Cats: My Two Cents

Hello! I’m back after a long absence, and excited to post again. I hope you enjoy today’s content, which is my own take on the controversial Cats movie.

The reviewing of Cats is a difficult matter. I had read the scathing reviews, and when I went in the theater I expected something so awful that I would have to cover my eyes, and it’s true that a cat being violently thrown in a bag on a rainy London street isn’t very promising, but what followed was in parts good and in others horrifying. Let’s begin. After Francesca Hayward, as the white cat, Victoria, was serenaded by the other cats with the opening, a clever plot device since the song is essentially phrased as a question. However, the plot of Victoria as the outsider would grow to usurp the device of Grizabella, a questionable choice by the director. The camera angles throughout the whole number and movie were odd like someone with the camera was jumping all over the set. Later, during “Rum Tum Tugger,” one particularly horrifying shot came when Jason Derulo seemed to press his nose literally onto the screen of the camera. The choreography by Andy Blankenbuehler that seemed so clever on stage in 2016 got lost for the big screen. The next number was “Jennyanydots,” but first we met Idris Elba as Macavity, who became the villain of this film and would kidnap the cats and transport them to a barge on the Thames. Two other people we meet are Robbie Fairchild as Munkustrap (overused (he narrated almost every song) but also very talented) and Laurie Davidson as Mr. Mistoffeles. Then, we zero in on Rebel Wilson’s jennyanydots, who then sings a song that loses its comic effect as a result of her trying too hard with the slapstick comedy, as well as the grotesque mini-cockroaches and mice that have human faces. This brings me to the CGI. Despite the shocking effect of the trailer, the eye gets used to this at about 15 minutes in. Next, we meet Jason Derulo’s Rum Tum Tugger, a shockingly bland and boring one, that even makes you wonder why the cats even look up to him enough to make him a serious contender to be the Jellicle Choice. After Macavity has kidnapped Jenny (noticeably the Rum Tum Tugger is safe from his motives, maybe because he’s smart enough to know the Tugger doesn’t have a good shot at getting the prize), in a clever device where she is waiting outside alone, jealous of Bustopher Jones, who everyone is currently following through the junkyard. We see the odd cinematic effect then of everyone who he kidnaps as well as he dissipating into little bits when they leave. After James Corden’s rollicking turn as Bustopher Jones (exactly the pick-up the movie needs), he too falls prey to Macavity. After this number comes one of the most misguided in the film, “Mungojerrie and Rumpleteazer.” They choose to speak-sing this number and, inexplicably, add Victoria as if the cats were showing off for her. It was as if Victoria served as a largely participatory audience for all the cats to perform to. The lack of chemistry between these two cats was also startling in this number, and they both seemed to be performing in separate movies. Old Deuteronomy, an adequate Judi Dench, then enters, after which a preprise of “Memory” is sung by the rejected Grizabella on the street, with Hudson’s voice never reaching the depth you’d expect. For that you must wait until later in the film. A low point comes next when Francesca Hayward sings “Beautiful Ghosts,” the new creation by Taylor Swift and Andrew Lloyd Webber, the former who has yet to put in an appearance. The song lacks the beauty of “Memory” and the energy of the other songs, and feels out of place in this movie, yet another element that separates it from the stage play. This is another theme I feel I should address. Cats is not the stage play, and suffers from it. It inherently loses some of its magic on screen, because it seems as if movie editing takes out the magic, since they can make anything look real. Once we’re taken inside the abandoned theater where the competition is held, the indisputable highlight of the film happens. It comes in the form of Ian McKellen as Gus, the Theater Cat, who offers a touching and heartfelt portrait of a cat actor past his prime, but echos McKellen’s experience as a veteran of the theater eerily. An odd distraction is Mistoffelees’ backstage assisting of Gus by adding special effects to his performance, which in my opinion seems a bit like cheating. Also, you may ask, wouldn’t Mistoffelees want to save the magic for himself? Well, in this version, Mistoffelees is not competing, but don’t worry, he still gets his number. Next, Steven McRae as Skimbleshanks gets his own underwhelming turn, but not before McKellen falls prey to Elba’s deception and is transported to the barge locked up along with Corden and Wilson, along with the person who possibly gets the ugliest CGI in the movie, Ray Winstone as Griddlebone. McRae, supposedly performing for Old Deuteronomy, gets transported to many different sets, bringing up the logistical query of how Dench could observe all these places at once. McRae does deceptively complicated tapping, that still elicits oohs and aahs from the audience. Also, the fact of him actually being on the train means it loses some of the magic of the “let’s put on a show!” attitude that comes from the cats piecing together a train themselves. After Macavity kidnaps Skimbleshanks too, he comes and demands that Old Deuteronomy choose him, as he is the only eligible cat left (Mungojerrie, Rumpleteaser, and the Rum Tum Tugger come to mind as exceptions to this). Before this, however, Taylor Swift, making her brief but highly publicized, appearance in the film, seductively sings “Macavity” with an air of knowingness that works with the song. Though it’s not as good as many reviews touted it as being (I think this is because it loses it’s scariness and bone-tingling effect when you’re not worried about Macavity popping up from the back of the theater and killing you) it is still a great song and gives a dying burst of energy to the film. Luckily, Deuteronomy honorably refuses Macavity’s odious offer, so the Tugger ensures that she too joins the crew on the barge, at which point Mistoffelees, encouraged by Victoria to bring her back, tries (backed up by, finally, the chorus singing “Magical Mr. Mistoffelees”) at first in vain but then successfully, so she is back to hear Hudson’s pitiful plea “Memory”. And while it’s true that Hudson is overacting here, she absolutely slaughters “Memory,” even if the shaky head voice she uses to begin the song doesn’t give you confidence. I didn’t think she was going to be able to hit the notes, and especially not belt them, and she does strain but she is successful. Then Hudson ascends to the Heaviside Layer, with a subplot of Macavity attempting to hold on to the bottom of the balloon, but Grizabella seems to drop the balloon so he falls off, then offers what seems to be a triumphant wave to the beaten Macavity sitting on a London rooftop. Then the music plays, the credits roll, and the movie’s over. Or so you would hope. In fact, the magic of the ending is undermined by Judi Dench sitting on a statue and addressing a group of cats with the banal and over-long “The Addressing of Cats” (no pun intended). Then, finally, after Dench whispers in Hayward’s ear that she is finally a Jellicle cat, which is again a plot moment that undermines Grizabella’s moment and leads the audience to believe that that in fact was the main storyline, but we get our satisfying ending, as together they look up into the sky to see Grizabella fading into the horizon. The elegant and vibrant spectacle of this movie are overshadowed by average performances and the overall craziness of the movie and abrupt changes to the plot line. I would recommend that you see it, just because everyone should have their own opinion on this movie.

Season in Review Part 4

Sorry I haven't been keeping up daily, but I am rehearsing for a show right now and consequently am very busy. I'm going to go out of sequence today. Instead of reviewing Foxy, Lady in the Dark, and Tootsie, I'll be reviewing Foxy, Lady in the Dark, and Be More Chill, as I just saw the latter today.

FOXY

No full cast recording exists. One of the few shows Johnny Mercer wrote, and the star was Bert Lahr. Interesting that this show had never been revived. And yet, Robert W. Schneider was kind enough to bring this show to a new audience. Perhaps none can imitate Bert Lahr, but the Jim Brochu, a comic in the old style, brought enough charisma, charm, and singing and acting ability that I’m sure no one even compared him. Chip Zien gave a standout performance even if his role wasn’t big enough, and the song “Many Ways to Skin a Cat,” one of my favorites, w as performed delightfully. Schneider also filled in the holes in the plot a concert reading must have. As a special surprise, it also featured critic Michael Riedel in a cameo appearance, with a convincing English accent. A truly delightful evening.

LADY IN THE DARK

Rarely, if ever, have I been so awed by a show as Lady in the Dark at Encores. Backed not only by the famous City Center orchestra, but also by the very large Mastervoices choir, Victoria Clark delivered a complicated performance, with beautiful singing and every word was delivered with a delightful lilting tone that befit the character. Amy Irving, with the proper mysterious air as the gender-switched doctor, also provided a somewhat intense highlight. Ben Davis was slightly dull, and Ashley Park, though fun, was out of the time period of the show. Despite these things, each of them was still a joy to watch. The only thing bringing the show down was the grotesque David Pittu, whose “Tchaikovsky” was underwhelming to say the least. But this production really brought new life to the classic show, and the dance numbers were staged with professional dancers and singers that really made it seem like a bigger-scale production than is average for City Center. The slightly mystical air of it all, the convincing design, and the great cast all conspired to make it perhaps the best production of this particular show you’ll see in a while.

BE MORE CHILL

An experience is the best word for this show. Effects, singing and acting bursting out to make a glorious whole. The songwriting by Joe Iconis, while it occasionally borders on theme-obsessed (of Jeremy not being a typical leading man), was for the most part fun, funny, and enjoyable. All the performances, especially that of George Salazar brought down the house and rightfully so, for they ere more complex than performances in, say, Mean Girls, and they really enhanced the show. Will Roland, finally getting to be the star, has a surprising amount of acting chops and "Loser Geek Whatever," his big song, really show off all of his range and talent. Stephanie Hsu also gives a true portrayal of a cute thug slightly obsessive girl. Jason SweetTooth Williams also does a great job in his many roles. And I would be remiss if I didn't mention Jason Tam, who is deliciously evil (and amazingly ressed) as the Squip. The creative team has also created a sort of electronic whole that perfectly fits with the musical’s plot. It is completely enjoyable, and I could literally feel the theater rumbling during the curtain calls. I highly recommend it to anyone, especially teenagers. 

Season In Review Part 3

Here is today's 3 shows, Forbidden Broadway Salutes Carol Channing, The Cradle Will Rock, and Sondheim:Wordplay. Check back tomorrow for reviews of Foxy, Lady in the Dark, and Tootsie.

NOTE: Please leave comments on my blog. I love to hear your opinions on the shows being discussed and feedback on my blog. I can't see who's reading this, and it is always fun for me to read your comments. Also please tell me if there are any shows you'd like to see reviewed, and I will try to do in-depth reviews of them if I've seen them. Thank you!

FORBIDDEN BROADWAY SALUTES CAROL CHANNING 3/23

A one-night 54 below event truly for only the biggest fans of Forbidden Broadway. Both a memorial for the late Carol Channing and a love letter to Forbidden Broadway. Featuring Gerard Alessandrini, Christine Pedi, and Michael West (credited), as well as several other uncredited stars, including the great Donna English. Songs mostly about Carol, including a new one where she reviews the shows of the Broadway season, were mixed in with reminiscences about Channing’s close relationship with the show and its performers. Of course, the number she was actually in, “Imitation is the Sincerest Form of Flattery” was performed. It was a delightful reunion that while it had a sad subject, was really a nostalgic remembrance of Channing and of Forbidden Broadway. It was an event that I know at least left me thinking about a possible next edition. Judging by this event, I’m sure they wouldn’t have trouble filling an audience!

THE CRADLE WILL ROCK- 3/28

A deeply interesting production of a show in all the history books. It is filled with stunningly dramatic and realistic performances. The spare direction by John Doyle gives it an almost alarmingly real feeling. About the corrupt society battle of the rich vs. the poor, we see how the businessmen control everything with money, from the church to the doctors, to their advantage. Meanwhile the working class, represented by Larry Foreman, is struggling, and all of the pro-union protests are being shut down or ignored by the men in power. Interrupted by occasional light songs from the children of Mister Mister, the stereotypical rich boss-type, the show is serious, raw, and interesting in many ways. David Garrison gives a scene-stealing performance as Mister Mister, while Tony Yazbeck reveals an emotional gravitas as Larry Foreman and other characters. Sally Ann Triplett gets to show her slightly off-beat performance style as Ms. Mister, and the show is a relevant warning tale as well as a deep evening at the theater. 

SONDHEIM: WORDPLAY:3/30

The greatest writer, some might say, ever. His music sung by some of the finest comedic actors and greatest singers of our time. A perfect concert, with all of Stephen Sondheim’s songs, though out of context, each in its proper emotional setting. Bravo to the director for somehow making it a narrative and knowing exactly when and how to play with the audience’s mood. Melissa Errico’s slow, almost lullaby version of “Send in the Clowns” that carried deeper emotional weight than, in my opinion, the ones on either cast recording, and the elfin Christopher Fitzgerald’s charmingly scandalous “I Never Do Anything Twice” were the highlights of the show. Lesli Margherita also got a great vehicle in “Come Play Wiz Me,” my personal favorite song from Anyone Can Whistle. Lauren Worsham, Telly Leung, and Lewis Cleale all shined as the supporting players in this concert. Leung’s short but endearing “I Guess This is Goodbye” garnered the proper amounts of laughter and sadness. It was truly a memorable evening, perhaps one of the best I’ve ever spent at the theater. 

Season in Review Part 2

Broadway shows take Mondays off, and so do I. But here's my Tuesday installment in which I will be reviewing three shows, A Jewish Joke, The Prom, and The Cher Show. Check back tomorrow for Forbidden Broadway Salutes Carol Channing, The Cradle Will Rock, and Sondheim:Wordplay.

THE CHER SHOW- 2/21

Cher is a larger than life figure. Her music, while great, is very uniquely suited to her. So how could anyone play her? Stephanie Block does an excellent job playing the icon that is Cher and giving her songs the proper treatment. While Micaela Diamond is rather sub-par, the glorious and glamorous production (designed by Bob Mackie) more than makes up for any faults the book or performances might have. Jarrod Spector makes a great Sonny Bono, unlikable but charming at the same time. The song-interrupted-by-reflection style services the piece well, and the direction is creative. The choreography helps add to the spectacle, as does the 15-minute Mackie fashion parade. Teal Wicks, with her sharp wit and acting skills, is one of the highlights of the show as well. After you leave the show, you will want to “turn back time” and see it again.

THE PROM-3/7

One of the best shows of this season. One of the best shows I’ve ever seen. A musical comedy  in the true Golden Age style. The performances are deliciously hammy and funny and each one’s singing is a pleasure to listen to. The book is funny, “inside”, and has a message without being preachy. The songs exemplify a kind of joy, even in ballads such as “We Look To You” that we don’t get enough of these days. The frenetic direction and choreography enhance the sheer excitement of the show. The vibrant costumes and sets as well as the fun though slightly in-your-face orchestrations, create a joyous, funny though serious romp that will truly make you wish there were more musicals like it. The world of Caitlin Kinnunen as Emma, a lesbian girl treated badly by homophobes in her school, while upsetting, still contains songs like “Just Breathe” and “Dance With You” whose hopeful and simple melodies distract from the sadness of the situation, eventually fixed by the razzle-dazzle. Brooks Ashmanskas gives one of the best star performances I’ve ever seen. So much humor goes into his performance that it is truly his show. Beth Leavel, Michael Potts, and Christopher Sieber are all truly great stars -- Leavel with her star quality and humor, Potts with his godly aura, the gravitas of the show, and Sieber with his sheer talent in every area, . I would be remiss if I didn’t mention Angie Schworer, who steals the show with “Zazz”, the chorus girl who finally gets to shine, and does she ever. The second time I saw it, I think I looked forward to her the most. 

A JEWISH JOKE- 3/9

Before I write this review, I would like to thank Show-Score. This show, The Cradle Will Rock, and Life Sucks I have all seen absolutely free due to Show-Score. All you have to do is write 6 short reviews of shows, and you start getting free offers for wonderful shows like this.

A Jewish Joke was at different times funny and sad, each masterfully in turn. It is about a Jewish comedy writer during the Blacklist, featuring his phone conversations with his partner. He must come to terms with the fact he will be punished because his partner once attended a Communist meeting. He has to ask himself if he can bring himself to name his partner’s name, or else be blacklisted. Interrupted by funny jokes in the true Jewish sensibility, it is a bittersweet warning tale of persecution, betrayal, how far we can go, and when is it so bad a joke can’t fix it. A delightful and deeply moving play, it was both educational and had an entertaining and moving narrative. 

Season in Review Part 1

Dear Readers,

I have not posted so far about any of the season's shows. Therefore, I have selected 21 on and off Broadway shows to review in short. I will be releasing these in daily drops of three, inside the time frame of Call Me Madam to Promenade. Please check back every day for 3 more. Today's reviews: Call Me Madam, Superhero, and Kiss Me, Kate.

CALL ME MADAM- 2/9

When this was announced as part of the 2019 Encores season, I know I was excited. However, I was hoping for someone with more star power than Carmen Cusack. While great in Bright Star, somehow the music of Steve Martin and the music of Irving Berlin didn’t seem comparable. Then, however, we got an extremely funny cast of character actors, among them Lauren Worsham, Randy Rainbow, Carol Kane, and Brad Oscar, who all gave the show a big lift. While Cusack sang and acted the role extremely well, she didn’t have the larger than life personality to carry off the entire role. The wonder bread Jason Gotay, while good, again wasn’t a standout. This left room for a political number as well as several short scenes to take over the show. It was definitely a mixed bag, but a fun mixed bag, if not an artistically pleasing one. 

SUPERHERO- 2/10

This show was a standout of the season for me, and I was disappointed nothing happened with it. I thought the production was extremely moving, well-written, well-acted, and captivating. Bryce Pinkham as the superhero made the role interesting, suspenseful, and stole every scene he was in. Kate Baldwin as the mother gave a dynamite performance, and Tom Kitt wrote a moving anthem about loss, “Laundry for Two," that was a great vehicle for her. The dialogue is funny but never strained, and though the choreographic choices are occasionally faulty, the acting makes up for that. Kyle McArthur (full disclosure: he is my camp counselor) gave a stunningly complex debut performance. Thom Sesma, with the proper air of mystery, was a joy to watch. While the plot line was a bit cliched, and the other young performers weren’t so good, it was still a deeply moving show about recovery and family. 

KISS ME, KATE-2/17, 4/14

A joyous romp from beginning to end. All the performances excelled without exception, and the frenetic dancing was really the highlight of the show. Will Chase’s operatic “Were Thine That Special Face” was one of the highlights of the show. And despite the fact that I saw Ms. O’Hara get her finger stuck in a door during “I Hate Men," she showed the meaning of trouper and went on through the whole show. Ms. Styles, as Bianca, gives a bubbly and charming performance, with great singing and acting skills to match. Corbin Bleu, though not a great actor, has dance skills that more than make up for it. I saw this show twice, and the second time, two numbers “Always True to You In My Fashion” and “Brush Up Your Shakespeare," had been cut down. Wise decisions? I think so. The two gangsters were simply not good enough to match the rest of the production (I did not see Richard Kind in it.) The choreography and direction on this show were truly awe-inspiring. 

Miscast 2019

I had the great privilege of attending MCC’s yearly gala Miscast as press last night. It was a one-of-a-kind experience, and my extreme thanks go to Executive Director Blake West, who invited me. After interviewing on the red carpet, and getting many quotes, we sat down at our table in the elegant and gargantuan Hammerstein Ballroom. We enjoyed a delicious dinner and tributes to honorees and board members Hal Newman and Marianne Mills. Mr. Newman, who has been on the board for 20 years, said to me he felt it was rewarding to work at MCC, and it had been a time of accomplishment. He loved working with wonderful people and this wonderful theater group. He had to meet the challenge of changing concepts and morals, and the last few productions have certainly shown a remarkable ability to do so. 

A tribute video was played to honoree Laura Linney, featuring Janet McTeer and Cynthia Nixon among others. You got the impression, throughout the video and the evening, that Linney is widely respected among everyone in the theater community. Linney made an entertaining and enlightening speech about what it means to be miscast, and about a revival of Hedda Gabler she did that was especially so. She complained that it was long, it was panned, and that critics coined the phrase, “off with her Hedda!” She told stories about everything from egos to drunkenness, and how one of her acting heroes, Joanne Woodward, told her over butter cookies and tea that there was nothing she could do to save the show, an important lesson that made a big impression on the audience. Linney said on the red carpet that she felt overwhelmed and slightly embarrassed to be this year’s Miscast honoree. The next person honored, student Ren Dara Santiago, gave a delightful and inspiring speech, after playwright Lucy Thurber presented her award. Ren said to me that it was very emotional to be chosen, and that the MCC Youth Program is not only about pursuing theater, but about following your dreams. 

Then, after the signature Miscast countdown and introduction of every performer, Krystina Alabado, Taylor Louderman, Barrett Wilbert Weed, and Kate Rockwell from Mean Girls all got up on the stage to perform an homage to Jersey Boys, incidentally the show that used to play at the August Wilson before them. Louderman did stunning lead vocals on “Sherry” that made you wonder if she was really miscast after all. She actually dislikes the pressure of doing a show based on a famous property, but enjoys putting her own spin on it. All of them shone, literally, in red glitter jackets. Weed, not a Plastic like the rest of them (in the show), said to me the only thing she found different about doing Off-Broadway is the resources, that there is less money to spend on creative things like costumes and sets. She also said it’s been 5 years since she did Off-Broadway, and she hopes it’s changed since then. Kate Rockwell, a fan of classic Broadway songs, told me she loves singing both new and old, but she sings old less often, so it’s more of an unusual treat. Alabado said it was a joy to come to Broadway in a show of a movie she loves. The songs themselves, “Sherry,” “Big Girls Don’t Cry,” and “Walk Like a Man,” each had a different lead vocalist, with the other three women doing backup. The incredible vocal power of all of them was at the same time what made the number most enjoyable and a great advertisement for their show. 

Next, Alice Ripley took the stage to sing a song that a man sings in the musical she is widely known for starring in, Next to Normal. No doubt she loved singing a song she had never done before, as she told me singing new songs was like opening presents during the holidays. Her incredible belting garnered much mid-song applause, and it was amazing how well her song was sung and received. While the song’s lyrics got a bit lost in the shuffle, it was an amazing performance and makes you wonder if she couldn’t play Gabe in Next to Normal. If it’s good enough for Rosalie Craig, as one performer pointed out, it could work just fine for these performers. Many more performances made me wonder the same thing. Glenda Jackson is bringing gender-reversed casting to Broadway this spring, in fact, in King Lear. 

Next, Jennifer Nettles and Karen Olivo did a duet, and our wishes for more from them were satisfied later as they each had solos also. They were perhaps the most powerful voices in the entire revue, and we got to hear both of them shine in this song, “All the Wasted Time” from Parade. They managed to convey a pretty good idea of the context even though we didn’t get to see any of the scenes surrounding it. It is a great song for two people with powerful voices, which these two certainly have. Nettles, who starred in Chicago but is mainly a recording artist, showed that she could well carry one of the many shows today written for women who can belt a song. She did say on the red carpet that she definitely wanted to do another Broadway show. Waitress comes to mind. 

Taking the stage next was Gavin Creel, who told a story about how Linney had, amidst the stress of awards season, organized a dinner for everyone to simply chat. Odd that Linney and fellow guests Eva Noblezada, who was next to him at the dinner, and Kelli O’Hara were also at Miscast 2019. After joking that O’Hara then “burst into a ball of glitter,” he proceeded to do a version of “A Quiet Thing” from Flora the Red Menace that would have made even Liza Minnelli proud. It was a nice calming moment in the midst of an evening filled with crazy belting. Creel, who also got to perform again, has an inherently charming personality that only helped the song come across as it was meant to. Creel said he’s done mostly revivals in his career, and is ready for an original! That would be thrilling were it to happen.

Next Orfeh “no last name” and Andy Karl took the stage. Admittedly, she was dressed in green, but no one saw what was coming next. After Karl gave an introduction agreeing with Creel’s assessment of the chaotic Broadway schedule, he said that every Monday he and Orfeh have a date night during which the first thing she says is… Orfeh: “FEED ME!” The audience laughed in disbelief and then sat back to enjoy the number “Feed Me,” that while long, engaged the audience every step of the way. The neon green lighting helped create the mood, and you wanted to see those two in a full-blown production of the show. Towards the end, Orfeh did incessant riffing on a certain note and had been doing it for about twenty seconds when Andy Karl said, “Honey, honey. Let’s finish this.” Orfeh said he was just jealous, and I’m sure everyone was at how her voice never seemed to run out. The couple probably loved doing the show; when I asked them on the red carpet what the difference was between doing cabaret and doing stage shows, she replied that stage shows were all about the powers-that-be making decisions, and that it’s a lot easier when they do and you don’t have to. Karl simply said, “It’s just nice working together.” They are truly the biggest current show business couple, following in the tradition of Laura Benanti and Steven Pasquale among others. They said they have starred in three shows together, Pretty Woman being the latest. They certainly do make a team of very funny actors. Karl did do another number later, but it was a true delight hearing Orfeh sing, and inspired me to go and listen to her on Spotify.

After they left the stage, on came Eva Noblezada to sing a song not from a Broadway show, but from the Disney movie Hercules. After showing enormous vocal chops while still looking at the audience and shrugging it off, she managed to really show off all of her voice in this song, not a great one, but you have to give her credit for her Herculean effort. The lyrics, which were crystal clear, were very inspiring, and it made you think about a possible Broadway version of the movie, something that has been allegedly in the works for a long time. It also seems like a good song for anyone with a powerful voice to do in a cabaret show. 

Stephanie J. Block took the stage with a grace and presence that are inherent to a great star. Block did imply she was rather nervous, saying if she failed we’d all have something to laugh about. On the red carpet, she told me that it is terrifying playing Cher every night, and it was gratifying when she got the response she wanted. It also gave her some confidence that Cher herself had commended her performance. She went on to give a performance of “Guido’s Song” with just the right level of emotion for each lyric. It was a true masterclass in acting while singing. She managed to do the song so well that it didn’t really matter that it was written for a man, it worked just as well for a woman. She also did a good pretend breakdown, similar to the one she had during “I’m Breaking Down” in Falsettos. Nine is a show we haven’t seen since Antonio Banderas’ version, and no doubt with a good choreographer and costume designer, a revival could be a huge hit. The idea Block brought up of one woman and nine men actually makes a lot of sense, considering today’s feminist revisions. 

Karen Olivo then got up to sing a solo, saying that she had heard this song while on the national tour of Rent and loved it, but never got to sing it. She said that now she feels ready, while she didn’t years ago. “Your Eyes” was a song that she performed with true emotion and even truer lungs that seemed to be able to handle any volume for any amount of time. She was a delight to see on stage, and her performance made you look forward to seeing her in more roles in the future.  

The Prom was well represented at the event. Bob Martin, Chad Beguelin, and Matthew Sklar said respectively that their favorite shows were The Music Man or Guys and Dolls, Evita (which Beguelin lip-synced in his bedroom), and West Side Story or Sweeney Todd. Michael Potts told me about a performance in which his shoe kept coming off during the finale dance. Caitlyn Kinnunen and Isabelle McCalla both said it was a huge honor to have girls be inspired by their work. Angie Schworer fondly remembered going down to the basement when she was in The Will Rogers Follies, and seeing Comden and Green creating the show. Josh Lamon said his favorite part of the show is working with all of his best friends, a statement echoed by everyone else. Beth Leavel got up on stage, and the Showboat logo was shown. However, the audience still didn’t expect her to sing “Ol’ Man River,” and indeed after the first line she got an incredulous mix of applause and laughter. She started off like a song, very quiet and slow, with no surprise. Then, she and the band started putting their own jazzy riffs on it, turning from an anguished plea into almost a jazz melody. It was an interesting reimagining of the song that could be used in future productions. She, too, showed off enormous vocal ability that you wouldn’t have guessed from the beginning. She was the only performer to get a standing ovation, and it was well deserved. 

Jennifer Nettles came back on the stage again, questioning the audience, “Don’t you just love Jason Robert Brown?” She then went on to sing a love song, “It All Fades Away,” from The Bridges of Madison County that while sung in a belt-y manner, still had the quiet emotional core intended. It shows the layers that pop singing can bring, mostly the ability to balance the emotion and the loud and rangy singing. Next, two performers who had already gone, Gavin Creel and Andy Karl, teamed up with Jason Tam, who hadn’t yet, to sing a song from Gypsy. After establishing that both Karl and Tam were “virgins” to Miscast, they discussed Linney again, and said that she was missing something. After wondering, “Could it be… a gimmick?” Creel came on and started singing Mazeppa’s part from “You Gotta Get a Gimmick.” Stephanie Block handed him his hat, and the pianist his horn. He then said, “I bet you thought someone else was going to play it. You’re going to wish someone had.” After blowing very hard and making good noises, he left the stage and Tam came on as Electra, and lit up his headpiece and underwear using switches at different times. Then Andy Karl came out in a slightly ridiculous costume to sing another verse. It was all very campy and very fun, and though probably the least realistic of any number performed, also the most funny. Tam said of his role in the cultural sensation Be More Chill that he wanted to clear up a misunderstanding. He is just an observant human who appears as a visual representation of what’s in Jeremy’s brain.

Star of Hamilton and In the Heights Christopher Jackson came on to sing “Listen” as Deena from Dreamgirls. I’m sure when he said the name of that show, I wasn’t the only one who expected “And I Am Telling You I Am Not Going,” but I suppose Miscast doesn’t like to repeat numbers (it was already done in 2017). Jackson exhibited a strong ability to sing with power outside of the rapping in Hamilton. Jackson said of the difference between that and Heights, simply, “Hamilton had more words.”

It is also worth noting at this point that the room was filled with special guests separate from the performers. Among them were Bernadette Peters, who told me that her favorite composer to work with is the one doing any show she’s in at the time, and James Naughton, who told me that Cy Coleman was known to his friends as “Uncle Cy.” Naughton spoke of working with him at Paul Newman’s Hole in the Wall Gang camp. Also there were Michael Paulson, Charlotte St. Martin, and producer Patty Baker. Miscast is the true theater event of the season. 

Next, many chorines came out to sing about Billy Flynn, who then came out in the person of Kelli O’Hara to sing “All I Care About is Love.” On the screen in fact, neon lights that said Billy at the beginning soon changed to spell Kelli. In a speaking portion in the middle of the song, O’Hara said she was not speaking of physical love, but about other kinds. She then made a reference to Linney, Mills, Newman, and Santiago, and then explained that her father-in-law, James Naughton, had been surrounded by those very chorus girls 20 years earlier. (One of them, Gabriela Garcia, told me that she had transferred from Vienna to Las Vegas to Broadway, and that doing it there had a unique kind of energy and the music quality was different.) O’Hara was in the iconic pose of her head sticking out from the middle of feathers. She also brought the je ne sais quoi of a great star. O’Hara said to me that she likes doing shows that are both old and new, but originating a role is especially fun. So, after a great evening of performances and interviews, how did Artistic Director Robert LuPone feel? “Relieved, grateful, and humbled.” 

2018: A Theater Year in Review

This is my personal 18 favorite theater trends, topics, and events of 2018. I hope you enjoy and agree! Thank you for reading my blog, and I hope you continue to do so in 2019. I will try to post at least once every other month. I admit I got the idea from a SiriusXM special, but here they are. In no particular order:

Theater Moment 18: Times Square Angel

Every year Charles Busch puts on an affectionate tribute to 40’s Christmas movies at Theater for the New City. Jaded nightclub star Irish O’ Flanagan (Busch) gets a chance to reconsider her life through the eyes of a dead magician angel (Carl Andress). Such performers as Flotilla DeBarge, one of the best, get to shine. DeBarge, or Kevin Joseph, sparkles as Irish’s maid. Especially funny is when she must be dragged offstage at Irish’s funeral by the other guests, a moment which caused the narrator, dry Julie Halston, to crack up beyond the point of speaking. Halston garnered many laughs, especially when reminiscing about “coffeehouses in the Village”. Tickets sold out within the first day, so I definitely recommend doing it in advance.

Theater Moment 17: The Broadway Flea Market and Grand Auction

A must for every theater fan, the ultimate gathering of shopping and autographs, this year was especially enjoyable for me. Tyne Daly, manning her own station of clothes, was stopping to sign autographs. Chita Rivera was discussing costumes with the auction hosts, Officer Lockstock and Little Sally, from Urinetown, as portrayed by Jen Cody and Tom Hewitt. Richard Ridge, extraordinarily nice, was manning a table with CDs and DVDs of such events as Gypsy of the Year and Red Bucket Follies. The signing table was the main hub of action, with Kevin Chamberlin and more on hand to sign adoring fans’ merchandise. Everything from signed Actor’s Fund concert posters to Broadway flip books was available. Performances existed as well, from Mean Girls’ Demarius Copes advertising to the employees at the Kinky Boots table putting on a Celebrity Autobiography with a cast memoir. Broadway scholars Peter Filichia and Ken Bloom were part of the Theater World and Dancers Over 40 tables. It was truly a haven for fans.

Theater Moment 16: BroadwayCon

In late January, panels, games, and singalongs made for a true Broadway fan’s dream. BroadwayCon consists of 8-ish panels every hour for three days, with everything from show spotlights like Dear Evan Hansen, to remembrance panels like the West Side Story anniversary, to games like BroadwayCon feud. I was delighted to meet another Do Re Mi fan, as well as author Jennifer Ashley Tepper in the dining room. Lynn Ahrens, Christy Altomare, and Hailey Kilgore discussed what it means to be a strong woman in the theater. Since this returns every year, consider going. It’s not too late to buy tickets! You can even hear your favorite theater podcasts taped live!

Theater Moment 15: Red Bucket Follies

The newly christened Red Bucket Follies are an exclusive event where currently running shows perform variety numbers. The rules are loose, so each number is entirely different. The Lion King danced to tapes of sexual harassment trials over dramatic music, while Ryan Steele danced to “Is That All There Is?” Kinky Boots performed a sarcastic number in which they said they were being forced out of their theater by “a show with lots of cash”, Moulin Rouge. Performances mostly excelled, while a few seemed entirely out of place and slightly grotesque. Seth Rudetsky was a very funny host, simultaneously moderating the event and doing his own schtick. Fans of his will be glad to know he finally played the recording of pop songs he made as a child that he talks so much about. It is very special in tone, and every ticket you buy gets to a worthy cause!

Theater Moment 14: The Drama Book Shop (Closed)

One of the oldest theatrical institutions, The Drama Book Shop, the only one of its kind in the city, will close down. Perhaps one of the most upsetting news items of the year, it is nearing the deadline (early 2019) with no hope. I attended events there for Kevin Winkler’s Big Deal and Broadway art book Fraver by Design. The loss will sadden the community, as it has such a history. Old owners used to make cracks about retitling plays as musicals, parodying other titles, such as for Lolita, Take Her, She’s Nine. While there is hope to relocate, such stories as the Paramour “relocation” do not bode well. I encourage you to go there for advanced gift shopping before it is too late.

Theater Moment 13: 92y: Terrence McNally and “Every Act of Life”

The 92nd Street y, a source of many theater panels and events, this year hosted one particularly good one. Terrence McNally, famed gay playwright, has had a documentary in his honor entitled “Every Act of Life”. The documentary not only provides a deep insight, also featuring interviews with theater luminaries, but the event had a live panel. McNally’s husband, Tom Kirdahy talked before the candid documentary, which featured details like his bad relation ship with his parents, and his love affair with Edward Albee. Afterwards, McNally, Christine Baranski, Nathan Lane, Lynn Ahrens, filmmaker Jeff Kaufman, and moderator Tom Viola. They had an oddly chiding view of Terrence. Nathan Lane was grateful for the gift of his dog, but Lynn Ahrens was slightly less enthused about a gift he gave her. Then shocking but greatly subtle and funny performances by Lane and Baranski, and then Michael Urie and Michael Benjamin Washington. Christy Altomare performed a painful “Journey to the Past”, and then the audience joined in on Happy Birthday (his 90th). It was a unique evening of theater.

Theater Moment 12: Barnes and Noble Broadway signings

The amazing bookstore Barnes and Noble, at its 86th street location, likes to hold signings. Many times fiction and non-fiction authors will come in, but they ar lso do CD signing events. Some create a very special atmosphere, and of course meeting your favorite stars is the best part. I know such stars as Andy Karl, Norbert Leo Butz, Kelli O’Hara, and Lin-Manuel Miranda have participated. Lines can be very long, but you can still see from the TV or through the glass door. Performances and interviews are first. My Fair Lady held a lengthy panel, while Once on This Island was all singing. Falsettos, Tuck Everlasting, and Seth Rudetsky’s book events have been the most warm and fun ones. It’s not too far, it costs nothing except for the price of the cd/book, so drop by! *Note: The next event has not yet been announced*

Theater Moment 11: The Royal Family of Broadway in the Berkshires

Few places other than NYC have really excellent theater, but the Berkshires is one of those few. And this season, a little theatrical gem based on a play by Edna Ferber and George S. Kaufman opened. Seeing the names Will Swenson, William Finn, and Harriet Harris involved with a project gets you excited. I knew we should take a trip just for this. The show starts with a classic ‘40s dance number, and goes on through caustic comedy songs, intense ballads, and tour de forces. Will Swenson’s solo, “Too Much Drama in my Life” is a highlight after he breezes in which garners constant laughs and applause for the audience. The John Barrymore-esque role was almost written for him. William Finn defies his usual bitter, edgy format with a relax-and-have-fun musical, interrupted only by the grotesque hamming of Kathy Fitzgerald. A Pirates of Penzance pastiche falls flat on its face, but it is a bon-bon of a musical. The only song featured in that particular show that is widely available is “Stupid Things I Won’t Do”, on William Finn’s Make Me a Song. Let’s hope for a future for this show.

Theater Moment 10: The Prom

What better throwback to the golden age mixed with modern flavor than this show which currently plays at the Longacre Theater. Brooks Ashmanskas plays a flavorful character with funny lyrics (and this tour de force/will not be forced to tour) and a pastiche of an Onward Victoria-based flop about Eleanor Roosevelt. The New Jersey Star Ledger gives a positive review, but the rest are negative (within the show). Then they decide to help small-town lesbian Emma (Caitlyn Kinnunen). Kinnunen exudes charm, and what she lacks in raw talent, she makes up for in sweetness. Beth Leavel fans, rejoice! She has more to do than in most of her shows, and insider jokes such as (on her Hamptons house) “Do you know how many Broadway cruises it took to pay for that thing?”. The touching journey of her character guided by Michael Potts, makes for a few touching moments. People can enjoy the glitzy comedy side, the darker side including a Dear Evan Hansen based video, or the intense hip-hop music and dancing. A note: don’t buy side seats towards the front, as the orchestra speakers will blast at you.

Theater Moment 9: Stagedoor

It is the ultimate resource for fans, and source of annoyance for actors. Here are some tips mixed with anecdotes on the stage door,

• Don’t do anything crazy. Someone egged Barrett Wilbert Weed and people waited on top of buildings for Daniel Radcliffe.

• Find out about little promotional things that could happen. The Tuck Everlasting brothers made fan trading cards.

• Don’t be too stalwart about waiting if they don’t come out. Some people use the back door. At Mean Girls, fans just waited even despite the doormen protesting that no one was coming.

• Be respectful to other fans. A woman at the Anastasia stage door was being very nasty and pushed people away.

• Don’t take advantage of stars. Stars Christy Altomare and Hailey Kilgore are incredibly gracious, but as a result of that people make them do all kinds of things.

• If actors don’t come out, you can always send them fan mail. I did that with Brooks Ashmanskas. 

• Feel free to resent those who get to go back stage but NEVER say anything. Stars will eventually come out after they see their visitors. 

• It is usually in your best interest to ask the doorman/attendant about who’s coming out. They usually know or can ask.

Whenever you see a show, it’s always worth a try!

Theater Moment 8: My Fair Lady: Lauren? Laura?

We surely all remember the moment a revival of the legendary show was announced. Everyone was buzzing up with suggestions, people went as far as to suggest Ashley Park and Andrea Martin. And yet, the day they announced the cast, we all saw it and collectively cried, “who?” Who was this Six Feet Under star and this Harry Mumble-Jumble? We were angry because we didn’t know. And yet, as soon as this show opened, we were proved wrong. Harry Hadden-Paton is one of the best actors of his generation and while Lauren Ambrose didn’t exceed serivceable, she had a few nice coloratura moments. Then the impossible happened. Ambrose started taking days off, much to the protest of Diana Rigg and suddenly, Hamilton-style, almost the entire cast was changed. This is what it was and now is.

Eliza: Lauren Ambrose-Laura Benanti

Henry’s Mother: Diana Rigg- Rosemary Harris

Karpathy: Manu Narayan- Clarke Thorell

Freddy: Jordan Donica- Christian Dante White

Alfred: Norbert Leo Butz- Danny Burstein

The impossible was happening. Everyone’s original dreamcast was now happening! However, the old threat if missing performances is still in place. Benanti is notorious for that, and indeed on my second time she, Butz, and Donica were all out. Let’s hope for a third cast just as great as this.

Theater Moment 7: Broadway on Talk Shows and Other Media

Such running gags as Laura Benanti as Melania Trump, Crosswalk Musicals, and other Broadway appearances have begun to populate the small screen as a medium, too. Just the other day stars Lin- Manuel Miranda and James Corden did a fast musicals program on his show. It wasn’t a big success, but that’s beside the point. Laura Benanti keeps us in Christmas cheer with her latest “Benania” video, a funny satire of how Trump is not truly loved by his wife. Corden also frequently utilizes stars like Hugh Jackman to put on full 1-minute musicals in crosswalks. Tyler Mount has pretty much covered the bases of Broadway on youtube. With his celebrity games, cheerful banter, top ten lists, and extreme popularity, he well takes care of the video portion. Such educational shows as CUNYTV’S Theater Talk with Susan Haskins-Doloff (who I saw on a plane) and rotating guests and cohosts, it provides an insiders’ look.*It is now defunct. The broadway.com show, the only other alternative, is a more simple facts and a few extras about what’s opening and such. Broadway has always tried to keep up with the times, and so far has been succeeding *As of this publication, Tyler Mount does not actively do videos*

Theater Moment 6: The Encores! Series- Both Off-Center and On

Of course no true forgotten musicals fan could overlook Encores, the yearly 3 old shows that are revitalized for performing. You might object to Chicago and Gypsy being “forgotten”, but they’ve gotten more obscure. 1776 and The New Yorkers have been highlights, and so have last seasons’ Hey, Look Me Over! (with the hilarious Bob Martin) and Me and My Girl. They really have started to lean more towards full productions. This year we can look forward to Call Me Madam, Lady in the Dark, I Married an Angel, and High Button Shoes. For those of you who take kids, Take 5 tickets for only $5 are available.  We’re annoyingly left in suspense about the cast, but it leaves room for speculation (like LuPone as Perle Mesta?) Any true fan will love these and want to go to every one every year. Now for those of you who prefer more recent shows like Songs For a New World and Assassins, Encores Off Center is for you. A summer program in which 3 more recent shows are performed, it is cheaper and more intimate than the main 3 shows.

Theater Moment 5: (Going to) Theater Circle and One Shubert Alley

You’ve probably heard of these stores, they are simply merchandise vendors that collect things from every show and such items as books, CDs, and cards. It is a great place to get things you like the look of without having to go inside the theater or order them from the shows’ dubious online pages. While it leaves more to be desired, it is a nice little haven and Theater Circle has many play scripts in the back. The most popular books are available. I have obtained copies of books by Sam Wasson and Susan Schulman there. It is also a great tourist spot, though real fans may not need anything they have there. They do have extraordinary shirts in many sizes there, from all the shows you have and want to have seen. Yes, there pretty simple, but the people and ambiance are nice.

Theater Moment 4: Trend: Could little-known professions become more well known?

All right, I admit it. I’m going a bit off of this year with this category. But anyway, I believe that all these theater jobs that people always say no one really knows about are being detailed in books! John Breglio, theater lawyer, has taken down his personal account, and it is a unique insight into a veiled field. Peter Bogyo has taken the pains to tell us about being a general manager, and Susan Schulman, Richard Maney, and Merle Debuskey have put their pens to paper about being a producer. One all-encompassing book, theater careers, is available used. So could it be that stagehands, doormen, ushers, sound designers, projection designers, and all these other un-heard from areas will start writing their own stories. Also, more books like The Business of Broadway populate the shelves, which talks heavily about investing, something that when we used to think of we thought of backers’ auditions and men in suits smoking cigars. Even lectures are available through Audience Rewards. Is this a good trend? Definitely. It can only help a career to be expert in all areas.

Theater Moment 3: Theater Podcasts

What better way to hear your favorite stars being interviewed? Let me tell you the names and descriptions of what I believe to be the best podcasts

• Behind the Curtain- producer Rob Schneider and actor Kevin David Thomas do in-depth interviews one week, where we get to learn the most about guests like Chip Zien and Lee Wilkof. Other weeks, they pretty much do orally what I do on this blog, and just talk about theater and their “favorite things”. 

• Theater People- Avid fan Patrick Hinds interviews Broadway stars and although the questions are not always superb, we do get to discover the attitude of the stars. He also may be more relatable than other hosts. 

• Broadway Radio- Today on Broadway gives quick but anecdote-filled news summaries whereas the higher quality This Week on Broadway, featuring Peter Filichia, is an in-depth discussion of shows and their high and low points.

Now there are some podcasts that the ideas are tacky, they are overpromoted, and are not that great to listen to. I’d avoid…

• Broadwaysted

• Hamilcast

• The Ensemblist

American Theater Wing’s Working in the Theater is also very informative. Each show is about 30 mins.-1 hr., so why not? If you’re doing errands or in your car, give one a listen!

Theater Moment 2: 90s/2000s movies being turned into musicals

Mean Girls, Clueless, Dave, Beetlejuice. It’s a trip to the AMC in 2002, no? No. It’s the roster of Broadway shows this season. I admit, Mean Girls has made for a pretty fantastic show, and while Clueless has been said to be meh, and Dave to be great, I have not seen them. Groundhog Day was pretty torturous to the ear, and Beetlejuice has yet to make its presence known. This is all very good, because some of these movies are well adaptable. But then you get into things like, well, Romy and Michelle’s High School Reunion. It's as if you made Easter Parade and Top Hat into stage musicals, then there’s no need to adapt Carefree! There are some properties that no one really needs to see again. I mean, I would actually petition a Mean Girls 2. Pretty Woman floats on the edge, but with all this talk of sexism, why is My Fair Lady the show accused? Why not Pretty Woman, something not from a different time? I’m all for making any good movie into a musical. They are honestly the best source, in my opinion. But I’d draw the line at a, say Twin Peaks musical. These are things that don’t need to be seen, and therefore shouldn’t be.

Theater Moment 1: The eternal “dismal season”

What Golden Age? This is the question seasoned veterans always ask. Any season you’re in, it’s always a “bad season” for one reason or another. Ask a pro, and they might say the shows this season show a steady decline in taste and standards. But didn’t they also think that in 1964, which we now consider a great year? As Peter Filichia says in response to being asked what he’s excited for, “everything.” It could be true that some shows this season are inferior to those of long ago, but we forget there were some bad ones! Now I'm not saying this is a new golden age, I acknowledge that bad musicals abound today too. But I'm only saying there never was a golden age. We think of it all as part of the process, and let’s hope that process moves forward in 2019.