MARQUEES AND SUCH

MAGICAL MARQUEES

There's something magical about a theatre marquee.  It's both a welcome mat and a tease of the excitement that awaits inside.  It's a marketing tool as well.  A good marquee will not only be visually pleasing, but also say something about the show you're about to see.  Depending on the show or the talent involved, the marquee may also list the authors, directors, producers, and stars.  Some shows themselves are the stars and just the name alone will bring in an audience.  A couple of examples would be A Chorus Line or Mary Poppins.

For other shows, the star could be the primary draw.  A recent example of star power would be Alan Rickman in Seminar, though he shares billing (below title) with playwright Theresa Rebeck, who has her own set of fans, and director Sam Gold.

And in still other cases both the star and the property are draws, for example Patti LuPone/Tyne Daly/Angela Lansbury/Bernadette Peters/Ethel Merman in Gypsy.  

Once a show closes, a marquee serves as a testament of what was once there. It can foster great memories of a show that had a long and successful run or it can be a sad reminder, in the case of a critical/artistic/financial failure, of a show that just couldn't make it, despite its marquee's promises.  Some of these shows are good shows that just failed to find an audience; some of them, sadly, just aren't very good; some of these shows just opened at the wrong theatre at the wrong time.  A case in point of a show that didn't make it, but with a terrific marquee (in my opinion, at least) is the marquee for Scandalous.  Great colors, a terrific star prominently billed (and, folks, Carolee Carmello is pretty damn amazing), and a bit of glitz in the title.  I'd go see it just on the basis of the marquee.  It's simple, yet eye-catching and promises that good things will be going on inside the Neil Simon.  It was on my list of shows to see.  The critics, while praising Carmello's performance, pretty much hated the show and it closed quickly and before I was able to see it. 

In a marquee's eyes, however, every show has the potential to provide magic for its audiences.  And that's why I think marquees are magical.

Today's selections are all marquee worthy.  Let's begin.

May, 2006.  For me the star of the show was the glorious New Amsterdam Theatre, lovingly restored to its former grandeur and beauty.  For that alone, lovers of theatre buildings (count me as one) should be eternally grateful to the Disney Corporation. And I am. Thank you, Disney!  As for the show itself, well, I'm rather neutral towards it. I enjoyed it, but liked the movie more. The opening number is every bit as dazzling as everyone says and the Elton John/Tim Rice score is solid and tuneful, but, frankly, I got tired of Julie Taymor's puppets, headdresses, and direction.  Patrick Page was the cast standout as Scar in a deliciously evil portrayal.  At the matinee we attended both Simba and Nala were played by understudies and it was the first time, and to date only time, I felt understudies just weren't up to the task at hand.  They weren't awful; they just weren't terribly good.  Glad I saw it.  Don't need to see it ever again.  - at the New Amsterdam Theatre, New York

March, 1968 (the date on the program title page is incorrect). The McVickers was located on Madison Street, between Dearborn and State, and right behind the Shubert. For many years, this attractive one-balcony house suffered the indignities of being a B-movie grind house, but in 1966, it was reclaimed for legit. Sadly, it closed in the early 70s and was torn down to make way for…a parking lot. The site is now occupied by an office building. Better than a parking lot, I guess, but still… Keith Andes was the star and Natalie Costa was the matinee Aldonza. Andes had a long list of theatrical and television credits. Costa was one of those always-working actors who no one had heard of. I actually wrote notes in my program…let me see if I can decipher them some 40+ years later. Here goes…
 - "Play interesting, but not deserving of the rave notices. Staging, costumes & sets most unique. "
<Note: the original set was one of those "wow!" creations.> 
 - "Music interesting, but "Dream" and "Dulcinea" only two I liked. Enunciation was lacking."
<Note: even back as a 17-year-old, I had a thing about poor enunciation. Makes me nuts. Absolutely no excuse for it. Something performers and singers today need to remember. ENUNCIATE!!>
 - "Andes good, Costa was great."
<Note: "great" underlined three times…must have really liked her!>
 - "The entire cast had excellent voices, but diction was often poor. That ending is probably the best dramatic scene in musical theatre, esp. the reprise of "Quest.""

<Note: Many, many years have passed since that declaration of "the best dramatic scene in musical theatre…" and I now have a new favorite…well, favorites, actually, but the ending to this show still is pretty damn wonderful.>
Okay, now keep in mind, I was only 17 and didn't have that many shows under my belt, but you have to admit, I already had my opinions. My friends and I, with parental consent, skipped school one day to see a Wednesday matinee…and we got caught! Planned disciplinary action got sidetracked when all of our parents vouched for our absence. Go, Mom and Dad!!  — at the McVickers Theatre, Chicago

Some snaps from my photo albums....

West 45th at curtain time, March 1981.  At the Plymouth: Piaf; at the Royale: A Day in Hollywood/A Night in the Ukraine; at the Golden: Tintypes.

Sarava! at the Broadway, when the Broadway had a nice large marquee.  Poor Mitch Leigh.  Yet another unsuccessful Broadway endeavor.  The show opened at the Mark Hellinger, then moved to the Broadway.  Not sure why since it received poor reviews and had a run of only a few months.  Check out YouTube.  Sarava! had a fun TV commercial and you can see it there. I did not see this show.  Damn.

MTM in Whose Life Is It Anyway? at the Royale.  Great show.  Great performance.  (See an earlier post)

January, 2002. This show in its Chicago tryout was definitely a mixed bag. When it worked, it worked extremely well, but there were parts, especially in the Marvin Hamlisch/Craig Carnelia score, where it seemed like there were two separate shows onstage at the Shubert. Having a penchant for dark shows, I quite enjoyed this bleak, unforgiving, and, frankly, creepy show. Featuring a terrific, well-deserved Tony Award-winning performance by John Lithgow, this show also featured standout performances by Brian d'Arcy James (he was robbed of a Tony Award for his job in this), the sensational Kelli O'Hara in one of her first major roles, and Jack Noseworthy. The reviews weren't kind either in Chicago or in New York and it closed after only three months in New York. That's a shame, really, because the show had a lot going for it.  Get the CD of the score.  Lots of good stuff. - at the Shubert Theatre, Chicago

May, 2012.  We went to this with a bit of apprehension. We'd heard very mixed things about the production in general and the leading lady in particular. We were relieved, therefore, to find our fears were unfounded. No, it wasn't the Hal Prince original, but it was a solid theatrical piece. Apples and oranges. Michael Cerveris was his usual superb self. I thought Ricky Martin would be, well, acceptable, so I was very pleasantly surprised at how good he actually was.  No surprise on the singing voice, which is terrific.  What surprised me was his decent acting chops and his willingness to just melt into the ensemble when required to.  He's got stage presence to spare and, as evidenced in a dance number, one fine-looking ass.  Go, Ricky!  And no apologies need be made for Elena Rogers ultimately affecting performance.  She wasn't as fiery and combustible as Patti LuPone's 1979 original, but her quieter Eva made her even more dangerous, more ambitious, more needy of the attention.  Everyone seems to forget that there are two additional principals in this show and in this revival both were more than worthy of mention.  Rachel Potter as the Mistress sang one the show's best songs and there was something quite poignant about her performance. Max von Essen as Magaldi was appropriately handsome and in wonderful voice as the popular singer who "discovers" Eva Duarte and brings her to Buenos Aires. Two negatives. Fine as this production was, there was no "wow" factor and Eva's dress for the Rainbow tour was a bit of a schmata. Quibbles, but we both enjoyed the show immensely.  - at the Marquis Theatre, New York

March, 2012.  It's a story about a girl. No, truly, at its heart that's what it is. A major reworking of the legendary Broadway flop, this smaller, more intimate version did many things right and we enjoyed it quite a lot. Tuneful score, good production values, and fine performances, especially by Molly Ranson and the always wonderful Marin Mazzie. I was very pleasantly surprised. It's not a Broadway-caliber show, perhaps, but we liked it better than the critics. I'm not sure what they were expecting.  For the record, the audience seemed to like the show as much as we did.  Lots of cheers at bows.  - at the Lucille Lortel Theatre, New York

May, 2012. Not sure why the critics dismissed this. The play itself is no great shakes, but as a sex farce, it does the job with lots of laughs. There was lots to like in this production: a stylish physical production and a smart cast featuring a wonderfully droll performance by Spencer Kayden as the cook, a suitably frazzled performance by Ben Daniels as the confused friend and a deliciously daft performance by the inimitable Jennifer Tilly (!!) as the sexy mistress. We laughed ourselves silly.  Such a shame the theatre was so under-populated (maybe 2/3 full).  Despite critical carping, the audience seemed to like the show as much as we did.  (Sidebar:  I've met Ben.  He and his partner are friends of great friends of mine and I was visiting Rob and Pete (my friends) and Ben and Ian had invited them to dinner and all involved took pity on me and invited me as well.  Ben had just been cast in the film Passion in the Desert (yes, this was a long time ago).  Had a great time.  Great company, great meal, great wine.) ..- at the American Airlines Theatre, New York 

Until next time....take some time to see live theatre!

Ta!

A MIXED MUSICAL MASH-UP AND ONE GLAMOUR PLAY!

PET PEEVE - PREVIEW PRICING

Back in the day, the typical Broadway show, both musical and play, had an out-of-town tryout, came into town, had a few lower-priced previews and then opened.  Nowadays, most shows play an extended preview period at their New York theatre before opening.  In extreme cases, that preview period can last months (eg: Spiderman).  Shows do still have out-of-town tryouts (eg: The Producers, Aida, Kinky Boots, The Addams Family, all of which played in Chicago before heading east), but then typically, they go back into extended rehearsals and then have a few weeks of previews before opening.  I have no problem with previews.  In fact, I enjoy going to previews because I get to see a show before the critics put their two cents in.  What I don't enjoy is paying full-price for them.  Here's my beef with that.  People have told me that sometimes I'm too critical of shows when I see the show in previews and I don't especially like it. "It's in previews," they say.  "Things aren't set in stone yet.  Don't be so critical."  Okay, I get all that.  Previews are where shows have the opportunity to see what works and what doesn't.  But when I'm paying full price (and producers are fielding premium-priced tickets for previews), well, then, I expect the show to be in opening night condition or, at the very least, damn close to it.  I think that's why I don't have any qualms about critics reviewing a show in previews anymore.  Let me rephrase that: I don't have any qualms about critics reviewing a show in previews, even the first preview (to be fair, they need to acknowledge that), if that show is charging full-price for previews.  If that's the case, the show is fair game for a critical look-see.  To me full price=show's ready.  But what about the harsh economic realities of the theatre today, you ask?  That's a conundrum. Union contracts dictate certain pay and working conditions.  (And for the record here, I'm all for the unions.)  But couldn't a two-tier contract be developed?  A contract that sets different working conditions and a lower pay scale for all involved while a show is in previews?  That way, ethical producers could translate the cost savings into lower-priced previews (at least 25% lower than regular price) and audiences would then pay fair dollar for a work in progress.  Just an idea. 

January, 2013. When the best performance in a show called Sweet Charity is given by the actor playing Oscar, that says volumes about the show. A very mixed bag with a good ensemble and that terrific Cy Coleman score, terrible costumes (Charity in pink gingham? Really?), a "meh" physical production, only serviceable choreography, an odd directorial approach and a dull, lackluster leading performance. Writers' is a very intimate space, perhaps too intimate for this big, splashy 60s show.  The cast of 11 seemed too small by about 4 and the competent band of 5 sounded too thin at times.  The director's choice for Charity was a major misstep.  I felt no camaraderie existed between Charity and her two pals at the dance hall (or between Charity and Oscar for that matter) and as a performer, she was distant and, frankly, although not untalented, lacked the stage presence, charm and acting and vocal chops to carry a lead role, especially this one.  A far better choice for Charity would have been Karen Burthwright who sparkled as Nickie.  Kudos to the talented Jarrod Zimmerman, whose Oscar truly was the highpoint of the evening.  An unexpected disappointment from this usually fine company. Not crazy about the program graphic, either.  First preview.  Full price.  See above.  - at Writers' Theatre, Glencoe, IL

July, 1975. What? Broadway's Maria and Robert Goulet's ex as Ziegfeld's funny girl? She's not Jewish! And she wasn't Streisand, either. (Okay, I admit it. I'm not a huge fan of Babs. She takes too many liberties and now sounds shrill.) But Lawrence was really quite good in this part. Certainly sang and danced it well. Jazz and cabaret singer Sylvia Syms played Mrs. Brice and Harve Presnell was a big-voiced Nick. The Muny is this 11,000 seat open-air theatre in St. Louis' beautiful Forest Park and every year they produce a season of musicals, usually featuring B-list stars, but with fine production values, large choruses, and a big orchestra. It's usually a grand time. Something I haven't done in decades, either. Need to fix that.  — at Municipal Opera, St. Louis.

July, 1981. Elizabeth Taylor made her Broadway debut as Regina Giddens in Lillian Hellman's classic play of greed and revenge. I love this play; it's in my top twenty-five. Maureen Stapleton as Birdie was touching and commanded the stage, as you would expect of this stage veteran. And look at that supporting cast. Producer Zev Bufman obviously went for the best to support his fabled star. For a stage neophyte, Taylor handled herself with aplomb, and while she may not have been the most riveting Regina on record, she was, without a doubt, the most glamourous. And her presence kept the "sold out" signs up at the Beck for the entire run. — at Martin Beck Theatre, New York City.

November, 1971. Margo Channing sings. Eve Harrington dances. It's "All About Eve" set to music. A faithful retooling of the beloved movie, the score for this Tony-winning show is hopelessly a product of the 70s, with too-cute chorus numbers and an energetic, but totally unbelievable number where the star mingles with the common folk. On opening night. In a gay bar. Nope. Don't believe it. Not a bit. Doesn't work that way. And let's not forget the horror of a final number where Margo Channing sings about "being to your man what a woman should be." WTF?? By this time, Bonnie Franklin was seriously infected with the "cutes" and I wanted to slap her silly. The film's Eve, Anne Baxter, took over from Lauren Bacall to good notices. I loved Bacall, but thought Baxter was just a hoot and a holler. What fun! And standing room, no less! (Sad footnote: Gwyda DonHowe (Karen) was married to producer Norman Kean.  In 1988, Kean killed DonHowe, then committed suicide.) — at Palace Theatre, New York City.

A potpourri of ticket stubs.

September, 2005. One of Andrew Lloyd Webber's lesser efforts.  To be honest, I don't remember much about this musical at all.  The reason we went to it was because of Ruthie Henshall, but, as luck would have it, she was out for that performance.  Her cover was excellent, but the show wasn't.  What I do remember about the show is the use of projections in place of physical scenery that was mighty impressive at first, but then got rather old.  "Oh, look!  More projections."  Simon Callow was also in this and for the longest time we wondered why, but then he had a song or a scene, maybe both, where Bob and I went, "Oh, right.  Nicely done, Simon, nicely done!"  The show was still a waste of his terrific talent, but that song/scene was a corker.  I couldn't hum a tune from this is my life depended on it, even immediately after hearing it.  Pretty much forgettable from start to finish.  - at the Palace Theatre,  London.

October, 1970.  Here's how this show was billed: "The Art Institute of Chicago presents The Goodman Resident Theatre Company in The Three Penny Opera."  This was back in the days when the Goodman's home was at the Art Institute, before it became a regional powerhouse.  In fact, according to my program, this production kicked off its second (!!) professional season and was, at the time, Chicago's only resident theatre company.  How times have changed.  But I digress.  I hated every minute of this.  I don't like Brecht.  I don't like Weill, with few exceptions.  I hated the actors.  And I loathe "Mack the Knife."  Bleh.  - at the Goodman Theatre at the Art Institute, Chicago

October, 1978.  Timbuktu! Is basically Kismet with a locale change - from Baghdad to Timbuktu, in the Ancient Empire of Mali, West Africa.  Okay.  Whatever.  Roundly panned when it opened in New York, this was gorgeous to look at and beautifully sung, and if you're a fan of Kismet, as I am (okay, okay…sue me!), that is enough for a pleasant evening at the theatre.  BUT, this also had Eartha Kitt.  THE Eartha Kitt, live and in person and slinking about the stage in full, legendary glory.  She could seductively purr and then fiercely growl in a split second and dared you to look anywhere else whenever she was on the massive Arie Crown stage.  She was…a marvel.  I thoroughly enjoyed it.  (Note: for quite a few years, the Arie Crown, located in McCormick Place, was a regularly used venue for musicals.  A huge barn of an auditorium with lousy acoustics and no warmth, it was a theatregoer's nightmare, but producers loved it because of the loads of money they could potentially make due to the theatre's seating capacity.  Fortunately, it's not used anymore for touring productions.) - at the Arie Crown Theatre, Chicago

December, 2006.  I really love this show.  It's in my top twenty-five.  I enjoyed playing the Snake and Sanjar in a community theatre production in Waukegan back when the earth was cooling.  The score is among my favorites.  It's one of those charming shows that, I feel, is under-appreciated.  Having said that, it's no surprise that I was really looking forward to seeing this.  And, really, although I had some major reservations as noted below, I wasn't disappointed.  Brian d'Arcy James, in the Alan Alda parts, is a first-rate and talented actor and was excellent in all three acts.  We know Brian.  He's the brother of Bob's former boss and is just as friendly and charming as he is talented.  Marc Kudisch, in the Larry Blyden parts, was at his best as the Snake, but underused in the other two, a fault of the writing.  (I never said the show was perfect.)  Kristin Chenoweth, in the Barbara Harris roles, was the reason most of the audience was there and I'm sure she didn't disappoint the majority of them.  In my opinion, however, she was a case of diminishing returns.  In "The Diary of Adam and Eve," she was outstanding.  Warm, touching, funny.  In "The Lady or the Tiger?" she was getting a bit too broad.  In "Passionella," she was, well, just not funny.  It was all surface Kristin Chenoweth tricks and though "Passionella" is the broadest of the three acts and is somewhat of a cartoon, it's also a satire and needs to be played straight, but with a knowing wink.  Chenoweth was just out madly chewing scenery and it hurt her overall performance.  Director Gary Griffin got a superb performance out of her in the first act, but sadly seemed to lose directorial control over her as the show progressed.  And that was a shame.  Had she been better directed, she could have been a worthy successor to the iconic Barbara Harris performance.  Quibbles aside, though, it was great fun.  - at Studio 54, New York

That's all for now!  Comments always welcome!

Tru, Tommy, Gore, a Tavern and a Seminar

THE POWER OF ONE

In the theatre, oftentimes good things come in very small packages.  Over the decades, some of the best times I've spent in a darkened auditorium have been in the company of just one actor.  But in reality, of course, it's not just one actor.  That actor is surrounded by other talent…the designers, the director, the stage crew, the venue personnel; in other words, all the folks and disciplines that make live theatre such a collaborative effort.  All are vitally important, but probably the most important is the writer.  Why?  Because without a good script, a one-person show, despite its potential, concept, acting or production, can seem flat and endless.  Of course, a good script is necessary for any show, but it's crucial in a one-person show because of the intimate nature of the show, a dialogue between just one person and you (and a few hundred other people, but a truly fine actor will make it seem like he or she is talking only to you).  If the playwright doesn't supply the solo actor with a first-rate script, the cracks will show because there's not a lot to divert the audience and no matter how fine the actor is, the show will suffer.  One the surface, it might seem easy to write a show for just one actor, but, trust me, from experience I know how difficult it is.  Many, many years ago (early, early, early DOS-based word processing programs on a 286K Tandy computer), I wrote a one-person show.  Doing the research was great fun and, boy, I thought I had written a killer of a show.  Then, I read it out loud to some friends and the thing just droned on and on and on, blah, blah, blah, blah, blah!  And that, as they say, was that. The subject matter was and is still fascinating.  The research, if I must say so myself, was impeccable.  The dialogue, however, was…uh…okay, the dialogue felt like one was sitting in a lecture hall listening to a sporadically clever, not necessarily boring, but pretty dull lecturer.  And I had absolutely no idea how to fix it.  With only one person actually onstage, the dialogue has to be consistently sharp.  And when it isn't, the one-person show becomes a very mixed bag indeed.

I'll start off today with one of those wonderful times spent with just one actor. 

November, 1991.  Robert Morse was unrecognizable and simply amazing in his Tony Award-winning performance as Truman Capote in this one-person show written and directed by Jay Presson Allen.  It was hard to believe that the person onstage was Robert Morse, an actor that, up until then, I thought was sometimes hard to take.  All that unrelenting enthusiasm and perkiness can grate on a curmudgeonly soul like myself and, I think, can camouflage the actual depth of an actor's talent.  Any doubts I had about Mr. Morse's talents were demolished after seeing this wildly entertaining tour-de-force that was funny, cruel, bitter and very sad: a portrait of a talented writer who had unceremoniously fallen from grace.  Ms. Allen's script came in for some critical barbs (the NY Times called it a "melodrama"), but I didn't have any problems with it.  I understand the script has finally been published.  It's on my list.  Note:  I just noticed that the wonderful Jayne Atkinson was one of the recorded voices. - at the Shubert Theatre, Chicago

May, 1999.  This was a New Trier field trip with Bob and a busload of NTHS students.  Officially billed as "The Who's Tommy," this show has never been on my list of shows to see, but the price was right (free…the producers were papering the house) and it had a healthy, well-reviewed run on Broadway, and the score is rather classic, and the movie was great kitschy fun, so I figured why not.  First off, let me state that the Auditorium Theatre in Chicago, while a truly gorgeous venue, is too large and simply not appropriate for many shows.  The famed acoustics were rendered useless by the ear-splittingly loud sound system which rendered 99% of the lyrics unintelligible and since I'm not a groupie, I was lost for most of the show.  The physical production was fairly impressive and the cast worked very hard and performed energetically, but the fact remained I was pretty bored. - at the Auditorium Theatre, Chicago

March, 2012.  Officially billed as "Gore Vidal's The Best Man."  Really?  Has that become the title?  What is with this new annoying trend of billing the authors as part of the title?  Stop it right now!  It's "The Best Man" by Gore Vidal.  Okay, now that I'm ranted out…  Fifty-two years old and still relevant, especially in an election year that resulted in one of the most divisive elections in U.S. history.  Loaded to the teeth with star wattage, this revival put its money out there with a stunning physical environment: sets, lighting and spot-on clothes.  Great to look at and wonderful to watch.  There really wasn't a weak performance to be seen.  Admittedly Candice Bergen started out a bit tentatively (it'd been a long time since she was onstage), but, in the end, turned in a solid performance.  Angela Lansbury was conservative-creepy wonderful.  Eric McCormack was truly slimy and not at all "Will-friendly," John Larroquette was appropriately sympathetic.  Kerry Butler, as McCormack's wife, in a wonderful turn, gave me the icky chills, and Jefferson Mays and Michael McKean both could not have been better.  And, frankly, I will watch James Earl Jones read the phonebook if he wants to.  There were critical quibbles, of course.  But there is no denying that Gore Vidal was one of the greatest writers of our time and the fact that this play could have written yesterday is a testament to that.  Absolutely first-rate. - at the Schoenfeld Theatre, New York

August, 1972.  The Academy Playhouse was a summer fixture at Barat College's Drake Theatre in the early 70s (for two seasons in the late 60s, it was at Loyola Academy).  Producer Marshall Migatz was a much-loved Chicago theatre figure who, tragically, was killed in an auto accident during his tenure at the Academy Playhouse.  His mission was to bring top-quality, first-tier talent to the north Chicago suburbs in challenging works, many of which were Chicago area premieres.  I don't remember much about this George M. Cohan play.  Truth be told, I only went because Brian Bedford and Tammy Grimes were in it and I'm a fan of both, having seen them teamed together prior to this in Academy productions of Private Lives and Blithe Spirit.  They had a delightful chemistry in both Cowards and this play was no different.  I do remember, though, that I didn't find this as funny or as good as I had hoped it would be.  I'm not big on Cohan.  Maybe that was the reason.  The Academy Playhouse didn't survive long after the death of Migatz and both Barat College and the wonderful Drake Theatre have been demolished.  During the 1972-73 school year, I was a "guest actor" at the then all-girls Barat College and performed in five plays there. - at the Academy Playhouse (Drake Theatre), Lake Forest, IL

February, 2012.  I'm not especially keen on Theresa Rebeck.  She's got a good ear for dialogue and can write an entertaining-enough play, but I just don't get why she's as popular as she is.  This was thoroughly enjoyable and thoroughly forgettable; an intermission-less piece about a cynical, jaded writer of some renown and his interactions with the four aspiring writers who've hired him for private lessons.  The quips and barbs were fast and furious and the audience, myself included, laughed a lot.  And, yes, Alan Rickman was quite excellent and more than ably supported by a superb ensemble of actors: Lily Rabe,Hamish Linklater, Jerry O'Connell, Hettienne Park.  (A note about Ms. Rabe: not only does she look a lot like her mom, Jill Clayburgh, but sounds so like her, it's almost eerie.) The play zooms along, not saying a whole lot about anything in particular, though while it's going on, it seems to be saying something of artistic importance.  But then, near the end of the play, Ms. Rebeck gives Alan Rickman (well, the character Alan Rickman plays, of course) an amazing monologue where something is actually said and which, for the length of that monologue, takes the play to another level.  A true Broadway hit still eludes Rebeck, but, with all the "Smash" income, I'm sure she's laughing all the way to the bank.  - at the Golden Theatre, New York

.......... Ta for now!

A VAMPIRE, A PRETTY FACE, A MOUSE AND PATTI

A VAMPIRE, A PRETTY FACE, A MOUSE AND PATTI

A few months ago, an acquaintance on Facebook spent a great deal of time dissing a new musical then previewing on Broadway and then spent a great deal of time gloating over that show's horrible reviews once it opened.  It was not only ungracious and uncalled for, but also, frankly, a bit confounding since this acquaintance had pretty much the same experience with a show of his some years back.  As Avenue Q so aptly puts it, everybody has a soft spot for some good, old-fashioned schadenfreude, but this was more than mere schadenfreude.   It was as if he believed the creators of this musical deliberately set out to produce a rotten show.  Now I've seen my share of theatrical train-wrecks over the years, and I've been less than kind about them, but I truly believe no one wakes up one morning and says, "I think I'll write/produce/act in/design/direct a rotten show!"  Who has the time or money to do this?  I think all theatre projects start out with the best of intentions, but some shows just aren't very good.  My acquaintance's show was one of them.  The musical in question, since closed, apparently was also one of them.  I wrote the book for a show that never went further than an Equity showcase and it, too, was one of them.  But even failed shows usually have their good moments. In my acquaintance's show, a really spiffy late-at-night-in-a-smoky-dive number; in my show, some solid tunes and nice performances; in the musical in question, according to reviews, an jaw-dropping leading performance. 

Let's start this post off with….. 

May, 2006.  A score by Elton John and Bernie Taupin (together again!) based on Anne Rice's sensational vampire books and starring Hugh Panaro and Carolee Carmello?  I would have invested in this. The West Coast tryout made a crapload of money at San Francisco's Curran Theatre.  Before opening, the show underwent massive changes and opened to blistering reviews.  How bad was it?  Well, to be honest, it was pretty dreadful, but, there were many very nice moments throughout the show.  The score had one strikingly beautiful number in "Sail Me Away," Hugh Panaro's performance was first-rate  (and he's soooo easy on the eyes and has that wonderful voice!), and it had a fine physical environment.  The acting was earnest throughout, with the odd exception of Carolee Carmello, who was just as game and earnest as everyone else but seemed, I don't know, wrong in this part and I love Carolee Carmello.  At one point, she enthusiastically attacked someone with scenery-chewing fervor and the audience laughed, which I don't think was the response the creators were going for.  It could have and should have been so much better with all the talent involved.  Sad, sad, sad.  - at the Palace Theatre, New York

April, 1996.  Remember my mentioning a showcase?   An archival record of my theatre experiences and memories would not be complete without including my own New York City adventure.  So begging indulgences all around, this and the following entry will chronicle the "Such a Pretty Face" saga.  

Take it from me, you have never seen so many rules, restrictions and exceptions until you've waded through the Actors' Equity Association's paperwork for Equity approved showcases.  Zounds!  My collaborator on the show, Janet Gari, is not only a vibrant and talented woman, but also the youngest, and only surviving, daughter of theatre legend Eddie Cantor. You can imagine the great stories Bob and I were treated to.  The show went up only a short time after Bob and I met.  When Janet asked me if I knew any designers, I, naturally, recommended Bob.  He was hired, and so as a new couple, we embarked on this adventure.

The show had been revised and improved since the first performance (see below), but the basic plot remained the same: the conflict between weight and self-esteem.  (Okay, remember this was 1996.)  Early on in the rehearsal process, Janet and the then-director decided to cut one of our leading lady's early numbers.  I was vehemently against it, but I was outvoted.  Janet felt it added too much time to the show and wasn't necessary.  I dialogued around the number, but it took away some of the lead's vulnerability and likability  and as a result, Barbara (the leading role) came off harder than I would have liked, despite our leading lady's terrific performance.  (Note to everyone:  Melissa Blake is amazing!).  Shortly afterwards, Janet, who also produced the showcase, fired the director and hired Bob to take over.  In two weekends, Bob was able to take a clunky staging and streamline it into a flowing, cohesive show.  We played to full houses, had a bunch of celebrities in attendance (Janet, it seems, knows EVERYONE), and even had a mention on Page Six of the New York Post when David Cassidy came to see mom, Evelyn Ward, in the show.  Audiences seemed to enjoy the show and it closed after an uneventful run.   

Inspired by the audience response, Janet and I went back to work on the show, reinserted the cut number and sharpened scenes (full disclosure: there was one very vehement opponent, a college friend of Bob's who hated almost every word in my script! That sort of criticism is very, VERY hard to hear!).  Janet sent the show out to every place that would accept unsolicited submissions; she utilized her contacts, but despite a nibble here and a nibble there, there were no bites.  And rightly so.   Janet's score, though quite good, needs to be fuller.  And it pains me to admit that Bob's college friend was correct.  My book, frankly, is a hot mess, despite some nicely-drawn characters and some snappy dialogue.  We didn't properly research our material and it shows...really, really shows.  The show tries to cover too many bases and as a result, covers none of them well.  Over the years, Janet and I have chatted about revising it yet again, but despite pages of revision notes, I'm simply not interested in revisiting it.  It was a terrific experience with lots of wonderful memories  (e.g. walking down 8th Avenue with a shopping cart loaded with rented lighting instruments). I have a New York credit to my name.  Bob's work was superb.  It was a joy to work with our talented cast, which included, in addition to Evelyn Ward, the wonderful jazz vocalist, the late Barbara Lea.  But this was all a long time ago.  Maybe it's time for another adventure?- at the Sargent Theatre, New York.

September, 1994. The world premiere.  Our wonderful friend, Lois, was, at the time, active in the Charlotte Cushman Club, a theatrical women's club and foundation, and without her, this first performance would not have happened.  In the past, the Cushman Club provided housing for actresses in touring shows and was housed in a wonderful rowhouse on Camac.  This reading was mounted primarily as a social event for the Club, but for collaborator Janet Gari and I, it was chance to see our "child" take its first steps.

Our musical director, Broadway composer Arthur Siegel, died unexpectedly ten days before the performance.  It was devastating, but in true the-show-must-go-on tradition, Jonny Segal stepped in, did a brilliant job and stayed with us through the New York run and the CD recording.   Lois introduced us and I narrated as necessary.  The show itself was bloated with too much dialogue and too many songs.  (Looking at the program, I have no memory of the song "Clown at Romance."  Where did that fit in?? What did it sound like?)  The Philadelphia audience was also subjected to "W-A-I-T," probably the shortest theatre song in history.  By the time you realized you were listening to a song, it was over.  The audience response was good and gave Janet and I the impetus to do some serious work on the show.

The reception at the Club was wonderful and everyone gushed over us, which was  appreciated.  The part of Barbara was written with the exquisitely talented Robin Kaiser in mind, so it was a thrill to see her in the role.  (She was unable to do it when we mounted the Equity showcase.)  The  performance may have been on the rough side, but it was the only time my then-partner Steve was able to see the show in performance.  The weekend was very hard on him, health-wise, and turned out to be the start of his decline.  He would die in June the following year.  The New York showcase was dedicated to him. - at the Laurie Wagman Theatre, Philadelphia

May, 1972. Agatha Christie's tidy little thriller opened in November, 1952. That's over 60 years ago.  When I saw it, it was in its twentieth year; it's now in its 60th (being billed as a Diamond Anniversary). It has played over 25,000 continuous performances.  Let me put it this way: this show has been running almost as long as I've been alive!  The show will run until Doomsday, and most likely, well beyond that. It has long since ceased merely being a play and has become a tourist attraction in its own right. I played Mr. Paravicini in high school, and if I must say so, I was positively brilliant…at least in my own mind. Like most Christie plays, it's not a great show, but it's terrific fun and the cast (a new cast comes in almost every year, I understand) played it with appropriate British reserve.  Notice how the scenic designer is billed..."Decor by..."  I rather like that, - at the Ambassadors Theatre, London

Yours truly as Mr. Paravicini, fall, 1967.  I was 17 and a senior at Waukegan Township High School.  Someone's fixing something on the set, so this is obviously a rehearsal snap.  I think this was my grand entrance.  Maybe it's just me, but the coat and gloves don't appear to be an ideal match.  Hello, Costumer?

March, 2012.  A benefit for The Acting Company paying tribute to one of its alumni, the incomparable Patti LuPone.  Take a look at that lineup of talent!  Is there any doubt why Bob and I bought tickets the moment we could?  An exciting evening of reminisces and songs by colleagues of Patti's that flew by.  In an evening full of "OMG!!" moments, three stand out: Sutton Foster singing "Anyone Can Whistle/Being Alive," Kevin Kline's touching "Try to Remember," and Kristin Chenoweth stunning "Glitter and Be Gay" that took our breath away.  It was a lovefest culminated by the guest of honor being brought on stage and singing one of the best renditions of "September Song" I've ever heard.  A magical evening.  - at the Kaye Playhouse (Hunter College), New York

Brian and Mary, a Marxist, some Nudists, a Woolf and a Whore

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