KENTUCKIANA KAFFEEKLATSCH
(formerly known as Alphabet Soup)
vol. 2
More
random files. These are all from the second half of the alphabet. A by-the-book
musical starring a Big Star, and earning said Big Star her second Tony Award,
and based on a classic 1942 film starring Spencer Tracy and Katharine Hepburn?
Check. A rarely-performed Ibsen that had me mesmerized? And, yes, I said Ibsen.
Check. A musical about Oz and witches, based on a best-selling novel? Check. An
insanely funny, very British play about snooker? Check. A
comedy hit in London that had me giggling with glee on the Isla Verde beach,
but which, oddly and unexpectedly, didn't translate as well as I thought it
would on the Chicago Shakespeare stage? Check. A musical about some devilishly
entertaining goings-on in Eastwick, Rhode Island, based on the hit movie and
novel of the same name, that has, puzzlingly, yet to receive a Broadway
production and likely never will? Check. Fix a cuppa and let's begin!
WOMAN OF THE YEAR – Arie Crown Theatre, Chicago
Chicago critics quite liked the show if the quotes are any indication.
An "all new production"? Guess the powers-that-be felt Messrs Charmoli and Moore's contributions weren't good enough. Good thing their agents, and, most likely, unions, insisted their work bringing the show to Broadway to begin with deserved full credit. For the record, Robert Moore died in May, 1984. Did that have something to do with his being replaced for the tour?
The New York marquee. There was some sort of logo after all (Katz, the Cat).
The font carried over to the New York program, but not Katz. As in Chicago, it's all about Bacall. (I didn't see the show in NYC. Somebody gave me this program.)
February,
1984. It would be completely understandable if one confused Woman of the Year with Applause. Both are based on films, Woman of the Year and All About Eve, respectively; both are
about strong, successful women at the top of their respective careers who want
to throw it all away to have a man in their lives (Applause's Margo Channing even warbles in the show's final minutes that "something greater" than her career is "being to
your man what a woman should be." That ish-inducing lyric courtesy of
Lee Adams, who really should have known better.); both won
multiple Tony Awards in relatively weak seasons; both shows start off with its
leading lady at an awards ceremony; WOTY's
"One of the Boys" and Applause's
"But Alive" are virtually the same song; and perhaps most
importantly, both starred the same Tony Award-winning leading lady, Lauren
Bacall. Now this isn't to diss WOTY,
and none of the above mattered a whit to the audience who filled the horror
known as the Arie Crown Theatre because when all was said and done, WOTY was a fun, energetic, fast-moving,
vastly entertaining, and solidly professional piece of escapism that had the
very good sense to have Lauren Bacall as its lead. Now, the redoubtable Ms.
Bacall's take on Margo Channing and Ms. Bacall's take on Tess Harding were
pretty much the same, which is not to say anything about anything really,
because you paid your money to see the glamour and sophistication that was
Lauren Bacall and that's what you got … in spades. Peter Stone's book, which
followed the movie, but wasn't a slave to it, got the job done. Worth a Tony?
No, but the competition was weak. John Kander and Fred Ebb's score fared better
with a tuneful collection of tunes that kept the evening rolling to its
conclusion. The score is second drawer Kander and Ebb, but second drawer Kander
and Ebb is better than many songsmiths' top drawer, so perhaps that's a moot
point. Again, worth a Tony? In a stronger season, no; in the 1980-1981 season,
it was the best of a weak lot. Harry Guardino, a star in his own right, though
nowhere near Bacall's status, was engaging in a basically thankless role. The
large supporting cast and ensemble were all pros. Marilyn Cooper, a Tony winner
for Featured Actress in a Musical for this show, almost stole the show from
Bacall in her brief appearance late in the musical's second act as Bacall's
ex-husband's wife. Bacall and Cooper's duet, "The Grass Is Always
Greener," brought down the house and was the highlight of the evening.
Bottom line, though, the show was all about Lauren Bacall. And Lauren Bacall
delivered. The glamour. The sophistication. The voice. The looks. The superb
timing. If the material given to her wasn't always first rate, she never let
her audience know it. She was the reason for Woman of the Year and she knew it. Today we have Patti LuPone,
Bernadette Peters, Betty Buckley, any number of sensational and talented Broadway
leading ladies. What we don't have is a Lauren Bacall. – at the Arie Crown Theatre,
Chicago
WOTY
and the Tonys: It's no secret that the Tony Awards aren't
always won because the winners are the best in their categories. Actually,
this is true with all awards contests. Sometimes sentimentality plays a
part. Sometimes the winners are current Flavors-of-the-Month. And sometimes
it's because the winner is the best of an unimpressive lot. Take the 1980-1981
season, Woman of the Year's season. The David Merrick/Gower Champion smash 42nd Street won, unsurprisingly, the
Best Musical Tony in a field that included Sophisticated
Ladies, Tintypes, and Woman of the
Year. In this case, the other nominees really didn't have a chance over the
enormous sentimental value attached to the death of Gower Champion on the day his
final show, 42nd Street, opened on
Broadway. (And let's be fair here. 42nd
Street is quintessential musical theatre and probably would have won in any
season.) But WOTY walked away with
four Tonys, two more than the Tony-winning Best Musical, two performance Tonys
(for Lauren Bacall and Marilyn Cooper) and two creative ones for book and
score. For Best Book, WOTY's
competition included 42nd Street,
which was less of an actual character-driven book and more of a device to get
to the next song, Tintypes, and,
curiously, The Moody Shapiro Songbook,
a one-performance flop. The best of the lot, Peter Stone collected a Tony for WOTY. For Best Score, Kander and Ebb
were up against Charlie and Algernon
(17 performances), Copperfield (13
performances), and Shakespeare's Cabaret
(54 performances). Again, the strongest in a weak field, Kander and Ebb
collected their second, of three, Tony Awards for Best Score. (Their other wins
were for Cabaret and Kiss of the Spider Woman, both superior
scores.)
ROSMERSHOLM – Duke of York's Theatre, London
No crowding around the stage door at the Duke of York's. The security folks kept everything civilized.
The graphic is stunning and haunting.
The exquisite set. The detail was amazing.
May, 2019.
Who would've thought that an 1886 play written by a brooding Norwegian could be
so socially, morally, and politically relevant, especially in 2019 with Donald
Trump infecting the very lifeblood of the United States, a so-called leader
whose bile was felt across the globe. Not one of Ibsen's more familiar works, I
had never heard of this play until it was recommended to us by London friends,
acquaintances of star Tom Burke. It's a play about the liberal left and the
conservative right, about the desire to change and yet incapable of doing so,
the desire to look forward, yet shackled by the past. The play may have been
set in the 19th century, but in Duncan Macmillan's adaptation, Rosmersholm was vibrant and current.
This was an exquisite production, faultlessly directed, and acted with
conviction and honesty by the entire cast lead by Tom Burke, Hayley Atwell, and
Giles Terera. And when the stage flooded with water at the play's end? Simply
no words. Thrilling theatre. – at the Duke of York's Theatre, London
WICKED – Oriental Theatre, Chicago
January,
2006. If you had gone to a performance of Wicked
expecting *a musical version of Gregory Maguire's novel Wicked, upon which the musical is based, you would have left the
theatre quite likely entertained, but also quite likely disappointed. For in
converting Maguire's complex and nuanced political, social, and ethical
commentary on good and evil into a two and one-half hour musical, including
songs, book writer Winnie Holzman jettisoned most of what made the novel great
and instead gave the book's plotlines very broad strokes and wrote a musical
that is essentially the story of two girls, a story that resonated with the
ticket-buying public, in spite of reviews that would have closed a lesser show
within a week, and continues to resonate with them as Wicked, even after over seventeen years on Broadway, continues to
rack in sell-out or near sell-out sales week after week. Yes, the show is
entertaining, ridiculously so. But it's also calculated to the nth degree and
without a lot of heart or warmth. It's slick as snot, professional to the max,
and empty. Now, I'll freely admit, we had a great time at Chicago's sit-down
production, especially since we were in some terrific house seats, courtesy of
Bob's friend of many years, Gene Weygandt, who was playing the Wizard. Chicago
favorite Rondi Reed was playing Madame Morrible, and the two pros seemed to be
having a blast in their respective roles. If neither Kristy Cates as Elphaba nor
Stacie Morgan Lewis as Glinda blew us away, they were both more than
satisfactory and gave the material more care and attention than it deserved.
Like I said, I was entertained. So was Bob. So were our two boys. But is it a
good show? Not really. For all the glitz and glam, there's a reason for the bad
reviews, including a really unremarkable score by Stephen Schwartz. However,
all concerned are laughing their way to the bank, and have been since 2003, so
what do I know? Defying gravity? How about defying critics? – at the Oriental
Theatre, Chicago
Wicked
in Chicago: A
sold-out six-week engagement led immediately to a sit-down run, the likes of
which had not been seen in Chicago before or since. It ran just over 3 ½ years
and, in all likelihood, could have continued its run for at least another 3 ½
years. (By comparison Hamilton's
Chicago residency was a mere 3 ¼ years.) Touring productions have returned
twice to Chicago for short, but sold-out runs. The musical, in New York, in
London, and on the road, shows no signs
of slowing down, at least pre-pandemic.
It may well run until the next millennium.
THE NAP – Friedman Theatre, New York
Alex and I having a bit of a chinwag after her performance. She was magnificent and hysterically funny.
September,
2018. Pure farce, ridiculous and funny as only the Brits can do. It wasn't
groundbreaking, but I learned a bit about snooker and, well, the more you know,
and the ensemble of terrific farceurs assembled on the Friedman stage all seemed
to be having a grand time entertaining us. Lots of big scenery, efficient
staging by the always-reliable Daniel Sullivan, and even a bit of audience
participation! The divine Alexandra Billings, in her Broadway debut, was
absolutely hysterical as, wait for it, Waxy Bush. Her backstory in the play was
a highlight. Brava! Lots and lots of laughs and a terrific way to spend a
couple of hours. Props to all. And a low bow to the Manhattan Theatre Club for
presenting this gem. We had a grand time! - at the Friedman Theatre, New York
NELL GWYNN – Chicago Shakespeare Theater, Chicago
September,
2018. Preview. Luxe set, sumptuous costumes, atmospheric live music, effective
lighting, and solid acting throughout were all derailed by static, dull
direction by Christopher Luscombe that basically ignored 2/3 of the house,
especially the right side where we were seated, and staged the show as though
the Shakes' Courtyard Theater were a proscenium house. This meant we missed a
lot of facial expressions, gestures, and saw a lot of backs. Scarlett Strallen
as the title character was charm personified, though her cockney was a little
too thick at times and I missed more than a few of her lines. Big props go to
Natalie West as Nancy in a lovely performance full of sardonic humor and
attitude. The singular Hollis Resnik, in two small roles, almost stole the show,
and just for the record, her cockney was intelligible throughout her scene as
Nell's mum. I read this play the previous February on the beach in Isla Verde
and absolutely loved it. So much so that I told Bob he simply had to direct this ASAP. I'm sad to report
I wasn't much in love with it in its American premiere at the Shakes. Perhaps
it's one of those pieces that reads better than it plays. But I suspect, in a
proscenium house or with a director who knew how to stage in a thrust
environment, I would have felt differently. Didn't hate it, but… - at the Chicago Shakespeare Theater, Chicago
THE WITCHES OF EASTWICK – Theatre Royal Drury
Lane, London
January,
2001. The 1987 film gave its four leads (Jack Nicholson, Cher, Susan Sarandon,
and Michelle Pfeiffer) an opportunity to engage in some very satisfying
scenery-chewing. Based on the film and the John Updike novel, the engaging
musical version likewise gave its four leads, Ian McShane, Lucie Arnaz, Maria
Friedman, and Jocelyn Hawkyard (filling in for Joanna Riding), ample
opportunities to chew some scenery, of which there was plenty of on the Drury
Lane stage, and even let its leading ladies fly, a la Peter Pan, over their
audiences at the end of Act One. Talk about bringing down a curtain! Ian
McShane, as Daryl Van Horne, in an eagerly-awaited return to the West End after
thirty years, was at least ten years too old to be an irresistibly sexy devil,
but he attacked the role with vigor, delight, and unabashed sleazy smuttiness
that smoothed over his tentative musical comedy skills. The Misses Arnaz,
Friedman, and Hawkyard were all wonderful, individually and together, with
Arnaz, in her West End debut, especially enchanting. Rosemary Ashe, as Felicia,
the town gossip and guardian of Eastwick's morals, came very close to stealing
the show in a delicious performance. Production values were top-notch, the
direction and choreography were crisp and efficient, John Dempsey's book and
lyrics and Dana P Rowe's score were better than many musicals and reminiscent
in construction of the golden musicals of yore. The "Dirty Laundry"
number was as good a production number as one could hope for. We enjoyed it
immensely and the cast album is a delightful listen. – at the Theatre Royal
Drury Lane, London
Hello, Broadway? The
Witches of Eastwick
received mixed to positive notices on its London opening, especially positive
for its leading ladies. But the 2100-seat Drury Lane proved too large to bring
in profitable houses week and after week, so after nine months, it received a
scenic slimming-down, a few revisions here and there, and reopened at the
1200-seat Prince of Wales Theatre, overall a better fit for the show. Popular
enough for a respectable seventeen-month run, it nevertheless closed at a loss.
It received its American premiere in 2007 at Arlington, Virginia's Signature
Theatre, and despite fine reviews and rumors that the show was Broadway-bound,
it never made it there, and has for all intents and purposes disappeared from
the American musical theatre scene. In fact, the only show of Americans Dempsey
and Rowe to have any real play in the States has been their late-1990s Zombie Prom. But Broadway isn't the
be-all-to-end-all, and The Witches of
Eastwick has enjoyed a post-West End life that includes productions in
Australia, Russia, Brazil, Poland, Norway, Austria, Slovenia, the Czech
Republic, a couple of UK tours, and a short run in 2014 at Maine's Ogunquit
Playhouse. Broadway remains elusive, probably always will, and The Witches of Eastwick doesn't figure
on America's musical theatre radar. And that, folks, is America's musical
theatre's loss.
And that's it for now. Until the next
time, stay safe and social distance!
© 2021 Jeffrey Geddes
