THE IMPORTANCE OF BEING SANTINO (with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

THE IMPORTANCE OF BEING SANTINO

(with guest appearances by Spidey, Emily and those wacky Chekhov kids!)

While on our most recent trip to New York City (March 17-20, 2013), we enjoyed four productions. The specific purpose of this trip was to attend, for the 6th year, Broadway Backwards, the marvelous annual benefit for New York's LGBT Center and Broadway Cares/Equity Fights AIDS. (see previous blog) We also saw one of Bob's former students in quite possibly the most talked about musical in Broadway history, a tear-inducing-from-laughing-too-hard comedy and the first Broadway production of a beloved Rodgers and Hammerstein work. In the R&H work, we had the opportunity to once again see a familiar and talented actor, Santino Fontana.

Santino Fontana is not just another pretty face. Make no mistake: he is mighty handsome, but he's also a mighty talented, multi-faceted actor who can sing and dance with the best of them. He's given impeccable performances in the four shows (to date) that I've seen him in: as the loving, protective older brother in Billy Elliot; as Oscar Wilde's sophisticated and witty Algernon Moncrieff in Roundabout Theatre's stunning production of The Importance of Being Earnest, as the unlikely hero with chronic pain and a more-than-slightly off-kilter family in Sons of the Prophet; and most recently as the sweetly clueless and totally charming Prince Topher in Cinderella. In addition, he currently can be seen on the wonderful web series "Submissions Only," which, in my opinion, should be required viewing for anyone in or interested in the theatre. (Sidebar: also be sure to check out another outstanding web series, "It Could Be Worse.") He's among the best of the under-35 actors currently working in the theatre and I can only hope that the theatre has the good sense to keep him and not lose him to television or film.  Oh, okay. TV and film can borrow him, but that's it. I predict it won't be long before we see his name above title on a brightly lit Broadway marquee.

Let's start off with the Fontana archives.

October, 2008. Preview performance to celebrate Bob's 60th. This import from London is one of my top 25 musicals. By this time, we'd already seen the show three times in London and were thrilled when the Broadway production was announced. The film is also among my favorites. The story about a boy who dreams of escaping the dreariness of life in a coal-mining town in northern England during the Miners' Strike of 1984 resonates with warmth, heart and love while making some not-so-subtle political points. While the story may be universal, the musical itself is English to the core and I wondered how it would do in the move across the Pond. Some minor book changes were made and a program note helped to clarify the references to the odious Thatcher regime, but the heart of the show remained intact and the glorious dancing and the terrific Elton John score were wonderfully realized, but, somehow, the show didn't tug at my heart as it usually does. The performances by Haydn Gwynne (in her original role as Mrs. Wilkinson), Gregory Jbara (Dad), Carole Shelley (Grandma), Santino Fontana (Tony), Trent Kowalik (Billy), Frank Dolce (Michael) and Leah Hocking (Dead Mum) were all spot-on and couldn't be faulted. And certainly, the physical production remained a marvel. Yet, and I couldn't tell you why, the London version seemed more raw, more accessible; the Broadway edition seemed perhaps a tad too slick and polished for its own good. Like I said, I can't tell you why I felt that way, I just did. The show received ecstatic reviews and it won a slew of Tonys, but didn't become the mega-smash everyone thought it would become. It didn't fare terribly well on the road either. A Chicago sit-down version closed early in the wake of mediocre business and lukewarm reviews and other road companies ended after modest tours. But, no matter what the reception here in the States, this is a marvelous work. - at the Imperial Theatre, New York

January, 2011. Perfection. No, seriously, folks, absolute perfection. Sumptuous costumes, perfect lighting and a stunning physical design were a treat for the eyes and the superb acting, lead by Brian Bedford in a performance not to be missed (and he didn't win the Tony Award because???), dazzled us at every turn. Mr. Bedford's casting as Lady Bracknell was not, I repeat not, stunt casting. He was every inch the imperious matron, taking charge and taking stage, but never over-taking the stage, with every appearance. In his capacity as director, he kept the action moving and the humor sharp and tart, as Oscar Wilde intended it to be. Kudos to the entire cast, but special shout-outs to the four young actors whose antics fueled the play: Santino Fontana (Algernon), David Furr (Jack), Sara Topham (Gwendolyn) and Charlotte Parry (Cecily). And who wouldn't relish the delicious turns by theatre vets Paxton Whitehead as the Rev. Chasuble and Dana Ivey as a befuddled Miss Prism. If this production were a term paper, I'd give it an A+. (Sidebar: be sure to check out either playbill.com or youtube for "Jersey Shore" Gone Wilde. Hilarious!) - at the American Airlines Theatre, New York

December, 2011.  A sterling cast led by the always-reliable Joanna Gleason and the talented Santino Fontana excelled in this wonderful play about family, loss, forgiveness, trust, friendship, passion and pain. Often funny in unexpected ways; often moving when you didn't expect it. Beautifully directed with top-notch production values, this Roundabout offering was an exhilarating afternoon at the theatre. - at the Laura Pels Theatre, New York

March, 2013. Douglas Carter Beane's updated, more modern take didn't always work, but he had the good sense to keep the romance intact and even, in an inspired update, added some romance for one of the stepsisters. Anchoring this timeless tale were the wonderful performances of Laura Osnes as a no-nonsense, intelligent, very non-simpy Cinderella and Santino Fontana as a sweetly befuddled Prince Topher. Both of these actors had charm and charisma to spare and the pipes to make the most of the glorious Rodgers and Hammerstein score. A highpoint: when Price Topher finally told off his Lord Chamberlain and the audience voiced their approval. Hats off to Victoria Clark, Harriet Harris, Ann Harada, Peter Bartlett, Greg Hildreth and Marla Mindelle. Beautiful to look at and beautiful to listen to, this was a most enjoyable way to spend an evening. By the way, loved  the glass slippers! - at the Broadway Theatre, New York

And now our guest stars!

March, 2013. Ridiculously entertaining and deafeningly loud with a jaw-dropping physical production. This show will never make it on anyone's top ten musicals list, but it certainly must rank as the most expensive musical ever. And, just off the top of my head, I can't imagine it ever making its money back. Having said that, this was not  the disaster we were expecting it to be. (Or were lead to believe.)The reason we went, frankly, was to see one of Bob's former students, Emily Shoolin, who, by the way, was excellent in a featured performance. (Loved her as the secretary and the voice of the receptionist!) Robert Cuccioli as the Green Goblin was deliciously over-the-top. There were some tuneful ballads in the score, amazing flying and nice, sweet performances by Reeve Carney and Rebecca Faulkenberry as the web-crossed (sorry!) leads. I was pleasantly surprised. (And we loved our backstage tour. Thanks, Emily!!) - at the Foxwoods Theatre, New York.

March, 2013. Chekhov should be this funny!  When an audience spontaneously responds to something an actor says during a monologue, that says something about both the writing and especially the actor. I won't say anything else, just take my word for it that Kristine Nielsen is, well, incredible. And as if that wasn't enough, shortly thereafter David Hyde Pierce does a tour-de-force that had us weak from laughter. And as if that wasn't enough, Sigourney Weaver wearing a Disney Snow White costume has got to be seen to be believed. Who knew Sigourney Weaver was so adept at comedy? And props to the remaining three members of this extraordinary cast: Billy Magnussen, Shalita Grant and Genevieve Angelson. Spot-on technically, beautifully directed by Nicholas Martin, and skillfully written by Christopher Durang, this was absolutely first-rate. - at the Golden Theatre, New York

Support live theatre wherever you may be. There's nothing like it! Until next time.....

IN PRAISE OF BROADWAY BACKWARDS

IN PRAISE OF BROADWAY BACKWARDS

For the past six years, Bob and I have had the privilege of attending Broadway Backwards, an evening of theatre music benefiting New York City's LGBT Center on 13th Street and, since edition #5, Broadway Cares/Equity Fights AIDS as well. This past week on March 18, Broadway Backwards 8 was presented at the venerable Palace Theatre. The place was sold-out and raised nearly $350,000! That's both a lot of seats sold and a lot of money raised.

So what is Broadway Backwards, you ask? Simply put, it's a glorious evening where the guys sing songs usually associated with women and the gals sing songs usually associated with men. There are comedy songs, torch songs, love songs, and crackingly-sharp production numbers performed by well-known and respected theatre stars, many of whom are equally at home on television and in film, supported by a blisteringly talented ensemble. When we first started going to this event, it was a hosted musical revue. For the past two editions, a story line has been added, which is all very earnest and relevant, but sometimes breaks the momentum and slows down the evening. And that, folks, is my only quibble. Some years may be marginally better than others, but it's always an incredible evening full of laughter, great singing and dancing, and, yes, often some tears.

Broadway Backwards…long may it reign!

February, 2008. This was the start of our annual tradition.  This was also the first year that this event was presented at a Broadway house, in this case the smallish American Airlines Theatre. Seth Rudetsky was a hilarious host and kept the show moving. Unfortunately I can't find the song list, so I honestly don't recall who sang what. What I do remember is David Burtka and Neil Patrick Harris nailing a song from Rent, Julie Halston keeping us in stitches (and when doesn't she?), and the thrill of seeing all these amazing performers: Gary Beach, Tituss Burgess, Charles Busch, Kerry Butler, Len Carious, Gavin Creel, Sandy Duncan, Ann Harada, Cheyenne Jackson, Aaron Lazar, Karen Mason, Andrea McArdle, Lea Michele, Julia Murney and Tony Yazbek. I remember wishing we'd seen the first two editions. - at the American Airlines Theatre, New York

February, 2009. Once again, this event attracts the cream of Broadway talent. The loudest and most sustained applause was saved for legends Anna Meara, Florence Henderson (very VERY funny) and Maureen McGovern (my God, can that woman sing!).  "Matchmaker" with Christopher Sieber,  John Tartaglia and Jose Llana was a hoot.  So was Whoopi Goldberg leading the female ensemble in "Gee, Officer Krupke."  "Ugly Betty's" Michael Urie and Becki Newton did well with "Getting Married Today", and he's adorable in person.  The male ensemble performed a kick-ass "Big Spender." Tituss Burgess gave us a wonderful "Meadowlark." The entire show was professional to the max with one glaring exception. Sandra Bernhard was embarrassing...drunk? stoned? high?  Who knows, but we felt so sorry for her co-performer, smoking hot Cheyenne Jackson. Another memorable evening! - at the American Airlines Theatre, New York

February, 2010. For the 5th edition, the Center joined forces with Broadway Cares/Equity Fights AIDS for the first time and a terrific show became even better and, dare I say this, even more polished and professional. The change of venue to the Beaumont added many more seats and the theatre, not surprisingly, was sold out. Highlights: Tonya Pinkins thrilling us with "Too Many Mornings," Aaron Lazar's "As Long As He Needs Me," Nick Adams, Timothy W. Bish and Adam Perry tearing their way through an exhilarating "There's Gotta Be Something Better Than This," Douglas Sills' absolutely charming "I Could Have Danced All Night," Raul Esparza's moving "The Man That Got Away," Mario Cantone and the male ensemble in "Where You Are," and Tituss Burgess' "Children Will Listen." Bravissimo! - at the Vivian Beaumont Theatre, New York

 February, 2011.  Another sold-out house for the annual event benefiting the Center and BC/EFA. My favorites included: Alan Cumming being appropriately sleazy in "Don't Tell Mama," Ward Billeisen, Colman Domingo and Jose Llana's "You Could Drive a Person Crazy," the uber-sexy boys of the ensemble playing the merry murderers of the Cook County Jail in their rendition of the "Cell Block Tango," Debra Monk's lovely "On the Street Where You Live," Lillias White haunting "Some Enchanted Evening," Brian Charles Rooney and Ensemble in a stirring "One Halloween/Being Alive" combo, "All I Care About is Love" as performed by the singular Bebe Neuwirth and the ladies, Tony Yazbek's jaw-dropping "The Music and the Mirror," and Clay Aiken's moving "Home." Don't you wish you'd been there?? - at the Longacre Theatre, New York

March, 2012. This was the first year a story line was added and it didn't always work. It was all very sincere, but, and I really hate to say this, a bit like preaching to the choir. Having said that, my favorites this time around included: the amazing LaChanze's "Go the Distance," the multi-talented Charles Busch's touching "If He Walked Into My Life," Dan Butler and the boys doing a terrifically fun version of "The Boy Friend," Sierra Boggess and Elizabeth Stanley's beautiful "Tonight," Andrew Rannells show-stopping "The Music That Makes Me Dance," Mario Cantone's "What Did I Have That I Don't Have?," the legendary Betty Buckley's "Sweeney Todd" medley, and Shawma Harnic and the ensemble stirring "I Am What I Am." Why aren't there DVDs of these amazing evenings? - at the Hirschfeld Theatre, New York

March, 2013. Broadway Backwards at the Palace! Completely sold-out. Who knew Estelle Parsons could sing? I didn't. And she did a bang-up "September Song." You go, Estelle! More highlights: Jim Brochu and Tony Sheldon and especially Sheldon's wonderful "Be Happy," Judy Kaye and the legendary Anita Gillette, who at 76 (!!) can still sing it to the balconies, enchanting us with "Three Sunny Rooms," Jan Maxwell's "How to Handle a Woman," an amazing pas de deux by Patrick Corbin and David Grenke, Anthony Warlow's sensational "Time Heals Everything," Tituss Burgess and members of the ensemble earning a show-stopping standing ovation with the absolutely breathtakingly thrilling "And I Am Telling You I'm Not Going" (the two Jennifers, take note!), Karen Ziemba and the ladies in "Go Home with Bonnie Jean," a very, very sexy Josh Young and the hot, hot, hot men of the ensemble making Jekyll and Hyde's "Bring on the Men" a temperature-rising sizzler, Brian Stokes Mitchell lending his dulcet tones to "The Man I Love" and Stephanie J. Block and the ensemble with a sing-to-the-rafters "Our Time." Can't wait for next year! - at the Palace Theatre, New York

Until later...

THIS IS THE DAWNING OF THE AGE OF....AQUARIUS AND MORE!

THIS IS THE DAWNING OF THE AGE OF....AQUARIUS AND MORE!

In the theatre, as in life, an esteemed pedigree does not always translate into magic. Likewise, in the theatre, as in life, an underrated or unknown pedigree can sometimes spin gold. Two of today's shows have impeccable credentials, yet delivered less than impeccable products.  One of today's playwrights has won two Tony Awards for plays that, at least in the case of the one profiled here, was more about a scintillating production than a scintillating play.  Another is a not-well-known play by one of our premier living playwrights.  Still another is a lesser effort by a prolific playwright who has yet to have true success on Broadway (and sadly, as it turns out, didn't do so well in television either, although I'm sure by the time the lawyers are through, she'll be able to dry her tears and heal her emotional wounds with a fair chunk of settlement money…just my thought). And, finally, two completely disparate plays that resonated long after their respective curtains came down. 

To start things off, however, I'd like to offer a work that, when it opened, had an unknown pedigree and became an instant and enduring part of our theatrical landscape.

"Let the sunshine in…"

"When the moon is in the seventh house and Jupiter aligns with Mars…"

Hair: the American Tribal Love-Rock Musical. Make no mistake. Despite its scrappy-sounding description that implies something that was just sort of thrown together, this groundbreaking musical was anything but thrown together. Scenery by Robin Wagner, Lights by Jules Fisher, Costumes by Nancy Potts, Directed by Tom O'Horgan. No, this was definitely not a casual hippie hoe-down. What it was, and still is, was a remarkable piece of theatre that broadly, yet accurately, commented on the turbulent times of its inception, the late 1960s. This was the time of hippies, turning on and tuning out, free love, drugs, anti-establishmentarianism and the Vietnam war.  The show is both a playful and a searing indictment of the social and political climates of the day, especially critical of the Vietnam war.  (For the record, I was in college at the time and had a student deferment. My draft lottery number was 161. I don't remember when the lottery ended, but my number was never called.) Critically praised when it opened at the Biltmore Theatre in April, 1968, Hair ushered in the, as it turned out, rather short-lived spate of "rock" musicals, none of which achieved the fame and success of Hair. The score has its rock elements, but at its heart, it is a traditional theatre score, albeit with a more modern sound, with songs that comment and propel the storyline, character songs, and at least one drop-dead, knock-out ballad ("Easy to Be Hard"). (Do you need proof that at its heart, the score was a traditional one? Consider this: the Cowsills had huge hits with several of the show's songs.  The Cowsills, people!) Hair was fresh, it was exciting AND it had a NUDE scene at the end of Act One. Folks, that was huge. Musicals just didn't have nude scenes back then. It caused quite the stir. To show how much times have changed, when Bob and I saw the revival, I was so involved with the song and everything is so dimly lit anyway, I didn't notice for the longest time that this was the big nude moment and for all intents and purposes, I pretty much missed it.  Damn. It's both sad and a tribute to the talent of its creators that Hair is just as relevant today as it was 45 years ago.  Three programs, three separate productions, each approximately twenty years apart.

November, 1969. This touring production was locally-cast and had a long run at the Shubert. In keeping with its theme, the program states that this company is The Pottawatomie Tribe, Hair Confederacy. The bios tell us the astrological signs of the cast members (the Tribe).  I thought it was hokey then; I think it's hokey now.  Among the Tribe at the Shubert were Andre DeShields, who would later dazzle Broadway in The Wiz and other shows, and Joe Mantegna, before fame, film and "Criminal Minds." As a 19-year-old, this show made quite an impact. I was a somewhat naïve, sheltered college kid. It opened my eyes to a bigger, less-kind world. And I thought the physical production and the electrifying score rocked. Imagine, kids close to my age doing this for a living. I wanted to be one of them. - at the Shubert Theatre, Chicago

From the Shubert Playbill.  And ad for the Original Broadway Cast recording.  Yes, of course, it was a  LP!

November, 1988. This twentieth-anniversary production was mounted at the Vic Theatre in Lakeview in a rare use of this stunning venue as a legit playhouse.  Original producer Michael Butler produced this locally-cast and designed show. I remember enjoying this, but at 38, this just didn't have the same impact as it did when I was 19.  I felt that it was trying just too hard at times to be hip and/or shocking and at times seemed oddly quaint. This cast was called the Natoma Tribe. Yep, still doesn't work for me. If dim memory serves, this wasn't the huge smash Butler was hoping for and it had an unremarkable run. Notables in the cast included E. Faye Butler and a very young (a junior at Northwestern) Brian d'Arcy James (billed as Brian d. James) as Claude. Brian, of course, would become one of Broadway's leading men and one of the many wasted talents in the misguided TV series, "Smash." - at the Vic Theatre, Chicago

June, 2009.  No tribe names here, just The Company, in Diane Paulus' wonderful Tony-winning revival that made this 41-year-old show as fresh as the day it first premiered on Broadway.  Fresh and relevant. If the drugs, sex and rock-and-roll brought about more nostalgia than anything else, the anti-war message and the thumbing your collective nose at the Establishment seemed as timely as ever  With a cast that included Gavin Creel, Crissie Levy, Bryce Ryness and Will Swenson, the story was told and sung with great humor, terrific voices, and touching vulnerability.  We scored first row seats on the stage left side right in front of the stairs to the stage, which both delighted and terrified me. I'd never been a big fan of actor interaction with the audience, especially if touching was involved (all the fake "I love you" crap at Godspell a million years ago drove me up the wall) and I knew Hair was big on getting down with the audience. However, when Will Swenson wants to pay up-close and personal attention to you, well, you just gotta give in and share the love. (Sidebar: Will Swenson is one of the coolest straight men around.) Being so close to the stage stairs, we were among the first to join the cast onstage during the curtain call reprise of "Let the Sunshine In"  and danced (me dancing…alert the media!) and laughed and sang while the audience stood and sang with us.  Amazing. It was especially endearing to see Will Swenson dancing with his sons. And the best? Bob planted a great big kiss on me onstage at the Hirschfeld to the cheers of cast and audience!! Let the sunshine in, indeed! - at the Hirschfeld Theatre, New York 

March, 2012. Edward Albee certainly loves social gatherings. Witness Who's Afraid of Virginia Woolf?, Everything in the Garden and the quips and digs that occupy much of The Lady from Dubuque.  One of Albee's least-known plays, Dubuque received a critical spanking and a very short run when it first appeared on Broadway in 1980. This play about death and dying isn't the happiest show to see, and, frankly, it's not always the easiest show to follow, yet as performed by its fine cast, especially a superb Laila Robins, a cooly incandescent Jane Alexander, a wry and knowing Peter Francis James and a harrowing, gut-wrenching Michael Hayden, it had an undeniable hold over the capacity audience. I don't think it's among Albee's best, but opportunities to see Jane Alexander on stage are few and far between these days and that was the main reason we went to see this.  I'm glad we did. - at the Pershing Square Signature Center, New York

June, 2012.  Eugene O'Neill! Robert Falls! Nathan Lane! Brian Dennehy! Sold-out houses. Four hours and forty-five minutes. Three intermissions. I thought I was going die of boredom. I was ready to leave after the first act, but I couldn't convince Bob to jump ship. Characters I didn't care about accompanied by too many Pinter pauses and far too much screaming. Consistent acting, though none of the performances stood out. Dennehy mumbled and Lane tried and overall wasn't bad, but failed to inject any fire into his final act monologues. Production values were okay and it was all served up with the smug pretentiousness that sometimes creeps into Goodman shows. The critics may have loved it, but the people waiting for one of the last #36 buses of the evening certainly didn't, if overheard comments were any indication. Bleh. - at the Goodman Theatre, Chicago

January, 2012. While I wasn't surprised, I was still gratified that Matthew Rhys can do more than just "Brothers and Sisters." While the play was very well acted by Rhys, Adam Driver, Sarah Goldberg and Charlotte Parry, it left me cold and, frankly, quite bored. Lots of yelling and angst by very unpleasant characters. Yes, I know it's a classic and the cornerstone of "kitchen sink realism" that was the hallmark of trendy British theatre of the 1950s and I know I should have responded differently, but for me, it's a "why?" play. Why was it written? Why should I care about these whiny, self-absorbed people? When one of the most interesting things about the entire afternoon was watching Matthew Rhys change his shirt in half-light DL, that says something. And not just about Mr. Rhys' killer body. Sadly, because I really did admire the skill and professionalism of the four actors, I must give this a thumbs down. - at the Laura Pels Theatre, New York

June, 2009.  This is what I wrote shortly after seeing this Tony Award-winner for Best Play: "Tony, Emmy and Oscar winners among this exceptionally brilliant cast.  The ninety minutes flew by in this hysterical play that is much deeper than one thinks at first.  The ever-changing allegiances, the rapid fire change of emotions all make this play far more satisfying than Reza's "Art."  Beneath the laughter, there is great sadness in the marriages and lives of these four people.  But what laughs!  And what great lines.  I know I'm paraphrasing, but my two favorites?  "I don't drink and I deeply regret it."  "I don't have a sense of humor and I've no intention of acquiring one."  Priceless!" Jump forward a year or so. Bob and I are reading God of Carnage  as a possible directing project for him and both of us are thoroughly unimpressed with the script, which seems flat, uninteresting and not terribly funny. Is it possible that God of Carnage's awards and success were largely thanks to the flawless production by director Matthew Warchus, designers Mark Thompson and Hugh Vanstone, and actors Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden? Like Art, is this really more shadow than substance? Is my glowing, hot-off-the-press remarks the result of terrific acting and spot-on comic timing cleverly disguising a mediocre play? - at the Jacobs Theatre, New York

October, 2009. Like her later play, Seminar, I found this enjoyable while watching it, yet I couldn't tell you much about it as soon as the curtain fell.  The basic plot is this: an actor is hired to understudy a movie star in said movie star's Broadway debut. The harried stage manager is the understudy's ex-wife. Never seen or heard, but as much of a character as everyone else, is the pothead crew member who screws up light and set cues. The understudy hates the proliferation of movie stars in the theatre. The movie star is kind of pompous and full of himself. The ex-wife stage manager is frazzled and has several bones to pick with her ex. The pothead keeps screwing up. Everything is lively and fun and cute for a while, but then it gets old and then it just gets tiresome. Even at a short 90 minutes, this seemed long.  It would have seemed longer if it hadn't been for the talents of its three-person cast: Justin Kirk (the understudy), Mark-Paul Gosselaar (the move star) and the wonderful Julie White (the stage manager). I had the chance to chat with them briefly after the show as they were heading out to dinner. All of them were charming and Gosselaar is even better looking in person than onstage. - at the Laura Pels Theatre, New York

November, 2010. In the first few minutes of Arthur Kopit's Wings, aviator Emily Stilson suffers a stroke onstage. That's the catalyst. For the remainder of the short 70-minute play, we watch Emily as she struggles to recover. I read the play years ago and was lukewarm towards it.  As performed by the uber-talented Jan Maxwell and a superb supporting cast, I found it frightening, funny, moving, sad, happy and sometimes all of those emotions at the same time. I found myself getting deeply involved, yet, I was also strangely detached. I can't really describe it. A remarkable, emotional evening that I'll long remember. - at the Second Stage Theatre, New York

April, 2009. Wow! Who had any clue Schiller could be so vibrant and exciting?  Kudos to the adaptor, Peter Oswald!  Janet McTeer and Harriet Walker separately were stunning; together they were breathtaking.  After a bit of a slow start, I was hooked. As in totally.  Minimal in production; extravagant in acting talent, this was truly great theatre. Thrilling. - at the Broadhurst Theatre, New York

That's it for today.  Until next time....go see some live theatre!

A LITTLE BIT OF THIS, A LITTLE BIT OF THAT

A LITTLE BIT OF THIS, A LITTLE BIT OF THAT

Earlier this week I started sorting over four decades of theatre programs. The aim was to have all the programs and other theatre memorabilia in one place to make writing this blog a little easier and to perhaps suggest "theme" blogs. I'm nearly finished with the basic A,B,C sort. I haven't decided yet if I'm going to go really anal and alphabetize everything. It really does suit my personality (grin), but I think just having them in A,B,C order will suffice.

This week's offerings are a mixed bag of shows from 1968 to just last month (February, 2013).  Please join me in another trip down theatre memory lane.

July, 1968. This comedy is still a sassy bit of fun. Make no mistake, David Merrick knew how to send out a national tour: don't skimp on any of the production values and cast it with quality, A-List stars. Hugh O'Brian (a Chicago suburbs boy) was primarily known at this time as television's Wyatt Earp, but surprised me with the amount of theatre credits to his name, and gave a suave, sophisticated, hilarious performance. Elizabeth Allen, a delicious Stephanie if there ever was one, was the "Away We Go" girl on the Jackie Gleason show, but, for me, the star of "Do I Hear a Waltz?" which was then one of my favorite scores. (An underrated show in my opinion and the score is still terrific.) I loved the show and about ten years later directed it for Waukegan Community Players and had a ball doing it. (see an earlier blog) — at Shubert Theatre, Chicago.

Fall, 2005 (London); November, 2006 (NYC). I'm going to combine the two productions for one very good reason: I only vaguely remember the London production. Let me explain. You see, Bob and I had arrived in London from Chicago that morning and since we were using my flight benefits, the trip there probably had been a Chicago-Atlanta-London routing, which makes for a long travel day. Now normally when we travel overseas, arrival day is pretty much a wasted day. We get to the hotel, nap, wake up, go to dinner, then back to the hotel and to bed. I know it may sound like bad use of a perfectly good day, but it works for us and by the next day, we're rested with no jet-lag and ready to go. For some reason, we decided to nap, go to dinner, and then go see Mary Poppins. What were we thinking?  Big mistake. We were both knackered by the time we found ourselves at the Prince Edward and, as a result, didn't fully appreciate the charms of the wonderful cast (I do remember they were all excellent) and familiar story. We were just too exhausted. Bob was so tired, he was sobbing when Mary flew over the audience at the show's conclusion. Yes, it's a great moment, but…  We learned our lesson and have returned to our low-key arrival day routine.

Now jump ahead a year. A matinee at the gorgeous New Amsterdam. Mary Poppins had just opened and was a red-hot ticket. As I type this, it's getting ready to close after over 6 years on Broadway and this marvelous musical will be missed. As the song goes, it's "practically perfect in every way."  In fact, I prefer it to the much-loved movie. Julian Fellowes ("Downton Abbey") wrote the book, which took much of the saccharin out and replaced it with a slightly more adult, slightly darker and much richer story. The added songs seemed like they were always there and of the deleted songs from the movie, the only one I missed was "Sister Suffragette."  Superb production values and outstanding choreography by Matthew Bourne (yes, that Matthew Bourne!) made the show visually exciting. And at our performance, we even got a wonderful live theatre moment. The scenery for "Jolly Holiday" was moving off-stage when suddenly there was a loud crash and a backstage voice asked loud enough for the audience to hear, "Is everyone all right?"  An announcement from the stage manager told us the show would stop for a bit while they fixed the problem, the curtain fell, the house lights came up and the theatre buzzed with excitement. ("This never happens at the movies!") After about ten minutes, the SM told everyone the show would continue, the house lights went out, the curtain rose and Michael and Jane were sitting on the park bench where we had last seen them. Michael's next line was priceless, and under the circumstances, was absolutely appropriate, something along the lines of "What just happened?" or "Well, that was fun."  Whatever the exact line was, the audience loved it and gave Michael a huge round of applause. Ashley Brown was a tart, layered, yet loving, Mary Poppins. Gavin Lee was simply wonderful as Bert, a vast improvement over the film's Dick Van Dyke. (Okay, I'll admit it. I can't stand Dick Van Dyke in the movie. The horrible accent, the cloying portrayal….yuck!). And both Daniel Jenkins and especially Rebecca Luker gave added depth to Mr. and Mrs. Banks. Rebecca Luker is pretty wonderful in anything she does and her "Being Mrs. Banks" was a highlight. The kids in the audience were in total awe and when Mary Poppins flew over the audience at the end, it was a thrill to realize that this wonderful show had made life-long theatergoers of the hundreds of children in the audience that day. This was, and is, a joyous show. - at the Prince Edward Theatre, London and the New Amsterdam Theatre, New York.

  

October, 2005. Officially Monty Python's Spamalot. Bob and I took our niece Colleen (16) and nephew Greg (14) to New York for their first time and their introduction to Broadway. This was their first Broadway show. The Tony-winning musical was a sold-out hit; tickets were impossible to get. So we did what savvy theatergoers do. We stood on line and were rewarded with 8th row center seats. Perfect. This show is just wacky fun: silly, at times juvenile, at times lewd and often uproariously hilarious. We were so fortunate to have seen David Hyde Pierce, Tim Curry, Christopher Sieber, Michael McGrath, Christian Borle, Alan Tudyk and the brilliant Sara Ramirez, in her Tony-winning performance. A show with no agenda except to thoroughly entertain the audience, we all enjoyed this enormously and waited afterwards at the stage door where we met and chatted with many of the performers, an added bonus for our Broadway newbies! (Footnote: the kids were especially excited to see Tim Curry, but were, I think, expecting to see "Rocky Horror" Tim Curry and not the older, heavier, middle-aged Tim Curry-  Colleen was especially disappointed.)  - at the Shubert Theatre, New York  

December, 1983. Along with "The Little Dog Laughed" and "Is He Dead?," this is one of the funniest plays in existence. Played to pitch-perfect hilarity by an incomparable cast that included Victor Garber, Paxton Whitehead, Deborah Rush, Brian Murray, and headed by the one-and-only Dorothy Loudon, Steve and I, along with 1000 other lucky patrons, laughed ourselves to the point of exhaustion. Act Two literally left me with tears running down my face, I was laughing so hard. Dorothy Loudon was a true theatrical treasure. She left us far too soon. "Ladies and gentlemen, please take your seats!" — at Brooks Atkinson Theatre, New York City

December, 1970. Let me state right off that I am not a fan of Mr. Shakespeare. Never have been. I've tried. I really have. I even took a course in Shakespeare in college, which I did miserably in. I don't find the language necessarily poetic. To me, it's just plain stilted and hard to wrap my brain around. People have said if I saw a well-produced Shakespeare, I'd change my mind. Well, perhaps, but this production wasn't it. I didn't go to this willingly. It was a school assignment (perhaps for the Shakespeare course?). I didn't hate it, but I didn't like it, either. It didn't make me a convert. Interestingly, in the cast was Eric Berry, a highly respected actor who would be an original cast member in Pippin a couple of years later. Is it time to give Mr. S another chance? - at the Goodman Theatre (Art Institute), Chicago

March, 1982. I guess I should've been jotting down things way back when since I can't remember a thing about this show. I can't remember even seeing it, but since I have a program, I guess I did. I don't know whether or not I liked it. Reading a short synopsis of a TV version of Resnick's play, I assume it's about waitresses at a restaurant and their hopes and dreams. Usually not my sort of thing at all. I'm sure the draw for me was Janie Sell, who I adored in "Over Here." But look who also was in the cast….Megan Mullally! Apparently she did a chunk of Chicago theatre work before heading off to bigger and better things. Who knew? The Civic Theatre was a glorious, beautiful jewel box of a theatre with a seating capacity of about 1000 at the other end of the Civic Opera building at the corner of Wacker and Washington. It closed in the early 90s and is now used by the Lyric for rehearsals, storage, etc (I think). — at Civic Theatre, Chicago.

October, 2005. Another show with Colleen and Greg. Brooke Shields as Roxie was great fun. Yes, she's tall and yes, she's Brooke Shields, but she was also quite good in the role. Good sense of comic timing, a decent voice, and she danced the role competently. She also had a great rapport with the audience, especially during "Roxie."  For Bob and me, however, the draw was Debra Monk as Mama Morton. Monk is another of those wonderful actors who we will see in pretty much anything. And she didn't disappoint. She killed as Mama Morton. We had an understudy as Velma and during bows, Shields told us that we saw the understudy's first ever performance as Velma. Couldn't prove it by us; she was terrific. Chicago is in my top ten musicals and it has been since I first saw it in 1975. Let me set the record straight once and for all. There is virtually no difference between the revival and the original. Got that?  The revival has fewer set pieces and costumes and the ensemble's costumes exude a bit more sex, but there isn't any real change in the show itself. It's not as though Walter Bobbie and Ann Reinking reinvented the wheel. The show has always been a biting satire about justice, celebrity and the American way starting with the original 1927 play by Maurine Dallas Watkins. In 1996, however, when the revival opened in New York, the OJ Simpson trial was fresh in everyone's minds and made the show even more relevant and timely than when it first opened…and it still is timely and relevant. As I type this, it's the third longest running show in Broadway history and has accumulated a run that is more than 7 times longer than the original run of 936 performances. A marvelous, well-crafted musical featuring a stunning score by Kander and Ebb. I never tire of seeing it. - at the Ambassador Theatre, New York

February, 2013.  "Cathy Rigby is Peter Pan" the marquee at the Palace proclaimed.  Not "in." Not "as."  "Is."  At 60, Rigby is literally decades too old for the part, but you'd never know it in her athletic, high-flying performance.  She's been playing this part off and on for over twenty years and she's clearly got it down pat.  Nicely acted and sung and with plenty of charm, she worked hard to make sure the audience enjoyed themselves. The show looked good and sounded good with a terrific orchestra in the pit to play the charming, underrated score, but the show itself remains a bit clunky and sometimes, well, dull,  with a very slow beginning that clearly could use some judicious trimming. The talented Brent Barrett was given "also starring" status, but make no mistake: this was Rigby's show.  She and her husband own this production and it's all about the star. Barrett, although he sang wonderfully as always, played the usually scenery-chewing Captain Hook with an odd restraint.  It was as though the director deliberately reigned him in so as not to detract focus from the star. A mistake in my opinion since Hook provides the fun for the adults with all the part's winks and innuendos. The male Darling children were played by girls.  Why? And at least one of the Lost Boys was played by a female. Again, why?  If you don't want age-revealing pit hair to show, costume the actor in a tee-shirt instead of a tank top. It's the Lost Boys, not the Lost Boys and Girls. Odd.  Kim Crosby as Mrs. Darling did what she could with the thankless role.  It was too bad the house was only half full. We enjoyed it. - at the Palace Theatre, Chicago 

Back to sorting.  See you soon!!