ALPHABET SOUP - Part 3!

ALPHABET SOUP (3)

It's that time again to shake up things, draw a letter from my blue London coffee mug and pick the first five shows from that letter's pile of programs.

Without further ado, drum roll, please…. Today's letter is….

U

Ready? Set? Go!

August, 2002. At the 2002 Tony Awards, Urinetown won three Tonys: Best Book of a Musical (Greg Kotis), Best Original Musical Score (Music by Mark Hollmann, Lyrics by Mark Hollmann and Greg Kotis) and Best Direction of a Musical (John Rando). Curiously, in spite of those three major wins, which are,  for all intents and purposes, the three most important creative components of a musical (designers, orchestrators, musical directors, choreographers and all you other important folk, you know I love you as well…xoxo), the Best Musical Tony went to the enormously entertaining and very traditional Thoroughly Modern Millie. At the time, the general consensus was that the Tony voters wanted to return to safer, more familiar ground after the sweep of the previous year's Tony Awards by The Producers. But winning book, score and directing Tonys isn't exactly chopped liver and Urinetown would enjoy a long and profitable run. This tart and tasty political satire about corporate and political corruption and greed, using the premise that people had to pay for the privilege to pee, as the song goes, was exquisitely written by Messrs. Kotis and Hollmann and directed to satiric perfection by Mr. Lando and produced at The Henry Miller, as it was called, as the final production before the theatre closed to make way for an office building. (The interior would be demolished and a gorgeous new theatre rebuilt. It reopened as the Henry Miller, but in 2010 was rechristened the Stephen Sondheim Theatre.) In 2002, The Henry Miller was a bit, well, dowdy. It had obviously seen better days and looked very rough around the edges. It was the perfect theatre for designers Scott Pask, Gregory Dale, Jonathan Bixby and Brian MacDevitt to work their magic and to set the stage for this wonderfully off-kilter show. Leading actors John Cullum and Nancy Opel were both out at the matinee we attended, but were skillfully covered by Don Richard and Rachel Coloff, respectively. Jeff McCarthy and Spencer Kayden were hysterical as Officer Comstock and Little Sally. Jennifer Laura Thompson was both luminous and clueless as Hope Cladwell and the really, really talented Hunter Foster was a terrific hero and stopped the show with the raise-the-roof "Run Freedom Run." For my money, though, the best song in the show is the devilishly evil "Don't Be the Bunny." Satire is hard to do. It can easily go south and just be unbearable. Really good satire is rare. Urinetown is really good satire. Think Threepenny Opera without the tiresome Brecht and Weill stuff. (No, I'm not a fan. Shoot me.) Bob and I laughed and laughed and laughed. It was truly an unexpected delight. - at The Henry Miller, New York

(Sidebar: a 2006 local sit-down production of Urinetown at Chicago's Mercury Theatre was embroiled in a copyright dispute with the creatives of Urinetown who accused the Chicago creatives of plagiarizing the work of the original director and designers. The Chicago production team vehemently denied the charges. The dispute caused the show to close suddenly and at a complete financial loss. The case was settled in federal court and the Chicago production team was ordered to pay the original Broadway team an undisclosed sum of money.)

A snapshot of what was going on in August, 2002. How did we miss Dance of the Vampires?

July, 2003. The marvelous American Conservatory Theater (A.C.T.) in San Francisco mounted this raucous reproduction of the Broadway original at its home base at the gorgeous Geary Theatre. The exceptionally strong cast was headed by Ron Holgate as Caldwell B. Cladwell, who seemed to absolutely relish his every moment on stage, Charlie Pollack as a handsome hero, the radiant Christiane Noll (one of the few good things in Jekyll and Hyde and who would dazzle us a few years later in the revival of Ragtime) as Hope Cladwell, Jim Corti as Hot Blades Harry, Beth McVey as Penelope Pennywise, Meghan Strange as Little Sally and the reliable Tom Hewitt as Officer Lockstock. Hewitt is a consistently fine actor and a favorite of mine. We went with Bob's brother Andy and his husband and sat in practically the last row of the Geary's second balcony. Once again we laughed lots. And take my word for it, the second balcony at the Geary Theater is very high and very steep. Not for the faint of heart. - at the Geary Theatre (A.C.T.), San Francisco

Oops! "U" had only one show, so let's draw again….drum roll……. And we have….

H

April, 2011. Matthew Lombardo's play about a recovering alcoholic therapist nun, a 19-year-old homeless gay drug addict and a priest with control issues was at times very, very funny, at times very, very dramatic and at times very, very melodramatic. The play starred the divine Kathleen Turner as the recovering alcoholic therapist nun, and, yes, it took me a moment or two to wrap my brain around that bit of casting. Kathleen Turner as a nun? No matter. She was a marvel. That inimitable voice combined with her commanding stage presence made her a force to be reckoned with. Evan Jonigkeit played the homeless gay drug addict in a powerful and sympathetic performance with an added dose of full frontal nudity for good measure. Stephen Kunken was fine as the priest and did what he could with the role, but his part was the weakest and easily overwhelmed by the showier roles of the nun and drug addict. I thought it was a powerful, if flawed, play with an accomplished cast, fine production values and good direction. Bob and I liked it; our friends were less than enthused. We saw a preview performance. Good thing, too, since, despite mostly positive notices from tryout productions in Hartford, Cincinnati and St. Louis, the play was soundly spanked by the New York critics and closed at the end of its first week of performances. I suspect it will have a profitable afterlife in regional, educational and amateur theatre. - at the Booth Theatre, New York

February, 2008. There is a scene in this chilling revival of Harold Pinter's The Homecoming where Raul Esparza, as Lenny, confronts his new sister-in-law, Ruth, played by Eve Best. (Yep, Nurse Jackie's Eve Best.) The scene was so quiet, so sexually charged, so dangerous, and in its way, so evil that it literally took my breath away. Rarely have I seen such understated and such powerful acting. Those few minutes alone were reason enough to see this masterful revival of one of Pinter's most highly-regarded plays. Raul Esparza was so robbed of the Tony that year. (Actually, so was this production. Best Revival of a Play Tony went to the slight, if extremely well-done, Boeing, Boeing.) This is not a happy play. It's filled with loathsome characters engaging in despicable behavior and you wonder if anyone among them has any normal interactions in society. The only moderately sympathetic character in the bunch, Teddy, played by James Frain, eventually yields to his monstrous family. Ian McShane played the head of the household and he was a nasty piece of work. (He was a delightfully over-the-top Devil in The Witches of Eastwick in London.) The always excellent Michael McGrath play McShane's brother and Gareth Saxe played brother Joey. They were all superb, but for me the acting honors went to Esparza and Best. I usually find Pinter on the obtuse side. Not this time. This was truly exciting theatre. - at the Cort Theatre, New York

(Note: in the National Tour of the original Broadway production, Carolyn Jones played Ruth. Yes, Morticia from The Addams Family was more than just smoldering looks and finger snaps. She was a well-regarded actress. I so wanted to see that production, I was still in high school when the tour played Chicago and I couldn't manage a matinee. I probably wouldn't have understood it anyhow at that age.)

July, 2011. Part The Boys in the Band, part My Night with Reg, part Love! Valour! Compassion! with a hint of Company thrown in, with none of the qualities of any of the originals, this so-called "epic" play had lots of zingy one-liners, but not a lot of heart and not a lot of characterization. An unlikeable leading character, though well-enough acted, didn't help, nor did the political/sociological riffs that didn't advance the plot. With one glaring exception, the acting was good, and two performances, Elizabeth Ledo and Stephen Cone, were outstanding.  At times I felt like I was at a production of "Party;" it had that camp-for-camp's sake mentality.  At about 2:15, it's at least 15 minutes too long and could probably be a very good play at a snappy, intermission-less 90 minutes.  To be fair, it was liked by the critics and the audience ate it up.  It wasn't bad; it wasn't good, and it does have some promise, but it won't become the next great gay play, even though that was clearly what the author intended this to be. - at About Face Theatre, Chicago

 This talented quartet...don't they all look so young!...would continue to shine in show business. 

September, 1995. At the risk of being tut-tuted, I must confess that I am not much of a Frank Loesser fan. I don't care for Where's Charley? at all, though that could just be a reaction to a bad audition for a local production a century ago down in Bloomington, but I think it's simply because I don't like the show. The supposed charms of The Most Happy Fella escape me. I don't think Guys and Dolls is one of the greatest musicals ever. And although on the cast recording, much of Greenwillow is actually quite beautiful, there are, sadly, more than a handful of real clunkers (e.g. "Clang Dang the Bell" and "Could've Been a Ring") Having said that, however, I'm wild about his zippy satire on big business, How to Succeed in Business Without Really Trying. The book is funny and pointed, as good satire should be, and the score is one great tune after another. By 1995, this show had long been a staple of community theatre groups and high schools, so the opportunity to see Broadway pros in a Tony-winning production directed by Des McAnuff and choregraphed by Wayne Cilento was not to be missed. Matthew Broderick won his second Tony for his portrayal of J Pierrepont Finch. Broderick has the charming hangdog thing down to an art and it worked to his advantage in this role. Pre-Will and Grace Megan Mullally was a total delight as Rosemary, free from Karen-isms and showing off impressive vocal chops. And look who played Smitty…Victoria Clark! Lillias White was a full-throated and funny Miss Jones, Jeff Blumenkrantz whined and kowtowed with vigor as Frump, Ronn Carroll was an appropriately pompous J.B. Biggley and Pamela Gold did a fine job subbing as Hedy. In the chorus were Jeffry Denman and Martin Moran! Enormously entertaining. - at the Richard Rodgers Theatre, New York

June, 1996. All-grown up at 33, the Karate Kid, Ralph Macchio, gave a solid, entertaining performance in the First National Company of the 1995 Broadway revival of How to Succeed in Business Without Really Trying. Duplicating the look and feel of the Broadway version, this was a high-quality tour with a troupe of seasoned actors including Shauna Hicks as Rosemary, Richard Thomsen as J.B. Biggley, Susann Fletcher as Smitty, who admirably gave a program nod as sharing her home and heart to her female partner and this was in 1996!, a big-voiced Tina Fabrique as Miss Jones, Roger Bart as Frump a few years before he skyrocketed to fame in The Producers, and as a special treat Pamela Blair (the original "Tits and Ass" girl) as Hedy. Professional and enjoyable. - at the Shubert Theatre, Chicago

August, 2011. The 1995 revival was pure pleasure, but the sparkling 2011 revival was an infectious, joyous romp, in no small measure thanks to the ridiculously wonderful performance by its leading man, is-there-anything-he-can't-do?, Daniel Radcliffe. When he was only 17, Radcliffe made an impressive West End debut that won him critical acclaim in the award-winning Equus. Critics were not only impressed by his considerable range as an actor, but also by the fact that he fearlessly shattered his Harry Potter persona by performing the famed nude scene with class and dignity. He repeated his Equus assignment on Broadway two years later in his Broadway debut and once again received acclaim from the critics. For only his second appearance on Broadway, Radcliffe chose to portray one of the most difficult young leading man parts in musical history, that of Finch in How to Succeed. This part requires the actor to not only be charming and impish and adorable, but also show cunning and ambition, yet that cunning and ambition can never be overpowering or threatening. Radcliffe carried the part with great élan not only due to his considerable talent, but also due to the fact that he worked tirelessly to make sure everyone in the audience had a terrific time. While he may not have carried off the singing and dancing chores with the same slick professionalism that a more seasoned musical performer would have, he more than compensated for it by sheer energy and a smile that made us feel like he was having the time of his life. And I suspect he was. The fact that he wasn't even nominated for a Tony Award still has me shaking my head in disbelief. Mr. Radcliffe wasn't alone in this endeavor, however. He was surrounded by an sensational group of fellow actors who added immeasurably to the fun. John Larroquette, in his Tony-winning role, was just so good as J.B. Biggley and the visual of the 6'4" Larroquette opposite the 5'5" Radcliffe was priceless. Rose Hemingway was excellent as Rosemary, Christopher J. Hanke pouted to perfection as Frump, Tammy Blanchard was a comic sexy Hedy, Mary Faber, Patty Goble and Rob Bartlett were great as Smitty, Miss Jones and Twimble, respectively. Brightly designed, directed and choreographed with crisp efficiency and played by a superb pit band, this was just pure joy. I was grinning from ear-to-ear when we left the Hirschfeld. - at the Al Hirschfeld Theatre, New York

That's it for today. More later....Ta!

© 2013 Jeffrey Geddes

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS The Honor Roll - Part 2

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS

The Honor Roll - Part 2

Some more musicals from the fifteen shows that make up my musical Honor Roll. Lots to talk about, so this is going to be on the long side. Enjoy! Let's begin.

BILLY ELLIOT - Music by Elton John, Book and Lyrics by Lee Hall

Winter, 2005; Spring, 2006, January, 2008. In an earlier post I talked about this show and the New York incarnation of it. I mentioned that somehow the show didn't seem to play as well in New York as it had in London; that it didn't seem as moving or as dynamic despite a superb cast and the recreated London design, direction and choreography. In London, however, Bob and I (and niece Colleen in 2008) were simply blown away by the show. There is humanity and warmth in this show that skillfully manage to combine family with politics, that frequently had the audience erupt into prolonged applause and cheers, yet also could turn on a dime and bring a few tears to even this old curmudgeon's eyes. For the first two London performances, we were privileged to see the remarkable Haydn Gwynne as Mrs. Wilkinson. With Colleen, we saw a polished and terrific performance by Jackie Clune as Mrs. Wilkinson. Both ladies had top-notch support from the large cast of West End pros. Stephen Daldry's direction was seamless; Peter Darling's choreography was amazing; the production designs by Ian MacNeil (sets), Nicky Gillibrand (costumes) and Rick Fisher (lights) were spot-on, and Lee Hall's book and lyrics and Elton John's excellent score gave all these talented folks a remarkable story to tell with words, dance and music. Now here's the odd thing: although this is among my favorite musicals, it's perversely the only show in my top twenty-five that I don't especially want to see again. - at the Victoria Palace Theatre, London

THE VISIT - Music by John Kander, Lyrics by Fred Ebb, Book by Terrence McNally

September, 2001. This is in my top twenty-five in both the original play by Friedrich  Dürrenmatt and the musical version by Kander/Ebb/McNally. You either loved this musical or you hated it. I loved it. It was dark, daring, provocotive and ultimately disturbing. Terrence McNally's book was a skillful retelling of Dürrenmatt's tale of payback. Kander and Ebb's score was haunting and, at times, downright creepy (witness the Act One closing number "Yellow Shoes"…..brrrrr!). The lead performances by Chita Rivera and John McMartin were memorable and powerful and demonstrated why they are considered, after decades in the business, among the theatre's finest. And let's talk about a supporting cast chock full of New York and Chicago A-listers including: Jim Corti, James Harms, Brian Herriott, Mark Jacoby, Adam Pelty, Ami Silvestre and Steven Sutcliffe. This was a first-class production in all aspects and had a Broadway production in its sights. Sadly, those plans were derailed by the horrors on 9/11. It was felt that a dark tale of revenge would not play well in the post-9/11 atmosphere. Twelve years after it's premiere, The Visit has yet to receive a Broadway production and that is a great loss for the musical theatre. (Note: there are talks that a production will be mounted at the Williamstown Theatre Festival next season (2014) prior to a Broadway opening. We can hope!) (Factoid: Angela Lansbury was originally attached to the project, but dropped out to care for her very ill husband. She would have been fascinating in the role.) - at the Goodman Theatre, Chicago

BELLS ARE RINGING - Music by Jule Styne, Book and Lyrics by Betty Comden and Adolph Green

My introduction to this terrific example of a classic musical comedy from the Golden Age of Musical Theatre was the 1960 film starring the incandescent Judy Holliday, recreating her Tony-winning role, and Dean Martin playing, essentially, Dean Martin. The fairytale storyline about a big-hearted switchboard operator at a small answering service in New York is pure 50s fluff. Comden and Green wrote the warm and funny book to match the considerable skill set of their friend and star, Judy Holliday and, if her performance in the movie is any indication, and by all accounts she was even better on stage, Holliday more than returned the favor. But where the show really soars is in the glorious score with impeccable lyrics by Comden and Green and remarkable music by the prolific Jule Styne in one of his best efforts. It's a true treasure with comic turns for the leading lady, some rousing chorus numbers, two breakout standards, "Just in Time" and "The Party's Over," and a sensational ballad that is pretty much unknown; in fact it was replaced with a more uptempo number in the movie, but is unforgettable once you've heard it, "Long Before I Knew You." (It was one of the songs Bob and I chose for our pre-ceremony music CD at our wedding.) Yes, the show is hopelessly dated and absolutely must be played in its original time period, but is that a bad thing? This show makes me smile. There's not a mean bone in its theatrical body. All Bells Are Ringing wants to do is entertain you, give you some laughs and let you listen to some great songs. It accomplishes all that in spades. I love it.

The floating heads of the two stars are a bit disturbing, don't you think?

July, 1976. Okay. I think I may need to seriously consider turning in my gay card. I saw this summer stock production of Bells Are Ringing starring Rita Moreno (!!) and Tab Hunter  (!!) and I don't remember a thing about it except that I enjoyed it, thought that the role of Ella wasn't exactly a perfect fit for the uber-talented Moreno and was surprised at the easy-going stage presence of Hunter in a very likeable turn. Why wasn't I taking notes? Why didn't I sneak in a tape recorder or something? I hang my head in shame. - at the Melody Top Theatre, Milwaukee 

(Sidebar: Melody Top was a summer stock theatre in Milwaukee. It produced 23 seasons of musicals and operettas, most of which featured a star or two from theatre, movies or TV. Some were A-list, like Moreno, who had won her Tony for The Ritz the previous year, but most were B-list celebrities getting up close and personal with the folks to boost their visibility. Local favorites usually filled the supporting roles and the chorus.The shows were done in a big tent seating approximately 2200 patrons. If the quality wasn't exactly Broadway, it was still professionally done and enjoyable.)

June, 2001. Little did I know months earlier when I purchased these tickets that Bob and I would be attending the final performance of this show. It was an incredible experience. Not only was the show closing, but it was also being taped for the Lincoln Center archives. During the intermission, we went down from our perches in the mezzanine to the stage as is our custom so Bob can touch the stage. (It's a tech theatre geek thing.) Seated in the front row and mere inches from me was the legendary Betty Comden! She graciously signed my program and beamed when I told her the first show I appeared in was the Comden/Green/Bernstein classic, Wonderful Town. There's class and there's class. Comden was class. Faith Prince burned up the stage and stopped the show with her final number, "I'm Going Back," which resulted in a standing ovation that lasted several very loud minutes. Marc Kudisch made a handsome leading man and there was fine support from David Garrison, Beth Fowler and Martin Moran. At times the physical production looked a bit cheap and Tina Landau's direction didn't point up the breeziness of the show. I don't think musicals are her forte and it especially showed during those parts where everyone just appeared to be working too damn hard.  We thoroughly enjoyed it, though, and it deserved a longer run. - at the Plymouth Theatre, New York

(Sidebar: The 2000-2001 season was not an especially good year for highly anticipated musical revivals. Bells Are Ringing, in its first ever Broadway revival, received very lukewarm reviews during its tryout in Connecticut and when it opened in New York. Most of the criticism was leveled at the dated quality of the show and faulted director Landau with making a featherweight 50s bon-bon leaden and even more dated. Star Faith Prince also received very mixed reviews. There is a huge difference between a performer making a part iconic (for example: Carol Channing and Dolly Levi, Ethel Merman and Rose Hovick, etc.) and a part becoming iconic because of the performer (for example: Judy Holliday and Ella Peterson, Barbara Harris and her roles in The Apple Tree). In the former, it's easier for an actor to bring their own unique take to the role - there have been terrific Dollys besides Channing and there have been terrific Roses besides Merman - but in the latter, it's difficult to establish your own take on a role that is so indelibly associated with its originator. It's even more difficult when the part in the show that you are starring in was written specifically for its originator. In this case, lots of critics pointed out, unfairly I hasten to add, that Faith Prince was not Judy Holliday and didn't bring the same qualities to the part. Well, of course she wouldn't; she's Faith Prince, not Judy Holliday, and has her own comedic sensibility. The mediocre critical reception, however, wasn’t the only thing that adversely affected the show. It was widely reported that Prince was not consistent in her performances. Some days she'd be merely adequate and other days she'd be brilliant and that had an effect on box office sales. Patrons wanted brilliant, not adequate. For the record, we saw brilliant. Perhaps the reviews got to her; perhaps she felt misdirected by Landau; perhaps all the apparent backstage drama with management ineptitude (revealed after the show closed) wore her down. In any event, the show closed after a very short run and it's unlikely Bells will receive another major revival. For the record, the hugely-anticipated first NYC revival of Follies also received a great deal of critical indifference (lots of finger pointing at the director in that one, too) and closed after a short run. At least Bells got a cast recording of the revival; Follies did not.)

THE FULL MONTY - Music and Lyrics by David Yazbek, Book by Terrence McNally

I'm a big fan of the film, but frankly couldn't see how they could take this very English film and translate it into a musical. Happily composer/lyricist David Yazbek and playwright Terrence McNally figured it all out. Probably the best move they made was to shift the locale of the piece from Sheffield, England to Buffalo, New York. Crossing the Pond didn't detract from the story at all and in all likelihood made the piece more accessible to American audiences. Unlike Billy Elliot, which absolutely could not be done in any other locale or time frame, The Full Monty deals with issues that are the same in the United States as they are in the United Kingdom as they are in Brazil as they are everywhere in the world: unemployment, family, loss, love, self-respect. McNally's book combines great humor with heart and warmth and more than the occasional moments of tenderness that at first glance might seem out of place, but by second glance are just so perfectly right. He creates characters that you want to know. Yazbek's score is fresh, yet rooted in musical theatre tradition with numbers that range from an almost discordant and jarring opening number to gorgeous ballads that make your heart happy, "Breeze Off the River," "You Walk with Me," and the reprise of "You Rule My World." One of the best things about this musical is that is not dependent on a star performance. All this show needs are talented actors and good direction and choreography to make it a winner. Although it was nominated for 10 Tony Awards in 2001, it had the misfortune of opening the same season as The Producers, which won in every category in which it received a nomination. No matter. In my humble opinion, this is the better show!

A fun flyer stuffed in our NYC program. Buy now...get the coveted first seven rows!! All the better to ogle the boys!

June, 2001. There were a lot of understudies performing at our matinee, but as is typical in New York, you would never know these talented folks weren't the usual performers in the roles. From the first brassy, rhythmic chords of the overture to the final backlit moment when the guys go the full monty, I was hooked.  Leading the troupe of great actors at the Eugene O'Neill was Patrick Wilson, whose  nicely layered performance that combined macho bravado with loving tenderness won the audience's affection. Joining him in the full monty adventure were these wonderful gentlemen:  John Ellison Conlee, Jason Danieley, Denis Jones, Todd Weeks and the extraordinary Andre DeShields as Horse. The distaff side wasn't short-changed on talent, either, with Annie Golden and Emily Skinner in the primary ladies' roles. The great Kathleen Freeman, who, sadly, would die during the run of the show, transformed her song, "Jeanette's Showbiz Number," which, in my opinion, is the weakest number in the show and the only one that tries too hard, into a triumph of talent and showbiz savvy over so-so material and easily stopped the show. A delightful afternoon at the theatre. We thoroughly enjoyed it. - at the Eugene O'Neill Theatre, New York

The boys against the Chicago skyline. Kinda fun!

September, 2001. The tragic events of 9/11 derailed this production, the First National Tour, after only a short time on the road and on its second stop. (It would close in Chicago a few weeks after we saw it.) It had the misfortune of officially opening in Chicago on September 12, 2001, and, sadly, despite good reviews and a popular title, the production could not overcome the box office ennui that seemed to be a direct result of those horrid events. When we took our boys to see the show, we bought half-price tickets at Hot Tix and ended up in the 7th row. The theatre wasn't even 50% full! That was truly a shame since the company headed by Rod Weber, Danny Gurwin, Larry Marshall and the legendary Kaye Ballard was outstanding and their performance was just what those tragic times needed. The guys were great and Ballard used her considerable comic skills to nail her big number. (We met Kaye after the show…one of those six degrees of separation things. In person, she's warm and friendly and seemed genuinely happy to meet us.) Also in the cast were the now-popular musical performer Heidi Blickenstaff, Kevin M. Burrows, who is Christopher Sieber's husband, and James Moye, who would soon play File in Signature Theatre's amazing production of 110 in the Shade. The boys, by the way, liked the show a lot. - at the Shubert Theatre, Chicago

June, 2005. My Playbill states that this production was the inaugural production at the newly reopened and redecorated (gaudy beyond belief) Drury Lane Water Tower Place Theatre. The cast, a mixture of Equity and non-Equity actors, was talented and did well, though I felt the show lacked the energy and pizzazz that both the original Broadway company and the touring company had. Nothing was wrong, mind you, it just wasn't very exciting. Chicago favorite Renee Matthews was Jeanette and played the role sassily enough, but just didn't have the charismatic chops to really put across her number. Kathleen Freeman and Kaye Ballard both stopped the show with this number; Matthews did not. Peter James Zielinski was a fine Jerry Lukowski and anchored the show well. This wasn't a bad production by any means, but it wasn't an outstanding one either. - at the Drury Lane Water Tower Place Theatre, Chicago

June, 2009. Full disclosure. The reason we trucked out to Millburn, New Jersey, was because of the actress playing Jeanette, the legendary Elaine Stritch.  With Stritch, one simply must pay homage. At eighty-four, she was as feisty as ever and it was a joy to see her again in a book show. Now mind you, her performance was pure Stritch despite the character name listed in the program, but the capacity audience cared not one whit and she stopped the show with her solo number as only a seasoned pro can. She was a marvel to watch. The cast was full of accomplished New York actors, including Michael Rupert and Jenn Colella. Rob Richardson covered the lead role of Jerry Lukowski that night and he was excellent. The was the second show we'd seen at Paper Mill and this production confirmed for us Paper Mill's commitment to quality. As a bonus, we discovered that Millburn has a variety of nice restaurants a short walk from the theatre. Who knew? - at the Paper Mill Playhouse, Millburn, New Jersey.

THE BEST LITTLE WHOREHOUSE IN TEXAS - Music and Lyrics by Carol Hall, Book by Larry L King and Peter Masterson

This musical is thisclose to making my top ten. I love everything about it: the book, the music, the story, the sheer exuberance of it that's tempered by a wearily resigned view of life that infuses the show with heart and humanity. Carol Hall's score is a marvel from start to finish and Larry L King and Peter Masterson's book keeps everything remarkably real even when the sometimes in-your-face satire could easily overwhelm the proceedings, but, props to the creators, doesn't. There is an honesty to this underappreciated show that is refreshing. I'd love to see Encores tackle it. And I would absolutely kill to play the Sheriff, Melvin P. Thorpe or the Governor. (Bob, take note!) The flavorless 1982 movie version did the show absolutely no favors. It's a musical that, though wildly successful in its original New York run and throughout a profitable tour, hasn't received the respect I think it deserves. It's time for a revival! I would love to see Connie Britton as Mona, wouldn't you? This is a first-rate, A-quality show. Full stop. 

August, 1979. By the time I first saw this show, it had been open for a little over a year and many of the original supporting players had already left. Fortunately, Henderson Forsythe, Carlin Glynn and Delores Hall were still on hand with Forsythe and Glynn handily demonstrating why they won Tony Awards for their performances two months earlier.

(Note: Both won supporting Tonys for performing leading roles, a quirk that has happened more than once in Tony history. This was probably due to the fact that when the show opened, no one was listed above the title, and listing was/is a primary factor in determining leading vs. supporting Tony eligibility.)

Forsythe's profane and gruff Sheriff was an absolute delight. Texas-born Glynn offered an honest, humorous and heartfelt performance as a thoroughly decent human being who just happened to be a madam at Texas' most famous whorehouse. And just listen to the way she performs her songs on the original cast album! (Example: "The Bus from Amarillo." Divine!) Delores Hall, as Miss Mona's trusted friend, Jewel, tore up the house with her gospel-influenced "Twenty-Four Hours of Lovin'." Clinton Allman, still in his original role as Melvin P. Thorpe, Barbara Marineau as Doatsey Mae (beautiful version of the haunting "Doatsey Mae") and Tom Avera as the side-stepping Governor were especially noteworthy among the large and talented cast.

(Note: Years later I had the good fortune to meet and work with Michael Scott, one of Whorehouse's ensemble members, during the early development of Such a Pretty Face. See earlier post.)

Sets, lights and costumes were all first-rate. The Rio Grande band provided atmospheric accompaniment. Tommy Tune's choreography, especially the sexy and athletic "The Aggie Song" and Peter Masterson and Tommy Tune's direction perfectly complimented the fine book by Larry L King and Peter Masterson and Carol Hall's exquisite score. No surprise. I had a fabulous time! - at the 46th Street Theatre, New York

February, 1980. When my BFF, Pat, decided to stay with me for an extra few days following our appearance at a national word-processing conference, I took her to see this. There were further cast changes, but the three above-the-title stars were still around and still as wonderful as when I first saw them six months earlier. (Imagine…stars still performing in their original roles eighteen months after opening. How often does that happen today?) Pat became a fan. - at the 46th Street Theatre, New York

May, 1980. When the producers of The Best Little Whorehouse in Texas rolled out the First National Tour, they made sure they stacked the deck in their favor by casting a bona fide star as Mona. Now this is absolutely no reflection on the marvelous Carlin Glynn. whose performance as Mona Stangley remains one of my fondest theatre memories. With that tricky show title, however, I'm sure the producers felt they needed an extra measure of insurance to put bums in seats while traveling the great American hinterland, so they cast the glamorous Alexis Smith in the role. Alexis Smith was not a star; Alexis Smith was a STAR. And that was, well, problematic. It wasn't that Alexis Smith wasn't good; she was. But…Smith was inherently very elegant and sophisticated with a commanding stage presence and all of that, perversely, worked against the role. She didn't try to steal focus; it was just hard not to concentrate on her and on what she was doing, even if she was only listening to another actor. She was on-the-mark and often very funny, but I didn't find her especially warm or vulnerable. Maybe it was me. Maybe I couldn't get her Tony-winning performance as Phyllis in Follies out of my mind. But maybe it was just an…uncomfortable fit of actor to role. Larry Hovis of "Hogan's Heroes" fame played Melvin P. Thorpe, Jay Garner recreated his Broadway role as the Governor and Barbara Marineau left the New York company to bring her Doatsey Mae to this tour. (Note: Marineau was Alexis Smith's cover. I suspect she would have been incredible in the role.) Also in the cast were future Tony-nominated director and choreographer Jeff Calhoun as the featured Aggie/Ensemble,  George Dvorsky, who I would see decades later in The Happy Time at Signature Theatre (see earlier post), as an Aggie/Ensemble and Ruth Gottschall, who I would see on Broadway years later in several shows, as Ginger, one of Miss Mona's girls. My companion for the evening, a houseguest, of sorts, from the UK (strange, complicated and ended badly) had a grand time. I enjoyed it, but… - at the Shubert Theatre, Chicago

July, 1981. When the Second National Tour toe-tapped its way to Milwaukee, Pat and I made the drive up from Waukegan to see it. This first-class edition starred William Larsen as the Sheriff  and in the leading role of Miss Mona, June Terry. A Google search for June Terry came up empty, but according to her bio, June Terry was a Dot recording artist and a busy singer and actress, primarily in the Houston area. I'm not sure if she was cast for her box office allure or whether it was simply a matter of casting two skilled actors in, at this time, a very marketable property and letting the property be the star. Whatever the reason, it was a wise choice. Larsen and Terry, both Texans, gave the show a verisimilitude that was absent in the Alexis Smith production and was a better fit for the material. Understudying the role of Jewel was a young Avery Sommers. I would see her twenty years later as Jewel in the Ann-Margret version. And in an interesting twist, William Hardy, who played the Sheriff in Chicago, was now the understudy for the Sheriff. Ah, the vicissitudes of the theatre! The audience loved the show; so did we. - at Uihlein Hall, Milwaukee

Drury Lane even had its own Stagebill cover design! 

February, 1986. This version unexpectedly turned out to be my second favorite production of The Best Little Whorehouse in Texas, right behind the Broadway original. It was as though director/choreographer Jerry Yoder took a good look at the book and score and decided to keep it simple, keep it clean and keep it honest, unlike the misguided movie version which took this unpretentious musical and blew everything completely out of proportion, took songs out, added songs by Dolly Parton, who was also the affable, but miscast, star, cast Burt Reynolds in a singing role (talk about miscast!) and pretty much made it all unwatchable. Yoder wisely cast Texas-born, Northwestern University-educated and veteran of the original Houston company, Connie Cooper as Mona. Supported by a fine company of actors, many from Chicago, Cooper had an easy-going charm and a way with Carol Hall's songs that energized the proceedings and had the audience in the palm of her hand. She was quite marvelous. Everything about this production was done with skill and professionalism. Curiously, however, "The Bus from Amarillo" was moved from the end of Act One and placed as the show's closing. I understand the reasoning behind it and it worked, but not as well as the song's original placement. According to an article I just read, this was a stop on a national tour and not part of the Drury Lane subscription series. Steve and I had a grand time. Yee-haw! - at the Drury Lane Oakbrook Theatre, Oakbrook Terrace, IL

(Sidebar: Drury Lane Oakbrook is the sole surviving theatre of the Drury Lane theatres. At one time, there were also a Drury Lane South in Evergreen Park, a Drury Lane Water Tower Place in Chicago (now the Broadway Playhouse), a Drury Lane North in Lincolnshire (now the Marriott Theatre) and a Drury Lane East at Chicago's McCormick Place. The Oakbrook theatre is an ostentatiously-decorated affair that borders on bad taste. The redeeming factor is that rather than being bashful about its over-the-top awfulness, it revels in it. The dinner/show package is a staple there and after the performance, pre-show diners head to the lobby tables to pick up their doggie bags. It's a trip. The auditorium seats about 1000 on one nicely-raked level. It's a very wide house, however, which can make sightlines less than ideal. Drury Lane has a great reputation for spending money on their productions and doing quality work. Hmm, I may need to return to Drury Lane soon. The pictures on the website feature a gray color scheme instead of the red that I'm used to seeing. It's still pretty over-the-top, but it looks as if they may finally have toned down the awfulness.)

Drury Lane South was still committed to presenting shows with well-known names, some talented, some not-so-talented. Think of Drury Lane South as the theatrical version of "Dancing with the Stars" and you'll get the predominant caliber of the starring talent. The very idea of Carol Lynley starring in Bernard Slade's charming, unpretentious comedy chills me to the bone, but, truth be told, I wish I'd seen it.

May, 2001. Ann-Margret starring in a tour of The Best Little Whorehouse in Texas? Who wouldn't go see our favorite Kitten with a Whip make her stage debut at age 60? As it turned out, a lot of people didn't and for good reason. It was pretty awful. When the show opened in Chicago, Ann-Margret was, according to the show's management, fighting a throat infection. When we saw it several days later, she was, per the pre-show announcement, still fighting it. Unlike Jim Dale, who, even with laryngitis, gave a sensational all-stops-out performance in Barnum (see earlier post), Ann-Margret, wearing  costumes designed by Bob Mackie that belonged on a Vegas stage instead of on the madam of the Chicken Ranch in Texas, gave a listless, dull, odd performance that had the leading lady not really connecting with anyone and singing everything full front as though nobody else was on stage. (For the record, everyone else wore costumes by Dona Granata.) She looked totally out of her element and that rather surprised me. Years earlier I saw Ann-Margret do her concert act at the Auditorium and she was wonderful: vibrant, exciting, connecting with her dancers and the audience. Although not the greatest actor on the block, despite two Academy Award nominations, she's always had a personality that I thought would work well for her in this role. I was wrong. Not helping matters was the overall tattiness of this production. It looked tired even this early in the tour. Two bright spots: the Aggie number and Gary Sandy's portrayal of the Sheriff. The critics blasted it; the audiences stayed away. At the performance we attended the house was very small. We bought half-price tickets; the guys sitting next to us paid full price and were pissed. I would have been, too. Avery Sommers from the Second National Tour graduated from playing Jewel's cover in that production to playing it on this tour. I'm sure she was fine, but her performance didn't register one way or the other. Roxie Lucas played one of Miss Mona's girls in the First National Tour starring Alexis Smith and was now played Doatsey Mae and I don't remember her at all. To be fair, I understand things improved as the tour progressed and by all accounts Ann-Margret was extremely well-liked by everyone in the company. What I was most disappointed in was that Bob to this day doesn't understand why I love this show. With this as his only point of reference, I can see why. - at the Oriental Theatre, Chicago

That's it for now. I so enjoyed writing this! More later.

© 2013 Jeffrey Geddes