MARCH 2014 NYC MADNESS OR… SIX SHOWS, FOUR DAYS, ONE SENIOR MTA PASS

MARCH 2014 NYC MADNESS

 OR…

SIX SHOWS, FOUR DAYS, ONE SENIOR MTA PASS

The year, as in the past several years, our favorite benefit performance, Broadway Backwards, took place in March. Not that we need any reason whatsoever to make a pilgrimage to the country's theatre capital, but Broadway Backwards is as good an excuse as any to spend a long weekend in New York and catch some shows.

On this journey, we stayed in a new location for us…the Lower East Side in a new Holiday Inn on Delancey Street. Now, I've never wandered to the Lower East Side, though, of course, I'd heard of Delancey Street. Probably because I've seen "Funny Girl" too many times for anyone's good, I thought that, like Henry Street, the entire Lower East Side was quiet and oozing with quaint urban charm. Wrong. Delancey Street is a charmless, loud, busy NYC street. So much for "Funny Girl." Having said that, the subway was a scant two blocks from the hotel.

Quick summary: an amazing appearance by a legendary Broadway performer that was both exhilarating and humbling; a hysterical theatre-based farce that was a delightful last-minute choice; three tantalizing performances in Terrance McNally's new gem of a play; a silly piece of musical fluff that brought lots of smiles to our faces; another last-minute choice that unexpectedly moved me in a way that I haven't been moved in a very long time; a much-anticipated performance of the much-lauded revival/replication of one of our favorite musicals starring its original Tony Award-winning leading actor that curiously was, well, let me put it this way… it was our least favorite show of the lot. And last, but certainly not least, Bob got his Senior Reduced-Fare MTA transit card! What I thought (feared?) would be a long and complicated process took around fifteen minutes or so. Do not underestimate how very cool this is, ladies and gentlemen. One of the perks of getting older!

In order of appearance, so to speak….

 

The glorious show curtain that greeted us as we entered the St. James.

March, 2014. When the delicious Marin Mazzie utters those immortal words, "don't speak," you don't because you're laughing too hard. As the vain, egotistical Helen Sinclair, Mazzie chews the scenery with gleeful abandon. And that's pretty much how things go for most of the evening in this bright, funny and lavish musical version of Woody Allen's popular film. And then comes the finale and instead of coming to the wow conclusion the show deserved, it ended on a well-executed and enthusiastic, yet flat note. The show is in previews, so hopefully that will change. In addition to Mazzie, big props go to leading man Zach Braff, a wonderfully dry and funny Nick Cordero as a murderous gangster with the soul of a playwright, a sinfully underutilized Karen Ziemba and the hysterical Heléne Yorke as Olive, whose "The Hot Dog Song" was a naughty delight. A lush orchestra, brilliant sets, amazing costumes, and, of course, toe-tapping Susan Stroman choreography added to the fun. (Stroman pulled out all the stops and while incredibly enjoyable, it wasn't always very original with more than a few references to other Stroman shows, especially The Producers.) A great way to start our NYC weekend. (5/2014 update: Apparently Bob and I and the capacity audience at the St. James had a much better time than the critics did when the show opened. Mixed reviews and not the huzzahs I expected for Mazzie and Yorke. Ah, well.) - at the St. James Theatre, New York

March, 2014. Let me state this right off the bat: I rarely get misty-eyed or weepy at the theater, but the last scene in The Bridges of Madison County almost had me in full-blown sobs. Gentle, elegant, blessed with one of the finest scores in years, thank you, Jason Robert Brown, and fortunate enough to have two outstanding actors, Kelli O'Hara and Steven Pasquale, as its leads, this unexpected treat for the eyes, ears and soul transported its audience with truth and beauty. We both fell in love with it. I can't wait to see it again. (5/2014 update: As I write this, I'm very saddened to have to type that this glorious, wonderful, heartfelt show will be closing on May 18. Despite favorable reviews, it just couldn't compete against the bigger, spashier shows and, since it was egregiously overlooked by the Tony Award nominating committee and thus couldn't get the box-office boost nominations typically bring, this gem of show posted its closing notice. I'm both angered and sad. This is truly a loss for Broadway, but I know that Bridges will thrive at discerning regional theatres in the near future.) -at the Gerald Schoenfeld Theatre, New York

March, 2014. What was a revelation at the Donmar Warehouse in London in 1993 and then in New York in 1998 now seems a bit tired. Bringing absolutely nothing new to the proceedings, this was a slavish replica of the original Roundabout production. Alan Cumming wasn't exactly phoning it in, but he wasn't exactly fresh either. Michelle Williams, in her Broadway debut, however, was a fine Sally and delivered a masterful interpretation of the title song. Linda Emond and Danny Burstein brought expected professionalism to their roles as Frl. Schneider and Herr Schultz and gave the show the humanity it generally lacked. It was all professionally done, but very, very slick and lacked any true excitement. And let's not even talk about the horror that was "It Couldn't Please Me More" that I must have mercifully blocked from my memory of other viewings of the show at Studio 54. I wasn't terribly impressed. Full disclosure…the capacity audience screamed at everything Alan Cumming did and seemed to have a "perfectly marvelous" time. Obviously, Bob and I were in the minority. Ah, well. - at Studio 54, New York

 

March, 2014. Last preview before opening the following night. This wonderful mix of humor, substance and heart ranks among Terrence McNally's finest works in my opinion. Frederick Weller's character's story was, in many respects, mine, so sometimes the action in the play was a bit hard emotionally for me. Stunning set by the always superb John Lee Beatty. Exceptional performances by Mr. Weller, Bobby Steggert and an adorable, very young Grayson Taylor. And anchoring it all was the indomitable Tyne Daly...fierce, funny and ultimately heartbreaking. There is a reason why I will see her in anything. This show should be consistently selling out at the box office, yet it has struggled since it began previews, giving one reason to be concerned about the viability of serious drama in today's commercial environment. - at the John Golden Theatre, New York

March, 2014. I predict lots of residual income for Sarah Ruhl as savvy regional theaters add the delightful Stage Kiss to their seasons. A romance of quirky sorts, it's very, very funny, yet also has a warm heart to it. Ruhl skewers some sacred theatrical cows in this smart, sassy romp to great effect. Tight direction, exceptional production values that belie the relatively modest size of the venue, and a superb ensemble lead by Jessica Hecht and Dominic Fumusa (Edie Falco's ex-husband on "Nurse Jackie"). Great comedy and lots of fun. This is a play I'd love to see Bob direct.- at Playwrights Horizons, New York

March, 2014. OH. MY. GOD. The original Kate of Kiss Me Kate, Patricia Morison. 99 years old, looking fabulous and glamorous, sang all of "Brush Up Your Shakespeare" with style, great humor, and in great voice. And I got to see it! Thrilling, emotional and truly humbling as the entire capacity-audience jumped to their feet and paid loud and ecstatic homage to the talent and class of this remarkable woman. I am one lucky man. But, wait, there was more. Lots more. Some highlights: Julie White as a simply divine hostess, Andrew Rannells exciting "The Man That Got Away," Norm Lewis' "Home," Uza Aduba and Rachel Bay Jones' "In Lily's Eyes," Roger Rees scathing "Could I Leave You?," Billy Porter nailing "And the World Goes Round" and the excitement of seeing Michael Berresse and Tony Yazbek recreate the Bob Fosse/Ann Reinking choreography in "Nowadays/Hot Honey Rag" from Chicago. The was our 7th year attending this amazing event. It's always been a theatrical highlight of the year and this year certainly was no exception. Pure, unadulterated pleasure! - at the Hirschfeld Theatre, New York

That's it for today. Can spring finally be here??

© 2014 Jeffrey Geddes

IN PRAISE OF BROADWAY BACKWARDS

IN PRAISE OF BROADWAY BACKWARDS

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

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

Broadway Backwards…long may it reign!

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

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

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

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

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

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

Until later...