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

OFF THE RAILS OR THEATRICAL TRAIN WRECKS Part One

OFF THE RAILS OR THEATRICAL TRAIN WRECKS

Part One

I've been going to professional theatre productions since 1966. That's nearly a half century now. (Okay, that just really sunk in. Wow.) Over those nearly fifty years, I've seen my share of really, really bad shows, the theatrical equivalent of train wrecks. But, as I mentioned in an earlier post, I truly believe no one in the theatre wakes up one morning, pours a cup of coffee, and proclaims, "I'm going to write/produce/act in/design/direct a rotten show!"  Who has the time to do this?  Who has the money to do this?  I believe all theatre projects start out with the best of intentions. Somewhere along the way, however, things go south, the folks involved, for whatever reasons, can't (unfixable material) or won't (big blinders, bigger egos, and even bigger delusions that everything is fine) fix the situation, and, inevitably, disaster occurs.

A case in point: back in the late 80s, an acquaintance of mine opened a musical on Broadway. The show received savage reviews and closed quickly. A million or so dollars down the drain; a dozen or so actors out of a job. What went wrong? For starters, a troubled and confrontational gestation period that, if anything, only got worse during the show's tryout and, sadly, continued and worsened through its preview period and short Broadway run. Add to the mix the inexperience of the show's creators, which resulted in a listless book and a mostly forgettable score. ("Mostly" because the score does offer up two really good songs.) Top if off with a production that looked cheap and substandard. And as a final touch, a hapless cast struggling with the material compounded by a barely competent performance by its leading lady. But it didn't start out that way. Like all new shows, hopes and spirits were high. But then, but then…

All of the shows I'll chat about in these next three posts started out with the best of intentions. Many of these shows were written by/directed by/starring top names in the business, folks who know or should know quality material. What all of these shows lacked, however, was the truly objective voice that could say, "STOP!! Danger, Will Robinson, danger!" and the results were hot theatrical messes that confounded both its audiences and its critics. In the theatre, far more shows fail financially than succeed in making their money back. Some fail so spectacularly they become legendary, a part of theatrical lore. Breakfast at Tiffany's, Carrie, and Moose Murders immediately come to mind. Most, however, simply close and are rarely thought of again. Some of the shows I'll write about ran for a long time, but didn't make money, and others were barely a blip on the theatrical radar. These are my top ten theatrical train wrecks. Shows that truly went "off the rails."

Let's begin.

WILD AND WONDERFUL – Lyceum Theatre, New York

November, 1971. First preview/world premiere! Neither wild nor wonderful, for forty years, this justly-forgotten musical was my gold standard for theatrical train wrecks. The impetus to see this show was Walter Willison, who I saw a few months earlier in the pedestrian Richard Rodgers' musical, Two by Two. He was the bright spot in the show, talented, only a few years older than me, cute as all get out, and, frankly, I had a bit of a crush on him. I was excited at the prospect of seeing the very first performance of his new musical. By the time the curtain fell on that first preview performance, I was far less than excited and knew that I had just witnessed a monumental flop. And, boys and girls, it was monumental. Terrible book, terrible score, terrible production values, terrible direction, terrible choreography. Why anyone ever thought this material should be produced on Broadway is beyond me. You know you're in trouble when the book writers' and the composer's Playbill bios are all terribly vague and say things like "he has written for the theatre for many years both off and on Broadway" or "he has been directing television programs for CBS" and no titles are offered. The plot, if one can truly call it that, involved the CIA (I kid you not. One of the songs was titled "I Spy.") with the horribly misused Willison cast as a cool and hip spy dude assigned to infiltrate the radical youth of the very early 70s. Toss in a winsome lass who Cool and Hip Spy Dude mistakes for a radical bomber for reasons that make absolutely no sense. Then add in Roman Catholic clerics for that touch of religion and, well, you get the picture. It was a mess…fascinating and horrifying to watch at the same time. But, if every cloud indeed has a silver lining, Wild and Wonderful had one sensational silver lining in Laura McDuffie, who, in her Broadway debut, had the misfortune of being cast as the female lead, but who somehow managed to add dignity, charm, and huge amounts of talent to this disaster of a show. I was totally mad about her. The fact that Wild and Wonderful marked not only her Broadway debut, but also her Broadway farewell, was a great loss for Broadway. Had her debut show been even a modest success, I think she could have had a long and successful career in New York. So, why, you ask, was this show secure and relatively unchallenged for decades as the worst show I'd ever seen? I guess I'd have to say because this simply should not have been produced. It was amateur hour and a lot of money, talent, and time was wasted. Lots of worthier projects go unproduced, yet something like this somehow finds backing. I'm still shaking my head about this one. Oh…and Walter Willison? Well, he was still cute and all, but I moved on. Willison did, too, to a nice long stay in Pippin. Wild and Wonderful played nine previews, then opened to disastrous reviews and closed that night eight days after the performance I saw. 

Fun Factoids: Wild and Wonderful was produced under something called the Broadway Limited Gross Contract, a now defunct contract designed for productions scaled to earn less the $25,000 per week. (!!) Remember, this was in 1971. It offered lower union pay scales and, I believe, work rule concessions to promote production of smaller, more intimate shows. Top price for Wild and Wonderful was $5.00!  Even in 1971, that was a bargain. Another fun factoid, singer and Barbra Streisand sound-alike Julie Budd was supposed to make her Broadway debut in Wild and Wonderful. She dropped out shortly before previews began and Laura McDuffie took over. According to IBDB, Budd has only appeared on Broadway once in something called Catskills on Broadway. Sounds terrible, but at least she dodged the  W&W bullet. And one last fun factoid, in the ensemble was a young Ann Reinking in her second Broadway appearance. This was before she became Gwen Verdon's doppelgänger.

LESTAT – Palace Theatre, New York

One of my favorite actors, Will Swenson, was in the ensemble and one of the understudies for Lestat. He's gone on to far better things.

The hapless principals of Lestat. They tried; they really tried!

(edited from an earlier post)

May, 2006.  A score by Elton John and Bernie Taupin (together again!) based on Anne Rice's sensational vampire books and starring Hugh Panaro and Carolee Carmello?  Hell, I would have invested in this. The West Coast tryout made a crapload of money at San Francisco's Curran Theatre despite receiving cool/negative reviews, though Variety gave the show a very qualified, modestly positive notice.  Before opening in New York, Lestat underwent massive changes and anticipation was high, though how much of that anticipation was hoping for a hit or, based on the out-of-town reviews, hoping for disaster is moot. The show opened after a month of previews, received blisteringly sarcastic and box-office killing reviews, and closed after five struggling weeks. How bad was it?  Well, to be honest, it was pretty dreadful, but, there were many nice moments throughout the show.  The score had one strikingly beautiful number in "Sail Me Away," Hugh Panaro's performance was first-rate  (and he's soooo easy on the eyes and has that wonderful voice!), and it had a fine physical environment.  But one just could not escape the fact that the plot elements of the show just never coalesced into a cohesive whole. Perhaps the mistake was using both Interview with the Vampire and Lestat as the primary source material. Perhaps author Linda Woolverton would have been better served by sticking to just Lestat. After all, he is the title character. Anne Rice's vampire books are loaded with gothic horror, steamy romance, and hot homoeroticism, and face it, who wouldn't want Hugh Panaro to bite on your neck?, but all three elements were in short supply on the Palace stage. It wasn't necessarily dull; it just sort of sat there, inert and pretty lifeless. The cast was earnest and did their best, but there was one, well, I wouldn't call it an exception, but it sort of stood out for all the wrong reasons. Carolee Carmello, as Lestat's mom, was just as game and earnest as everyone else, but seemed so wrong in this part, so out of step with the rest of the proceedings. Understand, I love Carolee Carmello, but here she was just…off. For example, at one point, after she had been turned into a vampire by her loving son who just couldn't say goodbye to dying Mom, she enthusiastically attacked a hapless victim with scenery-chewing fervor and the audience laughed, which I don't think was the response the creators were going for. (Lest you think the audience was mean, the laugh was honest. The scene was overacted to such a degree, it was not even vaguely terrifying, which was, I think, the desired effect.) Lestat is one of my top theatrical train wrecks because it could have and should have been so much better with all the talent and source material involved.  Sad, sad, sad.

Fun Factoid: Hugh Panaro is one of the stars in an unassuming, gay-themed film from 1997 called Broadway Damage. It's one of my favorites. It's sweet, has a heart, is about theatre and has a charming cast. Panaro plays a somewhat nasty, unsympathetic character, but he's so good-looking, you don't really care.

NORMA DOESMEN – Abingdon Theatre, New York

March, 2010. Appallingly bad. Offensively bad. Relentlessly bad. A sexy, naughty spoof on the film classic Sunset Boulevard on paper seemed like a pleasant enough diversion for a March Saturday  afternoon, especially since it starred famed Judy Garland impersonator Tommy Femia as Norma Doesmen. Get it…"Doesmen." Hahahahahaha. How about "Joe Dillis" or even better, "Betty Shaveher"? Hahahahahahaha. Yes, yes, I know. We should have known better. Back when I first started going to New York in the 70s, it was still possible to produce a show off-Broadway for a relatively low cost and many shows were produced by playwrights, composers, actors, etc. to showcase their oftentimes dubious talents. These were called vanity productions. To call Norma Doesmen a vanity production is an insult to vanity productions. There really wasn't a redeeming feature in this trash, though, to be fair, I will admit the first few minutes appeared promising. It quickly, very quickly, went downhill. The so-called writer and director, Stephen Stahl, has a bio that fills up an entire page, yes, I said page, of the program. Seriously, dude? Who do you think you are? Mitzi Gaynor? (Inside joke. Mitzi Gaynor's bio in a concert Playbill was over 1 1/2 pages. Mitzi Gaynor? Please.) Credit where credit is due, you have some good credits, but, sweetcakes, a full page? That sort of self-aggrandizement reeks of vanity gone amuck. Except for Femia, the other three actors were making debuts, either off-Broadway or NYC itself. I don't know if they've gone on to do other things, but this was not an especially auspicious way to make a debut. We fled at the interval. We would have left earlier had we not been bogged down with shopping bags filled with goodies for our newborn granddaughter and the noise made by bags rattling, etc. would have been rude. Our departure meant the house would number twelve for the second act. If those twelve were smart, they would have followed our lead. In case you're wondering, the reason this didn't trump Wild and Wonderful as the leader was because W&W actually thought it had the goods to be a Broadway-caliber musical; Norma Doesmen's aspirations were more modest. It still sucked. Full stop.

VICTOR/VICTORIA – Shubert Theatre, Chicago

Hillel Gitter as "Mr. Balloon Man." Who is this person, you ask? According to his bio, he's a "citizen of the world" (spare me) and does something horrifically called "Clowntomime." Mimes AND clowns? That's just so inexcusably wrong in so many ways.

Christopher Innvar, who understudied King Marchan and was in the ensemble, would be a very, very good File in the Roundabout revival of 110 in the Shade a few years later.

It wasn't Julie's fault. It wasn't. Well, maybe a little.

July, 1995. Victor/Victoria is one of my favorite movies and hands-down my favorite Julie Andrews one. The film is sharp and sophisticated, lovely and lush to look at, with top-notch performances and a vibrant score. At the time I believed it to be a natural to transfer to the stage, so I was very excited when Victor/Victoria announced a pre-Broadway tryout in Chicago that would star Julie Andrews in her first Broadway appearance in over thirty years. Sadly, my initial excitement as the lights went down and the overture began quickly turned to bewilderment ("That wasn't very good. I hope it gets better.") to dismay ("What are they doing?") to complete disappointment ("Wow. What the hell happened?"). Excising "Gay Paree" and "The Shady Lady from Seville" and replacing them with the vastly inferior "Paris By Night" and, oh dear God in heaven, shoot me now, "Louis Says" was not only a major misstep, it was just plain stupid. The ill-advised revamp of "Le Jazz Hot," which actually got applause when I saw the film at the McClurg Court, turned this show-stopper for Julie Andrews into a song about the ensemble and Ms. Andrews sitting on top of a piano, while in the process tossing out all of the film's spectacular staging. To add insult to injury, Andrews' thrilling high note at the end of the song was pre-recorded, obviously and clumsily added, and basically smacked down the number. Now, granted, the song was pitched at least a third lower than the film version, but if Andrews could no longer hit that note, why not just give her a good belting high note that she could hold forever and let her honestly bring the number home? Obviously, money was not an issue and the production looked expensive. The cast consisted of theatre pros, but, and I really, really, really do hate film/stage (or stage/film) comparisons, the stage principals, including, oddly, Andrews, just did not come close to the film's originators. Closest was the always-charming Gregory Jbara. Tony Roberts, who is consistently professional, but not consistently interesting, was a flat Toddy; Rachel York, and I'm a Rachel York fan, was shrill and one-note as Norma (and her number "Paris Makes Me …", the ellipsis standing in for the word "horny," which apparently Playbill thought was too saucy a word for 1995 Chicago audiences, didn't help her at all); Michael Nouri was handsome, but bland. Even Andrews seemed tired. Don't get me wrong. She worked her butt off and was always every inch the star, but there was a lack of freshness that surprised me. The less said about the Act Two horror "Louis Says", the better. Direction seemed unfocused; the choreography seemed uninspired. But even with all the bad decisions and missteps, there were two moments of pure magic when Julie Andrews did what she does best and, alone on stage, sang a beautiful "Crazy World" in Act One and a lovely new song, written for the show by Frank Wildhorn, called "Living in the Shadows" near the end of Act Two. Audience response was enthusiastic, with a loud standing ovation for Andrews, but, by that time, I just wanted to go home. By the way, the friends accompanying me that afternoon felt the same, so it wasn't just me. Now I know many people will disagree on my assessment for Victor/Victoria. The reason this made my top ten list of theatrical train wrecks is simply because the film was such a textbook blueprint for a stage transfer and the creative team, for whatever reason, ignored what was staring them in the face and tried to reinvent the wheel, so to speak, to poor results. I suspect I would have felt quite differently had the show hewed more closely to the film. Just my humble opinion.

Sidebar: Victor/Victoria opened in New York to decidedly mixed/negative reviews, but with raves for Andrews, and ran for over 700 performances. Julie Andrews was in the show for most of its run, taking a month off for vacation, with Liza Minnelli filling in, but had to leave the show in June, 1997, when she developed vocal problems. Raquel Welch replaced her, and if anyone was in any doubt about who the draw was, it became apparent when box-office receipts tanked with Welch in the lead and the show closed four weeks later at a loss. But the big drama of the entire run, and, quite possibly of the 1995-1996 theatrical season, was Julie Andrews' announcement that she was refusing her Tony nomination as Best Actress in a musical and would not accept the award should she win because of, in her words, her "egregiously overlooked" cast and production staff. Her nomination was the show's only one, an odd state of affairs considering the other nominees in the musical categories, most especially in the Best Musical category. Seriously, Swinging on a Star? Chronicle of a Death Foretold? It was a brave stand by a classy lady and pretty much guaranteed the loss of what probably would have been her win. Donna Murphy won instead for a revival of The King and I. Sadly, after a botched operation to removed non-cancerous throat nodules in 1997, the once silken voice will never grace another musical.  

That's if for today. Part Two coming soon!

© 2015 Jeffrey Geddes