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.”