"P" SOUP – THE SEQUEL OF THE RETURN…HUH?

"P" SOUP – THE SEQUEL OF THE RETURN…HUH?

("P" Soup is a wholly-owned subsidiary of Alphabet Soup)

More "P" Soup!

I wanna be a producer of a parade where everyone is comfy-cozy in their pajamas.

THE PRODUCERS

– Cadillac Palace Theatre, Chicago

February, 2001. Last tryout performance before heading to New York. The atmosphere outside of the Cadillac Palace was insane. People were literally going up and down the line of audience members waiting to enter the theatre and offering to buy their tickets. I even heard someone say they'd pay $600 for a pair. (And, yes, I thought about it…briefly. Figured if someone was willing to pay that much money, I'd better see the damn thing.) The buzz had been overwhelming; the reviews ecstatic. Anticipation was palpable. And I'm happy to say the show delivered on all fronts. It was a triumph the likes of which I had seldom seen. Stellar performances by Nathan Lane, Matthew Broderick, Gary Beach, Roger Bart, Cady Huffman, and Brad Oscar, filling in for the injured Ron Orbach (Oscar would replace Orbach for the New York opening), had the audience in an almost continuous state of hysterical laughter. Susan Stroman's direction and choreography were inventive, effective, and memorable. I mean, seriously, the "Along Came Bialy" number with the walkers? Brilliant! The Mel Brooks and Thomas Meehan book kept the laughs in constant supply and Mel Brooks' score won't win any awards for originality or musical theatre brilliance, but it was tuneful, bright, and toe-tappingly satisfying. "Springtime for Hitler" was ridiculously over-the-top. For me, the highlight was Lane's "Betrayed," a tour-de-force that got the biggest ovation of the night. For a pre-Broadway tryout, it was in sensational shape, ready for New York critics in my opinion. When The Producers opened in New York, the lines at the box office went around the corner, the critics raved, and at the 2001 Tony Awards, it won in every category in which it was nominated, winning a record twelve awards. The Chicago performance was, and remains, a singular experience. – at the Cadillac Palace Theatre, Chicago

– Aronoff Center (Proctor & Gamble Hall), Cincinnati

November, 2002. A funny thing happened to The Producers in its third stop on the "Max" tour…at least for me. And that was, the show I found exuberant, fresh, fabulously funny, deliciously irreverent, and so wrong in all the right ways, was now slick and professional, knowing full well the material was guaranteed to get laughs and therefore everyone involved could just relax and not give it 100%. They could chill out at, oh, 85-90%. The capacity crowd at the Aronoff Center's Proctor & Gamble Hall, a 2700-seat barn, pretty, but with zero intimacy, didn't give a hoot that they weren't getting the same show I saw twenty months earlier in Chicago. My companion, in fact, found it wonderful. But the truth is, in Chicago, that incomparable and definitive cast, the fresh direction and choreography, the hysterical book and score, and the physical production itself all combined to make the theatrical equivalent of a positive perfect storm, if that makes any sense. Here in Cincinnati, though everything looked and sounded the same, it simply wasn't. I frankly did not like Lewis J. Stadlen, playing Max. He underplayed everything, especially in his underwhelming "Betrayed." Broadway vets Fred Applegate (Franz Liebkind), Angie Schworer (Ulla), neighboring Covington, KY native Lee Roy Reams (Roger De Bris), and Jeff Hyslop (Carmen Ghia…he would leave the tour after the Aronoff engagement, and, according to the local review, was absent on press night. Was he fired?) were all fine and hit their marks with assurance. I did like Don Stephenson's Leo a lot. He had charm to spare and just the right amount of nerdiness. The local reviewers and audiences ate it up. I didn't. – at the Aronoff Center (Proctor & Gamble Hall), Cincinnati

PARADE

– Vivian Beaumont Theatre, New York

December, 1998. Preview performance. Somber. Unrelenting. Brilliant. The tree that stood tall and foreboding throughout the show set the mood. The story of Leo Frank and the travesty of his trial and execution at the hands of a lynch mob was told with integrity and honesty under the direction of master director Harold Prince with just-right choreography by Patricia Birch. Broadway vets J.B. Adams, Don Chastain, John Hickok, Herdon Lackey, Evan Pappas, and Rufus Bonds, Jr. provided sterling support. The show, however, rests on its two main characters, Leo and Lucille Frank, and those two parts could not possibly have been in better hands than Brent Carver and Carolee Carmello's. Two incredible actors delivering exquisite, nuanced, deeply involving performances.  Don't believe me? Revel in the glory of Carmello's "You Don't Know This Man." Carver and Carmello's duet near the end of the show, "All the Wasted Time," left the audience breathless. This was a show in which you could hear a pin drop, and you often did. "The Factory Girls/Come Up to My Office" segment during Act One's trial is hands down one of the creepiest and most disturbing numbers in musical theatre, right up there with "Yellow Shoes" from The Visit. Not a happy show, the Tony that year went to Fosse, about as safe as you can get. However, Alfred Uhry would win a Tony for Best Book of a Musical and Jason Robert Brown would win for Best Score. Sadly, Parade never found its audience and it ran less than 100 performances. I am simply mad about this show. – at the Vivian Beaumont Theatre, New York

– Berkeley Street Upstairs Theatre, Toronto

January, 2011. When it was announced that Parade would make its Canadian premiere in Toronto, Bob and I immediately made plans to see it. And that, as they say, was a mistake. A co-production from Studio 180 and Acting Up Stage Company, this was a hot mess. Full stop. Poorly designed, poorly directed, poorly acted, and with two competent, but unexciting leads, we hated every minute. Plus our seats were mere inches from the too-loud orchestra. Had our seats not been on the far side of the theatre and we would have had to inconvenience our entire row and walk in front of the stage to exit, we would have left almost immediately. We did at the interval. Sad, sad, sad. – at the Berkeley Street Upstairs Theatre, Toronto

– Writers Theatre, Glencoe, IL

July, 2017. In Writers Theatre sparkling, but cold, new home, Parade was a textbook example of just how good Chicago theatre can be when talented folks at the top of their game get together and put on a show. This was simply superb, from beginning to end. My one quibble was that director Gary Griffin still hadn't mastered directing in a thrust environment and directed the show as though it were being performed in a proscenium house. Fortunately, we were in what would be center orchestra in a proscenium house, so we didn't miss a thing. Patrick Andrews and Brianna Borger as Leo and Lucille Frank were so, so good, vocally and acting-wise. They were supported by a cast of fourteen actors, not a weak one in the bunch. These sixteen actors brought this show to brilliant life. Bravo all! The best show we'd seen at Writers…and our last until things change on the artistic level, which, I believe, will never happen, at least by choice, at this North Shore society darling. – at Writers Theatre, Glencoe

THE PAJAMA GAME – American Airlines Theatre, New York

February, 2006. Preview performance. For many in the capacity audience on February 19, 2006, I suspect the highlight of Roundabout Theatre's absolutely delightful production of 1954's The Pajama Game was at the finale's "The Pajama Game" when Harry Connick, Jr. appeared shirtless and wearing pajama bottoms. The audience went wild and for good reason. Connick was a total muffin of masculine tastiness. (Off subject…if only his performance in On a Clear Day You Can See Forever had even a smidgen of that sexiness, perhaps that show wouldn't rate as the worst show I've ever seen to date.) Directed and choreographed by Kathleen Marshall, this was a lovingly produced slice of musical theatre 1950s fluff. The show has always had a terrific score, and this cast did it full justice. Connick's singing was better than his acting, but he gave it his all, and he just appeared to be having a grand time. His piano riff during "Hernando's Hideaway" made that song the show's undisputed highlight. Co-star Kelli O'Hara was feisty, funny, and sang the crap out of her songs. Michael McKean (Hines), Roz Ryan (Mabel), Joyce Chittick (Mae), Peter Benson (Prez), and Megan Lawrence (Gladys) provided top-notch support, with Lawrence being especially funny and endearing throughout. Curiously, Marshall gave "Steam Heat" to Mae instead of Gladys, and the number was excellent, but I missed the precision and snap of the Fosse original. I'm grateful that Marshall didn't feel the need to update or reimagine the material, but instead treated the show with respect and affection. Yes, much now seems dated (a 7 ½ cent raise?), but when done as a period piece with no irony or affectation, The Pajama Game offers theatergoers a lovely break from the cares of the everyday world. I loved it. – at the American Airlines Theatre, New York

Miscellaneous Tidbits:

o For the record, Connick put on a sleeveless undershirt for bows. Sigh.

o The Pajama Game won the 1955 Tony Award for Best Musical, would run for 1063 performances, and be made into a terrific film starring John Raitt and Doris Day.

o Composer/lyricist team of Richard Adler and Jerry Ross wrote only two complete shows together, The Pajama Game and the following year's Damn Yankees. Ross died at the young age of 29 in 1955. Richard Adler wrote the music and lyrics for two flops, Kwamina and Music Is, but never had another success on Broadway.

A sequel to a sequel! Well, that's it for "P" Soup. Until next time!

© 2018 Jeffrey Geddes

HAVE PASSPORT, WILL GO TO THEATRE - Part 1

HAVE PASSPORT, WILL GO TO THEATRE - Part 1

Theatre Adventures Abroad

I love to travel. It broadens the mind, enriches the soul and is just plain fun. While I can get into pretty scenery and quaint villages, I'm an urban boy at heart and given the choice, a city vacation usually wins. (A combination of pretty scenery, quaint villages and a city is even better!) Living in a major city, I enjoy the energy of cities and the variety of cultural treasures to be discovered in them. And, of course, if at all possible, we try to catch some theatre. Although the basics of theatre really hasn't changed much since the Greeks, and please notice I said basics, and theatre at its core is theatre no matter what country you're in or what language the play is performed in, each country has its own star network and names I have never heard of before are major stars in their native countries. And, yes, even though we share many personalities with the U.K., for example, the U.K. also has its share of actors that we're not familiar with whose names sell tickets at the box office.

Want some examples? Read on.

DEVON: Roughly three hours by train from London in southwest England is the county of Devon. Home to historic Exeter, vibrant and commercial Plymouth and the seaside beauty of Sidmouth, Devon has everything you'd expect of a picturesque English county…winding, narrow roads, beautiful, old buildings, and an abundance of theatre. After all, this is the nation of Shakespeare and the theatrical tradition still thrives. For proof, I offer the following.

REBECCA - Manor Pavilion Playhouse, Sidmouth, Devon, UK - August, 1995

In the acknowledgments, the Open Hand Theatre Company is thanked. Our dear friends Ron and Roger were members of Open Hand and did many productions with them. On more than one occasion I would quip that Open Hand's sister company was the Closed Fist Theatre Company.  Think about it. I'll wait. For the record, this witty comment was always greeted with the same pained smile I'm sure it's getting now. Sigh.

The Manor Pavilion, Sidmouth

August, 1995. A taste of summer stock/repertory…UK style and part of the Charles Vance Summer Play Festival. Charles Vance, you say? You don't know of him? Seriously? I quote: "Although both Charles Vance and Imogen Moynihan have had separate and distinguished careers as actors and directors in their own rights, they must now be unique in being the last of that anachronistic band of husband and wife teams presenting and working together in repertory." Still not ringing bells, huh? Don't worry. I hadn't a clue either…still don't. "Rebecca" is one of those hoary stories of dead first wives, evil housekeepers, secret-keeping husbands, deception, adultery, and lies. In other words, great fun. Smartly acted and directed, with an impressive physical production, this was hugely enjoyable. Our friends Ron and Roger would do many things at the Manor Pavilion before leaving Sidmouth. The Manor Pavilion seats 277 in a gently raked auditorium that offers good sightlines from all seats. Even better, a full bar offered libations before and after the show and during the intervals.

Sidebar: Sidmouth is one of those quintessential British seaside communities that you envision whenever you hear someone in a British play, film or TV show say that they are going to vacation by the sea. Could Sidmouth be the "By the Sea" Mrs. Lovett dreams about when she sings of her longing for a more idyllic life with Sweeney Todd? Perhaps. Charming, yet with a surprising sophistication, I would spend lots of time here with my friends Ron and Roger, especially during the "Lick My Wounds" tour (see earlier post). It's a terrific place to get genuine clotted cream, not the fake stuff. Sidmouth remains a favorite spot of mine.

JOLSON - Theatre Royal, Plymouth, Devon, UK - September, 1995

September, 1995. Jolson covered 30 years in the life and career of Al Jolson through a bio-book and great standards from Tin Pan Alley and featured a mini-concert as its finale. Once referred to as "The World's Greatest Entertainer," in private life, Jolson was quite the douche, in stark contrast to his public persona. How much of this portrayal is fiction and how much is fact is unclear, but it provided for a lively and entertaining evening at the theatre with all the production bells and whistles one would expect from a West End musical. (Jolson had its tryout in Plymouth.) Beloved UK comedian and entertainer Brian Conley played Jolson in a dynamic performance that the audience ate up from start to finish. Popular stage and television star John Bennett played Jolson's friend and agent Louis Epstein. Until Jolson, I had not heard of either actor. Judging by the entrance applause awarded to both men, I was in the minority. Playing Ruby Keeler in a really nifty performance was Sally Ann Triplett, who I just saw here in Chicago in the tryout of the John Logan/Brian Yorkey/Sting musical The Last Ship. She was impressive then; she was impressive now.

Sidebar: It seems as if every major city in the UK has its own Theatre Royal. Originally the designation of "Theatre Royal" indicated that the theatre had received a Royal Patent, without which theatrical performances would be illegal. I won't even pretend to understand the logic, but Theatre Royals dot the landscape of England and Scotland. Plymouth's current Theatre Royal opened in 1982 with Princess Margaret cutting the proverbial ribbon. The main auditorium seats 1315. The auditorium is of that era and is functionally efficient and aesthetically cold. 

DICK WHITTINGTON - Northcott Theatre, Exeter, Devon, UK - December, 1998

December, 1998. The pantomime, or panto as it is commonly called, has been a tradition in British theatre since time began. Based on popular children's tales, the typical panto follows strict rues of format. For example, the hero is played by a woman (think Peter Pan), the Dame is played by a man in drag and there is always lots of audience participation. I couldn't tell you the plot if I tried, but it was all great, noisy fun. This panto was different in at least one respect: Dick, the hero, was played by a man. The Dame, however, was played in great exaggerated drag and the audience participated with glee. Even I got into the action, though perhaps I should not have cheered the villain. The folks on stage did not take kindly to that breach of protocol and good-naturedly, and to the delight of the audience, chastised the crass offender (me). It was a delightful experience and one that simply cannot be duplicated in the States.

Sidebar: Exeter is a historic town in Devon and home to Exeter University. A I-didn't-know-that fact: Exeter is home to third-oldest synagogue in the United Kingdom (1763). The theatre itself is a comfortable, small house that is now owned and operated by Exeter University. It opened in 1967 and seats, after a recent renovation 464.

And now let's cross the North Sea to….

STOCKHOLM!! A city of great beauty, history, culture, style, sophistication and real Swedish meatballs. Plus Sweden has one of the best looking royal families in Europe. Let's be honest here. Prince Carl Phillip is just plain H-O-T. In the princely good looks department, His Highness beats the crap out of those British brothers. Often called the "Venice of the North," Stockholm was a last minute subsititution for the actual Venice when proposed flights got delayed. (The joys of standby travel!) It was a convoluted journey there and back (Chicago-Cincinnati-Paris-Warsaw-Stockholm; Stockholm-Milan-overnight-Atlanta-Chicago), but the planned four days turned into a week and both of us fell in love with the city. The Old Town, the Castle, the City Hall, the jewel box of an opera house, the maritime beauty of the Vasa and the GLBT-welcoming atmosphere all made for a memorable time. Imagine our delight, then, when we discovered, quite by accident, that two popular musicals were on the boards during our stay. Needless to say, we beat tracks to the respective box offices. 

MY FAIR LADY - Oscarsteatern. Stockholm, SE - March 2009

March, 2009. Upon overhearing Bob and I chatting before the performance, the lady next to me tapped me on the arm and said, "You're American, aren't you?" (As if my flat Midwestern accent didn't give me away!) When I said "yes," she said, "You do know the show will be performed in Swedish, don't you?" I smiled and said that we both knew the show well and it wouldn't be a problem for us at all. And it wasn't. In any language, this is a masterpiece. It's not my favorite show, but there is simply no denying the magnificent score and the timeless tale that nearly 60 years after it first opened still enthralls audiences. Beautifully designed and staged, this production was as first-rate as any production I've seen anywhere. Leads Tommy Körberg and Helen Sjöholm are Swedish superstars with extensive recording and stage credits and even appeared together before in Chess. The audience greeted both of them with extended entrance applause. Yes, both of them were too old by at least two decades for the parts, but both performances were vibrant, well-acted and well-sung. (Curiously, the actor playing Pickering seemed too young. Go figure.) In Swedish, I didn't even mind Doolittle's two songs, which normally drive me up the wall. The show sailed along quite nicely until Act Two during the Embassy Ball scene. (In Stockholm, the interval came after the "Ascot Gavotte" scene with Mrs. Higgins, et. al.) Beloved Swedish stage, film and television comic star Henrik Dorsin played the smallish part of Zoltan Karpathy. Moments after his entrance in the scene, he went into an extended comic monologue that lasted about 10 minutes. Seriously. I know he wasn't doing Alan Jay Lerner's dialogue because I know the script doesn't include a reference to Chicago. Whatever the reference was, it got a huge laugh. While it may not have served the intentions of Messrs. Lerner and Loewe, or Shaw for that matter, it delighted the audience and after he finished to great applause, My Fair Lady resumed as though nothing had happened. Most strange. This production also, unfortunately, dropped one of my favorite songs, "Without You," possibly to accommodate Dorsin's bit? The highlight of this excellent production, however, was Sjöholm's brilliant "I Could Have Danced All Night." She sang it with a wondrous delight and vocal excitement and during the last chorus, the scenery disappeared and Eliza was alone on a bare stage and bathed in gorgeous lighting as she brought the song to an absolutely thrilling conclusion. Bar none, this was the best rendition of the song that I have heard. Ms. Sjöholm stopped the show cold and the ovation was exciting and deserved. A perfectly loverly evening!

Sidebar: Oscarsteatern was built in 1906, seats 905 and is Sweden's most well-known musical theatre.

THE PRODUCERS ("DET VǞRAS FÖR HITLER") - Chinateatern, Stockholm, SE - March, 2009

March, 2009. Although Susan Stroman isn't credited with the direction and choreography and none of the original designers recreated their work, this was virtually a mirror of the original production. (Were all of the creative aspects licensed?) Popular Swedish theatre stars Kim Sulocki and Claes Malberg (the bigger star of the two) played Leo and Max, respectively, with the brio these demanding parts required. And although all of the performances from leads to ensemble were crisp and professional, the direction and choreography tight and precise and all the design and technical aspects spot-on and although the show received solid applause at the end, it nevertheless somehow seemed, I don't know, forced? A bit too over-eager to please? It was obvious the audience enjoyed themselves, but there was never a real show-stopping moment in the show. "Springtime for Hitler" came close. Is it that Mel Brooks' broad humor didn't translate well into Swedish? Or is it simply that The Producers' time had come and gone? Concerns aside, however, it was enjoyable and fun. (And the ensemble men were mighty easy on the eyes!)

Sidebar: Chinateatern was built in 1928 as a movie theatre and seats 1250. The large front lobby is typical of movie houses built in those days. 

And just in case you're wondering, over in Sidmouth, the summer festival continues, though no longer under the auspices of Charles Vance who died in 2013 at the age of 83. This is quite the lineup and quite an ambitious season.

Enjoy the week. More later.

© 2014 Jeffrey Geddes