Theatre Talk: In Our Own Little Corner

[aradia22]

I'm curious to hear the word of mouth on the incoming plays... The Antipodes, The Little Foxes, 6 Degrees of Separation, Sweat, and How to Transcend a Happy Marriage. I know it's better to bite now before everyone gets hype but I'm still not a big play person and for every Constellations there's a Cherry Orchard. 

My musical list is still mostly the same. I'm going to hold off on Waitress until word that Sara has settled into the role. Then there's War Paint, Anastasia, Amelie, and surprisingly, A Bronx Tale. I still don't think the music sounds great but I watched some clips and it seems like a fun show. And... you know, Bobby's pretty cute. I think I'll skip both Sunset and Sunday (unless this thread comes back with some truly amazing reviews) and Pacific Overtures and Come From Away are hanging around as unknowns. 

[dbklmt]

On ‎3‎/‎2‎/‎2017 at 1:18 PM, Silver Raven said:

I also have a ticket for Gentleman's Guide next weekend. I don't know who's in it.

I'm seeing it on Sunday evening in Costa Mesa and absolutely love this show!!  I saw it twice at the Old Globe before it ever reached Broadway and then again when it was at the Ahmanson last year.  Although the Broadway cast was spectacular especially Jefferson Mays the touring cast is very good.  Did you know that when it reaches Sacramento next week it's the final stop for the GGTL&M Equity company?  It will reopen Non-Equity again later this year.

 

20 hours ago, Scott said:

On ‎3‎/‎2‎/‎2017 at 7:32 AM, DisneyBoy said:

I need to ask a question of those of you planning on seeing the revival of Sunset Boulevard with Glenn Close, or who have already seen it - how do you get past the voice?

One of the stupidest theater-related things I've done (if that's even a category) was _not_ go to see the original LA production of Sunset Blvd. because I didn't want to drive all the way from the Valley to Century City.  (Ugh.)  So, I'm making up for that when I go to NY later this month.  As for the sets, and the production, and the voice...well, I'll deal with what I get, and enjoy it appropriately.  

I saw Glenn Close in the original production at the Shubert Theatre in Los Angeles on December 18, 1993, and it was one of the GR8 theatrical performances that I have ever seen.  The set of course was magnificent, but for me it was her performance vocally and acting which was the star.  I can still feel the goosebumps that I felt when she performed "As If We Never Said Goodbye" and her finale scene.  Sure she's older now and as expected wouldn't have the vocal range that she had 24 years ago, but her acting is what makes this story great.  I'm looking forward to seeing this production on my trip to NYC at the end of May.

On ‎3‎/‎2‎/‎2017 at 9:55 AM, aradia22 said:

I listened to a few minutes. I don't hate it. But I'm still not in a rush to see it. There are just so many shows... 

Sorry to see you posted this regarding "Come From Away" which if you remember I posted about in 2015 when it premiered at the La Jolla Playhouse.  Here's what I said about the show then.

Quote

 

I went to the La Jolla Playhouse on Sunday evening to see what was the 2nd preview of the World Premiere Musical, "Come From Away" based on true-life events that occurred on September 11, 2001 when 38 jetliners carrying thousands of people from around the world descended on Gander, Newfoundland.  It's in the smaller Potiker Theatre in the La Jolla Playhouse theatre complex. 

 

The staging was minimal with trees native to Newfoundland on the left and right sides of the stage with the 8 piece orchestra utilizing many types of musical instruments from around the world sitting at the back on the left side of the stage.  The stage was empty with a circle flooring that moved when needed.  There was a cast of 12 who performed at least two roles, one of the Newfoundlanders and one of the twelve passengers from around the world. 

The show was performed without an intermission and ran just under 1:40.

 

Cast included:

Petrina Bromley, a Canadian who played Bonnie, the Newfoundlander who was worried about the animals stranded on the plane.  Very Good!

Geno Carr to be seen in Allegiance in the Fall on Broadway as Oz

Jenn Colella as Beverly who was the pilot of a Lufthanser flight stranded in Gander.  She was GR8 just as she was when she played the evil Hedda Hopper in "Chaplin" that got its start at the La Jolla Playhouse.  Her song "Me and the Sky" with other female cast members about being a woman in a man's field was my favorite in the show!  Had a nice chat with her after the show.

Chad Kimball as Colin 1 which was one part of a Gay coupling on the plane and also as the school bus driver who allowed the school busses to be used to take the stranded passengers to wherever they would be staying during their stay in Gander.  Looked and sounded great.  His "Prayer" with Caesar Samayoa, Q. Smith and Astrid Van Wieren was one of the more poignant moments and got the biggest applause of the night.  My friend who went with me knows Chad so we had a very long talk with him after the show and I had the chance to tell him that I was there when he performed in Memphis for Mrs. Obama and their family and friends on Sunday, March 21st, 2010.  I even bought one of the BCEFA broken records they sold with Chad and Montego's autographs that's in a framed collage hanging on my wall in my office as I type this.  He told me the story which I've heard before that he wasn't going to perform that day as he had back issues but was told to perform when the First Lady and family were going to be in the audience.  He said that it was a wonderful day but that he really was in great pain when he performed.

Joel Hatch who has been seen on Broadway in Annie and Billy Elliot and in many regional productions played Claude, the mayor of Gander. He led the 1st numbers, "You Are Here" and "Welcome to Newfoundland" which was a great beginning to the show.  

Rodney Hicks who was in "The Scottsboro Boys" on Broadway was one of the standouts in this ensemble cast.  He played all the people of color on the planes and when the heavy religious overtones were needed. 

Lee MacDougall who I remember as the Cowardly Lion from the recently Canadian touring company of Andrew Lloyd Webber's the Wizard of Oz"  played Nick, an elderly single male airplane passenger who would bond with Diane played by Sharon Wheatley during their stay in Gander.  Their duet, Stop the World was another good musical moment. 

Allison Spratt Pearce played Janice the TV reporter.  Her Broadway credits include Curtains, Cry-Baby and Good Vibration.

Caesar Samayoa who was on Broadway in Sister Act and the Pee Wee Herman Show played Colin2, the other half of the Gay couple but he also got to play the ethnic roles on the plane especially the Muslim characters. 

Q. Smith who I loved in the touring company of Mary Poppins played Lana, the stewardess on the plane and other African American passengers/townspeople.  Her voice was dynamic and it stood out especially in that religious number with Chad, "Prayer".

Astrid Van Wieren, a Canadian actress who is from Newfoundland was perfect as Beulah who worked at the school where many of the displaced passengers would spend their time when they finally got off the plane.

Sharon Wheatley played Diane, a divorced mother returning to Texas from London after visiting her son and meets Nick, the single elderly passenger sitting next to her on their plane.  She has many Broadway credits: Les Miz, Phantom of the Opera, Cats and Avenue Q in Las Vegas.  For me I know her from her wonderful Smash blogs that she wrote online at http://www.sharonwheatley.com/ Two years ago she and her family moved to San Diego where her husband Rob is now the head of the San Diego State Theatre Arts department.  I wondered if I would ever see her at the Old Globe, San Diego Rep or the La Jolla Playhouse and when I discovered that she was going to be in this musical I bought my ticket; she didn't disappoint.  She had a very nice voice and was perfect in her portrayal of Diane.  She had two of the really good numbers "Costume Party" which she performed with Jenn Colella and the duet I mentioned earlier with Nick, "Stop the World".  When the play was over we waited for her to come out and after she spent some time with her husband and their beautiful young daughter, Beatrix my friend and I had a very long talk with her about Smash and her husband's involvement with the San Diego State Theatre Arts Program.  I asked her about any future plans for this show and she said they had a plan.  As already mentioned by Wilson Cat it will be transferring to Seattle Rep in November.  There is talk about opening in Toronto and at the Kennedy Center so this show has life.  It has good music especially the world wide sound incorporated by the orchestra.  It would work best in a small theatre but probably Off Broadway and then if it succeeds could transfer to Broadway. 

 

Out of this cast only Allison Spratt Pearce did not transfer to Broadway.  The role of the TV reporter is now being played by Kendra Kassebaum who joined the cast in Seattle.  Those that have read some of the critiques on Broadway World will see that many of the moments that I reference have also been applauded there.  I'm seeing this as my 1st show on my trip to NYC in May and can't wait to see it again.  I think it will be one of the sleeper hits of this Broadway season.  Are there any NYC people here that have seen it since it opened in previews?

[aradia22]

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Producers of the Tooting Arts Club production of Sweeney Todd: The Demon Barber of Fleet Street have announced that New York audiences can now "attend the tale" through December 31, 2017, with a new block of tickets on sale today.

Beginning with tonight's 7:30 PM performance, a limited number of $39 tickets will be made available to every performance of Sweeney Todd via the TodayTix app. The entry period for all performances will begin each performance day at 12:01am EST and continue until winners are notified via email and push notification 2-4 hours before the selected performance begins. Limit one entry per person and two tickets per winner. A photo ID is required for pickup and lottery tickets and seat locations are subject to availability.

Reprising their critically acclaimed performances from the original Tooting and West End productions are British stage stars Jeremy Secomb (as Sweeney Todd), Olivier Award nominee Siobhán McCarthy (as Mrs. Lovett), Duncan Smith (as Judge Turpin) and Joseph Taylor (as Tobias). They are joined by Matt Doyle (as Anthony), Alex Finke (as Johanna), Betsy Morgan (as Pirelli & Beggar Woman) and Tony Award nominee Brad Oscar (as The Beadle). The cast also includes Colin Anderson, David Michael Garry, Liz Pearce and Monet Sabel. Secomb, McCarthy, Morgan, Smith and Taylor will stay with the production for eight weeks only through April 9, 2017.

Beginning April 11, 2017, Tony Award nominee Norm Lewis (as Sweeney Todd), Tony Award nominee Carolee Carmello (as Mrs. Lovett), Stacie Bono (as Pirelli & Beggar Woman), Jamie Jackson (as Judge Turpin) and John-Michael Lyles (as Tobias) join the cast. Casting for performances from August 15, 2017 to December 31, 2017 will be announced at a later date.

I guess it's selling really well. I liked the idea of this in theory until I saw some of the photos. It looks too American/modern for me. I was picturing a grungy sort of Victorian pie shop. Speaking of pies, I bought my ticket for Waitress with Sara Bareilles!

http://www.broadwayworld.com/article/Immersive-SWEENEY-TODD-to-Slay-Off-Broadway-Through-December-Digital-Lottery-Announced-20170302

Quote

Sorry to see you posted this regarding "Come From Away" which if you remember I posted about in 2015 when it premiered at the La Jolla Playhouse.  Here's what I said about the show then.

I'm not ruling out seeing it at all. It's just that right now other shows are more high priority for me. It think it was all the choral bits/narrating the action that threw me off. I understand that they have to cover a lot of information and a lot of characters but it seemed impersonal in a way that doesn't appeal to me. Plus, because so much of it is laid out, I feel like I could get the gist of the story just listening to the album. Whereas I'm really excited for the performances and the sets/costumes when it comes to War Paint, Anastasia, and Amelie. If it makes you feel any better, I'm also not that bothered about seeing Dear Evan Hansen and that one's a hot ticket. This is one of the most crowded seasons in recent memory and I only have so much money for theater. 

[aradia22]

I got my mailer for Encores' production of Cole Porter's The New Yorkers. Full casting here http://www.playbill.com/article/the-encores-revival-of-the-new-yorkers-finds-its-cast

Obviously, the name that jumps out at this Zhivago fan is Tam Mutu. I still haven't listened to Seussical or maybe I'd be more excited about Kevin Chamberlin and Eddie Korbich. I don't think this one will be a hot ticket so like with Big River, I think I'll wait on the promo videos. The Playbill article makes it sound like they really had to put this one together from scraps. 

[aradia22]

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Classic Stage Company has announced complete casting for their upcoming production of Stephen Sondheim and John Weidman's Pacific Overtures, directed and designed by Tony Award winner John Doyle, beginning performances Thursday, April 6 at CSC (136 East 13th Street) for a limited engagement through Saturday, May 27. Opening night is Thursday, May 4.

Joining the previously announced George Takei, who will play Reciter, in the cast are Karl Joseph Co, Marc delaCruz, Steven Eng, Megan Masako Haley, Ann Harada, Kimberly Immanuel, Austin Ku, Kelvin Moon Loh, Orville Mendoza, Marc Oka and Thom Sesma.

Eeh! Ann Harada! Tickets are on sale now... but they're $71. 

http://www.broadwayworld.com/article/Ann-Harada-Kelvin-Moon-Loh-and-More-Join-George-Takei-in-CSCs-PACIFIC-OVERTURES-Cast-Complete-20170306

Edited March 6, 2017 by aradia22

[aradia22]

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Next spring, Lincoln Center Theater, in association with Nederlander Presentations Inc., will mount a new production of Lerner & Loewe's MY FAIR LADY, the first Broadway production of the classic musical in 25 years.

MY FAIR LADY, which will be directed by Bartlett Sher, will begin previews Thursday, March 22, 2018 and open on Thursday, April 19, 2018 at the Vivian Beaumont Theater (150 West 65 Street).

2018 production of MY FAIR LADY will have sets by Michael Yeargan, costumes by Catherine Zuber, and lighting by Donald Holder. Casting and additional creative credits will be announced at a later date.

IT IS HAPPENING. And now we wait for casting. 

http://www.broadwayworld.com/article/First-New-Production-of-MY-FAIR-LADY-in-25-Years-to-Dance-All-Night-on-Broadway-Next-Spring-20170306

[Charlie Baker]

Well, the casting possibilities for My Fair Lady are certainly worth speculating on--since it's Lincoln Center, they don't have to worry as much about booking "names", as a commercial revival might, but it might be interesting to do as the original and have an established name as Higgins and a prodigiously talented newcomer as Eliza.

[aradia22]

BWW has already covered this a lot. I know Kelli O'Hara and Laura Benanti have expressed interest and I do love them, but I'd like to see a younger actress (Eliza is 18 in Pygmalion... though someone in her 20's is fine) and if they could find an actual British actress that would be even better as let's just say everyone isn't great with the accents. 

[Silver Raven]

1 hour ago, aradia22 said:

BWW has already covered this a lot. I know Kelli O'Hara and Laura Benanti have expressed interest and I do love them, but I'd like to see a younger actress (Eliza is 18 in Pygmalion... though someone in her 20's is fine) and if they could find an actual British actress that would be even better as let's just say everyone isn't great with the accents. 

Emma Watson?

[Rinaldo]

Kelli O'Hara is out of the picture unless she chooses to withdraw from the Metropolitan Opera's new production of Così fan tutte, which exactly coincides with the preview period. (Which, as it has been advertised with her name and she seems to be a decent person, I don't think she would.) Laura Benanti has described Eliza as one of her three dream roles (and she recently got to play the other two), but at 37 the ship may have sailed for this one. Or maybe not. 

The standard of cross-Atlantic accent-mastery among professional actors is quite high these days, so I'm not concerned about that issue. (Equity might have some issues about importing someone who's not a star, though.)

1 hour ago, Silver Raven said:

Emma Watson?

Let me hear her soprano G. The role is a tough sing (Julie Andrews always insisted it made unreasonable demands, and she had years of training and experience behind her, even at that early age). It needs an experienced musical performer, not someone who recently described herself as terrified to sing on film, even with all the protection that medium affords. Luckily, unlike many stage directors Bartlett Sher has always shown that he takes vocal requirements seriously when he casts.

[Silver Raven]

Glory Crampton was Liza in Sacramento a couple of years ago.  She's 52 years old, for God's sake.

[ElectricBoogaloo]

Has anyone seen The Curious Incident of the Dog in the Night-Time? It's playing in San Francisco in a few months and I am thinking about getting tickets. I'm hesitating because the old theater where it's being done is not the greatest (and it's in a sketchy neighborhood which doesn't help matters) so I don't know if I should save my money for a different show.

On 1/9/2017 at 4:40 PM, Charlie Baker said:

I enjoyed a lot of the Wicked score, but didn't like the book.  I never read the novel.  And to show how good a predictor I am of showbiz success, I thought once Ms. Chenoweth and Ms. Menzel left, the show would have trouble finding audiences to fill that theater.

I had mixed feelings about Wicked. I read the book when it first came out, so I was really surprised when it was announced that they were turning it into a musical because that is a dense book with a lot of political stuff. I was thrilled when I learned that Winnie Holzman was working on the book for the musical version because I loved My So-Called Life. When I initially heard the songs, I wasn't that impressed with most of them (and duh, the music is pretty important in a musical!). I was convinced that once Cheno and Idina left, the show wouldn't do well. I totally admit that I was wrong about that! Once I saw the show, I still felt the same about the music as I originally did. There were three or four songs that really stood out and the rest were forgettable for me. The scenery and costumes were great and I think it helped that people were already familiar with The Wizard of Oz.

On 3/3/2017 at 3:27 PM, dbklmt said:

Sorry to see you posted this regarding "Come From Away" which if you remember I posted about in 2015 when it premiered at the La Jolla Playhouse. 

I haven't seen "Come From Away" yet but I wanted to add that a friend of mine who is very particular about musicals saw this show at the La Jolla Playhouse and LOVED it.

On 1/14/2017 at 10:48 PM, aradia22 said:

I should really be going to bed soon but I wanted to urge all of the opera fans who follow this thread to check out the Met Live in HD airings of Romeo et Juliette. It's not to be missed. Vittorio Grigolo and Diana Damrau were all I could have wanted. I like singers who sing out and they not only sang out but they sang gorgeously. The production was fantastic. The only time I rolled my eyes a little at the Bartlett Sher-ness was the white sheet. I loved the costumes, the set was great... this is the kind of night at the opera you hope for.  

I wish I could see it again but the screenings near me are already sold out. If anyone knows if/when this is airing on Great Performances (I missed absolutely everything last year) PLEASE tell me. 

I know I"m way too late for you on Romeo et Juliette specifically, but I wanted to let you know that I recently learned something about these performances! On the main website where they list all the special performances, they always a few megaplex theaters near my house. But they also play at a tiny independent theater a week or two later and those shows/theater location are NOT listed on the Fandango website. It's not just the Met Live shows either. It's also the Bolshoi Ballet performances and special events like Newsies. It might be worth it to check the schedules of any local independent movie theaters nearby to see if they also do the later screenings. Now that I know which indie theater near me has these special events, I check their schedule regularly.

On 2/3/2017 at 0:35 PM, aradia22 said:

http://www.broadwayworld.com/article/Jennifer-Damiano-and-Constantine-Rousouli-to-Star-in-CRUEL-INTENTIONS-THE-MUSICAL-at-LPR-Cast-Announced-20170202

I know I'm a sentimental fool, but one of the most awwww inducing pictures I saw was when Sarah Michelle Gellar, Reese Witherspoon, and Selma Blair attended this show together when it was in LA.

[aradia22]

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Has anyone seen The Curious Incident of the Dog in the Night-Time? It's playing in San Francisco in a few months and I am thinking about getting tickets. I'm hesitating because the old theater where it's being done is not the greatest (and it's in a sketchy neighborhood which doesn't help matters) so I don't know if I should save my money for a different show.

I wasn't motivated enough to see it. But word of mouth was overwhelmingly positive and of course, Sharp won the Tony. Whatever you decide, please stay safe!

Re: Met Live in HD I think what you mean is that there are initial screenings and then encore screenings. I forget which way it goes but sometimes one is in the afternoon and one is at night so I get tickets based on whichever is more convenient. And sometimes the encore screenings have cheaper ticket prices. 

Also, I already missed Tristan und Isolde. I don't know why PBS is doing such a terrible job with the publicity. I like the idea of watching on TV but I don't think I'll be getting an online subscription anytime soon. I might want to watch some older actors but otherwise, the idea of watching them on a tiny screen and listening through my not-especially-great headphones isn't very appealing. Sigh... First world problems.  http://www.broadwayworld.com/bwwopera/article/Tristan-und-Isolde-on-Season-Premiere-of-GREAT-PERFORMANCES-AT-THE-MET-129-20170123

[aradia22]

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launch of an online ticket lottery for Andrew Lloyd Webber's iconic musical, Sunset Boulevard. The Sunset Boulevard Digital Lottery will open daily at 8 am EST (8 pm EST the evening prior for matinee performances), beginning Tuesday, March 7, 2017, for entrants to win a limited number of $55 same day tickets to that day's performance(s). See below for rules and regulations. The Sunset Boulevard digital lottery is powered by Broadway Direct.

To enter the Sunset Boulevard digital lottery, visit:https://lottery.broadwaydirect.com/show/sunset/

I'm not sure this is all that much better than the $42 rush or TDF but it's available. 

http://www.broadwayworld.com/article/Digital-Lottery-Announced-for-Andrew-Lloyd-Webbers-SUNSET-BOULEVARD-20170307

[aradia22]

Since we were talking about Assassins... I saw Robert Lenzi in Tuck Everlasting and P.J. Griffith in a NYMF show and thought they were both good (P.J. more for his voice than his acting... it was a very over the top Jekyll & Hyde kind of show/score though). No one jumps out as me as someone I'd really like to see in the City Center production except Stephen DeRosa who was a scene stealer in a recent 92Y Lyrics and Lyricists concert. 

[aradia22]

Dispatch from Carnegie Hall tonight... NY Pops, Caissie Levy and Tony Yazbeck, Kander and Ebb tribute

It was lovely to be part of a pre-90th birthday celebration for John Kander, who was in attendance. I can get into more specifics if anyone asks but suffice it to say, the evening was mixed. It took a while for everyone to warm up, both the orchestra and soloists, so the first few songs felt like throwaways. Yazbeck was mostly fine but not very exciting besides throwing a tap break into 2 numbers. I did occasionally think about what the night would have been like if Joshua Henry hadn't booked Hamilton. Levy didn't seem to be in great voice/singing to her full potential for a lot of songs and I also felt like many of the songs didn't suit her voice. She had some nice warmth in Hair but she's a more modern singer. She's in that thinner, high belt category more than the old-fashioned Merman belt or even the fuller Liza/Chita belt. She did have a few numbers that really worked but I think it was because they were more like standards so they gave her the freedom to sing her way. Michael John LaChiusa used her to great effect in First Daughter Suite but these songs didn't play to her strengths as much, though of course, I love them. The NY Pops tends to stick with the most popular shows for these composer-centric nights but I felt like Zorba... and Curtains because it was so recent, were notable exclusions. I get that it's supposed to be a fun concert but I feel like they did their best to sidestep the darkness and social commentary in a lot of Kander and Ebb shows. It was a lot comedic numbers, love songs... I think the most cynical number was probably Razzle Dazzle. They even changed the lyric to "and Sophie Tucker'll wail I know." 

Tony Yazbeck brought up the fact that he's working on Beast in the Jungle. http://www.playbill.com/article/chicago-and-cabaret-composer-at-work-on-a-new-musical

[DisneyBoy]

Quote

I had mixed feelings about Wicked. I read the book when it first came out, so I was really surprised when it was announced that they were turning it into a musical because that is a dense book with a lot of political stuff. I was thrilled when I learned that Winnie Holzman was working on the book for the musical version because I loved My So-Called Life. When I initially heard the songs, I wasn't that impressed with most of them (and duh, the music is pretty important in a musical!). I was convinced that once Cheno and Idina left, the show wouldn't do well. I totally admit that I was wrong about that! Once I saw the show, I still felt the same about the music as I originally did. There were three or four songs that really stood out and the rest were forgettable for me. The scenery and costumes were great and I think it helped that people were already familiar with The Wizard of Oz.

I definitely agree that people's familiarity with Oz sells the show regardless of who's actually starring in it. I also have big issues with the book in spite of liking some of the songs and finding the general structure of the piece decent. The biggest sin is that it utterly fails to give us a compelling version of the Wicked Witch. Elphaba just kind of spends the show running around trying to please others or seek their approval or generally acting overwhelmed and lost. She doesn't feel like a compelling anti-heroine to me and it all got summed up by that scene near the end where she yells at Glenda "I am the Wicked! Witch! of the West!!!" I just want to roll my eyes and say " oh, get over yourself" every time I see that. Whiny, much?

It also bums me out that a musical so supposedly about girl power and friendship really boils down to a story about who gets the guy. Way too much time in the show is spent dealing with that, and I find the political stuff much more compelling. Glinda's second act opener is probably one of my favorite moments in the show if not the favorite. When you look at the overall story, Glinda really doesn't do anything good at all but ends up being the one who supposedly has a better character arc. If anything, she proves that being pretty and not challenging anybody gets you further in the long run...I'm still baffled as to how she manages to somehow overthrow the wizard and Morrible in the end. Why do the guards suddenly start listening to Glinda when she orders Morrible hauled away? Why doesn't Morrible, who has actual magic powers, use them against power-less Glinda?

I could go on and on about the things in the show that make me crazy...but the fact that the show tries to convince us that these two characters have a great friendship or that either one of them has learned something valuable or that either one of them is a role model or inspiration to little girls drives me batty. Everything in the production has a thick layer of cute smeared over its so that you don't think too hard about what is being presented to you.

And for all the hoopla about the costumes and sets, I really felt like it was stealing a page from Phantom of the Opera and using motifs like the clock dragon without explaining them whatsoever.

And yet still somehow I kind of sort of like the show a teeny bit? Can you tell I'm conflicted about this, LOL?

[Silver Raven]

Wow.  I loved A Gentleman's Guide to Love and Murder.  So funny, so slapstick, so Gilbert and Sullivan-esque.  Great costumes, great onstage business (one scene with slamming doors was a bit of great timing). The set design, both with actual sets and with video backdrops, really, really worked. The pastor falling from the tower was outstanding.

John Rapson as all of the D'Ysquith family was superb.  He had great comedy timing and a good voice.

The two female leads, Kristen Beth Williams as Sibella and Kristen Hahn as Phoebe, had lovely soprano voices.

But Kevin Massey as Monty really shone.  Excellent voice, great comedy, and an excellent physical comic.

Today's show was the close of the tour.  They ended it by saying goodbye to all of the cast and crew.

[Rinaldo]

That's great to hear, @Silver Raven. I loved the show, its score, and its original production when I saw it soon after its Broadway opening. I suspected that it would tour well, and be amenable to new casting. I imagine that once it's made available, it'll become a staple of regional and community theaters. And it deserves to.

[ElectricBoogaloo]

I saw Hand to God at the Berkeley Rep a few weeks ago and I liked it but I didn't love it. I do give the to lead actors credit for being able to carry on a conversation while simulating puppet sex. That's well beyond the normal "pat my head and rub my belly" multitasking! And thanks to this show, I now know that there is a thing called puppet ministry at churches.

The production was held in the small theater with a thrust stage, so it was cool to see how they made such a small space work for four different settings. The Berkeley Rep has consistently good shows, and I love that they also have pre-show talks with docents as well as post-show talks with the cast. The show I saw had both, which was a great bonus.

The other really good thing about Berkeley Rep is that, unlike some other arts groups, they have embraced social media in every way possible. Until a few years ago, the Orpheum (the theater in San Francisco that shows all the big Broadway residencies like Hamilton, Wicked, Book of Mormon, etc) used to have the ushers march up and down the aisles with signs that said, "NO PHOTOGRAPHY IN THE THEATER!" and then they would come by and yell at people who were using their phones before the show (accusing them of trying to take photos). Berkeley Rep, on the other hand, has turned one of the old coat check rooms into an electronic photo booth with a backdrop and props for each show and then you can upload them directly to IG, FB, etc. or have them emailed directly to you.

I don't know why more theater companies don't do something like this. Social media is here to stay and if you provide things like that (or hell, just a giant poster in front of the theater where people can take pictures), it's free advertising. But too many companies continue to resist, which does not endear them to younger fans. When I saw the tour of The Little Mermaid last year, they hired two girls dressed as mermaids to sit in the lobby and take free pictures with anyone who wanted to stand in line for a few minutes. They also had huge posters in different areas of the lobby where people could take pictures so that everyone wasn't crowded in one spot. In my eyes, that's marketing money well spent!

[Silver Raven]

Sacramento Community Theater and the Music Circus have  big posters where people can take pictures, too.

[Scott]

I get what you're saying, ElectricBoogaloo, but I think you may be comparing apples and oranges.  Photography in the lobby is a different beast than photography in the theater itself.  We already have problems with people talking, texting, and otherwise being obnoxious as hell during a show--if the no photography rules can remind people that behavior that was ok outside isn't ok inside, I'm all for it.  (I'm assuming we're not even talking about photography during the show itself, which I think most people are OK banning, but things like taking a picture of the curtain before the show or posing with your Playbill or whatever.)

[aradia22]

Quote

We already have problems with people talking, texting, and otherwise being obnoxious as hell during a show--if the no photography rules can remind people that behavior that was ok outside isn't ok inside, I'm all for it.  (I'm assuming we're not even talking about photography during the show itself, which I think most people are OK banning, but things like taking a picture of the curtain before the show or posing with your Playbill or whatever.)

I don't know. I obviously hate all the talking, texting, photography, video recording, etc. during a show. But I'm OK with curtain photos or other photos people might take (with the theater's permission) pre-show and during intermission. I think the sites where you show pictures from your seat can be helpful when people are buying tickets. And I'm starting to do the Instagram thing and it's kind of nice to share little snippets of my theatergoing... of course without disrupting anyone else's experience. I still kind of hate the curtain call photos though. Especially because I think it leads people to silence their phones instead of totally turning them off. 

[ElectricBoogaloo]

I'm totally against taking photographs during a performance. It's distracting to the performers and it's rude to anyone sitting nearby. But before the show starts, after the show ends, and during intermission? That should be fair game. Pictures like this hurt no one and help promote the shows, as well as theater in general:

Theater will not survive if only older people support it. It needs younger people to become the next generation who will financially support the arts, and theaters are not going to get that if they are constantly yelling at 20 and 30 something theater goers for taking selfies, pictures of the stage, pictures of their tickets/programs, etc. inside the theater. That's why I think it's smart marketing for them to create places where people can take photos so that people can get the picture souvenir that they can post and share. There are way too many theaters that have nothing like that.

As for taking pictures inside the actual theater, there are some theaters with beautiful interiors. No matter how many time I go to the San Francisco Opera House, I always stare at the ceilings, the cherubs and other adornments, etc. I once got reprimanded for taking a picture of the ceiling at another theater before the show (without the flash or anything) and I was like dude, have you SEEN the ceiling? It's gorgeous!

ETA: Sorry, I don't know why the Instagram pictures aren't embedding now. They showed up fine when I originally posted them. Here are the links:

https://instagram.com/p/BRjC_5oB8TJ/

https://instagram.com/p/BRmrO_nDmrr/

https://instagram.com/p/BRhrdtUlZSX/

Edited March 15, 2017 by ElectricBoogaloo

[aradia22]

I know we have some Justin Guarini fans. I just wanted to let you know he's doing a 54 Below show in May.

https://54below.com/events/justin-guarini-soul-broadway/

[ElectricBoogaloo]

I never liked Justin Guarini when he was on American Idol, partly because he reminded me of a cross between Sideshow Bob and the Scarecrow, but mostly because I wasn't a fan of his voice. But I did find his friendship with Kelly Clarkson endearing. It's good to know he's still singing though. There has been a lot of discussion in the This Is Us forum about why a middle aged person needs to keep pursuing a singing career, but I say more power to you if you can still sell seats!

[Rinaldo]

2 hours ago, ElectricBoogaloo said:

It's good to know he's still singing though.

More than still singing -- he's become a much respected member of the theater community. I don't know what he does in his occasional solo concert appearances, but when he appears in musicals of the classic type, he purges his delivery of all those unpleasant American Idol mannerisms and sounds exactly right. On the Encores! recording of Paint Your Wagon in particular he's a match for the wonderful Tony Bavaar of the original cast, but he's also outstanding (among an all-star cast) on Women on the Verge of a Nervous Breakdown.

2 hours ago, ElectricBoogaloo said:

There has been a lot of discussion in the This Is Us forum about why a middle aged person needs to keep pursuing a singing career,

Whaaat? That sentence makes zero sense to me, however many times I keep rereading it. On the most mundane level, if that's where your (and your family's) income is coming from, that right there is why you "need" to keep doing it. But the sentiment seems to be rooted in the idea that my profession (music) is not a fit occupation for an adult. I'm glad I don't read that forum; my replies to such posts would get me thrown out pretty quickly.

[ElectricBoogaloo]

27 minutes ago, Rinaldo said:

Whaaat? That sentence makes zero sense to me, however many times I keep rereading it. On the most mundane level, if that's where your (and your family's) income is coming from, that right there is why you "need" to keep doing it. But the sentiment seems to be rooted in the idea that my profession (music) is not a fit occupation for an adult. I'm glad I don't read that forum; my replies to such posts would get me thrown out pretty quickly.

The character in question is a woman who gave up singing when she had her kids and then at the age of 40+ is trying to restart her career by singing with a band in local bars. Even if you are making no money, I don't think that anyone ever needs to give up singing. Similarly, even though Justin Guarini wasn't my cup of tea, I am happy for anyone who has a successful musical career.

[Milburn Stone]

A general query to the collective brain here: What is there in London theatre in the month of April (musical or straight play) that you'd recommend? (Either because you've seen it, or because you'd like to?) Thanks.

[Rinaldo]

Thanks for the clarification, @ElectricBoogaloo. As for this,

5 hours ago, ElectricBoogaloo said:

even though Justin Guarini wasn't my cup of tea

believe you me, he wasn't mine at the time either (and that's understating it). His participation in From Justin to Kelly made him, not undeservedly, a punch-line for years afterward; just citing his name evoked laughs and eye-rolls (and I include myself). But I've seldom seen such a convincing and complete transformation. I give him a lot of credit for rising above all that stuff, continuing to study and audition, and becoming the artist (yes) that he has. Do listen to "I Talk to the Trees" if you can, for a sample of what he's capable of. I saw his Bobby in Company at Bucks Country Playhouse too, and that was on the same high level. So (going non-musical for a moment) was his Count Paris in the recent Romeo and Juliet production (filmed, and viewable on Broadway HD) -- a smallish but pivotal role well played without gimmicks.

[Silver Raven]

5 hours ago, Milburn Stone said:

A general query to the collective brain here: What is there in London theatre in the month of April (musical or straight play) that you'd recommend? (Either because you've seen it, or because you'd like to?) Thanks.

If you haven't seen it, and are not offended by religious humor, I highly recommend The Book of Mormon. It's playing at the Prince of Wales Theatre.

[Silver Raven]

Win a trip to New York to see Dear Evan Hansen.

http://sweepstakes.dearevanhansen.com/landing?promo_id=0a94e119-028e-43b0-94b2-48e18fb460ad&campaign_id=1101&utm_campaign=Dear-Evan-Hansen-and-The-Skimm&utm_medium=sweeps&utm_source=Dear-Evan-Hansen

[ElectricBoogaloo]

On 3/13/2017 at 1:10 PM, Silver Raven said:

Sacramento Community Theater and the Music Circus have  big posters where people can take pictures, too.

That's where I saw The Little Mermaid last year! I saw a few months ago that the national tour is continuing through this fall.

17 hours ago, Milburn Stone said:

A general query to the collective brain here: What is there in London theatre in the month of April (musical or straight play) that you'd recommend? (Either because you've seen it, or because you'd like to?) Thanks.

 

11 hours ago, Silver Raven said:

If you haven't seen it, and are not offended by religious humor, I highly recommend The Book of Mormon. It's playing at the Prince of Wales Theatre.

I agree with this recommendation - it's a hilarious show with some really good songs. Even people who don't like musical theater like this one! Heh, although a friend of mine who saw it in Minneapolis a few years ago said that one couple sitting near him got up and left because they were clearly offended.

Have you seen any of the big old musicals like Les Mis or Phantom? If not, those are classics! I missed Kinky Boots when the tour came through my city, so I can't say with 100% certainty that it's awesome but I've heard good things and it's a more recent musical than Les Mis or Phantom.

If you are looking for a non-musical, The Curious Incident of the Dog in the Night-Time is supposed to be visually stunning. It won five Tonys and seven Oliviers so it must be pretty good. I have tickets to see the tour but not until after your trip to London so I can't personally vouch for it but maybe we can compare notes!

[aradia22]

[Silver Raven]

15 minutes ago, aradia22 said:

Thanks for that.  I saw a clip of it in the entire show clips and was hoping they would post the entire thing.

[aradia22]

Kaija Saariaho's L'Amour de Loin ("Love From Afar"), one of the most highly praised operas of recent years, airs on Great Performances at the Met Sunday, April 2 at 12 p.m. on PBS (check local listings). (In New York, THIRTEEN will air the opera at 12:30 p.m.)

[aradia22]

If you want to take a moment and appreciate the beautiful, wonderful dorks in the musical theatre world, head over to the Chicago musical twitter page to see all the John Kander birthday wishes. They rounded up videos from all the top working composers. It made me tear up a little.

[aradia22]

Some thoughts on Idomeneo last night. Bear in mind I don't have any of the terminology and I'm a fairly new fan so my opinion is rooted in nothing but my personal taste. 

I thought Ying Fang sang a beautiful Ilia. Her voice had that glowy, magical quality... especially when she held out those high notes. I don't know how to describe it other than imagining the sound as this glowing ball of light that just rises up to the top of the theater. It gave me happy shivers. The character was a pretty typical ingenue and didn't demand a lot of acting. She wasn't flat or dead-eyed but beyond that I can't really critique the performance. She's definitely on my radar now and I'd be inclined to see another performance if she was in it. 

Elza van den Heever was very fun as Elettra. Her big act I number was VERY divalicious and intense. In act 2 she was basically humping the furniture and she really milked her fainting (or death?) scene in act 3. Her performance was a little flat in the face. Not a lot of emoting, but occasional mugging. Also, I get that it's the story but Electra is a pretty cool, complicated character and they made her into a pretty one note joke of a romantic rival. 

The one I didn't like was Alice Coote as Idamante. There's no other way to put it... every time she had an extended passage to sing I yawned. I mean, it was a long night (4 hours 30 minutes) but I only yawned once in act 3 but I yawned every time she sang for an extended period of time. They made her up to look pretty convincingly male. But it was annoying with the lax supertitles and the binoculars trying to figure out who was singing when she was on stage with Elettra or Ilia or worse... both of them. Also, again, I don't have the terminology but I'm not into her voice. I'm not exactly sure if it's the vocals or the pronunciation but the best way I can describe it is cartoon chicken. You know when there's a usually prim cartoon chicken... or maybe a cow... that gets to sing? It's like that. It sounds very affected to me though I know a bunch of older opera singers sound like that so it's intentional.

I really loved the music, particularly in act 1. I thought it got a little dreary (which made sense based on where the story was going) in acts 2 and 3 but act 1 was great. I loved how mobile the strings, and really the whole orchestra was underneath the parts that were being sung. 

I was not that into the set. I liked the big Neptune face and I understood the mostly stone set. But I didn't totally get why they were sort of in ruins. And it didn't look great with the images on the scrims you could barely make out. When they lit it, it looked better but there were times it was just so dreary. 

I feel like the costumes must make sense to someone. Maybe they were historically accurate to Mozart's time. But to me, it looked like a really weird mix of Ancient-Greek inspired costumes (Ilia's second costume looked very modern) and maybe a little 17th century Dutch (Vermeer) and Restoration England and... I don't know. To me it just read as cobbled together and anachronistic and I wish there was one aesthetic and the colors were more significant. I mean, Elettra was dark and Ilia was light and everyone else was a mush that was kind of boring to look at. 

I enjoyed myself but I don't feel the need to sit through it again. The direction wasn't horrible but it wasn't great either. It was like one step up from park and barking, except for Matthew Polenzani who prowled around the stage and seemed to be actually trying to act. There was a dynamism to his performance that was missing from everyone else. But I like him better as a romantic hero like Cosi Fan Tutte and Les Pecheurs de Perles. 

[dbklmt]

The documentary, The Best Worst Thing That Ever Happened, based on Hal Prince & Stephen Sondheim's first and biggest FLOP, Merrily We Roll Along is now available for viewing on Netflix, iTunes & Amazon Prime.  You have to pay on iTunes & Amazon Prime to watch it, but it's FREE on Netflix which I discovered after I had purchased it and watched it on Amazon Prime.  I really enjoyed it especially seeing the people that sang that illustrious score when they were oh so young and just starting out in the Theatre and where they are now. 

  https://www.bestworstthingmovie.com/

[Milburn Stone]

1 hour ago, dbklmt said:

The documentary, The Best Worst Thing That Ever Happened, based on Hal Prince & Stephen Sondheim's first and biggest FLOP, Merrily We Roll Along is now available for viewing on Netflix, iTunes & Amazon Prime.  You have to pay on iTunes & Amazon Prime to watch it, but it's FREE on Netflix which I discovered after I had purchased it and watched it on Amazon Prime.  I really enjoyed it especially seeing the people that sang that illustrious score when they were oh so young and just starting out in the Theatre and where they are now. 

  https://www.bestworstthingmovie.com/

Saw the movie in a theater here in Chicago and it's really good. Turns out to be about more than you think it's going to be about. As if being about what you think it's going to be about weren't enough.

[aradia22]

Saw Elina Garanca at Carnegie Hall this afternoon. She has a beautiful, powerful voice but for some reason it didn't really move me. She fell into the category of people I would see if I already wanted to see the production but not someone I'd go specifically to see like Diana Damrau or Anna Netrebko. Also, gotta love 3 planned encores. 

[aradia22]

I'm sure I've said this before, but I'm not really a play person. When it comes to theatre, I'm a musical fan. I go see plays and I'm interested in what the playwrights have to say or what the performances are like. But I rarely get really into them or find that they connect with me on all levels. Maybe one thing will be personal to me and I'll get emotional but I'll know the play was otherwise poorly written. Or maybe I'll be kind of interested in the playwrights ideas but the performances won't be great and the play itself won't be very good and I'll just wish the writer had written an essay instead of a show. I saw Sundown, Yellow Moon tonight. I was supposed to see it a week before but I had one of my "not leaving the house today" days. I was going to pay a preview ticket discount price. But since I rescheduled, I paid full price + an exchange fee. And then of course it popped up on both TDF and a papering site. And yet, after tonight, I can't bring myself to regret paying $40 for this 90 minute show. It was well worth it. I thought it was just fantastic. It wasn't particularly uplifting or cathartic or sentimental but I still left feeling giddy on the high of good theatre. It has its flaws, depending on what you want from a play. But for me... it was naturalistic in a way that was just really appealing. They talked like real people. They acted like real people. (Minus the plotline with the sister and the poet but even that was really well executed by the actors.) It was subtle and kind of... confident, I guess. It wasn't one of those plays where they hide things to seem mysterious and intellectual or to have big revelations later on. It was just like... people don't go around spouting all their backstories and secrets. So that didn't happen. You found out what you needed to know and that was enough. I don't know. It won't be for everyone but if you can catch it, I would really recommend it. I haven't enjoyed a play like that, in its entirety, in a long time. 

[Charlie Baker]

I won't be making it to see the Encores The New Yorkers, but am curious about it, especially after seeing divergent reviews.  So if anyone who sees it cares to weigh in, I'd be interested.

[Rinaldo]

Rinaldo's Saturday in New York (#2 of 3, built around Encores! subscription each spring since it began):

Matinee: Sunday in the Park with George. This is, I believe, the sixth production of this that I've seen (and I caught the original production 4 times, so... tenth live performance, plus countless viewings of the DVD). With that background, it would be ridiculous to claim that any one production was "the best" in every respect; each has had its own strengths and weaknesses. But I can say that this limited-run production is a very fine one, lavishly cast down the line (which is important, as each piece in the mosaic needs to be vividly etched), and it delivers the essential emotional kick to the gut when it needs to. 

Interestingly, though economically produced in some ways (the minimal designs by Beowulf Boritt basically give us an asymmetrical platform in front of the orchestra -- which can be hidden by a gauze that takes projections; and the only cut-outs are the small animals), both cast and orchestra are actually larger than in the original production. There's an ensemble of four surplus to the speaking roles, and a string bass and third woodwind have been added (presumably by Michael Starobin himself) to the orchestration. This is especially gratifying after the soul-crushing stinginess in the last revival, which decided that five instruments were enough.

Of the excellent supporting cast, I would especially single out Penny Fuller for her poignant understatement as the Old Lady, followed by a nicely tart cameo as Blair. But the real prizes were our leading pair, Annaleigh Ashford (an entertainingly close vocal match for Bernadette Peters) and Jake Gyllenhaal. Separately and together, they achieved every quality needed, and the emotional heart (indeed, the deepest emotions Sondheim ever wrote), "Move On," soared in the way it must (but doesn't always), with the simplest yet deepest of choices in performance. That, along with the formation of the the painting at the end of Act I (my #1 crying moment in all of theater, if it's done right, as it was), and George's final words to us, ensured the performance as one of my top indelible experiences.

Evening: The New Yorkers at Encores! I'm not sure what to say about this. It's lesser Cole Porter, so obscure that even historians (among whom I count myself) are only vaguely aware of it, and preserved only with a provisional script and basic (non-production) song sheets. Even so, there could be a value in presenting a reconstruction to a special audience (like Encores! subscribers) as an example of a loony ephemeral 1930 musical comedy. But we didn't get that: instead songs were re-positioned and reassigned and other Cole Porter songs shoehorned into the running order. The latter might be defended in some cases as a chance to let us hear little-known Porter songs from lesser shows unlikely to ever be revived. But "Night and Day" is hardly that (it's been immortalized on film, for heaven's sake), likewise every even beginning Porter aficionado knows that "The Physician" belongs in Nymph Errant and "You've Got That Thing" in Fifty Million Frenchmen. So what we got was neither one thing or the other, entertaining at some moments and frustrating, even annoying (as when we could tell that the book was being rewritten to lead into the inserted songs) at others.

Under the circumstances, there's no point going into much detail about the cast, many of them previously known to me only by name, if at all. Clearly Scarlett Strallen is a multi-talented performer, though with a vocal style perhaps not ideally tuned to 1930. Tam Mutu is a vivid presence who I suspect would show off to better advantage in different material. Of the others... well, they all worked hard and I hope to see them under other circumstances. My favorites were Kevin Chamberlin, who, tasked with being Jimmy Durante (who wrote his own material, as he generally did in this era), committed himself to it with gusto, and his two backup men, the always welcome Clyde Alves and Jeffrey Schecter. Recognition, too, for the excellent new orchestrations by Joshua Clayton and Larry Moore.

Now onward to The Golden Apple, which I've been waiting for them to do since the series began.

Edited March 26, 2017 by Rinaldo

[Charlie Baker]

Thank you very much, Rinaldo. I am looking forward to The Golden Apple as well, having known it since the stock/regional theater connected to my alma mater performed it while I was still in school. 

[Rinaldo]

Dare I ask the identity of that alma mater, @Charlie Baker? The Golden Apple gets performed so very seldom that its productions over the years would be pretty easy to count. It ought to be much better known -- it's one of the masterpieces of the form.

[Silver Raven]

Sacramento Music Circus is doing a summer season preview show for season ticket holders, next Saturday.  I'll report what we get to see.

[Charlie Baker]

The company is now known as Pennsylvania Center Stage, affiliated with the Pennsylvania State University.  In the 70s, it was known as Festival Theater.  As I recall that season included Bus Stop, That Championship Season, and Little Mary Sunshine in addition to The Golden Apple.   I was young and dazzled. A season before or after, I remember A Little Night Music and The Royal Family.  I ate it all up with the proverbial spoon.

[aradia22]

I will weigh in on my thoughts on The New Yorkers in a few days. I'm tired tonight and I'll be away from the internet for a few days. But I'll say the orchestra sounded great (Rob Berman works some magic. To me they sound so much better than the much larger NY Pops ensemble), the costumes were beautiful, and the choreography was a little mixed (I think the dancers were capable but the choreography could have been stronger for much of it). But they put together a great cast for this for the most part and I had so much fun. Reviews have been mixed, but I'm glad I decided to check this one out. It was well worth it for me. I didn't yawn once (my body has started doing this thing where it could be 20 minutes into a show and if I'm not into it, even if I'm well-rested, I will start yawning). Some solid laughs and just boatloads of charm and enthusiasm. 

[Snarryfan]

I check in with this topic regularly as I am a big theatre person (have a PhD in Theatre History and everything) but this is my first post here. I just had to because in May I am flying to London for the weekend to see David Tennant in Don Juan in Soho. First time the play has been revived since its initial run in 2006 and I am soooo excited.  I adore Tennant and the play promises to be amazing!