowlark." Sorry, kids, but Wicked is skillful pabulum and "Defying Gravity" is a lot of over-amplified screechiness.) When I read reports of director Diane Paulus' reinvention and reinterpretation, I feared it would be a hot mess. Happily, and deliriously so, I was proven wrong. The circus motif works beautifully, adds meaning and depth to Roger O. Hirson's book and even manages to camouflage the show's weak spots (primarily in Hirson's book). The ensemble is not only gorgeous to look at, but also insanely talented who not only sing and dance, but also do acrobatics the likes of which I have never before seen on the musical stage. A deserved standing ovation mid-Act One for Tony-winning Andrea Martin after she knocked it of the park with her show-stopping number. Terrence Mann and Charlotte d'Amboise delightfully chewed the scenery (and Charlotte gave us a nifty dance as well...bonus!!). Rachel Bay Jones was both funny and touching as Catherine. Matthew James Thomas was spectacular as Pippin and, hold on to your Ben Vereen hats, Tony-winner Patina Miller was a wow as the Leading Player, seductive and dangerous, often at the same time, and with a million watt smile. FYI: Thomas & Miller's version of "On the Right Track" killed! Suitably impressive production bells and whistles. This had everything Matilda lacked. I was completely bowled over! - at the Music Box Theatre, New York

June, 2013. I have no idea what the Tony nominating committee was thinking, or more appropriately not thinking, when they failed to nominate Bette Midler for her riveting, hysterical, profanity laden, vulnerable and ultimately touching tour-de-force as agent Sue Mengers in I'll Eat You Last: A Chat with Sue Mengers. She was simply sensational and reaffirmed my belief that given good material, she's an amazing actor. Everything was first-rate, especially  John Logan's solid, involving and gossipy script delivered to perfection by the Divine Miss M. A perfect end to our latest journey to theatre Nirvana. - at the Booth Theatre, New York

This was such a terrific excursion to New York. We stayed at an apartment downtown (Airbnb...highly recommeded) which made for a home-away-from-home atmosphere and saw some terrific theatre. What are you going to see this week? And I'm trying out a new format with this edition. I felt the credits page was hard to read so I decided not to combine the cover and credits on one page. Until next time..... Ciao.