GOOD MORNING STARSHINE

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)

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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.

TONIGHT

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

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.

IT NEEDS WORK

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.

CARNAVAL DEL BARRIO

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.

WOE IS ME

(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.

SOMETHING WAS MISSING

Once upon a time, theatrical producers thought it a grand idea to mount abbreviated versions of their successful shows in the city of Lost Wages in hopes that it would attract tourists looking for the glitz and glamour of entertainment. They were wrong. Last year, I posted about the new trend of Broadway shows invading Vegas. Avenue Q decided to forego an opportunity to tour the country opting instead for an extended run in Las Vegas. The Wynn Hotel spent $40 million to build the 1,200-seat Broadway Theatre (within the Wynn resort) especially for Avenue Q. It seemed like a good (but) expensive endeavor, that producers were willing to gamble on. After all, Avenue Q won the 2004 Tony Award for Best Musical, was fresh, daring, funny and would play to diverse audiences streaming in and out of Las Vegas. What producers were banking on, isn't what they got.

In the last year, two Broadway shows opened in Vegas and both closed prematurely due to low ticket sales. There was great hope for both Avenue Q and Hairspray, but on May 28, only 9 months into its run, Avenue Q closed and today, only 4 months into its run, Hairspray announced the end of its Vegas engagement scheduled for June 11.

While it was an interesting concept, I feared that abbreviating these already successful Broadway shows would somehow compromise the integrity of what made the show work for any audience (not just a New York audience). After all, cutting 20-30 minutes from a show can alter it quite a bit. Is this what contributed to the fall of Broadway in the Desert?

When producers decided to cut scenes in their shows, they omitted some ingredient in what made a Broadway show formula work, didn't they? Or is there a real connection? For the Vegas run of Avenue Q, scenes were enhanced and minor book and score changes were made to better suit a Vegas audience while Hairspray became an intermission-less show omitting songs and streamlining the storyline. In my opinion, cut down the show = cutting into the integrity of the show. There really is no concrete reason why Avenue Q and Hairspray failed in Vegas yet Mamma Mia! (which has been running successfully for three years now in its entirety, intermission and all) and We Will Rock You at Paris Las Vegas for some reason shows no signs of slowing down.

Though interest in theatre doesn't seem to be particularly high at the oasis in the desert, theatrical producers aren't showing any signs of slowing down future production opportunities. Next up in the city of Lost Wages: Spamalot will replace the theatre (currently undergoing a huge overhaul) vacated by Avenue Q and an abbreviated version of Sir Andrew Lloyd Webber's The Phantom of the Opera (or Phantom: The Las Vegas Spectacular as its now being referred to) with never-before seen special effects will premiere at a new $40 million theatre at The Venetian, June 24.

How will Phantom: The Las Vegas Spectacular fare in Vegas? Only time will tell, but I suspect that there is a lot of hope for this production. While The Phantom of the Opera is the longest running show on Broadway (and is so for a reason), I imagine (and hope) that seasoned theatre pros, Sir Andrew Lloyd Webber and director, Hal Prince will work hard to keep the essence of the show intact while playing up to the expectations of would-be Las Vegas theatre go-ers. It will be tricky since The Phantom of the Opera has a complex story-line that doesn't really seem conducive to a trim. In an article last year, leading New York theatre critic Ben Brantley said, "So much of the Broadway audience now is tourists who want to approximate the experience of going to a theme park...people come to New York to see a 'jukebox musical'..." but in the case of Vegas, (I imagine) visitors want over-the-top, lavish, ostentatious entertainment they expect from the city. Of all the shows to mount in Las Vegas, I think Phantom: The Las Vegas Spectacular was a wise choice and I suspect it will do decent (if not spectacular) business for The Venetian as well as bring awareness to Broadway in the desert.

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Broadway Show(s) currently in Las Vegas:
Mamma Mia! (Mandalay Bay) -- Celebrated it's 3rd Anniversary, March 2006.
We Will Rock You (that's only if you consider this to be a "Broadway-like" show) -- (Paris Las Vegas)

Coming Soon:
Phantom: The Las Vegas Spectacular (Summer 2006 at The Venetian)
Spamalot (2007 at Wynn)
Moving Out (not formally announced yet)
Wicked (not formally announced yet)

Failed:
EFX (starring Michael Crawford)
Starlight Express
Miss Spectacular (though publicized, never materialized)
Avenue Q (Wynn) -- Closed May 28, 2006
Hairspray (Luxor) -- Closing June 11, 2006

BACK TO BEFORE

I just got finished going through a box of old Playbills my great-aunt just gave me and all I can say is...wow. What this box contains -- in my opinion -- is simply historic. I cannot believe how many incredible performers she has been lucky enough to witness in the last 30-40 years (maybe more they're just not included in this collection?). She was lucky enough to see Mary Martin, John Raitt, Rock Hudson, the original company of Chicago (with Chita Rivera and Jerry Orbach), Buster Keaton (who knew) and Alfred Drake and Anna Maria Albergetti in Carnival -- just to name a few. And to my amusement, saw future Tony Award winner Sutton Foster in one of her first shows -- the touring production of The Will Roger's Follies as well as my personal favorite, Patrick Wilson in the touring company of Carousel with Sarah Uriarte Berry.

I can't imagine how cool it would have been to see these shows coming through town when they were new or having their first revival. My great-aunt saw Chicago with Jerry Orbach and Chita Rivera at the Ahmanson in the 70s (I think), the very place I saw the revival in the late 90s with Jasmine Guy and Brent Barrett! She saw a very young Bernadette Peters in Mack and Mabel with Robert Preston (YES, the Music Man) -- I think that is incredibly awesome! Though not musical theatre, but musical, she got to see Zubin Mehta conduct the LA Phil too. I realize that wasn't so long ago, but it was long before my intrest in music had piqued.

For the very few people reading this, I guess it's pretty obvious how obsessed with theatatre I am (and how this blog is taking on a new shape as a freakish Broadway fan's soapbox). But the more time that passes and as my unhappiness grows with my current employer, it is becoming increasingly clear to me what I want to do and where I want to be...I just don't think I can bear to be so far away from my friends and family. I wish New York were closer...or that they were closer to New York. I know that is where I am meant to be...maybe right now just isn't my time...yet.

ANOTHER OPENIN', ANOTHER SHOW

Why is it that almost every new show on Broadway is ramping up for tours? First I hear that Maureen McGovern is taking Little Women on tour ("wow, what I great idea" I think...then I hear Dirty Rotten Scoundrels will be coming to a town to con us soon...then there's the upcoming national tours of Brooklyn and The 25th Annual Putnam County Spelling Bee. Whew! So basically all of the shows I saw in NY (sans Spelling Bee...sorry folks, I ran out of time!) are touring in the coming months. This is a new concept to me. Gone are the days of anticipation waiting not-so-patiently for the hot ticket on Broadway to roll by on a truck near you. Gone is the impossibility of getting a glimpse of what all the cool kids in New York are talking about. If I was lucky, I got the opportunity to see the 1 or 2 commercially successful shows rolling into a semi-theatre-centric town like LA. Don't get me wrong, I'm excited to see Wicked and was ecstatic that after a good 2-3 years I finally got to see The Full Monty and Thoroughly Modern Millie. Why did it take so long for those shows to come to me when I couldn't get to them? Why now though do I feel like audiences are being immediately gratified with what is "hot" in New York now?

Hopefully, these impending tours will not only expose new audiences to musical theatre, but will also give new life to the cast recording...a musical genre that is possibly nearing extinction in a world filled with the modern and ever-popular world of the likes of Usher and Jessica Simpson (both of whom I like thank-you-very-much). Maybe this is a trick (and a fine one I might add) by the League of American Theatres & Producers to expose more audiences to live theatre. I'm not complaining...I only wish I understood this sudden surge of interest to tour a new show.

There is no denying though, that the quality of touring shows is sub-par as compared to it's older more complex and permanant sibling on the Great White Way. A touring show can never compare to original production (especially if it began on Broadway or even the West End) but it gives it's audience a glimpse into the magic and beauty of live theatre. I assume the average America citizen doesn't typically go to a lot of theatre because it's either too pricey or just not of interest...so why not give your audience what it's after -- something big, bold exciting and entertaining. Show them what theatre can be...reel them in so-to-speak and then sparkle thieir interest with the possibility of hope andd excitement in song and in show and hope that life for the moment they were in the theatre moved them somehow.

After reading that last paragraph, I would have even assumed I was a big advocate of the over-produced, over-budgeted, over-hyped Disney musical experience. One would hope that a theatre supporter would support almost all forms of theatre. Sadly, this one does not. I will continue my soapbox tomorrow...right now, I have to stop (for several reasons). The main reason I cannot babble on is because I fear I am saying too much and saying much too much that makes zero sense because I've been up for almost 20 hours working. Wow, that seemed like a doozy of a paragraph, so I will stop for now...and pick up where I left off tomorrow.

What is it with (the lack of) theater in Los Angeles? Of the last "big" shows I've seen in LA (Mamma-Mia! and Saturday Night Fever) both were so incredibly bad, it hurt. Ok, so (Mamma-Mia! wasn't quite as painful as Saturday Night Fever (which was heinous and I do mean that) but neither show really had a concrete story.

So when I found out that Kiss Me Kate was coming to town, you can surely understand my excitement at the prospect of a real Broadway show finally making it's way to LA. I (very happily) was given comp tix (thanks Emily!) to opening night and my friends (Curtis, Yami and Tianyi) accompanied me. Curtis had seen the show on Broadway and raved about it, so when the lights dimmed in the Shubert, we both grinned from ear to ear in anticipation.

Oh, but my anticipation turned into disappointment. Rex Smith was much too campy and played the role of Fred Graham/Petruchio like a sleazy, lounge singer. The man has a good voice, but...not appropriate for this role...well, he would if he had better direction. Rachel York made the role of Lilli Vanessi/Katharine her own and did indeed do a great job with I Hate Men. She overplayed it just a tad in that song, but it worked. Nancy Anderson (Lois Lane/Bianca) overplayed the role as well, and just didn't make her character very special at all. She was your typical dumb blonde and you never really felt much of anything for her...only that she was just one of a thousand other ditzy blondes. The audience sure seemed to like her performance of "Always True To You (In My Fashion)" but again, she overacted and oversang her range to the point that she cracked big time in the last line of the song. Overall, the show was like a bad, campy soap opera and all I wanted was to watch Brian Stokes Mitchell & Marin Mazzie in the lead roles.

I didn't quite understand why the entire show was overdone. Was it because it was opening night? Were they nervous? Was it LA? Do audiences in LA appreciate that type of acting? Do they need extreme acting in order to understand what is going on? Is this where the state of musical theater in LA is going? I certainly hope not. I haven't seen a decent musical in LA since Ragtime and that's quite a shame.