Theatre Talk: In Our Own Little Corner

[aradia22]

I decided to finally listen to Caroline, Or Change. I am so curious about what it was like on stage but I would not have been ready for this show in 2003 or 2004. It's another one of those shows I think that you need to have some background in other musicals and other genres of music before you can just come to it. Also, at that age I think it would have just been hard to connect to, not that I'm completely there with it now. I think there's a lot of raw brilliance here. As far as Jeanine Tesori goes, there is some gorgeous music and definitely hear a lot of Fun Home and some of her other scores. But I do have to say I still prefer her other scores more than this one. I think the lyrics are little weaker here, though there are moments that capture so much emotional depth. The story also just feels very dispersed here. It's more chaotic. Which is interesting. But I prefer her tighter, more focused scores. Thoroughly Modern Millie, Shrek, Fun Home. I don't need everything to be a standard that stands alone from the show but I'm still becoming accustomed to music that mimics speech and I think there's a bit too much of that here for me. But like Light in the Piazza I'm definitely going to shelve this one and revisit it. The moments that work really work. And so much of the singing is just amazing. This cast. Wow.

[Rick Kitchen]

Lin-Manuel Miranda and the Skivvies performing at the Ham4Ham lottery.  I notice that the Skivvies wussed out and wore long johns.  :)

 

Edited December 6, 2015 by Rick Kitchen

[methodwriter85]

I think these live TV musicals should be their own entity, apart from the kind of PBS Great Performance or NT Live showings shot in actual theaters with audiences.  This probably shows my age, as I think they are the descendants of something like the live TV Cinderella with Julie Andrews or the musicalization of Our Town done in the 1950s.  No, I wasn't there.  Not quite that old. But I've seen 'em. So I'd vote no studio audience. The Wiz, which may be weaker as a piece of material than Sound of Music, seemed smoother and better executed (and cast!) than SOM or Peter Pan, even with the couple glitches.

 

The producers of the NBC Live Musicals agree with you. They specifically cite the PBS shows and say that it's not what they want to go for.

[Milburn Stone]

The producers of the NBC Live Musicals agree with you. They specifically cite the PBS shows and say that it's not what they want to go for.

 

Their explanation was perfect: The audience viewing at home is the live audience. Interposing an audience in-between turns the broadcast into a "document" rather than a living piece of theater.

Edited December 6, 2015 by Milburn Stone

[aradia22]

I saw a dance show called Standard Time at the Duke tonight. I could go into all of the specifics (and I might one day) but right now I'll just say that I don't think it was very good. There were parts I liked. There were a few nice dancing moments, mostly partner work in the first and third sections. And the second section had some fun group dancing. But there was also a lot of very generic musical theatre dancing (like singers who have learned choreography dancing) and a lot of mime-dancing. I don't mean acting like an actual mime. But you know how you can mime gestures and emotions really broadly in lieu of real dancing or acting? Yes, there was a lot of that. Mugging, really. I was surprised that the choreography was not better. It was unfocused and kind of chaotic at times.

 

The music started off very loud, like the sound levels were not right (the band overpowered the singers) but things worked themselves out over the course of the show. The lighting was terrible. I never notice lighting but I noticed it tonight. The worst criticism I can lay at the feet of Standard Time is the story. I found this show incredibly cheap and shallow and manipulative while striving to be deep and meaningful. It seems to trivialize all the big concepts and important issues it wanted to discuss. Each act begins with a dark stage and audio clips from the radio/TV of significant events. They were the most effective because they were the most real and honest but it felt like a very cheap ploy to use the dropping of the bombs on Japan, the assassination of Martin Luther King, Jr., 9/11, etc. in service of this shallow show. I'd like to think they have their heart in the right place but the incompetent presentation made this borderline insulting/offensive.

[aradia22]

TNR is up. Highlights!

• The Broadway revival of Dames at Sea has announced that an online lottery for $32 tickets
• Clever Little Lies has been extended to March 20, 2016
• "Chuck Cooper, LaChanze and Norm Lewis will star in the City Center Encores! staging of the 1940 Vernon Duke-John Latouche musical Cabin in the Sky. Creative duties have also been announced for Encores! productions of 1776 and Do I Hear a Waltz?"
• "Matthew Morrison, who stars as J.M. Barrie in the new Broadway musical Finding Neverland, will exit the production Jan. 24, 2016. His replacement has not been named."
• Whorl Inside a Loop may move to Broadway
• Chicago production of Hamilton
• NBC is developing an original TV musical, "Voice of the City" with a script by Claudia Shear and a score by Benj Pasek and Justin Paul.
• Queen Latifah/Lee Daniels TV show for FOX

[aradia22]

Last night I saw a show called Hell's Belles. Maybe I'll write about it more one day. I still don't have a laptop, if you're curious. Anyway, normally I'd be really sympathetic to a small show like this that is struggling to get people into the theatre but yeah, no. Don't go see this. It's not good. It's not completely irredeemable. There were a few songs that were passable and the performers had some moments when their voices soared or they had some nice high notes or belted notes. But overall, yeah, not good. Very cheap and what I cannot forgive... rather lazy. I went for a night celebrating amazing ladies that were interesting enough to end up in hell and what I got was lazy material and misogyny. So, the opposite of what I wanted. I'm fine with chintz and camp but this was misogynistic in a way that was even more lazy than hateful. It was just very tedious to watch. And the worst part was that it knew what it was doing. A character calls out the misogyny in what ends up being a mockery of real feminism. And they disrespected Bette Davis and Joan Crawford by bringing them out in bathrobes to sing a song about who was more camp. The lyrics were overall pretty bad and the pastiche songs were weak. Eva Peron sang a pointless song about Andrew Lloyd Webber. There was a song that was a blend of that Follies number in Funny Girl and Beautiful Girls from Sondheim's Follies. It just made me wish I was listening to Jason Danieley singing Beautiful Girls. They rhymed "tatters" and "matters" twice. TWICE! It just felt like there was so little thought and/or effort behind this show. It made me sad. The only thing I genuinely enjoyed was the running gag about Lady Godiva. I feel like you need some knowledge of theatre and culture to enjoy the show (it makes references to Madea and Salome among other women/characters) but anyone with that background would know better than to enjoy this.

[aradia22]

Jeremy Jordan using his beautiful voice to sing a Disney medley. SO wasted on Smash. This is a bad medley though. It's just fragments of songs awkwardly put together.

Edited December 9, 2015 by aradia22

[Sara2009]

Different strokes I guess. I thought the medley was put together quite well.

[aradia22]

TNR is up. Highlights!

• Di Goldene Kale (The Golden Bride) officially opens 12/9. (Check out the audio link. Sounds very pretty. I'm intrigued but probably won't see this because I NEED to stop spending money.)
• Shuffle Along pushes back opening
• Misery student rush
• Spring Awakening tour
• Dirty Dancing with Abigail Breslin

 

ALSO, this is your last REMINDER to watch the Daddy Long Legs livestream tomorrow night. I found the show quite charming. I will be out seeing Die Fledermaus but I will be seeing the show (DLL) again in person this weekend. No one could be Paul Nolan but I think it'll be very sweet to see a husband/wife do a show like this.

 

Oh, and this was my first time attending Ham4Ham. I didn't win the lottery but I got to hear Billy Porter sing a few feet away from me. :)

Edited December 10, 2015 by aradia22

[ebk57]

ALSO, this is your last REMINDER to watch the Daddy Long Legs livestream tomorrow night. I found the show quite charming. I will be out seeing Die Fledermaus but I will be seeing the show (DLL) again in person this weekend. No one could be Paul Nolan but I think it'll be very sweet to see a husband/wife do a show like this.

 

 

Thanks for reminding me about this.  I watched tonight and found the show totally delightful.  If I was in NY more often and had seen most of the stuff I want to see, I wouldn't hesitate to see this in the theatre.  Really lovely show.  

 

This is a wonderful idea, livestreaming theatre.  I hope it happens more often.

[Charlie Baker]

I caught the Daddy Longlegs livestream as well.  A charming show. I'm in NY and it's rarely possible to catch up with everything I want to see, so this was a nice opportunity.  Also hoping the NYC PBS affiliates Theater Close Up tapings get more widely distributed. A lot of great stuff happens Off Broadway.

[aradia22]

YES. If you haven't had a chance to see Dames at Sea watch this clip of Choo Choo Honeymoon before it disappears into the internet. This was 100% one of my favorite numbers in the show.

[aradia22]

As I mentioned, I saw Daddy Long Legs (live ;) ) tonight. I had a different perspective. The first time I saw it I was in the first or second row looking up at the actors. This time I was in the middle/towards the back of the house and almost at eye level with them. Of course, since I saw it a little over two months ago it was also very fresh in my mind and I knew what was coming. I think in many ways Adam Halpin plays the part of Jervis similarly to Paul Nolan. That is, whether of his own accord or because of the direction he delivers a lot of lines in a similar way and with similar stage directions. But his Jervis is on the whole a lot softer. Part of it is that Paul Nolan's voice is simply a lot stronger. But Nolan also had more fire and expressiveness. I don't mean this as a criticism. At least not entirely. While I thought Paul was brilliant and swept me away with his energy, I think Adam is a better fit as Jervis with Megan. He's not bland exactly but he's less of an overwhelming presence which creates more of a balance. Nolan was so forceful that his refusal to tell Jerusha the truth and laboring over that point repeatedly became a little tedious. With Halpin it was more understandable. Because his version of Jervis was quieter and sweeter it made sense for him to hang back more and be reluctant to tell her the truth about Daddy Long Legs or reveal his feelings as Jervis. His jealousy also came across as more tempered and more natural. Nolan landed those humorous reactive moments harder but with Halpin they felt so much more natural. While I preferred Nolan's vocals, I thought Halpin fit the music better at times because he has more of a contemporary musical theatre sound that worked better with the orchestrations. I thought Megan sounded fantastic. It could have been any number of factors but I didn't hear any weakness this time. Her voice just soared out in that little theatre. I want my pre-ordered CD to be here now. They're selling them at the theatre. If you do decide to go in person, I would advise you to sit closer if you can. In particular, I think the moment with the windows plays better when you're up close.

[aradia22]

TNR is up. Highlights!

• Previews began 12/10 for CSC's Mother Courage and Her Children, starring Tonya Pinkins and featuring original music by Duncan Sheik
• The Color Purple revival opened 12/10
• Once Upon a Mattress officially opens Dec. 13
• Prince of Broadway ended its run in Japan 12/10
• Fool For Love closes 12/13 (I don't think I reported back but I did not enjoy this show at all.)
• Broadway Bares and Broadway Inspirational Voices concerts
• Adam Jacobs solo CD released
• The London revival of Gypsy, starring Imelda Staunton, which was filmed for broadcast, will air on BB4 Dec. 27

[aradia22]

[ebk57]

 

This was a really fun appearance.  The interview was good and this skit was lovely.

[aradia22]

I finally had the time and inclination to listen to the Next to Normal album for the first time. It's not bad certainly. I just don't get the hype. Maybe it's a show that needs to be seen? Maybe it's all the rock influence? The lyrics don't grab me on the whole. Maybe it's too blunt for me? Also, I do not like that mush-mouthed thing that Alice Ripley does sometimes. I'm glad I finally listened to it but it hasn't become an instant favorite.

[aradia22]

I was in the mood for something light after Next To Normal so I listened to the original Dames at Sea album. Listening to the music out of context, I can see why they wanted to revive. It's bouncy and catchy and engaging. And after Hell's Belles I can appreciate the strength of the pastiche songs. I still don't think it's a remarkable score but sold the right way, it works. Thinking back to this revival, and putting aside my dislike of Eloise Kropp in this production, I think a lot of the issues were creative. There were jokes but the material was played too straightforward. And it was too flashy in a way. And yeah, OK, Eloise.

[aradia22]

Breaking News: Josh Groban, 34, will star in the Broadway premiere of “Natasha, Pierre & the Great Comet of 1812,” a musical adaptation of a 70-page section of Tolstoy’s masterwork, “War and Peace.” The show, opening on Wednesday here at the American Repertory Theater (without Mr. Groban), is scheduled to arrive on Broadway in September (with Mr. Groban). [...] A commercial producer attached to the project, Howard Kagan, reached out to Mr. Groban this year to ask if he would consider playing Pierre in a Broadway production. [...] The creative team, in turn, has been expanding the role of Pierre. [...] The production team would not say how long Mr. Groban would be with the show, other than to say that he had made a substantial time commitment."

 

[The article is from the NYT if you're also careful about the paywall.]

[methodwriter85]

I finally had the time and inclination to listen to the Next to Normal album for the first time. It's not bad certainly. I just don't get the hype. Maybe it's a show that needs to be seen? Maybe it's all the rock influence? The lyrics don't grab me on the whole. Maybe it's too blunt for me? Also, I do not like that mush-mouthed thing that Alice Ripley does sometimes. I'm glad I finally listened to it but it hasn't become an instant favorite.

 

I think it really helps if you're obsessed with Aaron Tveit.

 

Also, to be honest, a couple of weeks ago, I was dealing with the anniversary of a very close friend who died when he was 27, so "I am the One" (Reprise) just hit me extremely hard.

 

But god, that was a DEPRESSING show to boot-leg watch while I was dealing with my annual bout o' grief.

Edited December 14, 2015 by methodwriter85

[aradia22]

I have also heard from people and on message boards that the album doesn't quite capture the live vocals/show as well as it could so perhaps that's part of it as well. While I think If/Then makes for a better album, it certainly doesn't compare to the experience in the theatre. 

[aradia22]

I'm so happy! I'm getting to see The King and I again on Wednesday! You know I've been wanting to see it again since the first time I saw it but I didn't actually think it was going to happen. I feel like I just want to give everyone all the hugs. :D

[aradia22]

Humans of Broadway

[aradia22]

I saw Dada Woof Papa Hot tonight. Linda Lavin was in the audience. The play was good. Not my favorite. Not a classic. But by the end it got to me. Not tears exactly, but welling up a little. I think the issue was that there were a lot of moments but not necessarily a strong whole. There was a good bit of "play" dialogue. Monologuing, pinging back and forth quickly that felt artificial because the actors didn't have time to actually play the words they were speaking. This calmed down as the play went on which resulted in those stronger moments. Still, a bit artificial. I do think the play had interesting things to say. And there was some nice humor throughout keeping things buoyant through 1h40min with no intermission. Good performances on the whole though sometimes the actors didn't have much of a character to play. The main couple was the strongest, the other people seemed to come into their lives more for them to interact with and react to than to be people in their own right. I'm a sap. The bit at the end with Nicola got to me. And of course the typical scenes you'd expect in a play that deals with infidelity were the strongest. I know some people have complained about the #firstworldproblems but I almost wish they'd leaned into that more. Rather than have such dialogue-heavy scenes, I'd rather have more specificity. They have a borderline offensive way of talking about their non-white nannies. We spend time on the anxieties of school districts and there's a joke about the matinee of Matilda. Rather than being boring, that stuff was easier to connect to than vagaries and abstractions about life and relationships in general. I did end up enjoying myself and I'd rank it as one of the better plays I've seen this year.

[aradia22]

I listened to the Lady Be Good album from this recent Encores season on Spotify. It's really good. I'm not sure I would have loved the show in person but I'm happy to have this album in my regular rotation. It's very listenable. Recommend.

[ebk57]

I saw Bright Star last night at the Kennedy Center.  I knew nothing of the story, just that Steve and Edie wrote the music and it was bluegrass-y.  Which I love, so that's fine.

 

I really liked the first act.  It was "unconventional" in that it wasn't sung through, but there were no stops.  The songs flowed into the next song or scene with no pauses for applause.  (That was fine with me, but a couple of people behind me really wanted to clap).  I was caught up in the story.  The cast is almost uniformly excellent, especially Paul Alexander Nolan.  The plot turn at the end of the act had me thinking I knew how it was going to end.  But still...  

 

Act Two wasn't nearly as engaging.  Much more "conventional" with songs that ended for applause.  There was a moment when I thought my theory of how it would end was wrong...but that didn't pan out.  I wasn't too happy with the way the story played out.  I've heard it's a "true" story, so I'll have to do some research on that.  

 

Loved the set and the orchestra.  I did enjoy the show on the whole.  I'll be interested to hear/read about changes made.  Not sure if I want to see it again...unless it's free.  Then, sure! 

[aradia22]

I'm so happy I was able to revisit The King and I. I enjoyed it so much the first time but I enjoyed it even more this time. Part of that was due to the different circumstances. I was still on the left orchestra but a few rows back which was a better perspective and the sound was better at that angle. I was also with one of my best friends instead of by myself and we could feed off one another's energy and talk at intermission and afterwards about what we had seen. As for the show... as I mentioned, I thought it sounded better a few rows back. Part of that could also be having my expectations adjusted. I think the direction was likely to go for more naturalistic vocals in this space. The actors really chose their moments to sing out in moments of high drama. My complaint about the show feeling imbalanced was also fixed this time with the substitutions of Hoon Lee for Ken Watanabe and Q for Ashley as Tuptim. Q played her role more submissively at first and her fire emerged when Tuptim knew she would be leaving so she was defiant in presenting her play. Her vocals were also more measured. Lovely high notes but she didn't push as much throughout the rest of her songs. Hoon Lee was very charming as the king. I thought his chemistry with Kelli was fantastic and I got that sense of mutual... whatever you call it, where with Ken the relationship felt more platonic or one-sided. It wasn't wildly sexy or anything but there were just subtle ways in which it was different and they just had a different energy. Their polka was wonderful. I got what I wanted from that scene this time. I do think Watanabe is a slightly stronger actor. He landed his jokes harder and nailed his more dramatic moments. Hoon Lee isn't bad but he's more theatrical. I think he took longer to get the audience on his side but eventually he had us all laughing. Ruthie Ann Miles was still fantastic. SCENE STEALER. Her rendition of Something Wonderful was without a doubt a highlight of the evening. The kids were still adorable. I feel like I got a better opportunity to appreciate the set and costumes and choreography. Love the set. The costumes are great but I wish they would weigh down Kelli's hoop skirts (except in the dance) because they float/bounce about in a distracting way. I feel like the execution of the dances could be stronger. I kind of wanted sharper, cleaner movements. But still, that choreography doesn't get changed much for a reason.

 

I just had such a wonderful night. If you still haven't seen this production, go now. Sadly, the loge was not well sold tonight.

 

The songs flowed into the next song or scene with no pauses for applause.  (That was fine with me, but a couple of people behind me really wanted to clap).  I was caught up in the story.

I am a quiet theatregoer in general. But tonight at The King and I the audience was all about entrance applauses and applauding after every song... and sometimes after scenes. I don't mind applauding songs when there's a space for that but my preference is to get lost in the world of the show. Also, I am very glad to hear that you enjoyed Paul Alexander Nolan's performance. :)

[aradia22]

I have to wake up early for a cycling class tomorrow. I may have more to say later. But for now, go see Di Goldene Kale (The Golden Bride) while you can. It's running until January 3. It was a lovely evening out. A bit small in scale (a touch high school theatre) but with amazingly talented singers. And I think it's worthwhile to further your understanding of musical theatre by seeing where Yiddish opera blended into the start of musical theatre. And it was just also so fun. And so thrilling to hear operatic voices so close. Just go. You will enjoy it.

[aradia22]

 

This actually made me tear up.

[aradia22]

I had a full day today. I went to see a matinee of Gigantic and then saw Dames at Sea with a date at night. I will tell you more about Gigantic another day (yes, I know I say that about everything). I had fun with it. I laughed at times. The music wasn't special but it served its purpose and the actors sang the heck out of it. The story was not offensive but there were some problematic parts and some structural issues. Transitions (like from scene to scene) were not good and things really didn't coalesce the way they should have in act 2 because as I see it, the writers were unclear on the messages they wanted to impart and so the main female lead was all over the place throughout the show making leaps as necessary to be a foil for other characters, many side characters got short-changed, and the overall messages about weight loss, body positivity, bullying, etc. were very muddled. But it was fun and I enjoyed all the singing and I'm glad I went to judge it for myself. It was neither as bad nor as good as the disparate accounts had suggested.

 

Dames at Sea was a fun time. The cast was lower in energy than the first time I saw it. I don't know if people were sick or it was just the way they've been selling/knowing they're going to be closing soon. Lesli Margherita and John Bolton were still very funny. Danny Gardner really stole the show for me tonight. He was always on. I can't wait to see what he does next. I found Eloise less annoying tonight either because she was less annoying or because I was prepared but yes, I still did not enjoy her singing. It wasn't horrible but it wasn't up to a Broadway standard. To me, it's just not pleasant to listen to. There are very noticeable breaks in her upper and lower register and when she chooses to do vibrato and sometimes she sounds almost flat... it's just odd. I'm glad I got to see the show again but this production doesn't really work as well as it should and I'm more interested in seeing what these performers will do next.

[aradia22]

TNR is up. Highlights

• The Off-Broadway revival of Annie Baker's The Flick will end its run Jan. 10, 2016
• The Off-Broadway League has launched its toy drive, offering free tickets to select shows in exchange for the donation of a toy valued at $10 or more. The offer, which benefits Safe Horizon, the largest non-profit victim services agency in the U.S., is valid through Dec. 22.
• On Your Feet! $40 online lottery
• School of Rock $37 general rush
• The Public Theater has announced complete casting for Southern Comfort, a folk and bluegrass-inspired musical that explores transgender life.
  "Complete casting has been announced for the Paper Mill Playhouse's world premiere of A Bronx Tale: The Musical. Leading the company are Jason Gotay as Calogero, Joshua Colley as Young Calogero, Nick Cordero as Sonny, Richard H. Blake as Lorenzo, Coco Jones as Jane and Lucia Giannetta as Rosina."
• Kelsey Grammer who had been scheduled to begin a seven-week return engagement Jan. 19, 2016, will now begin performances Jan. 15. He will continue through Feb. 21 rather than Feb. 28.
• A Twelfth Night musical will be presented as part of the Public Theater's The Public Works program with music and lyrics by Shaina Taub.
• The February Inspirational Broadway concert has added Adam Pascal, Eden Espinosa, Telly Leung and Jarrod Spector to its lineup.
• Maurice Hines Tappin' Thru Life will begin performances Dec. 23 at New World Stages. Opening night is scheduled for Jan. 11, 2016.
• "Goldie Hawn, Bette Midler and Diane Keaton will reunite for a new feature film from Netflix. Entitled "Divanation," the film features a script by Lisa Addario and Joey Syracuse. They will play "members of a once-popular singing group forced to reconnect after their volatile split and 30 year estrangement."

[Charlie Baker]

CBS Sunday Morning reported on Shuffle Along this morning, the first in a series on the show's progress:

 

http://www.cbsnews.com/news/shuffle-along-re-imagining-broadway-history/

 

Related: has anyone seen anything about the leave of absence that Audra McDonald is taking not long after the show is up and running?

[Rinaldo]

Preview for Shuffle Along start March 14 and the official opening is April 21. Audra McDonald's leave is from mid-June to mid-September, and the production has announced it from the beginning, so they must have known about it before she signed, and presumably the time off was a pre-condition of her accepting the rule (and they must have figured it was worth it, in order to get her). Press releases were specific about giving no details, as in "her rep declined to reveal the nature of the project."

[Rick Kitchen]

I can't find the old forum for the show that ran last year, but "The Sound of Music Live" is re-airing on Christmas night.

[aradia22]

Yes, as Rinaldo said it was announced and I think I mentioned either here specifically or in a TNR. 

 

Apropos of nothing, I am still humming songs from The King and I to myself days later. God, I love that show and this production. I'm so happy I got to see it again.

[Charlie Baker]

Thanks--I guess that original story slipped by me! 

[methodwriter85]

I saw the DTC production of Diner- it was great, I really enjoyed it. The beginning was a little slow, and it lacked energy, but as the show went on, it got better. I enjoyed the hell out of Boogie and Beth, but I found myself wondering what the point of Modell was. (Seriously, they should have cut his character.) I also thought Bill and Barb's story was neat to watch.

 

It's getting there, I think. Definitely was worth watching, although I think there needs to be refinement in the choregraphy and the songs, especially at the beginning. Here's hoping for Broadway 2017!

Edited December 24, 2015 by methodwriter85

[Rinaldo]

That sounds really interesting. I hope I can get there before January 3 when it closes.

 

I was wondering what they were going to do with Modell. In the movie he's an essential part of the group and the atmosphere, but he plays no part in any of the plots, and his biggest running gag, the passive-aggressive mooching off the other guys, is the kind of thing more suited to the intimacy of film than the distance of the stage. You're probably right that they should just have cut him -- though I too, had I been on the production team, would have found that hard to bring myself to do. Thinking of Modell in the movie brings up particularly warm memories for me (and I assume others): like most of the cast, he was new to me at the time, and he was the very young Paul Reiser, beautifully funny with his fleeting bits and thereby giving an extra sparkle to the whole picture. But in adaptation, sometimes we have to kill what we love.

[choclatechip45]

I saw a Gentleman's Guide to Murder last week through TDf. First experience with Tdf was a positive one. We sat near the back of orchestra and had a perfect view. I really liked the show and Jefferson Mays is very talented.

[methodwriter85]

That sounds really interesting. I hope I can get there before January 3 when it closes.

 

I was wondering what they were going to do with Modell. In the movie he's an essential part of the group and the atmosphere, but he plays no part in any of the plots, and his biggest running gag, the passive-aggressive mooching off the other guys, is the kind of thing more suited to the intimacy of film than the distance of the stage. You're probably right that they should just have cut him -- though I too, had I been on the production team, would have found that hard to bring myself to do. Thinking of Modell in the movie brings up particularly warm memories for me (and I assume others): like most of the cast, he was new to me at the time, and he was the very young Paul Reiser, beautifully funny with his fleeting bits and thereby giving an extra sparkle to the whole picture. But in adaptation, sometimes we have to kill what we love.

 

I mean, they basically just have him reacting to stuff. Which is nice, but the problem is that he's comic relief in a show that has the Eddie character, who is also funny and actually moves the plot along. And again, his brand of comic relief is more suited to film where you can easily see his face as opposed to theater.

 

Is it in the film

the diner burns down on New Year's 1960 AND Fenwick dies in a car accident that very same night?

If not, I thought that was just a little bit too heavy-handed, unless that was a movie thing. It does sound like they tried to keep it as close to the movie as they could while adding in the perspective of the female characters.

 

I LOVED Barbara's little song to Bill about how they shouldn't just get married because she's pregnant. It had more of a 60's sound to it, which was on purpose. And of course, I loved "Darling, It's You" between Boogie and Beth, where Beth contemplates having an affair with him. Derek Klena is fucking adorable.

Edited December 24, 2015 by methodwriter85

[aradia22]

Happy Holidays, everyone! Here is your Christmas edition of the TNR. Highlights!

• Fiddler on the Roof officially opened Dec. 20
• Maurice Hines Tappin' Thru Life begins previews Off-Broadway Dec. 23. (Undecided about if/when I want to see this.)
• Lazarus $25 online lottery
• "New Haven's Long Wharf Theatre has announced that it will now conclude its 2015-16 season with the Kathleen Marshall-helmed My Paris."
• Daisy Eagan, Sierra Boggess, Ramin Karimloo, Cheyenne Jackson, Ben Platt, and others join MCP's The Secret Garden with Sydney Lucas. (Yay Daisy Eagan and Cheyenne Jackson! Undecided about everyone else. Of course I'll report back after the concert.)
• Off-Broadway revival of the musical, The Marvelous Wonderettes in spring 2016. (This sounds fun. Did anyone see the previous incarnation?)
• Playhouse Creatures Theatre Company will present Tennessee Williams 1982. $32 tickets. (Sounds kind of interesting.)
• "Cheyenne Jackson will co-star with Audra McDonald in the film adaptation of Michael John LaChiusa's 1994 musical Hello Again."
• "Signature Theatre's Off-Broadway revival of Incident at Vichy, by Arthur Miller, will be featured in the second season of "Theater Close-Up" on Thirteen. The haunting production was filmed Dec. 16 and will be broadcast in spring 2016." (Great news.)
• Taped recordings of the American Songbook series at New Jersey's Performing Arts Center will be broadcast on NJTV beginning Jan. 6, 2016. (I will try to update ASAP with the schedule.)

Listening to the Encores recording of Pipe Dream for the first time. It's very pleasant. I cannot explain exactly what I have against Will Chase and Laura Osnes.

[Rinaldo]

Is it in the film

the diner burns down on New Year's 1960 AND Fenwick dies in a car accident that very same night?

 

I don't remember that (it's been too long since I saw the movie). But there's a freeze-frame at the end, on the five guys at the wedding reception, and then I seem to remember some onscreen captions telling what happened to each of them in later years. Does anyone else remember the film enough to tell me if I'm making it up? I'm sure about the freeze, at least. Anyway, that spoiler detail is not part of my memory of the movie.

[aradia22]

I also decided to listen to the Betsy Wolfe/Adam Kantor version of The Last 5 Years (I think I prefer her to Sherie Renee Scott but I prefer Norbert to Adam) and the revival of The Most Happy Fella because sometimes I'm just in the mood to listen to three theatre albums back to back. I find myself very curious about the Encores production of The Most Happy Fella. I feel like Laura Benanti, Cheyenne Jackson, Heidi Blickenstaff, and Jay Armstrong Johnson seem well cast. Could you offer your opinion and any other insights into the production, Rinaldo?

[Rinaldo]

You're right, all of those people were just right for their roles, and it was one of their very best productions (and I've seen all but two since they started 24 years ago). It's of course a large-scale musical-theater creation with nearly continuous music (Encores actually cut a little bit of it, given their short preparation time, but there was a lot left), and one of the peaks in the history of the form. It was bliss to hear Don Walker's fabulous orchestrations played by that big orchestra -- just as sublime as when I heard them in New York City Opera's fine production 20 years ago.

 

Laura Benanti was ideal in every way, emotionally complex, sympathetic even when making bad choices. Cheyenne Jackson looked great and sang great; maybe his acting didn't evoke that last bit of swagger and danger, but that's the only quibble I'd have with him. This was my first live encounter with Blickenstaff and Johnson, and they both had that bit extra, dramatically and vocally, to make the pair much more than the stock "comic second couple." The chorus was great too -- important in this piece.

 

I could name 12 or 15 top Encores experiences (and many others that were highly enjoyable), and I would describe most of them as entertaining, exciting, memorable, that sort of thing. But only two were deeply touching emotionally (again, one doesn't expect that in these circumstances), and they were Carnival (in an early season, with Brian Stokes Mitchell and Anne Hathaway) and this Most Happy Fella.

[aradia22]

Thanks, Rinaldo. I was considering seeing that show but to be quite honest, I don't think I would have been ready for it at that time. There were other shows I needed to hear first before I could appreciate it. I can definitely see Cheyenne Jackson in the part but it's hard to imagine someone sounding better than Art Lund on Don't Cry. (Yes, I decided to listen to the original album as well.) I'm disappointed that the Encores production didn't move forward in any way or get recorded on an album.

[aradia22]

 

Merry Christmas, everyone!

[Rinaldo]

Thanks, Rinaldo. I was considering seeing that show but to be quite honest, I don't think I would have been ready for it at that time. There were other shows I needed to hear first before I could appreciate it. I can definitely see Cheyenne Jackson in the part but it's hard to imagine someone sounding better than Art Lund on Don't Cry. (Yes, I decided to listen to the original album as well.) 

Quite right about Art Lund; he's one of those perfect matchings of voice (and style) to music, and I can't say that Jackson (much as I like him) sounded better.  But he was awfully good, and of course an ideal visual embodiment too. I mean, if one is going to break one's wedding vows an hour after making them, it better be with someone who looks like Cheyenne Jackson.

I'm disappointed that the Encores production didn't move forward in any way or get recorded on an album.

I understand and share the feeling. And members of the cast have said the same subsequently. Heidi Blickenstaff calls this her new favorite role and wants to do it in a full production, but only if it can be with this cast. (Though Cleo is the comedic sidekick and written as a belter, the role only really comes to life if the actress has something extra in the way of vocal warmth and breadth: Susan Johnson, the original, certainly had that, so did Karen Ziemba at NYCO [and on the JAY complete recording], and so did Heidi B.] Laura Benanti too calls this one of the roles she lives for, and said that her agent has standing orders to pursue it (and Eliza Doolittle) on her behalf whenever and wherever it comes up.

 

But of course the realities are all against it. A 40-piece orchestra with a massive mixed chorus for a commercial run? Actors dream of it, producers long to do it, but the numbers always knock it out. The audience for it just isn't huge enough to keep the theater open. And as for a recording... I so wish they could have, but with 2 full-length multi-disc recordings in existence (both excellent, too), how could another be justified? Sad but true.

Edited December 26, 2015 by Rinaldo

[aradia22]

 

But he was awfully good, and of course an ideal visual embodiment too. I mean, if one is going to break one's wedding vows an hour after making them, it better be with someone who looks like Cheyenne Jackson.

Oh, yeah. I'm totally with you there. I'm not sure if the character he's playing (Dr. Neville) in The Secret Garden concert needs to be that handsome but I'm not going to complain. I had a crush on Robert Westenberg for a while after I heard Into the Woods for the first time so in that sense things won't be too different. ;)

 

In my quick google search for past production photos, I saw that Rosabella was originally a blond. What would you think of Kelli O'Hara in the role? (I haven't thought this through much but it's kind of on my mind with my musings about how Laura Benanti would be in The Bridges of Madison County.) Didn't the revival reduce the number of musicians necessary? You have a good point about both recordings being excellent but I also was thinking that with the technology in this day and age perhaps something might exist beyond the short promo clips that were released.

[Rinaldo]

In my quick google search for past production photos, I saw that Rosabella was originally a blond. What would you think of Kelli O'Hara in the role? (I haven't thought this through much but it's kind of on my mind with my musings about how Laura Benanti would be in The Bridges of Madison County.) Didn't the revival reduce the number of musicians necessary? You have a good point about both recordings being excellent but I also was thinking that with the technology in this day and age perhaps something might exist beyond the short promo clips that were released.

Sure, Kelli O'Hara would be great -- she has proven that the concept of "miscasting" doesn't apply to her, so I never rule her out. My feeling is just, let's leave something for the other sopranos, you know? And Laura B can project a bit of edge or hardness if needed (for a moment), that makes a lot of sense of a character like Rosabella, who's "been around" and can decide that this marriage to someone she's never met may be the best deal she'll get.

 

I'd better come clean and say that I don't like the revival recording at all (if you're referring to the one with two pianos) -- I'm glad if others can enjoy it, but for me the elimination of an orchestra is fatal. And only Sophie Hayden (Rosabella) and Scott Waara (Herman) were good in the cast; that was how I seemed when I saw it, anyway. The "other recording" I was referring to was a 3-CD one on the JAY label, with full orchestra etc., and 8 bonus tracks of cut songs.