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
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 Heavenlive (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!
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.
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 Paradeat 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 Paradesince 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-starCharlotte 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.
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).
* 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.
* 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.
* 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
* 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.
* 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.
* 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.
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...
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. 13is 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 13do their thing!
Awhile ago, Georgia Stitt posed the question to her readers one she was asked during an interview: What are your 12 all time favorite musical theatre songs? This got me thinking and I realized that as much as I love musicals, that I think my own exposure is quite limited. Actually, I had a really hard time coming up with my own favorites and noticed that though I own quite a few cast albums, in the grand scheme of things, I really don't. Regardless, I thought I would indulge in something slightly obsessive and fun...like my own list of songs. In no particular order...and also, this is not my list of "all time" but rather my list of the moment or rather some of my favorite Sondheim songs with a few other sprinkled in. Actually I kept adding then removing songs...otherwise this list would have almost entirely been all Sondheim!
Loving You (from Passion): The song is simple, short and haunting. During my musical theatre "rebirth" while in high school...this song caught my ear and was one of the ones that made me want to really discover Sondheim.
Music of Heaven: Its really not so much a musical theatre song, but a song that I really relate to. I posted about it awhile back and everytime I hear it (which is quite often), it makes me think about life/religion/music etc.
How Could I Ever Know (from The Secret Garden): This musical is based onFrances Hodgson Burnett's classic work. It is lovingly sung by the ghost of Lily to her husband: "How could I know I would have to leave you/How could I know I would hurt you so/You were the one I was born to love/Oh how could I ever know?/How could I ever know." It is probably the most heartbreaking songs I know and equally beautiful.
Meadowlark (from The Baker's Wife): The quintessential alto audition song, but I always loved the story it told.
The Miller's Son (from A Little Night Music): What I love about Sondheim is how he can so beautifully construct a set of lyrics. I think I've always loved the alliteration in this song...and so effective!
I Remember (from Evening Primrose): has got to be one of the most beautifully descriptive songs. Its gorgeous, I love it!
Tomorrow (from Annie): My musical theater obsession began with a red headed orphan named Annie and the rest as they say is history. As a little girl, I sung this more often than I think any other song anywhere and everywhere I could.
The initial statement below may be surprising to anyone who has any kind of relationship or knowledge of who I am. Brace yourself kids...the first blow may hurt (and it even gets its own paragraph), but it gets better!
I realized rather recently that I'm getting really tired of listening to showtunes.
Shocking?!
Yes, I know there are other genres of music out there and yes, I'm listening to everything else out there too. It surprises me though how much I am tiring of showtunes...I'm going through a dry spell I suppose. I have my standard staple of shows that I love and will always love, but you can only listen to those so many times. Then, there is the newer stuff that just...isn't any good. So...the only music from the genre I can tolerate (and rather like) is still JRB's (Jason Robert Brown for you newbies of my blog). I decided to take a re-listen to Parade and guess what, I like it. I never really got into Parade in '99 (the year it was nominated for and won Tony Awards) because it didn't really appeal to me. Now though, after careful listening and an understanding of the story, it has become my album du jour (or des jours...cos heaven knows I'll be listening to it for awhile).
After I stumbled upon JRB's The Last 5 Years (TL5Y) (and loved it), I became absolutely fascinated by his work. I sort of went in reverse order when "discovering" the remaining body of his work -- first came TL5Y then came Lauren Kennedy's album of his songs, JRB's own solo album, then Songs For A New World and finally through process of elimination came the show that first brought him to the greater public's attention: Parade.
Though I've had Parade for sometime now and have listened to it often enough, I never really discovered its sound and its story. On the whole though, everything I've heard that he has composed is just so rich and multi-layered. Listening to his work is like eating a gourmet meal...haha, JRB's work is like a feast for the ears! When JRB writes, what he writes means something. There are few words that are lost in meaning or intent in his shows and songs. Heck, even his blog is interesting! It is witty, intelligent and fascinating...kind of like his songs.
What I discovered from my careful, almost obsessive listening to JRB's work, is that his music has a very distinct sound, and his lyrics for the most part are substantial, meaningful, intricate and carefully constructed. When he writes a song, it makes a statement and its intent is so hauntingly beautiful that it stays with you. Example? This week, I can't stop listening to the song "All The Wasted Time" (click to listen) from Parade. In short, this show is based on the story in Atlanta, GA (1913) of Leo Frank, a Jewish factory owner falsely accused and convicted of murdering young Mary Phagan. The song "All The Wasted Time" marks the emotional climax of the show sung by Leo & his wife just before he is kidnapped and executed.
LEO I will never understand What I did to deserve you, Or how to be the man That I'm supposed to be. I will never understand If I live a thousand lifetimes Why you did the things you did for me. Just look at you - How could I not be in love with you? What kind of fool could have taken you For granted for so long? All the wasted time, All the million hours, Pushing you away, Building up my walls; All the days gone by To glare, to pout, to push you out, And I never knew anything at all I never knew anything at all.
LUCILLE I will never understand How all the world misjudged you When I have always known How lucky I must be. I will never understand How I kept from going crazy Just waiting there till you came home to me. Now look at me Now that you're finally here with me - Now that I know I was right to wait And everyone else was so wrong For so long All the wasted time
LEO All the wasted time
LUCILLE All the million hours. Years on top of years Still too proud to crawl - All the days gone by To feel that I don't satisfy And I never knew anything at all I never knew anything at all
LEO All the wasted time
LUCILLE All the wasted time
LEO All the million hours.
BOTH Leaves too high to touch, Roots too strong to fall. All the days gone by To never show I loved you so And I never knew anything at all.
LEO I never knew anything At all...
Ok, I know that music is personal and that we all connect to sounds, lyrics, etc. based on our own preferences and or experiences etc., but as with every JRB song I listen to (and some I admit I like less than others), I connect to each one. Of all the songs from Parade, I think that this song is probably the most lyrical and maybe even the most appealing to listeners. Maybe that is why he posted it to his website. There is definitely a distinct JRB sound in Paradeand it is easy to hear the pop-rock-blues-gospel influences intermixed throughout the show.
Ok, so its obvious to anyone who reads this blog that I have an on-going love affair with the music of JRB. Maybe the reason other modern musical theatre writers (except for Adam Guettel -- he's amazing too) bore me is because they don't have the multidimensional complexity that JRB's music does. For you musical theatre naysayers, JRB is different; he's fresh, modern and doesn't so much possess the schmaltzy quality in his work that some writers (past and present) have been known for.
JRB: I know you'll see this at some point...and I know its usually the crazy people who claim their sanity, but really...your work reminds me how much I love modern musical theatre.
I know I am a big blog neglecter, when I log into blogger and realize that this post (written in March!!!) was in draft mode, when really all I should have done was to proof it before hitting "publish post" and never did! Yikes!!!
"And if your heart is always breaking Cos the world is just not fair When you're at your worst Your friend is the first one there Giving you something to lean on And that's it means to be a friend."
I went to see the premiere of JRB's new musical, "13" at the Music Center a few months ago. Other than reminiscing about my own sensitive teenage years, one of the things this show did for me was remind me how important good friends are. As I sat in the darkened theatre with my favorite theatre pal (Tianyi of course), and heard the incredible voice of the young actress sing, "What It Means to Be A Friend," all I could think about was how lucky I was to have such good ones, particularly the one sitting next to me. I also know that it wasn't just "luck" that we were randomly paired up as roommates in college.
Friends are a dime a dozen, but finding a good friend, a real friend, a true friend is much harder to do. I've seen examples of great friends and not so great friends lately. Its the great friends, the people who really care are the ones that give me a little bit of hope in humanity. Quite a statement yes, but really one that gives me hope and encouragement in my own life.
Friends are great to laugh with and scheme...talk about silly things. When it comes to life and things that really matter, a true friend will always be there. A true friend though cares about your well being and says the things nobody else can. A true friend cares about your heart and soul not just about having a good time and superficial nonesense. I love my friends dearly and feel truly blessed to have such great people in my life.
Ok, so that's where the original post ends and my P.S. follows below: I was actually supposed to review "13" but I just couldn't bear to because it really wasn't so great and bashing my favorite modern composer is something that even I didn't have the heart to do. I was emotion-less pretty much through the entire show until "What It Means To Be A Friend" was performed. I am a pretty emotional person so it doesn't take that much to make me cry. So when I heard this song, I understood that sure, I'm not 13, but really, no matter how old we are, we obviously all need a friend.
Complete lyrics to the song by JRB (click on the link and listen to it too!):
A FRIEND’S NOT A CHEAP LITTLE PHONY CREEP OR A JERK TRYING TO MAKE A DEAL. A FRIEND IS A PERSON WHO, MOST OF ALL, CARES ABOUT WHAT YOU FEEL; AND NOTHING IS HARDER THAN LEARNING A FRIEND ISN’T REAL.
A FRIEND SENDS NOTES BACK AND FORTH ALL DAY AND DOESN’T CARE THAT YOU CAN’T SPELL. A FRIEND KNOWS YOU’VE GOT A CRUSH ON YOUR TEACHER, BUT A FRIEND WOULD NEVER TELL. A FRIEND’S OUTSIDE WAITING THE MINUTE YOU BOTH HEAR THE BELL…
AND IF YOUR HEART IS ALWAYS BREAKING ‘CAUSE THE WORLD IS JUST NOT FAIR, WHEN YOU’RE AT YOUR WORST, YOUR FRIEND’S THE FIRST ONE THERE, GIVING YOU SOMETHING TO LEAN ON – AND THAT’S WHAT IT MEANS TO BE A FRIEND.
A FRIEND WON’T SMOKE WHEN SHE’S IN YOUR ROOM OR LAUGH AT THE POEMS YOU WRITE. A FRIEND WON’T GO AND START KISSING YOUR BROTHER THE MINUTE THAT YOU’RE OUT OF SIGHT. A FRIEND IS THE PERSON YOU CALL SIXTEEN TIMES EV’RY NIGHT…
AND IF YOUR HEART IS ALWAYS BREAKING, AND YOU WANT TO RUN AND HIDE, WHEN YOUR HOPE IS GONE, YOUR FRIEND IS ON YOUR SIDE. IF SOMEONE MOVES IN ‘ROUND THE CORNER AND YOU WANT TO SHOW HIM YOU CARE, SO YOU GIVE HIM ALL YOUR LAST MONTH OF VACATION AND ALL OF THE TIME YOU CAN SPARE, AND THEN, ON THE FIRST DAY OF CLASSES, HE ACTS LIKE YOU’RE NOT EVEN THERE, THEN HE DOESN’T KNOW… HE DOESN’T KNOW! HE’LL NEVER KNOW WHAT IT MEANS TO BE A FRIEND.
Another Openin', Another Show. Well, I recently attended the press opening of one of my favorite shows, The Last Five Years. As much as I heart JRB, I have to say this was a terrible production. Of course it's not his fault this show was nails-on-a-chalkboard awful but it stunk nonetheless (I blame the director, actors & musical director...typical people to blame). Anyway, I wrote my review on Broadwayworld.com, so check it out here.
I was just reading Jason Robert Brown's blog in which he posted the following in regard to his opinion of the Tony Awards last night. Maybe he's a little harsh in the first part of his criticism, but I agree with him completely regarding the Harry Connick, Jr. & the Hal Prince thing...both were indeeed pretty pathetic. I had to share...and that is my final thought on this year's awards. I'm done this time. Really.
"They spend a lot of money putting this thing up at Radio City Music Hall, and they do a whole bunch of advertising and publicity, and all these plays and musicals say their lives depend on looking good on television. So the question is: why is the Tony Awards telecast always such an embarrassing, cringe-inducing, amateurish, apologetic, under-rehearsed, ill-conceived, boring use of three extremely expensive hours of network television? Nobody had a better idea to start the show than letting Harry Connick Jr. sing a lounge-act medley while SIXTY people stood behind him trying not to look uncomfortable? Hal Prince has been involved in more than fifty Broadway productions, and the best tribute was to put a bunch of gypsies in old costumes while Howard McGillin sang for seventeen seconds? Are you fucking kidding me?"
It's been awhile since I've posted here. Lots of random thoughts have been running through my head, nothing worth posting unfortunately.
So I haven't been writing nor have I been listening to music much lately. Interesting enough (to me at least) I think there is some sort of correlation between my lack of posting with my lack of listening to music. As any regular (or irregular) reader of my blog will note, that my writing largely focuses on music, specifically on musical theatre and that is what really inspires my writing. Even if my writing has nothing to do with musical theatre, there is something about the genre that helps bring about my need to write (and I generally do listen to it while writing). For some reason though, I couldn't even bring myself to listen to my music and enjoy it as I usually do. Was I going through a music dry spell? Were showtunes finally getting to be too much for this admitted showtunes fanatic?
To answer myself, yes, sometimes music (or any "obsession") can get draining, particularly when one listens to it with the same fervor and ferocity as I do. After weeks of hibernation, I finally turned on my iPod and tuned to Music of Heaven after reading JRB's inspiration for writing the song. Like JRB, I too have "only the most distant relationship to religious faith" but for some reason, the lyrics to this song are as powerful to me as JRB's experience sitting in the theatre listening to the Broadway Gospel Choir. For me, music has always been able to express feeling and emotions that words cannot and in hearing Music of Heaven and JRB's inspiration for the song, I was reminded of this even more. There have been times when music was the only thing that I could really understand and connect with because it has a way of bringing out my passion for life and all the other things I love. So once again, I credit JRB's music for inspiring me...because I really connect with his writing and in all seriousness, it brings out something that fuels my soul.
I come with my armor in place, Emotions in check, And thinking I’m smarter, Or just more realistic. I sit with my frozen smile, All the while Reluctant to trust what I’m told. Cynical, cold, Challenging music of Heaven To open a crack in my chest And let something glorious in. Music of Heaven Should puncture me, suddenly Blessed, blessed, blessed - Let the music begin. Let the music begin.
They sing and they cry and I watch, Lean back in my chair, The classic New Yorker, Alone among millions, Indifference upon my face, Out of place, But longing to feel what you feel... Like it was real; Like there could be music of Heaven That opened some path to your soul And let something glorious in. Music of Heaven Allows you to give up control ... Yes, yes - Let the music begin. Let the music begin.
And I sit there with dry eyes And cold hands Judging and standing apart. Dry eyes And cold hands, Waiting and wondering When will it open my heart? When will it open my heart?
When will I open my heart? I hear you sing I hear you sing (Holy Father!) And I want to say, “Yes!” (Holy Father!) Yes! (Holy Father!) Yes! (Yes!) I hear you singing... (Yes!) Holy Father! (Yes!) I want to sing (Holy Father!) I want to sing Holy Father! (Holy Father!) And I want to say Yes! (Holy Father!) Say yes! Holy Father! Say yes! Yes! I need to sing (Yes!) Holy Father! (Yes!) I need to cry I need to believe! (Holy Father!) And I can say Yes! (Holy Father!) Yes (Holy Father!) Yes... (Yes!) I can say yes, yes, yes (Yes!) I will say (Yes!) Yes, yes, yes... (Yes, yes, yes...) Let the music begin. Let the music begin
It's no secret that I just adore the work of Jason Robert Brown. I've written plenty of posts about his shows, songs, lyrics etc. It seems everytime I really listen to any of his music, I find new reasons to love his songs. With each listen, I discover new ways of interpreting the lyrics and sometimes, I even find a new understanding of myself.
There are times when a set of lyrics are particularly striking to me upon first listen and that is when I really take notice of a song. If I am hearing a show for the first time on CD (which throughout the years has often been the case) I fully immerse myself in what I am hearing. I tend not to listen to a show superficially, because when I listen to it for the first time, I want to be completely attentive and present. Sometimes I think the attention I pay to lyrics is the same attention I paid to poetry in all of my English Lit classes in college. Yet when they are song lyrics, you interpret and judge the song not only with your head but with your heart because music is something you feel.
For as much as I love Sondheim, in some ways, I think I love the work of JRB even more because his music strikes a chord in my soul. I realize this sounds super cheezy, but when I hear his music and read his lyrics, the way I relate to it comes from somewhere deep within me. Maybe this is why after two years, I can still listen to The Last Five Years and each time, find a new understanding of the show. JRB's work fascinates me -- it is fresh, interesting, thought provoking, intelligent, what Broadway needs and one of the reasons I love musical theatre so much.
I first heard about JRB when Parade was nominated for a Tony Award in 1999, yet I've never heard the score in it's entirety (until now, I just purchased it on iTunes). I'm amazed though that I never heard any of his work until I discovered The Last Five Years. Now it seems that I prefer listening to almost anything written or performed by JRB. I've yet to listen to anything that he's written that I don't like or appreciate. I've been listening to his CD, Wearing Someone Else's Clothes a lot these days and this week, my JRB song du jour is Someone to Fall Back On. I was just reading a review in which someone said this might just be the most honest love song they've heard. I agree. It's simply beautiful, honest...a great song.
I’ll never be A knight in armor With a sword in hand, Or a kamikaze fighter; Don’t count on me To storm the barricades And take a stand, Or hold my ground; You’ll never see Any scars or wounds - I don’t walk on coals, I won’t walk on water: I am no prince, I am no saint, I am not anyone’s wildest dream, But I can stand behind And be someone to fall back on.
Some comedy - You’re bruised and beaten down And I’m the one Who’s looking for a favor. Still, honestly, You don’t believe me But the things I have Are the things you need. You look at me Like I don’t make sense, Like a waste of time, Like it serves no purpose - I am no prince, I am no saint, And if that’s what you believe you need, You’re wrong - you don’t need much, You need someone to fall back on...
And I’ll be that: I’ll take your side. If I’m the only one, I’m used to that. I’ve been alone, I’d rather be The half of us, The least of you, The best of me. And I will be Your prince, I’ll be your saint, I will go crashing through fences In your name. I will, I swear - I’ll be someone to fall back on! I’ll be the one who waits, And for as long as you’ll let me, I will be the one you need. I’ll be someone to fall back on: Your prince, Your saint, The one you believe you need I’ll be - I’ll be Someone to fall back on.
Shows come and go on Broadway -- some are meaningful and stick with you, some (many) are easily forgettable. As with film or TV, it isn't always the show that sticks out and makes an impression as much as the actors who embody the characters. Unsuccessful or semi-successful shows have outlasted their estimated length of survival due in part to the break-out stars of these shows. In my mind, there are two actors whose work was recognized and became "break out stars" of their respective shows -- Kristin Chenoweth in You're A Good Man Charlie Brown, and Sutton Foster in Thoroughly Modern Millie.
I can't always put into words the reasons why I go to the theatre or why it is so inspiring. Sometimes, it is a feeling, other times it is the power of the music and the story. If you are lucky, you will experience a phenomenal actor's interpretation of a show and understand how powerful live performance can be. I think the most charasmatic actor on (or on-her-way-back-to) Broadway is hands down, Sutton Foster.
Foster first caught my attention when she performed "Gimmie, Gimmie" from Thoroughly Modern Millie on The Rosie O'Donnell show. Her voice impressed me not only because of it's beauty but there is infectous power and energy behind each word she sings. Foster has become a true Broadway star and one that the Great White Way has needed. It's been a long time (in my opinion) since Broadway has had a true "It Girl." The last name that comes to mind is Bernadette Peters...and it was quite awhile ago when she first burst on the scene. The talent that exists on and off-Broadway is so enormous it really is hard to pinpoint someone whose talent is truly extraordinnary but when that happens, it's hard to ignore and people can't help but to pay attention.
It is no surprise when Foster was nominated for a Tony Award in 2003 for Thoroughly Modern Millie. To say Foster deserved the award is an understatement. With every note she sang and every step she danced, it was obvious that she was 150% commited to her role of Millie Dillmount and easily embodied this character and it showed. Foster went from a "no-name" understudy during the out-of-town-tryouts for the show to the lead and became a star -- it is as if her experience came directly from the plot of 42nd Street!
Broadway producers and bookers I'm sure were counting on the star power of the name Sutton Foster when Little Women opened in January 2005 at the Virginia Theater. Her name even topped the marquee above theater vet Maureen McGovern! Though the show didn't last long on Broadway, the Tony nominating committee recognized the quality of Foster's acting ability when they honored her with a nomination for her role of Jo in Little Women (the only nod the show received). Though the show was less than stellar, it was again Foster who stole the show and who I believe kept it afloat for the entire 5 months it ran on Broadway.
Seeing Sutton Foster's performance in Little Women pretty much defines the reason I go to the theatre. Sitting in the audience as she made her enterance was magical -- I don't think I have ever been so anxious to see an actor in a show. As she sung her first note, you could feel the energy and enthusiasm exuding from her soul. As an actor, she is truly powerful and the independent head-strong Jo in Little Women was a great choice following her Thoroughly Modern Millie success. Let it be known that I will never be able to say enough great things about Sutton Foster except for her choice of taking on the role of Janet in the Drowsy Chaperone.
I saw Drowsy Chaperone during it's L.A. run at the Ahmanson Theatre and it was as the title says, at best, a drowsy experience. As I sat impatiently for the 90 minutes of the non-sensical show, I couldn't figure out why any of these actors (Foster in particular) wanted to be in it. It is a show about musicals in which only true Broadway-philes could appreciate, but even then...some (including me) might not think so highly of it.
If you are lucky, you will see her perform and surely your life will be changed on some level, if only even for the two hours you join her in the theatre. It is so obvious that she is commited 150% to her roles and performances. There is something about her...beyond her charisma that I can't explain, but reminds me of the person I used to be a long time ago...and the person I should be again (on some level). She's got passion and drive that is actually contagious. And yes, it's not only Sutton, but the island of Manhattan that gives me that same drive...but I digress.
Funny, because seeing Sutton Foster reminded me that once upon a time, I wanted to be an actress on stage. I didn't want to act for fame or fortune, but for the experience to embody someone else emotionally. There was something about getting into the head of another person/character that intrigued me so and the way they were able to convey their emotions through song. When I was 5, I wanted to be Annie and belt out Tomorrow at the top of my lungs. Since then, there has always been a character throughout the years who intrigued me. In high school, I wanted to be Christine in POTO or Kim in Miss Saigon but it was the role of Cathy in The Last Five Years that has so much emotion and depth and I think is an incredible role and character. I won't admit how long I have been listening to the CD (not continuously) but each time, I gleam something different from the character, the show, the music -- simply amazing.
I'm not an actress, I probably will never be one, but if I could pick a role right now to do, I think it would have to be Cathy in The Last Five Years. It is an amazing role, JRB writes fantastic music, an even more fantastic role. There is so much to learn about the character that even as a listener I discover new aspects of over and over no matter how many times I listen to it. Can you imagine as an actor the levels of discovery? AMAZING!
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