MUSICAL MASH-UP

MUSICAL MASH-UP

All musicals! A spelling bee, tapping feet, conjoined twins, Victorian orphans, and singing and dancing kitty cats. It's all here! This is a longish post, so get some coffee, get comfortable, and let's begin.

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE – Circle in the Square, New York

June, 2005. With over 1100 performances on Broadway and thousands of amateur and professional productions, making its creators and licensor MTI lots of coin, it's obvious many people like The 25th Annual Putnam County Spelling Bee. I am not among them. Rather than the charming, feel-good show that I was eagerly anticipating based on the rave reviews I'd read, I found Spelling Bee to be a predictable, stereotype-laden show, skillful in concept and execution, but with too little heart and too much quirky-for-quirkiness' sake and a underlying smugness shouting "look how cute and clever we are!" that was present throughout the show. The audience participation segment was poorly handled, with the cast clearly rattled by a really good volunteer. That whole thing became awkward and uncomfortable. When the adult actor playing a middle-school-aged boy sang about his "unfortunate erection," it came off as smarmy and creepy rather than funny or fondly reminiscent of the perils of male pubescence. Earlier dialogue established the character's "problem," and that was funny, and the joke was made. Singing about it was too much. The obnoxious character, Barfee, won the Bee, and if that surprised anyone in the audience, they simply weren't paying even the most cursory of attention. Where You're a Good Man, Charlie Brown is charm from beginning to end, Spelling Bee had an almost total lack of it. Perhaps it was because of the lukewarm reaction from the audience, especially after the botched audience participation segment that resulted in some walkouts, but the cast often appeared to be pushing it, trying too hard to win over the sell-out crowd. A lot seemed forced, little seemed natural. The cast did what was asked of them. They were competent and professional, if not especially memorable. I did really like Jesse Tyler Ferguson, who gave Leaf Coneybear a goofy lovability. I also admired Celia Keenan-Bolger's ability to overcome the stereotype she was given and make Olive Ostrovsky a real person. Tony-winner Dan Fogler as William Barfee did his bit and was fine, but it didn't feel like a Tony-winning performance. I realize that I am in the minority with my opinion of the show, but that opinion is based on what I saw onstage at the Circle in the Square on June 17, 2005. I believe the show could be improved by eliminating the audience participation, changing the Bee participants from middle schoolers to high schoolers, and, most of all, have multiple endings a la Edwin Drood. Don't let the obnoxious Barfee win all the time. (For the record I wanted Leaf Coneybear to win.) Furthermore, I feel Spelling Bee needs to decide if it's a family-friendly show or a "kids" show for adults. (I wouldn't take my 8-year-old granddaughter to a musical where a song about penile erection is sung. I'll leave that conversation to her parents.) I really wanted to like it. Sadly, I didn't. – at the Circle in the Square, New York

Sidebar: Spelling Bee alumni Jesse Tyler Ferguson, Lisa Howard, Jose Llana, and Celia Keenan-Bolger would go on to other Broadway shows, and Ferguson would become a household name in the groundbreaking television series, Modern Family. Kate Wetherhead, an understudy in the production, would co-create, write, direct, and star in the not-to-be-missed web series, Submissions Only. Dan Fogler took his Tony Award and left Broadway to have a successful career in television, film, and stand-up.

SIDE SHOW – Stage 773 (Porchlight), Chicago

September, 2015. Preview performance. The men fared better than the ladies in Porchlight Music Theatre's Side Show, and considering this is the story of the Hilton sisters, conjoined twins Daisy and Violet, the women should have been our focal point. But they weren't, and I suspect that is because the two leading performances just didn't land. Oh, Colleen Fee and Britt-Marie Sivertsen sang the fabulous score well, but there was a lack of chemistry between the two actresses. Overall, however, this production was worth seeing. Ignore the occasional, well, more than occasional creaks in the show's construction and relish in the remarkable score that was sung well by the cast and professionally played by the small, but adroit, orchestra. Great-looking set; the less said about the wigs and costumes, the better. The young cast lacked credibility in the older roles and the show could have been enhanced by casting a few more seasoned performers, especially in the more mature roles. I'm not a huge fan of Porchlight, but this was one of their better shows, a commendable production of a difficult show. – at Stage 773, Chicago

42ND STREET

– Winter Garden Theatre, New York

 42nd Street did not stay long at its original home, the Winter Garden. The marquee is still up, but a banner tells customers the show is now playing at the Majestic.

 The front of the Winter Garden. I love this theatre.

The iconic nearly block-long Winter Garden billboard.

October, 1980. The ultimate valentine to Broadway and the enduring dream of becoming a star. This, the

original production, remains Gower Champion's legacy to the theatre and the world. It arrived on Broadway on August 25, 1980, with the roar of a prolonged audience ovation and the devastating announcement delivered from the stage by producer David Merrick that Champion had died earlier that day, leaving the cast, the audience, and the world stunned. Perhaps not the time or the place for such an announcement, but it all but guaranteed favorable press and lines at the box office. Both occurred, and with good reason, for 42nd Street was a triumph, exuberant in its spectacular dances, joyful when singing the timeless songs from Harry Warren and Al Dubin, and period-stylish as acted by a cast of seasoned veterans and a spectacularly talented ensemble. Who wouldn't thrill to the now legendary opening? The overture ended as the curtain rose just enough to reveal a stage full of feet furiously tapping away. Then the curtain rose completely, and we saw the ensemble, all thirty-six of them, yes, that's right, thirty-six, dancing their collective hearts out. Thrilling. Breathtaking. The very definition of show business. The book, oddly billed here as "Lead Ins and Crossovers," by Michael Stewart and Mark Bramble, based on Bradford Ropes' novel, got us from one number to the next with little fuss. The plot about the fresh-off-the-boat, or, in this case, fresh-off-the-bus, chorus girl who fills in for the established star and becomes an overnight sensation is complete nonsense, of course, but, 42nd Street is a fairy tale of show business, and who doesn't like a great fairy tale? And what about that original cast? Tammy Grimes as diva Dorothy Brock was simply delicious…all haughty attitude and star presence with her signature and inimitable voice. Jerry Orbach, one of the theatre's treasures, played director Julian Marsh with a twinkle in his eye and made everything look effortless. Lee Roy Reams danced his heart out as Billy Lawlor. Joseph Nova and Carole Cook were perfection as the show-within-a-show's authors, all delightfully piss and vinegar. Danny Carroll, James Congdon, Don Crabtree, and Karen Prunczik rounded out the supporting players. Wanda Richert, making her Broadway debut, was appropriately demure, sweet, and fresh out of Allentown, Pennsylvania, and knocked the part out of the park with her dancing. And big kudos to the design team of Robin Wagner (scenic), Theoni V. Aldredge (costumes), and Tharon Musser (lighting) for giving 42nd Street a lush, lavish look…legendary designers at their best. The show would play an astounding 3486 performances at three theatres (the Winter Garden, the Majestic, the St. James), winning the 1981 Tonys for Best Musical and Best Choreography. It is currently the 14th longest-running Broadway show. I loved every minute. – at the Winter Garden Theatre, New York

Beware of Boxes: The only seat I could get at the last minute for 42nd Street was a lower stage left box. While it was perfect for being up close and personal when the action was center, much of what was happening upstage and stage left was unseen. I could hear stuff going on, but couldn't see it. When the touring company came to Chicago for the first time and I was sitting in a center orchestra seat, I gasped, "My God, there is scenery!" Moral of story: box seats suck.

More Than Just Broadway Babies: Karen Prunczik made her Broadway debut as Annie. She was also having an affair with producer David Merrick, forty-five years her senior, would become wife number 5, and be divorced a short time later in a bitter divorce with allegations that Prunczik in real-life was playing the golddigger role that she did eight times a week in 42nd Street. She has since dropped the "C" and as Karen Prunzik made her last appearance to date in 1995 as Dorothy Shaw in a critically-trashed revival of Gentlemen Prefer Blondes. She currently runs a dance studio in her native Pennsylvania. Wanda Richert, aka Peggy Sawyer, was Gower Champion's lover at the time of his death. Champion was still married, though separated, to his second wife, Karla, a fact Richert claims not to have known at the time. She was Chicago's Cassie in A Chorus Line, and was very good, if, at 20, far too young for the role. In a curious twist, she would have health issues and was fired from the tour by Michael Bennett. She would last appear on Broadway in the mid 80s and would, ironically, reprise her performance as Cassie in a tour of A Chorus Line in the early 90s. She is currently an interfaith reverend, and, according to her LinkedIn profile, a "Broadway legend." Uh…Legend? Nah. Don't think so. And here's a fun fact: Prunczik and Richert were roommates during the early days of 42nd Street.

– Civic Opera House, Chicago

January, 1983. Launching its tour at the Art Deco beauty known as the Civic Opera House, the First National Tour of 42nd Street looked and sounded mighty fine in its snazzy digs. And with scenery! (see above) Personal favorite Elizabeth Allen was a tart-tongued, smooth-singing Dorothy Brock and Tony-winner Ron Holgate (1776-Best Featured Actor in a Musical) lent his booming voice and comedic talents to Julian Marsh, and pert Nancy Sinclair, Wanda Richert's understudy in New York, was a dynamic Peggy Sawyer. As a bonus, Broadway stalwart and Dolly standby for seven years, Bibi Osterwald gave a supporting role star treatment as Maggie Jones. Top drawer production, first class cast.  – at the Civic Opera House, Chicago

Exeunt "Lead Ins and Crossovers"; Enter "Book": It's been suggested that David Merrick's decision to initially refer to Michael Stewart and Mark Bramble's libretto as "Lead Ins and Crossovers" rather than "Book" cost them the Tony Award for Best Book that season. By the time the show reached Chicago, the billing had long been changed back to "Book." For the record, Peter Stone won that year for Women of the Year, which was an inferior show, but with a stronger book.

From the Trouble in Paradise Files: Karen Prunczik, the original Annie on Broadway and now Mrs. David Merrick, was listed in the Chicago Playbill as Annie, and was in the cast on opening night, but, in late January, an insert told us  that "the role of Annie is now being played by Cathleen McGowen." According to sources, Prunczik was fired days after the show opened in Chicago. A few weeks after that, Merrick suffered a debilitating stroke, and shortly after that, divorce papers were served to Prunczik, and bitter, acrimonious divorce proceedings ensued. Well, all right then! You just can't make this stuff up!

– Shubert Theatre, Chicago

 Not sure why David Merrick decided on a new graphic for the show. I think it's kinda cheesy.

January, 1985. 42nd Street returned to Chicago two years later when the Second National Tour made a stop at the Shubert for a six-week engagement.  This time around Dolores Gray and Barry Nelson played Dorothy Brock and Julian Marsh. Gray lent the part some old-fashioned glamour, and Nelson, definitely not much of a singer, was a gentler Marsh than either Orbach or Holgate. Gail Benedict, a 42nd Street veteran, tapped and sang Peggy Sawyer with skill. Singer and television personality (a regular on The Gary Moore Show) Denise Lor played wise-cracking Maggie Jones. Producer David Merrick was notorious for being, well, a nasty piece of work. He was also notorious for making sure his touring productions looked just as good as their Broadway counterparts, and cast his tours with both an eye to the box office and an eye to talent. In the smaller confines of the Shubert Theatre, this edition of 42nd Street looked big, bold, and sumptuous. But, I must confess, I liked the Opera House production better. – at the Shubert Theatre, Chicago

Critic Fail: In his review, Chicago Tribune critic Richard Christiansen called Gail Benedict "a little too old, but a terrific singer and dancer." Excuse me? Bit cheeky, don't you think? He also referred to James Mellon, who played romantic lead Billy Lawlor, as "pearly-toothed." Richard, Richard, Richard!

 The "pearly-toothed" James Mellon demonstrates his dancing chops.

"A bit too old" Nancy Sinclair kicks like a youngster.Stars and old pros Dolores Gray and Barry Nelson.

– Ford Center for the Performing Arts, New York

June, 2001. The first, and to date only, revival of 42nd Street won 2001 Tony Awards for Best Musical Revival and Best Performance by a Leading Actress in a Musical. In both cases, these are best-of-an-indifferent-lot wins, although I will argue strenuously that Blythe Danner should have won the Tony for a razor-sharp performance as Phyllis in a muddled revival of Follies. We saw this ten days after the Tonys. The show should still have been on a high after their wins. Instead, what we saw was a professional, thoroughly solid production with precision dancing, but little heart. We saw a product, not a show, which was disappointing because I really like this old chestnut of a show. For the revival, a new scene and song ("I Only Have Eyes for You") was added for star Christine Ebersole and cabaret maestro Billy Stritch that added nothing to the show, and, in fact, ground everything to a screeching halt. All the performers (Michael Cumpsty, Mary Testa, Jonathan Freeman, David Elder, Billy Stritch, and Kate Levering) were fine, with one notable exception, Tony Award winner Christine Ebersole, who phoned in her performance. She did what she had to do, and that, my friends, was that. In true David Merrick style, the show once again had a huge 36-person ensemble, remarkable for the economics of 2001, lots of glitz, and nice big sound from the pit. The audience clearly grooved on it, and despite a mixed critical reception, including a very negative one from the New York Times, the show went on to a profitable run of over 1500 performances. The songs and dances still shone brightly, but I missed the original. – at the Ford Center for the Performing Arts, New York

Casting Notes: The wonderful Beth Leavel, who would win her own Tony a few years down the road, was the standby for Dorothy Brock and Maggie Jones (Christine Ebersole and Mary Testa). Richard Muenz, who played Ebersole's former partner and romantic interest in this production, played Lancelot to her Guenevere in a revival of Camelot. Megan Sikora, who we loved in Paper Mill's Can-Can, was in the ensemble.

– Ford Center for the Performing Arts, New York

August, 2003. Jump ahead two years. When I was flying, whenever I had a NYC layover, I would try to go into Manhattan and see a show. On this trip, my captain asked if he could tag along because he'd never seen a Broadway show. Well, I'm always delighted to introduce the wonders of Broadway to someone, so off we went to the TKTS booth. While on line, he mentioned that he and his wife were into ballroom dancing, and I knew right then the perfect show for both a Broadway neophyte and a dance aficionado…naughty, bawdy, gaudy, sporty 42nd Street. Even though my previous experience with the current revival was less than satisfying, I knew that two years had passed and the show now had a different cast, plus, the show itself is great fun with the timeless tunes, the terrific dancing, and all the accompanying glitz and pizzazz. And all I can say is what a difference two years made! Original cast member David Elder was still dancing his feet off as Billy Lawlor, but overall this was a completely new cast. Patrick Ryan Sullivan was a better fit for Julian Marsh than Michael Cumpsty and gave off a understated sexiness, but also gave a hint of ruthlessness. The real revelation, however, was just how absolutely wonderful Beth Leavel was as Dorothy Brock. Night and day from Christine "I'll Phone It In" Ebersole. She was bitchy, she was funny; she was glamorous; she was imperious; she was every inch the past-her-use-by-date diva trying to hold on to whatever fame she still had. She sang like a dream. She was divine! The show, with its August, 2003 cast, seemed brighter, more fun, crisper, and a better show all around. For the record, my captain loved it. So did I. – at the Ford Center for the Performing Arts, New York

– Cadillac Palace Theatre, Chicago

March, 2016. The VERY young non-Equity cast worked hard, often very hard, to keep us entertained, and I was entertained more often than not. The orchestra sounded terrific and the costumes sparkled, but the sets sometimes looked cheap, and at times the stage was so crowded, it made the dancing unfocused and muddy. Almost all of the principals were too young, resulting in competent, but unexciting performances. The lack of both stage experience and life experience was most glaringly apparent in the performance of Kaitlin Lawrence as Dorothy Brock. Too young by at least two decades for the part to have any resonance, she sang well and did her best, but she lacked the sophistication of a Tammy Grimes, an Elizabeth Allen, a Dolores Gray, a Beth Leavel. Matthew J. Taylor's performance as Julian Marsh, however, belied his young age. He was terrific. Well worth the 1/2 price ticket, but it will never be confused with an Equity company. - at the Cadillac Palace Theatre, Chicago

OLIVER! – Walnut Street Theatre, Philadelphia

 The venerable Walnut Street Theatre, Philadelphia

 Hugh Panaro is a total babe. Not, however, as Fagin.

You can see the attempts at dirtying up Nancy. From the audience, though, she looked spotless.

December, 2009. Lionel Bart's masterpiece, Oliver!, was the 2009 holiday offering at Philadelphia's venerable Walnut Street Theatre. The Philadelphia Inquirer was rhapsodic about the production gushing over the "adorable" kids and the "charming" adults and, with that, joining the ranks of millions who think Oliver! is an almost perfect family-friendly show. I don't get it. Seriously, I don't. In "Walking in a West End Wonderland – Part 3," I wrote in detail about my conflicted feelings toward this musical. It's score is admittedly glorious, but the light-hearted and jolly treatment most productions give to this dark Dickensian tale all but completely ignore what are, in my opinion, the two biggest elephants in the room: 1) the fact that the leading lady is brutally murdered onstage shortly after warbling the big hit tune; and 2) the fact that the leading man is, at best, a creepy, but innocuous perv who craves the company of little boys or, at worst, is a full-out pedophile. Mr. Dickens never overtly states in his novel that Nancy is a prostitute or that Fagin is a pedophile, but the subtext for both is in both novel and, if you exam the material closely, the musical. (Big Hint: Nancy wears the de rigueur red dress! Fagin is just a little too "my dears" with the boys.) I long for a darker version of this show, but it was not to be at the Walnut Street Theatre. Onstage was lots of color, lots of energy, a cast of fifty-one (!!) including twenty cute-as-a-button children, a peppy orchestra, and all the bells and whistles one associates with Oliver! For me, the character of Oliver is a plot point. Yes, he sings the poignant "Where is Love?" and starts off the lovely "Who Will Buy?," but he's really secondary to the two leads, Nancy and Fagin. Janine Divita made for a fine Nancy, bringing a buoyant attitude and a nice vulnerability to the part, and sang the dickens, pun intended, out of "As Long As He Needs Me." Note to Costumer and Make-Up Folks: Nancy should look like she's from the streets. There wasn't a speck of dirt or even dust on her, and her dress looked like it came straight from the cleaners. Overall, she was just a little too well-scrubbed. The revelation in this production, though, was Hugh Panaro's magnetic Fagin. The Philadelphia Inquirer thought his portrayal brought a much-needed dimension to a character often played as somewhat of a cartoon. True, Panaro brought an added dimension to the role, but where Howard Shapiro of the Inquirer saw a Fagin with a heart, I saw a subtle, but unmistakable malevolence lurking just below the surface of his outwardly criminal geniality. A look here, a way with a word or phrase there, the smile disguising the rot. It was a magnificent performance. Director Mark Clements is currently the Artistic Director of the Milwaukee Rep and has helmed many excellent productions there. The wonderful Rob McClure played Noah Claypool in this production. – at the Walnut Street Theatre, Philadelphia

Sidebar: The two-hundred-year-old, as of 2009, Walnut Street Theatre in Philadelphia was just as big a draw as the production on its stage and its star, the magnetic Hugh Panaro. Comfortable with all mod cons, the Walnut Street didn't feel like a 200-year-old playhouse. It was all rather contemporary, which was a bit disappointing. I was looking for a bit more elegance and old-school theatre. But, still and all, the Walnut Street is America's oldest theatre, so attention must be paid.

CATS – Elgin Theatre, Toronto

 The glorious Elgin and Winter Garden Theatres.

Not "now and forever" perhaps, but it did score a very respectable two-year run before embarking on a Canadian tour.

September, 1985. This all-Canadian version of the Andrew Lloyd Webber homage to felines playing in a big litter box is largely credited with jump-starting Canada's musical theatre scene. Steve and I saw this about six months into its two-year run at Toronto's Elgin Theatre. "Jellicle Songs for Jellicle Cats" started the evening off in grand style and I was thinking to myself, "Why all the negativity and bad-mouthing of this show? This is terrific!" But then, the show progressed, and, unfortunately I went, "Oh. Now I get it!" Some songs were better than others, "Macavity" was really quite fun, but in the second act, "Gus: the Theatre Cat/Growltiger's Last Stand" played out for nearly twenty agonizing minutes, and I thought I would slit my wrists I was so bored. Cats' big takeaway tune, "Memory," was given a star diva rendition by Kathy Michael McGlynn, who basically eschewed all attempts at characterization and just belted out that puppy. It was, truthfully, freaking amazing. Had nothing to do with the show, but wowzer! I've seen far worse; I've seen far better. Mediocre show; entertaining pablum. – at the Elgin Theatre, Toronto

Sidebar: The Elgin/Winter Garden Theatres in Toronto are the last surviving Edwardian stacked theatres in the world, i.e. the theatres are on top of one another. They are, deservedly so, a National Historic Site of Canada. Bob and I have taken the tour of the theatres twice and will probably do it again on our next visit to Toronto.

And with that…until later! TTFN!

© 2018 Jeffrey Geddes

WALKING IN A WEST END WONDERLAND - PART 3

WALKING IN A WEST END WONDERLAND

PART 3

I think it's time for another visit to the fabulous West End of London, don't you? Today's offerings include a beloved musical especially popular around the holidays, a Rodgers and Hart masterpiece, a sophisticated art-deco wonder by Comden and Green and Cy Coleman, Marvin Hamlisch's other long-running hit, a literate and interesting play about Oscar Wilde and an AIDS-themed play produced in the Fringe, London's answer to Off-Broadway. All set? Let's begin.

As I write this (early November, 2013), the holiday season is just around the corner and soon a plethora of playhouses…I just love the word "plethora," don't you?... around the planet…keeping with the alliteration here… will present a production of Lionel Bart's classic musical as its holiday presentation. I have to get this off my chest: I just don't get it! How did a musical based on Charles Dickens' harsh novel of contemporary London in the late 1830s become this kid-friendly, family musical? Why not just slot in Sweeney Todd as your holiday show while you're at it? (Full disclosure…I wouldn't mind that at all. Sweeney's an amazing show.) Oh, yeah, I know you're saying, "But, Jeff, Sweeney Todd has themes of  murder, revenge, cannibalism and that weird and very disturbing guardian/ward thing that Judge Turpin wants to get going. Ewww. Oliver! Is nothing like Sweeney Todd." No? Well, let's take a "big picture" look at the plot of the musical Oliver!.

Oliver is an orphan of about 10 in one of London's nastier orphan workhouses. Makes Miss Hannigan's establishment look positively plush. Anyway, he asks for more food and for punishment is sold to an undertaker (see song "Boy For Sale"). Oliver runs away and gets lost in the chaos that is London in the late1830s. Notice that nobody seems especially upset that he's run away. Oliver is picked up by an adolescent named Dodger, who lures him to his house with promises of food and shelter. As it turns out, Dodger's digs is the home of a gang of pre-pubescent boys trained as pickpockets and under the rather dubious care of an older man named Fagin, one of the most anti-Semitic portrayals of a Jew in literature, who at best is an extremely creepy perv and at worst a pedophile. Add to the mix Fagin's cohorts: Nancy, a prostitute, Bet, a prostitute-in-training and Bill Sikes a really badass criminal and murderer…and you've got a truly jolly band of pretty despicable characters. In Act Two, Nancy is bludgeoned to death onstage by Sikes (at the performance I attended in London, Nancy's leg-wiggling death throes were especially, well, graphic), Oliver is eventually reunited with a long-lost and wealthy relative (the explanation is a bit far-fetched, but I'll go with it), and Fagin is forced to set up shop elsewhere with his trusty Dodger at his side, though one is left with the impression that Dodger is indeed "artful" and now has the upper hand in the relationship.  Now, I don't know about you, but nothing says wholesome family fare like child abuse, prostitution, pedophilia, thievery and an onstage bludgeoning.

So why is Oliver! so popular as a family musical? Frankly, I haven't a clue, but I suspect the reason is that the show tends to be presented in a light and bouncy style. Nobody is really bad, not really. Bad in a cartoonish way, perhaps, but not truly bad people. Bill Sikes might be scary, but, gosh, aren't Nancy and Bet fun and isn't Fagin just lovable? There's also a crapload of kids involved. Translation: lots and lots of ticket sales to parents and friends and family forced to see little Joey or little Susie belt out "Consider Yourself" and "Food, Glorious Food." About little Susie…in the London program there isn't a female name listed among the literally two dozen or so children in a rotating cast as Workhouse Boys, Fagin's Gang, Oliver or Dodger. It's a boy's workhouse. Fagin's gang is not coed. This trend of casting little girls as little boys needs to stop. Until they allow a boy to be cast as Matilda (put the kid in a wig…a child soprano is a child soprano) or turn Miss Hannigan's into a boy/girl orphan house, well, then, I'm against the practice.

Now, before you get the wrong idea, I like Oliver! Quite a lot, in fact. It's a solid show with a phenomenal score by Lionel Bart. I just wish someone would have the guts to put some much-needed substance into this show. "I Shall Scream" is sung with such overwhelming cuteness that it's pretty much unbearable. Perform it with a "By the Sea" (Sweeney Todd again) irony and it could be a delight. I would trim "Consider Yourself" considerably (no pun intended) and end the song with Dodger. Who are all those cheerful Londoners exhorting to "consider yourself part of the furniture" anyhow? Nancy and Bet would be dirtied up (they always look too clean and put-together). I'd trim "Oom-Pah-Pah" and have the curtain to Act Two rise on the song midway through. It's a great song, but doesn't really do anything except give Nancy more to sing. I'd totally cut "My Name." Sorry, Bill Sikes, but it's not a good song and it just slows everything down. Audiences don't like it, either. Carousel and Oklahoma!, among others, have already been re-imagined. Why not Oliver!? (PS. Just in case you're wondering, I have similar concerns about The Sound of Music which will be addressed in a future post.)

Whew! Felt good to vent. Now on to this specific production….

May, 1980. I had always wanted to see Oliver! The Broadway cast album featuring the smoky tones of the incredible Georgia Brown was, and remains, a favorite. The real impetus to see this revival, mounted at its original theatre and produced by a young Cameron Mackintosh, was to see the award-winning and legendary Sean Kenny's design, credited in the program "décor," considered to this day to be a masterpiece of stage scenic design. (Kenny's design was/is so iconic that even I, a non-tech person for the most part, knew that to be able to see his original work was an opportunity not to be missed.) I was not disappointed in Mr. Kenny's work nor in the energetic, well-acted, well-sung efforts of the large cast headed by John Fleming as Fagin, subbing for absent George Layton, and Helen Shapiro as a full-voiced Nancy, who especially nailed the show's huge mega-hit "As Long As He Needs Me" with stunning vocals and characterization.

( Sidebar: Shapiro had a successful vocal career in the early 60s with a sound that today conjures up bee-hive hairdos and sunny dispositions and/or "tragic" teen events. Think Lesley Gore with a British accent. When her popularity as a pop star waned, she branched out to other music genres and the theatre, but today is all but unknown. )

This revival also featured direction by Robin Midgley based on Peter Coe's original direction. (Mr. Coe's name was bold-faced and in the same size font as Midgley's. Contractual or an indication of the importance Coe's direction for this show?) Even back then, I found the show struggling to make its point of view clear. I'm all for a revival with a fresh POV. - at the Albery Theatre, London

February, 1981. In an earlier post, I wrote about a production of Pal Joey that Bob and I had seen that had been mounted by a well-regarded local Chicago company (Porchlight). The critics lauded it; we hated it. We hated pretty much everything about it: the acting, the direction, the physical production. In my book, it was not only a major misfire, but a major disappointment since my previous exposure to this challenging and, for the period at least, daringly adult musical had been such an overwhelmingly positive experience. This tasty production was spot-on in all aspects. It was deliciously tacky when it needed to be and stunningly sophisticated when called for. The ensemble's accents were sometimes a bit over-the-top south side Chicago, but that just added to the hilarity of "The Flower Garden of My Heart." The sardonic, crisp and memorable score by Richard Rodgers and Lorenz Hart (book by John O'Hara) is a highlight and was excellently served here. Heading the cast was a young (34) Denis Lawson as a suitably sleazy Joey and a sexy and uber-sophisticated Sian Phillips as Vera. Phillips was 47 at the time and exuded an easy sexuality and worldliness that was perfect for the role. The I-smoke-too-much-and-drink-too-much earthiness to her voice added an additional element to her portrayal. I was mad about her and so wanted to hang out with her Vera. (Fun fact: Denis Lawson is Ewan McGregor's uncle.) I loved this show. - at the Albery Theatre, London

March, 1998. The relationship between Oscar Wilde and Lord Alfred Douglas, aka Bosie, was the subject of at least two plays in late 1990s: Gross Indecency: The Three Trials of Oscar Wilde by Moisés Kaufman and The Judas Kiss by David Hare. I think the Kaufman play overall is the better play, but this somewhat long and very talky play had its virtures, chief of which were the performances by Liam Neeson as Wilde, Tom Hollander as Bosie and Peter Capaldi as Wilde's most faithful friend Robert Ross, quite possibly the most decent character in the play. We were in the front row and I can tell you point blank that Liam Neeson is big: tall, commanding even when quiet and has huge hands. For all of you with filthy minds, I don't know if that means anything or not, but at one point, I turned to Bob and whispered "Lucky Natasha." (He was married to the late Natasha Richardson.) Critics noted that Neeson's physical appearance and vocal qualities were more like the real Wilde than most portrayals in the past had been and Neesom's Irish background added a nice sense of verisimilitude. I liked the play's structure of Act One taking place in London hours before Wilde's arrest on charges of "gross indecency," i.e. having sex with other men, and Act Two taking place at a seedy hotel in Italy following Wilde's release from prison where a broken Wilde is treated with disrespect and disregard by a supremely douchey Bosie. David Hare's dialogue was skillful and though the play could easily be trimmed, it was never dull. Throw into the mix gorgeous and expensive production values and generous amounts of nudity (why, hello there, Mr. Hollander! Face it, you gotta love the Brits…no qualms about skin at all) and the result is an interesting, if not exactly riveting evening at the theatre. - at the Playhouse Theatre, London

(Sidebar: Did you know that the British government was willing to look the other way if Wilde had exiled himself to the Continent even up to the time of his arrest? You can thank that twit Bosie for convincing Wilde to stay.)

(Fun Factoid: The Judas Kiss originated at London's Almeida Theatre, one of London's premiere Fringe theatres (think Goodman, Steppenwolf, Roundabout, etc.).in early 1998, transferred to the Playhouse Theatre in March, 1998, in what could pass as an out-of-town tryout, dashed across The Pond and opened in New York on the last day of Tony eligibility in 1998. All that dashing about, however, was in vain as the play was greeted with less than enthusiastic notices and did not receive a single Tony nomination.)

May, 1980. An under-appreciated treasure. Cy Coleman's remarkable, soaring score, Comden and Green's urbane and witty book and lyrics, Robin Wagner's wondrous art-deco inspired scenery and Florence Klotz's elegant period costumes seemed to be a better fit at the smallish Her Majesty's Theatre than at New York's sizable St. James. The more-intimate house brought the story more into focus while not diminishing the screwball comedy antics of the piece, yet, perversely, the smaller size of the house made the one major negative I have with this show even more glaring. The negative, in my opinion, is that of Mrs. Primrose, the evangelically-religious would-be backer of Oscar Jaffee's  latest production who turns out to be an escaped mental patient. Everything about this character and the way it's written seem at odds with the style of the show. Instead of being, like the show itself, sophisticated, yet ridiculously fun, Mrs. Primrose's material seems like it was grafted onto the rest of the material. Imogene Coca originated it in New York, and according to an article I read, the part was specifically adapted from the original source material with her in mind, so that could explain the stylistic disconnect. (For the record, I quite enjoyed Coca's performance both in New York and on tour, but it truly was an Imogene Coca turn and not a character-driven one. That's not bad, mind you, I'm just saying…) Ann Beach did what she could with the role and did well with material that was clearly written with someone else's specific skill set in mind. Having said all this, Coleman, Comden and Green did write a delicious song for Mrs. Primrose, "Repent." It, like the rest of the part, was stylistically different from the rest of the show, but it was great fun. Now on to the positive….Keith Michell's Oscar was suave and handsome with a gorgeous baritone voice that filled the theatre. Julia McKenzie's Lily? Well, by now you should know that I'm a major McKenzie fan and she used all her considerable talents to top advantage in this showcase of a part. Lovely to look at, hysterically funny, and able to hit those very high notes with ease, she was a wonder. Eric Delzenne lit everything with great skill, Gerald Teijelo recreated Larry Fuller's original choreography and director Peter Coe (London and Broadway Oliver!) made everything flow smoothly. (Sidebar: Julia McKenzie would work with fellow castmates David Healy in Guys and Dolls  and Follies in London and Ann Beach in the TV series Fresh Fields. Beach's line "It's only Sonia" became a catchphrase for Steve and me. I haven't the faintest why.) By lucky coincidence, thanks to a friend of a friend of a friend of a friend, etc., I have a bootleg audio recording of a live performance of this production. It's pretty freaking wonderful. - at the Her Majesty's Theatre, London

August,1995. Another play I saw in London during my  "Lick My Wounds" tour (see burning blue comments in an earlier post). And another play in which AIDS and death played major roles. This play by Andrew Alty was produced at the black box studio at London's esteemed Lyric Theatre Hammersmith. It was praised by Time Out magazine and a Critic's Choice top five. This quote starts the Time Out review: "It's amazing how messy a threesome can become, particularly when one of the participants is dead." If the play was published, I can't find it on a Google search or through French or Dramatists. Critic's Choice top five notwithstanding, I don't remember a thing about this production except that I found it entertaining enough with good acting and a nice helping of full frontal nudity. (Note: 1995 seemed to be a banner year for men showing it all. I didn't complain. Interpret that as you will.) - at the Lyric Theatre Hammersmith, Studio, London

February, 1981. This breezy slip of a musical is a favorite of mine. It has a melodic score by Marvin Hamlisch and Carol Bayer Sager that boasts three really fine ballads, a totally off-beat love song ("Fill in the Words") and a toe-tapping, exuberant title song. (Actually at ten songs listed, including the one reprise, it's thin song-wise by musical standards.) The book by Neil Simon depicts the show's two characters in very broad strokes and is absent of any introspective depth, but it's chockfull of laughs and plays with classic Neil Simon precision. I would have seen the show anyhow, but the real incentive for me was the dual casting of Tony-winner Tom Conti, in a surprisingly accomplished musical comedy turn, and especially Gemma Craven, whom I fell in love with in the underrated film The Slipper and the Rose. She was a joy with keen comic timing and a big, rich voice that did justice to her songs. I've always wanted to play one of the Voices, either Vernon's or Sonia's…don't care which, though Sonia's seem to have more Supremes-like fun. YouTube and Tony Awards clips of the show reveal a musical that is hopelessly dated, but it's still a lark and I remain a big fan. - at the Shaftesbury Theatre, London

What was going on in London theatre, West End and Fringe, during a week in August, 1995. WE=West End; FR=Fringe

That's it for now. More later. Go see some theatre! Cheers!