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.
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