MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 12: THE TOP TEN – #7

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 12

THE TOP TEN – #7

It's a tie! One is a long-time favorite; the other a show that formerly was among my top twenty-five, but after seeing a chamber-sized version of it in London, the show shot without hesitation to the #7 spot. Hence the tie. And here they are.

# 7: 110 IN THE SHADE  – Book by N. Richard Nash; Music by Harvey Schmidt; Lyrics by Tom Jones

Composer Harvey Schmidt and his lyricist partner Tom Jones are synonymous with the world's longest-running musical, the timeless The Fantasticks, which is still delighting audiences around the world, and, remarkably, almost continuously in New York City, with a break of only four years, since it opened at off-Broadway's Sullivan Street Playhouse, where I first saw the show, in 1960. It just recently announced a closing date for their historic run. They need never write another melody or another set of lyrics in their lives. Perhaps because of the phenomenal success of The Fantasticks, it is surprising that their actual theatrical output, in comparison to other composer/lyricist teams, is not especially large. An off-Broadway Philemon, rarely done, which was, remarkably, produced at Fort Sheridan, IL, an unusual choice for an Army base theatre; two Broadway-bound musicals which closed out-of-town, Collette, featuring Diana Rigg, and Mirette, both shows unknown today; and Grover's Corner, Our Town set to music and popular among regional theatres at one time. Their Broadway catalog consists of only three original shows, 1966's very commercial, but quite wonderful I Do! I Do!; 1969's avant-garde musical fable, Celebration, which was short-lived, but with a score that ranks among my favorites, and, incidentally, a show I performed in at Barat College way, way back in 1972; and their 1963 Broadway debut, the beautiful 110 in the Shade.

N. Richard Nash's 1954 play, The Rainmaker, was never a Broadway smash, recording a modest 125-performance run. A movie version starring Katharine Hepburn, as the plain Lizzie Curry, was a popular 1956 release. It's not a "big" property. It's about people, the struggle to be content with who you are, the search for love, the need to belong. Nash adapted his play for the musical and Schmidt and Jones were hired to provide the score for their Broadway debut. As a book show, it plays well today, despite being firmly a show of its era, with a comedy sub-plot of the virginal youngest brother and his equally virginal girlfriend, which provides charm, but seems tacked on. It's Schmidt and Jones' incandescent score which sends this modest musical into musical theatre heaven. 110 in the Shade, like its source material, still isn't a "big" show and that's part of what makes the show so magical. It's still about people. It's still about dreams. It's still about faith in yourself. It's still about love and belonging. And the score….ah, that glorious, glorious score. I have been in love with this show since I first saw a production of it in 1968 at Evanston Township High School. "Another Hot Day" frequently opened our set when best friend Pat and I would perform for clubs and summer band concerts, and "A Man and a Woman" and "Simple Little Things" were usually part of the programs as well. I own the score. I have three CD versions of the show featuring Inga Swenson, Karen Ziemba, and Audra McDonald giving different, yet all valid, vocal takes on Lizzie. 110 opened in the same season as Hello, Dolly! and Funny Girl so, like the delightful High Spirits, it was overshadowed by those two powerhouse shows. It carved out a modest 330-performance run, enough of a run to make a profit. It may not be the most popular show in Tams-Witmark's library, but it certainly is one of the most lustrous. 

February, 2003. On a layover in Washington, I went straight from the airport to the theatre. This was the first show I saw at the wonderful Signature Theatre, one of the best regional theatres in the country. This was also the first professional production I saw of 110 in the Shade. I was definitely not disappointed. Back in the early 60s when 110 was first produced, big casts were the thing for musicals and the modest 110 boasted a cast of thirty-eight! With Schmidt and Jones participation and cooperation, director Eric Schaeffer trimmed away the casting fat, added new orchestrations by Jonathan Tunick to highlight the excellent ten-piece orchestra, reinstated a cut song for Starbuck, and gave Lizzie a new song in Act One. In Signature's old space in a former auto garage, director Schaeffer staged his production, with its small cast of thirteen, effectively in thrust style, with nobody more than three or four rows away from the stage. In that intimate setting, Schaeffer and his talented cast, musicians, and designers were able to focus on the story and the characters. Jacqueline Piro's journey as Lizzie was filled with emotion, skill, and nuance and she sang Schmidt and Jones' score with a sparkling radiance. Matt Bogart's Starbuck was all alpha-male swagger, yet the smart reinsertion of "Evenin' Star," gave him a vulnerability that smoothed over some of Starbuck's über-masculinity. It didn't hurt that Bogart is one handsome stud with a powerful voice. I've always been a huge fan of the role of File and James Moye brought him vividly to life. It was a quiet, sensitive portrayal that had the audience rooting for him from the start. From start to finish, a lovely show, complete with rain at the end! – at the Signature Theatre, Arlington, VA

Sidebar: Years later Bob and I would see James Moye step in as Oscar Jaffe for Peter Gallagher in On the Twentieth Century during an early preview. He was sensational…and a better singer than Mr. Gallagher.

May, 2007. Audra McDonald as Lizzie? Co-starring with the legendary John Cullum? Yes, please. Using Jonathan Tunick's gorgeous orchestrations from Signature's production, with assured direction by Lonny Price, musical direction by the brilliant Paul Gemignani, and a stunning set and costume design by Santo Loquasto with atmospheric lights by Christopher Akerlind, this altogether beautiful show filled Studio 54 with humanity and warmth. Signature's production had a cast of thirteen; Roundabout's was slightly larger at seventeen, but maintained an intimacy that let the characters and story shine. This was an exemplary cast in all respects. Among the ensemble members were Colleen Fitzpatrick, Valisia Lekae Little, Mamie Parris (!), Betsy Wolfe, Will Swenson (!!), and Michael Scott, a Broadway vet who was involved with Such a Pretty Face, my off-Broadway showcase, early in its development. Bobby Steggert and Carla Duren were so damn cute as Jimmy and Snookie, you forgot how extraneous their plotline is. John Cullum was a warm and tender father. Christopher Innvar gave a, for lack of a better word, niceness to File that was refreshing. Steve Kazee was a seductive, sexy Starbuck, despite an unexplained biker vibe, with the pipes to match. But it was the heavenly Ms. McDonald whose portrayal of Lizzie was both wise, yet with a touch of cynicism, and romantic, with a dose of reality. She gave the part some comic touches that kept Lizzie from becoming maudlin, and what she did with the score is nothing short of a wonder. The added song for Lizzie was dropped for this production. (I don't really remember the number all that well, except I was wondering why it was there. It wasn't a bad song, just not needed.) The joys of this gem of a musical were on full display in this wonderful production. – at Studio 54, New York

July, 2010. "Why would you travel to Orem, Utah, of all places, to see 110 in the Shade?" you ask. "Give me one good reason." I can do better. I can give you two good reasons: Audra McDonald and Will Swenson, by this time a couple, performing in a special two-week fundraising engagement for the Swenson family "store," the Hale Center Theater Orem. Let's face it, the prospect of seeing McDonald recreate Lizzie Curry in an intimate, 300-seat in-the-round theatre was simply not something I could pass up, so I ordered tickets literally moments after they became available to the public and was rewarded with second row seats. I could literally touch McDonald when she played some of her scenes. Luminous as always, she tailored her performance to the space and took care not to overwhelm the production, but still delivered an all-out star turn. When she sang those final notes in "Old Maid," you could literally feel the audience holding its collective breath and then bursting into rapturous applause as the first act came to a close. A year earlier, we saw Swenson in his Tony-nominated performance as Berger in Hair, and he's a sexy, talented man. Here, he's still sexy and still talented, and his easy rapport with McDonald was undeniable, but I felt his performance was a bit muted, affecting, but muted. (For the record, both Steve Kazee and Will Swenson were excellent Starbucks, but neither gentleman quite matched the animal sexiness and vocal prowess of Signature's Matt Bogart.) Nicely staged, beautifully lit and effectively designed, this was not merely the Audra and Will show. They were supported by a cast of eighteen actors who, without exception, met the high bar set by McDonald and Swenson. One criticism: the show used a recorded track, but one that was actually controlled by the conductor, which gave the actors the leeway to actually perform the numbers, but which, at times, sounded undernourished and tinny. The Hale Center Theater Orem itself is comfortable and a lovely venue to see a show. We were enchanted. – at the Hale Center Theater Orem, Orem, Utah.

Sidebar: As I mentioned above, the HCTO is the Swenson family "store," part of a small theatre chain founded by Will Swenson's grandparents. Will's brother is one of the managing directors. Now, we wore our Roundabout 110 tee-shirts at the performance. During the intermission, a man introduced himself as Will's brother and asked if we'd seen the show in New York. I said "yes" and told Cody Swenson that Bob and I had come from Chicago to Orem specifically to see Audra and his brother. I congratulated him on a terrific show so far and returned to my seat. Later, hanging out at the stage door, some of the ensemble came out, saw us in our 110 tees, and said, "Are you the Chicago boys?" Huh? Apparently, we had become somewhat of backstage celebrities. Charming young men and women, many going into their senior year at Brigham Young University. "Will and Audra want to meet you," said one. And so we met them. Lovely, gracious folks and just genuinely pleased we would come such a distance to see them and support the theatre. A wonderful ending to a wonderful evening.

Really intimate space. Much smaller than Marriott in Lincolnshire.

But....lots of lights.

Jeff with Jared Young. He played Jimmy Curry.

Will...handsome and personable.

Jeff and Audra. I resisted the temptation to genuflect.

Bob with members of the really talented ensemble. Look at those young faces, not yet scarred and disillusioned by the industry. I wonder how many of them are still acting?

 And the newest member of the Top Ten Club….

# 7: TITANIC – Book by Peter Stone, Music and Lyrics by Maury Yeston

(revised) The pre-opening buzz was lethal. The technical problems were legion, frequently stopping the show mid-performance. Preview walkouts were numerous. The ten-million-dollar show didn't have an iceberg's chance in hell and most critics and theatre columnists predicted the show, like its namesake, would sink at its opening performance, if it made it there at all. But despite a legendarily hellish preview period, vicious pre-opening press on a daily basis, and neutral-to-negative notices, Titanic proved everyone wrong by winning five Tony Awards two months later, including Best Musical, Best Book of a Musical and Best Original Score, and ended up with a respectable, if, unfortunately, unprofitable, run of over 800 performances. It perhaps will never again receive a production like its original one, and maybe that's a good thing, but over time, the show has proven that first impressions can often be wrong and has become somewhat of a cult musical, admired for both its faults and for its magnificent virtues. This is not a perfect show. In the original production, it seemed long with too many characters, too many, at least, to keep track of and care about. In its original production at the Lunt-Fontanne, the storyline of 2nd Class passenger Alice Beane bordered precariously on being unsympathetically annoying. The character became less grating in the joyous staged concert version, but it took the scaled-down chamber version we saw at London's Charing Cross Theatre to finally put Alice Beane into focus. She's still not the most sympathetic character, but, you understand her almost desperate attempt to be more upwardly mobile than she is. Finally, I got Alice Beane. The number that I'm sure the creatives thought would be the takeaway hit song, "Still," while certainly touching, has never particularly moved me. But then…ah, but then. Let's be honest. The sinking of the Titanic is still, over one hundred years later, a story that intrigues and captures the imagination of so many people. It's a human story of greed, hubris, ambition, love, bravery and courage that still resonates. Titanic's story shows us people at the best and at their worst. We, perhaps despite ourselves, get involved with this familiar story. We know some of our favorite characters will die, yet we still want the outcome to be different. And at the end, we are moved. And that's primarily due to Peter Stone's book and Maury Yeston's magnificent score. If you haven't listened to the cast recording lately, spend some time listening to the musical glories of this show. There are many treasures there, but none as great as the opening sequence of music that is the most thrilling opening of any show I've seen. This show beat the odds. For that, we should be thankful.

Sidebar: For the record, my other top favorite openings are "Ragtime" from Ragtime, "Willkommen" from Cabaret (1998), "Walk Him Up the Stairs" from Purlie and the opening of Follies up to and including "Beautiful Girls."

(edited from an earlier post)

December, 1998. As mentioned earlier, Titanic pretty much confounded its critics and not only won a bunch of Tony Awards, but also acquired a sizeable number of devoted fans and embarked on a very respectable two-year run. We saw this about twenty months after its opening. By then the show had long settled into its berth at the Lunt-Fontanne (sorry…I'll stop the shipboard references now) and the largely replacement cast of seasoned Broadway pros brought this sweeping tale to life. In the reviews, much was made of the intricate, yet not particularly opulent, scenic design…I suspected most reviewers were disappointed it wasn't more luxe...but I found the use of levels to reflect the various decks and the shipboard hierarchy to be effective. Most impressive was the scenic coup de théâtre in the First Class Smoking Room as the hydraulics worked overtime and furniture and actor Matthew Bennett, playing Titanic's architect, Thomas Andrews, tilted and slid offstage representing the ship as it sank. Really quite brilliant. Least impressive, the scenic "what-the-hell-were-they-thinking" use of a miniature Titanic zipping along the upstage wall at the conclusion of Act One, then disappearing offstage with a crash, symbolizing, I assume, the collision with the iceberg. Really rather silly and it elicited more than a few laughs, not the reaction the designers were aiming for, I suspect. In an otherwise elegant production, it was quite cheesy. The opening sequence soared; Martin Moran and Clarke Thorell shone in their duet "The Proposal/The Night was Alive;" John Cunningham provided years of Broadway experience as a noble Captain Smith; Adam Pelty made the most out of the eerie and prophetic "No Moon;" Jennifer Piech, Theresa McCarthy and Emily Loesser, daughter of composer Frank Loesser, were notable and feisty as the three Kates. Unfortunately, I felt Kay Walbye's Alice Beane was cloying and how much of that had to do with the performance itself and how much of it had to do with the writing of the part is debatable. I will say, however, that in the staged concert version, the character came across better. For the record, the Lunt's balcony is painfully tight. Poor Bob's leg were crushed. We took empty seats in the orchestra for Act Two. – at the Lunt-Fontanne Theatre, New York

(edited from an earlier post)

February, 2014. Manhattan Concert Productions presented this. These are the same folks who produced last season's breathtaking concert edition of Ragtime. Last year's performance bordered on a religious experience; this year was no different. It was simply magnificent; a feast for the ears and the soul as Peter Stone and Maury Yeston brought the legendary tragic saga of the ill-fated R.M.S. Titanic to a human level, devoid of the special effects and stereotypes of James Cameron's much-lauded film. (Lest you get the wrong impression, I quite like Mr. Cameron's film. But it's often more spectacle than story.) From Captain to First Class Passenger to the Bellboy, director Don Stephenson and music director Kevin Stites gave us characters we may have loved or hated, Bruce Ismay was really a despicable human being, but we were interested in all of them and cared about many of them. This is not a perfect show. Not every number lands: the Strauses' "Still," ably sung by Alma Cuervo and Ron Raines, tugs at our emotions, but doesn't quite touch us the way the authors intended; "I Give You My Hand," a beautiful song cut during Broadway previews, is pretty to listen to, but seems grafted onto the proceedings; "Mr. Andrews' Vision," while powerful, perhaps could have better made it's point in a frantic spoken monologue. But, then, ladies and gentlemen, there is that opening sequence: a glorious experience that ranks as one of musical theatre's most singular opening numbers. According to the program, seven pieces of music make up this opening, ending with the goosebump-inducing "Godspeed Titanic," which also brings the show to its triumphant conclusion. It's a marvel of acting, singing, and, even in this concert setting, staging. Like last year, a 250-strong chorus added an extra thrilling element to the ensemble numbers. Many of the original cast members returned to reprise their roles and they were all greeted with enthusiastic "welcome home" entrance applause. This remarkable cast included, in addition to Ms. Cuervo and Mr. Raines, Michael Cerveris, David Constabile, John Bolton, John Cunningham, David Garrison, Jill Paice, Michele Ragusa, Ryan Silverman and other talented Broadway pros. Top honors, though went to David Elder as Frederick Fleet with a haunting "No Moon" to close Act One, Joseph Castinado, a high school junior, whose excitement at being in this production in the role of Bellboy was positively contagious and totally endearing, but most especially to Brian d'Arcy James (Frederick Barrett) and Martin Moran (Harold Bride) whose duet of "The Proposal/The Night Was Alive" stopped the show cold and when they appeared together at bows, brought the already loud and enthusiastic applause to a deafening roar of cheers and bravos. My good pal, Gina, joined me and she remarked that she'd seen nothing quite like this. I agree. - at Avery Fisher Hall, Lincoln Center, New York

May, 2016. This is the production that catapulted Titanic from Honor Roll status to my #7 show. A textbook example of "less is more," this was the second preview of a return engagement of 2013's ecstatically-received Southwark Theatre's chamber-sized Titanic. This is one of my favorite shows and this intimate version, minus the bells and whistles of the Broadway original, told its tale with almost heartbreaking humanity. Spare in design, yet lit to death, to great effect, the seven-piece orchestra (2 keyboards, a violin, a viola, a cello, a bass and percussion) was rich and full. The deceptive sparseness of the production (the set was simple, but so very versatile) let director Thom Southerland concentrate on the story and its characters. Sometimes bells and whistles and fancy stuff get in the way of storytelling. The cast of twenty worked with clarity and focus and brought this familiar story to life. With vivid performances and thrilling singing, I have to admit that even this old curmudgeon was teary-eyed several times throughout the evening. Absolutely sensational. Godspeed, Titanic! - at the Charing Cross Theatre, London

And so we come to the end of another installment. See you soon!

© 2017Jeffrey Geddes

"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