Theatre Talk: In Our Own Little Corner

[aradia22]

Saw Bella tonight. https://www.playwrightshorizons.org/shows/plays/bella/ (Side note: Is it worth checking out The Bubbly Black Girl Sheds Her Chameleon Skin when it comes to Encores?)

Very quick thoughts. A lot of fun. A mix of high and low. The ideas are high. The glorification/celebration of black women's bodies. The acknowledgement of Native Americans and Chinese immigrant railroad workers and Buffalo soldiers and some of the many ways former slaves were still disrespected after the Civil War. The conscious objectification of the Asian male body. The exploitation of black bodies. The emphasis on familial and non-familial bonds of sisterhood between women of African heritage. And a small negotiation of gender and compromise. Some of the execution is intentionally lowbrow. Broad humor. Musical numbers that have a kind of children's theater/vaudeville sensibility. I do think some of the music could be stronger but maybe that will evolve through previews. The performers also hold back a little, particularly in the vocals, and I'm not sure if that's the best choice. They take their moments. But Hamilton is not weaker because the performers are amazing and then top themselves. I think by the end, the actress playing Bella really won me over but I kind of wish she'd been as sparkling and vivacious from the start. Also, they stick to simple choreography for the most part with the exception of more athletic numbers like the soldiers' song. 

There were some issues. I don't have a problem with it, but this show is going to alienate some people. There's a white rapist character who's pretty unquestionably evil. I didn't have a problem with that. I thought it was refreshing to have a lecherous character and give him a fine song but make the lyrics of that song unambiguous/unsoftened. But this show demonizes almost all its white characters and I don't know how that will play in front of something other than a relatively diverse NY audience. Some of it a little too lowbrow and silly for my taste without strong music to back it up. I thought the costumes were well designed if not always the most expensive looking... some were great though. And they were well tailored. There's a Mexican Casanova in the Latin Lover vein who's fun but pretty one note. There's also a character who works at the service who's called a "freak" but really only has a stutter which comes and goes as necessary. He was sweet when first introduced but they didn't really develop that character and if it was trying to reflect the disability community, I think that was a failure. He was the one "good" white character. I'm not sure I would say there are real standout songs or performances but it's definitely worth checking out. It's a talented cast and there is some good singing and there are two big emotional moments. I wouldn't mind seeing it again later but the house was already very well sold tonight.

[Silver Raven]

Brendon Urie tweeted tonight, "Please don't run out of the theatre before the play is over. Let the cast take their bows. We aren't rushing out so neither should you."

[ElectricBoogaloo]

5 hours ago, Silver Raven said:

Brendon Urie tweeted tonight, "Please don't run out of the theatre before the play is over. Let the cast take their bows. We aren't rushing out so neither should you."

I'm with Brendon. I get that people don't want to get stuck waiting to get out of the garage or whatever, but it really annoys me when people jump out of their seats as soon as the show is over and start running up the aisle. Like seriously, have a little respect for the people who just spent 2+ hours performing for you. It's also super annoying when people do that at concerts but then start walking back to their seats during the encore. Either stay or go, but quit blocking my view because you are too stupid to know that until the house lights come on, the show isn't actually over. And I say that as someone who has driven two hours to see a play and then driven home the same night. If I can stay long enough to applaud the cast, so can you! It's really rude and inconsiderate to the cast as well as other people in the audience to get up before the bows are over. That extra two minutes is the least you can do.

[Rinaldo]

4 hours ago, ElectricBoogaloo said:

I'm with Brendon.

I am too, but only with reservations. The play (or opera, or ballet) IS over at that point, so it's dishonest to say it isn't. I know it's dismoralizing to see bodies rushing away at the first opportunity, but lying doesn't help the cause -- the bows are not the show. (Miss Manners backs me up on this, and agrees with my next paragraph too.)

I myself always stay for the bows, and stay to hear the exit music (if any) after the lights come up too. But sometimes, if I've taken a train to the city, I know that I have to be at Penn Station by a certain minute in order to get home, and if the show had gone 3 minutes longer I would have had to be among those ducking out immediately when the curtain fell. You can't know every audience member's private situation -- yes, a lot of them are probably thoughtless/selfish, but a few may genuinely be on a clock and not deserving of our scorn.

[aradia22]

I think bows are one of those places where people get in a tizzy and up on their high horses for no good reason. There are much bigger concerns. I don't even mean in the world. Just in terms of theater etiquette. How about deal with the legroom and don't cross your legs so they're in my space and you're in danger of kicking me in the head or rubbing the soles of your shoes on my skirt? (The Little Foxes)

I always stay for the bows and exit music for plays and musicals and concerts but then, I live in the city (so my commute is easy unless the trains aren't running properly) and I generally don't have anything to do (no children to go home to, no work in the morning). However, I don't always stay at the opera because those bows can be REALLY self-indulgent both on the part of the performers and the audience. I think I may have posted my thoughts on standing ovations before so I won't get into that now. I believe in them when they're warranted, but like little whoops and cheers and entrance applause, I think sometimes they can be more about the audience wanting to be involved and acknowledged. Anyway, if I've stayed at the opera for 5 hours and 2 or 3 intermissions, sometimes I don't want to be part of the circus and I just want to catch my train and get some sleep. I'll stay for the initial bows but not when you keep coming out in different configurations. 

My guess with Brendon Urie, is that it's a different situation. It's not people running out because they want to catch a train or they don't know better (I do think some shows are awkward with the multiple bows or leaving and then coming back to do a small reprise/encore). It's people running out because they want to get a good position at the stage door. Someone showed me a picture and it looked like a mob scene. Unless those were fans who hadn't seen the show, I think a good chunk of the people in that theater were waiting at the stage door. And so probably quite a few of them didn't stay for the bows to get a good spot. I'm not into that. 

[aradia22]

I splurged on a ticket to Marin Mazzie and Jason Danieley's concert series at 54 Below. I rationalized it because it finally showed up on TDF which means not having to pay 54 Below's minimum. I'm SO GLAD I did. It was a wonderful night. Of course they both have amazing voices. But there were so many layers. There was the way they each interpreted the songs. Then the way the songs were put together (particularly in the medleys). The arrangements. Then the way there were added layers of meaning in revisiting roles, through the lens of their relationship, in light of Marin's cancer struggles, with a sense of the current state of the world... just fantastic. Also, I teared up throughout but then she sang Back to Before and I lost all of my composure. David Hyde Pierce was in attendance. I think I heard that they're recording it for a CD but this is the set list as I remember it. And a well-earned standing ovation followed by an encore. 

A medley of some standards from The Trojan Women... including All the Way, When You Wish Upon a Star, Glory of Love

Hello Young Lovers (The King and I)

Younger Than Springtime, You've Got to Be Carefully Taught (South Pacific) [The happiness was already bubbling up at this point. If someone can sing "Younger Than Springtime" properly, it sounds gorgeous and Jason certainly can.]

So In Love (Kiss Me, Kate) [Both this song and You've Got to Be Carefully Taught had jazzier renditions. I thought it worked better with this song. I think it was because the music was moving but Marin mostly sang it straight.]

You Walk With Me (The Full Monty) [I still haven't listened to this album but I heard a little of his original recording when I looked up the name of the song. He sounds so different now but it still works.]

Sondheim medley... Happiness (Passion), Good Thing Going (Merrily We Roll Along), Too Many Mornings (Follies), Not a Day Goes By (Merrily), Move On (Sunday in the Park with George) [And this is where I started freaking out from happiness. With each song I felt more and more like I wanted to burst from happiness. Like... no, really. That one!?! Yes!!! Oh, God, it sounds so good. And another!?!] 

You, You, You (The Visit) [I thought he would sing his big solo but this is my favorite song from the show and I was so happy he went with it instead. It was a lightly jazzy version. Bouncy bass. It felt perfect for a cabaret.]

When Did I Fall In Love (Fiorello) [I still don't know this show either but this was one of Marin's stronger acting interpretations. She was more playful if not exactly comic.]

I Miss The Music (Curtains) [Again, if there was going to be a song from a show, I'm glad it was this one. This and Thinking of Him are the only two songs are really like in that show.]

And The World Goes Round [I've heard equally good and more melodramatic performances of this song but with the added meaning for Marin. She performed the hell out of this even if it wasn't the most vocally challenging.]

Back to Before (Ragtime) [Crying almost instantly.]

Opposite You [I've heard it as it was their promo song for the concerts. Still very cute and they have the kind of voices that sound even better in person.]

Love Is Here To Stay [Very cute.]

A wonderful night of music. A really fantastic, smart program. Emotional resonance. #RelationshipGoals

[ElectricBoogaloo]

Stephanie J. Block discusses Falsettos:

[ElectricBoogaloo]

Eva Noblezada discusses Miss Saigon:

[ElectricBoogaloo]

Gloria Estefan's On Your Feet will close on Broadway in August and begin a national tour in September

Quote

On Your Feet! will kick off an 80-week national tour in the fall of 2017, launching in Buffalo on September 22 at Shea's PAC with a grand opening set for Miami's Adrienne Arsht Center on October 5. The tour will continue through October 7, 2018, finishing up at San Francisco's Golden Gate Theatre.

The musical will make its international premiere in Utrecht, Netherlands on October 29, 2017. Additional worldwide productions are planned for Spain, Italy, Germany, France, Mexico and Japan.

[aradia22]

Just curious... does anyone here like the ballet? My thoughts aren't very meaningful on this art form but my friend had another rush ticket and we saw Giselle. I enjoyed it for the most part though I don't plan on going again for quite a while. Beautiful costumes, lovely dancing, some decent acting... not enough story for me. Maybe for a stronger score like Tchaikovsky. 

[Rinaldo]

10 hours ago, aradia22 said:

Maybe for a stronger score like Tchaikovsky. 

That's my feeling, I guess. I've only occasionally gone to the ballet, and I don't really have the special knowledge to appreciate this form of dancing, only the beginner's "Oh, that looks pretty/difficult/impressive." So it's the music that gets me to show up: Tchaikovsky, Prokofiev, Stravinsky, Britten, Delibes, even orchestrated Chopin. Adam? not so much. A famous record producer's autobiography refers to being forced to record "Adam's unspeakably boring music for Giselle," which is harsh, but close to how I feel.

[aradia22]

For those in the Chicago area or those with the means and opportunity to travel... Susanna Phillips and Laura Osnes/Santino Fontana concerts this summer.

https://www.grantparkmusicfestival.com/the-music/2017-season

[aradia22]

Last concert of the season at 92Y. The Cole Porter and Female Songwriters concerts were good as well and there were highlights for all the concerts but I think this might be the best one of the season. For starters, I loved this cast. Chuck Cooper, Lilli Cooper, Ryan Silverman, Lauren Worsham, and Bryce Pinkham. It's like a game of name some of your favorite Broadway actors. My line up would be something like... Shoshana Bean, Paul Nolan, Brian Stokes Mitchell, Audra McDonald, Betsy Wolfe, Kelli O'Hara, Patti LuPone, Sutton Foster, Jonathan Groff.

Anyway, I won't go into the entire setlist unless someone asks but it was Lerner & Loewe, mainly Brigadoon, Camelot, My Fair Lady, and Paint Your Wagon. Rob Berman was a solid host. I feel like he maybe contributed more behind the scenes with the musicians and performers. He guided the program well but didn't really have the insight or storytelling of a Ted Chapin or Sheldon Harnick or the anecdotes of a David Loud or Ted Sperling. The performers did not disappoint. First of all, I love this music. Of course things get left out but they hit most of my favorite songs (just no "I Talk To The Trees" etc.) Everyone sang their faces off which is what I want from these concerts. Sometimes oversinging can hamper a show but I'll admit, I like when people go for it. Chuck Cooper was very charming. Ryan Silverman was classic leading man, both in looks and voice. I'm torn on his voice. Sometimes there's a bit too much tenor and it's not as rich and baritone-y as I want. But he can certainly perform a song. And he's mannequin handsome. And when he is in the right zone, damn does his voice sound good. Lilli Cooper surprised me with how versatile her voice was though I don't know if she'll ever get cast for legit soprano parts. But she went for it. Her "Show Me" would have scared the pants off of any Freddy she was cast against. Bryce Pinkham was very fun with the comedic numbers, especially the Camelot stuff. He did a solid job of singing "On The Street Where You Live." Who knows what they'll do for the upcoming Lincoln Center production. I can think of more compelling Freddie's but I think he would be a very good traditional casting choice. Both in the vocals and the straightforward earnestness. He manages to not be stalkery. Though I still have a special place in my heart for Josh Young's adorable interpretation of the character. Lauren Worsham was flawless as always. Her voice is so versatile and it was great at everything. "Waitin For My Dearie," "Before I Gaze At You Again," "I Could Have Danced All Night"... gorgeous. She would be a great Eliza. I don't know why she doesn't get dreamcast as ingenues more often when she's got a better voice than the other names that are often floated out. 

[ElectricBoogaloo]

Dear Evan Hansen posted this today:

[aradia22]

Quote

The 1988 Twentieth Century Fox film Working Girl is getting the stage musical treatment. Fly by Night writer Kim Rosenstock is crafting the book with Kinky Boots Tony winner Cyndi Lauper at work on the score.

http://www.broadway.com/buzz/188649/cyndi-lauper-writing-the-score-for-musical-adaptation-of-working-girl/

Thoughts? I've never seen Working Girl but I'm not crazy about what I know about the plot and I thought Lauper's score for Kinky Boots was pretty unremarkable. She showed a bland pop sensibility much more than say Sara Bareilles (Waitress) or even Steve Martin/Edie Brickell (Bright Star). Everybody say yeah...

[ebk57]

1 hour ago, aradia22 said:

http://www.broadway.com/buzz/188649/cyndi-lauper-writing-the-score-for-musical-adaptation-of-working-girl/

Thoughts? I've never seen Working Girl but I'm not crazy about what I know about the plot and I thought Lauper's score for Kinky Boots was pretty unremarkable. She showed a bland pop sensibility much more than say Sara Bareilles (Waitress) or even Steve Martin/Edie Brickell (Bright Star). Everybody say yeah...

I love the movie.  I'm not sold on it becoming a musical though.  Not everything has to be turned into a musical.

[aradia22]

Quote

I'm not sold on it becoming a musical though.  Not everything has to be turned into a musical.

Blasphemy! ;)

[JustaPerson]

Who's performing at the Tonys this year

Since Falsettos will be performing, I was hoping Sunday in the Park might have been able to perform as well. I just really wanted a good quality video of Jake and Annaleigh to obsessively watch. 

[Rinaldo]

I'd say that was never ever gonna happen, because (1) they took themselves out of contention for the Tonys, so it would be really inappropriate for them to then take up time on the telecast, and (2) the cast, having concluded its run in April, has undoubtedly now dispersed to the corners of the earth. (And by "the cast," in this case, I mean Jake Gyllenhaal, whose other obligations are the reason for the limited run in the first place.)

[Jac]

Back in Australia, land of expensive and inaccessible theatre (boo) after seven months of living in Chicago but I did get the chance to see the Headlong/Nottingham Playhouse/Alameida Theatre production of 1984 in Melbourne on Tuesday night, this is the same production that is currently on Broadway.

It was a strong production which make judicious use of multimedia technologies to tell the story. The lighting and Sound production were particularly good as they are used to great effect to create a sense of unsealed in the audience (a word of warning though, if strobe lighting, periods of complete blackness of up to 60 seconds in length or very loud noises are problematic for any reason, the production makes extensive use of these)  I don't have a lot to say about the story, it is fairly faithful to the source material, though it probably tries a little too hard to drive home the modern relevance of Orwell's work, which was largely unnecessary as I suspect anyone interested in 1984 enough to drop a minimum of $US 50 on a ticket is already painfully aware of its modern relevance. The acting was generally strong, though Ursula Mills, who plays Julia's accent tended to slip frequently which was occasionally distracting. 

Overall it was well worth seeing and I recommend it.

[aradia22]

Everyone excited for the Tony's? Barring any unforeseen developments, I will be posting on the annual thread. I thought I'd share this fun article to get us in the mood.

http://www.newyorker.com/humor/daily-shouts/new-tony-award-categories?mbid=social_twitter

These are my favorites... 

Malest Theatre Critic

Best Unoriginal Score

Best Ill-Conceived Revival of a Racist Musical

Best Standing Ovation for a Famous Actress Just for Being Famous

Best Usher Who Doesn’t Take Shit from Nobody and Isn’t About to Start Today

Best New Play Bravely Written and Directed by White People About Another Culture

Best Featured Actor Who Seems Like He Might Be a Serial Killer—I Don’t Know, It’s Just Something About His Creepy Vibe

Best Career Ensemble Dancer Phoning It in Until He Finishes Paying for His Kid’s School and Can Retire and Give His Poor Knees a Break

Best Revival of a Play About a White Family in Their White Living Room Talking About Their White Problems That Has Never Been More Timely and Relevant

Best Direction by a Woman—Just Kidding, This Category Will Be Replaced by a Montage from “Annie II: Hip-Hop Don’t Stop (Singing About 2morrow) Featuring D.J. Daddy Big Buckz”

Best New Play by a Genius Woman Playwright Who Has Been Working Steadily in the Industry for a Billion Years and Should Have Had Her Broadway Début Decades Ago; What Took You People So Freaking Long

Best Mom Between the Ages of Forty-five and Sixty-five Whose Full-Price Ticket Purchases Keep the Precariously Balanced Commercial-Theatre Industry from Collapsing Like the House of Cards That It Is, Whose Taste Dictates the Shows That Succeed, Who Can’t Understand Why She Is Bombarded with Broadway-Related E-mails Despite Constantly Unsubscribing from Them

Actual Best Musical that Makes You Laugh, Cry, Tap Your Toes, Hum Along, See the Human Experience from a New Perspective, and Feel Deep Emotions Stirring Inside You That Had Been Dormant for Years Because That Is the Power of Good Musical Theatre and Don’t You Forget It

THE SHADE!

[aradia22]

[ElectricBoogaloo]

One thing I really miss is Amazon putting a bunch of Tony nominated shows and other Broadway musicals on sale the week of the Tony Awards. I remember buying the Book of Mormon soundtrack for $1.99 even though I hadn't seen the show yet. I used to stock up on musical soundtracks every year! Apparently the Tonys now partner with Apple Music and a few of this year's nominees are $11.99 for the digital soundtrack.

[aradia22]

If you have Spotify or Amazon Prime, you already have access to a lot of soundtracks. I know it's not the same as owning them but I think I posted a while back about all the albums I had discovered. 

[Rinaldo]

Because this is in fact the Theatre topic, may I be forgiven for making a last-ditch plea to reserve the word "soundtrack" only for a show that's been filmed (and hence has a Track of the film that provides Sound)? Theatre pieces have "cast recordings." At this point in time, there's no such thing as a Book of Mormon soundtrack. Honest.

OK, I'll shut up about this now for another year.

[DisneyBoy]

LOL.

 

Was Anna Wintour bringing bad vibes into the theater? Anna Kendrick looked pissed off as hell when she took the stage. I blame Wintour simply because every time they cut back to a shot with her in it, I actually felt a chill.

 

Tonight is my first glimpse of many of these productions and I have to say I'm not super impressed. The Comet performance was fun because I know they brought theater fans up on stage to help fill the space but the song was kind of meh. Penny in my Pocket was alright but David Hyde Pierce doesn't have much of a voice and everyone was just drooling for Bette Midler to perform one of the big showstoppers. I get that producers know people are willing to pay money to see the title song, but this is the Tony Awards - they can get Jennifer Holliday up there on stage singing And I'm Telling You I'm Not Going and it didn't hurt the sales of tickets for Dreamgirls. They could probably do the same with Bette Midler, right? Maybe she just didn't feel comfortable with the pressures of performing.

I'm bummed Stephanie J block is once again a bridesmaid and not a bride, but having only watched half of the Falsettos bootleg, tonight's performance cemented the feeling that this show is not for me. I really liked Block's number in Act One where she becomes unhinged, but the rest of it didn't really impress me. I wonder how that show is going to do when it goes to theaters. I love that they filmed it though period I wish more Broadway Productions would do the same.

Dear Evan Hansen very much impressed and I can see why everyone is raving about Ben Platt.

The number from War Paint felt very beige to me. I know people are saying the show is fun because you get to see two Divas, but I had kind of hoped that the quality of the material would be a little bit higher then what I saw tonight. Was that their climactic duet from Act 2? If so....yikes.

I like how Kevin Spacey is making fun of the fact that he was a bit of a random choice for host. He's actually making it work in his favor.

 

Whoopi Goldberg really looked half asleep tonight didn't she? It's like she really doesn't care anymore.

 

Speaking of not caring, Kevin Kline's entire on screen performance tonight made me really dislike him. If you can't look happy being in the audience for the Tony Awards...then don't show. If you can't look happy winning the Tony Awards, I just don't know what to tell you.

Edited June 12, 2017 by DisneyBoy

[Rinaldo]

46 minutes ago, DisneyBoy said:

Penny in my Pocket was alright but David Hyde Pierce doesn't have much of a voice and everyone was just drooling for Bette Midler to perform one of the big showstoppers. I get that producers know people are willing to pay money to see the title song, but this is the Tony Awards - they can get Jennifer Holliday up there on stage singing And I'm Telling You I'm Not Going and it didn't hurt the sales of tickets for Dreamgirls. They could probably do the same with Bette Midler, right? Maybe she just didn't feel comfortable with the pressures of performing.

First off, David Hyde Pierce has more voice than anybody who has played Horace Vandergelder in the past that I'm aware of. But that's by the way.

As to Midler, from all reports she was the one to scuttle any possibility of her performing. She would do the title song only if it could be on the real set in the theater where the production happens. And the Tonys don't do remote feeds or pre-taped performances for the nominated shows. So that was that.

This was a year when I wasn't impressed by any of the nominated musicals, and whichever won would be "for lack of anything better." It happens.

At least Laurie Metcalf finally won her Tony. She has deserved it many times before, so it's good to have her on the record books. And Kevin Kline again, only 35 years since his last Tony. And Gavin Creel.

[aradia22]

Things I learned during the Tony Awards (including the red carpet)...

Falsettos is going to air on PBS in October

Josh Groban wants to return to Broadway in a different show after his run in Great Comet

Keegan Michael Key is going to be in Hamlet

Mean Girls is planning to transfer

.................................................

Other thoughts...

Dave Malloy will have to write another Tony-worthy musical because Great Comet did not get any respect and people weren't that mad at Scott Rudin.

I missed an Anastasia performance. I know they don't need the advertising but neither really does Waitress, Charlie, or A Bronx Tale and they were at least represented in a bit. 

I'm curious if the dance heavy performance from Bandstand will boost their box office. 

Patti looked great and got to do the closing number. I want to see War Paint. 

Edited June 12, 2017 by aradia22

[ElectricBoogaloo]

The Broadway revival of Falsettos will play in movie theaters beginning July 12

Quote

The Live from Lincoln Center broadcast of Falsettos will play in movie theatres for a very limited engagement across the country starting July 12, Screenvision Media and KAOS Connect have announced.

For a list of participating cinemas, visit Falsettos in cinema

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Performances from the Tony Awards under the cut!

Opening number

Dear Evan Hansen

 

Come From Away

 

Miss Saigon

Natasha, Pierre & The Great Comet Of 1812

Falsettos

Bandstand

War Paint

 

Groundhog Day

 

Hello, Dolly!

 

The Rockettes with Cynthia Erivo And Leslie Odom Jr.

Closing number with Kevin Spacey and Patti Lupone

 

 

[ElectricBoogaloo]

Love that Sutton Foster got to announce that Gavin Creel won. I remember when they were in Thoroughly Modern Millie together!

[Milburn Stone]

12 hours ago, Rinaldo said:

First off, David Hyde Pierce has more voice than anybody who has played Horace Vandergelder in the past that I'm aware of. But that's by the way.

 

12 hours ago, Rinaldo said:

This was a year when I wasn't impressed by any of the nominated musicals, and whichever won would be "for lack of anything better."

Re DHP, the song and the performance were highlights of what was otherwise a (musically) dull evening. Have not heard the new cast album, so had not heard the song before (at least that I can remember--maybe it was on a Bruce Kimmel album), and I was pleased to discover that for a "cut song," it rose to a very high standard. (Not that there weren't good reasons to cut it from the original production, but they didn't have to do with it being an inferior piece of material.)

As for this year's nominated new musicals, the music was interchangeable. (As has been the case on Broadway for some time, with rare exceptions.) Nothing was "bad"; at the same time, all of it was generic, devoid of character or individuality, and if you substituted the music of one show for that of another, nobody would notice the difference. Not hyperbole. If such an experiment could be carried out, I'd pledge $100 to anyone who could reliably detect the ruse, and I'd do so with complete confidence.

[aradia22]

Quote

The only thing consoling me about the Comet robs is the fact that there was a musical nominated for 10 awards in the 1984 Tonys that also only won Best Scenic and Best Lighting. That musical is "Sunday in the Park With George". 

From a BWW thread. It doesn't make me feel better about Comet not getting the awards they deserved but it's a reminder the Tonys don't always get it right.

[JustaPerson]

I haven't listen to The Great Comet yet (I've got to though, it sounds great!) but I saw Dear Evan Hansen back in April and it was an experience. I pretty much started crying at Waving Through a Window and never stopped. But I have a lot of the same struggles as Evan, so it was especially emotional for me. I'm really glad that the show won, it really is beautiful. But I think For Forever has a more beautiful melody than Waving Through a Window (and doesn't get performed nearly as much, probably since it's harder to perform out of context). 

[bosawks]

9 hours ago, ElectricBoogaloo said:

Love that Sutton Foster got to announce that Gavin Creel won. I remember when they were in Thoroughly Modern Millie together!

And Patina Miller got to announce Rachel Bay Jones' win!  A nice little Pippin reunion.

[Silver Raven]

Apparently Skylar Astin and Ben Platt are roommates.  Skylar tweeted pics of the two of them getting ready for the Tonys together and he said, "Congratulations, roomie."

[JustaPerson]

I think they lived together during Pitch Perfect filming or something like that. Or else does Anna Camp live with them?

[bosawks]

I thought it was a pretty good season and was a little surprised with how low energy the broadcast seemed.

I blame the heat....

[aradia22]

NYMF thoughts... I can't do a pass this year. Even if I had the money for it, I'm going on vacation during a big chunk of the festival so it wouldn't be worth the expense. But I'm thinking about maybe catching a show or two anyway as a regular single ticket. Put a spoiler just so you can collapse it since it's a long post. 

Spoiler

 

Freedom Riders: I saw this last year as a reading. I enjoyed it but I thought it had some story issues and unnecessary choreography. Not sure if I want to see it again though I am curious if it's improved. There was some fantastic singing.

A Wall Apart: Music and Lyrics by Lord Graham Russell of Air Supply. Reminds me a little of Chess in that it sounds very much like it comes from a certain time, and not necessarily the period the show takes place in. It feels very 80's... like Sting and a bunch of bands I don't know the name of. Kind of bland but not terrible.

Ben, Virginia, and Me the Liberace Musical: Not bad but kind of cheesy. I'd see it if I had more time. 

The Light Rail: The music isn't jumping out at me. And the subject matter is VERY tricky.

Mathew McConaughey vs. The Devil: Seems fun but kind of one-note silliness. Not enough to say to be really hilarious. But the writing seems solid enough if typical MT. Also, as silly as the story is and given how there aren't really look alikes, no reason the cast has to lack diversity... well, assuming they cast similar to those concert clips. Another if I had the time one. 

Miss Blanche Tells It All: The song they have up seems fun but I have no read on this show. Is it kind of like Hedwig?

Night Tide: Wanted to like it but it's no Little Shop of Horrors. Too bland.

Play Like A Winner: I think this one was also a reading last year but I didn't catch it. The music isn't grabbing me but I am intrigued to see it moving forward so... maybe?

Temple of the Souls: The music sounds a little... simple. But finally some diversity. Thinking about it.

The Cadaver Synod: No music available but the plot is interesting.

The Fourth Messenger: The music does sound comparatively more interesting (I mean the moving piano line, composition, etc.). It's not grabbing me but I think it needs the context of the show. Thinking about this one.

The Goree All Girl String Band: Oh, finally something up my alley. I'm excited about this one. They have an indiegogo https://www.indiegogo.com/projects/the-goree-all-girl-string-band-women-musical#/

Camp Wanatachi in Concert: Interested... but I need to hear some music. This one also has an indiegogo. 

https://www.indiegogo.com/projects/camp-wanatachi-in-concert#/

Happily: I like fairytale stuff when it's good but this could go either way. Not enough to sell me. 

Qing Cheng/Dark City: Blah. The music doesn't sound Asian. Doubtful we're going to get much cultural sensitivity. And even as a basic score, it sounds very bland MT.

The Time Machine: Credit for trying to do something with the music but... seems misguided. Like a really watered down Jekyll and Hyde. Actually, that's too generous.

Firefly in the Light: Rhyming phrases in a natural way is hard. But this feels like it was written with a rhyming dictionary firmly in hand. I can't decide which is worse. Non-rhymes, slant rhymes, or forced rhymes.

Dorian Gray the Musical: Also a bit like watered down Jekyll and Hyde but better than Time Machine. Kind of pretty but bland. Not terribly eloquent.

I Am, I Will, I Do: Not great but slick and safe. It feels like the kind of thing that would end up at the York Theater.

Pedro Pan: Decent music, really needs to be in context

Curious about The House of Edgar Allen Poe, Painting Faye Salvez, and FORA but no info.

 

 

I have settled on The Goree All Girl String Band. I will look out for some of the others on papering sites but not much else is jumping out at me. 

[ElectricBoogaloo]

The people who did last year's #Ham4Bey posted a tribute for the Pulse's one year anniversary with "You Will Be Found" from Dear Evan Hanson. Although I didn't think everything on the Hamilton Mixtape was a success, I think that like this cover, it shows that Broadway songs can also be done in a more contemporary way that appeals to mainstream/non-Broadway fans (although it is a lot easier to do that with a ballad than some of the other musical genres used in Broadway shows).

Edited to add Michael Korte's accompanying note:

Quote

On June 12, 2016, 49 people were killed & 53 others were wounded at Pulse in Orlando. The attack is the deadliest mass shooting in United States history & the deadliest incident of violence against LGBT people in U.S. history. One year later, we sing for Pulse. We sing for Orlando. We sing for you. We sing as one. We will not be silenced. - Michael Korte

Edited June 13, 2017 by ElectricBoogaloo

[aradia22]

Quote

Multi-platinum recording artist Ingrid Michaelson will join the cast of Broadway's Tony Award-winning musical NATASHA, PIERRE & THE GREAT COMET OF 1812 as 'Sonya' beginning July 3, 2017, starring alongside Tony nominated actress Denée Benton as 'Natasha' and Okieriete "Oak" Onaodowan, best known for originating the roles of Hercules Mulligan and James Madison in Hamilton, as 'Pierre'.

Michaelson will be performing the role from July 3 to August 15, while Brittain Ashford, who originated the role of 'Sonya' takes a temporary leave from the show. Ashford will return to THE GREAT COMET on August 16. Ingrid Michaelson will not be performing August 2 through August 6.

Well, that settles that. As adorable as Groban is, I'll wait for Oak and Ingrid. I don't know if she's a very expressive performer but I love her music and I'm interested to see how she does.

[aradia22]

Quote

The trigger-happy squad assembled for Assassins, Stephen Sondheim and John Weidman's carnival ride through the history of political violence, will star Steven Boyer (John Hinckley Jr.), Alex Brightman (Giuseppe Zangara), John Ellison Conlee (Charles Guiteau), Clifton Duncan (The Balladeer), Shuler Hensley (Leon Czolgosz), Ethan Lipton (The Proprietor), Erin Markey (Lynette "Squeaky" Fromme), Steven Pasquale (John Wilkes Booth), Cory Michael Smith (Lee Harvey Oswald), Julie White (Sara Jane Moore), and Danny Wolohan (Samuel Byck). Assassins will be directed by Anne Kaufman, with music direction by Chris Fenwick and choreography by Lorin Latarro.

Lucky break! I just got a ticket to the last performance this afternoon. I am SO here for Pasquale and interested in how Boyer will be. 

Quote

Kirsten Childs' delightful, provocative, and poignant 2000 musical, The Bubbly Black Girl Sheds Her Chameleon Skin, will star Tony Award-winner Nikki M. James (The Book of Mormon) as Viveca, the young African-American dancer who finds her way from West Coast suburbia to Broadway, all while navigating the politics of race and gender in an attempt to uncover her own identity. Directed by Robert O'Hara, the production will feature choreography by Byron Easley and music direction by Annastasia Victory.

I did enjoy Bella and I love Nikki M. James but I'm not sure. Any opinions on this show?

http://www.broadwayworld.com/article/Steven-Boyer-Alex-Brightman-Steven-Pasquale-Nikki-M-James-Taylor-Caldwell-and-More-to-Star-in-Encores-Off-Center-This-Season-20170614

[aradia22]

Re: NYMF

Quote

Olivier Award winner Lesli Margherita (Matilda), Max Crumm (Disaster!, Grease), Wayne Wilcox (RENT, "Gilmore Girls"), and Jennifer Blood (Gentleman's Guide, Violet) will star in Matthew McConaughey Vs. The Devil: An American Myth, directed by Thomas Caruso (Southern Comfort). 

God damn. OK, Matthew McConaughey Vs. The Devil, you got me. 

Quote

Tony Award winner Wilson Jermaine Heredia (RENT) will star in Pedro Pan, based on the real-life events of Operación Pedro Pan, in which a boy is sent to the U.S. to escape the growing dangers of post-revolutionary Cuba. 

Wish I could see it but it's a reading and I'm not buying a pass.

Quote

Lauren Patten (The Wolves, Fun Home) and Ephie Aardema (Song Bird) will star in The Goree All-Girl String Band, directed by Ashley Brooke Monore (Assistant director, Indecent). 

I'd already decided to see this one.

Quote

Drama Desk nominee Nancy Anderson (Sunset Boulevard, Wonderful Town) will star as "Mama Sid" a modern-day Buddhist leader with a worldwide following in The Fourth Messenger, directed by Matt August (How the Grinch Stole Christmas). 

Hrm... not where I thought they'd go. Hrm...

Oof. $33 a ticket. I wish the lowest tiered pass included the Women of Note concerts. I might play chicken with them for a while. It worked for the Jason Danieley/Marin Mazzie 54 Below concert and did not work for The Golden Apple.

[aradia22]

http://www.broadwayworld.com/article/Deborah-Grace-Winer-Steps-Down-as-92Ys-Lyrics-Lyricists-Artistic-Director-20170615

Odd development. I had no sense this was coming. I wonder if she got another opportunity or they want to replace her with someone else. 

[DisneyBoy]

I finally watched through the bootleg of War Paint. It was quite lackluster but still kind of enjoyable.

I enjoyed the song Pink as much as everybody said I would but I was also rather impressed with If I Were A Man. The rest of the songs just didn't register and the plot seemed meandering and episodic. It's a shame the composer and book writer didn't try to come up with one more specific story they wanted to tell because this kind of feels like it was cobbled together from someone's oral presentation on the two women. I found it difficult to get invested in the story. At least there was a generous amount of humor to make it all go down smoothly.

This was my first time seeing Christine Ebersole in a show and I was really impressed by her voice. I thought she gave a very strong performance.

I heard that not much changed between the out-of-town tryout and the Broadway run other than the opening. Did any songs get added or deleted?

[aradia22]

Quote

The Stephen Trask, Peter Yanowitz & Rick Elice musical This Ain't No Disco, directed by Trip Cullman, will feature Broadway favorites Adam Chanler-Berat, Rebecca Naomi Jones, and Lindsay Mendez, plus Krystina Alabado, Ryan Cassata, Will Connelly, Chris Dwan, Antwayn Hopper, Jahi Kearse, Jo Lampert, Carson McCalley,and Samantha Marie Ware. This workshop presentation will play the Martel Theater at the Vogelstein Center for Drama and Film from June 30 - July 2.

Dozens of celebrated actors will also perform in the first Readings Festival, which runs June 24 and 25. The casting is as follows:

Paris, Actors (June 25) by Hamish Linklater, directed by Leigh Silverman, will include Lily Rabe, Linus Roache, Marc Kudisch and Craig Bierko plus Danielle Davenport, Lilly Englert, Lucinda Linklater, Michael Rabe, Matthew Rauch and Noah Robbins.

Also previously announced: Powerhouse's first musical workshop, Stilyagi, featuring lyrics by Lisa Kron, music by Peter Lerman, and direction by Michael Mayer, will feature Krysta Rodriguez, Dave Thomas Brown, Lauren Patten, Dale Soules, Jeb Brown, George Salazar, Alex Boniello, Joel Perez, Sarah Hunt, Marla Louissaint, Chelsea Turbin, Megan Masako Haley, Karl Josef Co, Daniel Jackson, Thomas Hettrick, Cameron Burke, DeMarius Copes, Jovan Dansberry, Nicolas de la Vega, Scott Difford, Wesley Faucher, Sally Glaze, Heather Tepe, Samantha Zack in addition to lyricist Lisa Kron who will also be performing in the workshop. The first musical workshop will play the Martel Theater at the Vogelstein Center from Drama and Film from June 23-25, 2017.

http://www.broadwayworld.com/article/Adam-Chanler-Berat-Lindsay-Mendez-Lily-Rabe-and-More-Join-Vassar-Powerhouses-2017-Season-20170620

[Scott]

On June 18, 2017 at 8:18 PM, DisneyBoy said:

I heard that not much changed between the out-of-town tryout and the Broadway run other than the opening. Did any songs get added or deleted?

The song lists on Wikipedia look like there were a couple things changed.  I only saw the Broadway version, so I can't compare from first-hand knowledge.

[Silver Raven]

Reports that Tim Rice is reworking Chess for a 2018 Broadway production.

[Scott]

Really?  I love me some Chess, but let's hope this turns out better than when they "reworked" it for Broadway the first time around.

[Silver Raven]

15 minutes ago, Scott said:

Really?  I love me some Chess, but let's hope this turns out better than when they "reworked" it for Broadway the first time around.

So long as they keep "Anthem" and "One Night in Bangkok".  And I'd love Josh Groban in it.