SIMPLY "S" – Part 3

 SIMPLY "S" – Part 3
(a wholly-owned subsidiary of Alphabet Soup)

Concluding the series of shows beginning with the letter "S"… Part 2 ended with a revue of early Sondheim. Part 3 starts with the return to Broadway for one of its iconic stars in a hybrid musical/revue covering the entire Sondheim oeuvre. Also in Part 3 are: two of Christopher Durang's early one-acts; a sentimental, very traditional musical buoyed up by its magnetic star; the problematic musical version of Billy Wilder's masterpiece about the fleeting nature of fame; John Guare's fascinating, yet dated, study of "liberal" society; and lastly, an absolutely ridiculous, totally delightful musical spoof. Let's jump right in, shall we?

 SONDHEIM ON SONDHEIM – Studio 54, New York

March, 2010. First preview. Picture Side by Side by Sondheim updated to cover all of Sondheim's works. Picture Side by Side by Sondheim on steroids, with the Master himself commenting on his life and works via artistically placed onstage screens, courtesy of designer Beowulf Boritt, instead of the tart and always genial commentary of a Ned Sherrin or Burr Tillstrom. Then mark the occasion with the return to Broadway of legendary theatre icon Barbara Cook, with castmates the caliber of Vanessa Williams (classy, classy, classy), Tom Wopat, Leslie Kritzer, Norm Lewis, Euan Morton, Erin Mackey, and Matthew Scott. Heady stuff. And yet, for all that, the show lacked warmth, fun, the feeling of joy at performing this music. It was all done well, mind you, just remote and, frankly, impersonal. For a first preview, the show was remarkably assured and nothing outwardly seemed to go wrong. I wanted more Gypsy and less Passion; more Do I Hear a Waltz? and less Merrily We Roll Along; more Pacific Overtures full stop. The critics were divided with a couple of raves, a couple of pans, but most were mixed. (For the record, I was in the "mixed" category.) Highlight of the evening, hands down, was the juxtaposition of Vanessa Williams' "Losing My Mind" with Barbara Cook's "Not a Day Goes By." Thrilling. And one of the few moments of genuine excitement. Ms. Cook, overall, fared the best of all the performers with material that was carefully chosen to show off her magnificent skill set, closely followed by the wonderful Vanessa Williams and the endearing Euan Morton.  I enjoyed it, but, for my money, the more modest SxSxS is the better show. Sue me. – at Studio 54, New York.

About Ms. Cook: We went with our friend, Michael, who had never before seen Barbara Cook live. Prior to the show, he said he was eager to see it because he wanted to see what all the fuss was about re: Ms. Cook. At the interval, he said with awe and admiration, "Oh. Now I get it!" She was a marvel.
 

SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU/THE ACTOR'S NIGHTMARE – Wisdom Bridge Theatre, Chicago

May, 1982. Playwright Christopher Durang is very much an angry, bitter Catholic, or, if you will, ex-Catholic, recovering Catholic. Take your pick. Sister Mary Ignatius, etc., his diatribe about everything Catholic, decided to switch course midway through from being hysterically funny and dead-on pointed, especially to Catholics, ex-, recovering or otherwise, of which I am one, to being pointlessly violent and unfocused, and, well, that rather doomed the evening for me. The evening's opener, The Actor's Nightmare, fared better, but its premise got old quickly. This was the Midwest premiere of both plays, headed by acclaimed Chicago actor, Mary Ann Thebus, who did what she could with the material and how she was directed, but her performance, like Ignatius itself, became tiresomely one-note. Both plays have been popular with theatre companies and Durang's reputation grew as a playwright who could be counted on to never play it safe. I found the evening disappointing. Steve hated every minute of it. – at the Wisdom Bridge Theatre, Chicago

Tidbits: Christopher Durang would finally achieve mainstream success with his Tony Award-winning Best Play, Vanya and Sonia and Masha and Spike, a lovely play which is a far cry from the unrelenting anger of Sister Mary Ignatius. Wisdom Bridge Theatre, an Equity company and one of Chicago's premiere companies for many years, closed in the mid-1990s.  

SHENANDOAH – Arie Crown Theatre, Chicago

October, 1977. When Shenandoah opened at Broadway's Alvin Theatre on January 7, 1975, it was greeted with both love and dismissal. Fortunately for the show, one of the critics who gave Shenandoah some love, a rave-level love at that, was the New York Times's powerful Walter Kerr, one of the premiere and most astute critics of his time. (There are collections of his reviews. Read them. Fascinating stuff.) Although it never was anyone's first choice, in a lackluster season of musicals, the love it got was enough to propel it to a run of over 2 ½ years and a modest profit. Plus it won two Tony Awards that season, for Best Book, and more importantly, for John Cullum for Best Actor in a Musical. Based on the 1965 James Stewart-starrer film of the same name, Shenandoah wrapped its pacifist, anti-war message in a earnest, let's-leave-no-sentimental-trope-unturned package and brought it to Chicago with John Cullum leading a company of generically talented actors, each doing their assigned tasks competently, but without particular distinction. Thankfully, the show's darkest moment, when Cullum's son and daughter-in-law are murdered, took place offstage, which made it creepily effective. (Think The Diary of Anne Frank when you hear the Nazis coming up the stairs, but never actually see them. Brrrr!) The score by Gary Geld and Peter Udell was pleasant and tuneful, but, again, not especially remarkable, but had the great good sense to give Mr. Cullum opportunites to wow us with his vocal chops. In the end, it was John Cullum's compassionate and powerful performance that was the reason to see Shenandoah. Even in the inhospitable environs of Arie Crown, he gave the show a warmth and intimacy that, in that "theatre," and I use that term loosely, was often impossible to achieve. Was it the best show I've ever seen? Not by a long shot. But Cullum's performance was not to be missed. Like many "B" shows of the era, Shenandoah has more or less faded away.– at the Arie Crown Theatre, Chicago

Shenandoah bits: Two of Shenandoah's songs, "Freedom" and "We Make a Beautiful Pair," made their way into many of the musical programs that BFF Pat and I did for social clubs and organizations in the late 70s. Both good songs, and, bonus!, both utilized harmony, always a big crowd-pleaser at these events.

  - Shenandoah's lyricist and composer team of Peter Udell and Gary Geld had their longest Broadway run with Shenandoah, but probably their biggest success with the superior-in-every-aspect Purlie in 1970. Their third and final entry on Broadway was an ill-fated musical version of Look Homeward Angel, entitled Angel. It ran for five performances in 1978.

  - John Cullum would win his second Tony award in 1978's On the Twentieth Century, where he gave co-stars Madeline Kahn, Imogene Coca, and Kevin Kline a run for their money in a sensational over-the-top performance as Oscar Jaffee.  In his long and illustrious career spanning over sixty years (!!), he has consistently turned in remarkable and memorable performances that seemed effortless in their execution. This was made abundantly clear a few years back when Bob and I saw the pleasantly middling Waitress, where Cullum played the secondary role of Joe. His performance was quiet, gruffly gentle, and, frankly, the highlight of the evening. In a theatre world of flavors-of-the-month "stars," John Cullum is a theatrical treasure.

 

SUNSET BOULEVARD

 – Minskoff Theatre, New York

March, 1996. First NYC show with Bob! When I saw Betty Buckley in London in May, 1994, shortly after she'd assumed the part of Norma Desmond from originator Patti LuPone, I thought her performance, though vocally assured, was a little too suburban housewife and not enough grand dame. What a difference two years made! Oozing star presence and glamour, Buckley was every inch the "greatest star of all." Utilizing her arsenal of stage savvy, Buckley knew that her two "wow" moments musically were her two arias, "With One Look" and "As If We Never Said Goodbye," and she wisely saved the power pipes for those two numbers. After the first number, Bob whispered to me, "Okay, how does she top that?” After the second, he simply said with awe, "Oh!" She was magnificent. Her supporting cast of Alan Campbell (Joe Gillis), Alice Ripley (Betty Schaefer), and 1995 Tony-winner for Best Performance by a Featured Actor in a Musical, George Hearn, as Max Von Mayerling, were all excellent in their roles. But, here's the thing: as in London, the physical production tended to overwhelm the characters, the story, and the uneven score. It's hard to compete with a house that goes up and down on cue. And also as in London, as directed by the estimable Trevor Nunn, the characters were all somewhat odious creatures. I just didn't care about them. Norma's vain and delusional, Max is enabling both, Joe is a gigolo, and Betty's an adulterous opportunist. Not nice folks. Having said all that, though, one simply cannot deny the musical, thanks to its classic film roots, its considerable power and appeal. We in the audience roared our approval. Buckley for the win! – at the Minskoff Theatre, New York

 – Palace Theatre, New York

      

April, 2017. Remarkably, without all the design bells and whistles of the original, this "reduced" version, and "reduced" is a relative term since it was beautifully designed and lit to death, the focus was now strictly on the story without a levitating house to distract you. And somehow in the process, as directed by Lonny Price, who knows a thing or two about staging, uh, "concert" versions of musicals, all four of the principal characters became people you had empathy for. Sunset is still a flawed show, and some of the lyrics are just painfully awful, but it was now a more accessible show. Norma drives this bus, and Glenn Close still had what it takes, at 70, to whip that audience into an idolizing frenzy. Proud and vulnerable, she had us from her entrance. She was wonderful. Applause to Siobhan Dillon, Fred Johanson, and especially Michael Xavier, whose Joe Gillis was the best I've seen. He was also very hot in a skimpy blue swimming suit. Bonus!! Kudos to the talented ensemble and especially that divine 40-piece (!!!) onstage orchestra. Swoon! Bravo/Brava all!  - at the Palace Theatre, New York

SIX DEGREES OF SEPARATION – Barrymore Theatre, New York

Spare, stunning scenic design for Act 1.

April, 2017. John Guare's Six Degrees of Separation is widely considered to be one of the signature plays of the 1990s. The somewhat rambling story of a young black con artist claiming to be Sidney Poitier's son, offering the gullible upscale New Yorkers who are his victims to have his father cast them in a film version of Cats (Yes, I know, been done and we all know how that turned out!), was frequently very, very funny, but also, at times, maddeningly obtuse and verbose. The whole endeavor left one with a sour taste in one's mouth. That's the play itself. The production on display at the Barrymore was stunning to look at, directed with a dynamic flair, and cast pretty much to perfection. The kids alone were worth the price of admission. I'm a firm believer that one should never knowingly miss an opportunity to see Allison Janney onstage and she did not disappoint here. She was  the glue that held the show together in a welcome return to Broadway. If you're a Guare fan, this would have been your cup of tea. If, like me, you're not, it was still worth a visit. - at the Barrymore Theatre, New York

SOMETHING ROTTEN!

 – St. James Theatre, New York

August, 2015. First cousin to the superior Spamalot, this was both wildly derivative and wildly entertaining with two, not one, but two, flat-out showstopping numbers, one led by the scenery-chewing Brad Oscar and the other by the show's multitalented star, Brian d'Arcy James. How many shows can claim that? The second act faltered a bit, but the energy never flagged, and we laughed a lot, relished the musical theatre references, and overall had a great time. With nary a dud in the bunch, the absolutely top-notch cast, including a hysterically pompous and vain Christian Borle, John Cariani, the aforementioned Messrs. James and Oscar, Heidi Blickenstaff, Kate Reinders, Brooks Ashmanskas, Peter Bartlett, Gerry Vichi, Michael James Scott and an ensemble of talented folks, made the material soar. They all seemed to be having a blast doing the show, and their fun was infectious. The house at the St. James was on the smallish side (the mezzanine was less than half full), but we were a mighty vocal one. This show will make a killing on the regional/am-dram circuit. Terrific fun. - at the St. James Theatre, New York

 – Oriental Theatre, Chicago

July, 2017. I liked this show when I saw it in New York...a lot, but I LOVED it here in this top-grade Equity tour with an insanely terrific cast lead by Rob McClure. In a word, Mr. McClure was stupendous, and the reason this played better here than at the St. James. Funny and adorably dorky, he was so damn charming, he had the very enthusiastic audience in the palm of his hand from his entrance. He was a marvel. Adam Pascal was a preening, sexy Shakespeare. Special kudos to Kyle Nicholas Anderson, the cover for Nigel Bottom. He was great. Packed house. Great fun. - at the Oriental Theatre, Chicago

 – Marriott Theatre, Lincolnshire, IL

September, 2019. One of Marriott's most consistently excellent elements in its shows is the ensemble, and in the sparkling production of Something Rotten!, the ensemble once again did not disappoint. Crisply staged and choreographed, with nary a weak performance among its excellent cast filled with Chicago stalwarts, including Alex Goodrich, Adam Jacobs, Ross Lehman, Terry Hamilton, and Gene Weygandt, with special kudos to Cassie Slater's top-drawer Bea, this was the perfect antidote to the stress of a Trump-infected world. Marriott spends money, and it shows - show after show after show. Silly and tuneful, we had a grand time. - at the Marriott Theatre, Lincolnshire

And that ends the "Simply S" series. Stay healthy, stay safe, VOTE, and social distance!! Cheers!

© 2020 Jeffrey Geddes

ALPHABET SOUP (1)

ALPHABET SOUP (1)

Time to shake things up and pick some shows at random. Well, perhaps not entirely at random. I made up 26 slips of paper, each one with a letter of the alphabet on it and put them all in my I-bought-this-in-London-but-I-have-no-idea-why blue coffee mug which, per the bottom of the mug, was made in Italy. Don't get me wrong; it's a nice mug, but why I schlepped it home to Chicago from London escapes me. I digress. I thought it would be fun to mix up the slips of paper, draw a letter, and just grab the first five shows on that letter's pile. In this case, it's six (same show, different productions).

Drum roll, please…. Today's letter is….

B

Let's begin!

To start things off, the glamorous Lauren Bacall welcomes us in classic Bacall style

Thanks, Betty! 

Young Jim Dale (45) and Glenn Close (33).

October, 1980 and February, 1981. This enormously entertaining show loosely based on the life of showman P.T. Barnum featured Jim Dale's outstanding Tony-winning performance as Barnum. His wife, Chairy, was played by a young, just-starting-to-get-noticed actress by the name of Glenn Close before she became GLENN CLOSE. Let's be honest here, Glenn may be a terrific actor, but she's never been much of a singer (she's on pitch and it's not painful, but you wouldn't want to buy an album entitled Glenn: Hello, Young Lovers), yet for Barnum, she sang her songs in a voice that displayed a dusky, earthy quality that complemented her character and performance. The Cy Coleman-Michael Stewart score is an energetic, bouncy affair and Mark Bramble's book gets the job done with swift efficiency. The circus aspects of the show were stunning and a preview of what was to come, even more stunningly, decades later in the revival of Pippin. Having said that, however, how many leading men cross from stage left to stage right on a tightrope?  Some fun stuff: Terrence Mann made his Broadway debut in Barnum; Judy Gibson was playing Joice Heth in October, but original cast member Terri White had returned by February to truly dazzle us with "Thank God I'm Old" and "Black and White;" SuEllen Estey subbed as Jenny Lind for featured Marianne Tatum in October; Joice Heth is traditionally played by an African-American actress, however, listed as the understudy for Joice is, wait for it, Mary Testa! Now that would have been an understudy performance to have seen! From the Show-Must-Go-On files: at the February performance, an announcement was made prior to the performance that Jim Dale was suffering from laryngitis and had missed the matinee, but he didn't want to miss two performances, so he would be performing, but hoped the audience would understand that his singing would not be up to par. We applauded like mad, and, yes, his vocals were ragged, but, frankly, no one cared. He was that good. Personal note: Barnum's lighting designer, Craig Miller, was a teacher and designer at Barat College when I did shows there in the early 70s and one of his assistants, Mary Jo Dondlinger was Sleeping Beauty to my Prince Charming in a "Fractured Fairy Tales" version of Sleeping Beauty at Barat. Because of the demands made on its leading man, the show may never be revived on Broadway. After its national tour closed early after only a few months on the road, Barnum finished out a long and successful run in New York and then slipped into undeserved obscurity. (Note: we saw a decent small-scale version earlier this year in Chicago and a well-received UK revival may be on its way to London's West End.) - at the St. James Theatre, New York

(Note: The Nite 'N Gale has been a fixture in Highwood since 1947. It was our favorite hangout when I did theatre at Fort Sheridan, across the road from the restaurant.)

June, 1972. It's been suggested that only the Brits can do justice to Noel Coward, and, for the most part, I tend to agree. However, Canadian Brian Bedford and American Tammy Grimes hit all the right notes in Coward's delightful comedy about ghosts, mediums and marriage. Not as sophisticated as other Coward plays like Private Lives or Design for Living, this play is more accessible than most Coward, which is perhaps why it is regularly done by amateur and community theatres. Make no mistake, however, this stylish production was anything but community theatre. Featuring a supporting cast of fine actors, Grimes and Bedford dominated the evening with their effortless acting and exquisite timing. This was their second Coward show together. The first was a Tony-winning production of Private Lives during the 1969-1970 season, which they would bring to Lake Forest in 1971. Following this show, they would appear together at the Academy Playhouse in The Tavern. Craig Miller (see above) designed the lights and resident costume and set designer at Barat, William Lane, provided the physical environment. (Note: I would make my first appearance at this theatre a few months later when I was cast as a last-minute replacement in Barat's production of Celebration.) The Academy Playhouse was a fixture on Chicago's North Shore for several summer seasons, providing star-driven, New York-quality theatre in the Chicago suburbs, until its founder, Marshall Migatz, was tragically killed in an auto accident. - at the Academy Playhouse (Drake Theatre, Lake Forest, IL)

June, 2013. A riveting, provocative play about our involvement and missteps in the early days of the Afghanistan conflict. Reminded me of what a dark period the Reagan/Bush years were. Excitingly acted, with another terrific turn by the always-reliable Terry Hamilton,  this production had the production values one expects from TimeLine. Full of intrigue and suspense and everyone not being who they initially appear to be, this play was a wonderful discovery. Especially topical now with potential increased U.S. involvement in the Middle East. - at TimeLine Theatre, Chicago

It's intermission and once again here's the legendary Betty Bacall showing off some serious bling.

Those are some "little momentos," Betty! Moving on....

November, 1973. As a young gay man, I found Simon Gray's acerbic comedy about a day in the life of an alcoholic university lecturer in London during which he loses his wife, colleague/officemate/possibly lover and probably his last vestiges of self-respect to be very funny, very dark, very modern and even a bit titillating. Was/is Ben Butley gay? Straight? Bisexual? Asexual? All of the above? None of the above? In Brian Bedford's sturdy performance, one never got a definitive answer about Butley's sexuality, which kept the sometimes talky play always engrossing, yet you knew absolutely that Bedford himself knew all the ins and outs of his often unlikeable, often funny and ultimately sad character. This First National Company also featured solid performances by Paul Jott as Joseph Keyston, the main object of Butley's abuse and affection, Sarah Laughlin as a sympathetic and understated Anne Butley and, recreating her Broadway role, Barbara Lester as Edna Shaft, Butley's "competition" at the university.  For a long while, this was one of my favorite plays.  - at the Studebaker Theatre, Chicago

(Sidebar: In Chicago back in the 70s and into the 80s, most touring musicals played the Shubert or, for a relatively short time, the McVickers and plays were produced either at the Blackstone or the Studebaker. Of these four theatres, only the Shubert, now called the Bank of America Theatre, and don't get me started about corporate naming, still operates as a professional theatre. The Blackstone was purchased by DePaul University and renamed the Merle Reskin Theatre (but at least it's still in use!). The McVickers was demolished and an office building now occupies the space. The Studebaker became the Fine Arts Theatres and was the primary place to see art films and less commercial movie fare. I saw "The Crying Game" there. The theatres were closed years ago. I'm not sure what is there now. I suspect just empty space. I'm including some pictures I found on the Internet of the Studebaker. I don't remember the theatre being as elaborate as the B/W picture. To me, it was always the "plain Jane" of Chicago theatres: comfortable, functional, but not especially pretty.If memory serves, it seated about 1200.)

November, 2003. Thirty years after I saw Butley in Chicago with Brian Bedford, I had the opportunity to see this Huntington Theatre Company production while on a layover in Boston. The intervening thirty years somewhat diminished the initial luster that Butley held for me, but it still remains a solid work even if it is very much a period piece and one which absolutely must take place in the early 1970s. The draw for me was top-billed Nathan Lane as Butley and he didn't disappoint. He ranted, he raved, he implored, he was adorable, he was abominable. It was a tour-de-force that only on very few occasions veered into "Nathan Lane-ism." Beautifully designed by Alexander Dodge, Michael Krass and David Weiner and skillfully directed by Nicholas Martin, this production was blessed with a remarkable supporting cast of both local Boston talent and New York veterans. Playing the pivotal role of Joseph Keyston was Benedick Bates, the (very, very hot) son of the late Alan Bates, who originated the role of Butley in London and New York and recreated his role in the film version. A layover evening well spent in the fabulous city of Boston - at the Huntington Theatre Company (BU Theatre), Boston

August, 2002. Bob's introduction to the wonder that is known as Barbara Cook. Although technically a concert on the stage of the Vivian Beaumont Theatre with just two (amazing) musicians, Wally Harper on piano and Jon Burr on bass, this had the feel and the vibe of an intimate musical. Words cannot describe how Barbara Cook can take a capacity audience at the wide Vivian Beaumont, tell her fascinating stories and gloriously sing her way through a catalog of exquisite songs and make that capacity audience somehow feel that she is talking and singing just for you. She was a 2011 Kennedy Center honoree. She is a true theatre treasure. - at the Vivian Beaumont Theatre, New York

That's it for now. More later. Ta.