Christmas Eve

It's Christmas Eve. A glorious night of the year, where it feels as if things in the world are, albeit briefly, alright. This year, I am home alone for the holidays as my parents are in Malaysia with my brothers. Never fear, I muddle on through. I have continued my wondrous Christmas Eve tradition of listening to the original cast album of "She Loves Me," not only one of the most glorious musical comedies written, but a show that finds its incredibly touching finale take place on Christmas Eve. As I type, the "Ice Cream" reprise scene between Daniel Massey and Barbara Cook is playing out, one of those zen moments when you know that a musical can be salve for a weary soul.

Merry Christmas, kids.

The most played songs on my iPod.

It's very late and I'm waiting for my laundry to dry and since I have not yet seen Sweeney Todd (curses), I needed something to fill the void, so I decided to play around with my iPod/itunes. I was curious to see what my top 25 playlist consisted of, so I thought I'd share:

1. "Not on Your Nellie," Darling of the Day, OBCR (Jule Styne-Yip Harburg). Patricia Routledge's rousing music-hall eleven o'clock showstopper. It's a sheer delight from start to finish. In part because of this, and also the next entry, Routledge has become a heroine of mine. And a master class in musical comedy genius. I highly recommend the rest of the cast album. 109 plays (yeah, I've listened to it a lot...).

2. "Duet for One (The First Lady of the Land)," 1600 Pennsylvania Avenue (Leonard Bernstein-Alan Jay Lerner). Patricia Routledge once again snags this spot with her spirited rendition of this nine minute showstopper in which she portrays both Julia Grant and Lucy Hayes while discoursing on the election controversy that led to the presidency of Rutherford B. Hayes. A complete marvel of craft in both performance and writing. 60 plays.

3. "You've Got Possibilities," It's a Bird, It's a Plane, It's Superman, OBCR (Charles Strouse-Lee Adams). Linda Lavin stopped the show with this cleverly written song in which her character tries to seduce Clark Kent. 46 plays.

4. "Sez I/If It Isn't Everything," Donnybrook, OBCR (Johnny Burke). Peter Filichia referred to this in an article as the greatest opening number you've never heard. I will not disagree. The only fitting description I can use would be to consider it a feisty Irish cousin to "Waitin' for My Dearie" and "Many a New Day," Joan Fagan nails this energetic number out of the ballpark. Now if we could only get a CD release. 44 plays.

5. "The Golden Ram," Two by Two, OBCR (Richard Rodgers-Martin Charnin). Okay, so I'm a huge fan of Madeline Kahn. Extraordinarily huge. This brief exercise in coloratura hysterics is the only cast album which showcases Kahn's soprano at its peak (she had vocal problems the day On the Twentieth Century was recorded, though apparently no one in the production team cared). That's a full-out high C with which she caps the number. 44 plays.

6. "Another Hundred People," Company, OBCR (Stephen Sondheim). One of the most ingenious orchestrations ever given a theatre song, Pamela Myers definitive rendition is always something I listen to with earnestness and appreciation. From the melody, to the lyric, to the context, it is one of the most satisfying moments in a musical (and subsequent album) that Stephen Sondheim has given us. 44 plays.

7. "Come You Men," A Time for Singing, OBCR (John Morris-Gerald Freedman). Granted the running time is brief (1:20), which probably led to numerous plays over the previous months; but the song itself is the stirring opening to the cast album of this devastatingly short-lived musical adaptation of How Green Was My Valley. This track is an a capella chorale in the Welsh tradition that is incredibly stirring and melodically gorgeous. 44 plays.

8. "A Time for Singing," A Time for Singing, OBCR. Tessie O'Shea gets great material in this show, but her rousing and spirited rendition of the title song will send you to hit the repeat button again and again. A jubilant waltz, the song also takes on for me, a personal philosophy of what the singing in a musical can do. Hear the words of the first verse, and you'll understand. Another LP album that needs a remastered CD release. 38 plays.

9. "The Girl Who Has Everything," Grey Gardens, OBCR (Scott Frankel-Michael Korie). When I first saw this musical, it was on Broadway, where this number had replaced the song "Toyland" featured on the original cast recording from Playwrights Horizons. When the new album came out, this soaring operetta waltz, which took on considerable gravity within the show's context, was oft repeated, especially for the stunning vocal flourish with which Christine Ebersole ended the number. 37 plays.

10. "The Revolutionary Costume for Today," Grey Gardens, OBCR. I would consider this the finest list song Broadway has had in years, if not decades. The list espoused by Little Edie in this act two opening showstopper is a feat of expository writing in an opening number. (I consider GG two linked one-act musicals, since the styles are so very different). You receive so much about setting, time and character in just the words, and even the amusing "Da-da-da-DA-dummm." which fills the pauses between songs. Genius. 37 plays.

The rest of the top 25: "We Need a Little Christmas," Mame OBCR (Jerry Herman); "Turkey Lurkey Time," Promises, Promises OBCR (Bacharach-Hal David); "I Was a Shoo-In," Subways Are for Sleeping OBCR (Styne-Comden & Green); "It's Enough to Make a Lady Fall in Love," Darling of the Day OBCR; "Mame," Mame OBCR; "Home Sweet Heaven," High Spirits OBCR (Hugh Martin-Timothy Gray); "Raunchy," 110 in the Shade, New BCR (Harvey Schmidt-Tom Jones); "Let's See What Happens," Darling of the Day, OBCR; "Rehab," Back to Black, Amy Winehouse (not everything is theatre 24/7...); "Ice Cream," She Loves Me, OBCR (Bock & Harnick); "Carnegie Hall (Do-Do-Re-Do)" On the Town, 1960 studio cast (Bernstein-Comden & Green; God, that ride-out!); "Thank God I'm Old, Barnum, OLCR (Cy Coleman-Michael Stewart); "Fable," The Light in the Piazza (Adam Guettel); "For Once in My Life," Stevie Wonder (see Winehouse); "And This is My Beloved," Kismet, Lincoln Center revival CR (Borodin; Wright & Forrest).

Theatrical Highlights of the Year

1. Follies. February 12, 2007 @ the City Center. A star-studded, riveting performance of a landmark musical; possibly the ultimate in cult status. Donna Murphy and Victoria Clark were at the top of their game. The rest of cast rose to the occasion, save for Christine Baranski's psychotic and off-key rendition of "I'm Still Here" which still stopped the show. It was a real treat to hear the score unadulterated and with its complete original orchestration. An event that was not to be missed and woefully went unrecorded. Saddest part? The rumored transfer never came to fruition.

2. Coram Boy. May 17, 2007 @ the Imperial Theatre. A delightfully and unapologetically Dickensian romp through plot machinations and melodrama that made for an inventive evening at the theatre. British actress Xanthe Elbrick successfully played an aristocratic adolescent male in the first act and a cockney orphan of 8 in the second, earning the Theatre World award and nominations from all the awards committees. Jan Maxwell, as a self-preservational feministic accomplice to the villain, delivered a fully layered and realized performance, also worthy of much praise. Ran for 30 performances, becoming one of the most expensive flop plays in history. Deserved better reviews and audience for its theatrical inventions and concept.

3. Deuce. May 22, 2007 @ the Music Box Theatre. Terrence McNally's second rate play wouldn't have made my list save for one exception: it brought Angela Lansbury back to Broadway. For that reason alone it deserves much praise in spite of the inherent weakness of the work itself. Lansbury and co-star Marian Seldes were a marvel of technique (with 110 years of Broadway between them) and a chance to see Lansbury back on Broadway (the last time she was in NY was a flop revival of Mame in 1983 that closed when I was 6 weeks old) was worth the price of admission alone.

4. Journey's End. June 5, 2007 @ the Belasco Theatre. Admittedly, I was severely disengaged with the first act; even to the point of nodding off (though that may have been the free wine from the Theatre World award reception I attended that afternoon). However, the second act put everything into perspective and the last five or ten minutes of the show were among the most harrowing spent in a theatre. The audience was so numb they forgot to applaud. Remarkable work by the ensemble; most notably Boyd Gaines and Stark Sands. Truly an event that should have been seen by more, especially given the inescapable relevance of an 80 year old anti-war play.

5. Grey Gardens. June 12, 2007 @ the Walter Kerr Theatre. Though I'd seen this musical in 2006, this particular performance was the most memorable I attended. It was the first performance following the Tony awards at which Christine Ebersole and Mary Louise Wilson took home the Best Actress and Best Featured Actress in the Musical Tony's. The house was abuzz with fans and newcomers; creating that certain palpable energy that comes oh so rarely in the theatre. Never have I witnessed a star receive a standing-ovation on a second act entrance. I doubt we may ever have cause for that again, until London ;)

6. 110 in the Shade. July 23, 2007 @ Studio 54. Christine Ebersole's greatest competition for the Tony award came from star Audra McDonald's nuanced portrayal of the love-lorn, insecure spinster Lizzie Curry in this 1963 musical adaptation of Nash's The Rainmaker (most memorably filmed with Katharine Hepburn in 1956). The score by Jones & Schmidt shone, the cast was outstanding and Audra made your heart feel light from the moment she entered to the moment the inevitable rains came. It's very rare to see a matinee crowd respond with such vigor to a stage musical revival such as I did on this hot July day; but when McDonald finished "Raunchy", the house erupted as though we were attending a rock concert. It was also a treat to see John Cullum performing as Lizzie's father and Bobby Steggart's comic impression as Lizzie's not-so-bright yet tender-hearted little brother.

7. Gypsy. July 25, 2007 @ the City Center. Patti LuPone finally got to tear it up as Rose in NY. In spite of the lack of a complete scenic design and a rather bizarre lamb puppet, the production was everything you would hope for in your presentation of this musical; a stellar Rose, a solid Herbie and a heart-breaking Louise. LuPone maneuvered her way through the role with fiery conviction, earthiness and a determination that could put the fear of God into Patton. Her "Everything's Coming Up Roses" not only foreshadowed the second act "Turn," but could very well be the most definitive delivery of that song. Laura Benanti was the greatest Louise I have ever seen. Someone so attractive could play awkward teen so well - and have a transformation into Gypsy Rose Lee that was nuanced and damn sexy. Boyd Gaines (as usual) went above and beyond the call for what is required of Herbie. Tony Yazbeck was a most convincing Tulsa; and one you would think could elope with June without requiring a true stretch of our willing suspension of disbelief. Excited for the Broadway transfer this spring.

8. August: Osage County. December 4, 2007 @ the Imperial Theatre. Tracy Letts' new drama is one of the most riveting and enjoyable pieces of theatre to open on Broadway in a few years. A spectacular return to the old-school three-acter, the play explores the dormant volcano that is the Weston family and their myriad of dysfunction. Ferocious performances from Deanna Dunagan as Violet, the combination Mary Tyrone, Regina Giddens and Martha and Amy Morton as her equally volatile daughter anchor this brilliant work. Many people are quick to dismiss the critical plaudits and claim the work is an overrated soap opera variation on Mama's Family. Those people are missing the subtextual boat here, especially when you view the dynamite second act; which has some of the best contemporary writing ever presented on a NY stage. Never mind the naysayers, see this play before it closes.

What I want to see next year: Come Back, Little Sheba, Sunday in the Park With George, The 39 Steps, Les Liaisones Dangereuxes, The Country Girl, November, Cat on a Hot Tin Roof, In the Heights, A Catered Affair, South Pacific, Gypsy, Show Boat at Carnegie Hall, Billy Elliot, and also Saved! at Playwrights Horizons.

A Snowy-Blowy Christmas

Donna McKechnie leads the original cast of Promises Promises in the act one showstopper "Turkey-Lurkey Time" on the 1969 Tony awards. The other two lead dancers are Baayork Lee and Margo Sappington. Choreography by Michael Bennett. Yes the lyrics are rather outrageous and the melody is infectiously 60s, but that's part of the fun (thank you Bacharach and David). And technically, it's a Christmas song. So in the spirit of the season and with the snow coming tomorrow, sit back and enjoy.

August: Osage County, or the greatest play ever

Okay, maybe not ever, but one of the most extraordinary in recent memory. Last Tuesday night I had the privilege of attending my second Broadway opening night, special thanks to Noah. It was thrilling to be able to attend; especially given the precarious situation the stagehand's strike thrust upon this unknown play, without a name cast and a recognizable creative team. Thank God, the show is here. And unlikely to ever go away and for that we should be incredibly thankful.

My first ordeal came with the question, "what do I wear?" That was easily assuaged by a trip to the mall, abandoning my usual earth tones for a classier black and charcoal grey combination. Second of all, I had a trimming accident, so off came my beard of four years. Well, regardless, I looked like sex on legs. (Seriously).

Anyway, my point. The opening night was star-studded, much more than I think anyone would have realized: Angela Lansbury, Elaine Stritch, Marian Seldes, Alan Rickman, David Schwimmer, John Krasinski, Anthony Edwards, Christine Ebersole, Tim Daly, Zeljko Ivanek, Duncan Sheik, Ana Gasteyer, Laurie Metcalf, Melina Kanakaredes, Gary Sinise, Kate Walsh, Tom Hulce, Tamara Tunie, Kelli O'Hara, Penny Fuller, Lois Smith, Bobby Cannavale, Marsha Mason, among a slew of others that I'm probably forgetting at this point. Anyway, as exhilarating as it was being a King of the Hill wallflower in the lobby watching the glitterati arrive, the opening night experience itself was overshadowed by the masterwork onstage at the Imperial.

It's hard to describe what is destined to be a contemporary classic. To see a play that returns to an older form (the first original three act play on Broadway in how long?) yet managed to infuse the drama with such a sense of humor and relatability. Every family has its dysfunctions, yet this one manages to pinpoint them all without ever becoming too absurd for its own good. The plot revolves around a family returning to its homestead in Oklahoma after the patriarch goes missing. The reunion unearths a slew of dirty laundry, grudges and secrets, led by the matriarch Violet, suffering from cancer of the mouth (oh how fitting), and in a stunning breakthrough performance (for a grandmother) by the Chicago-based actress Deanna Dunagan. Violet is constantly shifting between her natural no-nonsense, tell-it-like-it-is persona and her drug-addled incoherence; a volatile combination that helps her to force out family skeletons and lead them in a rousing cakewalk through the second and third act. It's hard to describe what it is about her performance; the command of the stage, the ease at which she's created her character or the fact that Vi is a cross between Mary Tyrone and Martha, with a dash of Regina Giddens thrown in for good measure. Also standing out is Amy Morton as her mother's daughter, Barbara, who ends up trying to strangle her mother when things get out of hand and is slowly turning into her. Watching the two pitted against each other is one of the theatrical highlights of the year. Dunagan dominated the second; Morton, the third. It really feels though, that Barbara is the lead, but boy is Violet a good time. And in that one wonders if they'll compete against each other for the Best Actress awards this season. I think Dunagan's Theatre World award should be engraved today to save the time.

For what it's worth, the entire ensemble is extraordinary. Never once do you question these actors as a family (all but two veterans of the Steppenwolf production that played earlier this year in Chicago). I don't want to give plot points away because the entire arc of the play is filled with little surprises and unexpected revelations. (And hell, if you want to know, see the damned thing). I will say this: the second act possesses some of the finest contemporary writing I've ever seen. The final line of the second act had a reaction unlike any I've ever witnessed at a drama; the audience was still cheering after the lights had come up for intermission. Think of the play as though Eugene O'Neill had been asked to write Arrested Development. (The midwestern setting is more reminiscent of Bill Inge than O'Neill, but that's besides the point). The put-downs and family arguments and incredibly awkward situations that arise are incredibly humorous, but the work ends with an incredibly sobering punch. There is talk of the awards Pulitzer and Antoinette Perry for this esteemed production (which received practically unanimous raves; the lone hold-out was that out of step Jacques Le Sourd from the Journal News), and is currently only scheduled to run through March 9. If you have brains, get your hands on tickets immediately as you will not want to miss this landmark achievement.

I know I probably should have written some brilliant critical commentary on the piece, but we have eternity to judge the piece with that ethereal lens. For now, just see this magnanimous opus. (The fastest three hours and 20 minutes I've spent at a play).

Angela Lansbury is Rose!!

Here is Miss Angela Lansbury in some incredibly rare footage from her revival of Gypsy from the mid-70s. Often considered the best to interpret the character, Angie here gives us a taste of "Some People," some rather impressive choreography in "Together" (those kicks!) and the final half of her "Turn."

Though a question lingers in my mind... If we have these highlights, is there a complete video of her performance out there somewhere....? Something to think about.

Enjoy!

IT'S OVER...and other important miscellany

Thank God. It's over. Finally sometime this evening it was announced (officially) after 19 days that the strike has ended. The producers and stagehands have come to terms that apparently seem fair to everyone. While the pact awaits a ratification in several weeks' time, all shows on Broadway shall be on tomorrow evening. I reiterate: Thank God. Now I can finally see August: Osage County, among everything else I'd been thinking about seeing this holiday season. Be sure check for discounts if there's anything you want to see. The megahits have nothing to worry about, but the underdogs, especially the plays, need as much support as we can give them at this time. I'm sure we'll soon get a notification of new opening dates for August, The Seafarer and The Farnsworth Invention.

In other major news, it's official. Patti LuPone is going to reprise her performance as Rose in Gypsy for the Tony voters this season. Musically, it's shaping up to be spectacularly promising; what with Jenna Russell in Sunday in the Park With George (for which she won the Olivier award), Kelli O'Hara in LCT's South Pacific, Faith Prince in A Catered Affair, among others that I'm sure I'm leaving out at this godawful early morning hour. The entire cast has been offered the opportunity to reprise their roles. Hopefully Laura Benanti and Boyd Gaines will also come back aboard. For more opinions on the revival, please see my previously posted open letter to Mr. Laurents, who will once again repeat his direction.

There are clips of Sweeney Todd online. This has done nothing to assuage my anticipation for the upcoming film. The more I see and hear bits and pieces the more I want to plan an elaborate heist to get an early copy. Well, I settled for a mild-mannered countdown on my facebook. What is fascinating are those who are already criticizing the film. The singing is mediocre. It looks like a Tim Burton movie and not Sweeney Todd. Where is that harmony? What about this line? I've accepted that this won't be the Hal Prince Sweeney Todd with which we are so readily familiar while others haven't. It's a film adaptation that actually looks to be a promising entry in the year's films. December 21 cannot come soon enough for me.

To hear some of the score: http://www.sweeneytoddmovie.com

Enjoy.

Little Edie to raid London?

As per Liz Smith in Variety:

"THE LONDON production of Grey Gardens is now "on" with a vengeance. Rights reverted from the original Broadway production and came back to the authors and composers. Music man Scott Frankel and star-producer Tony-winner Christine Ebersole took off for London to put little Edie Beale and her adventures on the West End. This musical will be a natural for the Brits who love eccentrics..."

So I guess now that the rights are no longer held by the Gondas, the show can flourish in London as well as on tour (Vicki Clark, are you reading? OK, probably not). It was a shame to see this show fold early, as it was my personal favorite of the 2006-07 season. The score is the best heard on Broadway since Piazza. The lyrics are outrageously brilliant. The assonance, the diction, the structure and rhyme schemes run the gamut of Cole Porter-Irving Berlin wit in the first act to the sophistication of Sondheim in the second. The care and craft that built this score is beyond mere words I place here in this space. If you look at it, its really a two-hander; each act is its own musical, but together as one emotionally turbulent and ultimately compelling evening.

The first act is fictionalized look at the Beale backstory, trying to give the audience some insight into these two eccentric women and how they ended up in the delapidation documented in the Maysles' film. Taking cues from the musical icons of the era, we have a lovely pastiche score. "The Five-Fifteen" is one of the greatest opening numbers I've heard in years. Particularly it's insanely catchy vamp (as part of the exit music, I left the theatre humming the rideout). The first act plays out like a Philip Barry dramedy set to music. While not as satisfying as the second act, it's a clever and inventive way to give the film portion of the musical some context. I can't imagine many people have seen the brilliant documentary, so it's necessary for us to learn more about these two ladies than the mere fact that they are Jackie Onassis' cousin and aunt. Also, in an age when musicals based on films are mere retreads of the films + songs, it was refreshing to see the creative team step back and try something different. (This is, also, the first time a documentary has ever been made into a musical).

The second act is where people have truly been astonished. Christine Ebersole's performance was astounding. Playing Edith in the first act as a vindictive variation on Auntie Mame (complete with pure, unadulterated soprano tones), she enters the second act set 33 years later as Young Edie, in a complete transformation (to nasal character belt) that in itself usually stopped the show. Following the screenplay from the film, the second act is considerably stronger, even finding a dramatic arc the cinema verite documentary lacks. Ebersole as Edie will one day become synonymous with Martin as Peter Pan and Merman as Rose. It's the stuff of legend. Mary Louise Wilson as aged Edith is also a marvel. Both actresses inhabit the characters of these women without merely imitating the film (though the physical and aural resemblances are uncanny), finding depth in the scene work and playing off each other (particularly with the delicious insults) like a finely played game of tennis. (After the remarkable critical reception and eventual Tony awards received by these actresses, I really don't need to expound any further. I also just want to mention William Ivey Long's indelible award winning costumes here as well).

I saw Grey Gardens three times on Broadway (the second time being the first performance post-Tony where Ebersole got a standing ovation at the top of the second act, something I was unaccustomed to but glad to be a part of). My first experience was through the documentary which, truth be told, stunned me completely. I was left wondering "What happened?" as most people I know feel after watching it. It was alternately hilarious and horrifying. I was first exposed to the score via the Off-Broadway recording. The show premiered at the Walter Kerr shortly afterward in what is the final version. I marveled at how they found the characters through song. "The Revolutionary Costume for Today" is the best list song we've had in decades. Not only does it follow the general terms of a list song, it surpasses it through its revelation of character. Little Edie's philosophies on dress say much more about her opinions and thoughts than almost any other song in the show (save for the devastating "Around the World" and "Another Winter in a Summer Town" later in the second act). It has to be heard to be fully understood and appreciated. (I was thrilled too, to have a final Broadway recording that incorporates the revisions and cast changes made in transferring the show from Off-Broadway to on).

I'm really not going into in depth analysis of the score here, because that in itself would take up several blogs. See the documentary. Listen to the recording. Marvel in the genius. It's exciting to know that the show will have life past its relatively short-lived and financially disastrous original Broadway run. London, tour, regional? So who cares if the inferior Spring Awakening won Best Musical. Doesn't mean it was.

Win the revolution with style, kids.

A Brief Musing

As I sit here in front of my computer, I check the time and realize that I should have been settling in to the Imperial Theatre for tonight's preview of August: Osage County. Obviously, that is not the case. The strike continues and where is the end? Fortunately it could be in sight now as it appears that negotiations will resume on Saturday. The strike needs to end in an effort to reap the benefits of the ever-fruitful holiday season. Too many shows may not reopen, or open at all, if things can't come to a head. All eyes look to this weekend.

Nothing appears to be happening on the WGA front, though there are now some amusing youtube videos that have been posted over the past few days.

Darling Illya

Melina Mercouri is probably the sexiest thing to happen to Greece since Helen. There I said it. I first watched Mercouri in the delightful 1964 comic caper film Topkapi, a heist film in that delightfully offbeat early '60s style. Directed by her husband and frequent collaborator Jules Dassin, the film starred Mercouri, Maximilian Schell and Peter Ustinov, who would win his second Oscar for this outing, as a bumbling con man/patsy who unwillingly gets caught up in the plot. Topkapi is based on Eric Ambler's novel The Light of Day and tells the unabashedly entertaining story of Elizabeth Lipp, an exotic jewel thief who enlists a former lover (Schell) to help her in an incredibly dangerous and seemingly impossible mission to steal the legendary emerald dagger from the Topkapi museum in Istanbul. At first, I couldn't really understand a thing that Mercouri was saying, as her Greek accent was incredibly thick, but I couldn't get over the sensuality of the actress nor the coy way she had of flirting with the camera. (And I also found that after a few minutes, she was speaking English and I could understand it). I won't go further in the plot of the film, but it's one to be seen. It directly inspired Mission: Impossible and was even mentioned and homaged in the 1996 film adaptation of the classic TV series. (The scene where Tom Cruise hangs upside down; watch the original for the inspiration). It's a product of the 1960s; that is for certain, but its charms and incredibly tense climax (the film was also a spoof of Dassin's own Rififi, a dark and serious film about a heist that ends badly for all involved) make for a pleasant viewing.

Anyway, my fascination with Melina began with Topkapi. It continued when I watched what is considered her signature role, Illya (Ilia according to IMDb, Illia according to the DVD case...oh well) in Never on Sunday. The film centered on an American academic Homer Thrace (Dassin, who also directed) who becomes obsessed with reforming an incredibly popular and vivacious prostitute in the coastal town of Piraeus, just outside of Athens. Illya is unique because not only is she adored by the men in town, she also commands their respect, and she in return, loves them all platonically (and occasionally a little more). She has no pimp, she sets her own prices and only chooses men she likes for consorting. There is a Pygmalion-esque subtext underlying throughout the film, Homer is trying to recreate the Grecian ideal through Illya, though unbeknownst to her, he is financing her education through the local crime boss, who would much prefer to see Illya retired and not influencing his prostitutes to take their independence (as evidenced by an older prostitute played by Despo, who would also have a brief role in Topkapi). She heartily devours the Greek tragedies, always at dramatic festivals to see them and always retelling them to the men in town who adore her. However, her interpretations of said classics make them, how shall we say?, more upbeat. With all of them ending with a picnic by the sea shore. (One of the film's funniest scenes is her Medea). The title stems from the fact that on Sunday, Illya takes the day off and has a party in which she invites all of her friends, mostly men, over to apartment. (Nothing of that sort happens). The film was a critical and popular sensation. Not only did the film make Mercouri a world-wide celebrity, it also managed one of the more impressive feats that I find from the film: it made her, at the film industry's death knell age of 40, an international sex symbol. Her husky purr of a voice, combined with those devilishly enchanting eyes are enough to captivate even today. The film was nominated for five Academy awards, winning one for its incredibly popular bouzouki flavored song "Never on Sunday," by Manos Hatzidakis. Melina was nominated, but she lost to Elizabeth Taylor's tracheotomy.

Never on Sunday became a musical in 1967. Again, it starred our Melina. Again Despo played the older prostitute friend. Again it was directed by Dassin. Again the music was from Hatzidakis. The show was called Illya, Darling; an uninspired and rather poor choice, though one can appreciate the early film to stage adaptations trying to make themselves distinct from the original property, much like Carnival! from 1961 and with Promises, Promises a year after Illya opened. I have to admit, for such an incredibly weak score, it's a guilty pleasure. The overture is a thrilling Grecian piece entitled "Bouzouki Nights" and may be the most thrilling opening to grace a dud of a score. Many of the character numbers lack sound structure and some lack lyrical finesse. (Particularly, Despo's annoyingly catchy but truly awful "I Never Lay Down Anymore." When the title of a song says all there is to be said, it shouldn't be dragged out for another 2 1/2 minutes). It speaks volumes that "Never on Sunday" was interpolated into the score and it remains the strongest piece. But all of the above and Orson Bean's irritating nasal whine aren't enough to make me stop the record. It has Melina. And God bless her, she really put her all into it. Her singing voice isn't spectacular. It's rather gravelly and deteriorated due to years of chain smoking (in the two films you rarely see her without and its a pity, Melina died of lung cancer in 1994). But there she is to lead the troupe through what must have been an interesting evening for 320 performances (given that she was basically the sole attraction, who else would want to fill those shoes?). The back of the LP is filled with love letters the critics wrote for her. My favorite being from Walter Kerr of the NY Times:

"Melina is, of course, something to contemplate. She's a creature you would be happy to take home to Mother if Mother was out. Leggy and luscious as before, clasping a shy sailor to her very warm breast. Melina stripped down to a minibikini. Melina locked in the muscular embrace of a handsome dockworker without a shirt. Melina propped up in bed on her elbows, crying a little through cigarette smoke over three weeks love lost because of her over-indulgence in virtue. The lady's smile is as broad as the blaze of noon. she moves as though she had been born a dancer."

And they say Brantley worships Chenoweth. She's got nothing on Melina.

On the BlueGobo website, there is an extended clip of Melina and the company. First, she performs her opening "Piraeus, My Love", then men of the ensemble lead the title song and it ends with an encore of "Never on Sunday," sung in Greek by Melina and assisted by the chorus.

I'm not entirely sure why I felt like writing about her tonight. Just seemed to be on the mind as I've been recommending her recently to friends. Now I only know her via these two roles, but I do intend on checking out Phaedra and Stella. I do hope you check out Melina in the two filmes I mentioned. They are incredibly enjoyable, especially to see a star as lustrous as Mercouri make proverbial love to the camera. (Illya Darling is also worth a listen for the curious).

There are plans to remake Topkapi. I wish they wouldn't.

Strikes!

Right now, at this very moment, Hollywood and Broadway are effectively in a comatose state. On the film & television angle, we have the strike of the Writer's Guild of America, in an effort to gain profits from internet and DVD aspects of their work, which are being commercially sponsored on the internet and other venues. The writers, In NY, almost all of Broadway (save for the non-profits, huzzah, and a few select non-union theatres), has been effectively shut down as of today as the IATSE stage hands strike over contractual issues involving an increase in wage as well as certain criteria for the hot-spot issue of load-ins. The Local One has been working without a contract since July 31 of this year.

It's mindblowing to think that right now most television shows have ceased (or will soon cease) production cutting into the fans' seasonal expectations. It's mindblowing to think that as the Thanksgiving-Christmas season approaches, most of the Broadway shows are dark, threatening the economic climate of not only the theatre community of NYC, but also of the surrounding businesses and restaurants (and tourist trade). Charlotte St. Martin, executive director of the League of American Theatres and Producers, estimates a direct and indiret loss of $17,000,000 per day as a result. Mid-town thrives on the theatre and for this holiday season, its going to be difficult should this strike be prolonged. Hopefully, it will be resolved in a manner similar to that of the musician's strike of 2003. (Incidentally, I have a parallel experience here: both times I have had theatre tickets for the Wednesday after the commencement of the strike. Last time, things had cleared up in time, but we shall see what happens here...)

I am also incredibly concerned with the Writer's Guild Strike as I find it an incredible issue of such importance that the outcome will impact the entertainment industry forever (and hopefully in good ways). The outcome of the WGA strike will influence the pending negotiations for SAG and DGA members, as their current contracts will be expiring in the spring. Not that I don't sympathize with the current situation in NY, but it seems to me that those who write for television and film (not to mention those actors who don't make the mega-millions) should reap more of the financial benefits of their work. For instance, The Office had 7,000,000 downloads off of itunes last year. That's 7,000,000 times $1.99. That is what the show raked in. That's almost $14,000,000 in revenue of which the actual team of the writers saw very little, if any at all - I think it was more the latter. (There was some rumor that Apple wanted to lower the episodes to $.99 which was why NBC pulled the show from itunes, since they wanted it at $4.99 an episode. Who knows the truth?) Residual benefits from these unwarranted corporate leanings would provide financial security especially for those writers who don't rake in huge amounts of money like Aaron Sorkin or Tina Fey.

I hope situations are resolved so we're not forced to sit through more reality spawn in our primetime TV (and that my shows return in triumph) and that I can go down and see August: Osage County this coming Wednesday. For the impact on film, we won't really see that until some lousy rush-jobs are released next summer and fall.

Note: No Off-Broadway shows are impacted by the stagehand strike. There are also eight Broadway shows still running in NY that will not be affected: Cymbeline @ the Vivian Beaumont; Mauritius @ the Biltmore; The Ritz @ Studio 54; Pygmalion @ the American Airlines; The 25th Annual Putnam County Spelling Bee @ Circle in the Square; Mary Poppins @ the New Amsterdam; Xanadu @ the Helen Hayes; and Young Frankenstein @ the Hilton. (Mel Brooks should be pleased, this strike will probably overshadow the critical evisceration his new musical received from opening night critics this week). Anyone with tickets for shows darkened by the strike are eligible for refunds and/or exchanges. For more information on how, go to this news article:

http://www.playbill.com/news/article/112684.html

PS: For those fans of The Office, there is only one show left to air this coming Thursday. No new episodes until the strike has ended, kids.

Robert Goulet (1933-2007)

There was a little voice in my mind telling me, "You must go back. You must. You've got to see this." The occasion? Robert Goulet was stepping into the leading role of Georges in La Cage Aux Folles, replacing a fired Daniel Davis in a rather public melee over backstage behavior and nonsense, of which I'm not entirely sure of the truth.

Anyway, the first time I saw the revival happened to be the first Tuesday back after the firing and the understudy, John Hillner, went on and was quite excellent. However, prior to the start of the performance, none other than Mr. Goulet himself exited into the theatre via the side door and proceeded to the rear of the house. And let it be known I said "Oh my God, it's Robert Goulet!" loud enough to be heard by the actor. I settled in for a phenomenal performance of the show, one that I thought was better than its detractors said, with some of the most joyous choreography to ever stop a show. Just an enjoyable time - and the first time I exited a theatre among people humming the songs. I've heard of that notion, but I'd never actually witnessed it before, it was quite a pleasant novelty.

Anyway, I did get back to La Cage for its final performance in June '05, since it didn't have the run nor press it deserved it closed within three weeks of winning the Best Revival Tony. All seats were going for the 1983 prices in an effort to fill the theatre for the final weeks of the run, and I jumped at the opportunity mostly because I wanted to say that I saw Robert Goulet live on Broadway. My reasoning being "Who knows if he'll ever tread these boards again?"

And sadly enough, I was right. The world lost one of the most virile baritones to grace the Broadway stage in the history of recorded musical theatre. His performance as Lancelot in the original Camelot opposite Richard Burton and Julie Andrews is one for the ages, and his original cast performance of "If Ever I Would Leave" remains and will likely always remain, the most definitive rendition of that soaring ballad.

From his auspicious debut, it took till 1968 when he starred in the Kander and Ebb adaptation of The Happy Time for him to make a return to Broadway, this time winning a Tony award for his performance as Jacques Bonnard opposite David Wayne and a young Michael Rupert.

When I learned that Mr. Goulet had died, this was the album I played. Though I have Camelot, and also the LP's of his TV musicals Brigadoon, Carousel and Kiss Me Kate, I've always felt that this album showed him at the peak of his musical career, before he became a pop culture joke, though a good sport and one he loved to perpetuate. (His cameo on The Simpsons singing 'Jingle Bells, Batman smells" and his recent commercials come to mind). His voice rings out clarion on such gorgeous melodies, possibly the most beautiful Kander ever composed, as the title song and especially "Walking Among My Yesterdays" and "I Don't Remember You."

Mr. Goulet may not have been what one would consider ideal casting for a middle-aged homosexual in St. Tropez (again, Hepburn as Chanel?), but his professionalism and his ease with comic lines were able to help him get through the show without me ever once question his casting. And when he sang - oh that voice could still fill a theatre and I bet without a microphone at that (take that, overamplification). He performed both "Song on the Sand" and "Look Over There" with such voice and charisma, one wishes they had recorded a cast album when he joined the show.

I am so glad I trusted my instincts and decided to go, since I got to see one of the last of the Golden Age legends perform in a book musical on Broadway. Trust me kids, if the chance ever comes up to see a legend in action, don't take it for granted. Just go, regardless of the cost, it'll be something you can proudly tell people in later years. There's nothing quite like being in the presence of a star.

The guilty pleasures of 1970

Katharine Hepburn in Coco. It's not an exceptional score, but it works well enough (Andre Previn & Alan Jay Lerner did the honors). Hepburn is, well, I don't have to tell you how unqualified she was to headline a musical... but there is something about her star quality and the fun in Previn's score that just makes for an entertaining listen. The book by Lerner is rather irritating, with all the filmed sequences that presented a flashback into Coco's youth. Then again, when one thinks of Chanel, one would hardly think of Kate. Legendary is the Tony performance which, tasteless laugh track aside, presents a 15 minute sequence from the show's finale, including one of the legendary fashion promenades staged by Michael Bennett. It remains the longest performance piece in Tony history. Unfortunately, the recording quality of the cast album is as incredibly poor; even in a CD transfer it doesn't sound like a 1970 stereo effort, but closer to the primitive 40s mono recordings. Perhaps it could use a remaster, but then again, only the curios and the true fans of those involved would be interested. (Rex Harrison sounds like Venetian glass, to establish a comparison. Hepburn sounds like she swallowed some...) But I can't not listen, not enjoy the personality and presence of such a star taking on such a daunting and rather reckless task. Critical misgivings not withstanding, audiences came out in droves and the show shuttered two months after she left, though the more character appropriate Danielle Darrieux had taken over in the title role. David Holliday is in fine voice (check out the OLC of Sail Away for more of that glorious tenor); Gale Dixon is a pallid ingenue whose presence, voice and acting ability are so lacking you wonder why she was cast in the first place and secondly, you wonder why Coco would become so invested in her life. Rene Auberjonois won a Tony as the campy rival (with the over-the-top exercise in schadenfreude, "Fiasco" as well as stereotypical scenery-chomping) and George Rose and Jon Cypher also offered support. Kate was fearless and one of a kind, regardless of the medium. I find it endlessly amusing how the Tony race was between her and her non-singing friend Lauren Bacall who was croaking her way (with maybe a slightly better idea of pitch) through the campier mediocrity Applause. (Third nominee Dilys Watling from the four performance debacle that was Georgy stood absolutely no chance).

Which brings me to my next guilty pleasure: the TV telecast of Applause with Lauren Bacall. The musical, an adaptation of the film All About Eve (and the original story "The Wisdom of Eve" by Mary Orr) opened in NY in 1970, ran for 895 performances and won a slew of Tony's in a considerably weak year. The show shortly thereafter made its way to London with Bacall and original NY Eve Penny Fuller, with Larry Hagman (who is pretty good) in the role originated by Len Cariou. It was this production that was filmed (on a soundstage) in an abridged form for telecast in 1973. Now the score to Applause has two kinds of numbers the brilliantly awful and the awfully brilliant, more of the former than latter, truth be told - "One Halloween," the pastiche "Who's That Girl?" and the title song are the winners (Strouse and Adams have done worse... Bring Back Birdie anyone?) Anyway, from an opening voice over, Bacall gives her all in one of the campiest reproductions of a musical theatre role for television or film. The audience is immediately subjected to the revolutionary scene (at the time) where Margo Channing skips the opening night party to go to a gay bar. Seguing into her first character song, it quickly becomes one of the unintentionally funny moments ever created for a musical. First of all, the caricatures abound from wall to wall. Then to make matters worse, Bacall cannot dance to save her life and it shows. She gets tossed in the air by a large group of screaming queens extolling "Margo!" repeatedly with all their heart. Her performance stays at that high level and is a marvel for sheer presence, if little else. (I would have loved to have seen how Broadway replacement, Anne Baxter, fared in the role.) Penny Fuller; however, delivers a nuanced and compelling portrait of the conniving Eve Harrington. Her musical selections are few and far between, but when she sings, you pay attention. Most notably, the ferocious explosion that is "One Hallowe'en" late in the second act. Applause may be the worst score of a Best Musical Tony winner, but that doesn't stop it from being fun (if not always for the right reasons). There are clips on youtube and I believe the tape is in archives somewhere, should your curiosity bring you to want to see it. You'll laugh a lot, I promise. And marvel at Ms. Penny Fuller. However, for the real thing, I refer you to the brilliant and highly rewatchable original film, whose dialogue is as sharp and compelling as ever, especially with its terse deliveries by Bette Davis, Baxter, Celeste Holm and George Sanders, not to mention the always-reliable Thelma Ritter. One of the largest problems of the stage musical is the loss of the latter two characters; the sardonic columnist Addison de Witt was replaced by the less interesting Howard Benedict, a producer with sights on Eve. Also in a ploy to modernize the story, the dresser Birdie became the dresser Duane, who memorably mentioned having a date as an excuse for not clubbing with Margo. Bacall shocked the blue-hairs in the audience with the deathless "Bring him along!"

So I enjoy them both in spite of myself. Sue me.

Side note: Did standby Joan Copeland ever get to go on for the illustrious Hepburn?

Deborah Kerr (1921-2007)

Deborah Kerr, the epitome of poise and elegance in 1950s Hollywood, has died at the age of 86. The actress, one of my personal favorites, had been suffering from Parkinson's for many years.

I'll never forget the first time I looked at Ms. Kerr in a film. It was 1995 and I was watching The King and I for the first time with some friends. I was struck by this unfamiliar, yet gorgeous redhead, who possessed such formidable strength in what I would learn was one of her most famous roles. I quickly became fascinated by Kerr, as I watched AMC regularly as a child and never seen her before. So intrigued by this lost movie star, I began to search out her roles, quickly becoming enamored with her presence and humanity onscreen.

Kerr was born in Helensburgh, Scotland, the daughter of naval architect Arthur Kerr-Trimmer. She initially trained for ballet, but soon discovered a desire to act. Kerr rose quickly to prominence at the age of 20, holding her own opposite Wendy Hiller in the film adaptation of Major Barbara. In 1947, MGM brought Kerr to the United States, with her first starring role opposite Clark Gable in The Hucksters. The shift from London to Hollywood is most famous for its legendary publicity campaign that begat the slogan: "DEBORAH KERR! RHYMES WITH STAR!" Well, it worked, didn't it?

Who could forget her repressive Sister Clodagh in the Technicolor marvel Black Narcissus, or as Terry McKay opposite Cary Grant in An Affair to Remember (one of her four signature costars, the others being Yul Brynner, Robert Mitchum and Burt Lancaster)? However, she is probably best known for her role in the 1953 Best Picture winner From Here to Eternity as the officer's wife carrying on an affair with Lancaster (most notable for that romp on the beach that has become cinematic lore).

Other notable films include Separate Tables (as the young spinster excruciatingly dominated by her mother), John Huston's adaptation of Tennessee Williams' The Night of the Iguana (as Hannah Jelkes), Heaven Knows Mr. Allison (as a nun trapped on a Japanese held island with a Marine), The Innocents (as the unhinged governess who thinks her charges are possessed), Tea and Sympathy, The Grass is Greener, The Sundowners, and a hilarious cameo in the otherwise tepid Casino Royale. Her Broadway credits include the original productions of Tea and Sympathy (Tony nom.) and Edward Albee's Seascape.

It's surprising that Ms. Kerr never won a competitive Oscar in her career (and six nominations), though there was subtle justice when she was awarded an honorary award in 1994, which may well have been her final public appearance. Her Academy citation read: "An artist of impeccable grace and beauty, a dedicated actress whose motion picture career has always stood for perfection, discipline and elegance."

Due to her declining health, Kerr was unable to attend the ceremony in which she was awarded the CBE in 1998.

Ms. Kerr has left behind a legacy of memorable performance in a wide variety of genres; films I hope that you all appreciate as much as I do.

As If There Isn't Enough Suck in the World...

Given that I have been battling a pretty miserable cold & sinus infection the last week and a half and haven't really thought of anything to write, I've been dormant for quite a few days. However, I just read the rather surprising news that Clay Aiken will be joining the cast of Spamalot as Sir Robin (the role created by the incomparable David Hyde Pierce). Yes. You read that correctly. Aiken is making his Broadway debut in Spamalot. What? Have Rent and Chicago a glut of mediocrity that they couldn't find space for him?

It is incredibly unfair to judge a performance when the poor thing hasn't even commenced rehearsals, but can I stop my reticence that this is a less than ideal situation? Granted, I am not a fan of his personality or his singing, so I have no desire to see what he does. But to put someone into a huge musical comedy, that while still doing good business, is nowhere near the sell-out monster it was upon opening. However, there does seem to be a die-hard fan base, so who knows? I'm sure he'll be fine and sell lots of tickets to those screaming fans (Hell, I'm sure if Hanson took over the three leads, it would be a similar situation, but one nightmare at a time). But seriously, stick a fork in that show.

Could it be a Reba/Fantasia scenario? Perhaps. Or could it be closer to Sheena Easton in Man of La Mancha? Possibly. There is nothing about Spamalot that screams "Revisit!" I wouldn't even go back for my beloved Marin Mazzie, the third replacement Lady of the Lake. I was there the week of the Tony voting while Sara Ramirez was out with her cold and the late Darlene Wilson was going on in her stead. The show was incredibly amusing and made for a fun, if not great, musical. How it won Best Musical over three higher quality shows is a staggering indictment of the commercial infestation of everything Tony. Enough evidence of the past few years shows that the Best Musical = Most Likely to Tour Successfully. It's a sad state when the money overwhelmingly and blatantly surpasses artistic concerns. (How many of the recent Best Musical winners were genuinely the best in their league?)

I guess it all comes down to personal taste. Once was enough for me and I'll cherish the good time I had. No need to revisit this machine, even for an auspicious debut such as his.

We are now left to speculate which American Idol contestants will venturing to the boards next. Perhaps we'll find Justin Guarini in a revival of Via Galactica.

In other news, part of the reason I have been away from the internet so long is that I have become acquainted with the HBO series Entourage in the past week. Not having HBO or Showtime makes it hard for me to catch up with these acclaimed shows that have most people going crazy, I am generally a latecomer. However, much like I flipped for Weeds back in March, I went completely to pieces over this show. I could not get enough of it. Bought all the boxed sets and watched them all whenever I could. While I'm equally repulsed and compelled by the excessive lifestyles, I cannot get enough of the characters and especially the exemplary writing of the show. The narrative blends the fictional world of this entourage (inspired by Mark Wahlberg's experiences) with the reality of Hollywood as a world of celebrity and business. The casting is phenomenal, from the four leads (especially Kevin Dillon) to Jeremy Piven's acclaimed and awarded tour de force as Ari Gold, the hyperactive and ruthless high profile agent. (Kudos also to Malcolm McDowell and especially Martin Landau for stellar guest appearances). If you haven't, do. If you have, I hope you love it half as much as I do. Rarely do I shill, but when I do, its not without reason.

"Let's hug it out, bitch."

Till next time kids.

Never Forget. Never Forgive.

Though at this point in time I should probably be rehearsing Pachelbel's "Canon in D major" for a wedding I'm playing tomorrow morning, I had to take a break from the keys for a little while to clear my head. There was simply no escaping those chord progressions (it is the same set of chords repeated in variations for 8 pages). I figure if I know the chords, if I start to zone somewhere in the middle, I can just vamp the same chords and improvise a little. Johann is dead, what's he going to care? (And from the bridal consultation I had, this girl won't know the difference. I doubt there have been many brides that have asked " 'Here Comes the Bride?' How does that one go?" I kid you not).

But I digress. I felt it more urgent to express how utterly elated I am at the new theatrical trailer for Sweeney Todd. The first time I saw this, was the 1982 taping starring Angela Lansbury and George Hearn, preserved while the national tour was stopped in LA. While certain things about that taping are on the awkward side (well, mostly Betsy Joslyn's "Green Finch and Linnet Bird"), I knew I was seeing something extraordinary the first time I witnessed "A Little Priest." I remember I rewound and rewound the video on that sequence about 20 times that night pushing it so late, that I had to watch the second act the following day. Ever since, I've been an ardent admirer of the piece (and "A Little Priest" remains my favorite Sondheim song).

(I have yet to learn how to post a video in my blog, help anyone? So here's a link for anyone who hasn't seen it yet).

http://youtube.com/watch?v=svP3HsJB5ng

I've already read that Sondheim likes it, but warns that it's its own animal. Clocking in at an apparent 105 minutes, I'm not surprised. (And given the innovations of the recent revival, it's a piece open for lots of artistic freedom and interpretation). I hear a lot of it is sung, about 70% apparently. There's just basically a lot of buzz that means nothing until the film is released and reviewed. With the first half sounding ominously like other just another Tim Burton film and not Sweeney Todd, I got a little worried. That's not to knock Mr. Burton, as I adore Ed Wood, Edward Scissorhands, Beetlejuice and Big Fish, to name a few. It's clear that the powers that be want to sell the movie before they sell the musical. Considering the amount of money at risk on a musical, one could see how they would try to showcase the Grand Guignol nature of the plot. But let's face it, it's a musical. With a lot of music. Finally halfway through there was some relief to see at least something by Sondheim in there, though not enough to my liking. Most especially, I would have liked to have heard a vocal sampling of Helena Bonham Carter's Mrs. Lovett.

Depp's acting looks exemplary and if his singing lacks the gravitas of many of his predecessors in the role, he's quite scary in the excerpt from "Epiphany." (His understated gravelly delivery of many of the shows big lines gave me chills). The trailer manages to (efficiently) set-up the entire backstory sung onstage in "The Barber and His Wife." Alan Rickman is perpetrates his usual villainy as the lecherous Judge Turpin; and also, how nice to see Mary Poppins herself, Laura Michelle Kelly as Mrs. Benjamin Barker.

One thing I noticed missing (and it makes we wonder if there will be a red band trailer to coincide) is any pointed reference to the cannibalistic nature that the Todd-Lovett meat-pie enterprise takes on towards the end of the first act. Though I smiled when they ended the trailer with Lovett's "That's all very well, but what are we going to do about him?" with the camera zooming in on the hand sticking out of the trunk.

When push comes to shove, I will be there opening day.

BTW - Isn't that a perfect tagline?

An Open Letter to Arthur Laurents

Dear Mr. Laurents,

It comes to my understanding via Michael Riedel of the New York Post that you wish to see another Gypsy on Broadway within the remainder of your lifetime that will vanquish memories of the Sam Mendes production of 2003. Now, I myself enjoyed that particular production, especially since I had never seen the show live in a theatre before. (You'll have to forgive me, Mr. Laurents, at 24, I've missed the Merman, Lansbury and Daly productions that left such indelible marks on theatrical lore). I was in the camp that thought Bernadette Peters was a thrilling Rose, who acted and sang the part with deft aplomb. At the closing performance, I was stunned to see the legendary overture get a standing ovation, thrilled when the audience rose en masse when Ms. Peters made her entrance, and scintillated by the moments which followed, which made for a delightful time at the theatre.

Now, I also became aware of Patti LuPone and her desire to play Rose, but that a begrudged feud between the two of you prevented her from playing any of your roles in New York, where you bear great weight in the casting of your productions. It was gratifying to hear that she was finally have her wish granted at the Ravinia Festival, which sparked enough interest for you to grant her the inestimable privilege of portraying Rose on the New York stage (specifically at the City Center).

It was a wonderful production. Filled with electricity from beginning to end, Patti gave Rose a down-to-earth determination and ferocity that exploded off the stage, particularly in her two showstoppers. (The gutteral scream at the end of the 'Turn' left an indelible mark on my experiences as your average theatregoer).

I worry though, that a rush to remount this production at the St. James Theatre in the spring may lead to a less-than-stellar run. In order for this to be successful, perhaps you can allow the entire script and score to be performed. The Kringelein sequence is hilarious and is what makes everything leading into "Mr. Goldstone" memorable. Not only is it a funny bit, but it also is shows how Rose can think and act on her feet. Also, reconsider the reprise of "Small World" in the second act. Rose deserves that brief moment to absorb the loss of Herbie; then bury her emotions. It was sorely missed. And lastly among these minor quibbles. Don't tamper with the Turn. It's one of, if not, the greatest eleven o'clock numbers in the history of the musical theatre genre. Cutting even a few bars like you did was jarring to the ear, b/c one expects the full piece. Fortunately it didn't diminish the impact the number had, but still, Mr. Laurents, was cutting it that necessary?

I know you wouldn't agree as your opinions and attititudes over the years have remained self-serving and well, megalomaniacal. I figure since Gypsy is the last impressive work you've ever written for the theatre, you would want it presented it with the originality and with every word intact. Let's face it, your books for Gypsy and West Side Story are among the most regarded in the canon, with My Fair Lady and Guys and Dolls being only other examples who are as well regarded. Hell, given the reception the show receives every time it is staged, it's regarded with a reverence generally provided only for Shakespeare.

So put those generous moments back into the show. Regardless of what you may think, Patti is a big girl and knows her stuff and she will acquit every word with eager discipline and creativity. While we're at it. Don't think of casting anyone else as Herbie and Louise, as Boyd Gaines and Laura Benanti may well be the definitive interpreters of their respective roles.

And while you're at it, record a cast album. Spring for sets. Costumes. Fill the space. Use the space. If we're getting a full production, make it worth the $120 a person will pay. And make sure it's good.

Best of luck to you in this and all other future endeavors (especially your revival of West Side Story).

Sincerely,
Theatre Aficionado (At Large)

PS - While we're on the subject, when may we expect a revival of Nick & Nora?

Blah Blah Blah Blah: Horny Teen Angst at Spring Awakening

After months of my own reticence holding me back, I finally ventured to the Eugene O'Neill Theatre to absorb the uber-hyped Indie-rock experience that is Spring Awakening. For those reading this who may have been under a rock without internet access and a chatterati account at All That Chat or BroadwayWorld.com, Spring Awakening is a Frank Wedekind play of considerable controversy. Wedekind, a leading proponent of the expressionist movement in drama wrote the play as a scathing indictment of the sexual repressions faced by teens in 1890s Germany, replete with molestation, premarital sex (a moment that would hold up in today's courts as rape), unwanted pregnancy, abortion, masturbation, homosexuality, oh, you know, all the good stuff... Well, anyway, now its an all-singing, all-dancing musical extravaganza created by composer-orchestrator Duncan Sheik, librettist-lyricist Steven Sater and director Michael Mayer.

Why I held back? Well, for instance, I have always been more of a Sondheim, Rodgers, Bock & Harnick type than one for Wildhorn, Lloyd-Webber and Larson. (Personal opinions on these and other composers forthcoming). If it weren't for my adoration of Adam Guettel as a composer, one might consider me a little old-fashioned in my tastes. The combination of the score, the type of music I admit that I only heard when out among friends in college or at certain trendy bars, as well as the insufferable hype of the New York critics (particularly my own injured pride when SA came along and these critics and the NY theatre scene pushed my darling Grey Gardens to the back-burner) and 8 Tony Awards set about so many preconceived notions in my head which led me to consistently balk in actually going to the show. Too many people told me it was changing the face of musical theatre forever. Too many people told me it was art. There's something to be said for a backlash against such hype.

I for one appreciate when an opinion can be backed up by ample citations of merit than the purely sophomoric idea that any show is art. Peter Griffin farts, the crowd goes wild and Family Guy rightly spoofs the American notions of what commands merit. (Tangent: if you haven't seen that episode, "The King is Dead", the true musical theatre fans are in for a real treat). Though in recent weeks, I'd been hearing some divergent opinions the writing and dramaturgy. At one end, I was hearing about a show that possesses incredible universality, reaching out through pop music and explicit ingenuity to beckon a freshened outlook on the impending state of the American musical. On the otherhand, I was hearing about shoddy structure, an unfinished libretto and almost terrible lyric-writing.

So I finally put it to my own test. I had listened to the album, from which I couldn't make much in the way of a dramatic sense, particularly as I was listening to expressionistic characters written in 1891 singing about their "junk," with anachronistic allusions to stereos and with an overwhelmingly American vernacular steeped throughout the lyrics. Then after months of holding off (I had to see Grey Gardens several times, Gypsy at the City Center and catch the palpable revival of 110 in the Shade), the opportunity arose for me to see the show for myself.

Much to my surprise, I had a ridiculously good time. The score, especially in the angrier ensemble numbers, is a much-welcome adrenaline rush. Yes, through the anachronistic moments the actors pull out lavalier mikes and sing their inner monologues as though we are at a rock concert, there is that "universality" among ages. Let's face it, the Protestants have left an indelible stamp on our sexual mores. Though we may be more lax in how sexuality is perceived today, there are a still a lot of leftover hang ups with controversies over sex education, birth control, etc. The failure of parents to communicate with their children over the issues that make our teenage years so utterly and inexplicably turbulent is still a baffling anomaly. I felt myself tingling with excitement whenever Tony-winner John Gallagher, Jr, as the unstable and misunderstood Moritz (think Timothy Hutton in Ordinary People meets Malcolm McDowell in If...), exploded his rage into song, or the build-up and release of my favorite song in the score, "Totally Fucked." (Steven Sater's lyrics lack subtlety, and I assume the choice was intentional).

For all the want of it, I can't really get into a laundry list of the pros and cons to maintain a formal musical theatre review. As I've been writing this, I want to address more the place of Spring Awakening in the history of the American musical rather than expound on its individual strengths and weaknesses. But I shall before I engulf further into my loftier ambitions. Jonathan Groff and Lea Michelle are exemplary leads as Melchior and Wendla, easy on the eyes and ears, with indelible characterizations (also faced with two of the more unsettling scenes in the work). Christine Estabrook and Stephen Spinella play every adult in the show with aplomb (especially Estabrook). John Gallagher Jr. is the standout, as previously mentioned and Jonathan B. Wright plays the gay Hanschen with the dry flippancy of a Bond villain. The scenography is a grungy post-modern hodgepodge, complete with neon lights (the lighting design was extraordinarily inventive), gothic brick architecture and a cleverly placed chalkboard listing all the musical numbers. Though sitting in the same theatre that John Doyle's acclaimed revival of Sweeney Todd played, I was constantly reminded of the previous tenant of the theatre. However, the show's greatest weakness arrives in the form of Steven Sater. As librettist and lyricist, he fails to fully create a tangible libretto; you want more from his book than mere setups for each number. His lyrics are only marginally better; particularly excruciating is "The Word of Your Body," at which I was unsure whether I was supposed to laugh or cringe (ironically it also possesses the most haunting melody composer Sheik has written for the musical).

For a show that is building in energy and momentum, Sater all but kills the moment with what feels like a rush-job of an ending. Also, the final song, "The Song of Purple Summer" felt like a bizarre variation on "Make Our Garden Grow" from Candide. It must be stressed, the show wouldn't take off it weren't for Duncan Sheik. His gift for infectious and sophisticated melody brings us the evening's highest points. You can see the audience becoming actively engaged, especially when the emotions of rage and anger vault out of the onstage band and the performers. The music is when Spring Awakening reaches the uber-heights that have been loftily established by the critics and fans. Kudos also to Michael Mayer for his lucid staging and clever use of space; and also to Bill T. Jones for his emotionally motivated choreography.

Has Spring Awakening changed the face of the musical? It's probably too early to tell the kind of impact the musical will make on the genre, but it's likely to be considered a benchmark of excellence. Going back 80 years ago to Show Boat, the first musical to attempt to integrate the song and story, while also tackling the serious subject matter of racism, alcoholism, failed marriages and miscegenation, we have the dawn of what is widely considered the modern American musical. Then Porgy and Bess in 1935; Pal Joey in 1940; Oklahoma! in 1943 gave birth to the musical play (yes, this was incredibly revolutionary in its day and changed the face of the genre as well, kids); West Side Story in 1957, with its revolution in dance; Fiddler on the Roof in 1964. Company in 1970, important for its innovation of songs as commentary on action and the first successful concept musical to grace Broadway. And most importantly for the purposes of writing here, Hair in 1968. Here we have the first rock score heard on Broadway, the introduction of the aural and rhythmic elements that began the decline of the musical theatre as popular song. We had nudity, simulated drug use, we had an expression of then contemporary counter culture, with a musical giving a voice to a cultural movement of iconic proportions. Jump ahead to Rent in 1996, with its update of La Boheme reflecting the AIDS crisis, winning the Pulitzer Prize and its immediate attachment to the youth of that generation.

When you examine all these elements, you find that Spring Awakening has been a long time coming. But so has Grey Gardens, what is essentially two (linked) one-act musicals based on a documentary. Or think of Adam Guettel's neoclassical marriage of Rodgers & Sondheim in The Light in the Piazza (think his composition's complex stream of consciousness sophistication, but cynicism-free gift for soaring romanticism in his melody). Or the R&B infused opera Caroline or Change (which has only grown in esteem since its closing three years ago). There's also the infectious and satiric pastiche of Avenue Q and the tongue in cheek Urinetown. The process continues next spring when A Catered Affair by John Bucchino and Harvey Fierstein will open at the Walter Kerr.

Every new show is the product of everything that has preceded it. Thankfully, Spring Awakening is one of the few critical and financial successes that isn't a tepid retread of a popular film or a poor excuse to showcase the songbook of a popular singer or group in a jukebox experience. It is an earnest attempt at reclaiming originality in a not-so-dead or dying artform (Further evidence on my opinion? Listen to "Intermission Talk" from Rodgers & Hammerstein's Me & Juliet. That should put an interesting spin on the talk of the death of the musical theatre).

There are things about Spring Awakening I wish were different. I think it was incomplete on its opening and in spite of the seven or eight years of work put into the show, there was still room for improvement. However, it's one of the greatest theatrical events currently offered in New York, that is bound to give you the adrenaline fueled feeling that you would find at a spirited rock concert. For the sheer theatricality and ingenuity of the experience, the show is a force to be reckoned with.

Footnote: I still think Grey Gardens was the best musical of the 2006-7 Broadway season.

I refuse to be a critic. I refuse to be a journalist. However, for all those who insist that I write (oh God), I figure a compromise in the form of a blog is in order. That way I can avoid formality and staid observations and allow myself to a means of expressing what it is I have to say about things.

Mostly I'll be discussing theatre. Maybe some film. Okay. I love the genre too much not to discuss it, especially if its related to theatre or if it features some of the better actors of past and present. I may also be into discussing certain books or even socio-political climates in our world. Basically, if I want to rant about anything and everything, I will.

I have enjoyed live theatre, particularly musical theatre, ever since I can remember. My first show, at least in my memory, was a local production of Peter Pan when I was in first or second grade. That was almost killed by an excruciating production of Annie I witnessed a mere year later. (How bad? I rooted for Miss Hannigan). My first film musicals were Mary Poppins and The Sound of Music, respectively. (I always thought Julie Andrews was more attractive with an Edwardian upsweep than with a tomboyish blonde crop). From those films, I immersed myself in the remainder of the Rodgers and Hammerstein canon, as well as anything shown on AMC, when it was still good, and later on, TCM. You'd think with such an appreciation, I'd have immediately gone to Broadway, especially growing up so close to it in Westchester County. But, I never made it there until the Ides of March, 2000. I had a terribly feverish flu that day as I attended a Wednesday matinee of Miss Saigon with my class. I was practically hallucinatory during the famed helicopter scene and ended up being out of a school for a week as a result. But there was no way I was going to miss my first trip to Broadway. It could only improve from that experience.

My next show was Cats.

Moving on... so here I am seven and a half years later, much more well-versed in the art form, much more opinionated and with a Jeopardy-like ability to recall names, dates and other such trivialities that most people have long stopped caring about. There is a soft spot for many of the flop shows and scores of past, with a particular interest in Juno, Donnybrook!, The Girl Who Came to Supper, 1600 Pennsylvania Avenue, Dear World, A Time for Singing and Darling of the Day. (That Patricia Routledge did not have a successful career in the American musical theatre remains one of the greatest enigmas known to man).

My favorite musicals are: She Loves Me, The Light in the Piazza and Sweeney Todd. Numerous runners-up include: Follies; A Little Night Music; The King and I; South Pacific; Fiddler on the Roof; My Fair Lady; Grey Gardens; Carousel; Mame; High Spirits; Gypsy; 1776; Show Boat; Sunday in the Park With George; How to Succeed in Business Without Really Trying; Kismet; Kiss Me, Kate; The Music Man; West Side Story; The Most Happy Fella; 110 in the Shade; Parade; Ragtime. I am always willing to hear new scores as well as past obscurities that may have slipped by the wayside.

Favorite plays: Who's Afraid of Virginia Woolf?; The Pillowman; Doubt; Long Day's Journey Into Night; The Lieutenant of Inishmore; Noises Off; The Man Who Came to Dinner; Arsenic and Old Lace; Mary, Mary; The Crucible, Mister Roberts; Auntie Mame; Hamlet; Proof; Barefoot in the Park; The Little Foxes and The Heiress.

Favorite actors/performers (theatre and film) include, in no particular order: Emma Thompson, Laura Linney, Katharine Hepburn, Cherry Jones, Bill Irwin, Kathleen Turner, Victoria Clark, Kelli O'Hara, Madeline Kahn, Angela Lansbury, Dorothy Loudon, Anthony Hopkins, James Stewart, Henry Fonda, Cary Grant, Jack Nicholson, Peter O'Toole, Helen Mirren, Greer Garson, Zero Mostel, Maureen O'Hara, Deborah Kerr, William Holden, Audrey Hepburn, Glenda Jackson, Barbara Harris, Barbara Cook, Peter Sellers, Vanessa Redgrave, Lynn Redgrave, James Mason, Gregory Peck, Tammy Grimes, Rosalind Russell, Ethel Merman, Mary Martin and a slew of others.

People I do not care for as performers (and you may be surprised): Meryl Streep, Jane Fonda, Tom Cruise, Robert Redford, Warren Beatty, Julia Roberts, Kristin Chenoweth (and a slew of others). There are more, but why dwell so heavily on the negative? I have my reasons and that's all I need.

That about covers a brief introductory. Like I previously stated, I will comment on things I've seen and expound my opinions on varying subjects. Plus, I would love to hear your thoughts as well.