Has everyone read The Times story on Little Dog Laughed yet? I hope so. Now, of course, I mean the Sunday Times story, not today's story about how Julie White was chomping down instead of being at her matinee. That just made me sad.
Anyway, better late than never with this posting.... I received five emails from you all in the last week. I am answering four below to the best of my ability. Tomorrow hopefully I'll have the answer to the fifth...
Q: What do you know about Rock of Ages?
A: Not that much. I know people who saw this "hair band musical" (a term I hope to use frequently from now on) in LA and thought it was campy and ridiculous. I know that it includes the songs "Hit Me With Your Best Shot" and "Nothin' But A Good Time," making me happy. And I know it will begin performances at the Daryl Roth Theatre (soon to be home to a limited engagement of Striking 12, a musical I support) in March--I clearly am marking my calender now. I don't know who will be in it--certainly not Los Angeles star Laura Bell Bundy.
Q: Have you heard anyone other than Boyd Gaines for Journey's End? I heard Orlando Bloom.
A: I loved this email because I didn't know that name was really out there until I received it. I too heard Bloom at some point and, when I did hear it, I laughed. I haven't heard it since. Now I am all for random Hollywood actors coming to Broadway, but Bloom (who always seems in interviews like a very nice guy) really, really can't act, so I actually felt like it might be painful. I don't think we'll have to worry about it though, because I do not believe it is happening. I have heard Gaines (who told Playbill he was doing it), Hugh Dancy (who I recently watched in Basic Instinct 2), Jefferson Mays and Sam Barnett (who Rocco asked me about in a previous comment). These names are not official--they are "mentioned," as Ken Mandelbaum would write.
Q: Who is in 110 in the Shade with Audra?
A: I've heard the names Christopher Innvar, Steve Kazee and Bobby Steggert. I can't swear by any of them, but they make sense to me.
Q: Who is going to be in Adrift in Macao off-Broadway?
A: Well, I sort of don't know the answer. The original plan was to import the company directly from last fall's mounting at the Philadelphia Theater Company. I think that is a huge mistake, but, that is beyond the point. That company included Rachel de Benedet, Michele Ragusa (in a role that I saw Kaitlin Hopkins do in a reading to better effect), David McDonald and Michael Rupert. I think you will see most of them off-Broadway in January, but you will not see Rupert, as he is headed to Legally Blonde. I have not heard yet who will replace him, so, I've partially failed on this one.
OK--was this posting worth the wait? (That was rhetorical.)
Monday, October 30, 2006
Thursday, October 26, 2006
While we were talking I saw you nodding out...
I have read your emails about what you want to read here and I’m thinking… This Sunday will be the day for me to report some casting scoops. I believe. Assuming I don’t go through some Eternal Sunshine of the Spotless Mind wipe prior to then.
But, today, I have a little past business to finish up. I got three emails about my last column. Two people said I forgot Sunday in the Park with George and one person said I omitted Don Carlos. For those of you who do not know about Don Carlos—the production of Friedrich Schiller's tragedy that was supposed to come to Broadway, was one that starred Derek Jacobi and opened in the West End in February 2005. It was supposed to come to New York in fall 2005. Now we never saw it here and I heard very little about it after the initial reports that it would come. There are apparently still those hoping to bring it, but I tend to think it will go the way of Breath of Life, Fallen Angels and countless others.
Sunday in the Park with George: I am going on a limb here and assume everyone that reads this blog, other than possibly my close friends, knows what this musical is about. It opened on Broadway in May 1984, closed October 1985 and has never been revived on the Great White Way. The production heading to New York originated at the Menier Chocolate Factory, a tiny UK fringe venue that is very hip, and transferred to the West End, where it played from May to September of this year. The production, directed by Sam Buntrock (who I’d never heard of previously), was called “exquisite” by The London Times, but my friends who saw it oddly didn’t love it. Regardless of what they thought (apparently they don't rule the world), it was quickly touted for a transfer and even put “headed to Broadway” or something of the like in its UK advertisements. Of course, no theater was ever announced.
So that is it. I have to be somewhere VERY early tomorrow morning, so I am going to sleep. I am looking forward to reading the inevitable announcement tomorrow of Curtains at the Beck (also known as the Hirschfeld, to those not hanging on to the past). I hope no journalist writes that it received “rave” reviews in LA. I don’t want to lose faith in the profession.
But, today, I have a little past business to finish up. I got three emails about my last column. Two people said I forgot Sunday in the Park with George and one person said I omitted Don Carlos. For those of you who do not know about Don Carlos—the production of Friedrich Schiller's tragedy that was supposed to come to Broadway, was one that starred Derek Jacobi and opened in the West End in February 2005. It was supposed to come to New York in fall 2005. Now we never saw it here and I heard very little about it after the initial reports that it would come. There are apparently still those hoping to bring it, but I tend to think it will go the way of Breath of Life, Fallen Angels and countless others.
Sunday in the Park with George: I am going on a limb here and assume everyone that reads this blog, other than possibly my close friends, knows what this musical is about. It opened on Broadway in May 1984, closed October 1985 and has never been revived on the Great White Way. The production heading to New York originated at the Menier Chocolate Factory, a tiny UK fringe venue that is very hip, and transferred to the West End, where it played from May to September of this year. The production, directed by Sam Buntrock (who I’d never heard of previously), was called “exquisite” by The London Times, but my friends who saw it oddly didn’t love it. Regardless of what they thought (apparently they don't rule the world), it was quickly touted for a transfer and even put “headed to Broadway” or something of the like in its UK advertisements. Of course, no theater was ever announced.
So that is it. I have to be somewhere VERY early tomorrow morning, so I am going to sleep. I am looking forward to reading the inevitable announcement tomorrow of Curtains at the Beck (also known as the Hirschfeld, to those not hanging on to the past). I hope no journalist writes that it received “rave” reviews in LA. I don’t want to lose faith in the profession.
Monday, October 23, 2006
London Calling
Hmmm... For some reason my last post is gone. If you didn't read it, you didn't miss much, but it's odd.
Anyway… I thought I’d take this time to write about some London shows rumored for Broadway berths. I get questions all the time about these titles—not many people know what all of them are.
So…
Journey’s End: Playbill reported that it was coming this spring. Now it was also casting for a production last spring, so I wouldn’t bank on buying your tickets just yet. That being said—based on what I’ve heard about theater availability, I expect it, so let me tell you a little bit about it. Directed by David Grindley (who I do not believe has ever done anything on Broadway), it first opened in the West End in January 2004 at the Comedy Theatre. It switched houses many times, also playing at the Playhouse Theatre, Duke of York's and New Ambassadors Theatre. Based on scribe R.C. Sherriff’s own time in the trenches, the play itself first opened in 1929 and centers on a captain, Stanhope, as he prepares his men for a daring raid and epic battle. The production got great reviews—everyone in London said it was very powerful and graphic and, while not totally overtly anti-war, would really appeal to anti-war activists (aka New York liberals).
Coram Boy: Riedel reported this for the Imperial should High Fidelity fail early. Adapted from a Jamila Gavin novel, this dark tale first opened at the National Theatre last holiday season and was such a hit it is coming back this one. There are three major plots to this show: one has as its central characters Otis Gardiner, known as the Coram Man, and his unstable son, who take money from women who give birth to illegitimate children and, um, gets rid of the children; there is also the plot centering on Alexander Ashbrook who dreams of being a composer like Handel (his storyline involves a lot of music and singing); the other plot involves two orphans at the Coram Hospital for Deserted Children. Reviews said it was disturbing but also thrilling.
Frost/Nixon: Everyone has written that this show is coming to Gotham. And, indeed, the website for the West end transfer, beginning November 10 at the Gielgud, proudly boasts “12 weeks only prior to Broadway.” Starring Michael Sheen and Frank Langella as Frost and Nixon, respectively, the play just closed a limited run at the Donmar Warehouse. It centers on David Frost's post-Watergate interviews with Richard Nixon. I didn’t read one bad review of it and receiving big raves in each of the reviews was Langella. He just might need to make room on his mantle for a third Tony.
Rock ‘n’ Roll: Who originally thought this was about the origin of the music form? Just me? I sort of wish it was in some respect, but that would be a little tired and not be very Tom Stoppard. Here is the actual description: “Rock 'n' Roll spans the years from 1968 to 1990 from the double perspective of Prague, where a rock 'n' roll band comes to symbolize resistance to the Communist regime, and of Cambridge where the verities of love and death are shaping the lives of three generations in the family of a Marxist philosopher.” The show was a huge sold-out hit at the Royal Court and moved to the Duke of York's Theatre in July. Rufus Sewell and Sinead Cusack are among its stars. Some critics noted that it is at times overly complex, but they all seemed to go with it regardless. Trevor Nunn’s production received raves and apparently the show has a lot of spirit.
A Moon for the Misbegotten: They worked together on The Iceman Cometh and now director Howard Davies and star Kevin Spacey have reunited on another Eugene O'Neill classic. Spacey was having trouble receiving acclaim at the Old Vic, but this revival changed all that. Spacey’s co-stars Eve Best and Colm Meaney also both received their share of good notices. It’s at the Old Vic until December 23 and we could definitely be seeing it afterwards. Apparently they want Best and she is already scheduled to be in As You Like It (playing the Crucible Theater in Sheffield in the winter and then Stratford-on-Avon starting in March 2007) post-Moon, but I don’t think that will stop it. I mean, the play was just on Broadway in 2000 and that is not stopping this transfer…
I know I am forgetting something. Did one of these announce a theater and I’ve blocked it? Or am I forgetting a member of the list? Hmmm… If it was not 3am maybe I could answer my own questions.
Anyway… I thought I’d take this time to write about some London shows rumored for Broadway berths. I get questions all the time about these titles—not many people know what all of them are.
So…
Journey’s End: Playbill reported that it was coming this spring. Now it was also casting for a production last spring, so I wouldn’t bank on buying your tickets just yet. That being said—based on what I’ve heard about theater availability, I expect it, so let me tell you a little bit about it. Directed by David Grindley (who I do not believe has ever done anything on Broadway), it first opened in the West End in January 2004 at the Comedy Theatre. It switched houses many times, also playing at the Playhouse Theatre, Duke of York's and New Ambassadors Theatre. Based on scribe R.C. Sherriff’s own time in the trenches, the play itself first opened in 1929 and centers on a captain, Stanhope, as he prepares his men for a daring raid and epic battle. The production got great reviews—everyone in London said it was very powerful and graphic and, while not totally overtly anti-war, would really appeal to anti-war activists (aka New York liberals).
Coram Boy: Riedel reported this for the Imperial should High Fidelity fail early. Adapted from a Jamila Gavin novel, this dark tale first opened at the National Theatre last holiday season and was such a hit it is coming back this one. There are three major plots to this show: one has as its central characters Otis Gardiner, known as the Coram Man, and his unstable son, who take money from women who give birth to illegitimate children and, um, gets rid of the children; there is also the plot centering on Alexander Ashbrook who dreams of being a composer like Handel (his storyline involves a lot of music and singing); the other plot involves two orphans at the Coram Hospital for Deserted Children. Reviews said it was disturbing but also thrilling.
Frost/Nixon: Everyone has written that this show is coming to Gotham. And, indeed, the website for the West end transfer, beginning November 10 at the Gielgud, proudly boasts “12 weeks only prior to Broadway.” Starring Michael Sheen and Frank Langella as Frost and Nixon, respectively, the play just closed a limited run at the Donmar Warehouse. It centers on David Frost's post-Watergate interviews with Richard Nixon. I didn’t read one bad review of it and receiving big raves in each of the reviews was Langella. He just might need to make room on his mantle for a third Tony.
Rock ‘n’ Roll: Who originally thought this was about the origin of the music form? Just me? I sort of wish it was in some respect, but that would be a little tired and not be very Tom Stoppard. Here is the actual description: “Rock 'n' Roll spans the years from 1968 to 1990 from the double perspective of Prague, where a rock 'n' roll band comes to symbolize resistance to the Communist regime, and of Cambridge where the verities of love and death are shaping the lives of three generations in the family of a Marxist philosopher.” The show was a huge sold-out hit at the Royal Court and moved to the Duke of York's Theatre in July. Rufus Sewell and Sinead Cusack are among its stars. Some critics noted that it is at times overly complex, but they all seemed to go with it regardless. Trevor Nunn’s production received raves and apparently the show has a lot of spirit.
A Moon for the Misbegotten: They worked together on The Iceman Cometh and now director Howard Davies and star Kevin Spacey have reunited on another Eugene O'Neill classic. Spacey was having trouble receiving acclaim at the Old Vic, but this revival changed all that. Spacey’s co-stars Eve Best and Colm Meaney also both received their share of good notices. It’s at the Old Vic until December 23 and we could definitely be seeing it afterwards. Apparently they want Best and she is already scheduled to be in As You Like It (playing the Crucible Theater in Sheffield in the winter and then Stratford-on-Avon starting in March 2007) post-Moon, but I don’t think that will stop it. I mean, the play was just on Broadway in 2000 and that is not stopping this transfer…
I know I am forgetting something. Did one of these announce a theater and I’ve blocked it? Or am I forgetting a member of the list? Hmmm… If it was not 3am maybe I could answer my own questions.
Sunday, October 15, 2006
It's all over but the crying
Everyone who knows me well knows the following things about me (and more): I think Slurpees are man’s perfect food, I am a television addict, I love Spy Kids 2, my 7-CD player always has at least one Go-Go’s CD and one Garbage CD in it, I once worked for a moron (who hasn’t?), Anne Heche played my favorite childhood soap opera character, I say “random” a lot, I tend to answer all questions asked of me even when I shouldn’t and I can’t miss a campy live production. That’s right, the campier the better. So, following from that, it should be no surprise that my most highly-anticipated theatrical production of the year is Legends!. (More than Priscilla Queen of the Desert: The Musical because this one is in North America.)
I have followed the first tour stop of Legends! closely. I was getting a little impatient because it took so long for the show to have its official Toronto opening and, now that it has, I feel a little sad. Not that I was expecting it to receive good reviews, because of course I was not. But these notices don’t even make it seem fun. These are not In My Life reviews. Alas.
Judge for yourself…
The Toronto Star’s Richard Ouzounian: “What winds up onstage is pretty soggy, thanks to the mildewed script and limp direction of John Bowab. Even the big cat fight between the ladies is a snoozy, offstage affair… Joan Collins plays, uh, Joan Collins. She does it very well. She's been doing it for a long time. Linda Evans, on the other hand, is a bit of a surprise. With a husky voice and a haughty air, she actually hints that something might be going on inside her character.”
The Globe and Mail’s Kamal Al-Solaylee: “Picking on Legends!, a comedy that was probably hopelessly out of date when it opened in 1986, is like flogging a horse that's been sent to the glue factory. If the production moved any faster, it might, with some serious caveats, qualify for the morbidly redeeming quality of a train wreck, but John Bowab's staging--to call it direction is an act of generosity to which I don't feel inclined--is anesthetically, mind-numbingly slow... I suppose two feisty stage performers or real-life Hollywood legends could resuscitate this DOA material or lend it a self-reflexive twist. That seems to be beyond Collins or Evans... Collins approaches each scene with a predetermined agenda to steal it or at the very least project a stage confidence that suggests she ultimately lacks it. The kindest thing one can say about Evans is that she doesn't quite embarrass herself in this, her theatrical debut. Enough said.”
(Variety also has a review from Ouzounian with just slightly different wording.)
You see? Doesn’t sound fun… Though it does sound much like what I witnessed the other day when I turned on My Network TV’s Fashion House. I leave you with an exchange from that show that took place betweek Bo Derek and Morgan Fairchild right after Morgan broke up Bo’s wedding.
Scene: Bo is now at home and she opens the door to Morgan.
Morgan: If it isn’t the woman who put the “whore” back in horrible.
Bo: How dare you come here? What the hell do you think you are doing?
Morgan: Well, you left the church so quickly, I didn’t even get to offer my best wishes to the blushing bride.
Bo: Save your cheap wit for someone else.
Morgan: Well you would know from cheap, wouldn’t you.
I have followed the first tour stop of Legends! closely. I was getting a little impatient because it took so long for the show to have its official Toronto opening and, now that it has, I feel a little sad. Not that I was expecting it to receive good reviews, because of course I was not. But these notices don’t even make it seem fun. These are not In My Life reviews. Alas.
Judge for yourself…
The Toronto Star’s Richard Ouzounian: “What winds up onstage is pretty soggy, thanks to the mildewed script and limp direction of John Bowab. Even the big cat fight between the ladies is a snoozy, offstage affair… Joan Collins plays, uh, Joan Collins. She does it very well. She's been doing it for a long time. Linda Evans, on the other hand, is a bit of a surprise. With a husky voice and a haughty air, she actually hints that something might be going on inside her character.”
The Globe and Mail’s Kamal Al-Solaylee: “Picking on Legends!, a comedy that was probably hopelessly out of date when it opened in 1986, is like flogging a horse that's been sent to the glue factory. If the production moved any faster, it might, with some serious caveats, qualify for the morbidly redeeming quality of a train wreck, but John Bowab's staging--to call it direction is an act of generosity to which I don't feel inclined--is anesthetically, mind-numbingly slow... I suppose two feisty stage performers or real-life Hollywood legends could resuscitate this DOA material or lend it a self-reflexive twist. That seems to be beyond Collins or Evans... Collins approaches each scene with a predetermined agenda to steal it or at the very least project a stage confidence that suggests she ultimately lacks it. The kindest thing one can say about Evans is that she doesn't quite embarrass herself in this, her theatrical debut. Enough said.”
(Variety also has a review from Ouzounian with just slightly different wording.)
You see? Doesn’t sound fun… Though it does sound much like what I witnessed the other day when I turned on My Network TV’s Fashion House. I leave you with an exchange from that show that took place betweek Bo Derek and Morgan Fairchild right after Morgan broke up Bo’s wedding.
Scene: Bo is now at home and she opens the door to Morgan.
Morgan: If it isn’t the woman who put the “whore” back in horrible.
Bo: How dare you come here? What the hell do you think you are doing?
Morgan: Well, you left the church so quickly, I didn’t even get to offer my best wishes to the blushing bride.
Bo: Save your cheap wit for someone else.
Morgan: Well you would know from cheap, wouldn’t you.
Thursday, October 12, 2006
It's A Long Road to Turkey Point
I was going to write some random casting news today, but instead I come to you with a timely public service announcement: Do not believe everything you read. Please. Even if it is on this blog. Blind trust is bad (believe only that).
Why do I feel compelled to write this now? Well, about a month ago I heard that Cry-Baby was being delayed in Seattle. Now I thought this news had been reported when I was out-of-town and not paying attention, so I was surprised to read it everywhere just today. I was also saddened when I read it because it brought to light something I have long known--journalists spout press agent bullshit like it's fact. You see, Cry-Baby is not really being delayed because there is no available Broadway house. That's a crap excuse--convenient but not 100% true. If Cry-Baby was in great shape and had a cast, it would be doing its tryout this winter, regardless of the housing situation. It would have back-up deals on some Broadway houses and be ready to come in when one became available. I love the Cry-Baby score, I am a fan of its producer and I support it wholeheartedly, honestly, but the truth is, not many people left its recent workshop thinking the show was ready to go. It needs work and two new leads who they have yet to find. I respect them delaying it to deal with these issues--that is what should be done. And, also, I understand the production's need to use a excuse that does in fact have some merit and won't hurt the future of the show. This is all wise on their part. But it just upsets me a little to read it Variety: "The 5th Avenue Theater in Seattle has delayed the pre-Broadway tryout of the tuner adaptation of John Waters' Cry-Baby because the production could not lock in a Broadway theater for an immediate transfer to Gotham."
Again you may ask "why?" If I agree that it's wise to use such an excuse and I want the production to succeed, it should not bother me when that excuse is printed. Yet it does. The reason is, journalists should not print things like they are 100% factual, when it's not clear they are. I understand writing things according to a production statement, lord knows I've had to do it even when I knew that the statement was crap. I mean--we all knew in our hearts Jenna Elfman was never rejoining Nine, but they said she was, so that was the thing to write. But then, blame the production for the lie. In other words write: "While Elfman will not start on schedule, she will be rejoining the production at a later time, according to a production spokesperson." That last part after the comma is key. If you write these things without attribution to the production, you write it as if it is 100% fact and it's often not. You then have an untrue report. It's not like this is the reporting of a factual thing, such as "the production lasted two hours," this is the reporting of an unverifiable causal relationship. Such things, when written in news stories, should be attributed. End of story. I know I am guilty of not always following this rule--I am sure you can find stories where I stated non-factual items as fact (don't send them to me; I am already admitting guilt)--but it's the wrong thing to do as a journalist.
And as a reader, I believe I have the right to know where such things come from. Is this the reporter's opinion? Is it coming from the production? Does it belong to a random expert? Are all people "in the know" saying the same thing? We all need to question the source of the information. That is what people in an educated society should do. But, unfortunately, sometimes things are just stated as fact and we don't know anything else. We don't know where it came from--we cannot fully analyze it. As readers, we do not typically call journalists and say: "Hey--is this really true? Who told you?" I doubt they'd like it... I know I wouldn't... So, sometimes as a reader you just need to make up your mind.
I urge you to be skeptical of all things (especially ones that are not totally verifiable and/or supported by a large amount of accompanying facts). Don't believe just because it's in The Times or Variety it is true. Think.
Why do I feel compelled to write this now? Well, about a month ago I heard that Cry-Baby was being delayed in Seattle. Now I thought this news had been reported when I was out-of-town and not paying attention, so I was surprised to read it everywhere just today. I was also saddened when I read it because it brought to light something I have long known--journalists spout press agent bullshit like it's fact. You see, Cry-Baby is not really being delayed because there is no available Broadway house. That's a crap excuse--convenient but not 100% true. If Cry-Baby was in great shape and had a cast, it would be doing its tryout this winter, regardless of the housing situation. It would have back-up deals on some Broadway houses and be ready to come in when one became available. I love the Cry-Baby score, I am a fan of its producer and I support it wholeheartedly, honestly, but the truth is, not many people left its recent workshop thinking the show was ready to go. It needs work and two new leads who they have yet to find. I respect them delaying it to deal with these issues--that is what should be done. And, also, I understand the production's need to use a excuse that does in fact have some merit and won't hurt the future of the show. This is all wise on their part. But it just upsets me a little to read it Variety: "The 5th Avenue Theater in Seattle has delayed the pre-Broadway tryout of the tuner adaptation of John Waters' Cry-Baby because the production could not lock in a Broadway theater for an immediate transfer to Gotham."
Again you may ask "why?" If I agree that it's wise to use such an excuse and I want the production to succeed, it should not bother me when that excuse is printed. Yet it does. The reason is, journalists should not print things like they are 100% factual, when it's not clear they are. I understand writing things according to a production statement, lord knows I've had to do it even when I knew that the statement was crap. I mean--we all knew in our hearts Jenna Elfman was never rejoining Nine, but they said she was, so that was the thing to write. But then, blame the production for the lie. In other words write: "While Elfman will not start on schedule, she will be rejoining the production at a later time, according to a production spokesperson." That last part after the comma is key. If you write these things without attribution to the production, you write it as if it is 100% fact and it's often not. You then have an untrue report. It's not like this is the reporting of a factual thing, such as "the production lasted two hours," this is the reporting of an unverifiable causal relationship. Such things, when written in news stories, should be attributed. End of story. I know I am guilty of not always following this rule--I am sure you can find stories where I stated non-factual items as fact (don't send them to me; I am already admitting guilt)--but it's the wrong thing to do as a journalist.
And as a reader, I believe I have the right to know where such things come from. Is this the reporter's opinion? Is it coming from the production? Does it belong to a random expert? Are all people "in the know" saying the same thing? We all need to question the source of the information. That is what people in an educated society should do. But, unfortunately, sometimes things are just stated as fact and we don't know anything else. We don't know where it came from--we cannot fully analyze it. As readers, we do not typically call journalists and say: "Hey--is this really true? Who told you?" I doubt they'd like it... I know I wouldn't... So, sometimes as a reader you just need to make up your mind.
I urge you to be skeptical of all things (especially ones that are not totally verifiable and/or supported by a large amount of accompanying facts). Don't believe just because it's in The Times or Variety it is true. Think.
Monday, October 09, 2006
Ummm... I screwed up...
One of Broadway's brightest observers emailed me this morning to correct my last post. While there were 27 people on the nominating committee in July, there are now 26. That is because Larry Sacharow, a well-respected professor, died in August before ever serving. I do not know why the Tony people have yet to remove him from the Tony site. I apologize for my sloppiness--I should have checked their list more closely. After all--who trusts them?
So, now, here is the total list:
Victoria Bailey - Executive Director, Theatre Development Fund
Joe Benincasa - President, The Actors' Fund of America
Susan Birkenhead - Lyricist
Edward Burbridge - Scenic Designer
Robert Callely - Theatre Executive
Ben Cameron - Program Director for the Arts, Doris Duke Charitable Foundation
Betty Corwin - Retired Director of the Lincoln Center Library for Performing Arts
John Dias - Producer, Dramaturg, Educator
Mercedes Ellington - Choreographer
Sue Frost - Producer/Company Manager
Joanna Gleason - Actor
Andrew Jackness - Scenic Designer
David Henry Hwang - Playwright
Betty Jacobs - Script Consultant/Theatre Historian
Robert Kamlot - Retired General Manager
Todd London - Artistic Director, New Dramatists
Brian Stokes Mitchell - Actor
Peter Neufeld - Former General Manager
Phyllis Newman - Actor/Writer/Lyricist
Lynn Nottage - Playwright
Gilbert Parker - Retired Senior Vice President of the William Morris Agency
Jonathan Reynolds - Playwright/Screenwriter
Steve Suskin - Theatre Author
Jac Venza - Retired Executive, WNET
Tom Viola - President, Broadway Cares/Equity Fights AIDS
Franklin Weissberg - Retired Judge of the New York State Court of Claims
My comments remain the same.
So, now, here is the total list:
Victoria Bailey - Executive Director, Theatre Development Fund
Joe Benincasa - President, The Actors' Fund of America
Susan Birkenhead - Lyricist
Edward Burbridge - Scenic Designer
Robert Callely - Theatre Executive
Ben Cameron - Program Director for the Arts, Doris Duke Charitable Foundation
Betty Corwin - Retired Director of the Lincoln Center Library for Performing Arts
John Dias - Producer, Dramaturg, Educator
Mercedes Ellington - Choreographer
Sue Frost - Producer/Company Manager
Joanna Gleason - Actor
Andrew Jackness - Scenic Designer
David Henry Hwang - Playwright
Betty Jacobs - Script Consultant/Theatre Historian
Robert Kamlot - Retired General Manager
Todd London - Artistic Director, New Dramatists
Brian Stokes Mitchell - Actor
Peter Neufeld - Former General Manager
Phyllis Newman - Actor/Writer/Lyricist
Lynn Nottage - Playwright
Gilbert Parker - Retired Senior Vice President of the William Morris Agency
Jonathan Reynolds - Playwright/Screenwriter
Steve Suskin - Theatre Author
Jac Venza - Retired Executive, WNET
Tom Viola - President, Broadway Cares/Equity Fights AIDS
Franklin Weissberg - Retired Judge of the New York State Court of Claims
My comments remain the same.
Sunday, October 08, 2006
Where have you gone Mr. Fisher?
At the beginning of every theatrical season, I like to look at the list of Tony nominators. I know come May I am going to be bombarded with: “Who chooses these things anyway?!?!” So it’s best to prepare ahead.
We could debate the long-lasting effect (or lack thereof) of Tony nominations for weeks, but, regardless, these people are important. Last year, there were 27 nominators at the start of the season and 23 by season’s end, this year there are again 27 at the start. (A statement I read from The League said there were 28, but I keep re-counting and getting 27, so, I am going with my number.)
For those who don't know, nominators serve three-year terms. So, this year, Stephen Bogardus, Kirsten Childs, Jacqueline Davis, Nancy Ford, Geoffrey Johnson and Enid Nemy are off the list because they already served their three. Dana Ivey has also recused herself because she is in Butley--she'll be back next year, in theory.
This year, the new people are Actors' Fund President Joe Benincasa, Robert Callely (best known for running playwright foundations, I think), Public Theater Associate Artistic Director John Dias, producer/company manager Sue Frost (who hasn't worked on Broadway in over a decade), actress Joanna Gleason, Betty Jacobs (a script consultant who has served before), actress Phyllis Newman, Fordham professor Larry Sacharow, writer Steve Suskin and BC/EFA head Tom Viola.
So here is the total list:
Victoria Bailey - Executive Director, Theatre Development Fund
Joe Benincasa - President, The Actors' Fund of America
Susan Birkenhead - Lyricist
Edward Burbridge - Scenic Designer
Robert Callely - Theatre Executive
Ben Cameron - Program Director for the Arts, Doris Duke Charitable Foundation
Betty Corwin - Retired Director of the Lincoln Center Library for Performing Arts
John Dias - Producer, Dramaturg, Educator
Mercedes Ellington - Choreographer
Sue Frost - Producer/Company Manager
Joanna Gleason - Actor
Andrew Jackness - Scenic Designer
David Henry Hwang - Playwright
Betty Jacobs - Script Consultant/Theatre Historian
Robert Kamlot - Retired General Manager
Todd London - Artistic Director, New Dramatists
Brian Stokes Mitchell - Actor
Peter Neufeld - Former General Manager
Phyllis Newman - Actor/Writer/Lyricist
Lynn Nottage - Playwright
Gilbert Parker - Retired Senior Vice President of the William Morris Agency
Jonathan Reynolds - Playwright/Screenwriter
Larry Sacharow - Theatre Professor, Fordham University
Steve Suskin - Theatre Author
Jac Venza - Retired Executive, WNET
Tom Viola - President, Broadway Cares/Equity Fights AIDS
Franklin Weissberg - Retired Judge of the New York State Court of Claims
Now there are some interesting things about this list… Without names such as Marc Shaiman (who served fairly recently) and Kirsten Childs, there are no composers on this list. There are also no directors. The majority of people on this list—for better or worse--are people who watch shows, not those directly involved in the creation of shows. I could write an interesting feature on this, but I feel like no one would run it.
Now the most notable thing about the above list is who is missing. Before the 2005-2006 season, Sarah Jessica Parker was announced for the nominating committee, but she had to pull out for the year because of hubby Matthew Broderick’s involvement in The Odd Couple. This year, she would again have to take a year leave because he has another Broadway gig, The Starry Messenger. Except oddly there was no mention whatsoever of her when the committee was announced—no note that she had another year off. Even stranger is the absence of Rob Fisher from the list. Rob Fisher, a musical director probably best known for his work with the Encores! series, was also announced as a nominator last year, except he didn’t serve on the committee. This year his absence could because of his involvement in The Apple Tree (which started at Encores!)—though there is no note to prove that--but it’s still curious. Why did he not even participate last year?
Now each year, somehow nominators are lost along the way. There are various reasons why—I’m assuming in most cases it is either a conflict of interest or a failure to see every show. For instance, last season Marc Shaiman disappeared from the list by season’s end. But this usually happens after the person has served for at least one year. Rob Fisher never served.
Regardless of all this, the people on that list are ones who will dash hopes or make dreams come true this season. Let’s hope they have some taste (that agrees with mine).
We could debate the long-lasting effect (or lack thereof) of Tony nominations for weeks, but, regardless, these people are important. Last year, there were 27 nominators at the start of the season and 23 by season’s end, this year there are again 27 at the start. (A statement I read from The League said there were 28, but I keep re-counting and getting 27, so, I am going with my number.)
For those who don't know, nominators serve three-year terms. So, this year, Stephen Bogardus, Kirsten Childs, Jacqueline Davis, Nancy Ford, Geoffrey Johnson and Enid Nemy are off the list because they already served their three. Dana Ivey has also recused herself because she is in Butley--she'll be back next year, in theory.
This year, the new people are Actors' Fund President Joe Benincasa, Robert Callely (best known for running playwright foundations, I think), Public Theater Associate Artistic Director John Dias, producer/company manager Sue Frost (who hasn't worked on Broadway in over a decade), actress Joanna Gleason, Betty Jacobs (a script consultant who has served before), actress Phyllis Newman, Fordham professor Larry Sacharow, writer Steve Suskin and BC/EFA head Tom Viola.
So here is the total list:
Victoria Bailey - Executive Director, Theatre Development Fund
Joe Benincasa - President, The Actors' Fund of America
Susan Birkenhead - Lyricist
Edward Burbridge - Scenic Designer
Robert Callely - Theatre Executive
Ben Cameron - Program Director for the Arts, Doris Duke Charitable Foundation
Betty Corwin - Retired Director of the Lincoln Center Library for Performing Arts
John Dias - Producer, Dramaturg, Educator
Mercedes Ellington - Choreographer
Sue Frost - Producer/Company Manager
Joanna Gleason - Actor
Andrew Jackness - Scenic Designer
David Henry Hwang - Playwright
Betty Jacobs - Script Consultant/Theatre Historian
Robert Kamlot - Retired General Manager
Todd London - Artistic Director, New Dramatists
Brian Stokes Mitchell - Actor
Peter Neufeld - Former General Manager
Phyllis Newman - Actor/Writer/Lyricist
Lynn Nottage - Playwright
Gilbert Parker - Retired Senior Vice President of the William Morris Agency
Jonathan Reynolds - Playwright/Screenwriter
Larry Sacharow - Theatre Professor, Fordham University
Steve Suskin - Theatre Author
Jac Venza - Retired Executive, WNET
Tom Viola - President, Broadway Cares/Equity Fights AIDS
Franklin Weissberg - Retired Judge of the New York State Court of Claims
Now there are some interesting things about this list… Without names such as Marc Shaiman (who served fairly recently) and Kirsten Childs, there are no composers on this list. There are also no directors. The majority of people on this list—for better or worse--are people who watch shows, not those directly involved in the creation of shows. I could write an interesting feature on this, but I feel like no one would run it.
Now the most notable thing about the above list is who is missing. Before the 2005-2006 season, Sarah Jessica Parker was announced for the nominating committee, but she had to pull out for the year because of hubby Matthew Broderick’s involvement in The Odd Couple. This year, she would again have to take a year leave because he has another Broadway gig, The Starry Messenger. Except oddly there was no mention whatsoever of her when the committee was announced—no note that she had another year off. Even stranger is the absence of Rob Fisher from the list. Rob Fisher, a musical director probably best known for his work with the Encores! series, was also announced as a nominator last year, except he didn’t serve on the committee. This year his absence could because of his involvement in The Apple Tree (which started at Encores!)—though there is no note to prove that--but it’s still curious. Why did he not even participate last year?
Now each year, somehow nominators are lost along the way. There are various reasons why—I’m assuming in most cases it is either a conflict of interest or a failure to see every show. For instance, last season Marc Shaiman disappeared from the list by season’s end. But this usually happens after the person has served for at least one year. Rob Fisher never served.
Regardless of all this, the people on that list are ones who will dash hopes or make dreams come true this season. Let’s hope they have some taste (that agrees with mine).
Friday, October 06, 2006
Top 5?
While most people in this industry are concerned tonight with whether A Chorus Line will be a singular sensation, I myself have my attention focused on beantown, where High Fidelity has opened its tryout. I am really pulling for it, as I hope all new shows succeed, especially ones with Will Chase. I was supposed to go to see it last weekend, but, my fever has kept me home bound and thus I just have the reviews to give me a glimpse of the show. And you'll read them here as I read them. Now, note, this is a tryout. As we all know, Movin' Out got bad reviews in Chicago and look at that.
The first High Fidelity review I've seen is from The Boston Herald's Terry Byrne. Byrne isn't having it, in the second paragraph stating: "Composer Tom Kitt’s songs are a forgettable collection of regurgitated rock and show tunes that borrow from all the wrong people. In a story that celebrates a guy’s love for real music, that’s not acceptable."
But Byrne likes most of the cast, including Will. The one exception is Jenn Colella, who had probably been having a good week as she watched The Times They Are A-Changin' drama from far away, but now has a little rain falling on her parade. Byrne notes Colella "is a strong singer, but she’s a little bland, so it’s hard to understand why Rob wants her back."
Other comments: "The characters surrounding the two leads are more compelling than the ones we’re supposed to focus on.... Director Walter Bobbie has worked in a few clever moments on Anna Louizos’ fascinating fold-out set...But there aren’t enough of these over-the-top moments to sustain interest. Lindsay-Abaire has written some clever dialogue (with references to John Tesh and other faux icons of the early ’90s), but Amanda Green’s lyrics try too hard."
OK, it's 1am and the second review is up... It's by Joan Anderman of The Boston Globe and I have to say it's not great either. She calls the show "mildly witty and amusing" but she sadly does not mean that in a good way. Anderman: "In an effort to straddle the hip, indie world of its characters and the mainstream demands of Broadway, the show misses both marks." Anderman likes Green's lyrics, calling them "very smart," but the music gets slammed again here. It seems so far that these two critics just think the show is too darn generic. But, again, this is a tryout, so there is hope.
The third major review is in and it is... drumroll... GOOD! Variety's Frank Rizzo writes: "Even with all its out-of-town try-out flaws, High Fidelity is a musical that celebrates the power of pop culture with wit, verve and a killer beat." Rizzo thinks David Lindsay-Abaire does a good job with the book. He sadly doesn't love Will and thinks the female lead role is a bit "underwritten." But he loves the music and the lyrics, becoming the first critic to really praise the tunes. He also calls the production values "solid." All in all, this is a good sign for the show. Rizzo notes that the second act needs help and some other issue, but it is still by far the tuner's best review.
The first High Fidelity review I've seen is from The Boston Herald's Terry Byrne. Byrne isn't having it, in the second paragraph stating: "Composer Tom Kitt’s songs are a forgettable collection of regurgitated rock and show tunes that borrow from all the wrong people. In a story that celebrates a guy’s love for real music, that’s not acceptable."
But Byrne likes most of the cast, including Will. The one exception is Jenn Colella, who had probably been having a good week as she watched The Times They Are A-Changin' drama from far away, but now has a little rain falling on her parade. Byrne notes Colella "is a strong singer, but she’s a little bland, so it’s hard to understand why Rob wants her back."
Other comments: "The characters surrounding the two leads are more compelling than the ones we’re supposed to focus on.... Director Walter Bobbie has worked in a few clever moments on Anna Louizos’ fascinating fold-out set...But there aren’t enough of these over-the-top moments to sustain interest. Lindsay-Abaire has written some clever dialogue (with references to John Tesh and other faux icons of the early ’90s), but Amanda Green’s lyrics try too hard."
OK, it's 1am and the second review is up... It's by Joan Anderman of The Boston Globe and I have to say it's not great either. She calls the show "mildly witty and amusing" but she sadly does not mean that in a good way. Anderman: "In an effort to straddle the hip, indie world of its characters and the mainstream demands of Broadway, the show misses both marks." Anderman likes Green's lyrics, calling them "very smart," but the music gets slammed again here. It seems so far that these two critics just think the show is too darn generic. But, again, this is a tryout, so there is hope.
The third major review is in and it is... drumroll... GOOD! Variety's Frank Rizzo writes: "Even with all its out-of-town try-out flaws, High Fidelity is a musical that celebrates the power of pop culture with wit, verve and a killer beat." Rizzo thinks David Lindsay-Abaire does a good job with the book. He sadly doesn't love Will and thinks the female lead role is a bit "underwritten." But he loves the music and the lyrics, becoming the first critic to really praise the tunes. He also calls the production values "solid." All in all, this is a good sign for the show. Rizzo notes that the second act needs help and some other issue, but it is still by far the tuner's best review.
Thursday, October 05, 2006
The room is spinning
I have long been a supporter of Meredith Patterson's career (not that it has helped her any), so it made me very happy to see her re-appear on Boston Legal Tuesday night. For those of you who did not see it--let me share with you a highlight.
Scene: Meredith's character is crying because she just found out her husband is a cheater
Candice Bergen: "Look at the lungs on you..."
Meredith: "I learned to project in Gypsy."
Now that is mildly funny regardless of your knowledge of Meredith's career, but it becomes genuinely amusing when you know she spent a little while this summer starring in the title role of Gypsy at the St. Louis Muny. (She received good reviews, Karen Mason, the production's Rose, did not fare as well.) Looks like David Kelley knows his actors...
You know, that was lame written out like that, but, I swear it was amusing at the time. Now I had a lot more to write today, but the fever seems to have over-heated my brain and caused malfunction. So I don't remember what any of it was. But wait until Sunday, it will so all come back to me by then. Actually, come back before then if you don't want to read all the High Fidelity reviews, but do want excerpts from them. They will be up here.
I leave you with this thought--
If Tracey Ullman can write a book about knitting (seriously), why can she not get her Broadway show together?
Scene: Meredith's character is crying because she just found out her husband is a cheater
Candice Bergen: "Look at the lungs on you..."
Meredith: "I learned to project in Gypsy."
Now that is mildly funny regardless of your knowledge of Meredith's career, but it becomes genuinely amusing when you know she spent a little while this summer starring in the title role of Gypsy at the St. Louis Muny. (She received good reviews, Karen Mason, the production's Rose, did not fare as well.) Looks like David Kelley knows his actors...
You know, that was lame written out like that, but, I swear it was amusing at the time. Now I had a lot more to write today, but the fever seems to have over-heated my brain and caused malfunction. So I don't remember what any of it was. But wait until Sunday, it will so all come back to me by then. Actually, come back before then if you don't want to read all the High Fidelity reviews, but do want excerpts from them. They will be up here.
I leave you with this thought--
If Tracey Ullman can write a book about knitting (seriously), why can she not get her Broadway show together?
Sunday, October 01, 2006
If this ever changing world in which we live in...
This past week, while walking on my way to pick up a Slurpee, I ran into an investor who scolded me for breaking some story on this blog a while ago. I stood there for some time, listened and nodded, but then I blurted out: "Umm... you should be happy that anyone cares!" And it reminded me that for years I've been listening to people scream about how, because of the internet, nothing is private anymore. I used to hate having that same conversation over and over again--me defending the right of the people to know, all the while thinking: "If I say thirty people really care, I'm being generous." In this particular case, when this investor went with 'You people won't let anything just die--you have to put it out there," I just zoned out, thinking about whether they would have Pina Colada flavor at the 7-11. But it got me thinking afterwards--can things just go away in today's community? Or is everything, even things that only one person cares about, brought to light somewhere?
Well, shortly after this encounter, I was flipping thought The Times and saw Campbell Robertson's piece on "dueling magicians" Eric Walton and Ricky Jay. Now I'm a fan of Campbell's work and I do tend to read all his stories, but this one I got to about line 10 on before going back to watching my soap opera safe in the knowledge that I don't care about slight of hand artists. As I was watching Erica Kane try to reclaim the son she thought she aborted, something hit me--I remembered Marc Salem, another magician, and how he pulled a disappearing act with his own Broadway show. See, in 2004, his Mind Games on Broadway played Mondays (and at some point Tuesdays) at the Lyceum Theatre. It went on a scheduled hiatus in late November, never came back and no one wrote about it. I think I noticed about a month too late. Proof that if no one cares, things can just vanish, smoke and mirrors or no.
Another thing no one wrote about is the death of the Tribeca Theater Festival. For those who don't remember what it was, it opened in the fall of 2004 and was supposed to be a big annual event in conjunction with the Tribeca Film Festival. The Drama Dept., which was mired in debt and could not produce an actual season as it had in the past, was the prime theater force behind it. The central feature of the festival was The Downtown Plays, an evening of short works by playwrights Jon Robin Baitz, Douglas Carter Beane, David Henry Hwang, Neil LaBute, Warren Leight, Kenneth Lonergan, Paul Rudnick and Wendy Wasserstein. So, it's not like there were just a bunch of slouches involved. Yet, when the next year came and there was no Tribeca Theater Festival, no one seemed to miss it.
These are just two examples of the many things that still don't get reported. I mean--how many people noticed when Aunjanue Ellis was replaced in rehearsals of Doubt with Adriane Lenox? MTC has a few more instance of that in its recent history... So it's not like there cannot be a secret in this world, it's just hard to keep things secret that people care about. And is that so bad?
Well, I am of the belief that people should just chill about it. When there was a Friday Times column, I understood producers holding onto their scoops for dear life, knowing that a break in the column was a big deal. That column rightfully tended not to print old news, so if it was on Playbill.com on Tuesday, it was bye bye Times. But now there is no column and The Times and Variety frequently print things that have appeared online previously.
There is also the argument that word of casting or theater news before there are signed deals, jeopardizes the project. But I would counter with the fact that trade papers frequently print that people are "in talks" for movies and, while it does produce some drama, it is not a huge ridiculous scandal. Additionally, many film companies just ignore when random websites print such things in passing. In the theater world, print "in talks" on a website and it is like you are single-handedly responsible for killing something (I am not sure what). It is shocking that theater producers and their representatives tend to take these things so much more seriously than movie-folk do, because theater news reaches much fewer people than movie news does. And for every 100 people that care the casting of Kenneth Lonergan's latest movie, 1 person cares about the casting for The Starry Messenger.
So, basically my point is, theater people (myself included) often take things too seriously. It helps to have perspective. I hope this 'live and let live' message means that the investor I ran into won't call me and yell about this column.
Anyway, I must go prepare myself for Yom Kippur. I wish "easy fast" to those reading this who are fasting.
Well, shortly after this encounter, I was flipping thought The Times and saw Campbell Robertson's piece on "dueling magicians" Eric Walton and Ricky Jay. Now I'm a fan of Campbell's work and I do tend to read all his stories, but this one I got to about line 10 on before going back to watching my soap opera safe in the knowledge that I don't care about slight of hand artists. As I was watching Erica Kane try to reclaim the son she thought she aborted, something hit me--I remembered Marc Salem, another magician, and how he pulled a disappearing act with his own Broadway show. See, in 2004, his Mind Games on Broadway played Mondays (and at some point Tuesdays) at the Lyceum Theatre. It went on a scheduled hiatus in late November, never came back and no one wrote about it. I think I noticed about a month too late. Proof that if no one cares, things can just vanish, smoke and mirrors or no.
Another thing no one wrote about is the death of the Tribeca Theater Festival. For those who don't remember what it was, it opened in the fall of 2004 and was supposed to be a big annual event in conjunction with the Tribeca Film Festival. The Drama Dept., which was mired in debt and could not produce an actual season as it had in the past, was the prime theater force behind it. The central feature of the festival was The Downtown Plays, an evening of short works by playwrights Jon Robin Baitz, Douglas Carter Beane, David Henry Hwang, Neil LaBute, Warren Leight, Kenneth Lonergan, Paul Rudnick and Wendy Wasserstein. So, it's not like there were just a bunch of slouches involved. Yet, when the next year came and there was no Tribeca Theater Festival, no one seemed to miss it.
These are just two examples of the many things that still don't get reported. I mean--how many people noticed when Aunjanue Ellis was replaced in rehearsals of Doubt with Adriane Lenox? MTC has a few more instance of that in its recent history... So it's not like there cannot be a secret in this world, it's just hard to keep things secret that people care about. And is that so bad?
Well, I am of the belief that people should just chill about it. When there was a Friday Times column, I understood producers holding onto their scoops for dear life, knowing that a break in the column was a big deal. That column rightfully tended not to print old news, so if it was on Playbill.com on Tuesday, it was bye bye Times. But now there is no column and The Times and Variety frequently print things that have appeared online previously.
There is also the argument that word of casting or theater news before there are signed deals, jeopardizes the project. But I would counter with the fact that trade papers frequently print that people are "in talks" for movies and, while it does produce some drama, it is not a huge ridiculous scandal. Additionally, many film companies just ignore when random websites print such things in passing. In the theater world, print "in talks" on a website and it is like you are single-handedly responsible for killing something (I am not sure what). It is shocking that theater producers and their representatives tend to take these things so much more seriously than movie-folk do, because theater news reaches much fewer people than movie news does. And for every 100 people that care the casting of Kenneth Lonergan's latest movie, 1 person cares about the casting for The Starry Messenger.
So, basically my point is, theater people (myself included) often take things too seriously. It helps to have perspective. I hope this 'live and let live' message means that the investor I ran into won't call me and yell about this column.
Anyway, I must go prepare myself for Yom Kippur. I wish "easy fast" to those reading this who are fasting.
Thursday, September 28, 2006
What About Tears When I'm Happy?
Does everyone out there know about the musical How to Save the World and Find True Love in 90 Minutes? It's a musical that was at the Fringe two years ago... I'm sure the fact that it is coming back has been reported somewhere--it starts at New World Stages in November. I know its cast includes Anika Larsen, Nicole Ruth Snelson (who was good in that Have a Nice Life NYMF show I saw), Natalie Joy Johnson (always to be best known in my mind from Bare), Stephen Bienskie and Michael McEachran, but I don't know much else about it, which is scary because I saw it. That's right, I sat at the Lortel watching it in August 2004 and yet I remember none of it. I think it takes place at the UN. I think I laughed a couple of times during it, but I don't recall thinking it was a definite transfer. And clearly it wasn't memorable! Yet it's coming off-Broadway. I continue to be surprised at how many off-Broadway musicals get produced. Each year, there is a crowded crop of hopefuls, despite the dismal odds of success.
In the next few months, New World Stages' five spaces will be completely filled with musicals (if you count Drumstruck as a musical and, I mean, they do play music on those drums). Of the new crop--there is How to Save the World in the tiny Stage 5, Mimi le Duck (which i support) in the 499-seat Stage 3 and Evil Dead in the other 499-seater, Stage 1. I wish all of them the best of luck, especially Mimi. And, as a theater fan, I'm happy they're getting done. I just really, really question the business model at play here. Is there even one? Or in the increasing world of investors as producers are people just basically following their hearts?
I leave you to ponder that question--and please feel free to email me at carajoy@gmail.com or leave a comment if you have any answers. Today I was going to write about why the mediocre musical The Color Purple (which will soon welcome Alton Fitzgerald White to its cast) continues to be popular, but I've lost the energy. Actually, even writing that sentence completely tired me out.
In the next few months, New World Stages' five spaces will be completely filled with musicals (if you count Drumstruck as a musical and, I mean, they do play music on those drums). Of the new crop--there is How to Save the World in the tiny Stage 5, Mimi le Duck (which i support) in the 499-seat Stage 3 and Evil Dead in the other 499-seater, Stage 1. I wish all of them the best of luck, especially Mimi. And, as a theater fan, I'm happy they're getting done. I just really, really question the business model at play here. Is there even one? Or in the increasing world of investors as producers are people just basically following their hearts?
I leave you to ponder that question--and please feel free to email me at carajoy@gmail.com or leave a comment if you have any answers. Today I was going to write about why the mediocre musical The Color Purple (which will soon welcome Alton Fitzgerald White to its cast) continues to be popular, but I've lost the energy. Actually, even writing that sentence completely tired me out.
Sunday, September 24, 2006
Don't Ya Think
Greetings all. The Jewish holiday just ended a few hours ago and I'm still away with family. Thus there will be no real posting today. I will say that I was reading my guest blogger's columns over and I want to make a correction--Jane Eyre was not closed when it was nominated for its Tony. I remember vividly the whole "we're closing/we're not" drama because it geniusly involved Alanis Morisette (who bailed the show out) and it also involved Tony Award broadcast time (the Tonys took away the show's performance time-slot when it announced it was closing and originally refused to give it back even though the show was remaining open). In the end, Jane Eyre was indeed still open when it was nominated for its Tony and when it lost on Tony night (which of course was inevitable). After a fight, the show was allowed to perform on the broadcast. I can't remember what they performed--the only thing I remember from that night was timing the number on a stop watch and, additionally, being upset when Christine Ebersole won. OK, back to the family now. It's time for dinner. I'll have a good post on Wednesday to make up for this random one.
Thursday, September 21, 2006
I Just Can't Wait...
It is my favorite time of year ladies and gentlemen -- fall television premiere time. This is really the time of year when there is an extra spring in my step, that full force cara glimmer in the eye (that you likely cannot see behind my glasses).
This season has been particularly special so far because it has been full of theater folk. Did everyone see that Megan Mullallay opened her show with a musical number? I mean, sure she has no idea how to be a talk show host, but she can sing. That's what these critics need to focus on. And Heather Goldenhersh... I really thought she would tone the lisp down before hitting the airways... But there it was, full force as she talked to theater vet Jesse Tyler Ferguson on the CBS show The Class. Really warms my heart.
Speaking of making me happy, and we always are, my friend Michael made me very happy when he sent me this link on Monday: http://www.broadwayworld.com/viewcolumn.cfm?colid=12285
I love these photos. I mean, look at these two women. Look at the differences... As far as I am concerned, more Legends! stalking people. Get out there. Just don't get arrested--I spent a night in jail once and I think everyone should try to avoid it.
OK, now I need to take a moment to applaud the sheer strength of Disney marketing. They really can push anything. I have often said that if Seussical or Chitty Chitty Bang Bang were Disney shows--they would have survived much longer than they did. And if Cats opened during the Disney era, it would have never survived; it would have been crushed by the Disney family fare. Disney is a child friendly machine. I see those Tarzan commercials and I think "oy" but I was sitting in a roomful of people earlier today and the commercial came on and I heard a mother say "I HAVE TO get tickets to that." And it's on all the time. So is that "Just can't wait to see King" ultra NYC-centered Lion King commercial--even I had that stupid line in my head today. Disney marketing is unavoidable--it's not that what they have is so clever, it's simply that it is slick and omnipresent. I can't compliment the company's genius, but I do admire the amount of money they put behind their shows. Of course they are the only Broadway producers who have billions to spare.
This season has been particularly special so far because it has been full of theater folk. Did everyone see that Megan Mullallay opened her show with a musical number? I mean, sure she has no idea how to be a talk show host, but she can sing. That's what these critics need to focus on. And Heather Goldenhersh... I really thought she would tone the lisp down before hitting the airways... But there it was, full force as she talked to theater vet Jesse Tyler Ferguson on the CBS show The Class. Really warms my heart.
Speaking of making me happy, and we always are, my friend Michael made me very happy when he sent me this link on Monday: http://www.broadwayworld.com/viewcolumn.cfm?colid=12285
I love these photos. I mean, look at these two women. Look at the differences... As far as I am concerned, more Legends! stalking people. Get out there. Just don't get arrested--I spent a night in jail once and I think everyone should try to avoid it.
OK, now I need to take a moment to applaud the sheer strength of Disney marketing. They really can push anything. I have often said that if Seussical or Chitty Chitty Bang Bang were Disney shows--they would have survived much longer than they did. And if Cats opened during the Disney era, it would have never survived; it would have been crushed by the Disney family fare. Disney is a child friendly machine. I see those Tarzan commercials and I think "oy" but I was sitting in a roomful of people earlier today and the commercial came on and I heard a mother say "I HAVE TO get tickets to that." And it's on all the time. So is that "Just can't wait to see King" ultra NYC-centered Lion King commercial--even I had that stupid line in my head today. Disney marketing is unavoidable--it's not that what they have is so clever, it's simply that it is slick and omnipresent. I can't compliment the company's genius, but I do admire the amount of money they put behind their shows. Of course they are the only Broadway producers who have billions to spare.
Monday, September 18, 2006
This Week's Hot Topic
I got a few emails from people asking me why I found NYMF sort of "scam-ish," as I referred to it last posting. I have to say, I'm no expert on this topic. I've never really researched it or paid that much attention when people spoke to me about it. BUT here is why I have always been a little confused by the way they work things there...
For Fringe, most press people are sent a pass that they can use to attend any show they want, as long as that show is not sold out. So, at the last minute, one can decide to just run into a show (as long as it does not have a very catchy title, aka is not sold out), show their little press pass and there is no drama. For NYMF, the situation is very different. Producers pay to put things on as part of the festival and yet don't really control their own tickets. What do I mean? Let's say I'm producing The Flight of the Lawnchair Man (which I have seen in enough incarnations to be part of its team). I am probably paying a good amount of money to put it on--not anywhere near the amount needed to produce a real run, but some mullah nonetheless. The festival gives me, let's say 16 comps for the 6 performances. So, less than 3 per performance. If I give some to the cast and some to potential money people and a few to reviewers, I'm out. Now, let's say my Tuesday at 4pm performance has not sold well and there are plenty of empty seats and I want to use those empty seats to invite every press person I know in hopes that they'll mention Lawnchair in future stories. I have to buy those press people their tickets. They are not mine to give away, even if they will just sit empty. So, after my first 16 tickets are gone, I'm paying $20 for every person I want to invite. So clearly I am keeping those invites down. And clearly I don't want random press just wandering in--I need to be stingy. Meanwhile, Kris Stewart gets up there and talks about how every ticket bought only pays for 1/3 of NYMF expenses... I'm not saying I doubt that, these kinds of festivals are expensive to do and I 100% admire anyone who takes it on, but.... I don't feel really bad for them because I feel, in the back of my head, there is something not quite right about how they handle things.
That being said, they do some good shows. Some shows that are not so feasible to produce--like I loved But I'm a Cheerleader (the musical, not the movie on which it is based), but watching it at last year's festival I knew it wasn't a smart Broadway or off-Broadway investment because the topic isn't Broadway and the cast is too big for off-Broadway. So I'm extremely happy NYMF exists.
This year I am particularly happy because they are doing some solo shows, including ones from Joe Iconis and Donna Lynne Champlin. Now I usually hate solo shows like this, please don't ask me to come to your cabaret, yet I've seen both of these shows before and want to recommend both. Joe Iconis--September 26 at Ars Nova--be there. He's not singing like he does on the demos I've linked to from here before. Don't worry. Now onto Donna Lynne. Anyone who reads this blog knows that she is one of my very favorite people--honestly. But, even if she wasn't, I would recommend this show. Actually, I was harder on this show than most (I was very objective reviewer watching it), and I still loved it. It's genius. You sit there and you laugh and laugh. I knew some of the stories beforehand and I still laughed and laughed. I saw it twice! She tells this story about stalking Brian d'Arcy James and, now, every time I see him I picture him hiding behind a lamppost to avoid her. It's at Ars Nova on October 1 and I say, with all sincerity, if you like musical comedy, go to this. I wouldn't push it if I didn't think it was actually damn funny. I am not on commission.
For Fringe, most press people are sent a pass that they can use to attend any show they want, as long as that show is not sold out. So, at the last minute, one can decide to just run into a show (as long as it does not have a very catchy title, aka is not sold out), show their little press pass and there is no drama. For NYMF, the situation is very different. Producers pay to put things on as part of the festival and yet don't really control their own tickets. What do I mean? Let's say I'm producing The Flight of the Lawnchair Man (which I have seen in enough incarnations to be part of its team). I am probably paying a good amount of money to put it on--not anywhere near the amount needed to produce a real run, but some mullah nonetheless. The festival gives me, let's say 16 comps for the 6 performances. So, less than 3 per performance. If I give some to the cast and some to potential money people and a few to reviewers, I'm out. Now, let's say my Tuesday at 4pm performance has not sold well and there are plenty of empty seats and I want to use those empty seats to invite every press person I know in hopes that they'll mention Lawnchair in future stories. I have to buy those press people their tickets. They are not mine to give away, even if they will just sit empty. So, after my first 16 tickets are gone, I'm paying $20 for every person I want to invite. So clearly I am keeping those invites down. And clearly I don't want random press just wandering in--I need to be stingy. Meanwhile, Kris Stewart gets up there and talks about how every ticket bought only pays for 1/3 of NYMF expenses... I'm not saying I doubt that, these kinds of festivals are expensive to do and I 100% admire anyone who takes it on, but.... I don't feel really bad for them because I feel, in the back of my head, there is something not quite right about how they handle things.
That being said, they do some good shows. Some shows that are not so feasible to produce--like I loved But I'm a Cheerleader (the musical, not the movie on which it is based), but watching it at last year's festival I knew it wasn't a smart Broadway or off-Broadway investment because the topic isn't Broadway and the cast is too big for off-Broadway. So I'm extremely happy NYMF exists.
This year I am particularly happy because they are doing some solo shows, including ones from Joe Iconis and Donna Lynne Champlin. Now I usually hate solo shows like this, please don't ask me to come to your cabaret, yet I've seen both of these shows before and want to recommend both. Joe Iconis--September 26 at Ars Nova--be there. He's not singing like he does on the demos I've linked to from here before. Don't worry. Now onto Donna Lynne. Anyone who reads this blog knows that she is one of my very favorite people--honestly. But, even if she wasn't, I would recommend this show. Actually, I was harder on this show than most (I was very objective reviewer watching it), and I still loved it. It's genius. You sit there and you laugh and laugh. I knew some of the stories beforehand and I still laughed and laughed. I saw it twice! She tells this story about stalking Brian d'Arcy James and, now, every time I see him I picture him hiding behind a lamppost to avoid her. It's at Ars Nova on October 1 and I say, with all sincerity, if you like musical comedy, go to this. I wouldn't push it if I didn't think it was actually damn funny. I am not on commission.
Thursday, September 14, 2006
Come Look At The Freaks
This is another blog posting that I have not really had time to think about. What is wrong with me these days? I think NYMF craziness has gotten to me--while I do not frequently attend many Fringe shows, I am an NYMF girl, even though I think the financials behind it are sort of scam-ish.
On Monday night, I was at the very first presentation of the festival, Have a Nice Life at New World Stages. I did not love it, but it had a great cast, which included Emily Skinner. So, for this post, I am going to discuss Alice and Emily. I know that is an old topic and I am so not going to Town Hall to see them (has it happened already?), but they are clearly back together again. If only they were still attached... But, I digress. Anyway, I just want to say that I am excited about them both starring in The Witches of Eastwick at Signature next summer. If all goes according to plan and they are both actually in it (with it so far away, I can't 100% bank on it), I'll totally go. And I'll be excited about going. Though I hope they don't cast Clarke Peters--I know he got good reviews in London, but I really don't get him.
On Monday night, I was at the very first presentation of the festival, Have a Nice Life at New World Stages. I did not love it, but it had a great cast, which included Emily Skinner. So, for this post, I am going to discuss Alice and Emily. I know that is an old topic and I am so not going to Town Hall to see them (has it happened already?), but they are clearly back together again. If only they were still attached... But, I digress. Anyway, I just want to say that I am excited about them both starring in The Witches of Eastwick at Signature next summer. If all goes according to plan and they are both actually in it (with it so far away, I can't 100% bank on it), I'll totally go. And I'll be excited about going. Though I hope they don't cast Clarke Peters--I know he got good reviews in London, but I really don't get him.
Monday, September 11, 2006
Ooops
I forgot today was blog day. I don't know how--I'd like to blame jet lag, but, it seems like a lame excuse. The "dog ate my homework" of yuppies. So I'll just say I forgot and that is it.
For a while now, I've been waiting for Broadway.com to stop writing reviews/doing roundups. It was the last step in becoming a marketing site and it seemed inevitable. Now I think it has been taken. No Usher review/roundup. Alas. Let's take a moment to mourn and then completely forget about it.
Done? OK. So what am I going to knock out for this blog posting? A cheer for Rosie O'Donnell, who I don't usually support. Rosie unquestionably did a lot for the theater when she had her daytime talk show--and not just big Broadway shows--she encouraged people to go see smaller projects as well; for instance, she tauted the one-woman play The Syringa Tree (as Jim Randolph frequently mentions). Last week was her first one on The View and she is already starting up again. She promoted The Wedding Singer, mentioning her love of new star Constantine Maroulis and giving away tickets. This is the kind of thing that draws nationwide attention to shows. So, I must applaud her return the daytime, despite her continued praise of Tom Cruise.
I'm busy or else I'd write more. You'll all live without additional remarks, I am pretty sure.
For a while now, I've been waiting for Broadway.com to stop writing reviews/doing roundups. It was the last step in becoming a marketing site and it seemed inevitable. Now I think it has been taken. No Usher review/roundup. Alas. Let's take a moment to mourn and then completely forget about it.
Done? OK. So what am I going to knock out for this blog posting? A cheer for Rosie O'Donnell, who I don't usually support. Rosie unquestionably did a lot for the theater when she had her daytime talk show--and not just big Broadway shows--she encouraged people to go see smaller projects as well; for instance, she tauted the one-woman play The Syringa Tree (as Jim Randolph frequently mentions). Last week was her first one on The View and she is already starting up again. She promoted The Wedding Singer, mentioning her love of new star Constantine Maroulis and giving away tickets. This is the kind of thing that draws nationwide attention to shows. So, I must applaud her return the daytime, despite her continued praise of Tom Cruise.
I'm busy or else I'd write more. You'll all live without additional remarks, I am pretty sure.
Thursday, September 07, 2006
I'm baaack!!!!
It's Cara again, back where I belong. I want to give a ginormous public thank you to our guest columnist, who, in my opinion, did a great job. I actually loved reading the columns--appreciating the occasional channeling of me and admiring the obscure knowledge contained in the comments. I disagreed with some of the views put forth in the posts, but we have our own ways of looking at things and I'm all for everyone getting a say.
I've returned home at a good time--it's premiere week for My Network TV, the network that is doing everything telenovela style, so as I write this I am watching Bo Derek headline trash. (Does she sing? Because she could totally follow this series up with a stint in Mamma Mia.) Additionally, currently The Wedding Singer features a minimum of three principals that were not around for the show's opening. (Stephen Lynch is on vacation, Laura Benanti is on leave and American Idol playboy Constantine Maroulis has already stepped in.) So this is indeed a big week.
Anyway, people keep telling me I missed nothing while I was relaxing post-employment, but I did miss things. It's just they were all boring, so no one committed them to memory. (Though I am making a special public "yay" for the casting of Gaby Hoffman in subUrbia. Plus, thank you Andrew Gans for your exciting Little Mermaid premiere story--I'm all about The Little Mermaid and I never thought we'd see her float to the surface.) Thus I am not going to talk about anything that happened recently, I am going to talk now about the 1980s.
During the 1980s I was very young. I didn't have high hair like some others of my generation and, most importantly, I didn't see shows. But I know that in 1987 Les Miz, Les Liaisons Dangereuses and Fences all opened on Broadway and Talk Radio opened off-Broadway. And, now, this season, we'll likely see all of them again. (Then there are shows like A Chorus Line and The Fantasticks that were also playing during that time.) So, basically, we're partying like it's 1987. Why? What happened to reviving golden oldies? We could have a 1950s hop! Why not?! Well, there is a certain sense that shows that are too old and dated simply do not play to today's TV-influenced audience. Sure The Pajama Game was successful, but that had a big star to help propel it. Other moldy pieces have not fared as well in recent years; times have been especially hard on old-fashioned musicals such as Bells Are Ringing and Wonderful Town. Even Never Gonna Dance, which was technically a new musical, felt extremely stodgy. (OK, it was also bad, but moving on...) So I think that people looking for things to revive are going to increasingly go with newer shows. There will always be a Grease or West Side Story coming down the pike, but mostly we're going to see things revived that I was alive for the first time around. I've decided not to blame that on the fact that I'm simply getting older...
I've returned home at a good time--it's premiere week for My Network TV, the network that is doing everything telenovela style, so as I write this I am watching Bo Derek headline trash. (Does she sing? Because she could totally follow this series up with a stint in Mamma Mia.) Additionally, currently The Wedding Singer features a minimum of three principals that were not around for the show's opening. (Stephen Lynch is on vacation, Laura Benanti is on leave and American Idol playboy Constantine Maroulis has already stepped in.) So this is indeed a big week.
Anyway, people keep telling me I missed nothing while I was relaxing post-employment, but I did miss things. It's just they were all boring, so no one committed them to memory. (Though I am making a special public "yay" for the casting of Gaby Hoffman in subUrbia. Plus, thank you Andrew Gans for your exciting Little Mermaid premiere story--I'm all about The Little Mermaid and I never thought we'd see her float to the surface.) Thus I am not going to talk about anything that happened recently, I am going to talk now about the 1980s.
During the 1980s I was very young. I didn't have high hair like some others of my generation and, most importantly, I didn't see shows. But I know that in 1987 Les Miz, Les Liaisons Dangereuses and Fences all opened on Broadway and Talk Radio opened off-Broadway. And, now, this season, we'll likely see all of them again. (Then there are shows like A Chorus Line and The Fantasticks that were also playing during that time.) So, basically, we're partying like it's 1987. Why? What happened to reviving golden oldies? We could have a 1950s hop! Why not?! Well, there is a certain sense that shows that are too old and dated simply do not play to today's TV-influenced audience. Sure The Pajama Game was successful, but that had a big star to help propel it. Other moldy pieces have not fared as well in recent years; times have been especially hard on old-fashioned musicals such as Bells Are Ringing and Wonderful Town. Even Never Gonna Dance, which was technically a new musical, felt extremely stodgy. (OK, it was also bad, but moving on...) So I think that people looking for things to revive are going to increasingly go with newer shows. There will always be a Grease or West Side Story coming down the pike, but mostly we're going to see things revived that I was alive for the first time around. I've decided not to blame that on the fact that I'm simply getting older...
Monday, September 04, 2006
Enough I Say!
Last night, I watched the film version of The Effect of Gamma Rays on Man-in-the-Moon Marigolds. Besides the fact that it's a fabulous movie - Joanne Woodward is fantastic, fierce and funny; the screenplay by Alvin Sargent is a beautiful and thoughtful expansion of the play; and Paul Newman's direction is incredibly sensitive - it would make a wonderful revival for a great star. Meryl Streep. Allison Janney. Edie Falco. How much better off Edie Falco would have been doing this instead of 'night Mother. So if anyone from Manhattan Theatre Club or Second Stage or the poor li'l Roundabout Theatre reads this God forsaken blog that I am still stuck ghost writing I mean that I am thrilled to continue ghost writing even though The Broad of Broadway is back from abroad, consider yourself gifted. But please notice I did NOT mention Cherry Jones above. Enough with that nonsense already! Enough I say!
Some other plays I'd like to see revived on Broadway in the near future: Toys in the Attic, The Children's Hour, Sweet Bird of Youth, I Never Sang For My Father, and Biloxi Blues - just kidding.
I don't have a whole hell of a lot else to say... I mean, I do, but I really don't know where to begin. I have never blogged before, I have never even read a blog before this one, and this is the only one I ever will read... until Katie Holmes starts one up that is. I have been tempted many times to post things on All That Chat, but where do you begin with those lovely, confused people? Tonight, someone asked how the last row of the mezzanine was at the Broadhurst. IT SUCKS! IT'S PRACTICALLY AT THE SHUBERT! WHAT IS THE MATTER WITH YOU!?! WE HAVE LIVES!!!
As the season begins, I shall continue calling the Jacobs the Royale and the Schoenfeld the Plymouth. I am pretending Chicago is not still running. I am continuing to lobby NY1 to buy Donna Karger a comb. I look forward to seeing A Chorus Line back on Broadway, Les Freres Corbusier's Hell House, The Coast of Utopia, The Clean House, and Regrets Only. I am not looking forward to seeing Talk Radio, Translations or Jay Johnson and his friggin' puppet. What the hell is that? Enough with that nonsense already! Enough I say!
Some other plays I'd like to see revived on Broadway in the near future: Toys in the Attic, The Children's Hour, Sweet Bird of Youth, I Never Sang For My Father, and Biloxi Blues - just kidding.
I don't have a whole hell of a lot else to say... I mean, I do, but I really don't know where to begin. I have never blogged before, I have never even read a blog before this one, and this is the only one I ever will read... until Katie Holmes starts one up that is. I have been tempted many times to post things on All That Chat, but where do you begin with those lovely, confused people? Tonight, someone asked how the last row of the mezzanine was at the Broadhurst. IT SUCKS! IT'S PRACTICALLY AT THE SHUBERT! WHAT IS THE MATTER WITH YOU!?! WE HAVE LIVES!!!
As the season begins, I shall continue calling the Jacobs the Royale and the Schoenfeld the Plymouth. I am pretending Chicago is not still running. I am continuing to lobby NY1 to buy Donna Karger a comb. I look forward to seeing A Chorus Line back on Broadway, Les Freres Corbusier's Hell House, The Coast of Utopia, The Clean House, and Regrets Only. I am not looking forward to seeing Talk Radio, Translations or Jay Johnson and his friggin' puppet. What the hell is that? Enough with that nonsense already! Enough I say!
Thursday, August 31, 2006
I Would Like To Thank My Agent, Francis Del Duca
Before returning to my Tony predictions, I would like to take a moment to applaud the casting of Ari Graynor in the Broadway transfer of The Little Dog Laughed. Miss Graynor is a fabulous actress and should be in everything. Her presence almost makes me forget about ugly Johnny Galecki and boring Tom Everett Scott. Almost.
Now, back to the Tonys.
BEST ACTOR - Play
Though Nathan Lane's performance in Butley will be finito by the time the Tony nominations come out, I bet he will be remembered. Tony has a tempestuous relationship with Nathan - he was blanked for Laughter on the 23rd Floor, Love! Valour!! Compassion!!! and The Frogs - but Butley will show a different side of Nathan - or at least that's what the critics will tell us; I haven't seen a different side of Nathan in about 10 years - and Tony will want to reward that.
I don't know much about The Coast of Utopia (except that the poster art blows), but I'm assuming that among Brian F. O'Byrne, Billy Crudup, Ethan Hawke and Richard Easton, one or more of them will be elevated to Lead Actor. Which means one or more of them will be nominated. I bet two get nominated. And I bet one of them is Brian F. O'Byrne. Shining City was his first Broadway performance NOT nominated for a Tony. He will climb back on the Tony horse here. He'll probably win. You heard it here first! Oh, here's something else you heard here first: Ethan Hawke will give a great performance, and be ignored by critics and award givers alike in favor of his co-stars who will be less good.
Who else? Liev Schreiber in Talk Radio? Definitely. That leaves one slot. Let's see... Philip Bosco (Heartbreak House), Bill Nighy (The Vertical Hour), Matthew Broderick (The Starry Messenger)? Possible. The male lead in Les Liaisons Dangereuses, the male leads in whatever other underbaked projects Roundabout puts forward this year? All possible. The lead in Radio Golf? Even more possible. Speaking of black males, James Earl Jones has a one man play about Thurgood Marshall he's peddling, Charles Dutton has that August Wilson thing I don't even want to think about, and Laurence Fishburne is in Fences, which will probably come in. But let's leave this last slot blank. David Wilmot would never have made this list last year at this time. Let's see what David Wilmots this season brings.
BEST ACTRESS - Play
Poor Best Actress in a Play. She's a mess. She used to be fabulous. Colleen Dewhurst used to battle Julie Harris here on a regular basis. In 1960, Anne Bancroft beat Margaret Leighton, Claudia McNeil, Geraldine Page, Maureen Stapleton and Irene Worth. In 1975, Ellen Burstyn bested Elizabeth Ashley, Diana Rigg, Maggie Smith and Liv Ullmann. Last year, Cynthia Nixon beat Lisa Kron and Judy Kaye. Not exactly the same thing, as richly deserving as Ms. Nixon was.
This season, Vanessa Redgrave would appear to have the award all sewn up for The Year of Magical Thinking. If she can remember all her lines and not get fired - I have this strange feeling she will not open in the show - the award would appear to be hers.
Who will she leave in the dust come Tony night? I'm assuming Julie White will be up for Lead, though she might be put in Featured to assure a win. Julianne Moore could be remembered for her by then closed performance in The Vertical Hour. A couple of the above-mentioned, woebegone Roundabout productions' leading ladies will have a shot. And Angela Bassett might be elevated should Fences come in, though Mary Alice won a Tony for that role in Featured, and I think it's very much a Featured role. But billing is billing, and Bassett will be above the title.
BEST ACTOR - Musical
Well, I'm sure if you ask Raul Esparza who will win this award come June, he will say "ME! DON'T YOU LOVE ME?! I DO!" He will surely be nominated - if he could get nominated for his miserable turn in Taboo, I can get nominated for ghost-writing this blog - but I don't think he will win. David Hyde Pierce will probably win for Curtains. Who else is there? Our fearless leader would want me to mention Will Chase for High Fidelity. So, I just did that. There's Gavin Lee in Mary Poppins, Martin Short, the two male leads in the Les Miserables revival. I am a big Alexander Gemignani fan, so I'm hoping he might be invited to Radio City. The Spring Awakening boys might find themselves in this category, though more likely they will all be Featured. Though I didn't see it yet, so I'm actually talking out of my ass right now. But the Tony nominators for the most part nominate out of their asses, so that seems like a pretty good strategy! There's also the Roundabout's coming revival of 110 in the Shade, which has two good male parts, at least one of which will probably be lead.
Speaking of 110 in the Shade, that brings us to...
BEST ACTRESS - Musical
And this will be a battle. What? Surprised to hear that? Did you think L'Ebersole had it all sewn up? Oh, mother, dahling. She does not.
Because Audra Ann-hold-the-Ann McDonald is coming back to town. She will be very good in 110 in the Shade. She might even be great. No matter what she is, she will be called great. It's a very good role for her, and the show is solid. The critics will go wild for her and probably be happy to see a musical revived that is unjustly little known, in other words, worthy of a revival. Unless Christine Ebersole's married name is Gilooly, she's gonna have to shake every hand in the world and kiss every foot - which she's already been doing for the last 6 months.
The other nominees? Not that it matters, but Charlotte d'Amboise will most likely be nominated for her Cassie, whether she's good or not. Someone from Curtains will probably end up in this category, I'm assuming Debra Monk, and I'm assuming she'll be nominated. That leaves one slot. There's Ashley Brown (Mary Poppins), Nikki James (The Wiz), the blonde in Legally Blonde, Lea Michele in Spring Awakening (again, probably Featured). I would love to see Daphne Rubin-Vega celebrated for her Fantine. Patti won Best Actress in London for this role, don't forget. Randy Graff may have been snubbed, but... well...
It's all moot. It will be a battle between McDonald and Ebersole. I think Ebersole will win. But she might lose.
As for the Audra question, is she overrated? I think so. She certainly is overTonyed. She should have one Tony Award - for Best Featured Actress in a musical for Carousel in 1994. Her 1996 Tony belongs to Lois Smith for Buried Child, her 1998 Tony belongs to Tsidii le Loka for The Lion King, and her 2004 Tony belongs to her co-star Sanaa Lathan. I wish I could go to people's houses and redistribute Tony Awards. That would be fun. Donna Murphy, lock your doors! She can keep her Tony for Passion, but her King and I Tony? That's Daphne's.
Now, back to the Tonys.
BEST ACTOR - Play
Though Nathan Lane's performance in Butley will be finito by the time the Tony nominations come out, I bet he will be remembered. Tony has a tempestuous relationship with Nathan - he was blanked for Laughter on the 23rd Floor, Love! Valour!! Compassion!!! and The Frogs - but Butley will show a different side of Nathan - or at least that's what the critics will tell us; I haven't seen a different side of Nathan in about 10 years - and Tony will want to reward that.
I don't know much about The Coast of Utopia (except that the poster art blows), but I'm assuming that among Brian F. O'Byrne, Billy Crudup, Ethan Hawke and Richard Easton, one or more of them will be elevated to Lead Actor. Which means one or more of them will be nominated. I bet two get nominated. And I bet one of them is Brian F. O'Byrne. Shining City was his first Broadway performance NOT nominated for a Tony. He will climb back on the Tony horse here. He'll probably win. You heard it here first! Oh, here's something else you heard here first: Ethan Hawke will give a great performance, and be ignored by critics and award givers alike in favor of his co-stars who will be less good.
Who else? Liev Schreiber in Talk Radio? Definitely. That leaves one slot. Let's see... Philip Bosco (Heartbreak House), Bill Nighy (The Vertical Hour), Matthew Broderick (The Starry Messenger)? Possible. The male lead in Les Liaisons Dangereuses, the male leads in whatever other underbaked projects Roundabout puts forward this year? All possible. The lead in Radio Golf? Even more possible. Speaking of black males, James Earl Jones has a one man play about Thurgood Marshall he's peddling, Charles Dutton has that August Wilson thing I don't even want to think about, and Laurence Fishburne is in Fences, which will probably come in. But let's leave this last slot blank. David Wilmot would never have made this list last year at this time. Let's see what David Wilmots this season brings.
BEST ACTRESS - Play
Poor Best Actress in a Play. She's a mess. She used to be fabulous. Colleen Dewhurst used to battle Julie Harris here on a regular basis. In 1960, Anne Bancroft beat Margaret Leighton, Claudia McNeil, Geraldine Page, Maureen Stapleton and Irene Worth. In 1975, Ellen Burstyn bested Elizabeth Ashley, Diana Rigg, Maggie Smith and Liv Ullmann. Last year, Cynthia Nixon beat Lisa Kron and Judy Kaye. Not exactly the same thing, as richly deserving as Ms. Nixon was.
This season, Vanessa Redgrave would appear to have the award all sewn up for The Year of Magical Thinking. If she can remember all her lines and not get fired - I have this strange feeling she will not open in the show - the award would appear to be hers.
Who will she leave in the dust come Tony night? I'm assuming Julie White will be up for Lead, though she might be put in Featured to assure a win. Julianne Moore could be remembered for her by then closed performance in The Vertical Hour. A couple of the above-mentioned, woebegone Roundabout productions' leading ladies will have a shot. And Angela Bassett might be elevated should Fences come in, though Mary Alice won a Tony for that role in Featured, and I think it's very much a Featured role. But billing is billing, and Bassett will be above the title.
BEST ACTOR - Musical
Well, I'm sure if you ask Raul Esparza who will win this award come June, he will say "ME! DON'T YOU LOVE ME?! I DO!" He will surely be nominated - if he could get nominated for his miserable turn in Taboo, I can get nominated for ghost-writing this blog - but I don't think he will win. David Hyde Pierce will probably win for Curtains. Who else is there? Our fearless leader would want me to mention Will Chase for High Fidelity. So, I just did that. There's Gavin Lee in Mary Poppins, Martin Short, the two male leads in the Les Miserables revival. I am a big Alexander Gemignani fan, so I'm hoping he might be invited to Radio City. The Spring Awakening boys might find themselves in this category, though more likely they will all be Featured. Though I didn't see it yet, so I'm actually talking out of my ass right now. But the Tony nominators for the most part nominate out of their asses, so that seems like a pretty good strategy! There's also the Roundabout's coming revival of 110 in the Shade, which has two good male parts, at least one of which will probably be lead.
Speaking of 110 in the Shade, that brings us to...
BEST ACTRESS - Musical
And this will be a battle. What? Surprised to hear that? Did you think L'Ebersole had it all sewn up? Oh, mother, dahling. She does not.
Because Audra Ann-hold-the-Ann McDonald is coming back to town. She will be very good in 110 in the Shade. She might even be great. No matter what she is, she will be called great. It's a very good role for her, and the show is solid. The critics will go wild for her and probably be happy to see a musical revived that is unjustly little known, in other words, worthy of a revival. Unless Christine Ebersole's married name is Gilooly, she's gonna have to shake every hand in the world and kiss every foot - which she's already been doing for the last 6 months.
The other nominees? Not that it matters, but Charlotte d'Amboise will most likely be nominated for her Cassie, whether she's good or not. Someone from Curtains will probably end up in this category, I'm assuming Debra Monk, and I'm assuming she'll be nominated. That leaves one slot. There's Ashley Brown (Mary Poppins), Nikki James (The Wiz), the blonde in Legally Blonde, Lea Michele in Spring Awakening (again, probably Featured). I would love to see Daphne Rubin-Vega celebrated for her Fantine. Patti won Best Actress in London for this role, don't forget. Randy Graff may have been snubbed, but... well...
It's all moot. It will be a battle between McDonald and Ebersole. I think Ebersole will win. But she might lose.
As for the Audra question, is she overrated? I think so. She certainly is overTonyed. She should have one Tony Award - for Best Featured Actress in a musical for Carousel in 1994. Her 1996 Tony belongs to Lois Smith for Buried Child, her 1998 Tony belongs to Tsidii le Loka for The Lion King, and her 2004 Tony belongs to her co-star Sanaa Lathan. I wish I could go to people's houses and redistribute Tony Awards. That would be fun. Donna Murphy, lock your doors! She can keep her Tony for Passion, but her King and I Tony? That's Daphne's.
Monday, August 28, 2006
A Happy Medium
Like Dick Cheney on a dark, terror-tinged day, our blog mistress has been secreted away to an undisclosed location. But never fear! Theater musing continues full force! I shall endeavor to conjure not only her spirit but her unmistakable syntax as well. And it's much more than throwing the word "random" around. It's that, but it's other things, too. It's a happy medium, which, in turn, is what I am for you. A happy medium. Well, not happy. The Fedex guy woke me up at 10am, late for many of you, but early for me, especially since I got in late last night from out of town and didn't get to bed until 3am. See? Conjuring already.
One of the things I love to do this early in any season is try to guess what next year's Tony nominations will look like. Often, this is a fool's errand: witness Busker Alley all over my fall 1995 list. But just as often, it's pretty clear what will rise to the top... or the bottom... or the middle, depending on your view of the Tony nominating committee. So, let's rub our trusty crystal balls I mean ball and see what happens. Oooh, I said rub.
Best Play
The first nominee, and probable winner, is Tom Stoppard's Coast of Utopia, Parts One, Two, Three, A Five, Six, Seven, Eight. Sorry. Musical Theater fart. It happens. Be prepared. I fully expect The Coast of Utopia to be a sensation, both with critics and audiences. It's Lincoln Center, the cast is starry - well, starryish - and most importantly, Tom Stoppard has not won a Tony since The Real Thing, and both Arcadia and The Invention of Love were arguably better than the plays that beat them (Love! Valour!! Compassion!!! and Proof. I liked Proof, but, um...). Tom Stoppard will ascend, and be honored by Tony one last time... until Rock 'n' Roll comes next season, though I hear some people aren't loving it.
The second nominee, though it's not officially announced for this season, will be Radio Golf. Some theater somewhere is doing it shortly, and it will undoubtedly make its way to New York, be overpraised but justly celebrated as August Wilson's last, and find its way to a poorly edited montage on the Tony Broadcast. I, for one, can't wait. I want my ham!
The third nominee? The Year of Magical Thinking. Pretty much in like Flynn. People love that book, and more importantly, the Times loves that book and they love Joan Didion. It will be a big hit. And it will be nominated. So that leaves just one slot open. What will fill it? Some random, yet-to-open transfer from Off-Broadway? Possibly. Probably: there's always at least one a season, usually two, and they often win (Love! Valour!! Compassion!!!, Side Man, Proof, Take Me Out, I Am My Own Wife!, Doubt). Also possible: Kenneth Lonergan's Starry Messenger due in the spring from California with Matthew Broderick, or something unpromisingly called Coram Boy from London that those National Theatre transferrers are threatening to transfer...er. Wow. Another play from London. I... can't... wait... zzzzzzzzz.
Best Musical
Curtains, the first of the last of the Kander and Ebb shows, which now appears to be opening in the spring, seems assured of a nomination. It's John Kander and Dead I mean Fred Ebb, it's about the theater, it's fun. It's in. It will probably win.
Whether it runs or not, Grey Gardens is also in. If its creators have brains in their gay little heads, they are recasting and rewriting as I blog. I hear they are recasting (the ingenue leads), I pray they are rewriting, especially that first act, which starts out so strong and then John McMartin sings that "Being Bouvier" song and I wanted to Be Bouvier all over the lobby and out onto 42nd Street if possible. Don't get me wrong. The show has some great stuff in it, especially in Act Two, which is truly inspired, and Christine Ebersole has been justly celebrated for her fabulous performance. And I support Mary Louise Wilson in everything, except Cabaret, but she was miscast, so... (Please note that the last sentence was highly reminiscent of you know who.)
If Spring Awakening can catch on and last, it has a good shot. Now, I don't know anyone who likes it especially, but I also didn't know anyone who liked The Light in the Piazza, and look what happened there. And Duncan Sheik is just as cute as Adam Guettel, though not as pedigreed. But who is? Anyway, it's new, it's not based on a movie, and even if it closes, Tony is not afraid to nominate closed shows over running ones. Remember when we were all Swinging on a Death Foretold at the 1996 Tony Awards? The nominators (wisely) chose to nominate two very closed shows - Chronicle of a Death Foretold and Swinging on a Star - instead of two very bad open shows - Victor/Victoria and Big. And State Fair, but that didn't have much of a shot anyway. Likewise, Juan Darien was closed but remembered in 1997 (over Jekyll and Hyde and Play On!), Side Show in 1998 (over High Society), Parade in 1999 (over Fascinating Rhythm and Marlene), Jane Eyre in 2001 (over Seussical and The Adventures of Tom Sawyer) and Amour in 2003 (over Urban Cowboy and The Look of Love). Precedent.
The fourth nominee? Not The Pirate Queen! A Disney show (Mary Poppins) will probably once again be battling it out with shows based on movies (Legally Blonde and High Fidelity) and shows based on vampires (The Times, They Are A Changin'). OK, The Times, They Are A Changin' is not based on vampires, but Twyla Tharp is like a vampire, come on. I've heard the stories. If she's not a member of the undead, I don't have 16 cast albums of Show Boat. And Bob Dylan is creepy too.
Come Wednesday, the acting categories! And a very special Audra McDonald thinkpiece. Is she overrated? Was it wise to drop the Ann? Stay tuned!
One of the things I love to do this early in any season is try to guess what next year's Tony nominations will look like. Often, this is a fool's errand: witness Busker Alley all over my fall 1995 list. But just as often, it's pretty clear what will rise to the top... or the bottom... or the middle, depending on your view of the Tony nominating committee. So, let's rub our trusty crystal balls I mean ball and see what happens. Oooh, I said rub.
Best Play
The first nominee, and probable winner, is Tom Stoppard's Coast of Utopia, Parts One, Two, Three, A Five, Six, Seven, Eight. Sorry. Musical Theater fart. It happens. Be prepared. I fully expect The Coast of Utopia to be a sensation, both with critics and audiences. It's Lincoln Center, the cast is starry - well, starryish - and most importantly, Tom Stoppard has not won a Tony since The Real Thing, and both Arcadia and The Invention of Love were arguably better than the plays that beat them (Love! Valour!! Compassion!!! and Proof. I liked Proof, but, um...). Tom Stoppard will ascend, and be honored by Tony one last time... until Rock 'n' Roll comes next season, though I hear some people aren't loving it.
The second nominee, though it's not officially announced for this season, will be Radio Golf. Some theater somewhere is doing it shortly, and it will undoubtedly make its way to New York, be overpraised but justly celebrated as August Wilson's last, and find its way to a poorly edited montage on the Tony Broadcast. I, for one, can't wait. I want my ham!
The third nominee? The Year of Magical Thinking. Pretty much in like Flynn. People love that book, and more importantly, the Times loves that book and they love Joan Didion. It will be a big hit. And it will be nominated. So that leaves just one slot open. What will fill it? Some random, yet-to-open transfer from Off-Broadway? Possibly. Probably: there's always at least one a season, usually two, and they often win (Love! Valour!! Compassion!!!, Side Man, Proof, Take Me Out, I Am My Own Wife!, Doubt). Also possible: Kenneth Lonergan's Starry Messenger due in the spring from California with Matthew Broderick, or something unpromisingly called Coram Boy from London that those National Theatre transferrers are threatening to transfer...er. Wow. Another play from London. I... can't... wait... zzzzzzzzz.
Best Musical
Curtains, the first of the last of the Kander and Ebb shows, which now appears to be opening in the spring, seems assured of a nomination. It's John Kander and Dead I mean Fred Ebb, it's about the theater, it's fun. It's in. It will probably win.
Whether it runs or not, Grey Gardens is also in. If its creators have brains in their gay little heads, they are recasting and rewriting as I blog. I hear they are recasting (the ingenue leads), I pray they are rewriting, especially that first act, which starts out so strong and then John McMartin sings that "Being Bouvier" song and I wanted to Be Bouvier all over the lobby and out onto 42nd Street if possible. Don't get me wrong. The show has some great stuff in it, especially in Act Two, which is truly inspired, and Christine Ebersole has been justly celebrated for her fabulous performance. And I support Mary Louise Wilson in everything, except Cabaret, but she was miscast, so... (Please note that the last sentence was highly reminiscent of you know who.)
If Spring Awakening can catch on and last, it has a good shot. Now, I don't know anyone who likes it especially, but I also didn't know anyone who liked The Light in the Piazza, and look what happened there. And Duncan Sheik is just as cute as Adam Guettel, though not as pedigreed. But who is? Anyway, it's new, it's not based on a movie, and even if it closes, Tony is not afraid to nominate closed shows over running ones. Remember when we were all Swinging on a Death Foretold at the 1996 Tony Awards? The nominators (wisely) chose to nominate two very closed shows - Chronicle of a Death Foretold and Swinging on a Star - instead of two very bad open shows - Victor/Victoria and Big. And State Fair, but that didn't have much of a shot anyway. Likewise, Juan Darien was closed but remembered in 1997 (over Jekyll and Hyde and Play On!), Side Show in 1998 (over High Society), Parade in 1999 (over Fascinating Rhythm and Marlene), Jane Eyre in 2001 (over Seussical and The Adventures of Tom Sawyer) and Amour in 2003 (over Urban Cowboy and The Look of Love). Precedent.
The fourth nominee? Not The Pirate Queen! A Disney show (Mary Poppins) will probably once again be battling it out with shows based on movies (Legally Blonde and High Fidelity) and shows based on vampires (The Times, They Are A Changin'). OK, The Times, They Are A Changin' is not based on vampires, but Twyla Tharp is like a vampire, come on. I've heard the stories. If she's not a member of the undead, I don't have 16 cast albums of Show Boat. And Bob Dylan is creepy too.
Come Wednesday, the acting categories! And a very special Audra McDonald thinkpiece. Is she overrated? Was it wise to drop the Ann? Stay tuned!
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