my life...in, around and about the theatre | blogging at you since 2001!

GOOD MORNING STARSHINE

2011-01-07T15:01:00.000-08:00

The opening night of Hair at the Pantages Theatre in Hollywood was like attending the most energetic, love-filed performance in which there was nothing but mutual love between the cast and audience. The cast led by the charismatic and uber-talented Steel Burkhardt (Berger) and Paris Remillard (Claude) knocked every number out of the park sparking enthusiastic applause and cheers from the audience.

The Hair “tribe” is energetic, unifying and strong. The energy they emit whether they are onstage in “Oh Great God of Power” or dancing amongst the audience in “Hair” make the show not only entertaining but interactive as well. Members of the tribe who make their appearance at the Pantages include original Broadway-revival cast members: Burkhardt, Remillard, Allison Guinn (Mother/Buddhadalirama), Kaitlin Kiyan (Chrissy), Josh Lamon (Margaret Mead/Dad), John Moauro (tribe), Darius Nichols (Hud) and Kacie Sheik (Jeanie).

Despite being a feel-good musical that elicits feelings of hope and love, Hair actually tackles some very serious issues like sexual identity, draft card burning and drug use – issues that were seen more than 40 years ago when it first debuted on Broadway. The essence of the show continues to be relatable and prevalent in 2011 even though some of the details of the issues of today are slightly different.

Pictured: Hair National Tour Company/Joan Marcus

Visually, Hair was a stunning celebration of bright colors, light and staging seen in the dance, costume and choreography under the direction of Diane Paulus and choreographed by Karole Armitage. This was only enhanced by the music of Galt MacDermot and book/lyrics by Rames Rado and Gerome Ragni (“Aquarius,” “Let the Sun Shine In” and “Good Morning Starshine”).

There is nothing but high praise and deep appreciation for the Hair tribe in bringing their love-filled-emotional show to LA audiences. The Pantages Theatre on opening night of Hair, was nothing short of a captivating two and a half hours of an intoxicating love-filled performance (a musical certainly not to be missed). You will leave the theatre with a silly grin on your face feeling happy and naturally high, and if you don't...keep going back until you do!

Now Playing through January 23, 2011 at the Pantages Theatre (6233 Hollywood Blvd. in Los Angeles). For tickets or more information: Broadway L.A., 1-800-982-ARTS (2787) or Ticketmaster Outlets. ($25-$90)

Gavin Creel (original Broadway revival, Claude)
The touring cast of Hair also continues to support the cause of marriage equality that the Broadway cast supported in the spirit of love and peace. In virtually every touring city, the tribe stages a fund-raising “be-in” of music and performance and they donate 100% of the proceeds to Broadway Impact to support their efforts in the fight for marriage equality. The Los Angeles “be-in” will be held Monday, January 10 with shows at 7:30 and 10:30 p.m. at Show at Barre (1714 N. Vermont, Los Angeles). General Admission tickets are $25 ticket and a $50 VIP ticket gets first row seating and a signed poster. For tickets or more information to this “be-in” check their Facebook event page.

APPLAUSE, APPLAUSE

2011-01-03T22:53:00.000-08:00

Merriam-Webster defines applause as:

approval publicly expressed (as by clapping the hands)

While applause is a commonly understood and used expression of approval, I was taught at a very early age that a standing ovation is different; the standing ovation is a special distinction to honor a stand-out performance or speaker and indicates a particularly high level of approval and should be used sparingly. Right?

The sound that says love,
Applause, applause, applause!
~Applause, Applause, Lee Adams (lyricist)

For as long as I can remember, I have taken that sparingly thought to heart and tried to only gave standing ovations if I was blown away by a particular performance. Sometimes I admit that I give away the standing ovation a little too freely but sometimes I do the whole following-the-heard thing and feel guilty that the entire theatre is standing and I'm not.

So I started thinking about the performers/performances I have recently given standing ovations (because I thought it was well deserved). This isn't a list of everything I've seen, but what I thought was particularly well performed in the last year:

The touring company of my favorite contemporary musical: next to normal
Lin-Manuel Miranda as Usnavi in In the Heights at the Pantages
Raúl Esparza as Jonas Nightingale in Leap of Faith
The company of Parade at the Mark Taper Forum

Not so long ago, I made the snarky comment that theatre audiences in LA will give anyone a standing ovation as I left a mediocre performance. I was unsure if audiences were unaware of the concept of what a standing ovation means or if they believe that standing during curtain calls are customary. I am not talking about the people standing (and then LEAVING) during curtain calls or even during encores during a concert - that is worthy of an entire forthcoming post. However, not all performances are standing ovation worthy and yet, I see that (particularly with LA crowds) EVERY show, EVERY performance gets one (even those that are really, not so good). The only time I noticed a lack of a standing ovation was not because the show was bad, but because the average age of the audience (at this professional equity production) was upwards of about 80-years-old, and most had walkers or wheelchairs, so I assume that maybe they couldn't stand up? Either that or they are old enough to know that not every single performance needs a standing ovation. I don't want to be a negative nellie here, but I think giving every performance a standing ovation regardless of a performance is a little misleading and unfair. Its like the audience who cried wolf!

Then...I googled the history of the standing ovation and found this somewhat equally snarky article written by Michael Billington of the UK's The Guardian. The thing is, I kind of agree with him (not the insulting American theatre-goers as déclassé parts) but here:

The standing ovation is now a meaningless nightly ritual...If you do it for virtually everything, it soon becomes valueless...But a standing-ovation should be a rare and choice event. Currently, however, it is turning into a hollow gesture in which audiences seek to transform perfectly decent plays and musicals into earth-shattering occasions.

This has been my point and I think that Billington says it better above than I do, but for those of you who attend any performing arts or speaking engagements...pay attention and let me know what you think...theaterfan [at] aol [dot] com.

TONIGHT

2010-12-02T12:18:00.000-08:00

National Tour of West Side Story/credit: Joan Marcus

Arguably, there is nothing that exudes the essence of musical theatre more than West Side Story. From Lenny's (Bernstein) gorgeous score, Sondheim's unparalleled lyrics (though he sometimes begs to differ...see Finishing the Hat) to Jerry's (Robbins) most amazing choreography and of course Arthur (Laurents) book (and in the case of the Broadway revival, also can claim the title of director). Really, there is nothing more perfect West Side Story.

Just about everyone knows the storyline and mere mention of the title will elicit some kind of strong response (and really, who didn't grow up with at least knowing about the film?) Two years ago when the show was revived on Broadway (for the first time since the 1980s production starring Debbie Allen), book-writer Arthur Laurents took the helm and directed the show starring Matt Cavenaugh (Tony), Josefina Scaglione (Maria) and Karen Olivo (who won her first Tony Award for her role as Anita). In this production, for the first time ever, West Side Story incorporated the use of Spanish language sung/spoken by the Sharks (Lin-Manuel Miranda, of In the Heights fame provided translations) because as Laurents said, thought it wasn't his idea (it was his late partner Tom Hatcher's), he thought the Jets and Sharks should be on equal footing in terms of their turf wars and "it'd be great to think of a way to equalize the two, why not have the Sharks speak Spanish?" This somewhat controversial move got a lot of attention though ultimately much of the Spanish was edited down from the original creation for this Broadway revival.

The national tour of West Side Story (based on the recent Broadway revival) opened at the historic Pantages Theatre in Hollywood for a five-week engagement (through January 2, 2011). Based on Laurents' masterful direction (executed by David Saint) the production includes the use of the Spanish language sung by the members of the Sharks. It should be noted that this semi-bilingual approach (I think) works incredibly well. Though I didn't understand half of what was being said (when in Spanish of course), it didn't really matter because I completely understood its purpose in the show. In moments of anger and frustration, are the characters (who might not speak perfect English) really going to start singing perfect English vs their native Spanish (or a combination of the two)?

National Tour of West Side Story/credit: Joan Marcus

What worked better than having a semi-bilingual production was the original choreography (by Robbins) beautifully recreated by Joey McKneely for the revival/tour. Typically, my love for music and the written word far supersedes my interest in dance, but having an opportunity to see Robbins' original choreography reproduced was simply amazing and certainly a highlight of the performance. It was during these ensemble dance numbers (i.e., "Dance at the Gym," "Rumble") that the cast really shone. Not to be outdone, the "Gee, Officer Krupke" scene was another example of the strength of the ensemble performers (Action and the Jets); it got some of the biggest applause of the evening.

While the ensemble numbers were some of the most enjoyable, it was the scenes between Tony and Maria that I actually found myself having a harder time believing. There was somewhat of a lack of chemistry between the two performers, Ali Ewoldt (Maria) and Kyle Harris (Tony) - individually, yet both were more convincing and stronger in their scenes apart than together.

(l-r) Ali Ewoldt, Kyle Harris/credit:Joan Marcus

It isn't everyday that a full-scale production of a classic show like West Side Story rolls into town - overall, it is a must-see for fans of the show young and young-at-heart. West Side Story runs through January 2 Tuesdays-Fridays at the Pantages Theatre in Hollywood. For tickets and holiday schedule information: Broadway L.A.

COME WITH ME

2010-11-30T00:13:00.000-08:00

next to normal is easily one of the best contemporary musicals to date (and easily one of my personal favorites...ever). It is everything a musical should be - moving, heartbreaking, haunting, thought provoking (with humorous moments), it has characters and a storyline which are mostly well thought out and music that stays with you long after you have departed the theatre. In an era of musical theatre in which the term "groundbreaking" is thrown around an awful lot to describe a show, next to normal just might be one of them. next to normal challenges its audience to think beyond what you see, who you are and what you believe to be true.

next to normal is a story that mirrors what life can sometimes be like when life is spinning out of control - feeling alone and misunderstood but yet somehow being able to find a way back to the truth. The show is the way it is now because of director Michael Grief and producer David Stone who took the existing book and music by Brian Yorkey and Tom Kitt (respectively) and tightened the story which was a little bit unclear and long and helped focus it into the Pulitzer Prize winning show that it has become.

It should be known that I have been a very big supporter of next to normal out of the gate, since I first discovered 2005 workshop/demo tracks on YouTube (when it was still called Feeling Electric - take a listen if you are so inclined to compare what it was to what its become). Even though in its workshopped state, next to normal was a completely different show than it is now, the core of it was still compelling to me. This contemporary musical about a dysfunctional family coping with loss and mental illness, was (and is even more-so now) deeply emotional, deeply moving and runs the gamut of emotions throughout the performance. This is made true because in large part to the actors who inhabit the Goodman family (and supporting characters) in the touring cast.

Alice Ripley

Alice Ripley and next to normal have become synonymous with one another. The show certainly wouldn't be what it is now without her and anyone who will have the pleasure of seeing her perform the role of Diana Goodman will see what a tour de force she is in the show. Alice Ripley is no stranger to career defining roles. Though she has had a long career on the Broadway stage and made her mark in the indie rock world, prior to next to normal, theatre audiences will likely first remember her as Violet - one-half of the Hilton conjoined-twins - in Side Show (which earned Ripley her first Tony nomination).

As Diana Goodman in next to normal, Ripley is a revelation. Reprising the role that earned her a Tony Award for best actress in a musical, Ripley brings a passionate and complex character to life with such heartbreaking pain and grief. When she sings, she sings from her soul with such anguish that it is almost entrancing. Ripley is by far the strongest component in next to normal, but she shares the stage equally with every member of the ensemble who helps to make up Diana in all her glory and her pain.

If Ripley is the strongest member of the cast then Los Angeles native, Emma Hunton (Natalie) is a close second and could not have been a more perfect daughter to Diana. While the characters of Dan or even Gabe should have been the stronger supporting leads, it was Hunton whose performance really stood out in the cast. She brought more depth and personality to the character than (I) have seen before with a pretty fantastic voice to boot. As the child living the in the shadow of her more beloved brother (Superboy and the Invisible Girl), her Natalie was more sassy than angry and vulnerable than hurt. Hunton as Natalie really fought to be seen in a family overrun by the past with such grace and force.

Curt Hansen, Emma Hunton, Preston Sadlier, Jeremy Kushiner, Alice Ripley, Asa Somers

As Gabe, Curt Hansen was ironically sometimes overshadowed by the vocal powerhouse of his sister Natalie (Hunton) while still very good. Hansen managed to hit his character's high notes with relative ease and still managed to hold his own as he effortlessly soared through the three-story stage around poles and gliding up and down flights of stairs at a time.

Asa Somers (who played the role of Dr. Madden during the show's off-Broadway engagement at Second Stage Theatre) graduated to the role of Dan Goodman on-tour, Jeremy Kushnier as Dr. Madden/Dr. Fine and Preston K. Sadleir (who played was a very sweet Henry) rounded out the well-cast remaining members of the touring company of next to normal.

next to normal is a very important piece of contemporary musical theatre which in this case legitimately earns the title of groundbreaking. Other contemporary shows have brought something new (whether it be stylistic because of the music or staging) to the musical theatre landscape, but next to normal faces real issues like mental illness, suicide, drug addiction (which makes it sound like an episode of Oprah) head on and bares the soul of theses issues and its affect for all to see.

next to normal runs through January 2 at Los Angeles' Ahmanson Theatre. Click for tickets and more information on the LA run or to find out when the show is coming to a city near you, click for tour info.

HARPS & LEGS

2010-11-21T23:26:00.000-08:00

It was a musical theatre-filled week for me. In addition to seeing Les Misérables: The 25th Anniversary Concert, I also had an opportunity to attend both Daddy Long Legs (music and lyrics by Paul Gordon and book by John Caird) at the La Mirada Theatre for the Performing Arts and Randy Newman's Harps and Angels at The Mark Taper Forum.

I don't know about all of you, but the idea of a new musical is as exciting as it is a little unsettling. When I see a new show, I really want to like it. I try to go in with an open mind and attitude with the hope of finding joy in new (or experienced) writers and composers and the mark they will make on the American musical theatre landscape. I mean, if it were not for producers and audiences embracing new writers, there would be no Next to Normal, In the Heights or websites like New Musical Theatre (NMT) (which supports, celebrates and embraces the work of new writers by giving them a place to distribute and promote their music/sheet music). These two shows have brought me new joy and appreciation for the modern musical and I have discovered countless composers and the most gorgeous of songs because of NMT. So it is safe to say that in regard to Daddy Long Legs and Harps and Angels...that I wanted to like them.

(l-r) Marla Schaffel and James Barbour

Back in 1999, Jane Eyre the Musical had its out-of-town tryout at San Diego's La Jolla Playhouse with music and lyrics by Paul Gordon and book by John Caird - the same team that gave Daddy Long Legs its er...feet. By then, I had long been a fan of both Charlotte Brontë and Jane Eyre (the novel) and the idea of a musical about Jane and Mr. Rochester sounded perfect. I wish it was. In short, the show (in my opinion) was slow, dragging and could not hold my interest. Though it eventually made its way to Broadway and garnered a Tony nomination for best musical, it wasn't my cup of tea because it was literally so dark, the music wasn't the most memorable...etc, etc. Despite how I felt about Jane Eyre the Musical, I hoped that Daddy Long Legs would be more appealing.

It was.

(l-r) Rob Hancock and Megan McGinnis

...but it wasn't. I thought the score was beautiful and to hear it sung by Megan McGinnis was a treat for anyone who has the pleasure of attending the show. Truly, her voice is so beautiful and her energy is so perfectly suited for the role of Jerusha Abbot. McGinnis as Jerusha is bright, charming, inquisitive, thoughtful and has a light and appeal that draws the audience member into Jerusha's life. Every letter Jerusha sent to Jervis Pendleton (performed by Rob Hancock) unfolded a new layer into the story being told and as a result brought new insight to the two characters - it was well thought out, but slow and perhaps took up too much time setting the foundation for the story. Thus, the show was long. Over two hours long. 24 songs sung by two actors (mostly by McGinnis) spanning a four year period. I must admit, that after the opening number, I found myself feeling restless and a little bit bored...but by intermission I felt more invested in the life of Jerusha and the intention behind Jervis' lies.

I can't say that I was head over heals in love with Daddy Long Legs, but I did think it was time well spent at the theatre. The story was an interesting one to tell and makes total sense as a musical. I hope that at some point, Paul Gordon and John Caird tighten and focus the story just a little bit because while good, it has the potential to be even better.

* * *

Randy Newman

As a lifelong Angeleno, I have always known of the song, I Love L.A. and realize that it has become our town's anthem. That song was my one of my first run-ins with Randy Newman's music. I Think Its Going to Rain Today was my second. His music always stayed with me because it is so deep and meaningful in a way that I didn't quite understand upon first listen, but the moment I needed it the most, I know exactly where to retrieve it. I never forgot a single one of Newman's songs that I've heard whose lyrics really touched me and I don't imagine I ever will.

The one comment I hear, read and believe myself is that nothing about Newman's music is simple. Every lyric is complex and intwined with such emotion that gets to your core and your heart. Newman's music has definitely been an anthem during various phases of my own life in which I have listened to it over and over and somehow it gave me peace or comfort. One of my personal favorite songs of Newman's is Real Emotional Girl and through this performance, discovered the song Feels Like Home which I now absolutely love.

(l-r) Katey Segal, Matthew Saldivar

I hesitate to call Harps and Angels a revue, because to me, that suggests a kitschy collection of music, skit and performance and this show is hardly kitschy. Harps and Angels is more of a Newman song cycle but of music both popular and from film from the 1970s to present day in which the personal and the socio-political entwine creating a compelling, honest and humorous commentary on what it is like to be born, grow up, fall in love, and live and die in America. The six person cast - Ryder Bach, Storm Large, Adriane Lenox, Michael McKean, Katey Segal, Matthew Saldivar - were a mix of talent with musical theatre, singer/songwriter and popular music backgrounds, all of whom delivered interesting and yet meaningful interpretations of Newman's songs. In particular though, it was a pleasure seeing Segal perform - not because most people think of her as some iconic 80s sitcom character (its the last thing I think of) - but because she has such a beautiful voice and I have long been a fan of hers from a music perspective.

Its amazing that the Randy Newman lexicon is so diverse yet when the right songs are put together and the right singer performs them, these songs tell a story and sends a message (sometimes subtle, sometimes glaringly obvious) about life and Harps and Angels did just that.

Harps and Angels runs through December 22 at the Mark Taper Forum.

**If you get a hold of the Performances program for (I believe) any of CTGLA's shows (Venice at the Kirk Douglas, Harps and Angels at the Taper and NEXT TO NORMAL at the Ahmanson) in the month of November, check out page 28. Yes, I am in the program....so unexpected, so grateful!!!**

DO YOU HEAR THE PEOPLE SING?

2010-11-21T14:58:00.000-08:00

On October 8, 1985 - 25 years ago - Les Misérables the musical (English version) debuted in London’s Barbicon Theatre before transferring to West End’s Palace Theatre in December of that same year. The famed musical by Claude-Michel Schöenberg (composer) and Alain Bublil (libretto) has since become a worldwide favorite, translated into 21 different languages and played in 42 countries and 291 cities including Serbia, the Channel Islands and the Philippines. In 1995, Les Misérables celebrated its 10-year anniversary with a “dream cast” concert at Royal Albert Hall starring Colm Wilkinson (originated the English language role) as Jean Valjean, Lea Salonga as Eponine, Alun Armstrong as Thénardier and Michael Ball as Marius (both of whom originated their English language role). For the most part, I wouldn’t argue this “dream cast” and often looked at it as my quintessential Les Misérables cast.

The 25^th anniversary musical concert was comprised of some unknown talent (to me) like Alfie Boe (Jean Valjean), Ramin Karimloo (Enjorlas), Samantha Barks (Eponine) as well as "known" Broadway talents like Norm Lewis (Javert) and Lea Salonga (Fantine). Then...there was Nick Jonas as Marius (more on that later). Like many of you, I feel confident in stating that I consider myself well-versed in Les Miz having first seen it (on tour) in the early ‘90s. Since then, I have seen various productions of it locally, on Broadway, in concert, staged reading and as a result seen some great and not so great productions. While I will always think of Wilkinson as the quintessential Jean Valejan, I have been highly impressed with the last few actors I’ve seen in the role including J. Mark McVey (Hollywood Bowl) and particularly Boe (25^th Anniversary concert).

Alfie Boe (who incidentally has a solo album coming out December 27^th) is to put it mildly, an incredible talent. As a trained operatic singer from Royal Academy of Music in England, Boe's credits include the lead in Baz Luhrman’s La Boheme (Tony Award) as well as appearing with Michael Ball in Kismet in London’s West End. Though I had never heard of him before, I am sure to follow his career now! To say that his voice is just phenomenal is an immense understatement. Really, there’s nothing more to say other than to watch and listen:

Unfortunately, the rest of the 25^th anniversary cast didn’t blow me away like Boe did. This doesn’t mean that I don’t have anything to say about it. I have long been a supporter of Norm Lewis and have not heard him sound anything but great in everything. He was probably not the most convincing Javert I’ve ever seen, but he was still good nonetheless. Samantha Barks as Eponine and Ramin Karimloo as Enjrolas I thought were great finds too as I’ve never heard of either of them before.

Who would've ever thought I'd have a photo of a Jonas on my blog!

Now comes my real issue with this (mostly) terrific 25^th anniversary concert of Les Miz. Nick Jonas. Let me first start by saying that though he is a member of the tween-loving boy band, The Jonas Brothers, I had no expectations of him as Marius. I have no prior experience with him as a singer and a lot of pop singers can actually be really good singers. My goal was to give him the benefit of the doubt. Could he be that bad? Before I answer, let me start off by saying that the role of Marius is a relatively big one (it is one of the major characters in the story after Valjean, Javert, Fantine, Cosette, Eponine and M. and Mme. Thénardier). The character is important and the actor cast must be a good singer (naturally) and sound like the strong, revolutionary scholar that he is – without these important qualities, he would be just another ordinary extra cast in Les Miz. Here are my observations of Jonas throughout Les Miz:

When he was onstage, Jonas looked as if he didn’t know where to look. As a performer who probably often makes eye contact with his adoring and screaming teenage fans, he looked like he was making a concerted effort to try not to break the 4^th wall (it looked forced to me), but where was he looking? He was looking up, looking down, when he was interacting with Cosette or Eponine and should have been looking at them...he was not.
In addition to not knowing where to look, Jonas' demeanor looked highly uncomfortable on stage – very stiff as if he knew he didn’t belong on that stage with the likes of Boe, Salonga, Lewis and the 300 chorus members of various Les Miz casts.
He was certainly the most timid, wimpy Marius I’ve ever seen. I’ve never seen a more miscast actor in the role and this really disappointed me. As one who is considered a singer, I don’t think Jonas was strong enough of a singer for this role. He could barely hit the notes, he sounded flat and just didn’t do the role justice (understatement).
Jonas receded into the background and every actor he sang with (particularly Barks as Eponine and Katie Hall as Cosette) completely overpowered him. There was no power in Jonas' voice, he looked and sounded as if he were straining to just to complete his songs. He was completely forgettable.
To be honest, Jonas' performance at best was cringe-worthy. I literally could go on and on about my disappointment of Jonas as Marius, but these are my top 5 reasons why I was displeased with his performance. I hate to be so mean, but Jonas’ performance just didn’t work.

Moral of this list? Neither Jonas nor his voice were suited for the role of Marius. My question is really for the casting director (or whoever made the final decision on Jonas). I know that he has previous experience on Broadway (as the final Gavroche in the original Broadway production of Les Miz) but he simply did not work this time. Was he having an off-day when this concert was filmed? What was the real reason for casting him as Marius? Was it stunt casting in the hopes of getting the tween contingency to attend Les Miz (we certainly had them screaming in the theatre for this screening). I just don’t get it. Someone, send me an email and explain it to me.

All in all though (with the exception of a certain casting faux pas), I thought that the 25th anniversary Les Miz concert was a hit. It reminded me why I have loved the show for over 15 years and counting. Ironically, the stand-out moment of the entire concert was Valjean quartet. Amazing. Breathtaking:

This was a close second:

SIMPLE JOYS

2010-11-06T05:48:00.000-07:00

Some of the most important memories of my childhood were the (many) times I saw Annie (the first time I saw the show at the Shubert Theatre in Los Angeles, Annie was played by the talented Marisa Morell). I was completely entranced (obsessed really) by the score, the music and the little girls singing and dancing (I always thought I should have been one of them) - I wore out several copies of the cassette version of the original cast recording and attempted (in vain) to learn how to play the piano score. Andrea McArdle (who in 1977 was the youngest actress nominated for best actress in a musical for playing the title role) was my first musical theatre hero because it was her voice I first heard as Annie on the Original Cast Recording (OCR). I tried so hard to sing like her when friends and I would perform numbers from Annie in my backyard while wearing our Annie dresses. Needless to say, Annie easily became an extremely important piece of my childhood (and undoubtedly countless other little girls)!

(l-r) Melody Hollis, Andrea McArdle & Mikey

Throughout the years, there have been too many times to count that I have seen various stage productions of Annie. For some reason, each production I have seen never seems to be as good as the one before it. One production in particular I saw not too long ago was such a disappointment that I began to think that maybe my memory of the show was far better than the reality. Then, I saw Musical Theatre West’s production of Annie and that all changed. My inaugural visit to Musical Theatre West (now in its 58th season at the beautiful Richard and Karen Carpenter Performing Arts Center) did not disappoint. To start, my childhood hero, Andrea McArdle returned to the show that made her famous, but this time starring as the villainess, Miss Hannigan. Some 30-plus years after making her Broadway debut as the famous red-headed orphan, it is not difficult or strange to see McArdle return to the show as Annie’s nemesis. Quite the opposite actually – it was easy and refreshing to see McArdle as a more subtle Hannigan (funnier without being too campy). While excellent, McArdle’s performance never outshined that of Melody Hollis (Annie) who was easily one of the best Annies I’ve seen to date. In addition to having a strong, beautifully belt-y voice, there was an effortless spunkiness and nurturing quality to Hollis and an easy chemistry between her and each of her co-stars.

I thought that the chorus numbers were fantastic but never realized how significant the Hooverville number was until the strong performance by this ensemble. The girls who played the orphans – Jena Rosen, Paige Befeler, Alexa Freeman, Maddison Milledge, Danielle Soibelman and Grace Kaufman – were strong and made the ensemble orphan numbers highly enjoyable. As Oliver Warbucks, it was easy to see Jeff Austin as both a gruff corporate billionaire who seemed to naturally soften when in the presence of the talented Melody Hollis.

It is because of McArdle’s performance of Annie on the (OCR) that drew me to the show so many years ago and it is because of her current association with the show that I rediscovered my love for it again. If I were a little girl now, I think Hollis would be the reason I would be drawn to Annie the same way I was drawn to McArdle – her performance was energetic and delightfully sung and is one of the main reasons why this production worked so well.

(l-r) Jeff Austin, Melody Hollis

Annie runs for only 14 performances through November 14 at the Carpenter Performing Arts Center, 6200 Atherton St., Long Beach, CA. 8 p.m. Thursdays and Fridays, 2 and 8 p.m. Saturdays, 2 p.m. Sundays. Call for tickets ($30-$80): (562) 856-1999 or www.musical.org.

SEDUCTION

2010-11-01T15:55:00.000-07:00

A few weeks ago (as I blogged earlier) I finally got to see (and enjoyed) Leap of Faith. What I loved most though (and what really made the show magnificent) was Raúl Esparza's electric performance. He was amazing...no, really, AMAZING (in an I-can't-get-it-out-of-my-head-amazing way). Sure, I have had my musicals-du-jour throughout the years, but I can't remember the last time I saw one performer make a show work. There's nothing terribly wrong with Leap of Faith as a whole (I like it), but its because of one performer (Esparza) that the show really worked as well as it did. During intermission and post-show, I heard audience members everywhere around me excitedly buzzing about the strength of his performance. The positive buzz about Leap of Faith was due in large part to Esparza.

The energy he brought to the stage almost became seductive because the way Esparza (as Jonas Nightingale) lured the audience into the story as much as he did the townspeople of Sweetwater made you really want to follow, trust and believe in his character - and when it was over, he left you wanting more . When Esparza was on that stage, his presence was strong, but when he opened up his mouth to sing? Forget about it, he owned it. Esparza has an effortless vocal quality that is so clear, so strong and diverse - total rocker and yet 100% legit all within seconds of each other (while acting) - which is astounding! And even now...after two weeks have come and gone since I saw Leap of Faith I am still thinking about the way he sounded. He is phenomenal.

Lets be honest, since I left the theatre, I have been on a Raúl Esparza music kick - I am totally obsessed with the way he sings (lets just say that right now, my neighbors probably don't appreciate Being Alive, Petrified and select songs from tick, tick...BOOM! on continuous loop). I am in complete awe over the way he uses his voice (the effect it has on phrasing and hitting some crazy notes) and how committed he is to his performance in whatever role he's in. The man's voice was pretty fantastic when he first burst onto the scene in tick, tick...BOOM! (off-Broadway) in 2001 and his performance as Bobby in Company changed my perspective on a show that I thought I knew well.

Cut to the 2007 Tony Awards:

Me: Wait, that's Raúl Esparza...as Bobby...? He's fantastic. When did this happen?

How could I have missed Raúl Esparza in Company prior to the Tony Awards? When I saw the above clip during the awards telecast, I quickly got my musical theatre priorities straightened and then had to see more of the revival of this show.

In 2008, the Broadway Revival of Company on PBS Great Performances aired and though I was expecting him (after seeing the Tony Awards) I was almost caught off guard by the brilliance of Esparza's portrayal of Bobby. This was the first time I had seen the show in its entirety which also explains the added perspective to Company that I gained. Over the years, Company has easily become one of my favorite Stephen Sondheim shows. When I saw it on PBS Great Performances though, everything changed - I gained a new perspective on the character of Bobby (post is forthcoming) and most importantly, I was reintroduced to Raúl Esparza.

It was 2001 when I was first introduced to Esparza when I purchased tick, tick...BOOM! - the semi-autobiographical musical about the struggle the late Jonathan Larson endured to create and make an impression on the musical theatre landscape. Esparza played Jon in tick, tick...BOOM! and I remember wondering what it was like to play someone who had only recently (and unexpectedly) passed away and to be the first person to bring this real person (not a character) to life...in which Larson's parents, family and friends would be present. I remember thinking that only an exceptional actor could pull that off and I admired Raúl Esparza for being able to do so.

Clearly, Esparza's voice is extraordinary and it makes you stop and listen and really believe in what he is singing about. I think this is the case with every song I've heard him sing. I am just so grateful to have had the opportunity to see/hear him live - what he did with every song he sang in Leap of Faith just blew my mind.

Clearly, I'm not the only one who sees the brilliance in Raúl Esparza. He is not only an amazing singer (as I've been rambling on about) but actor - look at the number of Tony Award nominations he's received since he made his Broadway debut in 2001 (thanks for the info, IBDb!):

Broadway Debut in The Rocky Horror Show - 2001
Tony Award nomination #1: Taboo (best featured actor in a musical) - 2004
Chitty Chitty Bang Bang - 2005
Tony Award nomination #2: Company (best actor in a musical) - 2007
Tony Award nomination #3: The Homecoming (best featured actor in a play) - 2008
Tony Award nomination #4: Speed-the-Plow (best actor in a play) - (how did I not remember he was in THAT media debacle?). - 2009

This means that in a 5-year period (between 2004-2009), Esparza was nominated for a Tony Award in every possible category for which he was eligible. Only Boyd Gaines (who was coincidentally the first Bobby in Company that I ever heard) is the other actor to also have this same distinction . If you haven't been fortunate to have seen Esparza perform, watch these and you'll see/hear what a phenomenal talent he is:

Raúl Esparza singing Lonely House at Seth's Broadway Chatterbox, 2004

Listen to the the way he sustains those notes! Seriously? And. He can do Defying Gravity...and its no surprise he kills this too.

Raúl Esparza singing Defying Gravity at Seth's Broadway Chatterbox, 2004

In May 2005, Esparza appeared in the American Theatre Wing's Working in the Theatre seminar in which he said (in reference to what makes a good actor), "I don't want to put Raúl Esparza onstage, I want to put whoever that person [character] on stage is and somehow disappear..." Sounds like a pretty obvious statement but I've been to enough shows (plays and musicals), seen plenty of TV shows or films in which that was not the case. I have to say that when I saw Leap of Faith, I didn't necessarily feel that every actor onstage was their character, but I certainly felt so about Esparza - I feel confident in stating that I think is brilliant in pretty much anything he does. I'm not sure where Leap of Faith will go (rumor has it Broadway-bound in Fall 2011). If it does indeed go to Broadway, I hope that -Tony voters will see and hear just how magnificent he is as a performer and will reward him accordingly. NY has a ton of fantastic singers/actors, I have not heard anyone who can sing a range of styles the way he can all the while being a remarkable actor to boot. It is about time Tony voters. All I can say is, get ready!

To Raúl Esparza, I have two words for you: SOLO ALBUM. Oh wait, actually there are three more words too: CONCERT IN LA! Ok, thanks...oh and, BRAVO!!!

Am I the only one utterly obsessed and amazed (other than Seth Rudetsky) with Raúl Esparza's voice? Tell me what you think: [theaterfan (at) aol (dot) com]!

WHEN THE SUN GOES DOWN

2010-10-27T14:56:00.000-07:00

Its no secret that when it comes to In the Heights, I have been a huge supporter. I thought that Tony Award winning creator/writer and original Usnavi, Lin-Manuel Miranda created a beautiful musical that was the perfect blend between classic and modern musical theatre. The heart of In the Heights is classic: it is a show with recognizable and hummable tunes with a storyline that is simple: family and the journey of finding your way home. There is a definable hero and heroine who are both trying to find their way yet it is also has very modern elements like infusing the beat and flow of hip-hop and rap into the show. It reminds us that at the end of the day, none of us are all that different - we all come from families, we are all trying to make our way in the world while looking for our place in it.

Today, it was announced that after 1,185 performances, In the Heights will close on January 9, 2011*. For a special two-week engagement beginning on Christmas Day, Miranda will once again reprise the role of Usnavi one last time. If you are in New York, I highly recommend going. There is magic in seeing a writer/composer performing their own work but to see this incredible show that Miranda lovingly created and nurtured since his days at Wesleyan University, is really something else. I challenge anyone to tell me that 96,000 is not an electric, brilliant number:

As if In the Heights doesn't prove that Miranda is filled with talent, remember that he not only created a Tony Award winning musical but he has also been known to educate young people through music on The Electric Company and Sesame Street, created the hilarious web series Legally Brown: The Search for the Next Piragua Guy (a spoof on the MTV Legally Blonde reality show) and also made a ten-year-old boy's dream come true with this.

It will be a sad day when the Richard Rogers Theatre says farewell to In the Heights but...stay tuned for the film starring who else but...Lin-Manuel Miranda!

--
*For all performances from January 2, 2011 – January 9, 2011 (exluding January 9, 2011 evening show) get tickets for as low as:

$78.00 for Orchestra/Front Mezzanine
-or-
$48.75 for Rear Mezzanine A - F

Use code ITHLIN

Call Ticketmaster at 877-250-2929 and mention code ITHLIN

STEP INTO THE LIGHT

2010-10-24T21:02:00.000-07:00

After I waxed poetic about The Music Center/Center Theatre Group's productions, I figured a real review of Leap of Faith should follow.

Since I saw the show last week, I have been thinking about the music, plot, dance numbers and overall performances wondering why I am so drawn to the story. There is so much I love about the show with one overwhelming factor leading the charge (that I finally recognized) - familiarity. Its amazing that it took this long to figure out. I realized that maybe the reason I feel this way about Leap of Faith is because it is very similar to one of my other beloved old-school musicals. Leap of Faith, meet The Music Man. Consider this:

A con-man comes to a smal town, falls for a local single woman, befriends a child who is has "special needs" and is changed because of this relationship (with the child). The con-man isn't exactly forthright with the woman or the child about why he is really in the town or who he really is. Then, someone outs this con-man and said con-man must own up to who he really is. Somehow the con-man does something to make good with the people of the small town, helps the child he has befriended and eventually gets the girl.

Not sure which show I'm describing? Of course you're right because it refers to both shows.

Robert Preston as Prof. Harold Hill

Raúl Esparza as Jonas Nightingale

So Leap of Faith (the musical) is based loosely on the film of the same name starring Steve Martin and though it has (almost identical) similarities, it isn't a rip off of The Music Man (film or musical). Leap of Faith and The Music Man are very similar stories and you might think that the similarity ends there (at the plot) right? Sort of. If we take a look at the performances of the lead actors in these two musicals, you will find two, highly dynamic, remarkable actors who really carry the show they are in. In The Music Man, the incomparable Robert Preston created the role of Harold Hill...he is incredibly charismatic and really, who wouldn't follow and want to believe in him? Leap of Faith has an equally dynamic and multi-talented actor in Raúl Esparza who plays Jonas Nightingale. Watching and listening to his character...who wouldn't want to follow and believe in him either?

Have I convinced you that the central storyline in Leap of Faith really is similar to The Music Man and that Harold Hill/Jonas Nightingale are the ones who really carry their respective shows? When I think about The Music Man, I immediately think Robert Preston and then I think that though sweet and classic, the show really isn't anything without Preston. Actors come and go and while many have played Harold Hill, nobody could nail it like Preston did. So when I think about the the entire production of Leap of Faith, the show too really succeeded because of Raúl Esparza.

From the moment he walked onto the stage, dressed completely in black with sunglasses on, Esparza convincingly carried himself as a smarmy, charismatic con-man. This attitude mixed with the words he spoke only reinforced this character. When in the "tent" as the evangelist persona, Esparza's inflections were spot-on. Esparza's energy was undeniable and it was hard to tell if he put every ounce in his being to become Jonas or if Esparza was Jonas.

I have been aware of Esparza as an actor since I bought the off-Broadway cast recording of tick, tick...BOOM! in 2001 in which he played Jon (the semi-autobiographical show about Jonathan Larson). Throughout the years, I have seen Esparza perform on TV and the internet from various roles. Yet, when I saw him as Bobby in the revival of Company in 2006, I knew that I finally saw the quintessential Bobby. He brought such passion and intensity to the role that I had not seen before or since. His Bobby was darker and more multi-dimensional than I had seen before. But I digress. There are some performances that you know while sitting there in the audience that you are watching an actor playing a role. There are others that completely transform while onstage into the role...whose performance you know is something special (i.e., Patti LuPone in Gypsy and Alice Ripley in Next to Normal; Raúl Esparza as Jonas Nightingale comes pretty close to making this list too). Its quite a grand statement, I know, but the night I saw Leap of Faith, I thought he was just that good. The interesting thing is that while both Gypsy and Next to Normal hold their place in theatre history because of their respective books, Leap of Faith doesn't exactly come close to being a Pulitzer Prize winning show.

There are aspects of Leap of Faith that weren't amazing - some of the characters were not developed enough which (to me) affected the outcome of the storyline. When looking at the all of the characters in Leap of Faith, none is more developed than that of Jonas (which is good and yet...obviously bad). Of the more major characters, every other is a distant second to Jonas - Marva, Sam, Boyd. If it weren't for Ricky Sturdevant, there really wasn't any need to have Ida Mae in the show. Would there be? When Leslie Odom, Jr. was onstage, his stage presence was evident which is why the part was memorable. The character though? Ricky Sturdevant wasn't a weak character, only he wasn't strong either. Brooke Shields played Marva McGowan well...as I stated in a previous post, she was a perfect mix of strong and sensitive and could be considered to be a stabilizing force in the show; she played safe well. I don't think it was Shields who was the problem though; she couldn't have played the role better, it was the character that way dry. One could say that was purposeful...the dry, somewhat-boring character of Marva was a representation of the drought-ridden town of Sweetwater...yes, I think its stretching things too.

If the story was lacking, the music and lyrics by Alan Menken and Glenn Slater (respectively) and choreography by Rob Ashford were just incredible. During the Rise Up number, while watching the dancers, I was so taken by the choreography, feeling that it was reminiscent of musicals from days-gone-by; it was gloriously old-school. The rhythmic gospel music was a high point of the show that I can't get out of my head. Days after seeing the show, I still find myself going back to CTGLA's YouTube page so I can hear at least some of the music and see bits of the choreography again.

I find great pleasure when musicals make their world premieres in Los Angeles then go on to be successful Broadway shows. Shows like 13, The Drowsy Chaperone, 9 to 5: The Musical and Curtains made their mark here in Los Angeles, at Center Theatre Group before becoming darlings of Broadway. With a little bit of revision, I am certain (and hopeful) that Leap of Faith will follow the steps of the Center Theatre Group's shows that came before it.

DO WHATCHA GOTTA DO

2010-10-22T16:51:00.000-07:00

Since the 90s, I have been a very consistent patron at the Center Theatre Group's productions back when I referred to its collective theatres as The Music Center (before the Kirk Douglas Theatre) back when The Phantom of the Opera was in residence at the Ahmanson (and held the record for the longest running musical in Los Angeles' history.) After Phantom closed and the theatre was refurbished, naturally I returned to see the musicals that had finally made their way to Los Angeles from the Great White Way from Showboat to The Light In the Piazza and Spring Awakening (in which I was lucky enough to get stage seating); I saw groundbreaking productions like Caroline, or Change and joint productions with Deaf West Theatre Company: Big River and Pippin; there have also been Broadway-bound shows like 13, The Drowsy Chaperone and Flower Drum Song as well. Shows like these have been feeding my theatre-hungry soul for years. Of course there are some unmentioned productions that I didn't love, yet I am still grateful that the theatre can be so accessible and that I have had the opportunity to see what I've seen, good, bad and ugly.

Its amazing that the quality shows that have most recently played at Center Theatre Group's theatres because all have truly been such satisfying productions. I have had the pleasure of seeing shows like Parade, (see my gushing blog entry here), Bengal Tiger at the Baghdad Zoo, The Glass Menagerie and most recently, Leap of Faith. I'm typically not as big a play-goer as I am a musical go-er, but the last two plays I have seen have definitely struck a chord with me and made me want to see more plays.

Bengal Tiger at the Baghdad Zoo was not the kind of play I typically run out to see for many reasons including that it is somewhat fantasy based and that it is about war...the Iraqi War. I have never been so impressed and so amazed at a story about the aftermath of war that is as hauntingly beautiful as it is tragic and funny. Bengal Tiger at the Baghdad Zoo opened my eyes and gave me a new perspective that I would have never had if I had missed this show. Prior to seeing this, I had a hard time believing I would enjoy it, but did I ever! For days, I was left thinking about the story and wishing I could see it again though not sure if I had the energy knowing I would be emotionally exhausted when it was over. It kept me thinking about it long after I walked out of the theatre's doors.

I saw The Glass Menagerie next - a play that I had read in high school (I think) and college and though I studied it in depth, I don't know if I was ever that taken by its storyline. This production however, was different and I left the theatre practically in tears because I had finally seen a production of this show that I understood emotionally and I was open to and able to really understand its characters and the purpose of the storyline. Judith Ivey as Amanda Wingfield was superb and when I finally saw who the characters of Laura and Tom were; I understood who they were - that they were bits and pieces of a lot of people I knew (including myself); I saw that some of the people I knew could (and would) have fates similar to Laura's and it just broke my heart. Every actor in stage was phenomenal and I left the theatre feeling changed by the production. Somehow, in those three or so hours, something changed in me and I had a new perspective on my own life and career.

Perhaps it was the idea of hope and faith that drew me to the Ahmanson's most recent production (that I hope goes to Broadway), Leap of Faith; maybe it was the beautiful score by Alan Menken, but either way, I really, really enjoyed it. I loved the energy of the cast when they sang gospel-y numbers like Step into the Light and Rise Up:

I thought the dancing evoked dance numbers from the Golden Age of Broadway and I found myself bopping to the beat of the music in my seat with a silly grin plastered on my face throughout most of the show. Typically, I am not the biggest fan of movie turned musicals (however I did enjoy Dirty Rotten Scoundrels) but Leap of Faith really delivered. At one point as I was discussing the show, I even forgot that this was a movie to musical adaptation. Since I was trying to be open-minded and keep a positive attitude, I walked into the show not really having any expectations. Prior to seeing it, I didn't read any reviews, I didn't listen to or watch any clips online because I knew if I did see it, I wanted to go in with a completely unbiased attitude. Even though I wasn't 100% sure I really wanted to see the show, there were finally two factors that finally made me purchase tickets:

I figured it was likely going to Broadway sometime soon and I didn't want to miss it.
The recent revival of Company with Raúl Esparza as Bobby gave me a new perspective on him as an actor (ok, I thought he was one of the best Bobby's I've seen/heard) and since then, I have been wanting to see him perform live.

Ok, there were three factors, the third was that I have been desperately wanting to go to the theatre to see a good musical...and I was hoping that this would fulfill my musical theatre fix.

Before I go on, I will say that Esparza is nothing short of amazing in this production as Jonas Nightingale and if it goes to Broadway, I am certain that at the very least, he will be nominated for a Tony Award. He was that good. During the number (the one to the right) Last Chance Salvation, Esparza was so dynamic, I thought he might be getting a standing ovation before intermission. The character of Jonas Nightingale walks a very thin line between brilliant and completely overdone and Esparza was perfectly brilliant - a greasy and smarmy showman in the beginning and transformed into a more sensitive morally aware guy. As an evangelical con-artist with a heart, Jonas Nightingale has to border the overly exaggerated, high energy, showy performer with some humanity (which Esparza does superbly). As Marva McGowan, Brooke Shields was a perfect mix of strong and sensitive and could be considered to be a stabilizing force in the show. Sometimes I thought Esparza overpowered her, but I think that he was supposed to. When I think of the brilliance of this show, it is Esparza who clearly steals the show with a great supporting cast including Leslie Odom, Jr. as Ricky Sturdevant who also made a pretty substantial impression on me.

Leap of Faith isn't the kind of show that will keep you thinking about the story long after you leave the theatre in an attempt to try to better understand it but it is the kind of show that will make you smile and remind you about life and hope and humanity. It is a feel-good musical in the truest sense of the word and I really hope this show goes to Broadway. With a just a smidge of tightening up, I think it will do quite well. It was well received by audiences when I went even with the technical difficulties in which everyone kept spilling liquids onstage, the cast had the audience eating it up (not literally). At one point, Esparza stopped the show to get the spilled lemonade cleaned up since it would be dangerous to dance on a slick stage. Though the fourth wall was broken, the audience didn't care and loved that the actors were breaking on-stage, trying to hold it together. All in all, this show is fantastic with a first rate cast of actors and dancers who all really shine as a company. BRAVO!

Leap of Faith closes Sunday, October 24. Such a fun show and this cast isn't to be missed!

THE RIGHT GIRL

2010-08-25T20:09:00.000-07:00

broadwayworld.com

So in a recent post, I mentioned that I would try to be more open-minded when it comes to the casting game. Today I suppose that open-mindedness is being tested. Today, BroadwayWorld.com reported that Kim Cattrall was in negotiations to star as Phyllis opposite Bernadette Peters (as Sally Durant) in the Washington, D.C. production of Follies at the Kennedy Center.

[silence]

Yes, that was my first reaction too.

Not to say that this is a bad choice, but is it a good choice? Only time will tell. First of all, I had no idea that Kim Cattrall was a singer. While most people view her as the over-sexed character, Samantha Jones (from one of my favorite series), but when I think of Cattrall, I actually think of another film character:

I have no doubts when it comes to Cattrall's acting chops, its her singing chops that I wonder about. While some roles aren't known to be heavy singing roles, lets face it, singer or not, it is a Sondheim show after all. I can't really think of a single musical (of his) in which a weak singer is cast (and performs well). However if this rumor is actually true, then I am interested to hear/see how she performs in a musical. Stay tuned!

[part of it all]

2010-08-22T15:23:00.001-07:00

Yesterday, I finally had an opportunity to see [title of show] at Los Angeles' Celebration Theatre (and it was fabulous). I have been a fan of the show before (the real life) Hunter, Jeff, Susan and Heidi ever brought the show to Broadway and I was incredibly bummed when the show closed too soon; it was absolutely one of the Broadway shows that I was hoping I would get an opportunity to watch. Unfortunately, when it ended, [title of show] only played 102 regular performances and 13 previews on the Broadway, but I am happy to report that it lives on in regional productions.

[title of show] really is a show for anyone who has ever had a dream to create. Sure, its a show about "two guys writing a musical about two guys writing a musical" but at closer inspection, its not just about writing for musical theatre. At its core, [title of show] has incredible heart fueled predominantly by the (characters of) Hunter and Jeff as they struggle to create a show for the NYMF (New York Musical Theatre Festival). When you sit back and watch the show take shape, you see a show that is funny, well constructed and tells a good story with four pretty solid characters who truly bring their own personalities and contributions to the story (which is a good thing because they are based on the real-life Hunter Bell, Jeff Bowen, Susan Blackwell and Heidi Blickenstaff). Its more than just a show about writing a musical, its a show about friendship, dreams coming true, the creative process of giving life to an art form and just the right amount of humor and emotional strife. However if you aren't a musical theatre geek, some of the inside-musical-jokes may be lost on you. Don't get me wrong, I think it will still be funny even if you aren't an insider, but will be even funnier if you are well, "in the know."

I have been listening to the cast recording of [title of show] for over two years now but first discovered it while bored one day at work and perusing the musical theatre annals of YouTube. When I came across the first two or three episodes of the [title of show] show, I thought it was super campy and quirky and "at first I'll admit I was a little bit, WTF," but somehow it hooked me. The chemistry between the four actors was apparent and it became hard to differentiate between the characters' personas and the real life personas in their series of vlogs. Jeff was more of the straight-laced guy who seemed to keep everyone more (or less) grounded, Hunter was determined and focused, Susan was super quirky but hilarious and Heidi was the legit professional "Broadway actress." These vlogs were to me, brilliant on so many levels. As I said, they were super campy and yet totally funny but SO smart! How? Well thanks to YouTube, the [title of show] show was a totally free, grass roots marketing and publicity campaign that really did grow the brand, brought awareness to the show and it took off. The [title of show] cast had complete autonomy on how they wanted to be portrayed, how often and when they posted their vlogs and each episode coincided with a number from the show. BRILLIANCE, says I. The [title of show] show could also be viewed as a companion piece to the actual [title of show] (musical show). Either way, it will make sense if you (carefully) listen to [title of show] and then watch the [title of show] show. See what I mean? Brilliance.

As a minor PS, I have to again discuss that [title of show] also has one of my favorite ballads ever in it. I won't be repetitive because I wrote about A Way Back to Then in a previous post (so if you are so inclined, you can read it here). This song is (in many ways) about me and hearing it live (though I didn't love the performer's voice who sang it when I saw the show) it was still emotional because not only does it describe me, but many-a geeked out theatre fans out there too.

I recently re-watched this (see below). When it was closing, the folks at [title of show] reached out to their fans and 600 of us participated in this project - big time Broadway folks and regular peeps alike - all of whom loved and supported [title of show]; I think I'm in good company. See if you can find me:

I heart [tos]!If you have an opportunity to see [tos] in your town, do it!

IT NEEDS WORK

2010-08-19T11:25:00.000-07:00

When it comes to the musical theatre casting game, I admit I'm super critical. For what reason other than I guess I fear the genre becoming over commercialized and losing (to me) what makes musical theatre so special. I guess I forget that there was a time when show music was mainstream made famous by the likes of the members of the Rat Pack. Then I wonder what purpose does it make for me to be that critical about casting choices? Am I that inflexible that I can't accept a new artistic spin on a performance? While some performers might not be ideal, is there anything really wrong with a new perspective? Isn't that new perspective part of what makes this an art form open up to interpretation and such? Back in the day, I was a critic for a Broadway website and I had it in for everyone. Instead of me liking a show until the performance gave me reason not to like it, I thought that a cast had to prove their worthiness to me. Why? How awful. Maybe I'm maturing and being more open minded. Maybe I'm realizing there's really no point in being that critical. Who am I helping by thinking that way? I can still believe there is a standard for a performance to live up to, I just don't have to be such a super biotch about it, right?

When I look at shows I've recently seen like In the Heights (when it was on tour here in LA) I remember being so ecstatic. Sure, I was thrilled to see Lin-Manuel Miranda reprising his role of Usnavi for the first time since he left the role in New York and he was tremendous. Yet independent of this brilliance, this touring cast was top notch. My fear was that they wouldn't be; my fear was that Lin-Manuel Miranda would be carrying the show and come on, what kind of faith is that in my favorite musical art form? So for me to feel so impressed and accepting was a big deal (because typically I think touring casts have a lot to prove). This cast proved to me how wrong I could be.

Last night, I saw the Live from Lincoln Center production of South Pacific and it too was just amazing. Sure, most of the original revival cast was intact. Noticeably missing was Matthew Morrison (Lt. Joe Cable) who was stuck in L.A. for some TV show commitment (haha) and couldn't return to his role. Andrew Samonsky is currently playing the Cable role on Broadway and was in this Lincoln Center production and he was amazing. To me, he had the chops for the role and even maybe more-so the look (in my mind as a "Lieutenant") than does Morrison. The difference is that I gave him a chance. He didn't have to be Morrison and not being so was ok. When I saw Aaron Lazar as Fabrizio in The Light in the Piazza on-tour, I actually think I might have loved him more than Morrison. For some reason though, the touring cast of South Pacific just didn't do it for me. I really wanted to like it and even when I got irked by certain aspects of the casting and performances, I still really tried to like it. There was something that wasn't so cohesive about the cast as a whole when they sat down here in L.A. in the performance I caught.

Nonetheless, these are examples of how replacement roles (and ones on tour) are important and how they really aren't so bad. Replacement casting is something I'm going to be considerate of and I'm going to stop being such a hard-edged-critical theatre snob (unless given a legit reason to be). I of course can still be a theatre snob, I can just stop being so...uber-critical about aspects of it. Right? Give the actors a chance, says I. They deserve it. Indeed.

THE OLD RED HILLS OF...WASHINGTON HEIGHTS

2010-08-16T21:55:00.001-07:00

The end of an opening act¹:

God Bless the sight
Of the old hills of Georgia
The Old Red Hills of Home
(Kneel Down to)
Praise those who'd fight
For the Old Hills of Georgia
For those proud and valiant men
We'll sing "Dixie" once again
For the men of Marrietta
For the the brothers of Cobb County
For the fathers of Atlanta
For the patriarchs
Who gave everything for Georgia
And the Old Red Hills of Home

The end of Act 1²:

Look at the fireworks...
Look at the fireworks...
Look at the fireworks...
Look at the fireworks...
Light up the night sky...
Light up the night sky...
En Washington--
Look at the fireworks...
Look at the fireworks...
Light up the night sky...
Light up the night sky...
En Washington Heights!

Two vastly different shows that take place in eras that spans many, many years; two of my favorite modern musical theatre writers/composers whose styles are so very different. I listen to their work when I need inspiration because these shows elicit such different emotions and reactions in me. These shows never fail to remind me why I admire thes writers of these original musicals, what I love about the theatre and why I have chosen to do what I'm doing: bridging a gap and creating opportunities. Thank you, JRB & LMM!

1. The Old Red Hills of Home from Parade by Jason Robert Brown
2. Blackout from In the Heights by Lin-Manuel Miranda

CARNAVAL DEL BARRIO

2010-06-26T17:25:00.000-07:00

Being so far away from New York, I find it incredibly gratifying when fantastic shows announce that they are touring and finally come into town. What is even better is when original cast members reprise their roles on tour and particularly when they make their way into LA. Ahh, a perk of living in the 2nd biggest city in the country! There are (naturally) business reasons why these actors choose to reprise their roles and I'm sure glad I get to reap these benefits! Recently, I had the good fortune of witnessing the reunited original cast of The 25th Annual Putnam County Spelling Bee when all nine actors sat for the LA run of the show at the Wilshire Ebell Theatre in 2007. It was an awesome, awesome theatre-going experience and I was thrilled that they came together for our little town. However, when it was announced that Lin-Manuel Miranda was joining the In the Heights tour during its LA run, I was elated! Ever since I discovered this show, I have been a fan of both it and its creator and star Lin-Manuel Miranda.

It was a great sight to see the diversity in age and ethnicity of audience members at LA's Pantages Theatre. Lately, the shows I've been attending consist of an older crowd and seems to lack diversity. Initially I thought that maybe In the Heights was a more modern show which attributed to the mix of audience members. However, I don't even think there was as much diversity in the audience at another modern musical - Spring Awakening at the Ahmanson a few years ago (as well as when I saw it on Broadway). Seeing such a diverse mix of ages and ethnicities at In the Heights reminded me that this was a show that was speaking to a wide range of people because of its story and its message. It was lovely to see the excitement from families and groups of friends or couples as they gawked and took pictures in front of the theatre. I saw a small group of high school students giggling, pointing (and swooning?) at photos of Miranda in the souvenir program and just loved the sight of it!

Sometimes, the anticipation of seeing a show outweighs what the reality of it is for me. Regarding In the Heights, I certainly was not disappointed. What a fantastic show! In the age of revivals and jukebox musicals (the latter of which I am not a fan), it is rare to find a quality original new musical and when I do, I hold tight. When these shows are really good, I have discovered that I really do embrace the differences that these new works have over the classics. While times change, styles change and music changes, stories do not. If told correctly, these stories can be retold in new, unique ways that have the opportunity to open a new generation or new groups of people to musical theatre. The story of In the Heights is not new; it is about family, love, self-discovery, life and finding your way home. Yet the stories are told using rap and hip hop hand-in-hand with ballads and soliloquies. In the Heights blends the old with the new infusing it with incredible energy that excitement. I have been known to be critical in my reviews of shows - maybe unnecessarily critical at times - but my criticism for In the Heights is (as far as I can tell) nonexistent.

When it comes to touring casts of shows, I have seen one too many shows fail because the casts as a whole is lacking. The creative team of In the Heights really cast some first-rate performers in this show. Maybe these actors were more encouraged or fueled by the energy from its creator and original Usnavi (Miranda), but I think its because they were really just that good. As I stated earlier, I was ecstatic when I learned that Miranda would be reprising his role of Usnavi for the L.A. run. He did not disappoint one bit and I just loved seeing him live, hearing him perform the character that he created and it was an amazing night. Miranda was energetic, completely in the moment, on point in his rhymes, his dancing and his overall performance. I found myself bopping in my seat to the music, sniffling and holding back tears during the more emotional scenes and appreciating what kind of work went into the show.

I think it is safe to say that I will try to catch one more performance of the show before it leaves at the end of July. I am looking forward to seeing what Miranda and Kenny Ortega do to In the Heights when it makes the leap onto the big screen. With Miranda starring in it and having creative control over the show, I can only imagine what he will bring to the newest version of In the Heights. What started out as a small three-day production at Wesleyan University has become taken off into something so fantastic! I am proud to support the show, its creator and really hope that others will feel the same. In the Heights is not your grandparents' musical, it is young, fresh, hip and hopefully will change the way you feel about musical theatre while preserving the traditions of the genre in its golden age.

For the record, if you want to love Lin-Manuel Miranda even more, revisit this post from Christmas 2008. Dreams come true and LMM & cast certainly made sure of that.

SEND IN THE CLOWNS

2010-06-15T23:51:00.000-07:00

I'm disappointed.

As a rule, I typically avoid reviews and other people's opinions about things I love. So, the more I think about the Tony Awards on Sunday, the more annoyed I feel. I was really looking forward to the Tony Awards because it celebrates theatre and I adore the theatre. Though I blogged during the show, I didn't have a good feeling in my stomach as the night went on and particularly the more I think about it. So...I went to the interwebs to find out what other people thought. At least I wasn't alone...I don't really know anyone who liked it either.

Last year, I was super excited about the shows and actors up for awards. Last year, I thought there was some competition and at least there were original musicals up for best musical or best book, right? This year, none of it was very good. As much as I talk about my interest in American Idiot, I know its not an original musical. I would rather a really good, thought out, well written original musical win for best new musical; one with substance. And yes, I realize what show won...but is it a next to normal or [title of show]? No. I'm not even sure what it is, but it does the very opposite that a musical typically does for me. It doesn't inspire or excite me. It bores me (sorry, it does). It makes me yawn and look for something...anything else that is better. Which leads me to...

What is happening to Broadway? I don't like to denigrate a show that I've never seen or really a season of shows that I haven't seen and don't interest me. Someone might tell me that I shouldn't criticize something until I've seen it (I certainly would). Maybe I don't understand. Maybe I'm just too critical or have unfair expectations. Last year I was more excited about the awards than I had been in the last few seasons. All because of next to normal? In part. This year, what were our choices? It was similar to the 1995 Tony Awards when there were only two shows up for best musical - Sunset Blvd. & Smokey Joe's Cafe (I believe) so they award for best new musical went to the only original musical up (Sunset Blvd.) and really, by default!

I recently read an article in the Village Voice about the state of NY theater and I really agree with it. There was a lot I saw wrong about this year's Tony Awards as a dedicated supporter of theater. I'm not a professional and don't pretend to be one either. I also understand the reasons why extremely random (but potential draws to the telecast) were asked to be presenters and I understand why certain performers/casts won (though I didn't agree) because its all political. I worked in an industry that was dictated by these politics and it was unfortunate, but it happened. I think that true fans of the theater are really disturbed because it feels like the state of the Broadway theater scene is changing. There has always been something so pure and so real about these people who create theater because they work hard based on the love of the art form. The successes of these folks is not to purely to become rich and famous and targets for the paparazzi, but because they believe in it. Yet when someone comes along and is nominated for a role that they did well enough in and are nominated against other professionals who work just as hard (if not harder) to succeed and gain the respect of critics and fans alike only to be crushed and taken down because they are not as well known or did not pay to campaign for an award as hard, how is that fair? How is it fair that some random "famous" person who happens to kinda like theater can present at an awards show based on achievement in the theater? Just for ratings? Why is the theater community giving away their awards show? For money? For an ulterior motive? Probably. I was almost a little offended at the big song and dance number from the Glee kids. I appreciate the show and I have long since been a fan and supporter of the folks that were cast in the show from Broadway. But to devote an entire number just to these two - for ratings I presume. Where was this publicity for these actors when they were just treading the boards back in the day? It just doesn't seem fair. There were just so many things wrong with the show this year. Its a shame too...because I was really looking forward to them, but I seem to cringe a whole lot more these days when I hear and read about the shows coming to Broadway. We need more shows that are original, creative and inventive by talented writers and composers.

THE 2010 TONY AWARDS!

2010-06-13T20:43:00.000-07:00

Today is my Super Bowl, my Oscars, my MTV Movie Awards, my Golden Globes...my favorite awards show - so welcome to my annual Tony Awards blog post! I have to admit that I've been neglecting my blog (which seems to happen ever so often) but I would be remiss if I didn't write anything about my most favorite awards show. There are so many exciting things going on in today from Hunter Bell tweeting live during the awards show to the many amazing presenters & performers like the cast of American Idiot to Broadway's own Lea Michele and Matthew Morrison (some of you may know them from a little show called Glee...). Oh and there's Karen Olivo and Gregory Jbara hosting the Creative Arts Awards too...so much fun! Stay tuned for my updates!

The 2010 Tony Awards - THE WINNERS!!!
Presented by the Broadway League and the American Theatre Wing
(as usual, I am only listing winners for Musicals...sorry guys)

Creative Arts Awards (Pre-Telecast)

They're presenting the lifetime achievement Tony Awards to Sir Alan Ayckbourn and Marian Seldes during the pre-telecast?! Geez...I would think it would have been important enough to present during the LIVE telecast. No? Same with the Isabel Stevenson Award to David Hyde Pierce!

Best Orchestrations

Daryl Waters & David Bryan, Memphis

Best Original Score (Music and/or Lyrics) Written for the Theatre

David Bryan (Music), Joe DiPietro, David Bryan (Lyrics), Memphis

Best Book of a Musical

Joe DiPietro, Memphis

WOW, look at Memphis sweeeeeeeeeeeeeeeeping the show so far!

Best Costume Design of a Musical

Marina Draghici, Fela!

Best Lighting Design of a Musical

Kevin Adams, American Idiot (yay!)

Best Scenic Design of a Musical

Christine Jones, American Idiot (yay!)

Best Sound Design for A Musical

Robert Kaplowitz, Fela!

***

My Thoughts on the Primetime Telecast...
(yes, I know, but I've been blogging through each telecast for the last two years...its becoming a tradition!) :)

Ok, what does everyone think of the opening number? It seems so chaotic. I get what they're trying to do, but...I'm not really feeling it as an opening number. I love American Idiot and Green Day, but when did this become a rock concert? It didn't get me excited and hyped up for the Tonys, but you can't win 'em all, right? Wow, Matthew Morrison is getting a lot of audience airtime...not a big shocker, but its too bad he didn't get that much attention when he was a nominee a few years back for The Light in the Piazza!

WTF and not WTF. Not a total surprise to see Ricky Martin here, but still weird to me. Million Dollar Quartet is up.

I feel like it wasn't so long ago when La Cage aux Folles was revived. See...a LOT of Matthew Morrison air time. I expect to see more of this in the next three hours. So, I have to admit that I'm bummed everytime I hear "Matthew Morrison and Lea Michele of Glee" in relation to Broadway related activities (like this awards show). I know that Glee is the current project for both, but...I think the entire Broadway community knows where they've come from. I'm glad though that they at least are supporting the community they came from.

Sean Hayes, so funny in his Billy Elliot get-up. HA!

Best Direction of a Musical

Christopher Ashley, Memphis
Marcia Milgrom Dodge, Ragtime
Terry Johnson, La Cage aux Folles - (WINNER! Wow, I was really off on that one!)
Bill T. Jones, Fela!

* My Pick: Though I didn't see it this time around, I loved Ragtime the 1st time around. That is the only reason I'm going with Marcia Milgrom Dodge.
* My Prediction: I think it'll be Christopher Ashley for Memphis.

I love how versatile Brian d'Arcy James is - he can be Shrek in Shrek, Dan in next to normal and in a straight play like Time Stands Still. That's one of the reasons why we love him. So awesome!

Awww, Angela Lansbury! Congrats on becoming the American Theatre Wing's first ever honorary chairperson!

Best Performance by a Featured Actress in a a Musical

Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises - (WINNER! Wow, again I was WAY off!!!)
Angela Lansbury, A Little Night Music
Karine Plantadit, Come Fly Away
Lillias White, Fela!

* My Pick: Barbara Cook! Need I say more?
* My Prediction: Angela Lansbury

Katie Finneran...we love you (and your speech). Yes, focus on what you love - that is so true, so amazing and I so agree!!! I hope more people follow your beautiful heart-felt words!

Haha, Mark Sanchez - apparently, he's a NY Jet - on the Tony Awards? What?!

Memphis...I think I have to see it to appreciate it.

Everytime I see Jay-Z and Will Smith & Jada Pinkett-Smith in the audience I have to remind myself they are the producers of Fela!. Though...its really odd to see Jay-Z there!

Best Performance by a Featured Actor in a Musical

Kevin Chamberlin, The Addams Family
Robin De Jesus, La Cage aux Folles
Levi Kreis, Million Dollar Quartet - (WINNER, told you I had no idea!)
Bobby Steggert, Ragtime

* My Pick: I am a fan of Robin De Jesus' work, so I'll go with him.
* My Prediction: I think this is a toss up because I have no idea!

I have been waiting to see/hear Catherine Zeta-Jones in A Little Night Music since she was cast in the role. She does Send in the Clowns well enough...I think...not really. I mean, I didn't get the whole shaking her head back and forth while she sang, "maybe next year" nor did I like the huge gaps like..."Isn't it...[and then you wait some more]...rich" she did that through the entire song. Really? Like...SS approved that? I wasn't a big fan of that interpretation.

Christiane Noll - LOVE!

Wow, look at all those people watching the Tonys in Times Square!

Viola Davis, what a lovely speech. Congratulations!!! Look at how gracious those other ladies in her category reacted (I'm talking to you Linda Lavin and Valerie Harper...you looked genuinely happy, now that's class)!

Fela! - those peeps have got some energy!

Wow, look at that choreography! Promises, Promises looks amazing!!! I know some people haven't loved the show, but if that number doesn't describe the beauty of Promises, Promises from the choreography to the music, I don't know what does. LOVE!

Best Choreography

Rob Ashford, Promises, Promises
Bill T. Jones, Fela! - (WINNER! Finally I called one correctly!)
Lynne Page, La Cage aux Folles
Twyla Tharp, Come Fly Away

* My Pick: Bill T. Jones, Fela!
* My Prediction: Bill T. Jones. Fela! has been getting a lot of attention. I think its a favorite.

In Memoriam.

So how many people who never watched the Tony Awards are watching it now because of Matthew Morrison and Lea Michele? I'll be interested to see if ratings were affected or if all of a sudden young viewers have to download "All I Need Now Is the Girl" from iTunes in hopes of somehow reliving their Tony moment with Matthew Morrison. If memory serves...the last time he "performed" at the Tony Awards, all Matthew Morrison did was walk around Kelli O'Hara and her hat in the opening scene from The Light in the Piazza. He's proving he can really sing and dance (you can hear him panting) and that's he's really quite good (but we all knew that, even before Glee...WAY before Glee)! In all seriousness, I really do hope these performances by Matthew Morrison and Lea Michele will help the ratings.

Ok, Lea Michele, I will say what I said when you were doing Eponine at the Hollywood Bowl...please, don't try so hard. You have an amazing voice, you are a fantastic performer, but you do something when you go overboard to be good...you aren't. Please...please don't do that again because you're really, really, really good as is...but you over enunciate, over scream instead of sing when you're trying to be good and we know it, we can tell and its just plain uncomfortable.

Best Revival of a Musical

Finian's Rainbow
La Cage aux Folles - (WINNER, again I'm off...WAY off)
A Little Night Music
Ragtime

* My Pick: A Little Night Music - for obvious reasons.
* My Prediction: A Little Night Music - for similar reasons.

American Idiot - look at the energy of that cast! Nice bleeeping, CBS. Ha. Hope people know about the strobe lights. I don't understand why I think this is so amazing since I'm usually so against shows that aren't considered a true "original musical." For some reason though, the way this show tells a story is different, unique and acceptable to me. I love the energy, the music, the staging, all of it. Too bad it isn't going to win (I say that without knowing the outcome...I just don't think Tony voters are going to choose it).

Best Performance by a Leading Actress in a Musical

Kate Baldwin, Finian's Rainbow
Montego Glover, Memphis
Christiane Noll, Ragtime
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music - (WINNER, at least I sort of predicted this one).

* My Pick: Christiane Noll for her portrayal of "Mother" in Ragtime.
* My Prediction: Montego Glover or Catherine Zeta-Jones.

HA, I love how shocked she looks and that she jumped up when she won and still looked dumbfounded.

Best Performance by a Leading Actor in a Musical

Kelsey Grammer, La Cage aux Folles
Sean Hayes, Promises, Promises, Promises
Douglas Hodge, La Cage aux Folles - (WINNER, again I'm off...WAY off)
Chad Kimball, Memphis
Sahr Nagujah, Fela!

* My Pick: I really like Promises, Promises as well as Sean Hayes.
* My Prediction: I don't think Sean will win...I'm going with either Chad Kimball, Memphis or Sahr Nagujah, Fela!

Ok, I'm SO off because I didn't think that any of the La Cage peeps were even considered to win. I'm really surprised but congrats to all of them! Wow!

Best Musical

* My Pick: I am a fan of American Idiot but I don't think its best musical material. I am afraid though that the future of the show will depend on how it does in tonight's awards show. If it doesn't win...I fear it might close. So...please win!!!
* My Prediction: Based on the number of awards it has won thus far...I'm going with Memphis.

Its too bad this year's awards were so...so-so. I Who the hell is this guy screaming his acceptance speech for Memphis? What an ANNOYING voice (sorry, I don't care who the heck you are, I can't listen to you). THANK YOU Sean Hayes for cutting him off! Its the best thing anyone could have done as host. Ok...I was told to make sure to catch the end of the awards show...but...for this? That wasn't so worth it, I'm sorry.

Ok, all in all...a very disappointing show this year. Sorry guys.

BEING A GEEK

2010-06-13T19:17:00.000-07:00

Since I'm waiting for the Tony Awards telecast to air on the West Coast, I figure why not write about another amazing theater-related event I recently had the privilege of attending. Yesterday, I attended a benefit concert with Georgia Stitt and Jason Robert Brown where the duo presented and performed their songs as a benefit for the Pasadena Presbyterian Church. Tracy Nicole Chapman, Ty Taylor, Lara Pulver, Allie Trimm and Dan Callaway also performed with JRB & GS.

It had been some time since I had seen JRB in concert and I had never heard Georgia's music live before. Georgia played some songs from her recent off-Broadway show, Mosaic as well as songs from other shows like The Water as well as music from her album, This Ordinary Thursday. What I like about Georgia's music is that her lyrics are intelligent, carefully crafted and her always honest music has a gentle calmness about it. As I was sitting in the sanctuary listening yesterday (and as I am listening to her album now), whether her music is based on a sonnet by Shakespeare or President Obama's inauguration speech (which I absolutely loved - what a great idea) or "My Lifelong Love," there is such diversity and range in what she does.

I think it is safe to say that everyone (including JRB himself) knows how I feel about his music. so I will try to refrain from singing his praises. The highlights of the show for me were a few...hearing Music of Heaven live (with a 20 or 30 person choir to boot was just fantastic) because this song describes the awkwardness of my relationship with religion and hearing it in a church was (for me) even more thought provoking. I also loved hearing the opening number (Old Red Hills of Home) from Parade again but the best was hearing songs I've not heard before like All Things in Time & Caravan of Angels.

I am always intrigued when I have an opportunity to hear composers play their music. There is something so intriguing and yet vulnerable about listening and watching a composer perform their work. Last night was no different and maybe even more intriguing to witness the dynamic between two obviously talented composers who also happened to be married. Both Georgia and JRB have their stylistic differences but it is still really magical to be in the presence of such talented songwriters and performers. I know that sounds cheesy, but it really was a fantastic experience and night of music.

Thank you Georgia Stitt and JRB for a really amazing evening of music last night!

* JRB just published the set list for the show on his blog!

DIAMOND IN THE ROUGH

2010-06-05T21:30:00.000-07:00

Rest in Peace John Wooden. You were the ultimate definition of a man and certainly one of my personal heroes. The legacy you have left will last for generations. Thank you for being a shining example of what it means to have character, how to love and may we all aspire to be more like you.

I GOT LIFE

2010-03-31T14:34:00.000-07:00

Hair is easily the one show I didn't know that I loved until this revival came along. There is something so incredibly freeing, motivating and loving about the show, that it has actually made me a better person. Since I was young, I have always believed in the power of the arts - I love & support it everyday and am a huge advocate for arts education. Yet when I heard (this revival) and saw the tribe, it literally changed me. Not because of the theatricality of the show or even the talent and energy of the actors - but because of the message the tribe sends on stage and off. I think I've always been one to strive for positivity, change and love...and that has become even more-so of a choice to live by now, even if I'm having a bad day.

When I hear "Let the Sun Shine In," I always feel better (no matter what my mood) and when I see what the tribe is doing for equality, I feel inspired to find ways to make some kind of difference somewhere, in my own life. Though the show has reached an incredible and well deserved 1-year anniversary milestone, the best part of all of this for everyone, is the huge difference they're making in society...and I celebrate them for doing that above and beyond all else. Its amazing. Congratulations to all!!!

PS: YOU DON'T KNOW THIS MAN

2009-10-30T17:25:00.001-07:00

This post is a PS to YOU DON'T KNOW THIS MAN

I saw Parade again. I loved it that much, yes I did. I haven't done something like this in literally years but then really there really hasn't been anything here in LA that was that good, that compelling to me and JRB's score is that gorgeous that I can't help but to go. Its a heavy subject matter, sure, but the acting is phenomenal and the music is intricately melodic.

As much as I loved Parade when I saw it in previews, there were some minor issues I had with the show. One of those issues belonged to T.R. Knight. Even though he more than impressed me, I thought his voice wasn't quite there yet...he was a little wail-y when belting, but I heard a definite improvement this time around. I didn't think he struggled vocally to hit or sustain notes as he did earlier on in the run. The other issue I had was in thinking that some of JRB's intricate piano riffs weren't heard (or even being played). I know the show has been tweaked throughout the run and with that I'm sure musically, changes have been made. This time though, I heard every one I expect or wanted to hear.

I am so thrilled that Parade is here in LA...at least until November 15.

ANYTHING YOU CAN DO

2009-10-19T17:33:00.000-07:00

A lovely quote I recently read:

Don’t ask yourself what the world needs. Ask yourself what you love. Because when you do what you love, the world will need it.

LOVE.

YOU DON'T KNOW THIS MAN

2009-10-02T23:59:00.000-07:00

Whenever I go to the theater and see something so beautiful, smart & moving the endorphins somehow kick in and I get giddy with excitement. Tonight, seeing Jason Robert Brown's Tony Award Winning Parade at the Mark Taper Forum was one of those amazing nights. Sure, I happen to think JRB is just a phenomenal talent and I seem to connect to some facet of his work more than with any other composer, but...Parade is really, really, really good. I've blogged about Parade before but this is a newer version of the show that has been downsized from the original production when the show was staged at the Donmar Warehouse in 2007.

I have been impatiently awaiting Parade since the Taper announced it as part of the 2009-2010 season. This is another show that I never got to see (until now), but discovered and fell in love with it through its cast recording (for which another was made following the Donmar Warehouse production). In the original cast recording, I liked Brent Carver quite a bit as Leo Frank and wondered who might be cast in this LA version. I had no real reaction when I read about the casting of T.R. Knight.

Parade however, was discussed (more than it would have) since T.R. Knight's casting (his first gig post-Grey's Anatomy). A well-known celebrity blogger who I don't particularly care for even discussed it which I guess makes it a "big deal". I had no idea what to expect of Knight though and went into the show with an open mind. After all, if JRB had any say in the casting of his male lead, he wouldn't have agreed to a schlub of an actor with no singing chops, right? For the record, I haven't seen a single episode of Grey's Anatomy, so I didn't have any opinion towards Knight as an actor much less a singer. Knight's performance was actually quite good - he played a cold yet vulnerable & definitely quirky Leo Frank who opened up by the end of the show (its amazing what an intermission can do, huh)? I completely bought into his character and there were moments when I was completely taken with his performance. There were other times, when I realized that belting isn't so much his forte. There were moments during "Come Up To My Office" and "All the Wasted Time" where he was really selling his performance, singing it incredibly and then...he belted and it was actually a little distracting and pulled me out of the moment. For the most part though, he was fantastic!

In addition...what a cast!!! Wow, wow, wow! I recall being impressed when I read the final casting for the show, but I totally forgot until I took a look at the program. The cast boasts: Lara Pulver (who returns to the role of Lucille Frank from the Donmar Warehouse production) who I just loved (and loved more than Carolee Carmello from the Broadway production), Christian Hoff (Tony Award winner for Jersey Boys) who makes evil look so good, Phoebe Strole (Anna from the Broadway production of Spring Awakening), Michael Berresse (director of my personal favorite, [title of show]) who reunited with his A Chorus Line co-star Charlotte d'Amboise (Tony nominee for her role as Cassie in the revival of A Chorus Line) and Davis Gaines (who was a pleasant surprise to see and ended up being my personal favorite from his long run here in LA as the title role in The Phantom of the Opera). I just can't believe what a strong & amazing cast this is! This production with its high energy, amazing voices and ridiculously talented cast, undoubtedly belongs on the Broadway stage...again. Though I've never seen the Hal Prince staged version of this show (and I am quite an admirer of him), I think Rob Ashford did a hell of a job directing and choreographing the show. There was something so perfect about the dancing throughout the show that emphasized and and captured the meaning that I loved and worked so well.

If you have any doubt...check out the clips of the show courtesy of the Center Theatre Group:

The only problem that I found with the show was that it was extremely hard to hear some of JRB's intricate piano riffs. I could hear them so clearly in cast recordings (and even in the clip above) but found them either difficult to hear or heard what I thought were simplified versions of the music tonight. There was also the issue of almost every actor (except maybe Knight and Pulver) who played multiple roles which made the show just a little bit confusing (particularly if you weren't familiar with the storyline). I quickly got over that fact because I thought almost everything else about the show was so strong.

I guess at this point I should also mention that though my enthusiasm is high for Parade, it is a very, very dark show and perhaps it isn't what people think it will be. As stated from Center Theatre Group:

"A shameful event in American history and a poignant love story are at the heart of Parade…[which] follows the true story of the arrest, conviction and lynching of Leo Frank in post-Civil War Atlanta, Georgia. Mary Phagan, a 13-year-old factory worker, has been murdered on the day of the 1913 Confederate Memorial Day parade. Frank, the factory's superintendent and a Jewish outsider, is immediately cast as a suspect. As the media frenzy ensues, with journalists thirsting for news to boost circulations and ambitious politicians seeking votes, Frank — the transplanted Yankee — becomes the scapegoat. His wife, Lucille, passionately works for her husband's release from jail but public hatred continues to rise to a fever pitch. Despite the terrible circumstance, Leo and Lucille find a renewed commitment to each other as well as a moment of transcendent grace in their tragedy."

I knew this going in, I knew that it wouldn't end happily (its not a spoiler, its a tragic historical fact) and I also figured this show wouldn't be for everyone, but the people who were there I assume wanted to be. Yet when after intermission, I saw huge gaping holes in the theater, I was a little bit surprised. Its hard to say what patrons were thinking walking into Parade. I felt like more people returned after intermission when I saw Spring Awakening at the Ahmanson last year (and there were some pretty graphic scenes) particularly when I looked out and saw that the majority of the audience were 60+ years old). An entire second row I think emptied out after intermission and I really, really didn't understand that. I haven't walked out of any show (I might have really wanted to with some shows) but I guess I don't understand how deeply Parade affected some audience members to warrant leaving. Personally, I didn't leave the theater feeling somber and horrified (though I was horrified at the fate of Leo Frank and this tragic story). I left the Taper feeling revived and grateful to be able to support some of the best musical theater I think LA has seen in years!

At the end of the day though, I think it is it fair to say that for me, aside from thinking that Parade was fantastic and grateful for it fueling my theater-deprived soul, seeing Davis Gaines back on stage also brought back some kind of reminiscence of my youth. As much as I adore JRB and Parade, there is also something familiar and comforting seeing Davis Gaines back at The Music Center...which kind of makes me love the show that much more. All and all, this was quite a satisfying evening spent at the theater...partially because of being seated front row center, but mostly because of this amazingly special show.

NOTHING BUT A GOOD TIME

2009-09-21T22:22:00.001-07:00

In the past, I admit that I've been prejudiced against "jukebox musicals" insisting that I could not categorize them as real musicals. I never saw them as being quality theater...really, ever. Being the theater snob I was, I refused to go to anything that I deemed of that quality. Never say never, right? Yes. Well, I have to say, a tide has turned and things have changed because I think I'm a new found fan and supporter of Rock of Ages.

Rock of Ages is no Next to Normal, but it is light-hearted, fun and certainly doesn't take itself seriously. The show stars American Idol Alum Constantine Maroulis and a string of actresses playing the lead female role of Sherry (from the Amy Spanger controversy to its current Sherry, Kerry Butler. Maroulis who despite being known for AI, is a theater boy at heart and always had aspirations for the Great White Way (and was in RENT pre-Idol and got his degree from the Boston Conservatory of Music & Berklee College of Music). Lately, I've noticed the more I prematurely prejudge shows that have gone to the Broad-way, I tend to rediscover them later anyway and see the good qualities, the fun and the need to explore them. So yet again, I will say...I am wrong. I was wrong in thinking Rock of Ages was a poor show and had no respectable qualities.

The show does a great job of writing a story around the songs from hair-bands of the '80s and the actors all seem to be having so much fun with the show.

From the show's synopsis:
In 1987 on the Sunset Strip, a small town girl met a big city rocker and in LA’s most famous rock club, they fell in love to the greatest songs of the 80s. It’s ROCK OF AGES, an arena-rock love story told through the mind-blowing, face-melting hits of JOURNEY, NIGHT RANGER, STYX, REO SPEEDWAGON, PAT BENATAR, TWISTED SISTER, POISON, ASIA, WHITESNAKE and many more. Don’t miss this awesomely good time about dreaming big, playing loud and partying on!

Rock of Ages is such a fun show, I can't stop listening to it and I highly recommend it to everyone who wants to be rocked!

SUPERSTAR

2009-09-04T15:14:00.001-07:00

When I was in junior high, I saw Beaches, a film that really thrust Bette Midler into my (and many others) world. To say that I was obsessed was an understatement. I was completely consumed by everything about the heartbreaking lifelong friendship between C.C. Bloom & Hillary Whitney. To date, I don't know how many times I've actually seen the film or read the novel by Iris Rainer Dart. What I loved so much about the film was the story about a lifelong friendship, the music and mostly Bette Midler. She had an amazing voice that I could totally sing-a-long with (and boy, did I ever)! Prior to my introduction to her, I had no idea who she was or what she was known for and when I read about it at that young age, I don't know how much I truly understood (or even cared).

Beaches really opened a whole new world for me in terms of what I thought I wanted to make of my professional life. After handwriting my version of the sequel to the novel (at something like 173 pages...yes, I'm admitting this with an ounce of embarrassment) I wanted to become a novelist or a screenwriter (and I really explored these venues going as far as interviewing actual screenwriters as a junior high student)! Then after singing the entire soundtrack for months on-end, I realized I didn't have an awful singing voice and contemplated my future as a singer. Its funny the endless list of things you truly believe you can accomplish at that age! Yet because of Beaches I had this belief that I could accomplish all of these things.

Suffice it to say, I hold Bette Midler in very high esteem and a special place in my heart. Last week I finally made it to Vegas to see Bette Midler's critically acclaimed Vegas show, The Showgirl Must Go On and it was a-mazing! One of the items on my proverbial "bucket list" has been to see Bette...live. I am so grateful that I was able to do so and with one of my very best friends in the world (who had the same item on his "bucket list"). It was as if the stars aligned because we had the best seats ever (upgraded from mid-mezzanine to 3rd row). Bette and her Harlettes were so entertaining and to hear her sing live was incredible because still she sounds so amazing! My only complaint is that the show was too short, but I couldn't really complain because she barely ever left the stage. It was hit after hit, entertainment to the nth degree. What a night, what a weekend!!!

NOT A DAY GOES BY

2009-08-24T20:35:00.001-07:00

When I was in college, I had a great opportunity to intern at a theatre company that really changed my life. As a casual or regular reader of my blog, it is obvious that I am a fan and advocate of the theatre for a multitude of reasons. While I always dreamt of working in the theatre, it wasn't until I began my internship at The Western Stage (TWS) in Salinas, California that I realized just how much I loved it. I worked with some of the most incredible people and I learned what it was like to be part of the process of creating live theatre and the passion, encouragement, patience and people helped lay the foundation for my professional life. I am truly indebted to every person I ever worked with at TWS because every single one of them made me feel safe and encouraged enough to ask questions, to learn, grow, appreciate, understand and love the theatre on a new level.

Today, I received some horrible news about the death of Tom Humphrey, who was the Artistic Director of TWS while I was there. While I didn't work closely or often with him, he was always an encouragement to me either by watching him work, guiding me during an acting workshop or even with just a smile as he passed by. I've always credited every person I worked with at TWS as having a tremendous amount of influence on my life and Tom certainly was one of those people. TWS changed me for the better because every experience, every challenge or frustration, every smiling face, every show became for me, a labor of love. The process of working in the theatre is in all honesty, a cherished experience that I carry with me to this day and I owe that to TWS. I saw how important every member of the company was in creating something that mattered and was enjoyed. The enjoyment of a production was measured by the energy, applause and smiling faces from patrons after every show and witnessing and being a part of that was thrilling to me. Needless to say, the people and experiences at TWS holds a very special place in my heart. Y'all at TWS did something right and I only hope to pass that spark on to my own students -- to encourage them to believe in the magic of the theatre too.

Rest in peace Tom...and thank you for being part of something that made such a significant impact on my life, I will always be forever grateful.

ITS GONNA BE GOOD (I hope...)

2009-06-07T16:18:00.000-07:00

The 2009 Tony Awards - THE WINNERS!!! (updated live PST)

Creative Arts Awards (Pre-Telecast)

Best Orchestrations

Martin Koch, Billy Elliot, The Musical
Michael Starobin & Tom Kitt, next to normal (my prediction & my pick)

Best Lighting Design of a Musical

Rick Fisher, Billy Elliot, The Musical (my prediction)

Best Costume Design of a Musical

Tim Hatley, Shrek The Musical (oops, I forgot my prediction in this category)

Best Lighting Design of a Musical

Ian MacNeil, Billy Elliot, The Musical (my prediction)

Best Sound Design of a Musical

Paul Arditti, Billy Elliot, The Musical

Best Choreography of a Musical

Peter Darling, Billy Elliot, The Musical (my prediction)

Best Book of a Musical

Lee Hall, Billy Elliot, The Musical

* * *

Thoughts during the Tony Awards West Coast Telecast:
(yes, I'm going to be THAT person, happily, excitedly and frantically blogging during the show...because I can & apparently I care that much)

Holy Crap! Elton John; Bret Michaels meets Broadway (Rock of Ages); Karen Olivo & West Side Story; Aaron Tveit and Stockard Channing; Dolly Parton; LIZA and Hair (the TRIBE is freakin' AWESOME!!!!) and then Neil Patrick Harris hosting!!!!!!??? The Tony Awards opening number is like Christmas!!! Best opening number I've seen at the Tonys in a long time (and apparently the most expensive)!!! Wow, wow, wow!!!

Despite my own personal opinions about Shrek The Musical, Chris Sieber gave a pretty kick-ass performance.

Angela Lansbury - of course she was going to win (and I'm glad she did)!

What do people think of Neil Patrick Harris?

Best Original Score (Music & Lyrics) Written for the Theatre

Tom Kitt (music) and Brian Yorkey (lyrics), next to normal (my prediction & my pick!!! SO HAPPY & SO EXCITED!!!!!!!!! Not happy that they cut off their acceptance speeches though.)

Beautiful dance number to the gang at West Side Story! Though...I kind of think the choreography and score are the best parts of this revival (even though Cavenaugh is hot and Scaglione has a beautiful voice). Sorry.

Best Direction of a Musical

Stephen Daldry, Billy Elliot, The Musical (not my pick, but my prediction)

Its campy, its 80s music fun, they SO don't take themselves seriously and Rock of Ages I have to admit (after purchasing the cast recording) I kind of like. Um, nice crotch shot of Mitch Jarvis. Oy.

If Liza didn't win, I'd be shocked. Glad to see some things are as they should be!

So, Guys and Dolls has never been one of my favorite musicals. The performance of "Sit Down You're Rocking the Boat" was good, not great. Still...not my favorite.

Working in the Theatre - yea to The Wing & everything they do!!!

Best Featured Actor in a Musical

Gregory Jbara, Billy Elliot, The Musical

Best Featured Actress in a Musical

Karen Olivo, West Side Story (my pick AND my prediction...and I LOVED her acceptance speech!!!)

Why was Alice off? Wasn't she? I don't care, she's just completely amazing as Diana. This -- I Am The One -- I think is my favorite number in next to normal (and one of the most stressful, I need a drink)! My God, Alice is so AMAZING it gives me chills through the freaking TV (Bobby Spencer & Aaron Tveit weren't too shabby either)! Alice Ripley, you are just phenomenal!

Haha, loved NPH's sushi joke aimed at one actor who pulled out of a certain Broadway show this season. He's a good host, good pick folks!

Aww, Natasha Richardson and all the others who passed during this season. I feel weird mentioning the "In Memoriam," but feel even weirder not mentioning it.

Ok, so this Billy Elliot number...the kid can dance (and the choreography is what I thought it'd be) but still not my favorite.

Hmmm, who is playing Elle Woods on tour? Interesting voice.

Awww, congrats to Jerry Herman's lifetime achievement award! So happy to see him!

HAIR!!! Love, love, love the revival! What energy and you an tell how much fun the entire Tribe is having! Love, love, love! How can you not have fun and not smile and love all of them? Sigh. Love!!!

Best Revival of A Musical

HAIR (my prediction & my pick...after hearing the cast recording of HAIR and particularly so after hearing the cast recording of another show I initially though would win)!!! And for the record, I support equality too!!!

Best Leading Actress in a Musical

Alice Ripley, next to normal (my prediction & my pick). Thank goodness! So well deserved!!! Ooh, did anyone see Sutton Foster? That looked a little bit like an annoyed face. Didn't it? A little? Yikes.

Best Leading Actor in a Musical

David Alvarez, Trent Kowalik, and Kiril Kulish, Billy Elliot, The Musical (my prediction. Great acceptance speech by the trio!)

Wow, that's a lotta Frankie Vallis from Jersey Boys!

Best Musical

Billy Elliot, The Musical (my prediction. Sad that it wasn't next to normal, but this was much expected. And wow, props to Elton John for acknowledging next to normal. Nice.)

Love NPH's 11 o'clock number. That was awesome!

GOODNIGHT!!!

IT WON'T BE LONG NOW

2009-06-06T22:26:00.001-07:00

Tomorrow is the Tony Awards and the only awards ceremony I really care about, follow and anxiously anticipate every season. Other than the times I actually see a show, Tony Awards day is my favorite day of theater every year. This season is one of the most exciting, creative and diverse for the Broadway community and I couldn't be more thrilled!

Thank you, Tom Kitt & Brian Yorkey for what I think is truly the best new original musical the Great White Way has seen in a LONG TIME.

LET THE SUN SHINE IN

2009-05-27T17:13:00.000-07:00

I've never been a fan of Hair. It was groundbreaking in its time, but I never really "felt" it all these years. I sang the title song once in some performancey thing I did and I thought it was all a little too before my time. I knew all of the songs that had become mainstream like "Aquarius," "Let the Sunshine In" and lesser known songs from the show (if any were considered "lesser known") like "Easy to Be Hard" and "Frank Mills" but the show as a whole never really did anything for me...until recently.

Hair has come back. It is in its second revival and now playing 8-shows-a week at the Al Hirshfield on Broadway and the cast is killing it! Wow. Gavin Creel is a personal favorite of mine and I've been loosely following the show since its Central Park revival last year and even more closely since Creel took over the role of Claude from Jonathan Groff. Cut to April 30, 2009 -- "the Tribe" from Hair appeared on the Letterman show recreating a 40-year-old performance from the original Broadway cast at the Ed Sullivan Theater. To say they were just fantastic is an understatement. I LOVED it and I've never loved Hair in any incarnation.

After seeing this performance, I turned the corner on my opinion of Hair. Yesterday, the album dropped (in digital release) on iTunes and I have been ob-sessed with it. For the first time, this show has a great energy and spunk to me...and I've never heard that from any recording or performance before. I've gotta say, there's nothing like Gavin Creel's voice - the man is amazing and his Tony nom is much deserved (as is Will Swenson's - LOVE him too)! This is how much I like Hair: I'm actually rooting for it over my old favorite West Side Story (in the best revival of a musical category) in this year's awards. If I can go there then it must be really special!

Spread the love.

THE RUMBLE

2009-05-11T23:31:00.000-07:00

Part II of my thoughts on the 63rd Anual Tony Award Noms:

Last week, I began part I on my thoughts on the the 63rd Annual Tony Award nominations. This post is a continuation and focuses on the acting and creative arts nominees (all for musicals of course).

Best Performance by a Leading Actor in a Musical

David Alvarez, Trent Kowalik, and Kiril Kulish, Billy Elliot, The Musical
Gavin Creel, Hair
Brian d'Arcy James, Shrek The Musical
Constantine Maroulis, Rock of Ages
J. Robert Spencer, next to normal

* My pick: Wow, what a competitive category. I happen to think that Bobby Spencer totally floored me in next to normal and was so impressed with with portrayal of Dan Goodman. The depth of emotion as the husband of a grieving and emotional mentally ill wife was nothing less than stellar. Nothing would make me happier in this category than seeing Bobby Spencer win. Though I've never seen Gavin Creel in Hair, I know that he's a phenomenal actor and as a personal favorite actor of mine, I would be very happy and love if he won too!

* My prediction: I think the trio of Billy Elliots' are going to win. I admit they are kids who dance like noboody's business who also have to be darn good actors and for that, they should certainly win.

Best Performance by a Leading Actor in a Musical

Stockard Channing, Pal Joey
Sutton Foster, Shrek The Musical
Allison Janney, 9 to 5: The Musical
Alice Ripley, next to normal
Josefina Scaglione, West Side Story

* My pick: Another very competitive category but its crystal clear (to me) who deserves this win. If anyone has ever heard or seen Alice Ripley in next to normal they will be floored. I have to quote [title of show] and say that Ripley is fierce, because she truly is. Any other actress I've heard in a workshop version of n2n -- while good -- doesn't convey the pure raw emotion that is so heartfelt Ripley does so well. The other ladies in this category are all incredible acresses and I'm a fan of all, but really, I don't think anyone deserves this award like Alice Ripley does.

* My prediction: I hope the voters will go with Alice Ripley and I think they will.

Best Performance by a Featured Actor in a Musical

David Bologna, Billy Elliot, The Musical
Gregory Jbara, Billy Elliot, The Musical
Marc Kudisch, 9 to 5: The Musical
Christopher Sieber, Shrek The Musical
Will Swenson, Hair

* My pick: Though I think it takes a special actor (Chris Sieber) to perform -- and by perform I mean dancing too -- 8 shows a week on his knees, I don't know if that necessarily warrants an award. I have a feeling about Will Swenson. I feel like this is going to be a good year for him. He's electryfing in Hair and I hope he takes home an award this year.

* My prediction: I think the two Billy Elliot nominees might cancel themselves out but I still have this feeling that Will Swenson will be taking this one home.

Best Performance by a Featured Actress in a Musical

Jennifer Damiano, next to normal

Haydn Gwynne, Billy Elliot, The Musical

Karen Olivo, West Side Story

Martha Plimpton, Pal Joey

Carole Shelley, Billy Elliot, The Musical

* My pick: I was particularly sad to see that neither Susan Blackwell or Heidi Blickenstaff of [title of show] were not nominated in this category. I would have loved to have seen that. In this category though, I'm caught. I have mad love for n2n and believe so strongly in the entire cast that I would LOVE to see Jennifer Damiano win. To be able to play Natalie as she does with so many layers, so hurt, so determined and to be only 16 or 17 herself. All I can say is, "wow!" I also though think that Karen Olivo is such a stand-out actress. In clips I've seen from West Side Story, it is Olivo who really stands out.
* My prediction: I think people are expecting Karen Olivo to win. This is the probable outcome, but I think that it also wouldn't be a surprise to see Jennifer Damiano walk away with the award either.

Best Direction of a Musical

Stephen Daldry, Billy Elliot, The Musical
Michael Greif, next to normal
Kristin Hanggi, Rock of Ages
Diane Paulus, Hair

* My pick: Why was Arthur Laurents not nominated for West Side Story? I find it hard to believe he was shut out. Another tough category here for which I am rooting for next to normal. When I hear what the show sounded like before and what it sounds like now...its amazing. I've also read that the current incarnation of the show is due in large part to the directing of Michael Greif. next to normal is a tight show now with a definite sense of direction that was once lacking. I think he SO deserves this award and I would be so happy to see it awarded to him.
* My prediction: Everyone is talking about how great Billy Elliot, The Musical is. It might be. The pace & direction of the show might be spot on. In another time and place, I might even like the show.

Best Orchestrations

Larry Blank, Irving Berlin's White Christmas
Martin Koch, Billy Elliot, The Musical
Michael Starobin and Tom Kitt, next to normal
Danny Troob and John Clancy, Shrek The Musical

* My pick: I was so sure that JRB was going to be nominated for 13 (in this category as well as best score). Though I wasn't a huge fan when it was in LA, I definitely enjoyed the Broadway cast and found it much more cohesive. The show had a great youthful rock feel and thought the orchestrations were great. So the first time I heard the final version of next to normal, one of the first things I said was that I loved the orchestrations (and this was before I ever got really into (or obsessed with) the show.
* My predictions: I'm going with next to normal because I don't think the other shows orchestrations even compare in this category.

Having not actually seen any of these shows yet, I don't think I can share an opinion for the categories below. For the remaining categories, I'm only listing my predicitons based on buzz and hunch.

Best Scenic Design of a Musical

Robert Brill, Guys and Dolls
Ian MacNeil, Billy Elliot, The Musical
Scott Pask, Pal Joey
Mark Wendland, next to normal

* My prediction: Ian MacNeil, Billy Elliot, The Musical

Best Lighting Design of a Musical

Kevin Adams, Hair
Kevin Adams, next to normal
Howell Binkley, West Side Story
Rick Fisher, Billy Elliot, The Musical

* My prediction: Howell Binkley, West Side Story

Best Sound Design of a Musical

Acme Sound Partners, Hair
Paul Arditti, Billy Elliot, The Musical
Peter Hylenski, Rock of Ages
Brian Ronan, next to normal

*My prediction: Peter Hylenski, Rock of Ages

Best Choreography

Karole Armitage, Hair
Andy Blankenbuehler, 9 to 5: The Musical
Peter Darling, Billy Elliot, The Musical
Randy Skinner,Irving Berlin's White Christmas

* My prediction: Peter Darling, Billy Elliot, The Musical

2009 Special Awards

Isabelle Stevenson Award: Phyllis Newman
Special Tony Award for Lifetime Achievement in the Theatre: Jerry Herman
Regional Theatre Tony Award: Signature Theatre, Arlington, Virginia
Tony Honor for Excellence in the Theatre: Shirley Herz

Tony Nominations by Production:

Billy Elliot, The Musical—15
next to normal—11
Hair—8
Shrek The Musical—8
Rock of Ages—5
9 to 5: The Musical—4
Pal Joey—4
West Side Story—4
Guys and Dolls—2
Irving Berlin's White Christmas—2
[title of show]—1

LITTLE LAMB

2009-05-11T01:05:00.000-07:00

Its rare that I write about anything that isn't theater related and when I do its because its something that means a lot to me personally or its something that has struck a chord with me.

Typically, I'm not one to became that wrapped up in complete stragers lives, but the story of Madeline Alice Spohr is one that I won't soon forget.

I don't remember how I became acquainted with the Spohr family, but I found out that they had a little girl named Maddie who wasn't well. When children suffer, it breaks my heart. Having not known anything about Maddie, I began reading her journey through her mother's blog. Though this little girl had gone through a tremendous amount in her 17 months of life, I was struck by how happy and full of life she looked. Maddie had this incredible smile that just lit up a room -- and this my room...via photos through my computer! I had never seen any child with such expressive eyes and such an infectious smile! I remember coming home after a long and frustrating day at work (feeling particularly annoyed) and while reading about Maddie, saw this:

Seriously? Are you kidding me? I couldn't help but to smile right back at the screen! Seeing her bright, shining face made me feel better and put a smile on my own face. The crazy thing is that I didn't know her or her family. Somehow though, I was compelled to continue reading and check up on her and her family. This little girl was born 11 weeks premature and initially, it wasn't clear if she was going to survive. Yet she did, for 17 months. I was really pulling for Maddie and I wanted to know she was able to come home and would be ok. When I found out she had passed away, I was heartbroken for her and her entire family. I can't even imagine how they feel, but the Spohrs are trying to focus their energies into something positive in honor of their baby.

Maddie's mom, Heather wrote about what she and her husband are doing to help others and this is why the March of Dimes is important to their family. Per a recent post from Heather about some of their efforts:

I have tried to do some good through all of this. Tried to find some purpose, something to occupy my days and help Maddie’s name live on. I want her to be associated with wonderful things, and not the terrible sadness of her passing.

Parents for Preemies is a grassroots fundraiser where local establishments sell paper “baby blocks” to raise much needed funds for the March of Dimes. You can help by supporting your local retail businesses and organizations when they ask for a contribution for the March of Dimes - they’ll take as little as a dollar. Or, if you are really super motivated, you can pitch the campaign to your local establishments!

Thinking of Heather on this Mother's Day and donating in honor of Maddie. My heart goes out to you!

MAKE UP YOUR MIND, PART 1

2009-05-05T22:32:00.000-07:00

This morning, the 63rd Annual Tony Award nominations were announced and what a season the NY theatre community has had! There are some amazing people nominated for some great work this year, some surprise noms and of course there was disappointment due to those who were snubbed. Yet, I was thrilled to see the recognition next to normal received and though I was disappointed that [title of show] didn't receive more noms, I was glad they got at least one.

Per the last 3 or so posts, all I can talk about is next to normal because I love it and think it is the best new original musical this season and I am keeping my fingers crossed that it will take home the top prize.

I'm including a complete list of nominees below...but for musicals only (naturally) and including my picks & predictions for the June 7th broadcast live from Radio City on CBS. Without further ado...

Nominations for the 2009 American Theatre Wing's Tony Awards Presented by The Broadway League and the American Theatre Wing

Best Musical

* My pick: next to normal

I LOVE next to normal and yet I've not even seen it yet! First and foremost, this is an original musical that is GOOD! How many quality, original musicals open on Broadway each season? The pickins are slim. The brilliance of next to normal is not just in the subject matter, but the way its presented and how much emotion I get just from listening to the OCR over and over and over and over again. Overall, its got a great book, great music, great actors, great lighting (from what video I have seen)...its a solid, solid show that has come a LONG way.

* My prediction: Billy Elliot, The Musical

There is so much buzz for this show because of the 3 Billys. From what I hear, its a hot ticket...but its not original. There's nothing SO compelling overall about this is there? There are certainly elements that make this show shine like the actors, the choreography...but is the music so first rate? Me-thinks not so much. But then again, I've not seen it, so what do I know? I can see it winning though.

Best Book of a Musical

Lee Hall, Billy Elliot, The Musical
Brian Yorkey, next to normal
David Lindsay-Abaire, Shrek The Musical
Hunter Bell, [title of show]

* My pick: next to normal well...maybe...maybe...[title of show]

I'm sorry, adapted material, thank you for playing, please leave. To write a musical about mental illness, dysfunction, death, love & raw emotions and then to portray it SO well that you can't help but to understand and empathize and not villainize any one character through it all, you have to have a damn good book. But...to write a musical about two guys writing a musical with such sweetness & humor. I can't help but to want to root for the underdog here, but will Tony voters?

* My prediction: see above.

Best Original Score (Music and/or Lyrics) Written for the Theatre

Elton John (music) and Lee Hall (lyrics), Billy Elliot, The Musical
Tom Kitt (music) and Brian Yorkey (lyrics), next to normal
Dolly Parton, 9 to 5: The Musical
Jeanine Tesori (music) and David Lindsay-Abaire (lyrics), Shrek The Musical

* My pick: next to normal

Ok. I admit, I don't know the music & lyrics well enough of any of these shows except for the obvious (and obvious only if you've read this post from the beginning). I'm gonna go ahead and keep rooting for for my favorite: next to normal

* My predictions: again, I don't know...I mean, Jeanine Tesori is a pretty great composer, Dolly Parton too...and Elton John can write, but did he do enough for Billy Elliot, The Musical to make it award worthy?

Best Revival of a Musical

* My pick: ~~West Side Story~~ HAIR
I have never cared for Hair...really, ever. In the past, I've seen it, it was fine, but not mind-blowing amazing. In the past few weeks, I've paid more attention, watched more online clips, caught the cast making its talk show rounds and I've been blown away. I am really digging Hair and it surprises me. Nothing though is as good as West Side Story - I love it and I think that the updating of the show makes it even better, more realistic. How can you deny such a classic score, lyrics and the choreography? Wow.

Are you kidding me? I love nothing more (in the revival of a musical category) than HAIR! You want to know what I think? See my posts. That says it all, I love the revival of HAIR and desperately hope it wins!

* My prediction: ~~West Side Story~~ HAIR

It has to win. The fellow nominees for a revival are worthy of an award and equally great in their own way. Didn't West Side Story pave the way for the kind of theater we're getting now? There's relevant and timeless topics like diversity, love, good vs. evil, survival...and its just so compelling.

See above in red about HAIR and how much I desperately hope it wins!

Ok, I'm exhausted, I just completely procrastinated in getting work done for you know, my real job, so I'm gonna cut it of here and continue in the next day or so. Part II - Acting picks & predictions coming soon! In the meantime, enjoy a little YouTube action of the nominated shows below:

Tony Nominations by Production

Billy Elliot, The Musical—15

next to normal—11

Hair—8

Shrek The Musical—8

Rock of Ages—5

9 to 5: The Musical—4

Pal Joey—4

West Side Story—4

Guys and Dolls—2

Irving Berlin's White Christmas—2

[title of show]—1

CATCH ME

2009-05-04T21:24:00.000-07:00

In a stroke of marketing genius, starting tomorrow, May 5, Next to Normal will become the first Broadway show to Twitter a full performance scene-by-scene, daily through June 7. Follow @n2nbroadway, I am!

WISH I WERE HERE

2009-04-22T18:01:00.000-07:00

Every time I discover a new musical, I suppose I explore it in phases and varying degrees of depth. Currently, I'm in phase "obsessive-critical-analysis" with next to normal and I have to say I really love it! I love the story, the acting, the music, the emotion, the use of staging & characters, the obvious and all of the subtleties. I have said that I loved recent shows like [title of show], Spring Awakening and In the Heights and I still do, but all of these shows are so different and there is not comparing any of them. And yet, there is something unique about a show like next to normal. From what I've seen and heard, I think it is an example of what the American musical should be and it brings a fresh approach to the genre.

**For those concerned, worry not, there are no spoilers in this post!**

Since the exclusive iTunes release of next to normal, I haven't been able to stop listening to it. Each time I hear it, I listen for new subtleties, new ways of understanding the show. My belief in the strength and love for this show is similar to that of The Last 5 Years and goodness knows, I've blogged a lot about that show (go to the link if you have to know what I'm taking about). I was introduced to and fascinated by The Last 5 Years something like 4-years-ago and this is the first show since then that is as compelling to me. Its thrilling to see a show on Broadway that isn't fluff and that is incredibly satisfying and real. From what I've heard, the songs in next to normal are more of a narrative of each character that move the story along instead of characters who break into song while halting the scene to do so. There is reflection from each character about not only their own situations but about the story line too. As important as that is though, the plot itself is incredibly relevant and hits on what seems like as many emotions a person can have at some point in their lives.

What I appreciate about next to normal is the similarities to real life which is never easy and has moments of heartache from time to time. And like real life, you come back from that, you become stronger, you learn more about life and you become hopeful once again. The incredible thing is that this show does this. In this two hour show, you come into it feeling eager, anxious about what it is going to happen. If you allow yourself to take the journey with the Goodman family (I love the not-so-subtlety of the surname of the family), they will break you down and by the end of the show, build you back up and give you the possibility of hope. Its truly an amazingly phenomenal show. Watch the video clips of the show and notice how in those few moments, what outstanding actors -- every single one of them -- were cast in next to normal. Maybe its because I am obsessed with the show (and know what's going on), but I am mesmerized and I am practically in tears, particularly in the "I Am the One" clip.

When it opened, critics lauded Spring Awakening as "ground breaking" and though I loved it, I don't quite agree with that claim, nor do I think that because of Spring Awakening, that "Broadway will never be the same again". I do believe that while it made an impact, it is next to normal that is more ground breaking and because of the subject matter and the honesty of its portrayal, that Broadway will never be the same again. I believe that the success of Spring Awakening validated the rejuvenation of the rock musical and helped young people or those turned off by the idea of a sung-through, old-fashioned musical, look at musical theatre in a new light. next to normal is all of those things and more -- a rock musical, honest, edgy, & daring.

Take the ride with next to normal, you won't be disappointed.

A LIGHT IN THE DARK

2009-04-16T23:42:00.000-07:00

Welcome to a finally new and updated look here. This is what you get thanks to a few hours of procrastination.

* * *

Not so long ago, I was concerned about the future of Broadway due to what seemed like a mass exodus as shows were closing right and left. Between September 28, 2008 - January 18, 2009, Broadway saw thirteen shows close. Though I knew some great new revivals were scheduled to open, I was concerned by the lack of a quality original piece. Would the Great White Way be deluged by yet another jukebox musical or another based on a movie, tv show? Though I loved seeing some of my favorite shows revived, I was still interested in seeing stories that new writers could create. Was it that tough to mount something original again and was our struggling economy to blame?

Thanks to next to normal, I am no longer questioning the future of the American musical. As excited as I was about my beloved [title of show] last season, I have to say I am even more thrilled about the spectacular musical, next to normal. [title of show] was a quirky, fun and in some ways a nostalgic show that reminded us of who we are and what it takes to achieve our dreams, but next to normal which is an entirely different kind of show and yet is one that just excites me!

next to normal shows the lengths to which two parents will go to keep themselves sane and their family’s world intact. With a provocative contemporary score of more than 30 original songs, this groundbreaking new musical explores how one suburban household copes with crisis.

From the producer of WICKED and the director of RENT, and starring Tony Award® nominee Alice Ripley, next to normal arrives on Broadway straight from its sold-out engagements at both NY’s Second Stage Theatre and DC’s Arena Stage.

The above blurb from the show's website doesn't give away anything plot-wise, nor does it come close to accurately describing what next to normal is about. What next to normal is, is an incredible small, story-driven show with electrifying talent and beautifully written music and lyrics. In an era when both Hollywood and Broadway are keen on big, over-the-top money making films and shows, it is always refreshing when success finds a film/show because it is a quality piece of work from all angles. Broadway (and Hollywood) are obviously businesses that need to make money in order to survive, but sometimes I am bothered when I think choices are made purely in terms of money instead of choosing something in which I wonder if artistic value was ever considered.

I first discovered next to normal in its workshopped form, when it was called "Feeling Electric" (2002) which later moved to the NY Musical Theater Festival in 2005. It was the 2002 workshop version that I fell in love with next to normal. Back then, the story was so different and the dynamics between the family members weren't as flushed out or solid but the concept and storyline were apparent and the music was still beautiful. A song I particularly appreciated -- Funny Love -- has since been cut from the Broadway version, but it was so beautiful and described the relationship between the couple, Dan & Diana (this was during a version of the show when I don't think the characters actually had names yet). As much as I appreciated the song & miss it from the final version of the show, it just doesn't fit into this incarnation of the show.

On April 15, next to normal opened to great reviews with (mostly) the same cast as the Arena Theatre production. Notably missing is Brian d'Arcy James (replaced by J. Robert Spencer) who had a previous engagement as the title role in Shrek the Musical. Personally, I think the characters in next to normal are so complex and meaty that it would be a shame to have to give up. Though I love Brian d'Arcy James and was so sad to see him leave the role of Dan, I just love the casting of J. Robert Spencer and am more than pleased with his take on the role. The casting of the other roles I think were well chosen and I can only say so much about it having not actually seen the show yet. Having said that, I think it should be known that Alice Ripley undeniably deserves a Tony Award.

Alice Ripley is truly a force to be reckoned with. She plays such a challenging character with such complex emotions between two opposite ends of the spectrum every night. My god, just hearing her in the cast recording of this show not only moves me, but allows anyone to hear how powerful an actress she is. In every single song on the cast recording, her pain, struggle, joys, fears, sorrows, quirkiness are all more than apparent and well performed. If I can get this from the audio, imagine how powerful she is in person?! I've been a fan of her for years and to quote Hunter in [title of show] she really is "fierce!"

Need I say more? If you need more proof, see the video preview courtesy of BroadwayWorld.com and then get tickets.

FEELING ELECTRIC

2009-04-15T16:01:00.001-07:00

Recently, I became obsessed with a musical opening on Broadway today...next to normal. I heard about it, I knew Alice Ripley was in it, I knew Tom Kitt wrote the music, but I knew nothing more than that. I did some internet research and found the workshop version from 2005 called Feeling Electric on YouTube (god, I love the interwebs) and I was hooked. The story intrigued me, it had a rock-feel to it, was beautiful, complex, tragic and yet subtle but more importantly, it made me think and again, here we are on the commonly discussed topic of what makes a musical good (not to be confused with the other topic of "what makes a good musical"). God, I love this show and SO wish I could have been in the opening night audience. Break legs tonight, cast of next to normal!!! Totes my new favorite show of the season! More on n2n soon!

IT'S GONNA BE GOOD

2009-04-14T23:52:00.000-07:00

Wow, who would have thought that there were so many bloggers of theater that an association of independent theater bloggers would be created? Yes, the Independent Association of Theater Bloggers (IATB) is the name of the game...and people, I certainly think my blog qualifies as being theater-centric!

Reading the announcement about IATB has inspired me to start writing again. I have had a lot of thoughts swirling around as of late and have been taking meetings about my new quest. For years (since 2001, imagine that?!) I have been blogging primarily about theater. There was a time when I was reviewing theater in Los Angeles and then, I potentially was on the cusp of a lot of theater-oriented activities...some bigger than others. For one reason or another, they fell by the way-side. The time is now people to do something about it...and now I am working hard at creating something that I think is vitally important, something that doesn't really exist but I already have begun to carve a niche out. Its not a secret, but its also not flushed out enough to discuss in this forum yet. It has the potential to be big though and I have some very big supporters, so we'll just leave it at that.

Ok, I have a lot more to say about a theater experience and recent conversation, but I am too tired to do that right now. Very excited about IATB though! To be continued...

WELCOME TO GOPLand

2009-01-14T22:33:00.000-08:00

There's nothing like an "enlightening" conversation to remind you where you are...this is mine with two techs recently:

Tech #1: Whatcha reading?

I hold up Barack Obama's Dreams From My Father and say, "Obama!"

Tech #2: Oh, you must want to live in a socialist country.
Tech #1: Did you vote for him?
Me: (proudly) Of course I did!
Tech #2: Of course she did. Why would she be reading his book otherwise? For FUN?!

I get an eyebrow raise of disappointment from both techs.

Tech #1: Oh. I'm an ultra conservative Republicain. Ugh, I voted for McCain. (He continues to tell me some story of some Independent candidate he would have rather voted for) and then continues with: and the ONLY reason I voted for McCain is Sarah Palin. Well, you know, I had to support Palin!

I smile somewhat uncomfortably and refrain from commenting. In any other place, in any other time, I might have been willing to have this conversation, but not now, not today. I'm thinking: Ok, I voted for OBAMA and you sound like you're rationalizing why you voted for McCain and you tell me because of PALIN? Why do you think I care? Then you tell me its because of Palin? Wait, what? I know of Republicans who didn't vote for McCain BECAUSE of Palin. I don't know of a single person who supported Palin either (thank goodness).

Seriously, am I having this conversation? I've never had a conversation like this before (with a pro-Palin supporter) and I have to say, it kind of took me by surprise. With Obama's innaguration coming up, I guess some people are still unhappy and uncomfortable. Maybe? I forgot that the county I grew up in has one of the largest percentages of Republicans. But still... Wow.

DREAMS COME TRUE

2008-12-05T16:59:00.000-08:00

Regardless of how you feel about Broadway, watch:

and then read this (the excerpt/nutshell/impact of what happened is below ):

"At the end of the final take the cast began to clap for Nicholas, they completely encircled him and the cast kept clapping for him, they wrapped around him and clapped and clapped and clapped. The look on Nicholas' face at that point, the fact he was soaking up all that support, he was soaking up all the faith they had in him, at that moment the look on his face seemed like he could believe in his own dreams, he could go where he wanted to go, it was the most wonderful transformation, because in the beginning he was scared, but by that final moment,-that final take with them all around him, he was transformed." What a gift, a truly priceless gift.

What a heartwarming gift of hope and inspiration for the holidays. Thank you LMM, In the Heights cast & crew, Nicholas and everyone who made this happen! This is why the Broadway community is awesome (x 96,000)!

HOW LONG MUST THIS GO ON?

2008-12-03T23:06:00.000-08:00

5 shows closing on Broadway in one day...FIVE theaters people, will dim their lights when the following shows CLOSE on January 4, 2009...and something tells me that the numbers may grow. Whether there is a reason like contracts ending or just because the economy sucks, its still a shame to see 5 such well known shows closing at the same time. 5 shows people...5.

PS: And if this weren't enough, Gypsy just announced that its moving up it's closing date from March 1, 2009 to January 9, 2009 because:

"Though we originally announced that GYPSY would play its final performance on March 1, 2009, due to these uncertain financial times my partners and I have made the difficult decision to close instead on January 11, 2009" said producer Roger Berlind.

Hearing things like this makes it difficult to be positive about what is happening to the Great White Way. There are a few shows deciding to open in the springtime, but its sad to see such quality shows (such as some of the ones listed in this post) closing. Sad times...

WOE IS ME

2008-11-23T01:42:00.000-08:00

(Pictured: original Broadway cast during LA run at the Wadsworth Theater)

I just saw a production of The 25th Annual Putnam County Spelling Bee at the Cerritos Center for the Performing Arts (CCPA) and after some thought, I am rather disappointed by the performance -- not so much by the cast but based on "creative" decisions to otherwise destroy the artistic integrity of the musical. I enjoyed the show when the entire Broadway company reunited to premiere the show in Los Angeles. Needless to say, I couldn't have enjoyed it more! It was fun, quirky, smart, with just enough backstory for each character to appreciate their individualities. I honestly, really loved the production. This version however, was not at all the same in all respects because it was an entirely different show.

The problem with the CCPA version is that as far as I have been able to tell, was not "a genuine Broadway tour" per the Broadway League. I was aware that the official Broadway sanctioned tour ended its run some point during the summer of 2008 so I wasn't sure what version this one would be (I don't think any of the cast were even Equity actors). Everything that I originally loved about the LA version, was missing in this CCPA version. Gone were the smooth transitions, the humor, the SONGS (I'm sorry, you cannot have this show without feeling sorry and embarrassed for Chip Tolentino's "My Unfortunate Errection" -- it was one of the funniest parts of the whole musical*). Why and how did this happen? Truly, the CCPA version was really quite horrible if you think about how much was altered/removed from the show which in turn affected the presentation and performance as a whole. In addition, this cast lacked any real chemistry between one another or towards the audience (of course it could be because it appeared that only 40% of the house was full -- and that could be a generous estimation. I'm sure its hard to play off the audience's reaction where there really isn't one).

If a house is afraid that its patrons won't be able to tolerate the themes or humor in any show, maybe they shouldn't consider it in their season. When you chop down a show...changing the lyrics (ie, "goddamnit" was changed to "can't stand it") you compromise the integrity of the show, disrespect the lyric and or music writers...you really do. I would have expted this kind of behavior from a red state in middle America, but Cerritos, California? Honestly, I'm not so dissatisfied with the show as a whole as much as I am upset that CCPA chose to alter the show so greatly that (in my opinion) it is not really the same one anymore.

Are there really allowances for this kind of alteration? Honestly, a show was written a certain way, with a particular tone/language for a reason. This isn't oppressed Southern California, circa 1960 and you can't tell me the neighborhood isn't ready for such themes. Far worse language and themes are presented on TV, in movies, on the radio or in other houses with other shows. Honestly, I thought that MTI protected against this kind of mutilation of a show.

I've looked it up before but my mind seems to be missing some of the information...so someone please enlighten me on the whole touring Broadway show presentation process. Who is allowed to alter these shows and why? If I had written a show, I would not allow for any drastic alteration of my material...particularly cutting out an entire number.

*As a sidenote, this production only implied that Chip Tolentino had an "unfortunate errection" during the bee, but never stated it outright. In addition, I thought there was a scene that explained why Logainne Schwartzandgrubenirre's last name was a combination of her two dad's names. This production didn't include that. The story of Leaf Coneybear & why he wore a helmet was cut short in the beginning of the show was altered too (or so I thought). Great, that is HALF of the student characters that were unfairly modified.

STOP, WAIT, PLEASE

2008-11-21T14:46:00.000-08:00

Another show posts its closing notice...January 4, 2009. Its a shame what this economy is doing to our nation and I hate seeing shows I love (or would love to see) ending too soon. There are six weeks before 13, Hairspray and now Young Frankenstein will close and then 8 weeks before we bid adieu to Spamalot and Spring Awakening. What is going on!?

Go see 13 people and support this amazing YOUNG cast who have more talent in their left nostril than most of us can ever hope to have. I admit I wasn't the biggest fan when the show previewed here in LA in March, 2007. Since then though, JRB his written some awesome new material and everyone has worked so hard to get it to Broadway. 13 is doing some pretty irresistible promotions to sell tickets for its final weeks...so if you can afford to go see a movie, instead pay the extra $5 and go see the talented, young cast of 13 do their thing!

YES WE DID!

2008-11-04T23:59:00.000-08:00

There really are no words...today was a historical night for all of us. No matter what your political affiliation or belief, you can't deny how important this night and this future president is for us all. Never have I been emotional on any political issue or any nominee until this year. For the first time, I felt hope when casting my ballot for the next president. Tonight was an amazing evening that reduced me to tears of pride and joy. Change has certainly come to America, and I couldn't be prouder of our nation; I have never been prouder in my life to be an American.

PACIENCIA Y FE

2008-11-02T18:16:00.001-08:00

I am almost embarrassed to say that I am behind. Every year, I am very well aware of the new musicals that hit the Great White Way...and yet, I don't really catch onto any of them until the following season. Why, I'm not sure. I like to blame the fact that I'm on the left coast but that's really not a good excuse because I know which shows are buzz-worthy and critically acclaimed and starring Broadway's most talented...and yet, for some reason it takes an entire season before I invest myself in them. Its not like I am reading about these shows or performers before I decide to take the leap. Quite the contrary! Usually I am actually an entire season behind to begin with and am spending my time listening, digesting, understanding, and...geez, it sounds like I actually study these shows (ok, I suppose I sorta do). With that said, last week I finally bought and caught onto the wonder that is In The Heights.

I had heard of In The Heights, I watched the cast perform on the 2008 Tony Awards, and until then, I was unsure of the idea of the story having never seen the show or heard the music. All I knew is that on the telecast, Lin-Manuel Miranda was rapping. That's different.

"Hmm, that's interesting," I thought. "I wonder how that works. It probably works, but...rapping on Broadway? Hmm..."

Of course it "works", after all, In The Heights won several Tonys in 2008: best musical, best original score (Lin-Manuel Miranda), best choreography (Andy Blankenbuehler). Accolades aside, what I've appreciated about In The Heights is that it is a perfect combination of what Broadway was with what it has become. The music is fantastic and takes you into the world of Puerto Ricans living in Washington Heights -- it makes you want to get up and dance, makes you feel hopeful and for me, it felt so honest. This is one of those shows that you don't have to see, to know that it is going to be great.

I just re-watched the cast's performance on the Tony Awards of the songs In the Heights and 96,000 and they were amazing! The music and the choreography were incredible! One of the best things about In The Heights is that its not what most people envision a musical to be. Its fresh, vibrant, doesn't have "cheezy" music from your grandparents generation, it isn't a jukebox musical or based on a movie. All of it is original -- the concept, the book and music and even the style of music (for a Broadway stage) because In The Heights is a musical with freestyle rap and salsa dancing...with a theatrical influence and was the brainchild of Lin-Manuel Miranda during his college years at Wesleyan University.

Reading stories about people's inspiration completely fascinates me and Lin-Manuel Miranda's journey of going from a college production to off-Broadway to becoming a Tony Award winning musical is no different. In The Heights is Lin-Manuel Miranda's memory of growing up in Manhattan's Washington Heights on the Upper West Side. Somehow, he captured the essence of his neighborhood, from the music and sounds of the area, the people and then freezing these personal and unique moments as a musical on stage.

In The Heights has me thinking about musical theater as an art form and why artists choose to tell their story as a musical versus a film, tv show, novel or poetry. What makes one more effective a genre than another? I suppose in part some of the same reasons that musical move and inspire me while film doesn't really at all...whatsoever. There is something I imagine about the uniqueness of In The Heights that makes it special and come alive specifically as a musical. I wouldn't actually know having never seen it, but having listened to it (a lot) since I bought it...there's definitely something special about it. How could we get a real sense of the neighborhood without the music or the vitality of these actors? Beyond all of that though, what could be better than watching and listening to Lin-Manuel Miranda performing onstage? He certainly is dynamic and talent is something he will never be short of, I am sure of that!

IF THAT'S WHAT IT IS...

2008-10-23T16:10:00.000-07:00

I am officially just a little worried...

*updated 12/14/08: Gypsy (moves up its opening date from 3/1/09 to 1/11/09) is the next casualty on the unfortunate Broadway chopping block.

In the last few weeks, closing notices were announced for the following Broadway shows and Spring Awakening is the latest casualty announced today:

Xanadu -- closing date initially announced for 10/12 then moved up and CLOSED 9/28/08
[title of show] -- CLOSED 10/12/08 (The Lyceum Theater now sits vacant)
Legally Blonde -- CLOSED 10/19/08 (After Liza's 11 day run, West Side Story is set to occupy the Palace Theater).
A Tale of Two Cities -- CLOSED 11/9/08 from the initial announcement of 11/16/08
American Buffalo -- CLOSED 11/23/08 after only 20 previews and 8 performances (even with a relatively well known cast).
Hairspray -- closing date initially announced for 1/19 then moved up to 1/4/09
13 -- another one bites the dust: CLOSED 1/04/09
Young Frankenstein* -- CLOSED 1/04/09
Boeing-Boeing -- CLOSED 1/04/09
Grease -- CLOSED 1/04/09
Gypsy -- moves up its closing date from 3/1/09 to 1/11/09
Spamalot -- CLOSED 1/18/09
Spring Awakening -- CLOSED 1/18/09

That's a lot of closing notices in a few weeks span and it sort of worries me. What's going on people? So this either means that there are a lot of shows waiting in the wings to come to Broadway (doubtful...unless [title of show] is planning on their return to the Rialto in which case I'd be delighted) or there will be several empty theatres in the coming season. Is this due to our nation's struggling economy? But isn't this the time of year when ticket sales typically go up because of advanced sales and the holiday season? I don't even know what to say right now...I was just looking at Broadway grosses for the week ending 10/5 and its not good for some shows who are reporting under 50% capacity. Everyday, it seems like another show posts its closing...maybe its just a coincidence, but it still concerns me since a slew of long-running shows recently closed this season. Ok people, just...go see a Broadway show...soon!

my written [tos]timonial

2008-10-12T18:00:00.000-07:00

As I thought about all the musicals I've seen and enjoyed (and even those I didn't care for) I began thinking about why.  What is it about musical theater that I relate to and appreciate more than any other genre or art form?  The word that keeps coming back to me over the course of the last several years (and in this blog) is inspiration.  Musicals are the reason that I once aspired to be an actress, its truly what motivates and inspires me on some level everyday, it keeps me sane in a sometimes insane world, it says things more beautifully and eloquently than I can ever with more emotion than I can ever convey and...I love it more than any other genre in the world.

I have certainly been inspired by  [title of show].  Initially, one might not think of it as being  a show that screams inspiration. It is mostly funny and appropriately campy about everything from friendship to life and dreams coming true. [title of show] reminds me to think about and acknolwedge my own dreams...and somehow, in its 90 minutes of laughter and tears, finds a way to take me back to the root of who I was as a little girl: "hearing Andrea McArdle sing/From the hi-fi in the den/I've been waiting my whole life/To find a way back to then"...and I think it takes a pretty darned talented writer and cast to do that.  Really, what show can make you feel the way you did when you were five?  What show can make you laugh and cry and inspire you all at the same time?  Very few.  I know, it sounds dramatic and corny, but really anyone who has ever dreamed can understand (and particularly so if you thought the starry lights of the Great White Way were ever in your future).

So tonight, after only 13 previews and 102 performances, [title of show] will dims its lights at the Lyceum Theatre for the last time during its current run.  I will think of Susan Blackwell, Heidi Blickenstaff, Jeff Bowen and Hunter Bell and the quirky, smart, funny, catchy, heart-warming show they so lovingly brought to me and the lucky others who have been affected by [title of show].

"This is the last line of the show" might be particularly poignant as the final line of [title of show] tonight, but all is not lost or gone for good...stay tuned...I still see a future for this show and this cast...and if nothing else:

Season 2 of the [title of show] show...coming soon!

A WAY BACK TO THEN

2008-08-09T10:18:00.001-07:00

This is my new favorite song from [title of show] (a great musical whose grassroots marketing/PR plan I think was brilliantly hi-larious and genius)! The song is so me (except for the fact that I'm not currently starring in a Broadway show about wanting to star in a Broadway show)...I think a lot of little girls who were obsessed with Annie (in a crazy way like I was) can identify with these lyrics. I have definitely found my own version of a way back to then...thanks to Jeff for a great song!

A Way Back to Then

Music and Lyrics by: Jeff Bowen

Dancing in the backyard

Kool-aid moustache and butterfly wings

Hearing Andrea McArdle sing

From the hi-fi in the den

I've been waiting my whole life

To find a way back to then

I aimed for the sky

A nine-year-old can see so far

I'll conquer the world and be a star

I'll do it all by the time I'm ten

I would know that confidence

If I knew a way back to then

So I bailed on my hometown

And became a college theatre dork

I was eastbound and down

Moving to New York

So I crammed my life in a U-Haul

To find my part of it all

But the mundane sets in

We play by the rules

And plough through the days

The years take us miles away

From the time we wondered when

We'd find a way back to then

And when you least expect

Opportunity walks through the door

You suddenly connect

With the thing that you forgot

That you were looking for

And there you are

Right in the middle of what you love

With the craziest of company

You're having a kick-ass time

And being who you wanted to be in this world

You're that little girl

With her wings unfurled

Flying again

Back in your backyard dancing

I found a way back to then.

THEME FROM SCHINDLER'S LIST

2008-08-07T00:22:00.000-07:00

I just felt the need to share...

John Williams' score from Schindler's List is one of the most beautiful pieces of music written for a film. Between Williams' score and Itzhak Pearlman's execution of a beautiful and haunting violin solo, I am transfixed! Beyond being an amazing score from an even more amazingly powerful film, there is something magical for me when I hear it. Everytime I hear the first few notes, I feel like Pavlov's dogs as it puts me into a zone and I can focus, concentrate and write. Its what got me through every single one of my undergrad papers and it never fails me, even now when I have to hanker down and get something done. Thanks, John Williams (and Itzhak Pearlman)!

TAKE A CHANCE ON ME

2008-07-26T13:01:00.000-07:00

Not since Chicago have I experienced a greater movie musical viewing experience…until Mamma Mia!. Rent, Hairspray and Sweeney Todd all had their strong points but for the most part were seriously flawed and none more so than Phantom of the Opera. Of course I was skeptical when I first heard about the film version of Mamma Mia!. How could I possibly think that a show (that I never truly loved) written around ABBA's hit songs from yesteryear would make a good film? Let’s just say that the film far surpasses the stage version that I saw and it is a great film!

Mamma Mia! was fun, beautiful and proportionately campy (it is ABBA after all) and the music worked remarkably well in the structure of the film. Musicals I think are difficult to translate from stage to screen because of the logistics of staging musical theater is a far different beast than that of the film world. The theatre has scene changes that are intricate in their own right, films have the luxury of going on-location which can change a film’s tone altogether. It takes a director with a real vision and understanding of both the theater and film to execute a great movie musical (particularly if said musical was written for the stage).

Rob Marshall definitely had a vision when it came to directing Chicago, however I am not sure I appreciated his efforts in his small screen direction of Annie. Prior to his film directorial debut in Chicago, Marshall was known predominantly for his work as a Broadway choreographer on shows like Kiss of the Spider Woman and Damn Yankees and later as a director in shows like Little Me and Cabaret. It is no surprise then that the director of Mamma Mia!, Phyllida Lloyd is a well known British theatre director. I truly think that it takes a person who really understands theatre to direct a movie musical that translates beautifully on film. Looking back on recent films that were translated from stage to screen, the ones that were most successful were ones whose director came from the theater and not from the film world like Chicago with the exception of Susan Stroman's directorial film debut in The Producers which flopped in the box office. Interestingly enough, Stroman is an multi-award winning choreographer/director however her vision didn't translate as well on the screen as it did on stage.

Mamma Mia! worked better as a film than a stage show and I absolutely believe that the location greatly enhanced the film. Filming on-location in Greece was in part only part of what benefited Mamma Mia!, but I think it was really about being a thoroughly thought out, planned, shot and executed film. I was impressed at how well the film flowed, how easily the songs worked into the structure of the story (which for some reason didn’t work out as well when I saw Mamma Mia! on stage – touring version). What I saw in the touring version of Mamma Mia! was less than impressive but at the time (it was in like 2001) the talent was mediocre and the energy was lackluster all of which left me feeling (for the most part) uninterested in the show. Of course a solidly written book and music is a big factor in a successful show but it takes some solid talent to execute any decent role. The talent in this film made all the difference in the world.

Let me just get this out of the way and state that I cried during Mamma Mia!. Yes, I cried and I attribute this to the brilliantly talented Meryl Streep (I’ve always been a fan). I remember thinking, “Only Meryl Streep could move me to tears in two separate scenes in a film like Mamma Mia!….nobody else could do that!” There is such a depth of emotion in her acting whether in Kramer vs. Kramer or The Devil Wears Prada that is just so intense, honest and vulnerable even. Her facial expressions come from somewhere real, deep and sincere and I am amazed everytime I see her in any role and am grateful that there are awesome actors like her out there still working.

While Meryl Streep was the standout actor in this film (each of the key roles were perfectly cast and acted) it was Pierce Brosnan whose performance was the most endearing. One wouldn’t typically think of Mr. James Bond as a singer-type in movie musical, right? Brosnan is not a singer by any means (sorry) but his singing had so much heart and effort that was just sweet and charming. I chuckled with the first note he sang and consequently in each song. His obvious effort was really adorable and as an actor it gave more of a lighthearted edge to him.

Mamma Mia! is a great film to celebrate the summer with and I had no idea I would love it so much! I laughed, I cried, I wanted to sing along (how fun would that be?!) and I liken its appeal to Grease and know that it will be around for a long, long time.

Don't discount Mamma Mia! just because its a movie musical or just because its based on music by ABBA (heck, I loved it and I'm a self proclaimed musical theater snob). Look at Mamma Mia! as a great story that happens to have music in it. Skip out on Mamma Mia! and you'll miss 108 minutes of a great time in which you'll be smiling through most of it (unless you're crying in those 10 or so minutes like I was) -- take a chance...

OTHER PEOPLE'S STORIES

2008-07-03T23:06:00.000-07:00

As a blog writer, I have to admit this whole thing feels a little self indulgent sometimes. I write (predominantly) about theater and am always pleasantly surprised when people actually read this thing. I mean, most people are not racing to read my blog (no offense taken) and those that do, are in perfect company with myself and the other big theatre geeks. There are a lot of blogs out there that touch on not-so-important points, topics, issues, etc. but like mine, a lot aren't really filled with amazing writing. Yet, when I stumbled upon Matt Logelin's blog recently, I discovered something pretty darned amazing (his story is so heartbreaking and I couldn't begin to do it justice, so if you are so inclined, you can read about his story here first or the feature written in the Star Tribune).

From the day I first heard of Matt and his story, I was rivited. I sat and read the entire blog from "cover to cover". His story made me (mostly) cry but I also laughed and my heart ached for this new family. It has become something that I check daily, curious to see how Matt & his daughter are doing. I knew just how much it affected me when I recently saw a robot (something frequently mentioned in the blog) necklace and thought of the blog or when I was at Amoeba today and again thought of the blog. Yes, this is weird because I don't know them, but I can't help but to find myself really rooting for them and as he writes about days that are less painful, it brings a smile to my face.

This whole story has got me thinking again about how important a father's role is in their child's life. I'm sure Matt couldn't possibly imagine doing anything less for his daughter than he's doing now. And I'm sure that Matt doesn't really think of himself as a "hero" per se, but just being a good father and being the kind of father that would make his wife and daughter proud. A good father is rare these days it seems and his blog just reminds me how great a father Matt is to his baby girl and it brings tears to my eyes. Dads, take note and Liz...you were a very lucky lady (though I can bet that Matt and all of your friends & family thought they were the lucky ones for having known you).

Is it really bizarre for me to write all of this? See, this is why having this blog is self-indulgent. Anyone who reads this entry though...please do visit Matt's blog, its some of the best writing I've read in ages...and it will forever affect your heart.