In Her Own Words: Patricia Neway on "The Consul"

While I was aware that the 1960 television production of Gian-Carlo Menotti's opera The Consul was released on DVD by VAI, I didn't know until very recently that they also released a 2-CD soundtrack recording of the telecast. A 2-LP original cast album was made by Decca in 1949 and languished in the vaults for many years. The good news, it's also been made available on CD, in a boxed set including Menotti's two other operas, The Medium and The Telephone. The bad news - they are not officially remastered by the original recording companies and editorial reviews comment on their lack of good sound quality. (Come on, Decca. Get on the ball!)

As I listened to the stirring, haunting score I read through the brief liner notes and found this recollection of the original show by the star Patricia Neway (who as you know has been documented in a rather bizarre mystery here on my blog).

This is what the acclaimed soprano had to say about The Consul:

The experience of preparing and presenting The Consul was unique. The opera was produced on Broadway with the usual schedule of eight performances of a week and was called a musical drama instead of an opera in order not to discourage a broad audience.

After Gian-Carlo chose his singers there were backers' auditions in which several cast members did scenes without sets or costumes. Guests were invited as prospective backers to the homes of prominent people who hosted the evenings. It was exciting and challenging for all of us. I have one vivid memory - Gian-Carlo handing me a penciled musical manuscript and telling me that I was to sing it at the next backers' audition two days later. It happened to be at the home of Virgil Thomson, the composer and formidable critic on the Herald Tribune, at his apartment in New York City's historic Chelsea Hotel. The first line of the manuscript read "To this we've come," Magda's aria at the end of the second act! I didn't have time to absorb all that I was dealing with, but when I finished singing it I was trembling from head to toe. It was my first realization of what a powerfully moving role I had been trusted with and what a remarkable work The Consul was.

When we started regular rehearsals with the whole cast, we had the privilege of working with Gian-Carlo as composer and director. It was inspiring to have his genius guiding us. As we got close to opening, my colleagues and I would discuss what we thought was ahead of us. Many thought that we would have an artistic success but only a moderately successful run considering the seriousness of The Consul's subject matter and its tragic outcome.

On opening night there were no questions anymore. The opera was a phenomenal success - the ovation after Magda's second act aria seemed to go on forever - the reviews were ecstatic - there were awards and accolades - but most of all there were those people from the audience who came backstage with tear-stained faces to thank me for telling their story. The more we performed The Consul the more I realized it was, above all, a work of enormous compassion and depth.

It is impossible for me to express what a rich experience The Consul has been for me through the years, or to thank Gian-Carlo enough for the privilege of creating his first Magda.

To this day I meet people who saw it and tell me how much The Consul moved them. That generation is passing and I am deeply grateful to VAI for releasing this video so that future generations can experience this enduring work.

-Patricia Neway, 2004

Auntie Maim

Blessed Mother of Maude Adams, what fresh hell is this?

From Variety:

'[Director Luca] Guadagnino said he and Swinton aspire to remake "Auntie Mame" as a "rock-n-roll, super funny, super mainstream movie."

They would set their "Mame," which is about a boy growing up as ward of his dead father's eccentric sister, in the present-day.

"This is an SOS for Warner Bros. to give us the rights for this remake, which only Tilda could do justice to," he added.'

You know I have nothing against a revival of Auntie Mame and/or Mame. Or even a filmed remake of either property. However, this isn't exactly how I pictured a re-emergence of the timeless character. In any incarnation, Mame is a period piece, and continues to work well in said period. Her effusive spirit is something that comes out of the Roaring Twenties, survives the Crash of '29 and continues into the Big Band Era: living life to the fullest and fighting the Establishment and stuffy provincial bigots along the way.

Elements of Auntie Mame could work today, but I hardly consider her "rock-n-roll." Mame Dennis Burnside is more than a character, she's a force of life. A living embodiment of Bohemianism and sophistication that I think most people would love to have in their lives. Not to mention, Tilda Swinton strikes me as all wrong for the part. Swinton is certainly an eccentric personality as attested by her Hefty bag fashion sense on Oscar night, and she leads a rather Bohemian lifestyle as evidenced by her open relationship with both husband and lover. I am pleased that she considers Auntie Mame one of her favorite films, but there is no need for her to reinvent the wheel.

Is there anyone who could bring savvy sophistication like Rosalind Russell, Greer Garson or Angela Lansbury? It's harder to cast the role of Mame because the character for all it's glorious lines and costumes, is static. Mame never changes, which is essential to her Mary Poppins-esque way of popping in and out of her nephew's life. The actress who can successfully play Mame should be patrician, open-hearted and sympathetic. It takes more than a good delivery of a zinger to make a Mame.

I would rather sit through the leaden 1974 film version of Mame with Lucille Ball than see the rape of a classic.

Well, they made a musical...

"Everyone knows how to fix everyone else's show."

Those words were imparted to me after the Wednesday evening performance of 9 to 5 by a journalistic acquaintance. The musical version of the 1980 film of the same name was one of the more anticipated Broadway shows this past season. However, it was met with critical negativity and audience indifference, in spite of a score by Dolly Parton and a leading lady turn by Allison Janney. The show closed yesterday after 148 performances. I decided to take in the show before it closed just because I was curious to see just what went wrong, and also to see Ms. Janney onstage.

The show is a mess, there's no getting past that. However, in the ruins of the musical there lies the promise of what could have been a better production. The fault lies mostly with director Joe Mantello, choreographer Andy Blankenbuehler and librettist (and co-writer of the original screenplay) Patricia Resnick. The original film is an amusing satiric fantasia of three women (Lily Tomlin, Jane Fonda and Dolly Parton) enacting revenge on their repugnantly chauvinistic boss (a delightfully crass Dabney Coleman). The film holds up as an amusing period piece, even if its Oscar-nominated title song is probably better remembered than the movie itself. The musical tries very hard to be the film, but without making the necessary changes needed for it to be a fully functional musical - namely, a well-structured, clever book and a score that serves the story - it falls considerably short.

As the lights go down, that famous vamp starts up, setting off a series of cheers from the audience. Suddenly I was very innervated as the show curtain (cleverly made up entirely of telephone cords - remember those?) rose for the opening/title song. My disappointment was almost immediate as the first line of the song was sung by... a man? It was clear from the get-go that the show was lacking some sense of focus. "9 to 5" may be a recycled show tune, but it was still the best song in the score (a la "Never on Sunday" in Illya, Darling). The rest of my night was figuring out ways to fix the show to make moments like that actually work. (My idea for the opening? Cut the chorus from the first minute and a half of the song, give the lines to the three ladies as they prepare their mornings and bring the ensemble into the street scene).

In fact, the chorus pretty much sings and dances innocuously throughout. Assisting where they are not needed, including offstage singing back-up during "Backwoods Barbie" or filling out "I'm Gonna Shine Like the Sun" to close the first act. It didn't help that they were given generic "look ma, I'm dancin'" choreography by Tony award winner Andy Blankenbuehler. In fact, most of the dancing was uninspired and at times, rather pathetic. Office scenes aside, the chorus padded out the rest of the musical numbers for the sheer idea of giving them more to do. You could easily streamline the show and cut the chorus without much loss to any of the musical numbers - at most

Onto the most prolific person behind 9 to 5 the Musical, Dolly Parton. What more is there to say about this diminutive titan of the music industry? Composing hundreds of songs for herself and other artists, selling countless records and one of the most recognizable figures in the world, Dolly decided to take on the arduous task of writing a musical theatre score. If the score fails to meet the expectations of a Broadway musical, I am wary of putting the entire blame on Ms Parton. If her lyrics tended to be generic and more than frequently cliched, the melodies were mostly hummable and there was at least some considerable effort on her part as both composer and especially as the show's champion. With the exception of librettist Resnick, Ms. Parton was surrounded by Tony-winning musical theatre professionals who should have known better.

What made the musical entertaining were its three leading ladies. When they were onstage there was some sparkle and excitement in spite of the quality of the show around them. Megan Hilty was all beauty and heart as Doralee Rhodes, taking on the role originated by Parton in the film. While the performance is more impersonation of Parton than an original characterization, the young actress made the most of it especially with "Backwoods Barbie," one of the better numbers.

There is surprisingly very little to the character of Judy who goes from dejected insecure housewife to defiant independent working woman. Part of the problem is that there isn't much of an arc for the most dynamic of the three leading ladies - it's obvious she changes but we never really see how. However, the part was well sung by Stephanie Block, who was given the eleven o'clock number, "Get Out and Stay Out."Judy tosses her husband out halfway through the song, and delivers a powerhouse finish, but I wish the director had thought to keep the character onstage so she would have someone to play to. It's like taking a production of Follies and having Ben walk out on the line "Wait, I'm just beginning" as Phyllis continues 'Could I Leave You?' by herself.

Then we get to the star of the production. Ms. Allison Janney is well known for her four time Emmy winning role of C.J. Cregg on The West Wing, but she also has innumerable film and stage credits to her name. In the months leading up to my visit to the show, I'd read that Ms. Janney can't sing and can't really dance but that it didn't matter. Vocal and dance limitations aside, Ms. Janney can hold a tune and moves well and walks away with the show whenever she is onstage. This is probably the best musical debut debut of a non-musical performer since Lauren Bacall opened in Applause. (By the way, Encores, Janney is your Tess Harding. Now dust off Woman of the Year). In the eleventh hour, Janney stopped the show with a feminist tirade that would have made Dixie Carter proud. On top of that, she also looked like she was having the time of her life singing and dancing and giving one hell of a star turn.

As for the men, well there haven't been such thankless roles for men in a musical since the divas of Mame mopped the floor with them in 1966. Marc Kudisch has the most to do as Franklin Hart, Jr., the boss from hell, a role he performed with gusto. However it seemed redundant to give him not one but two songs expressing his vulgar misogny. Andy Karl is the younger accountant with a romantic interest in Violet. Karl, who was part of Legally Blonde, has little to do aside wear period glasses and duet with Janney on a real dud, "Let Love Grow."

Then there was Kathy Fitzgerald, bless her heart. I first became aware of her in The Producers where she played several bit parts, most notable Shirley Markowitz, the lesbian lighting designer with the basso profundo voice in "Keep it Gay." In 9 to 5, Fitzgerald played Roz, the busybody executive secretary whose unrequited love for the boss has her doing his bidding without question or pause. Ms. Fitzgerald got some of the biggest laughs of the evening, though her first number was too long.

One of the main problems is that there was too much of what was bad and too little of what was good. The main thing about adapting a property to the musical stage is that you want to be able to say something that hasn't been explored in any previous incarnation, whether it's a novel, play or film. One of the major problems with 9 to 5 was a slavish adherence to the film's screenplay, and certain things just didn't adapt well. When The Producers and Hairspray were adapted for Broadway, their great success was in finding a new way to tell the story (and it didn't hurt that both had Thomas Meehan on hand to assist). First-timer Resnick could have used a pro like him to help her with the structure and pinpointing the reason why these characters were bursting out into song. Oh - and not to mention two groan inducing moments: quoting "No good deed goes unpunished" and "I will always love you."

From the opening number onward, and well past midnight after getting home, I couldn't help but play show doctor. I made mental notes and ran the show over and over in my head thinking of ways to fix it and make improvements. The mental results I came up with would make for a sturdier show, but the more I think about it, did 9 to 5 really need to be a musical? However, I hope Dolly doesn't desert Broadway altogether - I think the combination of the two was a nice touch (then again, how can you not like Dolly?!) but I hope if she ever comes to town with a show I only hope she's got a creative team that won't let her down.

How's about this for Janet McTeer & Harriet Walter...?

Tonight before 9 to 5, SarahB and I were looking at the window cards hanging in the area outside the Marquis Theatre. One of them was for the original Broadway production of Lettice & Lovage starring Maggie Smith & Margaret Tyzack, which won both ladies Tony awards. I thought, why not make this the next vehicle for Janet McTeer & Harriet Walter?

Walking Among My Yesterdays - "Doubt" (1/8/06)

I've decided that I'm going to start a new series discussing the shows and musicals I've seen and/or worked on prior to starting the blog in late 2007. Some of the writing will be reprinted from essays, defunct blogs, etc. The rest I will be writing about for the first time in any forum. Some is critical, some is academic. The new series I am going to call "Walking Among My Yesterdays," in line with my favorite song from The Happy Time and my show call at the right side of the page. First up, I offer my thoughts on Doubt, originally written on January 9, 2006 (after seeing the last performance of the entire original cast of the play):

Doubt, a Parable. What can I say? The play is brilliant. John Patrick Shanley delivers a credible, thought-provoking and intriguing story, and although it takes place in 1964, it (sadly) has relevance today. Cherry Jones' performance as Sister Aloysius is a remarkable tour-de-force. It was hard to recognize her, she was so easily consumed in the habit and the demeanor of a strict pre-Vatican 2 nun. Her stiff physicality and sharp vocal inflection only added to her characterization.

For a show running 90 minutes, not a moment is lost: every word counts and it's taut and gripping. With the traditional ways of the mother superior clashing with the liberal tendencies of the younger priest, it's really hard to delineate the truth on the whole matter. Basically, with nothing more than a suspicion, Sister Aloysius suspects that Father O'Flynn, who is also the phys ed. and religion teacher, is making inappropriate advances on the school's (first and) only black child. The battle of wills is fierce, as both are strong characters with a great deal of resolve. The priest is at an advantage, as Roman Catholic priests have patriarchal authority in the church, which he subtly uses as a fear tactic against Sister Aloysius, but she is firm in her handling of the situation. The problem on her part is that there is no tangible evidence to prove her suspicions correct and refuses to accept what he says. Their confrontation scene towards the end of the play is the stuff rave reviews were made for. It got to the point where they were yelling in each other's faces, neither choosing to stand down - and the audience ate it up. Several keys lines people tried to start applause, but the heat of the moment onstage didn't allow for any breaks and the actors continued pressing forward with such conviction. Finally when the scene did end, it stopped the show. Lengthy explosion of applause from the house.

Jones' Aloysius is a tough nut, but even though dead set in her ways and occasionally off the mark, she is fascinating, intriguing and sometimes funny. Her accomplice, so to speak, is a weak-willed, naive nun named Sister James, whom Aloysius is trying to get to be like her, even though the young girl is more progressively minded. James has a monologue during which she lashes back at the mother superior in a brilliant explosion of pent up emotion. Cherry stopped the show cold with her sharp, cool and authoritative reply of "Sit down." Stunning work on finding some levity in the piece, considering the starched quality of her character. A stunning moment came when Aloysius is tending to plants in the courtyard while conversing with Sister James. James mentions that she thinks the priest has done what Aloysius expects. Cherry is kneeling, facing upstage right. You can't see her face, but you see the comment hit her like a ton of bricks. Her response was a stunned "What...?". What a moment, especially with her back to the audience. The characterization is remarkable, playing off her strengths as equally as her flaws. Her stolid quality was notable in her body language, how she carried herself, walked, every detail she was living the part. I noted the minor point that she was standing up to the second class citizenry nuns found themselves in the Church years ago, as she is not allowed to be in a room alone with him - a rule he breaks during their final battle, as well as not being able to enter the rectory or walk up to a priest, etc. I was intrigued by that, and by the fact that regardless, she had no power outside her principal's office in the parish.

Adriane Lenox plays the mother of the young boy in question and in another brilliant (and brief) scene, interacts with Cherry over the interests of her son. The role is stunning, because in all her 7 or 8 minutes onstage, you know everything about this character and Lenox makes daring choices (the character's reaction is rather shocking to the audience, and out of left field, especially in such a matter).

I cannot praise Shanley enough for writing this play. It deserved all of its awards last spring. The "parable", as the play is referred to, offers no concrete evidence for either side of the argument. The ambiguous ending is perfection - he's crafted it so that the evidence presented puts doubt into the audience as well as the characters onstage. There is no clear-cut truth to the matter and end is startling and effective in its polarizing of the audience. I'm still not sure who to believe, I leaned towards Aloysius at first, but then bounced back when the priest presented his case, but at the end I was completely uncertain. Talk about a success on the part of the author's intent.

The only flaw, I thought, was Heather Goldenhersh, as the younger nun Sister James. I felt that she wasn't even acting (not in the amazing Cherry Jones way, but in the someone handed an unprofessional a script and told her to act-deer in headlights way). Her character was mannered, the acting wasn't sophomoric, it wasn't realistic and had no energy. However, I was impressed with Cherry as a scene partner. She worked magically off of all the actors and even had a good stage rapport with the younger actress (even if I thought she was lacking, the Tony people didn't. Oh well, it's just my opinion).

Between this and The Pillowman, it's been a good year for drama. Doubt, especially, with its purposeful lack of a clear-cut ending, is leaving audience members thinking, talking and debating as they leave the Walter Kerr Theatre. I also think this play would expand well onscreen too. (There is sadly, such relevance in the fears of priests molesting children and in that regard, I sympathized with Aloysius' fear for the safety of her students, even if her character lacked grace in handling the situation. It was also fascinating as a product of parochial elementary education to see it presented on Broadway).

I feel privileged and honored to have seen Cherry Jones act live onstage. I am in a state of awe after having witnessed such genius in the acting and in the writing (and in directing, Doug Hughes, unsung in my comments, has done stellar staging of the text, keeping the pacing tight and always intriguing).

After thinking about it, I think I tended more toward Aloysius' suspicion. I don't necessarily think she did the right thing. But I was fearful for the student's well-being and in this day and age, its a zero-tolerance policy. But evidence is key, we can't just go on gut impulses all the time, even if it feels 100% certain to be the right path.

In retrospect 2004-05 proved to be a stellar theatre season for me: The Light in the Piazza (7 times), Doubt, The Pillowman, Who's Afraid of Virginia Woolf? (twice), Purlie & The Apple Tree at Encores!, South Pacific at Carnegie Hall, La Cage Aux Folles (twice) and Spamalot.

And before I stop, I just wanted to include John Patrick Shanley's Playbill bio:

John Patrick Shanley (Playwright) is from the Bronx. He was thrown out of St. Helena's kindergarten. He was banned from St. Anthony's hot lunch program for life. He was expelled from Cardinal Spellman High School. He was placed on academic probation by New York University and instructed to appear before a tribunal if he wished to return. When asked why he had been treated in this way by all these institutions, he burst into tears and said he had no idea. Then he went in the United States Marine Corps. He did fine. He's still doing okay. Mr. Shanley is interested in your reactions. He can be contacted at shanleysmoney@aol.com.