"P" SOUP: A WHOLLY-OWNED SUBSIDIARY OF ALPHABET SOUP

"P" SOUP

A WHOLLY-OWNED SUBSIDIARY OF ALPHABET SOUP

A musical behemoth and its more modest half-sibling. A Gershwin masterpiece "reimagined" for its latest Broadway outing. A slight, but happily entertaining musical with one of the best opening numbers ever. An over-produced musical version of a terrific Australian film. It's all musicals today. So get comfy and let's begin.

THE PHANTOM OF THE OPERA

 – Forrest Theatre, Philadelphia

July, 1995. This is from the Variety review dated January, 26, 1988: "The Phantom Of The Opera is romantic musical theater hokum in the grand manner …and it justifies the feverish buildup that has given it a $16,500,000 advance. It’s good for a Broadway run of several years." (underlining mine) Several years, indeed. It may no longer be selling out with regularity, but, in October, 2016, as I type this, it's still running at the Majestic Theatre and has amassed over 12,000 performances. It is hands-down the longest-running musical in Broadway history and will likely remain so for a very long time to come, if not forever. The original London production recently celebrated its 30th anniversary at its original home, the Her Majesty's Theatre. It has spawned numerous touring companies in the United States and Canada (all Equity, thank you very much!), international companies around the world (it was especially popular in Germany), and an unpopular film version. Hugely popular. Irresistible plot. Buckets of money for all involved. And, frankly, a bit of a snooze. Don't get me wrong. As presented at Philadelphia's historic and beautiful Forrest Theatre, the Second National Company was a first-rate production all the way, from the sumptuous Maria Björnson and Andrew Bridge design, to Gillian Lynne's spot-on musical staging and choreography, to seamless direction by the legendary Harold Prince, to the lush singing and professional acting by the company, starring Rick Hilsabeck (the Phantom), Sarah Pfisterer (Christine), and a very young and handsome Jason Danieley (Raoul). For whatever reason, however, the show just didn't grab me. It was all a bit too melodramatic and over-the-top. Oh, Andrew Lloyd Webber's tunes are tasty enough, but everything lacked a depth. Not the actors fault. Not the director's fault. Cliché as it may be, I put the blame squarely on the book by Richard Stilgoe and Lloyd Webber. It went for the obvious and despite everyone's best efforts, I didn't give a crap about any of the characters. And to top it all, the much-publicized chandelier-crashing-to-the-stage effect? In Philadelphia, the chandelier lurched its way to the stage where it landed with a thud rather than a crash. All very anticlimactic. The evening was enjoyable enough, but I'm at a loss to explain its runaway popularity. - at the Forrest Theatre, Philadelphia

Tidbits: The Forrest Theatre was a popular stop for musicals to tryout on their way to New York. The theatre's designer, Herbert J. Krapp, in a moment of brain fartdom, forgot to put dressing rooms in his design for the theatre. As a result, the dressing rooms are in the building across the alley, connected to the Forrest via an underground tunnel. Possibly its most infamous tenant was the tryout of the doomed Breakfast at Tiffany's. Tony Award-winning actor David Burns died of a massive heart attack onstage at the Forrest following his big number in Kander and Ebb's 70, Girls, 70 during the show's tryout there. Sarah Brightman, then Lloyd Webber's wife, was originally prohibited by Actors' Equity Association from recreating her role as Christine. Shouting matches and threats abounded, but it all worked out in the end, and she opened to modest reviews, most praising her voice and dismissing her acting. Original Phantom Michael Crawford won the Best Actor in a Musical Tony for being onstage for approximately twenty minutes or so. The Phantom of the Opera won seven Tonys at the 1988 ceremony, besting, shockingly, Into the Woods for Best Musical. (Into the Woods, however, would win the trophies for book and score.) And, finally, the Third National Company closed in Los Angeles in 2010 after nearly 18 years on the road. Now that's mighty impressive by any standards!

– Phantom Theatre, The Venetian Resort-Hotel-Casino, Las Vegas

Just "Phantom" on the cover.

'

Now it's "The Phantom of the Opera." Sorry for the blurriness. I tried to sharpen it up to no avail. Sigh.

Now it's "Phantom: The Las Vegas Spectacular."

I'm not sure why I have so many programs from this version.

What is in a name? Back to its legal name.

Yet another program. Is the show's name "Paris"? Huh?

February, 2008. This was marketed as Phantom – the Las Vegas Spectacular, but on the program's credit page, it's called, rightly so, The Phantom of the Opera. Trimmed down to a fast, intermissionless, 95 minutes, this was spectacular indeed. Produced in a theatre especially built for this production, it had more bells and whistles than you could count. And that famed chandelier really lived up to its rep in this version. What little subtlety was in the full-length version was jettisoned in favor of short scenes that set up the "big hit tunes." Backstory? Nope. Not gonna happen, but that's okay. You figure it out. The glorious design elements of the New York original were adapted for this theatre which was designed to make you feel as though you were actually in the Paris Opera House. Hal Prince (director) and Gillian Lynne (musical stager/choreographer) were on hand to make sure the production was on solid ground. It was well-sung and professionally acted, but at the end of the day, it was still The Phantom of the Opera. Enjoyable, yes. Memorable, not especially. – at the Phantom Theatre, Las Vegas

Sidebar: The streamlining of a 2 ½ + hour Broadway musical into a brisker 1 ½ hours is not new in Las Vegas, where audience attention spans aren't geared towards theatre. In the old days, these used to be called tabloid versions. It wasn't by any means a reflection of the quality since production values often mirrored the original and box-office stars were usually in attendance. Instead, it implied that the show's running time had been greatly shortened. This version was a huge success and played for over six years. When we saw it relatively early in its run, it was still featuring alternating Phantoms, Brent Barrett and Tony-winning Anthony Crivello. I can't find anything in my program, insert or otherwise, that tells me which talented gentleman was in the role the night we saw it, and I didn't write it down, duh!, but I'm pretty sure it was Mr. Crivello. We had our seats changed shortly after the performance began since the non-English-speaking folks behind us decided the theatre was a perfect place to eat their dinner and chat loudly while chomping down on their sandwiches. Apparently, basic theatre etiquette is not terribly familiar in Las Vegas. House management were truly customer focused, moved us to premium seats, and offered us comp tickets to a future performance. When this opened in 2006, Las Vegas was being promoted as Broadway West. It didn't happen. Ironically, in 2017, the re-tooled "new" The Phantom of the Opera will return in its full-length glory to Las Vegas' Smith Center. Guess Sin City just can't get enough of that masked man!

PHANTOM – Stage 773, Chicago

PHANTOM – Stage 773, Chicago

October, 2007. Living in the shadow of its flashier and more famous half-sibling (they share the same father, Gaston Leroux) is Arthur Kopit and Maury Yeston's Phantom. Quieter and more compelling than  the overblown Lloyd Webber creation, this version's focus is more character-driven and less on pretty, string-heavy warblings and theatrical special effects. Overall, this is a more satisfying version of the classic tale. Christine isn't portrayed, as she is in the Lloyd Webber version, as a simpering, somewhat vacuous woman. Here the Phantom actually has a name (Erik) and a real backstory. The scene between father and son late in Act Two is so good and so touching, it alone makes the show worth seeing. Porchlight Theatre's Phantom was beautifully sung and competently acted, but not always successful in the design and directorial departments. The chandelier was especially cheesy, and the set, while ambitious, didn't always work. Director L. Walter Stearns obviously cast his actors for their singing abilities more than their acting ones, and though no one was terrible, there were a few that just didn't rise to the occasion. Naomi Landman's Carlotta, for example, failed to mine all the delicious, legitimate scenery-chewing options the part offered, and her "This Place Is Mine," didn't quite land where it should have. Peter Oyloe as the Phantom (Erik), Lara Filip as Christine, and Jim Sherman as Carriere (Erik's father) all imbued the show with an unwavering professionalism and class. The overall scope of the show wasn't an especially good match for Porchlight's limited resources. It wasn't a perfect production, but, I'm so glad I saw it. – at Stage 773, Chicago

Sidebar: Phantom has had over 1000 productions, but has never been produced on Broadway, and, wisely, probably never will be. Maury Yeston has been quoted as saying that Phantom is "the greatest hit never to be produced on Broadway." It had its world premiere in 1991 in Houston. Robert Cuccioli (Jekyll and Hyde) and Kristin Chenoweth have played the roles of the Phantom and Christine in regional productions of the show. Curiously, Phantom received a lukewarm welcome by the Chicago critics, at least those that matter. (This was before Porchlight Theatre became an unassailable critics' darling.) Most of the criticism centered around the staging and the set.

PORGY AND BESS – Richard Rodgers Theatre, New York

The two major revivals and rivals next door to each other on 46th Street. 

January, 2012. Billed as The Gershwins' Porgy and Bess, as opposed to, what?, Jerry Herman's Porgy and Bess?, this was a streamlined and greatly shortened version of the Gershwins' iconic folk opera about life in Catfish Row, Charleston, South Carolina, in the 1930s. Director Diane Paulus and her collaborators famously said prior to its first performances in Cambridge that they were "excavating and shaping and modernizing the story," which are just fancy terms for the dreaded "reimagining." Normally, that is anathema to me, but I had no idea what the original was like, and frankly, I didn't care. The story onstage at the Rodgers was told cleanly and honestly. The songs were beautifully sung. The acting was strong. David Alan Grier was a slimy, detestable Sporting Life and surprised me with his strong vocal abilities. Phillip Boykin was a mesmerizing villain. Joshua Henry and Nikki Renée Daniels  were a solid Jake and Clara. (To show my Porgy and Bess ignorance, I had no idea that Clara sings "Summertime," and not Bess.) The curtain was very late at this performance and a last-minute announcement gave us the news that Norm Lewis had taken ill backstage and his cover, Nathanial Stampley, would be going on. We were told at the interval that this was Stampley's first time in the role. First time or not, he was wonderful, and was loudly cheered at his solo bow. And what can I possibly say about Audra McDonald except divine! She took the part of Bess and sent it into the stratosphere. Here's the deal, though. If Ms. McDonald wanted to sit in a chair and perform the phone book, that would be just dandy with me. It's so much more rewarding, however, when she's onstage in a challenging role. Mixed reviews greeted this production. The critics who loved the show praised this more economical version. The critics who didn't found the new changes detrimental to the intentions of the authors. But everyone agreed on one thing: Audra McDonald's Bess. – at the Richard Rodgers Theatre, New York

Sidebar: Stephen Sondheim created somewhat of a shitstorm when he wrote a letter to the New York Times in response to an article about the changes director Diane Paulus and her collaborators were making to Porgy and Bess, which had not yet begun its run at A.R.T. in Cambridge. He ended his letter by stating it wasn't his intention to pre-judge the show, but rather to point out what he felt was the arrogant attitude of Paulus, et. al. This was not a wise thing to do. You see, Paulus had brought a wildly-successful, Tony-winning revival of Hair to Broadway a couple of years earlier. She was/is the artistic director of the respected American Repertory Theater in Cambridge, Massachusetts. For many, Sondheim remarks were those of a pompous bully and despite any validity of his comments, it all came to bite him in the ass when the 2012 Tony Awards were handed out. You see, his Follies, in a stunning revival, opened in the same season as Porgy and Bess, and though nominated for 8 Tonys, it only won one (for Costume Design), and lost the important Best Revival of a Musical to, you guessed it, The Gershwins' Porgy and Bess, to use its new, convoluted moniker. Memo to Mr. Sondheim: "Steve, darling, don't publically diss your competition if you want to win some swag. Love, Jeff." 

PURLIE – McVickers Theatre, Chicago

September, 1972. "Walk Him Up the Stairs," Purlie's opening number, is one of the most exciting opening numbers in musical theatre. It ranks among my top five opening numbers, the others being the opening segments of Ragtime, Titanic, Cabaret (original, 1966), and Cabaret (Roundabout, 1998). For those first eight minutes or so, the venerable McVickers Theatre was turned into a joyous, gospel tabernacle that had the McVickers' Saturday night audience swaying, leaping to their feet and "amen"-ing, and bringing the entire opening moments to a close with thunderous, rapturous applause. Based on Ossie Davis' play Purlie Victorious, the musical adheres closely to the play's plot of a charismatic preacher's quest to buy Big Bethel, the country church in his hometown in segregation-era Georgia, and free his friends and neighbors, tenant farmers on a cotton plantation, from the clutches of Ol' Cap'n, the dyed-in-the-wool bigot who owns the plantation. Oh, and while he's at it, woo the girl of his dreams. It's all quite silly and all quite funny, yet there are also messages of equal rights and social justice. The characters are painted in broad strokes, more caricatures than actual characters, but Mr. Davis knew the subversive ability of comedy to make important social issues palatable to the general public, and these characters, even the Simon Legree of Ol' Cap'n, never get too deep or too evil. Broadway original cast members Sherman Hemsley (pre-The Jeffersons) and Helen Martin along with Broadway replacements Robert Guillaume (pre-Benson), Patti Jo, and Carol Jean Lewis (Laura Cooper at the performance I attended) headed the tour. While the performance never reached the ecstatic peak of the opening, it was very well-acted and terrifically-sung, with a book, co-authored by Ossie Davis, director Philip Rose, and lyricist Peter Udell, that was surprisingly strong, and a toe-tapping score by Gary Geld (music) and the aforementioned Peter Udell (lyrics) that had elements of gospel, jazz, blues, R&B, top 40 pop, and good old-fashioned Broadway theatre music, including "Purlie," "Big Fish, Little Fish," the hit "I Got Love," and my two favorites, "Down Home" and "He Can Do It." 1972 was a different time. Not necessarily gentler or more innocent, just different. Would Purlie's carefree desire to entertain, broad characters, and not-very-subtle dialogue seem out-of-place in 2016? Would a show written primarily by white folks, Davis being the exception, about black folks during the days of Jim Crow laws be both dismissed and ridiculed in our era of excruciating theatrical correctness? Purlie is a thoroughly entertaining, solid show, but I suspect it is languishing in Samuel French's catalog of musicals. – at the McVickers Theatre, Chicago

Sidebar: I saw Purlie in its second-to-last week of a three-month engagement. It would be one of the last, if not the last, stage show produced at the McVickers. (I wish I could verify this, but no luck on the Internet.) Even though Ossie Davis is credited as a co-author of Purlie, he did not actively participate in the musical, but because much of the dialogue was lifted directly from Purlie Victorious, it was felt he should be acknowledged as one of the book's writers. Both Robert Guillaume and Sherman Hemsley would have hugely successful careers on television. Purlie was Patti Jo's only Broadway appearance. She had a modestly successful career as a recording artist, was apparently very popular on the south Florida cabaret/nightclub circuit, and, sadly, died in 2007 at the young age of 60.  At the 1970 Tony Awards, Purlie was nominated for Best Musical along with Applause, that year's big winner, and Hepburn!, wait, I mean Coco. It would win two Tonys for acting.

PRISCILLA QUEEN OF THE DESERT – Palace Theatre, New York

Listed first among Priscilla's many producers is Bette Midler and she was a tireless promoter of the show during its run.

At London's Palace Theatre, Priscilla's marquee kicks marquee butt!

April, 2011. The Australian film, The Adventures of Priscilla, Queen of the Desert, is about two drag queens and a transgender woman, all a bit down-market performers, who are contracted to do a drag show in Alice Springs, and their adventures as they travel from Sydney to the Outback in their bus, Priscilla. It's a charming, funny, and touching film that ranks among my favorites and is one of the few movies I own. As done in New York, however, it was almost completely charmless, over-produced, over-amplified, under-enunciated, and surprisingly sloppy in more than one spot despite the valiant efforts of its three superior leading men who tried to add heart and characterization to this largely paint-by-the numbers, mechanical endeavor.  The chemistry between the three men was obvious, and that showed in the book scenes.  Come to think of it, the only parts of the show I liked were the book scenes. Hats off, therefore, to Tony Sheldon, Will Swenson, and Nick Adams. You deserved better!  Priscilla desperately needed an original score. The lack of one resulted in an absence of musical depth and didn't allow the players to grow their characters through song. The ladies in the cast did what they could with what little they had to work with. I suspect I may be in the minority here. The straight people around us were in rapture..."Those gay boys are SOOOOO much fun!!!" For me, however, it was a major disappointment. – at the Palace Theatre, New York

Sidebar: Priscilla originated in Australia and, on its way to New York, stopped off in New Zealand, London, and Toronto. With a performance run of 23 previews and a respectable 526 performances, it did not recoup its $15 million production costs. Like its fellow Australian import, The Boy from Oz, Priscilla tried to shoehorn its story to fit the pre-existing songs the show was using. In Oz it worked better, but only just. The Boy from Oz, however, made its money back even with a shorter run, and that was due to the presence of its charismatic leading man, Hugh Jackman. Even with its trio of fine leading performances, Priscilla never created the box office excitement that Oz had. I think I'll stick to the movie.

In fact, I think I'll watch the film now. Until next time….see some theatre!

© 2016 Jeffrey Geddes