Broadway and Beyond: Thoughts of a Theatregoer

Porgy and Bess

2012-01-14T18:58:00.001-08:00

2012 is off to a good start. I caught my first show of the new year today, visiting the Richard Rodgers Theatre to see a performance of the just-opened adaptation of The Gershwin's Porgy and Bess.

As someone very unfamiliar with Porgy and Bess before attending this performance, I found this production to be quite satisfying. I can't comment on changes made to the script or score (though I did find Suzan-Lori Park's to be suitable for this more musical theatre-driven approach) , but I found the performances to be incredible and several of the stage pictures to be quite affecting.

This production's two stars, Audra McDonald and Norm Lewis as Bess and Porgy, respectively, are outstanding. I was thrilled to finally get the opportunity to see four-time Tony winner McDonald, and she didn't disappoint. Her Bess was a wonder to behold; her rendition of "I Loves You, Porgy" alone is enough to warrant buying a ticket to this production. But beyond that, her transformation from a Bess that is bold and brassy to gentle and loving is touching, and made her climactic decision all the more powerful. Lewis matches her every step of the way with his Porgy, embodying the role both physically (with a rather serious limp) and vocally (his "Bess, You Is My Woman Now" was another highlight).

Director Diane Paulus (a 2009 Tony nominee for Hair, has done a great job here, especially with the shows final scenes. Two moments that I thought were beautifully staged were Bess's decision to succumb to the pressures of her old life late in the second act and Porgy's decision to follow her to New York in the finale. My emotional reaction to Porgy limping off into the darkness in his hopes of finding Bess once again was a confirmation of why I love live theatre so much.

Physically, the production isn't anything outstanding. The set is rather unattractive (though much better than that of another new revival playing two blocks away), though I suppose that should be expected considering the setting is a wharf in South Carolina. I did enjoy the lighting effects when the hurricane hit Catfish Row in the second act.

Along with Follies, Porgy and Bess is one of the best performed musicals of this season. McDonald and Lewis are truly amazing, and I'm so happy that I got to experience this beautiful and heartbreaking story for the first time with them at the wheel.

Top 10 for 2011: The Shows

2011-12-31T14:18:00.000-08:00

1.) The Normal Heart (Broadway, Golden Theatre)
An electrifying and emotional production with an outstandingly dedicated cast and brilliantly raw direction. Plays like this one remind me why I love theatre.
Best Moment: Too many to list; one that stands out now is Joe Mantello's grocery throwing scene and argument with John Benjamin Hickey's Felix.

2.) The Book of Mormon (Broadway, Eugene O’Neill Theatre)
I was determined to not get swept up in the seemingly endless Book of Mormon lovefest, but failed miserably. This new musical has it all: originality, humor, and a surprising amount of heart.
Best Moment: The hilarious exchange between Tony nominees Andrew Rannells as Elder Price and Josh Gad as Elder Cunningham in "You and Me (But Mostly Me)".

3.) War Horse (Broadway, Vivian Beaumont Theatre)
In addition to being a miracle in stagecraft and a touching story of friendship, War Horse's puppeteers are delivering some of the best performances of the year for transforming some simple puppets into living, breathing animals on the Vivian Beaumont stage.
Best Moment: Joey's transformation from young foal into adult horse.

4.) Who’s Afraid of Virginia Woolf? (Vassar College, Powerhouse Theatre)
One of the most outstanding evenings of student theatre I have ever witnessed, proving that talented and truly great performances are not limited to the New York metro area or even professional productions.
Best Moment: The play's quiet final moments between George and a heartbroken Martha, made all the more powerful by the audience's proximity to the action.

5.) The Submission (Off-Broadway, Lucille Lortel Theatre)
Though it wasn't the greatest piece of writing around, it's rare that a play sticks with me as much as The Submission has. Supported by an outstanding ensemble (including tour-de-force performances by Jonathan Groff and Rutina Wesley), this play has had me asking more questions and reexamining my daily life more than any other performance this year.
Best Moment: The final, climatic argument between Danny (Groff) and Emilie (Wesley), exposing the audience to the raw prejudice that this play was challenging.

6.) Company (New York Philharmonic, Avery Fisher Hall)
Not only did 2011 bring me the opportunity to finally see one of my favorite Sondheim musicals live, it came with an all-star cast and the New York Philharmonic to boot! Neil Patrick Harris was as a good a Robert as I'll ever see, Patti LuPone's "The Ladies Who Lunch" was exhilarating, Stephen Colbert and Martha Plimpton were a riot, and I've never been happier than I was walking out of Avery Fisher Hall that April afternoon.
Best Moment: The opening number, "Company".

7.) Other Desert Cities (Broadway, Booth Theatre)
After missing it Off-Broadway, I finally got the chance to see Other Desert Cities, an exciting and original new play. At times funny and at times humorous, this family drama boasted five outstanding performances and slick direction by The Normal Heart's Joe Mantello.
Best Moment: Thomas Sadoski's impassioned monologue as the Wyeth family comes to blows over the subject of daughter Brooke's newest book.

8.) Follies (Broadway, Marquis Theatre)
This transfer of the Kennedy Center revival of Stephen Sondheim and James Goldman's musical about a Follie girl reunion is one of the saddest musicals I have ever seen on stage, chronicling the abandoned dreams, lost hopes, and fragile marriages of former showgirls Sally Durant Plummer and Phyllis Rogers Stone. But thanks to the outstanding performances of Bernadette Peters, Jan Maxwell and Danny Burstein, it has also been one of the most satisfying.
Best Moment: The collision between past desires and present realities, as the ghosts of the former couples coalesce with their current selves before the show's climax at "Loveland".

9.) Next to Normal (National Tour, Academy of Music)
After numerous visits to the Booth Theatre during Next to Normal's Broadway run, I seized the opportunity to catch this production two more times when the national tour hit Philadelphia this summer. Led by original star (and Tony Winner) Alice Ripley, I was as blown away by the show as I had been the very first time I saw it.
Best Moment: Henry (Preston Sadlier) and Natalie (Emma Hunton) singing "Hey #3/Perfect for You (Reprise)," which these two young talents managed by make both hopeful and heartbreaking.

10.) Anything Goes (Broadway, Stephen Sondheim Theatre)
With dance numbers galore and a knockout performance by my favorite Sutton Foster, this revival of Anything Goes was one of the most enjoyable afternoons I had all year.
Best Moment: The first-act finale "Anything Goes," featuring an eight-minute long tap break that the cast performed so wonderfully they made it look easy.

Lysistrata Jones

2011-12-30T17:24:00.001-08:00

I snuck in one more Broadway show before 2011's end: the new musical Lysistrata Jones.

Loosely based on the Greek play Lysistrata by Aristophanes, this musical by Lewis Flinn (music and lyrics) and Douglas Carter Beane (book) originally premiered under the title Give It Up! in Dallas in 2010 and ran Off-Broadway earlier in 2011. It follows spunky transfer student Lysistrata Jones at the modern-day Athens University, and her mission to withhold sex from the men of the basketball team until they break their losing streak.

The best part of Lysistrata Jones was its young cast, all of whom seemed excited dedicated to performing this piece eight times a week. Patti Murin was delightfully bubbly as Lyssie J., and her belt-it-out performance of the first act finale was one of the highlights of the show. Lindsay Nicole Chambers was hilarious as activist/poet Robin, and Jason Tam was also great as Lysistrata's geeky friend (and basketball mascot) Xander.

The score was appropriately fun and upbeat, but I did feel that a lot of the songs were about the same subject (the girls refusing to give themselves up to the boys). The best numbers in the show were "You Go Your Way," "Where Am I Now?," and the finale, "Give It Up." Beane's book was a lot of fun; I was satisfied with the way he included a message about being yourself without bogging down the humor or making the musical seem too cliched.

I really liked the basketball court set, and loved the lighting during the finales of both acts. I also liked the moments in the show (the opening number and the "Right Now Operetta") when the cast used the aisles in addition to the stage. And the choreography was probably the best part of the show.

Overall, Lysistrata Jones wasn't anything to write home about, but it was a fun afternoon at the theatre with some great performances by Broadway's up-and-coming performers. Definitely worth a visit.

Other Desert Cities

2011-12-03T22:13:00.001-08:00

After hearing many, many good things, I caught a performance of Other Desert Cities today, one of the most celebrated new plays on Broadway.

Written by Jon Robin Baitz, Other Desert Cities chronicles a rather tense Christmas for the Wyeth family in Palm Springs, as their daughter Brooke returns home with the final draft of her newest book in tow. When her staunchly Republican parents discover that the book actually unearths a dark family secret, tempers fly and even more secrets come out.

Other Desert Cities features a cast of five, and there isn't a weak performance in the bunch. My two favorites were Stockard Channing (who is delivering a disturbingly realistic performance as matriarch Polly Wyeth) and Thomas Sadoski (who is equal parts hilarious and heartbreaking as son/brother Trip Wyeth), but Rachel Griffiths (as Brooke Wyeth), Stacy Keach (as Lyman Wyeth) and Judith Light (as Polly's sister Silda) more than held their own. If you ever want to see a master class in acting for the stage, make sure you see this play.

Joe Mantello, fresh off his Tony-nominated performance in The Normal Heart returns to the director's seat for this play, and has done an exemplary job. Though it runs for nearly two and a half hours, the play never once gets stale. The second act is particularly thrilling--once it picks up steam, it plows right through to the end.

Other Desert Cities was a great experience in the theatre and, though it didn't quite live up to the expectations I had, it was still wonderful. It's a great new family drama, and features some of the best performances on Broadway right now.

On a Clear Day You Can See Forever

2011-11-27T18:07:00.001-08:00

Note: The following thoughts are based on a preview performance. This production is subject to make any changes, cuts, and additions leading up to its opening night on December 11, 2011.

After a hearty Thanksgiving feast, I caught today's matinee of Michael Mayer's re-imagined On a Clear Day You Can See Forever. Unfortunately, it was decidedly less satisfying than the meal I enjoyed earlier this week.

The original 1965 Broadway launch of On a Clear Day was tepidly received, as was the 1970 film adaptation starring Barbra Streisand and Jack Nicholson. Its plot follows a young woman with ESP named Daisy Gamble, who's psychiatrist, Dr. Mark Bruckner, falls in love with a woman of her past life, Melinda. In Mayer's updated version, Daisy becomes David, a gay florist who is also a reincarnated version of Melinda. When he seeks Dr. Bruckner for help in breaking his smoking habit, Bruckner once again falls in love with the spirit of Melinda.

There are so many issues with Mayer's revisal that I don't even know where to start. I guess I'll start with the good, because that's only one thing: the score. This production incorporates a number of songs that weren't in the original production, but every number is wonderful. Some stand-outs include "On the S.S. Bernard Cohn," "Hurry! It's Lovely Up Here," "She Isn't You" and the title song. Unfortunately, though these songs may be good, their delivery is not.

Now, on to the bad. First, the cast. Harry Connick, Jr. stars as Dr. Mark Bruckner, and he was as wooden as can be. I've never been a fan of his, and I suppose his delivery of his many songs was passable, but I just couldn't get past his poor acting. He looked uncomfortably and unhappy while he was onstage, which just made for an uncomfortable and unhappy audience. David Turner, who I have enjoyed in other productions on Broadway, was too much of a caricature as David Gamble. The only time I felt connected to his character was when he discovered the audio recording of Dr. Bruckner calling him dull and uninteresting. Jessie Mueller has a wonderful voice, but her lack of experience showed in her performance as Melinda (this is her Broadway debut). The only cast member I truly enjoyed was Drew Gehling as Warren, David's boyfriend, who, unfortunately, did not receive a lot of stage time.

The design of this production was appalling. Before we were even 20 minutes into the production, the optical-illusion inspired set, the over-the-top lighting and the obnoxiously 70s style costumes were giving me a headache. I understand what they were going for with the Rorschach ink blots and bold patterns, but it simply didn't work in the long run.

Perhaps the worst part of this production was its new storyline, which just seemed awkward, clunky, and forced. I admire Mayer for taking a risk and trying to do something different with this material (and I have loved his earlier work on Spring Awakening and American Idiot), but all he proved with this production is that On a Clear Day isn't really going to work anytime, anywhere.

This production really was one of the biggest flops of the fall season for me, and I would have felt robbed if I had paid anything more than the rush price I paid for my ticket. It's a shame that so much time and effort couldn't make this production better, but sometimes things just don't work out.

Venus in Fur

2011-11-23T19:43:00.001-08:00

On my way home for the Thanksgiving holiday, I caught a matinee of one of Broadway's newest (and sexiest) plays: David Ives' Venus in Fur.

Inspired by the 1870 novel by Leopold von Sacher-Masoch, Venus in Fur tells the story of a young playwright/director Thomas and the audition of young actress Vanda for his new adaptation of this classic S&M novel.

The play features only two characters, and the performances of Nina Arianda and Hugh Dancy in these roles is the sole reason to go and see this play. Arianda is an absolute tour-de-force; this is a star-making performance and I have no doubt that she will find great success as her career continues to grow. She was funny, exciting, alluring and, above all, completely natural in her performance as Vanda. It was impossible not to watch her and, even better, it was impossible to differentiate Arianda from the character she was playing throughout the play. Additionally, she had great chemistry with Dancy, who more than held his own as Thomas. As the two of them weaved in and out of the play-within-the-play's dialogue, I was amazed by the tension that built between them.

I wasn't as crazy about the actual play as I was about the performances. I was very into the play for the first 20 minutes or so, but eventually found that there was to much reading and not enough action throughout the piece. I was always excited when the characters would break out of the play-within-a-play and spend moments in the "real" world--it was much more exciting to see the tension between Thomas and Vanda as people rather than between them as characters within his play. I did enjoy the ending; the final moments where the audience realizes the true identity of Vanda was an exciting way to conclude the piece.

Though it's not outstanding,Venus in Fur is worth checking out just to see two fantastic performances. The chemistry between Arianda and Dancy is some of the strongest on Broadway right now.

Bonnie and Clyde

2011-11-12T16:01:00.001-08:00

Please Note: My thoughts below are based on a preview performance. Cuts, additions, and other changes are subject to be made in this production anytime before its opening night on December 1.

I caught a preview performance of Bonnie and Clydetoday, the first new musical to hit Broadway this season (excluding Spider-Man: Turn Off the Dark, which was initially aimed as an entry for last season).

Bonnie and Clyde is the latest Broadway mounting for composer Frank Wildhorn, who's musical Wonderland flopped earlier this spring at the Marquis Theatre. Perhaps because Wildhorn is notorious for writing pieces that aren't well received by the critics (and sometimes with audiences), I had never seen one of his musicals before. Well, I didn't emerge from today's performance a big Wildhorn fan, but will admit I don't understand all of the bashing he has received within the theatre community.

I actually thought a number of the songs in the show were quite good. Wildhorn's music definitely out shined Don Black's lyrics; perhaps he has found his strength in the rockabilly/bluesy music that so frequently popped up in Bonnie and Clyde. Some of the best songs were the act one finale, "This World Will Remember Us," Bonnie's show-stopping ballad "Dyin' Ain't So Bad," the Bonnie/Blanche duet "You Love Who You Love," and Clyde's raucous "Raise a Little Hell".

The performances were solid for a piece of musical theatre without being anything too outstanding. Laura Osnes fared the best as Bonnie Parker; she is a beautiful young performer with a very strong voice and I'm glad that she has found continued success on Broadway following her debut in the 2007 revival of Grease. I was less impressed with Jeremy Jordan's Clyde Barrow. This could be because I'm not his biggest fan (I didn't care for his Tony when I revisited West Side Story last year), but I just didn't feel the spark from him that I got from Osnes. I wasn't as impressed with his voice as others have been, and I didn't find him exciting when he was onstage.

I liked the staging of the show; the wood plank set was appropriate for this material, and I really liked the way the projections were used throughout the performance. I was initially taken aback by the rather anti-climatic ending, but, upon further thinking, was actually impressed by the simple use of real-life headlilnes (and a memory from the show's opening scene) to illustrate Bonnie and Clyde's death. It was actually a very beautiful way to end the piece.

Bonnie and Clyde wasn't the best musical I've seen, but it certainly wasn't the worst either. I would like to see it run through the season because I think it deserves a chance.

Suicide, Incorporated

2011-11-05T17:36:00.000-07:00

Sometimes it's fun to go into a show with no idea what to expect. I did that today, entering a matinee performance of Andrew Hinderaker's Suicide, Incorporated, the newest offering from Roundabout Underground, knowing little more than the blurb that was published on the Roundabout Theatre Company website.

Founded in 2007, Roundabout Underground is a new-play initiative that gives full-scale productions to pieces by budding playwrights in the 65-seat Black Box Theatre in the Harold and Miriam Steinberg Center for Theatre. I loved their inaugural production, Stephen Karam's Speech and Debate, and was eager to get back and see what else they have cooking.

Overall, I enjoyed Suicide, Incorporated. It wasn't as funny or provocative as Speech and Debate, but it was an entertaining and interesting piece of theatre. The story follows an unorthodox writing service that specializes in helping customers craft the perfect suicide note, and what transpires when Jason (Gabriel Ebert), a new hire, tries to prevent his client Norm (James McMenamin) from following through on his actions. The play raises some worthwhile questions about the reasons people commit suicide, and what happens to the people they love and leave behind.

The two standouts in the cast were Ebert and McMenamin, though perhaps this was because they had the two most fleshed-out roles in the piece. In fact, the only other role that seemingly had any depth was that of Tommy, played by Jake O'Connor, and the only chance he had to truly dig into the role was when he was opposite Ebert.

I enjoyed the sleek design by Daniel Zimmerman (set) and Zach Blane (lighting), and Jonathan Berry's direction kept the 85-minute production moving at a swift pace.

I wouldn't feel comfortable calling Hinderaker's play an outstanding entry into the American theatrical cannon, but I still am glad I was able to catch its New York premiere. And considering its short length and provocative topics, it is sure to have a long and prosperous future life in colleges and small regional theatres across the country.

Godspell

2011-10-23T20:16:00.000-07:00

Please Note: My thoughts below are based on a preview performances. Possible that cuts, additions, or other such changes may alter the production until the time of its opening on November 7.

Today I caught a preview performance of this season's second musical revival: Godspell, returning to Broadway forty years after its New York premiere.

Godspell debuted Off-Broadway in 1971 and has seen extended success throughout the country (plus, its composer Stephen Schwartz went on to write a little show called Wicked that hasn't done to poorly, either). It juxtaposes several parables from The Gospel According to Matthew with a rock score, providing a unique experience for performers and audiences alike.

I wish I could say that this production of Godspell harnessed the same energy as other recent rock shows like Spring Awakening and Next to Normal, but, ultimately, the performance just left me flat.

The cast is young and energetic, but the entire performance played more like an inside-joke among a group of theatre-camp teens than a Broadway production. Everyone sounds amazing: Lindsay Mendez demonstrates her full ability to belt and riff in "Bless the Lord" and understudy Julia Mattison (filling in for the injured Morgan James) is quite humorous during "Turn Back, O Man". But there is an unfortunate disconnect with everyone on stage. I even felt removed from Hunter Parrish's Jesus, which is quite unfortunate in a musical that culminates with a staging of the Passion. I spent more time thinking about how good he would be as Jason in bare than caring about what he was doing in the moment.

The staging felt similarly distant. Being in the Circle in the Square - Broadway's only theatre-in-the-round - I was expecting the creative team to capitalize on the concert-like feel and to facilitate a greater sense of community. And yes, the cast and band are frequently placed throughout the audience, but this does little to make the audience feel truly included. Instead, Godspell comes off as the awkwardly fumbling kid sibling to the similarly staged (and much better) 2009 revival of Hair

The show's cultural references during the book scenes contributed to its cheap humor, drawing on trite celebrity impersonations (Charlie Sheen and Donald Trump have all been done before, and by much stronger comedians) while making other jokes that seemed in poor taste (it's much too soon for a line about Steve Jobs sending iPads down from heaven). The best scene in the show was one of the most serious and the most traditional: Jesus going around the table at the Last Supper, hugging each of his followers and saying goodbye. Hopefully the creative team recognizes that its scenes like this that make the show worthwhile, not the cheap humor that is spread throughout the rest of the performance.

I really wish Godspell had been everything it could have been: an exciting and touching afternoon at the theatre. Unfortunately, despite the involvement of many talented people, it fell short. It certainly had its moments--especially during intermission when the audience was invited onstage to drink tiny cups of grape juice and explore the playing space. Unfortunately, its hard to recommend a show by saying "Well, the intermission is the best part!"

The Submission

2011-10-01T16:18:00.001-07:00

This fall, I'm looking forward to a number of shows hitting the scene outside of the theatre district. I caught my first Off-Broadway show of the season today when I saw MCC's production of The Submission at the Lucille Lortel Theatre.

Written by Jeff Talbott, The Submission focuses on a young playwright named Danny (Jonathan Groff) who submits a play he has written to the Humana Festival. The only problem is that Danny submits the play under the name Shaleeha G'ntamobi, convinced that no one would pay attention to his play if they knew it was written my a white, middle-class male. When Danny's play gets selected, he must hire Emilie (Rutina Wesley), an actress, to help him cover his steps.

Though I had some issues with the structure of Talbott's play (the first few scenes were a bit shaky and I found the beginning to the last scene to be formulaic), he raises many interesting questions throughout the piece. For example, who is more oppressed: gay man Danny or black woman Emilie? Does Danny's background as a gay man give him the right to write about the black experience? And just how important are things like race, gender and sexuality in our lives?

The play is made better by a dynamite cast. Jonathan Groff is at the best I've ever seen him, somehow managing to make Danny tolerable despite his increasingly smug bigotry. I especially enjoyed his acting during the final scene; I thought it added a lot to Danny's story and left the audience with additional questions at the play's end. Rutina Wesley plays the wide range of Emilie's emotions well and is explosive in her confrontations with Groff's Danny. The play's two supporting actors, Eddie Kaye Thomas as Danny's partner Pete and Will Rogers as his best friend Trevor, are both solid in the piece as well.

Walter Bobbie's direction was slick, keeping the 100-minute piece moving along at a steady speed. I also enjoyed the sets by David Zinn, utilizing the back wall to change the setting from apartment to hotel room to a NYC Starbucks.

The more I reflect on The Submission, the more I find to like about the piece. Not only did it give me the chance to see one of my favorite actors (Jonathan Groff) take on a new and exciting role, it also asked a lot of questions that I'm interested in exploring. If this play is a sign of things to come, I think I'll be checking out many more Off-Broadway shows this fall.

Follies

2011-09-25T18:29:00.000-07:00

While attending the 25th Annual BC/EFA Broadway Flea Market and Grand Auction (my favorite event of the year!) I was able to sneak in a matinee performance of the latest revival to hit Broadway: Stephen Sondheim and James Goldman's Follies.

Chronicling the ups and downs of a reunion of the former stars of the Weismann Follies, this Follies is a transfer of a production mounted earlier this year at the Kennedy Center in Washington, D.C., and has received much praise from critics since its Broadway opening. It really is a very solid production of a wonderful musical, and I'm glad I saw it for many, many reasons.

First, it exposed me to another musical by the brilliant Stephen Sondheim. Though I was vaguely familiar with Follies and some of its songs, I had never seen it live before today. While I wouldn't say it is my favorite Sondheim musical, the performance I witnessed certainly showed that it's still on par with some of his best work. In fact, Follies contains some of his best known songs -- "Losing My Mind," "Waiting for the Girls Upstairs" and "I'm Still Here," to name a few. It also features a book that is of equal force to the score, perhaps bested only by Company in my list of favorite books to Sondheim shows. Goldman's scene between the past and present selves of the four main characters leading to the climactic appearance of "Loveland" was particularly thrilling.

Second, seeing Follies gave me the opportunity to finally see Bernadette Peters perform live. Having watched her in the DVDs of the original Into the Woods and Sunday in the Park with George and having listened to her on numerous cast recordings, it was positively thrilling to see this true theatre legend perform. Peters' Sally was near-perfection: fragile yet hopeful, naive yet slowed by everything life has thrown at her. And as if her acting skills weren't enough, she sounded lovely singing both "In Buddy's Eyes" and "Losing My Mind".

Every bit Peters' equal, Jan Maxwell as a tour-de-force as Phyllis. Her "Could I Leave You?" was a highlight of the show, and she really wowed me in many of her scenes opposite Ben (Ron Raines). Plus, she brought the house down with her high-energy number "The Story of Lucy and Jessie". Other notable cast members: the always-wonderful Danny Burstein as Buddy Plummer and the always-goofy Jayne Houdyshell as Hattie.

The costumes in the show were glorious, as should be expected of a show dealing with former showgirls. I was impressed with the transformation the rather modern-looking Marquis Theatre went to become the soon-to-be torn down Weismann Theatre, and enjoyed the way the lighting highlighted the parallels between the lives of showgirls (and their suitors) past and present.

All in all, this production is one to check out. I've always had a thing for reunions, and stories that examine the paths we choose in life and how it never seems to end up the way we always hope. Follies certainly delivered, in every area I could have wanted it to.

The Book of Mormon

2011-09-11T17:36:00.001-07:00

I finally was able to see Broadway's newest mega-hit, The Book of Mormon, today, after securing myself a ticket several months ago. While the musical was quite different from what I expected it to be, I still ended up enjoying it quite a bit.

Written by South Park creators Trey Parker and Matt Stone along with Tony-winning Avenue Q writer Robert Lopez, The Book of Mormon took Broadway by storm earlier this year, winning nine Tony Awards including Best Musical. The original piece tells the story of two young Mormon missionaries, Elder Price (Andrew Rannells) and Elder Cunningham (Josh Gad) as they journey to Uganda to spread the word of the Church of Jesus Christ and the Latter Day Saints.

I had heard from many sources that The Book of Mormon is one of the funniest musicals ever written, and one of the best to hit Broadway in recent history -- so, needless to say, I went in with high expectations. I would say that the show met them, but in a different way than I had imagined. While it certainly was funny, I wouldn't say it was the funniest show I've ever seen. I remember laughing out loud more at The Drowsy Chaperone, [title of show] and Speech and Debate, just to name a few.

But what surprised me about The Book of Mormon was how traditional it was -- and I mean this in the best way possible. I expected this to be a sort of "anti-musical," a show that mocked the Mormon faith as well as the musical as an art form. So I was pleasantly surprised to see that Mormon seemed to respect its medium quite a bit. Yes, the story is humorous and frequently very crude, but I also think that this piece explores some deeper themes such as the importance of friendship/companionship and the contrast between blindly following organized religions your own personal faith. And they did all of this beautifully, uniting music, lyrics, book scenes and choreography to present this unique blend of humor and heart.

The cast was a delight; it's easy to see why both Josh Gad and Andrew Rannells were nominated for Tonys. Both were hilarious -- Rannells' rendition of "I Believe" was probably my favorite moment of the performance, and Gad is a master at balancing his humor and vulnerability. And to top it off, the two had amazing chemistry. Their duet "You and Me (But Mostly Me)" was second only to "I Believe" in my favorite scenes. I liked Nikki M. James' Tony winning performance as Nabulungi -- she certainly has an amazing voice -- but I still wish Laura Benanti had won for her performance in Women on the Verge of a Nervous Breakdown. And Rory O'Malley was adorable and funny as fellow missionary Elder McKinley.

I really wasn't sure how I was going to feel about The Book of Mormon before I went in. I was convinced that all of the praise being thrown at it was going to make it unenjoyable for me, because my expectations would be to high. But even though it may not have been the musical I was expecting, it was still a great, great afternoon at the theatre. I can honestly say that it deserves all of its accolades, and I'm extremely happy that this completely original musical that's both comedic and heartfelt is filling the Eugene O'Neill Theatre to full capacity night after night.

Jerusalem

2011-07-27T18:15:00.000-07:00

It's been a while since I've been to NYC, but I finally got back there today to catch Mark Rylance's Tony-winning performance in Jerusalem.

I wasn't sure what I was going to think about this show going in, probably because I knew very little about it. I ended up enjoying it quite a bit, although it did take me some time to warm up to the piece. I was actually pretty bored during Act I; I got more invested in the story during Act II and didn't want the performance to end at all during Act III. This is, without a doubt, thanks to the incredible performance of Mark Rylance.

I've heard much about Rylance, not only for this play but for much of his other recent work in New York. I'm thrilled that I finally got the opportunity to see him, because now I understand why praise is so frequently thrown his way. During Jerusalem, I wasn't watching Mark Rylance, I was watching Johnny Rooster Byron. As I walked out of the theatre all I could think was "Now, that was a performance". Rylance didn't just perform as a character, he transformed into someone entirely different. That is something that only truly talented actors can do, and it's a thrill to watch it happen in front of you. The final scene of the play, with Rylance banging on his drum as the lights went down, was enthralling.

The rest of the cast was fine, but it's hard to single out other performers when Rylance completely stole the show. Mackenzie Crook was good as his pseudo-best friend/sidekick Ginger, and the ensemble of teens who sought refuge at Rooster's trailer worked well together. But it was still Rylance who walked away with the play.

I enjoyed the design of the show quite a bit; I thought the set was especially important in setting the scene of the play and transporting the audience into the woods of Wiltshire, England.

Overall, I'm very glad I saw Jerusalem. It hadn't really been on my radar screen for most of the season, and I had been rooting for Joe Mantello to win the Best Actor Tony for The Normal Heart. But after seeing this play, I'm not upset that Rylance won and even more glad that I was able to experience such a performance on the Broadway stage.

Next to Normal (a fifth and sixth visit, on tour)

2011-06-26T19:47:00.001-07:00

I'm not usually one to purchase tickets to national tours, seeing as I have the opportunity to see nearly everything I want to on Broadway. But I'm also not one to pass up the chance to see Next to Normal. So when the national tour of one of my favorite shows stopped in Philadelphia this past week (with its Tony winning leading lady in tow), I bought a ticket to experience the show one last time.

Friday, June 24, 8pm

I was a bit nervous I would not be seeing Alice Ripley in this fifth visit to the show, after hearing some talk about her attendance in other stops of the tour. Fortunately, she was in, and I was able to experience her incredible performance one last time. Yes, singing this role has taken a toll on her voice, but she approaches Diana with unmatchable gusto. The amount of raw emotion she is able to throw into her performance is astounding, and is what makes her performance so memorable.

I enjoyed the other cast members a great deal. Emma Hunton's performance as Natalie was far and away the best of the evening; she may perhaps be the best I've seen in the role. I didn't enjoy either Curt Hansen (Gabe) or Preston Sadlier (Henry) initially, but both grew on me throughout the performance and I ended up liking both a great deal. Sadlier especially ended up impressing me, with "Hey #3/Perfect for You (Reprise)" being on of the performance's highlights for me. Jeremy Kushnier was fine as Dr. Madden/Dr. Fine, as was Asa Somers as Dan. Somers has a fine voice, but he didn't embody the role the way I've seen others do (especially troublesome when he's performing opposite a powerhouse like Ripley).

The experience of seeing the show on tour was both similar and different from seeing in on Broadway. The Academy of Music is about four times larger than the Booth Theatre, so I certainly was sitting in a more removed location for the duration of the performance. Many aspects of the show work better in a more intimate setting. That said, I never felt disconnected from the show throughout the performance. All I felt was love for something familiar -- this show that has been a stalwart in my life for these past two years.

Sunday, June 26, 6:30pm

I initially thought seeing the show Friday would be enough. But after realizing that this is, most likely, my last chance to see this production of Next to Normal, i made a last minute decision and bought a ticket for the show's final Philadelphia performance.

As I'd expected on Friday, Ripley was out of the show. Pearl Sun was on for the role of Diana and, while she has a lovely voice, I simply left appreciating Ripley's performance even more. It's not that Sun was bad; as I've said, she has a great voice and stayed true to the emotions Diana experiences throughout the performance. But I never felt she embodied the role the way I've seen Ripley (and even Marin Mazzie) do it. On the flip side, Jason Watson was on in the role of Dan, and I enjoyed his performance more than the one I saw Asa Somers give on Friday. He has a wonderful voice, one that's perfect for the role and sounded great on songs like "It's Gonna Be Good" and "I've Been". Seeing Watson and Ripley perform together probably would have been electric.

Emma Hunton was even better here than she was on Friday, if that's even possible. I think it's easy to simply portray Natalie as an angry teenager, but Hunton's performance is wonderfully honest. She never plays her Natalie as a girl who's just angry, but rather as someone who is trying to cover up all of her hurting and struggling under the weight of everything that's happening to her. Her bursts of emotion during tonight's performance of "Maybe" and "Hey #3/Perfect for You (Reprise)" is perfect evidence of this, and not something I will soon forget. Tonight's performance also left me wondering how I was ever apprehensive about Preston Sadlier -- I grew to love his Henry even more tonight, and would love to see him perform this role again and again. Curt Hansen was also great tonight, with his high note at the end of "I'm Alive" (which he didn't do on Friday night) acting as one of the vocal highlights of the performance.

Even though Alice Ripley wasn't in tonight, I don't regret going back one bit. I've never made multiple visits to a show in such a short window of time, and I really enjoyed it. Having Next to Normal on my home turf this past weekend was incredible, and I'm forever grateful to this touring company for reminding me why I adore this show and for bringing it back into my life so I could bid this original staging a final goodbye.

The Tony Awards and The Telecast: My Thoughts

2011-06-13T14:49:00.001-07:00

While the 2011 Tony Awards were not nearly as exciting for me after attending the ceremony last year, I still found much to talk about in last night's results and the telecast. Here we go:

WINNERS CIRCLE

Wins that Made Me Happy:
-Sutton Foster for Anything Goes
-Ellen Barkin and John Benjamin Hickey for The Normal Heart
-The Normal Heart and Anything Goes for Best Revivals

Wins that I Wish Had Gone Differently:
-Nikki M. James for The Book of Mormon (I was rooting for Laura Benanti's fabulous performance from Women on the Verge)
-The Book of Mormon for Book, Score and Direction (Score and Direction should have gone to The Scottsboro Boys, while Book should have gone to Bloody Bloody Andrew Jackson)

THE PERFORMANCES

My Favorite Performances of the Night:
-"Raise Your Voice" from the cast of Sister Act
-"Hey Hey Hey Hey/Commencing in Chatanooga" from the cast of The Scottsboro Boys

Less Than Impressive:
-The lackluster opening number, "Broadway Isn't Just for Gays Anymore"
-"Steal Your Rock 'n' Roll" from the cast of Memphis
-"It's Raining Men" from the cast of Priscilla Queen of the Desert

GENERAL THOUGHTS
-Neil Patrick Harris was a fine host, although I wasn't a huge fan of what he was given to do. Both his opening and closing numbers fell short for me, and his duet with Hugh Jackman (though fun), seemed completely pointless.
-I didn't like the awkward long shots and lengthy silences during moments of censorship. Bleeping is fine, but this seemed overdone.
-Why was Chris Rock presenting the Best Musical award, the biggest of the evening? He may be in a play, but he was in no position to be giving out that award.
-Several of the performances baffled me: Memphis? Spider-Man? Why were these shows included while awards like Best Score and Choreography were left off of the telecast completely?

ON THE HORIZON
With the passing of the 65th Annual Tony Awards, a new theatre season is upon us. Not many productions have been announced for the 2012 season, but there is still a lot to look forward to. This past season was a great one for original musicals (11 new musicals opened on Broadway during the year), so I hope the 2012 season will carry on that tradition. Here's to another year of great theatre-going!

2011 Awards Season: Tony Award Winners

2011-06-12T20:08:00.001-07:00

Winners of the 65th Annual Tony Awards were announced tonight, in a ceremony broadcast live on CBS from the Beacon Theatre in New York City. New Musical The Book of Mormon was the night's big winner, taking home nine awards including Best Musical. Other productions with multiple wins included Best Play War Horse (with five), Best Play Revival The Normal Heart (with three) and Best Musical Revival Anything Goes (also with three). Here are the winners:

Best Musical: The Book of Mormon

Best Play: War Horse

Best Musical Revival: Anything Goes

Best Play Revival: The Normal Heart

Best Performance by an Actor in a Leading Role in a Musical: Norbert Leo Butz, Catch Me If You Can

Best Performance by an Actor in a Leading Role in a Play: Mark Rylance, Jerusalem

Best Performance by an Actress in a Leading Role in a Musical: Sutton Foster, Anything Goes

Best Performance by a Leading Actress in a Play: Frances McDormand, Good People

Best Book of a Musical: Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon

Best Original Score: Trey Parker, Robert Lopez and Matt Stone, The Book of Mormon

Best Performance by a Featured Actor in a Musical: John Larroquette, How to Succeed in Business without Really Trying

Best Performance by a Featured Actor in a Play: John Benjamin Hickey, The Normal Heart

Best Performance by a Featured Actress in a Musical: Nikki M. James, The Book of Mormon

Best Performance by a Featured Actress in a Play: Ellen Barkin, The Normal Heart

Best Director of a Musical: Casey Nicholaw and Trey Parker, The Book of Mormon

Best Director of a Play: Marianne Elliott and Tom Morris, War Horse

Best Choreography: Kathleen Marshall, Anything Goes

Best Scenic Design of a Musical: Scott Pask, The Book of Mormon

Best Scenic Design of a Play: Rae Smith, War Horse

Best Costume Design of a Musical: Tim Chappel and Lizzy Gardiner, Priscilla Queen of the Desert

Best Costume Design of a Play: Desmond Heeley, The Importance of Being Earnest

Best Lighting Design of a Musical: Brian MacDevitt, The Book of Mormon

Best Lighting Design of a Play: Paule Constable, War Horse

Best Sound Design of a Musical: Brian Ronan, The Book of Mormon

Best Sound Design of a Play: Christopher Shutt, War Horse

Best Orchestrations: Larry Hochman and Stephen Oremus, The Book of Mormon

For more information, be sure to visit the official Tony Awards website and this Playbill.com article on last night's festivities. Also, check out Broadway.com's vast coverage of Broadway's biggest night. And stay tuned for a post on my thoughts on the CBS telecast!

2011 Awards Season: My Tony Award Predictions

2011-06-12T06:56:00.000-07:00

The 65th Annual Tony Awards are tonight, and will be broadcast live from the Beacon Theatre on CBS. But before the big winners are announced, here are my predictions for all 26 categories that will be presented this evening.

BEST MUSICAL:
Will Win: The Book of Mormon
Should Win: The Scottsboro Boys

BEST PLAY:
Will Win: War Horse
Should Win: The Motherf**ker with the Hat

BEST BOOK OF A MUSICAL:
Will Win: The Book of Mormon
Should Win: Bloody Bloody Andrew Jackson

BEST ORIGINAL SCORE:
Will Win: The Book of Mormon
Should Win: The Scottsboro Boys

BEST REVIVAL OF A MUSICAL:
Will/Should Win: Anything Goes

BEST REVIVAL OF A PLAY:
Will.Should Win: The Normal Heart

BEST ACTOR/PLAY:
Will Win: Mark Rylance, Jerusalem
Should Win: Joe Mantello, The Normal Heart

BEST ACTRESS/PLAY:
Will Win: Frances McDormand, Good People
Should Win: No Preference

BEST ACTOR/MUSICAL:
Will Win: Norbert Leo Butz, Catch Me If You Can
Should Win: Tony Sheldon, Priscilla, Queen of the Desert

BEST ACTRESS/MUSICAL:
Will/Should Win: Sutton Foster, Anything Goes

BEST FEATURED ACTOR/PLAY:
Will/Should Win: John Benjamin Hickey, The Normal Heart

BEST FEATURED ACTRESS/PLAY:
Will/Should Win: Ellen Barkin, The Normal Heart

BEST FEATURED ACTOR/MUSICAL:
Will Win: Rory O'Malley, The Book of Mormon
Should Win: No preference

BEST FEATURED ACTRESS/MUSICAL:
Will/Should Win: Laura Benanti, Women on the Verge of a Nervous Breakdown

BEST SCENIC DESIGN/PLAY:
Will Win: War Horse
Should Win: The Motherf**ker with the Hat

BEST SCENIC DESIGN/MUSICAL:
Will Win: The Book of Mormon
Should Win: Bloody Bloody Andrew Jackson

BEST COSTUME DESIGN/PLAY:
Will Win: The Importance of Being Earnest
Should Win: No Preference

BEST COSTUME DESIGN/MUSICAL:
Will/Should Win: Priscilla, Queen of the Desert

BEST LIGHTING DESIGN/PLAY:
Will Win: War Horse
Should Win: No Preference

BEST LIGHTING DESIGN/MUSICAL:
Will Win: The Book of Mormon
Should Win: The Scottsboro Boys

BEST SOUND DESIGN/PLAY:
Will Win: War Horse
Should Win: No Preference

BEST SOUND DESIGN/MUSICAL:
Will Win: The Book of Mormon
Should Win: Anything Goes

BEST DIRECTION/PLAY:
Will Win: Marianne Elliott and Tom Morris, War Horse
Should Win: Joel Grey & George C. Wolfe, The Normal Heart

BEST DIRECTION/MUSICAL:
Will Win: Casey Nicholaw and Trey Parker, The Book of Mormon
Should Win: Susan Stroman, The Scottsboro Boys

BEST CHOREOGRAPHY:
Will/Should Win: Kathleen Marshall, Anything Goes

BEST ORCHESTRATIONS:
Will Win: The Book of Mormon
Should Win: Catch Me If You Can

Tune into CBS tonight at 8PM/EST to see who walks away a winner at the 65th Annual Tony Awards!

2011 Awards Season: Drama Desk Winners

2011-05-24T21:06:00.000-07:00

Winners of the 2011 Drama Desk Awards were announced Monday, May 23. Both new musical The Book of Mormon and musical revival Anything Goes received five awards; other productions with multiple awards were The Normal Heart and Bengal Tiger at the Baghdad Zoo. Here's a sampling of the nights winners:

Outstanding New Play: War Horse

Outstanding New Musical: The Book of Mormon

Outstanding Actor (Play): Bobby Cannavale, The Motherf**ker with the Hat

Outstanding Actress (Play): Francis McDormand, Good People

Outstanding Actor (Musical): Norbert Leo Butz, Catch Me If You Can

Outstanding Actress (Musical): Sutton Foster, Anything Goes

To see a complete list of winners, go to this article on Playbill.com. And be sure to check out the Drama Desk Awards on TV for the first time ever, as a highlight show airs on the Ovation Network on June 4 at 9pm and June 12 at 12:30pm and 2pm

2011 Awards Season: Drama League Winners

2011-05-20T13:29:00.000-07:00

Winners for the 77th Annual Drama League Awards were announced today at a ceremony and luncheon hosted by Kathleen Turner. Winners included:

Distinguished Production of a Play: War Horse

Distinguished Production of a Musical: The Book of Mormon

Distinguished Revival of a Play: The Normal Heart

Distinguished Revival of a Musical: Anything Goes

Distinguished Performance: Mark Rylance, Jerusalem

For more information, read this article on Playbill.com.

2011 Awards Season: Outer Critics Circle Winners (and Astaire Winners, too)

2011-05-16T17:53:00.001-07:00

Winners for the 61st Annual Outer Critics Circle Awards were announced today, ahead of a May 26th ceremony. Musicals Anything Goes and The Book of Mormon, as well as new play War Horse, earned four awards each. Winners included:

OUTSTANDING NEW BROADWAY PLAY
Bengal Tiger at the Baghdad Zoo
Good People
The Motherf**ker With the Hat
War Horse

OUTSTANDING NEW BROADWAY MUSICAL
The Book of Mormon
Priscilla Queen of the Desert
Sister Act
Women on the Verge of a Nervous Breakdown

OUTSTANDING NEW OFF-BROADWAY PLAY
Blood From a Stone
Kin
Other Desert Cities
The Other Place

OUTSTANDING NEW OFF-BROADWAY MUSICAL
Freckleface Strawberry
In Transit
The Kid
Tomorrow Morning

Check out this Playbill.com article for the full list of winners.

Winners were announced yesterday, May 15, for the 2011 Astaire Awards. Honoring excellence in dance on Broadway and in film, this year's recipients included:

BROADWAY CHOREOGRAPHER
Rob Ashford (How to Succeed in Business Without Really Trying)
Marguerite Derricks (Wonderland)
Kathleen Marshall (Anything Goes)
Jerry Mitchell (Catch Me if You Can)
Toby Sedgwick (War Horse)
Susan Stroman (The Scottsboro Boys)
Anthony Van Laast (Sister Act)
Danny Mefford (Bloody Bloody Andrew Jackson)
Casey Nicholaw (The Book of Mormon)

FEMALE DANCER, BROADWAY
Rachel de Benedet (Catch Me if You Can)
Sutton Foster (Anything Goes)
Jennifer Frankel (Catch Me if You Can)
J. Elaine Marcos (Priscilla Queen of the Desert)
Patina Miller (Sister Act)
Laura Osnes (Anything Goes)
Angie Schworer (Catch Me if You Can)
Megan Sikora (How to Succeed)
Samantha Zack (How to Succeed)

MALE DANCER, BROADWAYNick Adams (Priscilla, Queen of the Desert)
Norbert Leo Butz (Catch Me if You Can)
Colman Domingo (The Scottsboro Boys)
Colin Donnell (Anything Goes)
Josh Gad (The Book of Mormon)
Joshua Henry (The Scottsboro Boys)
Daniel Radcliffe (How to Succeed)
Aaron Tveit (Catch Me if You Can)

For more information, including more winners, see this Playbill.com article.

2011 Awards Season: Tony Nominations

2011-05-03T15:56:00.000-07:00

Nominees for the 65th Annual Tony Awards were announced this morning by Tony winners Matthew Broderick and Anika Noni Rose. New musicals The Book of Mormon and the long-closed The Scottsboro Boys were the highest nominated shows, with 14 and 12 nods respectively. Jerusalem and The Motherf**ker with the Hat were the most nominated new plays of the season, with 6 each. Both this season's musical revivals faired well: Anything Goes received 9 nominations and How to Succeed in Business without Really Trying received 8. Here are some of the nominees:

Best Musical
The Book of Mormon
Catch Me If You Can
The Scottsboro Boys
Sister Act

Best Play
Good People
Jerusalem
The Motherf**ker with the Hat
War Horse

Best Performance by an Actor in a Leading Role in a Musical
Norbert Leo Butz, Catch Me If You Can
Josh Gad, The Book of Mormon
Joshua Henry, The Scottsboro Boys
Andrew Rannells, The Book of Mormon
Tony Sheldon, Priscilla Queen of the Desert

Best Performance by an Actress in a Leading Role in a Musical
Sutton Foster, Anything Goes
Beth Leavel, Baby It's You!
Patina Miller, Sister Act
Donna Murphy, The People in the Picture

To see a complete list of this year's nominees read this article on Playbill.com or visit the official Tony Awards website. Winners will be announced at this year's Tony Awards ceremony on June 12, which will be broadcast nationwide on CBS live from the Beacon Theatre.

2011 Awards Season: Drama Desk Nominations

2011-04-29T20:30:00.000-07:00

Nominees for the 56th Annual Drama Desk Awards were announced this morning. The Book of Mormon and Anything Goes topped the list, with 12 and 10 nominations respectively. Winners will be announced May 23, and nominees will celebrate at a reception this Monday, May 2. Nominees included:

Outstanding Play
Jon Robin Baitz, Other Desert Cities
Adam Bock, A Small Fire
Stephen Adly Guirgis, The Motherf**ker With the Hat
Samuel D. Hunter, A Bright New Boise
Rajiv Joseph, Bengal Tiger at the Baghdad Zoo
David Lindsay-Abaire, Good People
Nick Stafford, War Horse

Outstanding Musical
In Transit
Priscilla Queen of the Desert: The Musical
See Rock City & Other Destinations
Sister Act
The Book of Mormon
The Kid

Outstanding Revival of a Play
Born Yesterday
The House of Blue Leaves
The Importance of Being Earnest
The Merchant of Venice
The Normal Heart
Three Sisters

Outstanding Revival of a Musical
Anything Goes
Hello Again
How to Succeed in Business Without Really Trying

Check this article on Playbill.com for an entire list of nominees, and check back on Tuesday for 2011's Tony nominations!

2011 Awards Season: Outer Critics Circle Nominations

2011-04-26T09:28:00.000-07:00

Nominees for the 2011 Outer Critics Circle Awards were announced this morning. Winners will be announced May 16, with an official ceremony on May 26. Here are some of the nominees:

OUTSTANDING NEW BROADWAY PLAY
Bengal Tiger at the Baghdad Zoo
Good People
The Motherf**ker With the Hat
War Horse

OUTSTANDING NEW BROADWAY MUSICAL
The Book of Mormon
Priscilla Queen of the Desert
Sister Act
Women on the Verge of a Nervous Breakdown

OUTSTANDING NEW SCORE
(Broadway or Off-Broadway)
The Book of Mormon
Catch Me If You Can
Sister Act
Women on the Verge of a Nervous Breakdown

JOHN GASSNER AWARD
(Presented for an American play, preferably by a new playwright)
Amy Herzog, After the Revolution
Matthew Lopez, The Whipping Man
David West Read, The Dream of the Burning Boy
Kim Rosenstock, Tigers Be Still

For a full list of nominees, read this article from Playbill.com. And, of course, be sure to check back here for more information about the Outer Critics Circle Awards and other awards for the 2011 season (Drama Desk and Tony nominations will be announced next week!).

2011 Awards Season: Drama League Nominations

2011-04-25T08:10:00.000-07:00

It's hard to believe that it's that time of year again, but awards season is once again upon us. Nominees for the 77th Annual Drama League Awards were announced this morning. They included:

Distinguished Production of a Play:
Bengal Tiger at the Baghdad Zoo | Richard Rodgers Theatre
The Diary of a Madman | Brooklyn Academy of Music
The Dream of the Burning Boy | Roundabout Theatre Company
The Elaborate Entrance of Chad Deity | Second Stage Theatre
Gatz | Elevator Repair Service/The Public Theater
Good People | Manhattan Theatre Club
Jerusalem | Music Box Theatre
Kin | Playwrights Horizons
The Motherf**ker with the Hat | Gerald Schoenfeld Theatre
Other Desert Cities | Lincoln Center Theatre
Sleep No More | Punchdrunk/The McKittrick Hotel
War Horse | Lincoln Center Theatre

Distinguished Production of a Musical:
The Book of Mormon | Eugene O'Neill Theatre
Catch Me If You Can | Neil Simon Theatre
Elf | Al Hirschfeld Theatre
In Transit | Primary Stages
The People in the Picture | Roundabout Theatre Company
Priscilla, Queen of the Desert | Palace Theatre
Sister Act | Broadway Theatre

Winner will be announced May 20 at a ceremony hosted by recent High star Kathleen Turner. Check this article for more information (including all of the nominees) and check back here over the coming weeks for more information on 2011 Theatre Awards!

Catch Me If You Can

2011-04-24T19:25:00.000-07:00

I spent my Easter Sunday in New York City to catch (heh heh) a performance of the new Broadway musical Catch Me If You Can.

Assembled by the same team behind the Tony winning hit Hairspray, Catch Me is based off of the 2002 Stephen Speilberg film, which was itself based on the memoirs of former crook Frank Abagnale, Jr. The story follows Frank as he outruns te FBI and swindles away millions and fakes a life as a pilot, a doctor and a lawyer all before he turns 21.

I had plenty of fun at this afternoon's performance of Catch Me If You Can, and won't deny that there is much to enjoy about it. But I think that the problem was that I was expecting so much more. Having found Hairspray to be one of the strongest musical comedies of the 21st century, my expectations for this new musical may have just been too high.

The score was hit and miss. Some of the numbers ("Live in Living Color," "Someone Else's Skin," "Don't Break the Rules") were quite well done while others ("Doctor's Orders," "The Pinstrips Are All That They See," "(Our) Family Tree") didn't really land at all. My favorite songs of the show were "Seven Wonders," a charming love duet between Frank and his love Brenda and the 11 o'clock number "Goodbye.". Beautifully sung by Aaron Tveit and crisply staged; the entire shoe would have succeeded with flying colors if everything had been on the same level as this penultimate song.

Terrence McNally's book fared about as well as the score. Though moments were touching and, less frequently, humorous, it rarely moved beyond amusing. The framing device of a 60s variety show also didn't completely fly (heh heh) with me, but it did actually come across better than I had expected.

But I did say there were things to enjoy about the show, and this was especially true of the cast. While not as good as he was in 2009's Next to Normal, Aaron Tveit was still a wonderful Frank, Jr. His voice is crystal clear (as mentioned before, his "Goodbye" was the highlight of the show) and he has charm and charisma to spare. Norbert Leo Butz's Carl Hanratty was a fitting match for Tveit's Frank; he was hilarious and, when the moment called for it, aptly vulnerable (take his phone conversation with Frank, Jr. in the first act finale "My Favorite Time of the Year" as an example). And Kerry Butler was adorable and sweet as Frank's love, Brenda Strong, knocking the song "Fly, Fly Away" out of the park.

The set was a bit bland, but the costumes and lighting tried to work their way around this. I know it fit in with the variety show frame, but I wasn't a huge fan of having the orchestra on the stage. Jerry Mitchell's choreography was appropriately bubbly, but not nearly as energetic and impressive as some of his previous work.

Maybe my expectations were too high for Catch Me, because if I examine it without looking for it to be the next Hairspray it really was a fine show. It's not the best thing I've seen ever, or even this season, but it was fun. Flaws aside, this was a nice throwback to the older musicals with two great performances by Norbert Leo Butz and Aaron Tveit.

Company

2011-04-10T07:15:00.000-07:00

I was lucky enough to make my way to Lincoln Center to catch one of four performances of Stephen Sondheim and George Furth's Company at Avery Fisher Hall with the New York Philharmonic and an all-star cast yesterday, and let me just say this: it was a phenomenal afternoon.

Neil Patrick Harris was an excellent Robert. No, he doesn't have the voice that Raul Esparza brought to the role, but his acting is superb. His "Being Alive" was beautiful, moving and vulnerable, and the amount of charm and charisma he exuded while on stage made it so easy to see why everyone loves Robert. It was an absolute treat to see him perform on stage, and I only hope I get to see more of him in the future.

The rest of the cast was just as wonderful. Martha Plimpton and Stephen Colbert were hilarious as Harry and Sarah; they're karate scenes were a comedic highlight of the production. Patti LuPone's "The Ladies Who Lunch" was fierce and showstopping, and Christina Hendricks was a delightful surpass as mousy flight attendant April. And, of course, Katie Finneran, whom I adored in Promises, Promises was a hilarious and crazy Amy (despite a minor lyric flub in "Getting Married Today").

The staging was more than I would have expected for a concert version. Costumes, sets and wigs brought the production back to the 70s, and several numbers, especially the second act opener "Side by Side by Side/What Would We Do Without You?", had showstopping choreography.

I'm not sure what else to say except that seeing this performance of Company really was a magical afternoon of theatre. I had been quite familiar with this show before, but there was something about today's performance that just really made it click for me. I saw a show that was both charming and hilarious as well as thoughtful and touching. There was just something about seeing this entire cast together, with the outstanding Philharmonic playing the production's original orchestrations, that made me fall in love with this show. I liked Company before, but I adore it now.

Priscilla, Queen of the Desert

2011-03-27T17:38:00.000-07:00

I made an impromptu trip to NYC today and won the lottery for a front row seat to one of this season's new musicals, Priscilla, Queen of the Desert.

Based on the film of the same name, Priscilla tells the tale of three Australian Drag Queens (well, actually, two drag queens and one transexual) who journey through the Outback in a pink bus dubbed (of course) Priscilla. The musical arrives on Broadway after successful runs in Australia, London and Toronto.

While it certainly isn't the best thing I've ever seen, Priscilla was exactly what I needed today. It was a big party from beginning to end, and left me with a smile on my face and toes tapping down the street as I exited the Palace Theatre. I recognized more songs than I thought I would in this jukebox musical, and enjoyed more of them than I thought I would, too (I've had several of the numbers stuck in my head since the performance ended, much to the dismay of my friends who have tired of hearing me sing "It's Raining Men," "Material Girl," "Hot Stuff," and "I Will Survive").

The cast is led by Tony nominee Will Swenson, Priscilla vet Tony Sheldon and Nick Adams. I enjoyed all three in their roles. Sheldon was probably the most touching as Bernadette, moving the audience to forget about the fact that his character is a transexual and to focus on the fact that he is really someone past her prime. Swenson was also touching as a drag queen reunited with his wife and introduced to his son, whom he fears will reject his alternative lifestyle. Though I found him to be stronger in the 2009 revival of Hair, it was still a joy to see him perform. And Adams was a good fit for the role of Adam/Felicia, the younger, friskier drag queen who joins the bus tour.

Physically, the production is fine. The costumes are absolutely divine and have the Tony in the bag (they are designed by the same duo who designed the costumes for the film, which they won an Oscar for), and the most impressive set piece is Priscilla herself. It was a bit difficult to get an entire stage picture, being in the front row, but it was fun to have the talented ensemble dancing Ross Coleman's energetic choreography right above me.

Overall, Priscilla was a welcome entry into the 2011 season and a delightful way for me to spend an afternoon. Much like Anything Goes, it left me feeling good. I wasn't expecting it to make any profound statements (other than it's alright to love and embrace who you are), so it was easy to just let myself go and hop on for the wildly fun journey.

How to Succeed in Business without Really Trying

2011-03-16T18:31:00.001-07:00

Please Note: My thoughts below are based on a preview performance. Changes and cuts may be implemented in this production before it's official opening on March 27.

I caught the first revival of the 2011 season today at the Al Hirshfeld Theatre, where Rob Ashford's 50th Anniversary production of How to Succeed in Business without Really Trying is currently in previews.

I really wanted to love this production. I've been waiting for a How to Succeed revival for years, and wanted to see a Broadway production that was worthy of this excellent material. Unfortunately, that wasn't the case. Though it was nice to finally hear this music sung in a professional capacity, I was still left wanting more.

Harry Potter star Daniel Radcliffe played the lead role of J. Pierrepont Finch (and I may have been the only person in the theatre more excited to hear Frank Loesser's glorious score than see Harry Potter on stage). Radcliffe was a surprisingly good dancer and fine singer, but I'm still not sold on him in the role. He wasn't bad, exactly, but just not what I was hoping for in my Finch. I found him too be much too young for the role, and didn't think he really embraced the satire that they role presents. The fear on his face while he sang "I Believe in You" (in which Finch is supposed to be singing about how much he loves himself) was just one of several ways in which he missed the point of his character.

But perhaps Radcliffe suffers from being surrounded by weak supporting players. I was initially impressed with Rose Hemingway's Rosemary Pilkington, but then she delivered a completely bland "I Believe in You (Reprise)," which is typically one of my favorite moments of this show. Christopher J. Hanke had some funny moments as Bud Frump, but I probably would have liked him better if he hadn't given an extremely similar performance in Cry-Baby. Similarly, Tammy Blanchard managed to get a few laughs out of me as Hedy LaRue, but I really would have liked to see someone flat-out hilarious in the role (much like Katie Finneran in last season's Promises, Promises). Out of everyone, the show's ensemble should be commended. They had tremendous energy and are all fabulous dancers.

I've always been a fan of Rob Ashford; I even enjoyed his work on Promises, Promises, which received mostly negative reactions. Here he has staged a nice "Brotherhood of Man" and "Been a Long Day" (made better by Mary Faber's sweet Smitty), but the rest of the numbers fall flat or fail to register. He may have some other great choreography in here, but it's just not fit for the show. The movement during "Company Way" was way overdone and detracted from the song, as did the unnecessary football ensemble appearance in "Grand Old Ivy". I was thrilled that "Cinderella, Darling" was kept in tact for this revival, but then disappointed when it was staged as a tap number. And I really wish that Ashford had been able to give his cast more direction during the book scenes; perhaps then all of the performances would have been stronger.

Another gripe about this revival: it's ugly. The sets are loaded with hexagons that clutter the stage and are often illuminated in unattractive colors. Several of the pieces call to mind the original designs of "Company" and "Bye Bye Birdie," but only because they look like a sloppy imitation. The costumes are mostly fine, but by some I was completely underwhelmed (like the dresses in "Paris Original," for example).

This revival of How to Succeed suffers from the same problem that plagued the 2009 revival of West Side Story. When given first-rate material (some of the best in the musical theatre cannon), a first-rate production should be assembled. My trip to this production was worth it - I finally got to see one of my favorite shows on Broadway. But it would have been even better if I saw a production that was worthy of the material being performed.

Gruesome Playground Injuries

2011-02-20T16:19:00.001-08:00

I caught the final performance of Rajiv Joseph's Gruesome Playground Injuries at Second Stage Theatre today.

The play is fairly simple, following friends Doug (Pablo Schreiber) and Kayleen (Jennifer Carpenter) and the injuries they receive over the course of thirty years. Joseph raised some interesting questions about the ways we hurt ourselves and others (both internally and externally) as well as the ways we respond to the pain of others. While I didn't love the play, I did enjoy it - and it left me with something to think about afterwards.

I most enjoyed the acting. Schreiber was the stronger of the two; effortlessly embodying Doug from ages eight to thirty-eight. His performance was both vulnerable and honest, and it was very easy to care about Doug during his times of crisis. Carpenter turned in a fine performance as well, though not nearly as memorable as her co-stars. She was much more comfortable in her character's older scenes; the opening scene in which Kayleen was eight seemed to be a struggle.

I loved the design of this show. Water-filled cubes framed the playing space, and the two actors moved around the stark area that they were given. I thought the scene transitions were a joy to watch (as the actors changed their clothes and their injuries for the coming scene), and really enjoyed having audience members seated behind the action of the play. Kudos to director Scott Ellis and the design team for creating a production that really seemed to invite me in.

I'm glad I was able to see Gruesome Playground Injuries. I don't get to see nearly as many Off-Broadway shows as I wish I could, so it was nice to make my way into Second Stage to see something new and see a little slice of what Off-Broadway has to offer. It was a fine play, and definitely made me curious to see what the rest of the city has to offer.

Angels in America, Part I: Millenium Approaches

2011-02-05T18:25:00.001-08:00

After hearing so many good things, I was finally able to catch (part of) the Signature Theatre Company's revival of Tony Kushner's Angels in America: A Gay Fantasia on National Themes.

There's no denying that this is production is very good. It has everything you could ask for in the theatre: excellent acting, an experienced director, a Pulitzer Prize and Tony Award winning script. And I certainly felt a lot throughout the performance: I was moved, provoked, entertained, saddened, angered, and whatever else. Yet I still wanted something more. But I'll get to that later.

I'll start by acknowledging what was good. The cast was great - even the new members who just began performances this week. Michael Urie was fantastic as AIDS-ridden Prior Walter, and Kiera Keeley provided a take on Harper Pitt (my favorite character) that I had never seen before. I was also fond of original cast members Bill Heck as Joe Pitt and Billy Porter as Belize (The diner scene between Belize and Louis was one of the production's highlights). But the entire ensemble worked together beautifully, even though there were some individual performances that I thought were less than great.

Aspects of the physical production were mixed. For the majority of the show, I thought the set was ugly. I didn't like how incomplete it felt, and thought the transitions were sloppy. But I will admit that the final scene, in which the Angel descends upon Prior, was beautiful. If only the entire production had looked like that.

But, like I said, I didn't leave this production feeling overwhelmed - in fact, I felt decidedly underwhelmed. Maybe it's because I have heard so many good things about this production, but I just didn't get everything I wanted out of it. It's possible that I'm just not a fan of Kushner's writing (although I did enjoy a production of Part II I saw in December a great deal); I wasn't as moved and awestruck as I had expected to be. This production of Angels in America is certainly first class, but it just wasn't everything that I was hoping it would be.

Spider-Man: Turn Off the Dark

2011-01-08T18:54:00.001-08:00

Note: My thoughts below (and there are many, so be prepared) are based on a preview performance. The show is by no means frozen, and changes of any scale may be made by those involved with the production prior to it's February 7 opening.

After $65 million dollars, a theatre name change, five opening nights, four cast injuries, the loss of a lead cast member and unending media attention, I finally got to see what it was all about. That's right: I saw Spider-Man: Turn Off the Dark, Broadway's most talked about musical, this afternoon.

Before I go any further, I must say this: Spider-Man left me utterly confused. Not because it's bad. Or actually, maybe because it is. There are so many things that I disliked about this production; so many things that need to be altered, changed, or deleted. And yet, I liked it. I was excited by it, I was entertained by it, and I think I may even want to see it again.

But before I explain those feelings, I'll talk about the show's problems. The entire story is pretty ridiculous, combining the story of how Peter Parker became Spider-Man with the birth of one of his most famous foes (The Green Goblin) and then those two stories with the seemingly unrelated Greek myth of Arachne. Oh, and it's all narrated by a group of teenagers - a "geek chorus," as the Playbill refers to them - who periodically interrupt the action and even throw in their own villain or two. Why? I'm not really sure.

There's far too much going on in Julie Taymor and Glen Berger's book, and yet their's not much going on at all. They spend too much time on Spider-Man's backstory, but I still felt I would have been completely lost if I knew nothing about Spider-Man. They've managed to include more villains than I can count on one hand, but none of them seem to serve any purpose. The first act is spent introducing the audience to Norman Osborn and depicting his journey into a life as The Green Goblin, only for him to be defeated before intermission. The Sinister Six appear in the second act only to sing the mediocre number "Sinistereo" before promptly being defeated by Spider-Man, and Arachne's backstory is explained at the top of the show before she essentially disappears until her character is needed in act two.

And when her character does finally come into the story, she doesn't seem to do much. She floats around with her Furies (a foolish role that those in the ensemble must dread performing), moans her way through the trippy title song, transforms from spider to human and back into spider without explanation, sends an entire blackout throughout New York City, sings a ridiculous number about shoes, and then gives up way too easily when she realizes Spider-Man is still Peter Parker - and still mortal. This is basically the entire plot for the musical's second act. As I said, the show has a lot of problems.

In order to prevent myself from ranting on about the show's book, I'll move onto the score. Written by Bono and The Edge of U2 fame, I have mixed feelings about the Broadway debut for these two composers. I will say that their music felt very original; this musical was unlike a great number of others I've seen in the past. Unfortunately, it also felt slightly repetitive, and only a few songs really stood out. Musically, the show's strongest points were songs that built character. The bigger ensemble numbers often fell flat.

The music in the second act far outshined the first. Act two contains my favorite song ("Walk Away," a duet between Peter and Mary Jane) as well as the impressive "If the World Should End" for Mary Jane and "The Boy Falls From the Sky" for Peter, while the only song that registered during the first act was "Picture This" (and, perhaps "No More"). But both acts have their fair share of misses: The Green Goblin's horrendous "I'll Take Manhattan" at the end of act one, and "Deeply Furious" and the aforementioned "Sinistereo" in act two.

As for the physical production: well, that was impressive. But also, it wasn't. With such a hefty price tag attached, I guess I was expecting everything to blow me out of the water. Not so. In fact, I was surprised at how cheap a number of things seemed in the production. The set was most inspired when it wasn't attempting to be reminiscent of a comic book - unfortunately, the majority of the show didn't follow this model. The set for the final scene of the first act, in which the back of the stage was transformed into a bird's-eye perspective of a NYC street from atop the Chrysler Building was quite well done; the "Flat Stanley"-esque Spider-Man puppet that flew across the stage at the top of act two was not. The giant tapestry woven by swinging cast members at the beginning of the show was one of the show's best aerial stunts; but the giant blow up doll that Peter had to wrestle was less than intimidating. And the large LCD screens that moved about the screens helped build Spider-Man's world; the cheap-looking silly string that he basically threw from his hands nearly shattered the illusion.

But the real reason this show has gotten so much attention is because of the flying. And that was cool, but not totally what I was expecting. The best part of the show was the first act finale, a battle scene between Spider-Man and The Green Goblin, staged entirely in mid-air above the audience. I was pleased that these characters moved all around the theatre, and that the flying was not limited to on track over the audience. At one point, Spider-Man landed at different parts all around the auditorium, including right by my seat in the orchestra. That was pretty cool. if nothing else, I must applaud Julie Taymor for making the audience feel like they were in the musical, and not just watching it.

But still, I wish there had been more. I thought that there would be much more aerial work than there actually was; I don't know if changes have been made since the production began previews and cast members have been injured. But it would have been nice if they at least ended the production with Spider-Man once again swinging over the audience, rather than the anti-climatic interaction between Peter and Arachne and a banner falling from the rafters.

As for the cast: they were probably the best part of the show. Or at least the two leads were. Matthew James Thomas played the role of Peter Parker/Spider-Man at this afternoon's performance (Thomas performs the role at matinees, despite the fact that he wasn't supposed to step in as star Reeve Carney's alternate until after the production opened) and he was incredible. He captured Peter's nerdiness and uneasiness with young life and love beautifully, and translated that nicely into his second act torment over choosing his duties as Spider-Man or his feelings for Mary Jane. He also has a strong rock voice, perfect for this show's edgier score. Jennifer Damiano, who was a Tony nominee at age 17 for Next to Normal, was both fiery and vulnerable as Mary Jane, especially when she was given more to do in the second act. Others that made an impression were Patrick Page (more in his performance as Norman Osborn rather than the Green Goblin) and the Geek Chorus teens (even if their role in the story was silly).

And now, finally, I will begin to wrap this up. I hope my thoughts weren't terribly confusing, but please be understanding if they were. Because, as I said, this musical confused me. I've been quite liberal in laying out what I found to be problematic with this production, but I also want to be clear that I quite, quite enjoyed it. I do wish the story was stronger and more coherent and that Taymor had paid as much attention to every aspect of the production that she did to the flying, but I still found something to enjoy at this musical - if I can even call it that. It's almost more of an event than a musical; it's an experience that I'm thrilled I had and that I won't soon forget. I'm not sure I'll be able to recommend it as a good show, but I'll certainly be able to recommend it as an interesting one. And I'm most appreciative that Taymor and Company have gone to great lengths to not only put this story on the stage but to, in some way, make it theatrical. That is something that far too many stage adaptations are missing today.

Top 10 of 2010: The Shows

2010-12-31T20:10:00.001-08:00

As I've mentioned throughout my previous posts, I've been blessed with the opportunity to see a lot of great theatre this year. And so it was quite difficult to narrow down my list to the 10 best things I've seen. But after much thought I solidified my list, and it's perhaps my most eclectic one yet. I have shows from on and off Broadway, and even one non-professional production that really amazed me this year. So here it is: my 10 favorite shows that I saw in 2010.

1.) Next Fall (Broadway, Helen Hayes Theatre): There are many reasons why I loved Next Fall: it's organic writing, the amazingly talented ensemble, and the way it tackled contemporary issues with grace. But the reason it's my number one show of 2010 is because it was the first straight play that did for me what only musicals have done in the past. It completely opened me up. The range of emotions that this production sparked within me was shocking, but in the absolute best possible way.

2.) Bloody Bloody Andrew Jackson (Broadway, Bernard B. Jacobs Theatre): It's loud, it's unapologetic, and it's the best new musical of the year. Bloody Bloody Andrew Jackson has it all: a rocking score, a book that's both hilarious and provocative, and a charismatic turn by Benjamin Walker, Broadway's newest leading man. The moment I stepped into the fully decked out Jacobs Theatre, I knew I was in for something special. I'm heartbroken that it's leaving Broadway so soon.

3.) Anyone Can Whistle (Off-Broadway, City Center Encores!): 2010 saw my first Encores! show, and what a way to start. Sondheim's flop finally became a hit, as this star-studded production (featuring the likes of Donna Murphy, Sutton Foster and Raul Esparza) emerged as the grandest of all celebrations in Sondheim's 80th year. And though it was hard to beat Foster's rousing "There Won't Be Trumpets" and Esparza's "Everybody Says Don't," the highlight of this production was the presence of Stephen Sondheim himself at the matinee's post-performance talkback.

4.) YANK!: A WWII Love Story (Off-Broadway, The York Theatre): It was a treat for me to experience a new original musical Off-Broadway this year, and to see something in its early stages before it takes Broadway by storm. YANK!'s heart-warming story about the trials of love in more difficult times was tearjerking, thanks especially to a spectacular performance by the multi-talented Bobby Steggert. I hope this show has a future in New York; I expect that it will only grow stronger as the creative team continues their work.

5.) The Scottsboro Boys (Broadway, Lyceum Theatre): Those who are worried about the state of the American musical should look no further than The Scottsboro Boys, one of the most daring and rewarding new musicals Broadway has seen in years. The Kander and Ebb score shines to its fullest, and Susan Stroman's staging layers the show with an irony that makes its message all the more haunting.

6.) Dog Sees God: Confessions of a Teenage Blockhead (Vassar College): What I got when I walked into Dog Sees God was more than I ever expected. I found the script to be both hilarious and deeply touching, especially the play's final scene (which appropriately played like a long "It Gets Better" video in a time of rising suicides amongst gay youth), and the production was beyond anything I could have hoped for in a college production. The acting was organic, the direction fluid and with a clear vision, and I walked out head over heels in love.

7.) Time Stands Still (Broadway, Cort Theatre): What I really liked about Time Stands Still were the questions that it raised. This production challenged audiences to think about the role of journalists in capturing history, and the way we respond to what the media provides for consumers. But it also explored the complexities of our relationships, with friends, bosses and lovers. I left the Cort Theatre with a lot on my mind, but that's exactly what I was hoping for from this show when I entered.

8.) Promises, Promises (Broadway, The Broadway Theatre): Forget what the critics said; I found Promises, Promises to be one of the most entertaining productions of my summer. With a knockout performance from the Tony winning Katie Finneran and admirable performances from veteran performer Kristin Chenoweth and Broadway newbie Sean Hayes, this show was nothing but a good time.

9.) Fences (Broadway, Cort Theatre): Fearlessly led by Denzel Washington and Viola Davis in their Tony-Winning Peformances, this revival of Fences was an electric and invigorating afternoon and not something that I will soon forget. Completely deserving of all of its accolades and its spot on this list.

10.) American Idiot (Broadway, St. James Theatre): Maybe another angsty rock musical wasn't needed on Broadway, but I'mm still willing to welcome American Idiot into the community. What director Michael Mayer was able to do create out of nothing but a Green Day album is incredible, and the sprawling, in-your-face lighting, set and costume designs only make the rambunctious cast's delivery of Green Day's hit songs all the more powerful and, at times, poignant.

Special Mention: 2010 Tony Awards: Because of it's unique nature (and the fact that it's not really a 'performance'), I chose to leave the Tony Awards off of my list. But I still feel the need to mention them, because attending the awards show at Radio City Music Hall was the highlight of my year. To be surrounded by so many people that I respect and admire was unbelievable, and I'm forever grateful for the few hours I got to spend dressed up in my tux watching people with real talent get rewarded for sharing their gifts. It was a night I'll never forget, and made my 2010 an amazing year.

Top 10 of 2010: Theatrical Moments

2010-12-30T19:48:00.000-08:00

In last year's theatre countdown, I introduced the list of my favorite "theatre moments." These are moments within certain performances that really resonated with and struck me, and that I think deserve to be recognized outside of that production's overall merit. Having experienced a lot of theatre in 2010, I was lucky enough to have some of these breath-taking moments in theatre on and off Broadway.

1.) Act II Confrontation Scene (Fences): Seeing Viola Davis and Denzel Washington pitted against each other as Troy's lies wash over his wife, Rose, was one of the most electric experiences I had all year. The outpouring of raw emotion from Davis in this single scene was enough to justify her Tony win later that night, and certainly enough to keep her performance alive in my mind for a long time to come.

2.) "My Name is Adam" (Next Fall): The final words spoke in Geoffrey Nauffts' Next Fall were a beautiful end to this amazing new play. After spending two hours with these characters and learning to share in their pain and their happiness, this ending left me with plenty to think about and the desire to never see the curtain go down.

3.) Curtain Call (Lend Me a Tenor): On a lighter note than some of the other moments, I greatly enjoyed the curtain call of Stanley Tucci's revival Lend Me a Tenor. As the cast wildly ran around the stage to recreate the play's action in a minute and a half, I couldn't help but laugh and smile as I quickly relived the delight that was this production.

4.) Final Moments (The Scottsboro Boys): As if the story of The Scottsboro Boys and their struggle wasn't provoking enough, this production ended with one of the most powerful scenes I have ever seen on a Broadway stage. The presence of Rosa Parks and her actions really hits the message of this musical home; it's a shame it wasn't able to last on Broadway. I think many could have benefitted from experiencing this piece of theatre.

5.) Talkback with Stephen Sondheim (Anyone Can Whistle): Seeing my first Encores! show (and having it be the splendid Anyone Can Whistle) would have been joy enough. But when they brought Stephen Sondheim out from the wings to talk about his first (and perhaps most famous) flop with the audience, I was beside myself. It was amazing to see this celebrated man talk about something that he wrote, knowing that he and I had both just experienced the same performance of his work.

6.) "Dear CB..." (Dog Sees God): Probably one of the most moving experiences I had at a show all year - and this was in a college production, no less! But coming shortly after a string of suicides by bullied gay teenagers, the final scene of Burt V. Royal's play was ever so poignant. I could barely hold back the tears as CB struggled to let go of Beethoven for good.

7.) "Rememb'ring You/Finale" (YANK! A WWII Love Story): With tears in my eyes (that I'm pretty sure the cast could see as they looked out into their tiny venue), I was completely taken with the final scene of Off-Broadway's YANK! Bobby Steggert's performance was nothing short of incredible, and the emotion that he was able to convey as the story shifted back to modern times was heart-wrenching.

8.) "Bottle Neck" Scene (Time Stands Still): An early moment in the play, and one that would normally go unnoticed, this scene really showed me that this performance was going to be something special. The chemistry between Brian d'Arcy James and Laura Linney was electric, and their mutual ability to portray the pain that was brewing inside both of them first came out during this scene. It has still stuck with me, but I'm glad it has.

9.) "Send in the Clowns" (A Little Night Music): What a joy to hear Sondheim's most famous song performed live, especially in such an emotional and lovely rendition by Catherine Zeta-Jones (pay no attention to her performance from the Tony Awards, it doesn't do her interpretation of the song justice).

10.) "Last Night on Earth" (American Idiot): Though I enjoy many songs in American Idiot more than "Last Night on Earth," the staging of this song is what has landed it in my top 10 list. The heroin tubing ballet was simultaneously disturbing and beautiful, and a perfect example of the brilliant work that Michael Mayer has put into this show. Taking a song like this from a Green Day album and transforming it into a moment so full of theatricality is why American Idiot was so enjoyable.

American Idiot (a third visit)

2010-12-26T18:23:00.000-08:00

I took on today's blizzard and found myself at the St. James Theatre again, seeing American Idiot for a third time.

I have to admit, I never thought this was going to be a show with multiple repeat viewings. While I liked it quite a bit the first time I saw it, it still never captured me the way other shows (Spring Awakening, Hair, Next to Normal) have in the past. But I still found much to like about it - many of the performances, the magnificent set, the athletic choreography - and went back for a second time when the opportunity for a cheap ticket and talkback was presented to me.

On this third visit, I have to admit that there is still much to like. Stark Sands is giving an outstanding, emotional performance, and Michael Esper (who was absent during my second viewing) really made an impression this time. And though the voices of several cast members are starting to show wear from singing this score eight times a week, they still made it through.

The choreography is quite impressive; I especially liked the battle-like movement during "Give Me Novocaine" and the heroine tubing ballet during "Last Night on Earth." (I had liked the ballet the previous times, but never really paid much attention to "Give Me Novocaine" before today).

I'm still mighty impressed with Michael Mayer's work with the piece; it astounds me that he was able to craft a punk rock album into a full-out stage show with an investing narrative arc and a firm voice. I look forward to his future projects, as he has proved time and again that he is a more than capable stage director.

So while American Idiot may not hold a place at the top of my list, these three viewings have allowed me to really appreciate what this show has to offer.

Top 10 of 2010: Performances, The Men

2010-12-24T08:15:00.000-08:00

1.) Benjamin Walker (Andrew Jackson, Bloody Bloody Andrew Jackson): No question about it: without the presence and intense charisma that Walker brought to the role of the nation's seventh president, Bloody Bloody would not have been the same. In a role that allowed him to showcase his tremendous acting skills (both comedic and dramatic) as well as a killer singing voice, Walker earned himself as one of Broadway's brightest new leading men.

2.) Denzel Washington (Troy Maxson, Fences): Washington earns his spot on the list for one main reason: he made me forget that he was Denzel Washington. He completely embodied the role he was playing, leaving anything remotely "Hollywood" in the wings. His chemistry with Viola Davis was incredible, and he was more than deserving of his Tony award.

3.) Bobby Steggert (Stu, YANK!: A WWII Love Story): After giving a performance in Ragtime that still haunts me (and should have earned him a 2010 Tony), Steggert proved that he's capable of leading roles in Yank!. Not only was his acting more vulnerable than ever, but his tapping skills showed that he has the chops to not just star in a musical, but to carry it all the way through.

4.) Joshua Henry (Haywood Patterson, The Scottsboro Boys): It was difficult to pick out a single performance in a show that is such an ensemble effort, but Henry's performance as one of the wronged Scottsboro Boys deserves to be commended. He managed to portray Haywood's anger without ever losing the sympathy of the audience, and his deliver of "You Can't Do Me" was one of the show' highlights.

5.) Stark Sands (Tunny, American Idiot): In a musical built almost entirely from punk rock albums, a strong cast of actors is needed to properly convey the story. Luckily, Sands is up to that challenge, taking the audience on Tunny's journey every step of the way. His arc from angry youth to wounded soldier to grown man is not only touching, but also extremely believable.

6.) Sebastian Arcelus (Buddy, Elf): Casting the lead in Elf must have been tricky: they needed to find someone who wouldn't do a Will Ferrell impression, who could sing, dance and act, and who could convincingly portray the emotions of both a child and an adult. Arcelus fits all of these categories; his performance was humorous and endearing, and made me root for Buddy the entire show.

7.) Nathan Lane (Gomez Addams, The Addams Family): Overall, The Addams Family was a pretty big bust. But if there was one shining light in the production it was Nathan Lane. The legendary theatre actor made the most of his material, bringing out humor where there was none. And it didn't hurt that he managed to show a softer side with his song "Happy/Sad."

8.) Douglas Hodge (Albin, La Cage aux Folles): Though I wasn't quite as taken with Hodge's performance as much of the theatre community, I still found much to like in his take on Albin. This was my first exposure to La Cage, so I don't know much about the show, but I appreciated his honest and somewhat masculine spin on the role.

9.) Raul Esparza (Hapgood, Anyone Can Whistle): After missing multiple of Esparza's appearances on the Broadway stage, I finally got my chance: and in a Sondheim musical, no less! I wasn't let down. His delivery of "Simple" and "Everybody Says Don't" are still playing in my head, and he worked wonders with co-star Sutton Foster. I hope to see him on stage again soon, be it in plays or musicals.

10.) Patrick Heusinger (Luke, Next Fall): As with The Scottsboro Boys, it was hard to pick out a spectacular performance in Next Fall when the entire ensemble was, well, spectacular. But Heusinger's portrayal of Luke deserves special mention, as I found it to be quite refreshing. It would have been quite easy for him to play a stereotype, and yet there was nothing stereotypical about his performance. His Luke was a young man in love and in conflict, and a young man who just happened to be gay on top of all that. The choices he made in his performance were very smart and, for me at least, paid off.

Top 10 of 2010: Performances, The Women

2010-12-22T19:20:00.000-08:00

1.) Katie Finneran (Marge MacDougall, Promises, Promises): Finneran's character is onstage in Promises, Promises for about 15 minutes in the second act, and yet she still managed to close out 2010 with a Tony Award and the number one spot on my list. Hands down one of the funniest performances i've ever seen on a Broadway stage, and one that I will remember fondly for years to come.

2.) Viola Davis (Rose Maxson, Fences): In the role of betrayed wife Rose in August Wilson's Fences, Davis managed to hold her own against star Denzel Washington - and then some. Her confrontation with Washington's Troy was unforgettable, and had me on the edge of my seat.

3.) Laura Benanti (Candela, Women on the Verge of a Nervous Breakdown): After winning a Tony in 2008 for her performance as Louise in Gypsy, Benanti makes a triumphant return to musicals in the otherwise lackluster Women on the Verge. Her performance as Candela is comedic perfection, and her delivery of the show's stand-out tune "Model Behavior" is a highlight of the production.

4.) Donna Murphy (Cora Hoover Hooper, Anyone Can Whistle): Murphy knocked this role out of the park, taking command of the stage whenever she was on it. Her ability to deliver both of her big (and quite different) numbers was most impressive, delivering both a humorous "Me and My Town" and a more sympathetic "A Parade in Town."

5.) Laura Linney (Sarah, Time Stands Still): Although Sarah may not have been my favorite character in the play, Linney certainly delivered an outstanding performance. She managed to capture all of Sarah's inner turmoil while always holding onto the character's strengths, and created a beautifully realistic relationship with Brian d'Arcy James. This was my first time seeing Linney onstage, and I look forward to seeing more from her in the future.

6.) Sherie Rene Scott (Sherie Rene Scott, Everyday Rapture): Scott's caricatured performance of herself was everything you could ask for on a Broadway stage. Both honest and hilarious, Scott told stories of her rise from Mennonite roots to Broadway semi-stardom with the kind of presence that can only be appreciated in a Broadway theatre.

7.) Sutton Foster (Nurse Fay Apple, Anyone Can Whistle): I haven't been shy about my love for Sutton Foster in the other productions I've seen her in, and this one is no different. It was thrilling to see her take on a role in a Sondheim show, and her performances of "Anyone Can Whistle," "There Won't Be Trumpets" and "See What It Gets You" were absolutely thrilling. I can't wait for Anything Goes this spring.

8.) Patti LuPone (Lucia, Women on the Verge of a Nervous Breakdown): While LuPone's performance in Women on the Verge was not quite the same caliber as her tour-de-force Mama Rose in 2008's Gypsy, she did use the opportunity to show off her comedic chops and just have a great time. She made Yazbek's rather bland number "Invisible" seem most inspired, and was an all around riot as Lucia.

9.) Marin Mazzie (Diana, Next to Normal): With original Diana Alice Ripley topping my 2009 list, I was ambivalent about seeing anyone else in the role. But Mazzie was more than up to the challenge, nearly wiping any memory of Ripley from my mind when I saw her perform in October. Her Diana is much darker, and seems to be struggling more to hold onto the life that she knows she's losing. She sounded great throughout the performance, and it was an added treat to see her perform opposite her real life husband Jason Daniely.

10.) Kristin Chenoweth (Fran Kubelik, Promises, Promises): After years of listening to cast recordings of her in other roles, I finally got my chance to see Chenoweth onstage this summer. While the role of Fran Kubelik is not the best fit for the Tony and Emmy winning actress, it was still a thrill to see her live. She sounded lovely during the production's two "new" numbers ("I Say a Little Prayer" and "A House is Not a Home") and charmed the audience the entire way through.

"I can't believe a year went by so fast..."

2010-12-02T14:53:00.000-08:00

I apologize for the use of such a trite lyric from Rent (and the fact that I used said show to frame my top 10 lists every year), but it's getting to be that time again. December is upon us, and with that comes the conclusion of another great year in theatre going. I've been privileged to see many amazing productions this year, both on and off Broadway, and it's going to be quite difficult to pare down the list of great performances I've experienced throughout 2010. I will (attempt to) post several lists over the next few weeks, much in the same way I've done in the past. Expect to see my 10 favorite male and female performances, as well as my 10 favorite shows of 2010 and maybe an extra list thrown in there for good measure.

Special Note: I attended a couple shows this year that were repeat viewings of shows I originally saw in 2009, two of which (Hair and Next to Normal) ranked pretty highly on several of my lists last year. While my 2010 viewings of these shows were just as memorable and intoxicating as they were last year, I'm not going to include them in my rankings this year (only Next to Normal's replacement cast members will be eligible for the Top Performance lists).

News Update (!?)

2010-11-10T17:12:00.000-08:00

The news updates have been far and few between recently (okay, lets be honest...they've been nonexistent), but that's mostly because I've been trying to focus this blog more towards my thoughts and less about the general news items of the Broadway community. And while I plan to continue doing that (with the majority of future posts being show/book/cast recording/etc. reviews), I'm doing a news update post because several exciting stories were posted on Playbill.com today.

Bad news first: one of my favorite musicals, Next to Normal, will play its final Broadway performance on January 16, 2011. While I had heard about this closing several months ago, it still is sad to see an official notice. But the show has accomplished so much: over 700 performances on Broadway, a recouped investment, three Tony Awards, the 2010 Pulitzer Prize for Drama, and a national tour launching soon. I'm so very proud of this show and am thankful for all the visits I've been able to make to it.

Better news: Catch Me If You Can casting has been announced! Several cast members from the show's Seattle premiere will reprise their roles, including Tony winner Norbert Leo Butz, Aaron Tveit and Tony nominees Kerry Butler and Tom Wopat. Broadway performances of the new musical will begin March 7, 2011 at the Neil Simon Theatre, with an official opening April 10.

Not-Sure-How-to-Feel News: The 2011 Tony Awards have found their new home: the Beacon Theatre. The awards ceremony, which has been held at Radio City Music Hall for the past several years, have been forced into this new venue due to a booking conflict with Radio City. The ceremony will be broadcast live on CBS on June 12, 2011.

Gavin Creel @ Birdland

2010-11-01T21:46:00.001-07:00

It's no secret that I'm a Gavin Creel fan. A huge Gavin Creel fan. So of course I jumped at the opportunity to see his new show "Gavin Creel: Back to New York" at Birdland tonight.

I was lucky enough to see Creel perform in the Tony winning revival of Hair, as well as in concert at Symphony Space last December. Every time I see him perform, whether in character or as himself, I'm amazed by his dedication to his art and how much he really seems to care about putting himself out there.

Some of my favorite material from tonight's show was stuff that I had never heard before. I fell in love with "Favorite Chapter," a new song about struggling to get over a failed relationship. Creel also sang a beautiful song called "Flower Children" with Hair co-stars Caissie Levy and Steel Burkhardt, a song that he wrote when their time in the show came to a close. Another great song was "You," which he wrote to perform at the wedding of his friend and fellow actor Celia Keenan-Bolger. The song was beautiful, and it was fun to see Keenan-Bolger, who was in attendance, react to hearing it performed.

Creel also sang some material that I was familiar with, from both his first album GOODTIMENATION and his new EP QUIET. He spoke briefly about the rise in bullying and suicides among LGBT teens before singing his songs "For Nancy" and "Lonesome." I was also delighted that he sang fan-favorite "Hot Ohio" (which he sang at the Symphony Space concert last year) and invited the crowd to sing along. And I also loved his cover of Katy Perry's "I Kissed a Girl," which, at least for me, was unexpected - but more than welcome!

To top the night off, I was able to meet Creel and hopefully articulate how much I enjoy his music and how great the night was. He couldn't have been nicer, shaking my hand and taking a picture with me. The night would have been complete with just the concert, but this made me absolutely ecstatic.

I'm thrilled the Creel is back in New York City, performing his songs and continuing to write even more. I'm really upset I can't attend the next to shows he will have at Birdland; tonight's show was one of the best nights I've had in a long while.

The Scottsboro Boys

2010-10-27T07:18:00.000-07:00

A few days ago I caught another of this season's new musicals: The Scottsboro Boys, one of the last musicals written by songwriting team John Kander and Fred Ebb.

This new musical, directed and choreographed with creative precision by Susan Stroman, tells the true story of nine young black men who were falsely accused raping two white women in the 1930s. It features one of the last original Kander and Ebb scores and premiered Off-Broadway earlier this year at the Vineyard Theatre.

Ultimately, I found the piece to be very powerful and thought-provoking. While I did think some of the book scenes dragged (especially early on), the final moments of the show were quite powerful and left the audience with a lot to think about. The score was very enjoyable and was integrated nicely into the story, with the opening number "Hey Hey Hey Hey" and Haywood's eleven o'clock number "You Can't Do Me" serving as particularly strong points.

The shining point of this show, however, is Stroman's gutsy and inventive staging. Choosing to stage this musical as a minstrel show must have been a difficult decision, but it paid off in spades: the show's messages became much more compelling with the story being told in such a manner. With only a set of chairs to represent a variety of locations (a train, a jail cell, a bus, etc.), the focus can't help but shift to the torments of these nine young men. The attention is kept on them throughout the entire performance, even Stroman's impressive choreography is only there to serve the flow of the story.

The entire cast was strong, as this is very much an ensemble piece. Joshua Henry, who arguably performs the lead role of Haywood Patterson has an outstanding voice and aptly portrayed the swing of emotions these men were undoubtedly feeling during these times. One of the most interesting things about this production's cast is that it is almost entirely black men (there is only one white male and one black female rounding out the company). Many of the characters were played by these black men, regardless of race or gender, making portions of the story a bit confusing to initially comprehend.

Overall, I found The Scottsboro Boys to be a very strong piece, and one that deserves to be seen. Much like Bloody Bloody Andrew Jackson, another Off-to-On Broadway transfer this season, it does a nice job at combining history with art to create both a satisfying and inspiring piece of theatre.

Women on the Verge of a Nervous Breakdown

2010-10-10T19:41:00.000-07:00

I was finally able to catch one of my most anticipated new musicals of the season today, the star-studded Women on the Verge of a Nervous Breakdown.

Perhaps my expectations were too high, but I wasn't as blown away by this musical as I'd hoped. It was entertaining, to be sure, but not the boisterous and hilarious musical farce that I was expecting. And even while the talent on the Belasco stage is enough to make even the most mediocre piece worth seeing, this production suffers from two major problems: misguided writing and sloppy directing.

David Yazbek's score is a mixed bag. Some songs (like Candela's patter number "Model Behavior," the Act I Finale "On the Verge," and Lucia's second act number "Invisible") really make an impression and fit nicely into the story, while some others (Ivan's lifeless song "The Microphone" and the confusing opening number "My Crazy Heart") fail to contribute anything to the piece musically or otherwise. There was such opportunity for a fantastic score to be generated here, so it's a shame that only a few of the numbers are really worth listening to - but the numbers are a hit really knock it out of the park.

Jeffrey Lane's book is more of a miss than Yazbek's score, with the biggest issue being that he focuses too heavily on the character's emotions and thoughts and not enough time crafting a comedy. Sure, it's nice to get some emotional background for these women (and men), but that happens better in the music. Lane should have let Yazbek be the primary force behind defining character, while he should have provided a humorous arc to place them in.

The real reason I wanted to see this show was because of the cast. And in that sense, I feel like I got my money's worth. Laura Benanti, whom I adored in her Tony-winning turn in Gypsy, is an absolute delight as Candela and completely steals the show (especially with her aforementioned number "Model Behavior"). Patti LuPone, another Tony winner for an amazing performance in Gypsy, is quite strong as the estranged wife Lucia, but doesn't manage to turn in a performance quite on the same level as Mama Rose. Sherie Rene Scott makes the most of her part as Pepa (which, though it should be the lead, is severely underwritten - another fault of Lane's) and delivers on all of her songs. Her performance of the ballad "Island" was quite memorable, though partially because of the burning bed that was featured on stage during that scene. And I was quite excited to see Brian Stokes Mitchell on the Broadway stage for the first time, but his part is so small and thankless I barely feel like I saw him perform. Still, he did well with what little he was given.

The design of the show is rather sloppy, with ostentatious projections and colored panels frequently moving about the stage. The lighting was nice, if not a little too hectic; but the costumes were one of the production's strong points. They were bright and bubbly, and captured the spirit of the piece in a way that even the writing fails to do.

I wish that Bartlett Sher, who did an amazing job with the 2008 revival of South Pacific, was able to pull everything together, but I think that, in the end, it was all just too much. The loud sets, lackluster material and empty choreography were too much for him to overcome, and the production suffers because of that. I'm beginning to think that he never really had a clear vision for this piece in the first place; otherwise maybe some of its aspects would have been able to come together.

I've had a lot to say about Women on the Verge, but that's mostly just because I'm disappointed with it. With such a talented cast and creative team, I was expecting nothing less than a supremely entertaining afternoon at the theatre. And while I was entertained, the entire experience was much more underwhelming than I had hoped.

Note: This review is based on a (very early) preview of this new production. Changes may be implemented before opening night. My opinions reflect only what I saw this afternoon, and I'm fully aware that Sher and the rest of the creative team are still working on making this show as tight as it can be.

Next to Normal (a fourth visit)

2010-10-02T19:23:00.000-07:00

I broke my own record today as I ventured back to the Booth Theatre for a fourth visit to the Pulitzer Prize winning musical Next to Normal. With several months and multiple cast changes in between my third and fourth trips to the show, I didn't know how I was going to receive it this time. Happily, I found it to be just as affecting as it has been in the past.

The major point for this visit was to catch the production's newest cast members: real-life husband and wife Jason Daniely and Marin Mazzie starring as fictional husband and wife Dan and Diana. I was quite apprehensive about seeing someone follow the Tony winning Alice Ripley in the role of Diana, but Mazzie was more than adequate. I appreciated that her take on the role was much darker and more subdued (I thought Ripley brought more humor to the role), and I thought she sounded fantastic for the majority of the performance. I was equally impressed with Daniely; there were many moments when it sounded as if the score was written for him to sing.

I had already seen the other "new" cast members: I saw Kyle Dean Massey in the role of Gabe when Aaron Tveit took a hiatus during the summer of 2009, and I saw Meghann Fahy as Natalie when she was still understudying the role in December 2009. Both were great in their roles (and Massey's high note at the end of "I'm Alive," which he didn't do the last time I saw him perform, sounded amazing). Original cast members Louis Hobson and Adam Chanler-Berat continue to deliver solid performances.

As I've mentioned in reviews of previous Next to Normal visits, different relationships strike me with different viewings. In the past, the father/son and mother/daughter intrigued me. With this visit, it was the father/daughter relationship between Dan and Natalie that was the most interesting throughout the performance. I'm not sure if this had to do with the new actors or the amount of time I'd spent away from the show, but it made for a very refreshing viewing.

I've said it before, but I love Next to Normal so much. The minute the blackout occurred during the prelude in today's performance I remembered just how much this show means to me, and I don't regret for a second the amount of visits I've made to the Booth.

Bloody Bloody Andrew Jackson

2010-09-26T18:28:00.001-07:00

While in attendance at the 24th Annual BC/EFA Flea Market yesterday, I decided to catch a preview performance of the first new musical of the 2010-2011 Season: Bloody Bloody Andrew Jackson.

Bloody Bloody Andrew Jackson is an emo rock musical detailing the life and political trials of America's seventh president. With a score by Michael Friedman and a book by Alex Timbers (who also serves as the director), the show makes the move uptown after an Off-Broadway run at the Public Theatre earlier this spring. I found the show to be a very entertaining afternoon at the theatre. I enjoyed the music quite a bit, found there to be some extremely humorous moments throughout the performance, and was especially impressed by Benjamin Walker's portrayal of Old Hickory.

Walker has all of the chops necessary to play the role of Jackson: he is extremely charismatic, has outstanding comedic chops, just as much dramatic talent and a swell singing voice. The show would have been far less enjoyable without him at the core; he really carried the show on his shoulders.

The most memorable numbers were the ridiculously catchy opening ("Populism, Yea! Yea!"), "I'm So That Guy," and "Public Life." The book was a mixed bag: it started out very humorously, but took a more serious turn during the final third of the show. The show's ending seemed more fitting to a straight play than a musical, but I can appreciate that the creators were trying to make a statement about American politics.

The set and lighting designs were most impressive, taking over the entire theatre in a way that I have never seen before. I was shocked by the magnitude of the show's design, but it certainly helped to set the mood before the performance began. The costumes were an interesting combination of 19th century garb and modern attire, but they always seemed to fit into the performance.

Seeing as I missed this show when it was Off-Broadway earlier this year, I was thrilled when they announced their transfer. It was certainly a show worth seeing: a very unique approach to a subject that doesn't exactly scream out to be musicalized. If Bloody Bloody Andrew Jackson is any indication, 2011 is going to be a good year for musicals indeed.

American Idiot (revisited)

2010-09-20T11:40:00.000-07:00

After getting a cheap deal on some tickets, I went back to catch 2010 Best Musical nominee American Idiot once again. I had seen the musical earlier this summer, and was interested to see how it would hold up with a repeat viewing.

Just as in the first time, I quite enjoyed the performance. The cast was giving just as much dedication as the first time I saw them (the only difference at this performance was that this time Michael Esper was out; Van Hughes was on in the role of Will), but it was clear that singing this score eight times a week is beginning to wear on their voices. Much like last time, I was most impressed by Stark Sands as Tunny and Rebecca Naomi Jones as Whatsername; its a wonder to me what these two actors are able to do with their characters when given so little dialogue to work with.

The real treat at this performance was the post-performance talkback, attended by Green Day frontman Billie Joe Armstrong, Director Michael Mayer, Projection Designer Darrel Maloney and actors John Gallagher, Jr., Stark Sands and Tony Vincent. There was valuable insight from all parties, especially Mayer: he discussed changes in the show's distribution of material throughout the creative process (Letterbomb used to be sung by Will, American Idiot was once sung by St. Jimmy, etc.). Vincent shared some of his thoughts about creating his character and attaining the balance between being the show's villain and a guy people feel for. Gallagher also talked about striking a balance, but for him it's between being the "son of rage" and the "son of love" throughout every performance. Sands talked about his portrayal of a soldier and the response he's gotten from veterans in the audience, and shared a story about the time he signed one soldier's prosthetic leg at the stage door.

My journey back to American Idiot was definitely worthwhile, mostly because of the insight the post-performance talkback was able to provide. I'm feeling that twice was enough at this show for me, but am definitely grateful for the experiences I've had at the St. James thus far.

Memphis

2010-08-11T18:44:00.000-07:00

Today was my last Wednesday in the city for the summer of 2010. And after many recommendations from friends and seeing the show win big on Tony Awards night, I decided to check out 2010's Best Musical winner, Memphis.

The show never really caught my interest, hence why I had yet to see it up until today. I didn't know whether or not I would like it, but after hearing enough good things to outweigh the bad, I thought I'd give it a try.

Performance-wise, there really wasn't a single cast member that stood out to me as extraordinary. I was incredibly underwhelmed by Chad Kimball as Huey; I thought that he delivered his lines unnaturally and really struggled vocally during his biggest number "Memphis Lives in Me." His costar Montego Glover had an incredible voice, but her performance as Felicia came across as amateurish and poorly crafted. I did find the ensemble to be quite impressive. Sergio Trujillo's choreography was one of the show's strongest points and the ensemble tackled the athletic dance numbers with a contagious energy.

I'm surprised that the show walked away with the Tony for Best Book - I found it to be very cliched and predictable. I'm less surprised that it won for Best Score. The score isn't strong by any means (the best number in the show is the finale, "Steal Your Rock 'n' Roll," which certainly left me in a cheery mood), but this past season was very weak for new material. The sets were pleasing if unimpressive, but the costumes appeared rather cheap and gaudy.

I suppose I'm glad I saw Memphis; I certainly wouldn't want to miss a Tony winner and I can now validly discuss my opinions over the show with my friends. I don't think this musical was the best of the 2010 season (as of now, I would have given that honor to American Idiot which, despite having a pre-written score, came off as wholly more original than Memphis), but that's neither here nor there. I am, however, very glad that I'm all caught up on shows from the 2010 season, and look forward to returning to New York next month to begin seeing some of this season's new pieces.

The Addams Family

2010-08-08T12:30:00.000-07:00

I caught one of my most anticipated new musicals from last season this past week: the musical adaptation of The Addams Family.

Unfortunately, my anticipation was unwarranted, as this musical was one of the biggest misses of the 2010 season. The entire plot seemed silly - why build it around the lustful relationship of 18 year old Wednesday. Much of the music was forgettable; this was disappointing considering Andrew Lippa wrote the score. And even the parts that I'd heard good things about (the sets, which didn't wow me as I thought they would; Kevin Chamberlain's performance as Uncle Fester, which I found to be too over-the-top) were all muddled by the misguided direction of Phelim McDermott and Julian Crouch.

Nathan Lane did his best, Bebe Neuwirth was enjoyable, and Matthew Gumley was endearing as Pugsley. Jackie Hoffman was hilarious, as expected, as Grandma, with some of the best lines in the show (not that she had much competition, as Marshall Brickman and Rick Elice's book was quite uninspired). And Krysta Rodriguez and Wesley Taylor were cute as the young couple in love, although it seemed foolish to craft the entire plot around their relationship.

Andrew Lippa's score was quite the disappointment, after I enjoyed his work on The Wild Party and heard good things about many of his other works. Only two songs in the first act ("When You're An Addams" and "One Normal Night") left my toes tapping, and only another two in the second ("Happy/Sad" and "Crazier Than You") kept me entertained. The majority of the songs were cheap and forgettable, and made the entire concept of an Addams Family musical seem useless.

Which is why, the whole time, I was thinking: why? Why did this story need to be musicalized? There really seemed to be no urgency in the story for the characters to sing, no reason for them to be telling this story at all. Sure, the musical was cute and certainly entertained me for two and a half hours, but it didn't do much else. I understand that the point of an Addams Family musical isn't to be ambitious, profound or to ask any significant questions, but I left wanting more from my experience. It may have been an entertaining two and half hours, even if only barely, but it never went anywhere beyond that.

Lend Me a Tenor

2010-08-04T19:03:00.001-07:00

I didn't think I was going to be able to catch it, but somehow I made it work! This past weekend I caught a performance of this year's Tony nominated revival of Lend Me a Tenor, directed by Stanley Tucci.

The production was nothing if not enjoyable. I was impressed with how tight Tucci's direction was; the farce moved along at appropriate speed and many of the jokes were nailed.

In a cast featuring a number of all-stars, including Tony Shalhoub, Anthony LaPaglia and Justin Bartha, it's no surprise that the performances were strong. Shalhoub and LaPaglia both know how to play a comedy, and Bartha made a more than respectable Broadway debut as Max. But the standout in this production is Jan Maxwell, whose performance as Maria had me (and the rest of the audience, judging by the laughter) in stitches whenever she was onstage.

The hotel suite set was glorious, and filled with plenty of doors to keep this door-slamming farce going at top speed. The costumes were also quite reminiscent of the time period (the show is set in the 1930s), and the lighting (especially from outside the suite's window) added a nice touch to the production.

My favorite part about this production was the curtain call, in which the actors ran around the stage re-enacting the entire play in about a minute and a half. I'm not sure if this is something that Tucci added for this production or if every professional Lend Me a Tenor features it, but it was a very nice touch. It reminded me of curtain call reprises or mega-mixes in musicals, and wrapped up the afternoon nicely.

I'm thrilled I was able to catch Lend Me a Tenor before it closes. The production delivered in every department, from design to acting to laughs.

Broadway Bookshelf: A Year with The Producers

2010-07-17T10:46:00.000-07:00

It's been a while since I've done a Broadway Bookshelf post, but seeing as I recently picked up a theatre related book, I thought it was a good time to start this back up again.

Last month, I picked up a copy of A Year with The Producers, by Jeffry Denman, at the Strand. The book is a compilation of journal entries that Denman wrote over the course of one year; the year that he closed out the then longest-running Broadway show Cats and began rehearsals on Mel Brooks' Tony-winning debut The Producers.

I found the book to be quite intriguing and informative. Seeing as I'm not a performer in any way, I have very little knowledge of what actually occurs during rehearsals and the creative process. This book did a nice job of taking the reader from the initial audition to opening night, tracking every piece of the process throughout. Denman's position in the show really gave the book a unique spin as well: it was especially interesting to hear the story of building the show from the perspective of an understudy and a member of the ensemble, someone who is usually overlooked when the final product is presented to the public.

I especially enjoyed Denman's passages about his final performance in Cats; I thought they were very honest and well written. I also enjoyed reading his passages about Tony Awards night (when The Producers broke records by winning 12 awards) and about his first time going on for Matthew Broderick.

If you're a fan of the theatre and everything that goes into it, I would pick up this book. I was always eager to pick up this book to continue reading. It's a quick, sweet look at what really goes into making a Broadway show and how hard everyone has to work to get it to that point.

Promises, Promises

2010-07-14T19:00:00.001-07:00

I spent another Wednesday (this time a damp one) in the city to catch another matinee. This time I caught the only revival of the 2010 season that I had yet to see: Promises, Promises.

Overall, I enjoyed the show a lot more than I thought I would. I can see why it was left out of the Best Revival category at the Tonys (the four nominated shows were superior), but I had great fun while I was watching it.

Sean Hayes was very impressive as Chuck Baxter. He's a much better singer and dancer than I had previously given him credit for, and I thought his narrative moments with the audience were effective and endearing. And though many have said Kristin Chenoweth is miscast in the role, I found her to be in fine form. She hit all of the right notes in both her acting and her singing, although I may have been blinded by my excitement at finally getting to see her perform in a Broadway show.

After today, I can say with 100% honesty that Katie Finneran deserved her Tony (and Drama Desk and Outer Critics Circle) Award for her performance as Marge MacDougall. An amazingly theatrical, hilarious and all-around spot on performance. She got me laughing like no one else could in this production, and I eagerly joined in the exit applause when she made her triumphant exit. Finneran has found a new fan in me after I saw her today.

I've always been impressed with Rob Marshall's choreography in the past, and this show didn't let me down (except for maybe "Turkey Lurkey Time," which is admittedly an uphill battle to recreate). I left the show feeling that he was a stronger choreographer than director, but I'm willing to give his future projects a shot. I look forward to How to Succeed in the spring.

The show's design was very suitable to it's spirit. It reminded me a lot last season's 9 to 5, with it's bright colors and office settings. It may not have felt very 60s, but it was nice to look at.

Honestly, I was satisfied with my visit to the Broadway Theatre this afternoon. If nothing else, Promises, Promises left me entertained and a smile on my face. And sometimes, you really can't ask for more.

A Fond Farewell to NEXT FALL

2010-07-04T16:11:00.000-07:00

I have once again postponed a Saturday post to a Sunday because, once again, I have to say goodbye to a show on the day of its final performance.

While I enjoy seeing both plays and musicals across New York City and beyond, I have to admit that it is typically the musicals that affect and interest me the most. So when I saw Next Fall this past March, I was shocked by the impact that the show left on me. I remember spending the entire bus ride home thinking about the show and the ideas and questions that it raised.

Next Fall was somewhat of a rarity on the Broadway stage these days: a new play by an unknown playwright, featuring a cast of six unknown stage actors. Many producers would see this as a risk, but as an audience member, I saw it as a gift. It was so wonderful to see these actors become real people on stage, without the audience thinking about how famous they were. To me, Next Fall did exactly what a Broadway play is supposed to do: it told a story, one about love, family and relationships, and didn't stray from its goal. For that, I'm truly appreciative.

While I'm not surprised to see this incredible piece go, I am upset. Next Fall was a beautiful contemporary play, and I can only hope that it has the chance to live on in regional and community productions. Such an honest and provocative play deserves nothing less.

Eyes Look Your Last: A Fond Farewell To HAIR

2010-06-27T16:21:00.000-07:00

I postponed my first Saturday post to a Sunday because I wanted to continue with a posting tradition that I've had since I began this blog: my "fond farewell" messages to shows that have affected me on the day of their final performances.

Today, the Tony winning revival of Hair plays its final performance at the Al Hirschfeld Theatre. I had the pleasure of seeing this production three times, of having three experiences that I now hold very close to my heart.

It's important for me to say that, unlike some other shows from the past, I was never really upset to hear that Hair would be departing the Great White Way. Perhaps this is because I know it's had a good run: it played over 500 performances, it won a Tony, it recouped its investment, it transferred to London's West End and it's launching a national tour this October. Or perhaps it's because it's been a few months since I last saw the show, and I've had the time to let it go on my own terms. But, in all honesty, I think it's because I know that my Hair experiences have given me everything that they could.

Each time I visited this production, I left on a high. I felt happy, exhilerated even, often moreso than I did leaving any other Broadway show. But Hair was able to provide something beyond euphoria; it has made me open my eyes a bit wider to important issues in my own life as well as on an even larger scale. The original cast was especially apt at providing this, reflecting the spirit of their show in ways that any other casts have failed to do in my years of attending theatre. They cancelled performances to march in Washington, D.C. for marriage equality, they joined other Broadway shows in BC/EFA fundraising and they served as a model for expressing love, joy and freedom everyday.

I could have easily attended Hair time and time again, but I'm sure that even the excitement would have faded soon enough. I really only needed those three visits to see what Hair was really about, to incorporate what it was preaching into my everyday life. To learn that even after today, even after the lights fade on Hair's final performance, I can (and should) always let the sun shine in.

Everyday Rapture

2010-06-23T19:46:00.001-07:00

While I wasn't expecting my first Wednesday post to be a review, I made my way to New York City today to catch Everyday Rapture before it closes July 11. Here are a few of my thoughts.

While the production never really felt like a "Broadway show," simply because it's so small and is built around the life of one woman (the fantastic Sherie Rene Scott), it was very entertaining and I left wanting more.

The show would be nothing without Scott, and not simply because she co-wrote it and the piece is based off of her life experiences. No, it's because she was radiant up on that stage, carrying the show in a way that not many could or can pull off. She managed to be hilarious (when talking about meeting a magician during her first visit to NYC), heartbreaking (when talking about her all time favorite cousin Jerome's funeral) and, often, somewhere in between (when talking about how her cat ate a four leaf clover her son found). Her voice is a wonder, and it was a pleasure to see her use it up on that stage.

If anybody could steal the show from Scott, that would be the young Eamon Foley. He may only make an appearance for one scene in the musical, but he makes quite the impression. He plays a boy who posted a video of himself lip-syncing to one of Scott's songs on YouTube, which prompted Scott's attempts to reach out to him. Foley proved himself to be an excellent comedic actor with this scene, and I hope to see him grow more as a performer in the future.

The show's book should have won the Tony Award; it was very, very funny and was very eloquent in the way it mixed truth and exaggeration. The sets, lighting and direction, all by the same team from Broadway's Spring Awakening and American Idiot was fine, but nowhere near the caliber of their work on other productions.

If you're a Sherie Rene Scott fan, see Everyday Rapture. I doubt I'll ever see her like this again, even though I'm sure she'll make many more appearances on stage in the coming years. But Everyday Rapture features her in her prime, telling a story that she wants to tell. It's a very different kind of Broadway show, but a satisfying and entertaining experience nonetheless.

New Season, New Blogging

2010-06-19T07:32:00.000-07:00

With the 2010 Tony Awards officially past us, the 2010-2011 Broadway season is now in full swing! In an attempt to become a better blogger within this new season, I'll be making a few changes over the coming weeks. The biggest change that I'm attempting to put into motion is to have regular posting days. For now, I'm going to try to write a new blog post every Wednesday and Saturday. I will see how those days work and make future amendments if necessary. You can still expect to see all of the same things (reviews, news, etc.), just now on a (hopefully) more scheduled, regular basis.

I'm also thinking about playing with the blog's layout, but I'm not completely sure about that yet. Stay tuned! In the meantime, check back on Wednesday for the first of many new posts.

The 64th Annual Tony Awards

2010-06-14T15:34:00.007-07:00

This is gonna be one big 'ol Tony Awards post, so buckle up!

Part One: My Evening at the Tony Awards
How can I possibly write about my Tony Awards experience, except to say that it was one of the best nights of my life? I will never forget this night, or anything about it: from being told that I had to enter from on the other side of Radio City Music Hall (I wasn't famous enough for the main entrance) to walking into the auditorium for the first time to using the bathroom during a commercial break and seeing Next Fall playwright Geoffrey Nauffts in there too.

The show was everything I could have asked for. Though this was admittedly not the strongest year for musicals, it was still a fun show. This season saw some great revivals (Ragtime, Finian's Rainbow, La Cage aux Folles) and I enjoyed some of the new musicals as well (American Idiot). The opening number was thrilling, partially because I couldn't believe I was there seeing it live and partially because I just loved how everything was put together. It as a bit funny to see the "opening number" after they had given out numerous awards over the past hour (the telecast doesn't start until 8pm, and many of the design awards are presented prior to that time), but it really kicked off the show for me.

The night only continued to get better. Sitting in my seat in Radio City in my tuxedo, it was wonderful to see so many people I was rooting for win and to see some great performances. I loved seeing Idina Menzel present Ragtime's performance (I had never seen Menzel in person and it was nice to see the long-closed Ragtime get some recognition), I loved watching Matthew Morrison's reaction to Douglas Hodge during the La Cage performance, and I loved watching the cast of American Idiot rock out their title song just as I had seen them do the day before.

I also got a thrill out of watching Matthew Morrison and Lea Michele perform, and I'm not even a fan of "Glee." But it was nice to see these two performers return to the stage, where they got their start.

And though speeches aren't my favorite part of awards shows, it was even fun to watch them. Katie Finneran's speech was especially touching, and Eddie Redmayne's classiness following his win made me wish I had seen Red even more. It was also cool to watch the cameras follow the winners down the aisle as they made their way to the stage, especially when they weren't expecting a win (Catherine Zeta-Jones comes to mind). And, of course, for those of you who saw the Creative Arts awards being presented, watching Marian Seldes say nothing and simply walk off the stage was a moment that I'll never forget.

I could go on and on about the Tony Awards, but I'll refrain. Let me just leave you with this one last thought: David Hyde Pierce said in his acceptance speech that we should never take for granted our memory. We should never loosely say "I'll never forget." That has stuck with me. But I feel that I can honestly say, I'll never forget my night at the Tony Awards, and how amazing it made me feel!

Part Two: The Winners and Such
First, a round-up of the night's biggest winners:
Best Musical: Memphis (winner of three other awards)
Best Play: Red (winner of five other awards)
Best Musical Revival: La Cage aux Folles (winner of two other awards)
Best Play Revival: Fences (winner of two other awards)

To see a complete list of just the winners, visit this article on Playbill.com. Also be sure to check out the websites many photo galleries from the big night, including the Red Carpet, the Winner's Circle, and the 2010 Tony Ball.

Also be sure to check out Broadway.com's fantastic coverage, featuring video from the red carpet to the after parties, photos from the cermony and backstage and more!

And last but not least, visit the official Tony Awards website for more photos, videos and articles than you could wish for about the 2010 awards ceremony.

Part Three: On the Forecast for 2011
The 2010 Tony Awards were the last in over a ten year streak at Radio City Music Hall. The 6000 seat venue has been booked for June 2011, leaving the ceremony without a home. According to producers, several options are being considered. Many fans are hoping that the ceremony will be moved back into a Broadway house (the ceremony was held in Broadway theatres prior to its Radio City transfer).

The coming season also looks very promising, with planned revivals such as How to Succeed in Business without Really Trying and Anything Goes and much anticipated new musicals like Love Never Dies, Sister Act, Catch Me if You Can, Priscilla Queen of the Desert and Spider-Man (maybe). Here's to a great season of Broadway theatre!

American Idiot

2010-06-14T15:34:00.001-07:00

I kicked off Tony Awards Weekend by catching one of this season's new musicals: Green Day's American Idiot.

I will say that, going into the theatre, I wasn't what you would call a Green Day fan. I knew the music from the American Idiot cast recording (and knew several of those songs from when they were originally released by Green Day a few years back). I wasn't opposed to their music, but I never really listened to it, either.

I was quite impressed with what played out before me on the St. James' stage. Michael Mayer has done a marvelous job of creating a coherent story out of the material Green Day has created, and the lack of a solid book did little to hinder my enjoyment of the piece. I found the story to be worth following and many of the characters were more than realistic.

The show's players deserve a large amount of credit for making me care about their characters. John Gallagher, Jr. (Johnny), Stark Sands (Tunny) and Michael Esper (Will) all did fantastic jobs creating and following arcs of the troubled young men they portrayed. Sands in particular was strong as an angsty lad who joins, and later injures himself in, the army. He has a spectacular voice and was nothing short of organic in the role. Other stand-outs in the cast included Tony Vincent as Johnny's mysterious alter-ego St. Jimmy and Rebecca Naomi Jones who's Whatshername tore down the house with her rendition of "Letterbomb."

The show's design is incredible, with a mammoth, hypermediated set that sets the tone for the story and draws the audience in from the moment the curtain rises. The lighting (while initially shocking and quite alarming) does a good job of moving the story along, and the projections on both the set's many television screens and back walls were an effective way of establishing setting.

I was quite impressed with American Idiot, perhaps more so than I thought I would be going into the show. I understand the qualms that some have had with the show, but I thought that the cast and creative team did a beautiful job collaborating to deliver a story that is entertaining and provocative all at once.

Awards 2010: Drama Desk Winners!

2010-06-10T06:36:00.001-07:00

The winners of the 55th Annual Drama Desk Awards were recently announced, in a ceremony hosted by Tony and Drama Desk winner Patti LuPone. The new musical Memphis was the big winner for the evening, taking four awards including Outstanding Musical. The new play Red took three awards, as did the Broadway revivals of La Cage aux Folles and Fences. For more information, including a complete list of winners, follow the link below to the Playbill.com article.

http://www.playbill.com/news/article/139754-Red-Memphis-Bridge-Fences-and-La-Cage-Win-Drama-Desk-Awards

SOUTH PACIFIC to Air on PBS

2010-06-10T06:19:00.000-07:00

The well received Broadway revival of South Pacific, set to close on August 22, will be broadcast on PBS prior to its final performance.

The 8pm performance on August 18 will be broadcast live on PBS as part of the "Live from Lincoln Center" series. The Tony winning The Light in the Piazza, which also ran at Lincoln Center's Vivian Beaumont, was broadcast via this series in 2006.

Original show star Kelli O'Hara will return to her Tony nominated role of Nellie Forbush August 10, continuing with the show through the broadcast date and until its closing. O'Hara departed the production on January 3 of this year; Laura Osnes is currently starring in the role.

On a personal note: I still remember seeing South Pacific back in 2008 with its amazing original cast (including O'Hara, Tony winner Paulo Szot and now "Glee" star Matthew Morrison). It was a beautiful production, and I'm very happy I'll get the opportunity to see it once again on my television.

HAIR Gets Cut

2010-06-10T05:59:00.001-07:00

Both the Broadway and West End Productions of the lauded Hair revival announced they would end their runs in the coming months.

The producers of the show's West End mounting announced May 28 that the show will shutter September 4. Many of the original Broadway revival cast made their way to London for the premiere, and will stay with the show until it's closing (Will Swenson, who received a Tony nomination for his performance as Berger, departed the West End production May 29.) This London revival began previews April 1 and officially opened April 14.

On June 9, it was announced that the Broadway revival of the show will play its final performance June 27. The production will have played 29 previews and 519 regular performances at the Al Hirschfeld Theatre at the time of its closing. The cast currently features American Idol finalists Diana DeGarmo (as Sheila) and Ace Young (as Berger), as well as Spring Awakening alum Kyle Riabko as Claude. After receiving stellar reviews last March, this production won the 2009 Tony Award for Best Revival of a Musical.

A national tour of this production is expected to begin this October in Washington, D.C. Hair recouped its initial investment of $5.76 million last August.

On a personal note: While I'm sad to see Hair go, I'm not terribly surprised or upset. The show had a fantastic run (especially for a revival that began as a free summer event in Central Park), brought a lot of light to Broadway, and I'm thrilled I got to experience it three times. The grosses recently haven't been to spectacular and, while I was expecting the show to hold out through the summer, I can understand why the producers decided to end the run this month. Hair will be missed, and I'll always remember my adventures with the hippies in the Hirschfeld!

NEXT TO NORMAL Gets Some New Stars

2010-05-28T07:47:00.001-07:00

The Tony and Pulitzer Prize winning musical Next to Normal will be seeing some new faces in the coming months.

Chief among them includes the departure of the show's leading lady Alice Ripley, who won the 2009 Best Actress in a Musical Tony Award for her performance as Diana. She will lead the show's first national tour, set to begin in November. Ripley will play her final performance at the Booth Theatre on July 18. Broadway regular and Tony nominee Marin Mazzie will begin performances as Broadway's new Diana on July 19.

Also departing the show July 18 will be Brian d'Arcy James, who stepped into the role of Dan this month following the departure of original cast member J. Robert Spencer. d'Arcy James originated the role in Next to Normal's Off-Broadway production, but couldn't continue with the show due to his involvements with Shrek the Musical. Jason Danieley, real life husband to Marin Mazzie, will begin performances as Dan on July 19.

It was also recently announced that Jennifer Damiano will depart the musical July 18. Damiano was nominated for a Tony Award for her performance in the show, and is reported to be moving into the much anticipated (and much delayed) upcoming Broadway production of Spider-Man: Turn Off the Dark as Mary Jane Watson. Evan Rachel Wood had previously been cast as Mary Jane, but departed the production following its delays. Damiano's current understudy Meghann Fahy will begin performances as the full time Natalie in Next to Normal on July 19.

Out with the Old...

2010-05-21T15:11:00.000-07:00

Two Broadway productions recently announced that they would play their final performances this summer.

The revival of Stephen Sondheim and Hugh Wheeler's A Little Night Music will close June 20. The show, which received four Tony nominations, has decided to end its run with the departure of its stars Catherine Zeta-Jones and Angela Lansbury. The production will have played over 200 performances at the Walter Kerr Theatre.

The Tony nominated revival of Ken Ludwig's Lend Me a Tenor will play its final performance on August 15. The production is currently playing at the Music Box Theatre.

Meanwhile, two new shows have announced plans to open in the fall of 2010. The Scottsboro Boys, the new Kander and Ebb musical which ran to much acclaim this spring at the Vineyard Theatre, will begin performances at Broadway's Lyceum Theatre October 7 with an official opening on October 31.

A few blocks away, the newly christened Stephen Sondheim Theatre will open with The Pee-wee Herman Show. The production will begin previews October 26 and run for a limited time through December 5.

Awards 2010: Outer Critics Circle Winners

2010-05-21T11:56:00.000-07:00

The winners of the 60th Annual Outer Critics Circle Awards were announced this past Monday, May 17. This year, the new musical Memphis and the musical revival La Cage aux Folles both won four awards. Additionally, there was a tie in three categories: Outstanding New Off-Broadway Musical, Outstanding Choreographer and Outstanding Actress in a Musical. Here are the winners for some of the big categories (winners in bold):

Outstanding New Broadway Play
Next Fall
Red
Superior Donuts
Time Stands Still

Outstanding New Broadway Musical
American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim

Outstanding New Off-Broadway Play
Clybourne Park
The Orphan's Home Cycle
The Pride
The Temperamentals

Outstanding New Off-Broadway Musical
Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!

For the entire list of winners, go here.

Awards Season 2010: Tony Award Nominations!

2010-05-04T18:00:00.001-07:00

The nominees for the 64th Annual Tony Awards, Broadway's highest honor, were announced today by stage and screen stars Jeff Daniels and Lea Michele. They include:

Best Musical:
American Idiot
Fela!
Memphis
Million Dollar Quartet

Best Play:
In the Next Room or the vibrator play
Next Fall
Red
Time Stands Still

Best Revival of a Musical:
Finian's Rainbow
La Cage aux Folles
A Little Night Music
Ragtime

Best Revival of a Play:
Fences
Lend Me a Tenor
The Royal Family
A View from the Bridge

For a complete list of nominees, go here.

The winners will be announced at the Tony Awards Ceremony at Radio City Music Hall on Sunday, June 13. The ceremony will be broadcast on CBS beginning at 8 pm.

Also, in regards to my predictions posted yesterday I correctly predicted 26 out of the 36 possible nominees that I listed. So, if my counting and math are correct, I had an accuracy of 72%. Hopefully I'll do better with predicting my winners!

(My) Tony Nomination Reactions

2010-05-04T13:15:00.000-07:00

I normally just tag my thoughts onto the end of the list of nominees when I post, but I figured that the Tony Awards deserved a little bit more than that. Here are some of my initial reactions from this year's nominations.

WHAT'S GOOD:

All of the Ragtime recognition (Best Actress! Best Featured Actor! Best Director! Best Revival of a Musical!) I was only expecting this production to get one nomination today (for the much deserving Bobby Steggert), but am thrilled to see it with seven! It's so great to know that a show that closed four months ago can still be recognized.

Kate Baldwin and Christopher Fitzgerald receiving nominations for their charming and delightful turns in Finian's Rainbow. I'm also happy to see the show in the Best Revival Category.

Jude Law for Hamlet. I really, really enjoyed his performance and am happy to see it remembered.

Next Fall for Best Play. I'm really rooting for this one to take home the prize, as I found it to be a wonderfully funny, touching, entertaining and thought-provoking piece of theatre.

WHAT'S MISSING:

Tom Kitt's Orchestrations for American Idiot. I haven't seen the show yet (I will be seeing it the day before the awards), but Kitt's arrangement are the best part of the cast recording.

An acting nod for the cast of Next Fall. This is such a strong ensemble, and a nomination for at least one of the cast members would have been most welcome. I would have loved to see Patrick Heusinger get a Featured Actor nomination, or even Patrick Breen get a Leading Actor nod.

Daniel Craig gave an outstanding performance earlier this season in A Steady Rain. I didn't care for the show and I'm not upset that it was shut out, but Craig's performance was certainly worth noting. I'm not surprised that he was forgotten and I'm satisfied with Leading Actor nominees, but it would have been nice to see him recognized.

WHAT THE BEEP!?

Million Dollar Quartet seemed to creep out of nowhere to snag the final Best Musical slot. It certainly wasn't on my radar, and it didn't seem to be on many others. And Best Book too? Hmm. But perhaps this means it's worth checking out.

I'm surprised by the shortage of nominations for American Idiot, a show that many were predicting would be the front runner in the Best Musical race. I am happy to see it nominated in that category, but certainly thought I would see it in more.

Where is Nathan Lane? From what I've heard about The Addams Family, he is the one thing about that show that is worth paying to get in (and what isn't worth paying for is the show's lackluster score, which ended up receiving one of the show's two nominations).

My 2010 Tony Nomination Predictions

2010-05-03T17:23:00.000-07:00

The nominees for the 64th Annual Tony Awards will be announced tomorrow morning. With the knowledge that I have of this season (based on the shows I've seen and the reviews/word of mouth that I have been following), here are my predictions for the nominees in the major categories.

Best Musical
American Idiot
Come Fly Away
Fela!
Memphis

Best Play
Enron
Next Fall
Red
Time Stands Still

Best Revival/Musical
A Little Night Music
Finian's Rainbow
La Cage aux Folles
Promises, Promises

Best Revival/Play
A View From the Bridge
Fences
Lend Me a Tenor
The Royal Family

Best Leading Actress/Musical
Kate Baldwin, Finian's Rainbow
Kristin Chenoweth, Promises, Promises
Bebe Neuwirth, The Addams Family
Sherie Rene Scott, Everyday Rapture
Catherine Zeta-Jones, A Little Night Music

Best Leading Actor/Musical
Douglas Hodge, La Cage aux Folles
John Gallagher, Jr., American Idiot
Sean Hayes, Promises, Promises
Nathan Lane, The Addams Family
Sahr Ngaujah, Fela!

Best Featured Actress/Musical
Barbara Cook, Sondheim on Sondheim
Katie Finneran, Promises, Promises
Jackie Hoffman, The Addams Family
Angela Lansbury, A Little Night Music
Rebecca Naomi Jones, American Idiot

Best Featured Actor/Musical
Kevin Chamberlin, The Addams Family
Robin de Jesus, La Cage aux Folles
Christopher Fitzgerald, Finian's Rainbow
Bobby Steggert, Ragtime
Tony Vincent, American Idiot

I'm not going to predict all of the categories for nominations, but I will predict my winners for every category come June. Check back tomorrow to see how accurate my predictions were!

Awards 2010: Drama Desk Nominations

2010-05-03T17:15:00.000-07:00

The nominees for the 55th Annual Drama Desk Awards were announced today, May 3. The Broadway revival of Ragtime and the Off-Broadway musical The Scottsboro Boys led the pack with nine nominations each. Here's a taste of who was recognized:

Outstanding Play:
My Wonderful Day
Circle Mirror Transformation
Happy Now?
Red
Next Fall
Clybourne Park

Outstanding Musical:
American Idiot
Everyday Rapture
Memphis
The Addams Family
The Scottsboro Boys
Yank!

Outstanding Play Revival:
A View From the Bridge
Brighton Beach Memoirs
Fences
Hamlet
So Help Me God!
The Boys in the Band

Outstanding Musical Revival:
A Little Night Music
Finian's Rainbow
La Cage aux Folles
Promises, Promises
Ragtime

The winners will be announced at the Patti LuPone hosted award ceremony on May 23. Nominees will receive their nomination certificates on May 6.

Be sure to check back tomorrow for the 64th Annual Tony Award nominations!

Awards 2010: Outer Critics Circle

2010-04-26T12:03:00.001-07:00

The nominations for the 60th Annual Outer Critics Circle Awards were announced today by Broadway siblings Sutton and Hunter Foster. The awards honor Broadway and Off-Broadway productions from the 2009-2010 season. The nominees included:

Outstanding New Broadway Play
Next Fall
Red
Superior Donuts
Time Stands Still

Outstanding New Broadway Musical
American Idiot
Come Fly Away
Fela!
Memphis
Sondheim on Sondheim

Outstanding New Off-Broadway Play
Clybourne Park
The Orphan's Home Cycle
The Pride
The Temperamentals

Outstanding New Off-Broadway Musical
Bloody Bloody Andrew Jackson
The Scottsboro Boys
Tin Pan Alley Rag
Yank!

To see a complete list of nominees, click here.

The winners of the Outer Critics Circle Awards will be announced on May 17. I'm very excited about some of the nominees (Bobby Steggert for Ragtime, Next Fall for Outstanding Broadway Play, Yank! for Outstanding Score and Off-Broadway Musical) and hope to see their names on the winners list as well!

GOD OF CARNAGE to Close

2010-04-26T12:00:00.001-07:00

God of Carnage, the 2009 Tony Award winner for Best Play, will shutter on June 27. Carnage opened on March 22, 2009 to widespread acclaim and recieved six Tony nominations. It is currently playing at the Bernard B. Jacobs Theatre with a cast that includes Jeff Daniels, Lucy Lui, Janet McTeer and Dylan Baker.

http://www.playbill.com/news/article/139017-God-of-Carnage-to-Close-in-June

Awards Season 2010: Drama League Awards!

2010-04-20T16:38:00.000-07:00

For theatre fans, spring isn't known solely as the season for blooming flowers and warmer temperatures...it's known as awards season on the Great White Way. The 2010 Awards Season for New York City Theatre officially kicked off today as the nominations for the 76th Annual Drama League Awards were announced. The major nominees included:

Distinguished Production of a Play: Aftermath, A Behanding in Spokane, The Brother/Sister Plays, Clybourne Park, Enron, Next Fall, The Pride, Red, and Venus in Fur

Distinguished Production of a Musical: The Addams Family, American Idiot, Bloody Bloody Andrew Jackson, Brief Encounter, Come Fly Away, Memphis, Million Dollar Quartet, The Scottsboro Boys, and Sondheim on Sondheim.

The Drama League Awards ceremony will be held on May 21, 2010 at the Marriot Marquis Hotel in New York City.

Be sure to check back for more as awards season continues!

NEXT TO NORMAL's Wave of Success

2010-04-12T15:03:00.000-07:00

It's hard to believe that, even after a year of performances on the Great White Way, Next to Normal is still chugging along. This little musical that could has been enjoying just as much success in the Spring of 2010 as it saw in 2009. Case in point: the Tony Award winning musical was announced as the recipient of the 2010 Pulitzer Prize for Drama on April 12.

Following where few musicals have before, Next to Normal has become joined only seven other musicals to win the prize since it was awarded in 1918. Director Michael Greif also directed the last musical to win the Prize (Rent in 1996).

Congratulations to composer Tom Kitt, lyricist-book writer Brian Yorkey, and all those involved with bringing Next to Normal to the Broadway stage. The show has deserved all of its success, and I only hope it continues to flourish in New York and beyond.

Anyone Can Whistle

2010-04-11T08:16:00.000-07:00

Is it possible to like a show that, in all honesty, makes about zero sense whatsoever? Well, in the case of Anyone Can Whistle, which was presented this weekend at New York City Center as the final installment of their 2009-2010 Encores! series, the answer is yes.

After running for nine performances in 1964, Stephen Sondheim's second musical where he did both music and lyrics has gone on to become a cult favorite and a much talked about part of theatre history.

There's no doubt that the casting was a big part of what made this production so spectacular. It was also what convinced me to see this show, especially to see three performers in particular: Sutton Foster, Donna Murphy, and Raul Esparza.

I was thrilled to be able to see Sutton Foster, one of my favorite stage actresses, take on a role in a Sondheim show, and she didn't disappoint. Her comedic timing is excellent and her voice unbelievable, and I loved her take on the role. Her renditions of "There Won't Be Trumpets" and "Anyone Can Whistle" were unforgettable. Donna Murphy absolutely nailed the role of evil Mayoress Cora Hoover Hooper, knocking both of her numbers ("Me and My Town" and "A Parade in Town") out of the theatre. And I was beyond excited to finally see Raul Esparza onstage, and I knew why when he delivered an excellent "Everybody Says Don't."

Another highlight of the production was the second act dance number "The Cookie Chase." Director and Choreographer Casey Nicholaw really packed a punch with the choreography here (complete with one dancer running up the side of the proscenium). Nicholaw did a solid job helming the entire production, especially considering the difficulty of the material (especially the show's book). But he navigated the absurd with ease, and put together a tight production.

It's clear to see why this show would never succeed in a full-scale revival, but I'm grateful that Encores! took it on. This was my first Encores! show, and I'm glad it was one that showcased exactly what they set out to do: present forgotten musicals that will probably rarely be seen and heard on the New York stage. After their superb work on Anyone Can Whistle, I look forward to many return visits to City Center in the future!

West Side Story (revisited)

2010-04-08T16:37:00.003-07:00

I recently revisited the Broadway revival of West Side Story on a group trip, a production that I was hardly fond of the first time around. Unfortunately, I didn't care for the show any more this time, although the experience certainly was different.

Due to understudies and cast changes, the cast I saw last night varied from the cast I saw last July. Most notable among these changes were the roles of the show's central lovers, Tony and Maria. Tony was now performed by Jeremey Jordan (who alternates the role with former understudy Matthew Hydzik) and Haley Carlucci was on for Josefina Scaglione in the role of Maria.

I was very disappointed in Jordan's performance. I never cared for Matt Cavenaugh in the role, but I actually found myself missing him during last night's performance. I found Jordan's acting choices to be very confusing and out of line with the rest of the production, and his voice never had the strength required to really wrap around his biggest numbers. Carlucci was an improvement from Scaglione, but she still didn't wow me in the role. I constantly felt that her singing trumped her acting.

Karen Olivo was much better at this performance than the last time I saw her; I think she may have been sick at the performance I attended last July. This time, her voice was much stronger, and her rape scene (the only time I was really impressed the first time I saw her) was outstanding.

As for another change between the performances I attended, I didn't mind "A Boy Like That" being in English. I thought Olivo did a great job performing it in both languages, so I don't really have a preference. I would have rather seen "I Feel Pretty" all in English and "A Boy Like That" still in Spanish, simply because I think opening the second act with a scene and song in Spanish (even Spanglish, like it is now) is confusing.

I still don't think this West Side Story is worth the price of admission, but I am glad that I gave it another shot. There are certainly strong points in the show (Olivo, the Jets and the Sharks ensembles), but the show's downsides far outweigh it's pluses.

...But Not Before 2009-2010 Goes Out with a Bang

2010-04-01T11:06:00.000-07:00

Roundabout Theatre Company announced today that the musical Everyday Rapture, which played Off-Broadway last April, will transfer to its American Airlines Theatre this month.

The musical, by Sherie Rene Scott and Dick Scanlan, will begin previews April 19 and open April 29, just in time to be considered for the 2010 Tony Awards. The musical will be directed by Michael Mayer (currently on the boards this season with American Idiot), and will feature Eamon Foley, Lindsay Mendez and Betsy Wolfe from the Second Stage production.

Everyday Rapture has been scheduled to replace the previously announced production of Terrence McNally's Lips Together, Teeth Apart, which was recently postponed after star Megan Mullally abruptly departed.

The 2010-2011 Season Begins to Shape Up

2010-04-01T10:37:00.000-07:00

Two Off-Broadway hits have recently announced plans for the Great White Way in what is shaping up to be an excellent 2010-2011 season.

The new musical Yank!, currently running at the York Theatre Company through April 4, announced that it will make it's way to the Broadway stage next season. No casting, theatre, or dates have been announced, although the current production stars Bobby Steggert, Nancy Anderson, and Jeffry Denman.

The musical, which focuses on the romance between two service men during World War II, opened February 24 to many great reviews. I was fortunate enough to see the York production, and thought it was delightful. I look forward to seeing the show on Broadway.

Hedwig and the Angry Itch, which ran Off-Broadway more than a decade ago, will finally find a home on Broadway this fall. No theatre has been announced, although John Cameron Mitchell will reprise his role as Hedwig new songs are being added to the production by composer Stephen Trask.

Next Fall

2010-03-31T19:03:00.001-07:00

I spent my Wednesday catching one of Broadway's brightest new plays today: the honest and touching Next Fall.

Next Fall is a simple play, telling the story of two gay men who struggle to love in the face of their conflicting religious beliefs. It has come to the Helen Hayes after a run Off-Broadway last summer (which I attempted to see but, because of their strong ticket sales, couldn't).

Nauffts has crafted a memorable piece of theatre in Next Fall; it would be hard not to when tackling big-ticket topics like faith, sexuality, and family values. It's not perfect, certainly: as a piece of writing, the strength of Nauffts' execution often fell short of his messages. Some of the characters could benefit from further development, and the plot frequently bordered on cliched. Still, there were many moments where the writing felt very human and, as a whole, Nauffts' work felt nothing short of genuine. It certainly left me with much to think about, something which I appreciated greatly.

What really made this play work was its ensemble of six actors, with not a single weak link. Patrick Breen carried the show wonderfully as Adam, and his chemistry with Patrick Heusinger (his younger, hunkier love Luke) elevated the piece exponentially. Heusinger was impressive on his own as well, bringing much humanity to his role. Other standouts included Sean Dugan as Luke's former friend Brandon, and Maddie Corman as Holly, a friend to both gentleman.

Sheryl Kaller's direction, organic and clean, felt right for this play. She has managed to steer the production in a direction that successfully drives its messages home while avoiding preachiness and maintaining its integrety. The show's design, especially in the sets, was very simple and efficient; perfect for this contemporary piece.

Next Fall seems to have a lot going against it. It's an unknown play by an unknown playwright, filled with a cast of unknown theatre actors and speaking about controversial material. After my experience yesterday, though, I can only hope that audiences will begin to see what Next Fall for what it truly is: a very fine, heartfelt play about love, faith and family, with some of the best acting in town.

Congratulations to NEXT TO NORMAL...

2010-03-28T17:20:00.000-07:00

...for joining the "hit" category! The New York Times is reporting that the musical, which opened to positive press in April 2009, has recouped its initial investment of $4 million. It won three Tony Awards last June, including Best Actress (for star Alice Ripley) and Best Original Score, and a national tour is expected to begin in November.

I couldn't be happier that Next to Normal has been having this kind of success. It's been almost a year since my first time seeing the show, and I can't imagine what the past year would have been like without it. It's an amazing show that deserves nothing less, and I'm thrilled it will forever be remembered as a "hit." Here's to many more performances at the Booth Theatre! I can't wait to go back.

Sondheim Celebrates with a Theatre (Finally!)

2010-03-23T13:07:00.000-07:00

As composer-lyricist Stephen Sondheim celebrated his 80th birthday yesterday, many theatre fans have been given reason to rejoice: Sondheim, who has forever changed the landscape of the American musical with temendous works such as Sweeney Todd, Sunday in the Park with George, and A Little Night Music, will finally have a Broadway theatre with his namesake. Henry Miller's Theatre, which reopened this past fall with Roundabout's revival of Bye Bye Birdie, will be renamed The Stephen Sondheim Theatre this summer, following the closing of it's current tenant, All About Me.

A very happy birthday to Mr. Sondheim, who has provided me with some of my most cherished theatre memories. I can't think of a better way to celebrate.

http://www.playbill.com/news/article/138071-Light-the-Lights-Stephen-Sondheim-Gets-Broadway-Theatre-in-His-Name

My Favorite Sondheim

2010-03-22T19:13:00.000-07:00

Stephen Sondheim. One of the most influential people in the history of musical theatre. As he celebrates his 80th birthday today, Playbill.com published a feature where they asked contemporary composers and lyricists what their favorite Sondheim tunes are. Inspired by this piece, I've compiled a list of my own favorite Sondheim songs.

1.) Another National Anthem (Assassins)

2.) Sunday (Sunday in the Park with George)

3.) Epiphany (Sweeney Todd)

4.) Being Alive (Company)

5.) No One Is Alone (Into the Woods)

6.) There Won't Be Trumpets (Anyone Can Whistle)

7.) Send in the Clowns (A Little Night Music)

8.) Johanna (Sweeney Todd)

9.) Talent (Road Show)

10.) Move On (Sunday in the Park with George)

YANK! A WWII Love Story

2010-02-20T18:59:00.001-08:00

To see one of the best new musicals to hit New York in a while, keep walking once you hit the theatre district. Walk all the way up to 54th and Lexington where Yank!, a new musical about two gay soldiers during World War II, is currently making its Off-Broadway debut.

Yank! tells the story of Stu, a young man who is drafted into World War II and unexpectedly falls in love with Mitch, a fellow soldier, and follows him as he learns to come to terms with himself and what it means to be a man. Written by brothers Joseph and David Zellnik, Yank! has a luscious score that calls to mind some of the greatest musicals of Broadway's golden era and an intelligent book filled with haunting pathos and genuine emotion.

There isn't a weak link in the show's 12 person ensemble. Jeffry Denman (who also impressively choreographed the piece) is a fantastic Artie, Ivan Hernandez captures the torment of sexually confused Mitch well, and Nancy Anderson nails every one of the several female roles that she plays throughout the show.

But the driving force of Yank! is Mr. Bobby Steggert. Fresh of the heels of a memorable turn in the recent Broadway Ragtime, Steggert commands the audience and holds them in the palm of his hand from the moment he steps on stage. He broke my heart with a single glance, and never held back when it came to portraying Stu's journey from a wallflower of a teen to an unfettered and proud gay man. He's bound to be one of the great performers of our time, and I will now gladly see him in anything.

Go see Yank! now. They don't make musicals like this anymore: ones so rich with honesty and emotion, ones so true to its characters and to the story it's set out to tell. I'm hoping this show receives raves, sells out for the rest of its run, and continues to live on long after its time at the York has concluded. It deserves nothing less.

SOUTH PACIFIC To Close

2010-02-19T12:10:00.001-08:00

Lincoln Center Theatre's revival of Rodgers and Hammerstein's South Pacific will play its final performance at the Vivian Beaumont Theatre on August 22, after winning seven 2008 Tony Awards and running for over two years. The Beaumont will soon be home to two new productions for the theatre company's 2010-2011 season: A Free Man of Color, beginning performances October 21, and War Horse, beginning performances March 17, 2011.

Also scheduled to be part of LCT's next season is Women on the Verge of a Nervous Breakdown. The new David Yazbek-Jeffrey Lane musical will begin performances at the Belasco Theatre on October 2 and open on November 4. Direction will be by Bartlett Sher, who won the Tony Award for his work on South Pacific.

Congratulations to South Pacific for a fantastic run -- at the time of its closing it will have played 1,000 performance and be the longest running Broadway revival of a Rodgers and Hammerstein show. It was my first LCT show and was quite fantastic. I look forward to making a trip to NYC this fall to catch Women on the Verge, and have heard plenty of positive buzz about War Horse. Let the anticipation begin.

HAIR's New Tribe

2010-02-17T12:47:00.000-08:00

American Idol's Ace Young and Diana DeGarmo will head the new tribe of Broadway's Hair in the roles of Berger and Shelia beginning March 9.

Much of the Tony Award winning revival's original cast will depart the production on March 7 to star in the show's London premiere. The Al Hirschfeld theatre will also soon be home to Kyle Riabko (replacing Gavin Creel as Claude), Annaleigh Ashford (replacing Kacie Sheik as Jeanie) and Jeannette Bayardelle (replacing Sasha Allen as Dionne). The rest of the cast can be found here.

While I think this tribe has some big shoes to fill (the current cast is one of my favorite ensembles on Broadway), they certainly seem to be up to par.

Hair welcomes their new Broadway cast:

Side by Side by Susan Blackwell

2010-02-10T08:33:00.001-08:00

Broadway.com posted the latest episode of Susan Blackwell's hilarious and entertaining Broadway talk show. Enjoy!

A Little Night Music

2010-02-06T18:40:00.001-08:00

I didn't let the snow stop my trip to New York today (where, thankfully, almost no snow ended up falling) to see the revival of Stephen Sondheim and Hugh Wheeler's A Little Night Music.

It must be said somewhere in this review that the musical is absolutely brilliant. It's one of Sondheim's best and most sophisticated works, and it was nice to just be able to see a first-class production of the material.

Catherine Zeta-Jones was unexpectedly impressive as Desiree. I've never found her to have the warmest presence as an actress and, while that held true for her performance in Night Music, it worked for the show. Her "Send in the Clowns" was an emotional highlight of the production, and she played off of Alexander Hanson (who was very strong as Fredrik Englemen) well during "You Must Meet My Wife". There's not much to be said about Angela Lansbury, simply because she's Angela Lansbury: her presence is always welcome on the stage, and she was as delightful in this as she was in last season's Blithe Spirit.

Other cast members who made an impression were Hunter Ryan Herdlicka, who's performance as Henrik was believably angsty and well-thought out, and Leigh Ann Larkin who, despite confusing me with her forever-changing accent through the show, delivered a thrilling rendition of "The Miller's Son".

The overall production felt very British, although I guess that's to be expected when it's directed by Trevor Nunn and an import of a production that originated in London. I thought the design elements came together nicely -- the sets and the costumes emphasized that this was a sophisticated chamber musical.

This is a good production -- not a great one, not the best I've seen, but strong. It was worth it just to hear some of these Sondheim tunes (and, surprisingly, I actually found the scaled-down orchestra to be an integral part of this production), and there were some very good performances to accompany this outstanding material.

Side By Side By Susan Blackwell

2010-01-21T16:53:00.001-08:00

It recently dawned on me that there has been a drought of videos on my blog lately. While this normally wouldn't be a problem, I'm embarassed that I've neglected to post Broadway.com's new talk show starring Broadway performer/Vampire Slayer/the Just Generally Awesome Susan Blackwell, aptly titled Side By Side By Susan Blackwell. In Susan's hilarious new show, she spends the day with three Broadway stars -- one in the morning, one in the afternoon, and one at night. Enjoy!

Episode 1 (Featuring Sutton Foster, Jonathan Groff and Laura Benanti)

Episode 2 (featuring Gavin Creel, Kelli O'Hara, and Beth Leavel)

Hair (a third visit)

2010-01-17T16:55:00.000-08:00

I spent a rainy day in New York with my favorite tribe once again, and found the show to be just as invigorating and meaningful as I have in my previous visits.

Gavin Creel was amazing, as usual; he will never cease to amaze me with his talent. Andrew Kober was a riot as Margaret Mead in what has long been my favorite scene in the show, and Will Swenson's opening monologue is always fresh and hilarious. Jackie Burns was on for Caissie Levy as Shelia, and I was impressed. Levy has one of my favorite female voices on Broadway, but Burns proved herself more than capable with the role.

I was really fortunate to experience Hair with someone this time, which really made this third venture into the Hirschfeld worth it. Seeing someone else's reactions and hearing his thoughts made me appreciate the show's
message, and the impact it's had on me, even more.

I will miss these hippies when they jet off to London in a few months, but I'm thankful for the time I've been able to spend with them. I will always hold my Hair memories close to my heart, and I know that I will only have to remember my few trips to their theatre to bring myself out of even the darkest of moods.

Goodbye, My Love: A Fond Farewell to RAGTIME

2010-01-10T20:15:00.000-08:00

The Broadway revival of Ragtime played it's final peformance much too soon this afternoon at the Neil Simon Theatre.

I have been a fan of Ragtime for several years, but when I first listened to the cast recording I always thought it would be quite some time before I would get to see a producion of he show in New York. Imagine my happiness when, in May 2009, it was annonced that the much acclaimed Kennedy Center production of the show would transfer to Broadway in the fall. I was thrilled: I would finally get the chance to see this incredible musical live and in all it's glory.

Fast forward to November, and I'm walking out of the theatre in awe of what I just saw. This production of Ragtime was everything I could have wanted it to be: Marcia Milgrom Dodge's minimalistic story telling worked beautifully, and the cast was just incredible. Bobby Steggert's Younger Brother is still haunting me daily, Christiane Noll's "Back to Before" still echoes throughout my head, and the passion that Quentin Earl Darrington brought to the role of Coalhouse Walker, Jr. is still unbelievable to me.

It's clear that everyone involved with this production really believed in the show, and that was what really made this production sparkle. Everyone truly knew that this was a story that had to be told, and they were going to give it their all in telling it. It really is a shame that this story won't be heard anymore eight nights a week - it really seemed to have found new relevance that it may have lacked during it's premiere in 1998.

So while Ragtime's journey on the Great White Way may be over for now, I'm taking the time to write this so those involved with this production know that their efforts weren't futile. The two and a half hours that I spent at Ragtime were filled with magic, hope, happiness and tears, and I loved every minute of it. So I'm here, writing this, to make them hear me, and I'll end this post with the two words that can really sum up the entire thing: thank you.

Journey On.

Something's Coming...

2010-01-06T12:09:00.000-08:00

Several productions recently announced plans for Broadway productions this spring:

American Idiot, the new musical based on the hit Green Day album of the same name, will begin performances at Broadway's St. James Theatre (currently home to Finian's Rainbow) on March 24. It is scheduled to officialy open on April 20, 2010. The cast has yet to be announced, although the cast for the show's recent premiere at Berkeley Rep included Tony winner John Gallagher, Jr. and Matt Caplan.

http://www.playbill.com/news/article/135685-American-Idiot-Will-Rock-Broadways-St-James-Starting-March-24

Denzel Washington will return to Broadway in August Wilson's Fences this April. The revival, also starring Viola Davis, will begin performance at the Cort Theatre on April 14 and open on April 26.

http://www.playbill.com/news/article/135693-Kenny-Leon-Will-Direct-Denzel-Washington-and-Viola-Davis-in-Broadways-Fences

In casting news, Justin Bartha (best known for his roles in "The Hangover" and the "National Treasure" films) will star in the upcoming Broadway revival of Lend Me a Tenor, currently planning to open at the Music Box Theatre on April 4.

http://www.playbill.com/news/article/135696-Justin-Bartha-Will-Join-Broadways-Lend-Me-a-Tenor

Bobby Steggert, currently starring on Broadway as Mother's Younger Brother in Ragtime, will perform the lead role of Stu in the new Off-Broadway musical YANK!, premiering next month at the York Theatre. Performances begin Feburary 16.

http://www.playbill.com/news/article/135690-Ragtimes-Steggert-to-Star-in-York-Theatre-Companys-Yank

Karen Olivo and Josefina Scaglione will continue to star in the revival of West Side Story through the summer of 2010. Olivo won a Tony Award for her work as Anita in the show, and Scaglione was also nominated for her work in the production.

http://www.playbill.com/news/article/135700-Olivo-and-Scaglione-Renew-West-Side-Story-Contracts

Don't Let Me Go: A Fond Farewell to SHREK

2010-01-03T06:36:00.001-08:00

After over 400 performances at the Broadway Theatre, Shrek the Musical closes up shop today. I just wanted to take a moment to reflect on this musical, which I thought was misunderstood and under appreciated all throughout its run.

Before Shrek even hit New York, many people blew it off as another cheesy movie to musical adaptation that would be filled with overblown sets and a lousy book and score. I tried not to fall victim to this ideology; I remained excited based on the talented creative team (Jeanine Tesori, David Lindsey-Abaire, and Jason Moore) and the impressive cast (Sutton Foster, Brian d'Arcy James, and John Tartaglia, among others).

When I finally had the opportunity to see the show about a year ago, I was extremely pleased with the result. The show may have had the overblown sets and million dollar costumes that everyone was expecting, but it also had something that many thought it would lack: stage appeal. After seeing the show and hearing the incredible score (which featured some great songs such as "Who I'd Be," "When Words Fail," and "This is Our Story") performed live, it became clear that Shrek's story was one that deserved to sing. The story benefited from this new medium, and I found it richer and more involved than ever before.

Unfortunately, not everyone felt the same way I did. Reviewers, theatre fans and tourists alike continued to blow Shrek off as another lackluster transfer rather than actually give it a chance to discover that it really worked on the stage.

I'm heartbroken that Shrek's days on the Great White Way are over, but I'm grateful for the time it's had in New York. I still remember how excited I was going into see the show that snowy January Saturday last year, and how happy I felt walking out. Bravo to Tesori and Abaire for writing a score true to the show's spirit, and to the multi-talented cast for making the characters their own. And just remember that although this may be the end of the road for the show's Broadway production, you've managed for 441 performances to create a big, bright, beautiful world on stage that delighted many.

Best of Theatre 2009: Top Ten Shows

2009-12-31T20:03:00.000-08:00

I saw many shows this year, on Broadway and off, and each one was a different experience. I enjoyed some, didn't enjoy others, and fell head over heels in love with a select few. Here were my ten favorite shows that I saw in 2009:

1. Next to Normal (Broadway, Booth Theatre): From the first time I saw this show back in previews, I fell in love. It's an amazing journey and an emotional experience each time, and I'm beyond grateful that it's become a part of my life.

2. Hair (Broadway, Al Hirschfeld Theatre): A thrilling journey back to the 1960s, Hair has shown me the power that humans have to make a difference and the beauty that a little love, peace, equality, and happiness will bring to a life.

3. Ragtime (Broadway, Neil Simon Theatre): A stirring production of one of the best musicals of the 1990s, this Ragtime was a beautiful experience from start to finish. I'm heartbroken to see it go.

4. Shrek the Musical (Broadway, Broadway Theatre): I feel that many brushed off Shrek as a mediocre movie to musical adaptation, when it actually turned out to be a story that lent itself wonderfully to the stage. It's score is quite enjoyable, and the show features some of my favorite performances of the year.

5. August: Osage County (Broadway, Music Box Theatre): Boy, am I glad I saw this show before it closed. Everything I heard about it was true: it was thrilling, emotional, three and a half hour roller coaster, and I loved every minute of it.

6. Billy Elliot the Musical (Broadway, Imperial Theatre): While I didn't find it deserving of the Best Musical Tony, I did enjoy Billy Elliot quite a bit. David Bologna was a standout as Michael, and the dance numbers were some of the best I've seen on a Broadway stage.

7. Finian's Rainbow (Broadway, St. James Theatre): Sometimes all you need is a lovely old fashioned musical, and that's exactly what Finian's Rainbow was. I couldn't help but leave with a smile on my face and my spirits lifted, even on a rainy NYC day.

8. 9 to 5 (Broadway, Marquis Theatre): This short lived musical was nothing but a good time, and it deserved better. Despite its flaws, it featured a delightful score by Dolly Parton and some great performances (especially from the show's trio of women and Marc Kudisch).

9. Hamlet (Broadway, Broadhurst Theatre): My first ever production of Shakespeare was made memorable by Jude Law's outstanding Hamlet. I loved the stage pictures created by the director, especially the "to be or not to be" scene in the snow.

10. Forbidden Broadway's Greatest Hits (Philadelphia, Walnut Street Theatre): An extremely enjoyable afternoon was spent at the Walnut when I saw this small scale production. I laughed (out loud) nonstop, and I wish I hadn't missed Forbidden Broadway's previous incarnations.

Best of Theatre 2009: Top 10 Performances, The Women

2009-12-31T19:43:00.000-08:00

I was fortunate to see many amazing women perform in 2009. Here, I list the best of the best:

1. Alice Ripley (Diana, Next to Normal): What can I say that hasn't already been said about Ripley in Next to Normal. She's a powerhouse, she's on fire every night, she gives it her all, and she's absolutely amazing.

2. Christiane Noll (Mother, Ragtime): Noll's performance was the core of Ragtime's brilliance. Her Mother is warm, genuine, caring, and a complete joy to watch. I hope to see her back on the stage soon following Ragtime's closing.

3. Phylicia Rashad (Violet, August: Osage County): One of the biggest surprises of my theatre-going year was Rashad's performance. It's highs and lows were often thrilling, as Violet's story went from humorous to frightening to tragic.

4. Caissie Levy (Shelia, Hair): Levy brought so much passion to her performance that it's difficult to imagine anyone else in the role. Her voice is out-of-this-world amazing, and her "Easy to be Hard" was one of the highlights of the show.

5. Kate Baldwin (Sharon, Finian's Rainbow): Broadway has a new star, and her name is Kate Baldwin. Her voice is very rich and satisfying, and her performance in Finian's was an absolute delight. I look forward to much more from her in the future.

6. Jennifer Damiano (Natalie, Next to Normal): At such a young age, it's hard to believe that Damiano is giving the performance that she is. Her full, silky voice compliments her angsty performance as Natalie, and she carries herself with poise whenever she's on stage.

7. Karen Olivo (Anita, West Side Story): In an upsetting new West Side Story, Olivo is the lone shining light. Her second act rape scene was absolutely chilling, and still gives me goosebumps to this day.

8. Sutton Foster (Princess Fiona, Shrek the Musical): When have I ever not liked Sutton Foster in anything? She didn't let me down with her latest role, pleasing the crowd with her superior dancing and singing skills. I look forward to seeing her in Anyone Can Whistle this spring.

9. Sierra Boggess (Ariel, The Little Mermaid): A lovely debut from a lovely performer. Boggess took the iconic role of Ariel and made it her own: her voice was gorgeous and she oozed charisma whenever she was onstage.

10. Jennie Eisenhower (Various, Forbidden Broadway's Greatest Hits): I didn't place Eisenhower on this list because I know her personally; I truly found her performance to be one of the best I saw this year. Her impression of Liza Minelli was one of the funniest things I've ever seen. Period.

Things Aren't So Good in Glocca Morra

2009-12-31T14:48:00.000-08:00

The producers of Finian's Rainbow announced Dec. 30 that the revival would play its final performance at the St. James Theatre on January 17, 2010. The critically acclaimed production will have played 22 previews and 92 regular performances.

http://www.playbill.com/news/article/135594-Wanna-Cry-Finians-Rainbows-End-Will-Be-Jan.-17

Also on Dec. 30, the producers of Ragtime announced that the show will continue for one more week. The final performance, previously scheduled for January 3, will now be on January 10, 2010.

http://www.playbill.com/news/article/135584-Thats-the-Show-Biz-Ragtime-Gets-Added-Week-on-Broadway-to-Jan.-10

Next to Normal (a third visit)

2009-12-31T06:06:00.001-08:00

I found my way back to the Booth Theatre yesterday to see Next to Normal for a third time and I still found the show to be as outstanding as it was during my previous visits.

Alice Ripley continues to amaze me with the different nuances she finds in her role. Each time I've seen her the performance has been a different experience. It was nice to see Aaron Tveit as Gabe again before he departs the production (his final performance is this Sunday, January 3); he completely embodies that role and I'll always remember and miss his performance. Meghann Fahy was in for Jennifer Damiano as Natalie, and she was fantastic. She made some great choices and had good chemistry with Adam Chanler-Berat.

After my second viewing of this show, I stated that different relationships struck me after seeing it again. Yesterday, I was still intrigued by the mother/daughter relationship (as I was the second time), but I found entirely new parallels between Natalie and Diana that I had missed before. I love that the show still felt fresh even after multiple visits.

I had another great Next to Normal experience yesterday, and I hope it wasn't my last. I'm not ready to put this show away quite yet!

The Era of Ragtime Has Run Out...

2009-12-29T09:33:00.000-08:00

The new production of Ragtime, currently playing on Broadway at the Neil Simon Theatre, will give its last performance this Sunday, January 3. The production, which transferred to New York after a sold-out run at Washington D.C.'s Kennedy Center, will have played 28 previews and 57 regular performances.

http://www.playbill.com/news/article/135546-Say-Goodbye-to-Music-Broadways-Ragtime-Will-Close-Jan.-3-2010

I'm crushed that his is happening...I thought this was such a beautiful production, and it deserves a longer life. Look for more of my thoughts this Sunday.

Best of Theatre 2009: Top 10 Performances, The Men

2009-12-26T07:38:00.001-08:00

From movie stars to Tony nominees to the previously unknown, I had the opportunity to see many men grace the stage in 2009. Here's my list of the ten who made the best impressions:

1. J. Robert Spencer (Dan, Next to Normal): Spencer has turned in an honest, emotional, and deeply moving performance each and every time I've visited Next to Normal. If I had things my way, he would have been a Tony winner this past June.

2. Gavin Creel (Claude, Hair): An amazing performer onstage and an amazing person off, Creel has quickly risen to the top of my "all time" favorites list. His dedication to the role of Claude made his character's tragic demise all the more unsettling.

3. Bobby Steggert (Mother's Younger Brother, Ragtime): One of the most moving performances I remember ever experiencing came this year from Bobby Steggert. The journey he takes Younger Brother on is unforgettable, complete with some breath taking moments (his hug to Coalhouse is forever etched in my mind).

4. Brian d'Arcy James (Shrek, Shrek the Musical): The fact that d'Arcy James sang so beautifully in this show was enough to land him on this list, but the fact that he was able to make Shrek his own memorable character really made him deserving of the spot.

5. Daniel Craig (Joey, A Steady Rain): Having never seen Daniel Craig in a single movie before attending A Steady Rain, I didn't know what to expect of him. I was beyond pleasantly surprised; his performance as Joey was extremely genuine and made my visit to the show worthwhile.

6. Aaron Tveit (Gabe, Next to Normal): With unending stamina and charisma, Tveit turned in a breakout performance this year. He was nothing short of excellent in this show; his haunting performance is one I won't soon forget.

7. Quentin Earl Darrington (Coalhouse Walker, Jr., Ragtime): Darrington took to the stage with passion and strength in this Ragtime, and it certainly paid off: he's currently turning in a very moving and memorable performance that made the show all that much more intriguing.

8. Jude Law (Hamlet, Hamlet): Law's performance of the iconic Prince was a delightfully manic and captivating. He certainly made this production worth seeing.

9. Marc Kudisch (Franklin Hart, Jr., 9 to 5): The fact that Marc Kudisch was able to turn such an unlikeable character into someone that people cheered for at curtain call speaks for itself. He was unapologetic in his portrayal of the bigoted boss Mr. Hart, and it worked beautifully.

10. Christopher Fitzgerald (Og, Finian's Rainbow): Following up his Tony nominated turn in Young Frankenstein, Fitzgerald impressed me again with his singing, dancing, and impeccable comedic timing in this delightful production of Finian's Rainbow.

Best of Theatre 2009: Top 10 Moments

2009-12-13T16:15:00.000-08:00

Whenever I set foot in a theatre, I go in hoping that I'm about to see a good show. Three hours later, I walk out, knowing that the moments I just experienced are never going to be available for someone else. Sure, people can see the same show, but they'll never see the same performance I just saw -- that's one of the reasons why live theatre is so special to me. It only lasts for a moment, but those moments are just for me: the audience member. Here are ten moments from my 2009 Theatre-going that really stick out as being inspiring and memorable (Spoiler Alert: Don't read numbers 3 or 8 if you haven't yet seen Hair or Ragtime!).

1. "New Music" (Ragtime): Even after playing the original cast album dozens of times, I never imagined that this moment would strike me the way it did. But when Sarah makes here descent to the top of the stairs where she stares at Coalhouse before running into his embrace, I was frozen in the very best way possible.

2. "I Am the One (Reprise)" (Next to Normal): I can't remember the last time I've been so affected by a song. This beautiful moment of reconciliation between father and son has been enough to get the tears flowing (if they haven't started already!) at my multiple Next to Normal viewings.

3. "The Flesh Failures/Let the Sunshine In" (Hair): A chilling finale to an amazing show. The entire sequence, from when Claude first comes out at the beginning ("If I'm invisible, then I can perform miracles") to the final moments when the cast exits the theatre through the aisles leaving Claude dead in the snow, is forever etched in my memory.

4. "Angry Dance" (Billy Elliot): While I didn't love Billy Elliot as much as the Tony Voters appeared to, there's no denying the thrill that this dance gave me. Definitely one of the highlights of the show, and one of the best dance numbers I've seen on Broadway (allowing with the "Swan Lake" sequence also in this production).

5. "Who I'd Be" (Shrek the Musical): A truly beautiful and honest moment, and a prime example of what it means to make a story sing. This songs is poignant and genuine in its expression of Shrek's emotions.

6. Dinner Table Scene (August: Osage County): A thrilling piece of writing and acting. From the moment the Westons sat down at their table I was with them, and I didn't leave until Barbara made it known that she's "running things now!"

7. "Dance of the Golden Crock" (Finian's Rainbow): Another dance scene that left me in awe. The combination of ballet and the harmonica was absolutely lovely, and this scene was an unexpected surprise in a show that turned out to be a very pleasant surprise in itself.

8. Sarah's Beating (Ragtime): Another heart-stopping moment from the Ragtime revival, but this one came with a heavier heart than the last. The combination of Sarah's death, the cast dropping their flags in shock, and Coalhouse's journey from the top of the set to Sarah lying on the stage was positively chilling.

9. "Get Out and Stay Out" (9 to 5): Judy Bernly's moment of liberation was a knockout in this short-lived musical, mostly thanks to Stephanie J Block's phenomenal vocal performance. I still find myself thinking about the last minute of this song from time to time.

10. "Light" (Next to Normal): A stirring finale to quite the emotional journey. The finale moment of this song, with all six cast members singing and the stage bursting with light, is, to me, the perfect way to end the show.

Gavin Creel @ Symphony Space

2009-12-08T12:11:00.000-08:00

I had the pleasure of seeing Gavin Creel and his songwriting partner Robbie Roth perform last night at Symphony Space, and I couldn't have asked for a better Monday night. Just wanted to take a few moments to record some of my favorite moments:

Gavin sang two Christmas songs, "Little Drummer Boy" and "Have Yourself a Merry Little Christmas", and they both sounded amazing. I especially enjoyed "Little Drummer Boy" -- Gavin's voice and the acoustic arrangement were perfect for the song. Lovely.

Several of the songs he performed were new, and the first time he ever performed them in public. During one of the songs (which he described as a cross between Shel Silverstein and John Lennon), he forgot the lyrics and turned to Robbie and said "we should have practiced this more". At the end of the song, he said to the audience "You guys can all say 'I was there the first time he ever sang this in public and it STUNK!'"

He told some nice stories in between his sets as well -- one about a conversation he had with his Uncle, another about his experiences with Lady GaGa at the HRC Dinner and Equality March in October, and yet another about how he likes to close his eyes in the shower and pretend the sound of the water is really the sound of applause.

Some of my favorite songs last night were "Fine," "Anything at All," and "Upper Hand," but my favorite song was "These Four Walls," from his CD Goodtimenation. I haven't been able to get it out of my head all day. It was absolutely beautiful.

So, thank you Gavin, for a great night. You really are an amazing talent, and I hope that wasn't my last time seeing you perform!

525,600 Minutes...

2009-12-06T12:38:00.000-08:00

...have gone by once again. That means my blog will soon be sporting my "Best of Theatre" lists for 2009. I believe I'm finished with my NY theatre-going for the year (with the exception of Gavin Creel's show with Robbie Roth that I'm attending tomorrow), so I'm currently working on compiling my lists. As New Year's Eve draws closer, check back for my Top 10 Male and Female Performances of the Year, as well as my 10 Favorite Theatrical Productions that I saw in 2009. And maybe I'll through in a few extras categories...keep checking back to find out!

Hair (revisited)

2009-11-20T10:58:00.001-08:00

I spent my day off from school on Wednesday in NYC, and won the lotto to see a matinee of Hair. It was fabulous, and just what I needed in the middle of my week!

After only seeing Gavin Creel in the first act the last time I saw the show (he injured his ankle), I was thrilled to be able to see him perform the entire piece. He was amazing, and I'm not saying that simply because I'm a huge fan of his. He brings such life and passion to Claude, and makes the character seem honest and genuine. Bravo, Mr. Creel.

The rest of the cast was wonderful, as they were last time. Will Swenson was hilarious during his opening monologue, Caissie Levy's voice continues to blow me away, and I enjoyed Andrew Kober's Margaret Mead even more (if that was at all possible).

I loved sitting in the lotto seats this time around; I got so much more interaction than before. At one point in the show, Kacie Sheik sat down next to me, gave me a hug, and let me feel her "baby" kick. Megan Reinking played with my hair, and Gavin Creel watched the Be-In while standing next to me.

I'm still on a high after this viewing; I think it may have been even better than my first. Despite the small audience (there were only about 40 people total in the mezzanine), I really felt like a part of the tribe. Watching the show was breathtaking, dancing onstage at the end was euphoria, and briefly talking to Gavin after (as he collected money for BC/EFA) was a dream come true. Leave it to Hair to always let the sun keep shining.

Ragtime

2009-11-07T18:00:00.000-08:00

Today, I caught this season's third musical revival, one that I've been wanting to see for quite some time: Ragtime.

Before I really begin my review, here's a bit of preface: I first listened to the Original Broadway Cast Recording for Ragtime about two years ago, and I fell in love with the music. Unfortunately, I learned that the original production closed only a few years ago, and I assumed that a revival wouldn't happen for another decade or two. But then, earlier this year, a production at the Kennedy Center in Washington D.C. proved how timely and relevant this piece is, prompting a Broadway transfer. I quickly snapped up a pair of tickets and began building my excitement for today. I'm happy to say that this was all warranted: This Ragtime is brilliant and powerful.

The entire cast is strong, but there were a few standouts for me. Christiane Noll was outstanding as Mother: her performance was warm, genuine, and heartfelt. Quentin Earl Darrington turned in a very passionate performance as Coalhouse Walker, Jr., and he commanded the stage whenever he was on it. Stephanie Umoh was a lovely Sarah, and Bobby Steggert was brilliant and heart-breaking as Mother's Younger Brother (the scene in the library where he gives Coalhouse a hug was absolutely beautiful).

Marcia Milgrom Dodge's minimal staging served the show well, bringing the show's focus away from the spectacle and onto the characters. For example, by suggesting the destruction to the Model T rather than show it, the audience only had Coalhouse's rage to use as a representation for what happened. I loved the show's three-tiered set (which was nicely utilized, especially in songs like "New Music" and when Coalhouse ran down to Sarah before "Till We Reach That Day"), and the lighting was delightful (especially during "Nothing Like the City" and when silhouettes were used).

Despite the fact that it may be a tad anthem-heavy, I love this show's score. Some of the songs are real gems, from the powerful opening number (perhaps one of the best I've experienced on a Broadway stage) to the heart-wrenching "Your Daddy's Son" to Mother's big moment of liberation in "Back to Before". It was a treat hearing the orchestra play these songs.

I couldn't be happier with my Ragtime experience; the show as everything I hoped it would be. This is a production of an amazing show, built on an interesting concept and complete with with fantastic performances. 2009 couldn't be a better time to have Ragtime back, and I'm thrilled it's here.

Congrats to HAMLET (and other news)

2009-11-04T11:57:00.000-08:00

Congratulations to those involved with the current Broadway revival of Hamlet, which announced today that it has recouped it's initial $2.5 million investment. The production, which stars Jude Law, opened on October 6 and will play at the Broadhurst Theatre through December 6.

http://www.playbill.com/news/article/134331-Not_So_Melancholy_Broadway%27s_Hamlet_Recoups_Investment

In other news, the popular Off-Broadway musical bare, which had its New York premiere in 2004 and was recorded in 2007, is being considered for a Broadway production in the 2010-2011 season. (Personally, I'm very excited about the prospect of a Broadway production of bare. I got interested in the show when I heard the Off-Broadway Selections recording, and fell in love with the 2007 recording. I will certainly see it early in its Broadway run if this happens)

http://www.playbill.com/news/article/134330-Could_bare_and_Don%27t_Dress_for_Dinner_Arrive_on_Broadway_Next_Season%3F

Following the abrupt closing of Brighton Beach Memoirs and the cancellation of Broadway Bound, the second show set to run in repertory under the title The Neil Simon Plays, it has been announced that the new musical Million Dollar Quartet will take up residence in the Nederlander Theatre on Broadway in the spring. Previews begin March 13, 2010.

http://www.playbill.com/news/article/134321-Million_Dollar_Quartet_Will_Be_New_Tenant_of_Broadway%27s_Nederlander_Theatre

PROMISES, PROMISES Joins this Season's Musical Revivals

2009-10-26T12:51:00.000-07:00

A new production of the musical Promises, Promises will open at The Broadway Theatre (currently home to the soon closing Shrek) on April 25, 2010. The show will star Sean Hayes and recent Emmy Award winner Kristen Chenoweth and will be directed and choreographed by Rob Marshall. Previews begin on March 28, 2010.

http://www.playbill.com/news/article/134114-Promises_Promises_to_Return_to_Broadway_With_Hayes_and_Chenoweth_Starring#