Theatre Talk: In Our Own Little Corner

[aradia22]

Ooh, lady. Eddie Izzard and Laurie Metcalf? I might actually see a play ON Broadway.

https://www.hollywoodreporter.com/news/laurie-metcalf-eddie-izzard-lead-whos-afraid-virginia-woolf-broadway-1201615?utm_source=t.co&utm_medium=referral

[Rinaldo]

43 minutes ago, aradia22 said:

@Rinaldo I'm curious to hear your thoughts on Kiss Me, Kate. Are you planning to see it?

I saw it, when I came up for I Married an Angel at Encores. It's an enjoyable enough piece of entertainment; I wouldn't discourage anyone from going to see it. Kelli O'Hara gives a lovely performance (though the revisers have been so unnecessarily fearful and cautious, she's been pre-tamed and is not remotely a shrew or even a very interesting character), Corbin Bleu an excellent and endearing one, Will Chase is miscast both vocally and dramatically. For some reasons, despite two good actors, the pair of gunmen don't come to life at all, and I would have thought those were can't-miss parts (in such a case, it's hard not to blame the director).

I'm sorry that they used the most recent Broadway revival for their template, but at least that's been helpfully tweaked in a couple of respects: the new orchestrations are better (less inclined to zap every joke and action), the secondary couple are given space for their characters and songs to register. But it's still presented in such a basic, vulgar way -- nothing can be subtle or implied, everything has to be double-underlined, it's assumed that the audience are inattentive children.

My own preference would be to go back to the show Cole Porter and the Spewacks wrote (again, best seen in the 2014 BBC Proms performance), and let the chips fall where they may. On a mundane level, that show simply is funnier and more sophisticated and plays better. But they didn't ask me.

[aradia22]

Quote

Kelli O'Hara gives a lovely performance (though the revisers have been so unnecessarily fearful and cautious, she's been pre-tamed and is not remotely a shrew or even a very interesting character), Corbin Bleu an excellent and endearing one, Will Chase is miscast both vocally and dramatically.

I thought Kelli's Kate was fine and her Lilli was lacking. As a choice, I don't hate her Kate being not as "big." I think she can be shrewish just by defying her father's desire to marry her off and standing up to the men in her life. Especially for the time period, that's enough to be a shrew. I didn't need her to go full virago or harpy. Or termagant. (God, there are a lot of misogynistic words for "unpleasant woman.") Anyway, having seen Kelli in so many other roles, I did think she played the role as shrewish... for her. Her "I Hate Men" was certainly a step up from "Shall I Tell You What I Think Of You" in The King and I, which for me lacked bite. I think her lack of a character came in her Lilli. Will gave her so little to play off of. But even if I hadn't known the show, her Lilli was so much more even-tempered it undercut any dramatic tension. "So in Love" wasn't a departure or turning point. Instead it seemed rather inevitable that Fred and Lilli would get back together so we were just coasting to the ending. I wish I'd seen Will Chase in Drood because I do not understand why people keep casting him. He is such a flat actor and usually I'm indifferent to his singing. As I said in my review, I did think "Were Thine That Special Face" was a high point (but I've still heard it sung better).

Quote

For some reasons, despite two good actors, the pair of gunmen don't come to life at all, and I would have thought those were can't-miss parts (in such a case, it's hard not to blame the director).

I don't know what you do to make those parts work. I'm not a director and I don't have a particular good comic sensibility. But I do know that when played right, Brush Up Your Shakespeare should be a laugh riot.

Quote

But it's still presented in such a basic, vulgar way -- nothing can be subtle or implied, everything has to be double-underlined, it's assumed that the audience are inattentive children. [...] On a mundane level, that show simply is funnier and more sophisticated and plays better. But they didn't ask me.

My exact same thoughts. I felt like a stick in the mud because some people around me were laughing at what I found juvenile and overplayed. 

I was going to watch the BBC Proms performance before seeing this one but time got away from me. I'll watch it soon and maybe report back.

[thosme]

Thank-you Rinaldo.  I really enjoyed the performance.  Do you have any other recommendations?

[Silver Raven]

Today was the Sacramento Broadway at Music Circus Subscriber Showcase.  There were six performers, every one of them with an outstanding voice.

Pierce Cassidy, who will be in Oklahoma!

Brandon Contreras, who will be in In the Heights

Kaleigh Cronin, who will be in The Drowsy Chaperon

Evan Harrington, who will be in Guys and Dolls

Andre Jordan, who will be Donkey in Shrek

Jennifer Leigh Warren, who will be the Dragon in Shrek.

[Spartan Girl]

My theater Wharton Center just announced its season for 2019-2020! Come From Away, Les Miserables, Aladdin (it's about freaking time!), My Fair Lady, Wicked, and Dear Evan Hansen. Even though I've seen three of these, there doesn't seem to be a bad show in the bunch!

[aradia22]

Tickets booked to see My Fair Lady again in a few weeks! I'm VERY excited but trying to not get my expectations too high. Hopefully Laura will be in. She's out 5/2 and I booked for 5/1.

[aradia22]

https://www.broadway.com/buzz/195492/mike-faist-to-bring-cool-factor-to-steven-spielbergs-west-side-story-film-as-riff/

Mike Faist is Riff. Ben Cook (Newsies) is in the Jets chorus. I can't remember girls in the Jets so does that mean Maddie Ziegler has to be that tomboy character?

Article has all the ensemble/chorus members. 

"They join a previously announced slate of stars that includes Ansel Elgort as Tony, Rachel Zegler as Maria, Tony nominee Ariana DeBose as Anita, Tony winner David Alvarez as Bernardo, Josh Andrés Rivera as Chino, three-time Tony nominee Brian d'Arcy James as Sergeant Krupke and Golden Globe nominee Corey Stoll as Lieutenant Schrank. Oscar-winning West Side Story original film star Rita Moreno will take on the role of Valentina, a reconceived version of Doc."

This movie seems like it's shaping up to be a really professional looking high school production. I'm up for being shocked by someone's acting or singing ability but as of now... meh.

[Silver Raven]

Rachel Zegler has a pre-fame Youtube channel where you can decide for yourself is you like her voice.  Ansel Elgort also sings, there are videos of him singing.

[ElectricBoogaloo]

Rebecca Naomi Jones discusses Oklahoma!

[ElectricBoogaloo]

Michael Stuhlbarg, Tim Blake Nelson, & Peter Jay Fernandez discuss Socrates

[ElectricBoogaloo]

George Salazar discusses Be More Chill:

[ElectricBoogaloo]

Will Roland & Joe Iconis discuss Be More Chill:

[aradia22]

Got an email with casting for High Button Shoes

Quote

Follow the misadventures of two charismatic conmen—Harrison Floy (Michael Urie) and Mr. Pontdue (Kevin Chamberlin)—as they proceed to bamboozle Sara Longstreet (Betsy Wolfe) and her family. Their schemes incite a chase from New Brunswick, down the Jersey Shore, to Atlantic City. The final Encores! presentation of City Center’s 75th Anniversary Season, this production will also feature Aidan Alberto, Jennifer Allen, Carla Duren, Chester Gregory, Mylinda Hull, Marc Koeck, Matt Loehr, and Wayne Pretlow.

High Button Shoes was the first Broadway collaboration from Sammy Cahn and Jule Styne. Jerome Robbinswon his first Tony Award for Best Choreography with the show and two numbers—the dazzling comedic 10-minute ensemble piece, “Bathing Beauty Ballet,” and “I Still Get Jealous”—will use his original choreography staged by Sarah O’Gleby. This Encores! production pays tribute to Robbins’s inspiring legacy in honor of the Jerome Robbins Centennial and City Center’s 75th Anniversary Season. High Button Shoes is directed by John Rando with music direction by Encores! Music Director Rob Berman and choreography by Sarah O’Gleby.   

Almost interested. I do love Betsy Wolfe. And he's done a lot of theater but I can't remember hearing Michael Urie sing. Maybe on Ugly Betty forever ago? Not at all interested in the show though and I'm already seeing Road Show.

[aradia22]

I just bought my ticket for The Secret Life of Bees. Previews are very well sold but it turns out they were holding back the Back25 tickets. I'd jump on them now if you're at all interested.

[aradia22]

Watched Tosca on the DVR finally. It was the new production with Vittorio Grigolo as Mario Caravadossi and Sonya Yoncheva as Floria Tosca. I'm pretty sure Zeljko Lucic was Scarpia the first time I saw it too. Anyway... thoughts.

I had three favorite musical moments. 1) When Tosca shows up but really when she's jealous about the painting and Mario starts talking about her eyes. 2) The Scarpia/Floria confrontation but mainly during the seduction/harassment part when he makes his indecent proposal 3) Vissi d'arte obviously

It's still near the bottom of the list of Puccini operas for me. I think it's because everyone bores me except Tosca. As far as opera heroines go, she's pretty fierce. She's jealous and intense but they don't make her a shrew. She falls for a trick but you can't blame all the misfortune on her. She stands up for herself. She fights back. And there's her choice at the end. I can see how you could interpret her actions differently but in this production, everything she does just seems like a boss move. What I didn't really buy was all the stuff about her gentleness or how she was pious and devout. In this production, that seemed like it was always being told and never shown. 

Of course when it's on film you have the advantage of all the close ups but still, I think this production is generally very similar to the last one but slightly more intimate. I think the changes are for the better but was it necessary to spend a bunch of money on a new production? Probably not. But a lot of the design is such that with the angles, for the most part it feels more intimate and closer like a Zeffirelli production and less like ants are running around on a huge, sparse set. Act III was a slight exception. The other big thing is there are some gorgeous costumes in this. I don't remember the costumes being this nice before.

Back to everything being kind of boring aside from Tosca... the political intrigue is very uninteresting. I have no investment in any rebellion or Napoleon and we barely know the guy he's hiding. They spend time on his sister but she only seems to be a character to set up plot points. And Act III is incredibly boring because it's pretty obvious what's going to happen and they take forever to get to the point. I can see why I didn't love it the first time when I was sitting through the intermissions and didn't have the luxury of starting and stopping the DVR when I felt like it. 

[ElectricBoogaloo]

Every time I see Brendon Urie or Michael Urie, I always have to stop and think about which one is which. Are we talking about Ugly Betty guy or Panic at the Disco guy? It doesn't help that they've both done musical theater/Broadway shows!

On 4/24/2019 at 11:13 PM, aradia22 said:

I can't remember hearing Michael Urie sing. Maybe on Ugly Betty forever ago?

He was in How to Succeed on Broadway in 2012 (when Nick Jonas was in the show) and again in 2018 at the Kennedy Center (with Skylar Astin and Betsy Wolfe). My half-hearted YouTube search mostly turned up interviews about the show, not any performances from the show (I found a promo for the 2018 show but the part he was in didn't have him singing), but I found this clip of him performing with the Skivvies (the song was written by Laura Benanti):

Michael and Becki Newton singing 80s tv show theme songs:

Edited April 27, 2019 by ElectricBoogaloo

[aradia22]

Quote

He was in How to Succeed on Broadway in 2012 (when Nick Jonas was in the show) and again in 2018 at the Kennedy Center (with Skylar Astin and Betsy Wolfe). 

Ohh, that's right. I 100% forget that revival all the time. I wasn't seeing theater that frequently at that point and none of the stunt casting (Daniel Radcliffe, Nick Jonas, etc.) interested me. The H2$ in my brain has Lillias White riffing her face off. 

[SomeTameGazelle]

16 hours ago, aradia22 said:

Back to everything being kind of boring aside from Tosca... the political intrigue is very uninteresting. I have no investment in any rebellion or Napoleon and we barely know the guy he's hiding. They spend time on his sister but she only seems to be a character to set up plot points. And Act III is incredibly boring because it's pretty obvious what's going to happen and they take forever to get to the point. I can see why I didn't love it the first time when I was sitting through the intermissions and didn't have the luxury of starting and stopping the DVR when I felt like it. 

The guy in hiding is a bit of a MacGuffin -- he's just the place where Cavaradossi's political activism and Tosca's suspicions about his [Cavaradossi's] infidelity are given form. I don't think we need to care about him as a person much.

I often think about an amateur semi-staged production I saw where, confusingly, Scarpia was much more attractive than Cavaradossi, so it was hard to grasp why Tosca was so revolted by his attentions. Also, at the end, the way Tosca ran off the stage, I really thought she might get away. 

[aradia22]

Looking like a big production. Still not interested.

[Rinaldo]

I have to say a word about the presentation of Lady in the Dark by MasterVoices at City Center that concluded its 3 performances on Saturday (I came to the city on that day to see it). This is a great musical (Kurt Weill / Ira Gershwin / Moss Hart) most unusually constructed. The lady of the title, a troubled magazine editor in 1941, goes to a psychotherapist for help, and recalls her dreams. And the only music occurs in the three dreams that we see enacted, each a 20-minute mini-opera (plus one song that we finally hear at the end, when she recovers her memory and figures out her problem); it's otherwise a spoken play. Gertrude Lawrence enchanted everyone when she performed the role in 1941, but it's rarely been done since; it poses a number of challenges.

They were wonderfully met in this production (a bit more than a staged concert), directed as well as conducted by Ted Sperling. Victoria Clark fulfilled every expectation in the star role, Liza Elliott. Her low-down "Saga of Jenny" rightly stopped the show, and then her final quiet rendition of "My Ship" was two minute of the purest beauty.

And the rest of the casting was dead-on perfect, too: Christopher Innvar, Ben Davis, Ron Raines, David Pittu, Montego Glover, Ashley Park. Big-name designers and a dance troupe were recruited to lend lots of color and movement, and the whole thing proved wonderfully satisfying.

Edited April 30, 2019 by Rinaldo

[aradia22]

Listened to Jessica Vosk's album Wild and Free. It's fabulous. It's not trying to be pop. It's not trying to be jazz. It's exactly what you'd think you would get from a musical theater actress putting out an album. It takes a little bit of time to get used to her voice. I do like her voice but while it's not nasal, it's very piercing and in the mask. Of all the Elphabas whose solo albums I've listened to (Shoshana, Idina, Eden, Julia, Lindsay, etc.) she's the one who keeps that style of singing the most. But no complaints on the technical singing. It's nice to hear an album where the voice is exposed and not masked by weird producing choices. It is a little clean but I can't tell how much autotune is being used. I'd still give the advantage to the live concert albums there but for a polished album, I think it does a good job not covering up her voice. I think it's closest to the album you'd expect Lea Michele to have put out after Glee instead of the pop one she did put out. It's very Rachel Berry. But her voice doesn't have the warmth of Lea's. Great song choices too.

[ElectricBoogaloo]

This year’s Tony nominations!

Quote

Best Play

Choir Boy by Tarell Alvin McCraney
Gary: A Sequel to Titus Andronicus by Taylor Mac
Ink by James Graham
The Ferryman by Jez Butterworth
What the Constitution Means to Me by Heidi Schreck

Best Musical
Ain't Too Proud
Beetlejuice
Hadestown
The Prom
Tootsie

Best Revival of a Play
All My Sons
Burn This
The Boys in the Band
The Waverly Gallery
Torch Song

Best Revival of a Musical
Kiss Me, Kate
Oklahoma!

Best Book
Scott Brown and Anthony King, Beetlejuice
Bob Martin and Chad Beguelin, The Prom
Anaïs Mitchell, Hadestown
Dominique Morisseau, Ain't Too Proud
Robert Horn, Tootsie

Best Original Score
Adam Guettel, To Kill a Mockingbird
Joe Iconis, Be More Chill
Anais Mitchell, Hadestown
Eddie Perfect, Beetlejuice
Matthew Sklar and Chad Beguelin, The Prom
David Yazbek, Tootsie

Best Leading Actor in a Play
Paddy Considine, The Ferryman
Bryan Cranston, Network
Jeff Daniels, To Kill a Mockingbird
Adam Driver, Burn This
Jeremy Pope, Choir Boy

Best Leading Actress in a Play
Annette Bening, All My Sons
Laura Donnelly, The Ferryman
Elaine May, The Waverly Gallery
Janet McTeer, Bernhardt/Hamlet
Laurie Metcalf, Hillary and Clinton
Heidi Schreck, What the Constitution Means to Me

Best Leading Actor in a Musical
Brooks Ashmanskas, The Prom
Derrick Baskin, Ain't Too Proud
Alex Brightman, Beetlejuice
Damon Daunno, Oklahoma!
Santino Fontana, Tootsie

Best Leading Actress in a Musical
Stephanie J. Block, The Cher Show
Caitlin Kinnunen, The Prom
Beth Leavel, The Prom
Eva Noblezada, Hadestown
Kelli O'Hara, Kiss Me, Kate

Best Featured Actor in a Play
Bertie Carvel, Ink
Robin De Jesús, The Boys in the Band
Gideon Glick, To Kill a Mockingbird
Brandon Uranowitz, Burn This
Benjamin Walker, All My Sons

Best Featured Actress in a Play
Fionnula Flanagan, The Ferryman
Celia Keenan-Bolger, To Kill a Mockingbird
Kristine Nielsen, Gary: A Sequel to Titus Andronicus
Julie White, Gary: A Sequel to Titus Andronicus
Ruth Wilson, King Lear

Best Featured Actor in a Musical
André De Shields, Hadestown
Andy Grotelueschen, Tootsie
Patrick Page, Hadestown
Jeremy Pope, Ain't Too Proud
Ephraim Sykes, Ain't Too Proud

Best Featured Actress in a Musical
Lilli Cooper, Tootsie
Amber Gray, Hadestown
Sarah Stiles, Tootsie
Ali Stroker, Oklahoma!
Mary Testa, Oklahoma!

Best Direction of a Play
Rupert Goold, Ink
Sam Mendes, The Ferryman
Bartlett Sher, To Kill a Mockingbird
Ivo van Hove, Network
George C. Wolfe, Gary: A Sequel to Titus Andronicus

Best Direction of a Musical
Rachel Chavkin, Hadestown
Scott Ellis, Tootsie
Daniel Fish, Oklahoma!
Des McAnuff, Ain't Too Proud
Casey Nicholaw, The Prom

Best Choreography
Camille A. Brown, Choir Boy
Warren Carlyle, Kiss Me, Kate
Denis Jones, Tootsie
David Neuman, Hadestown
Sergio Trujillo, Ain't Too Proud

Best Orchestrations
Michael Chorney and Todd Sickafoose, Hadestown
Simon Hale, Tootsie
Larry Hochman, Kiss Me, Kate
Daniel Kluger, Oklahoma!
Harold Wheeler, Ain't Too Proud

Best Scenic Design of a Play
Miriam Buether, To Kill a Mockingbird
Bunny Christie, Ink
Rob Howell, The Ferryman
Santo Loquasto, Gary: A Sequel to Titus Andronicus
Jan Versweyveld, Network

Best Scenic Design of a Musical
Robert Brill and Peter Nigrini, Ain't Too Proud
Peter England, King Kong
Rachel Hauck, Hadestown
Laura Jellinek, Oklahoma!
David Korins, Beetlejuice

Best Costume Design of a Play
Rob Howell, The Ferryman
Toni-Leslie James, Bernhardt/Hamlet
Clint Ramos, Torch Song
Ann Roth, Gary: A Sequel to Titus Andronicus
Ann Roth, To Kill a Mockingbird

Best Costume Design of a Musical
Michael Krass, Hadestown
William Ivey Long, Beetlejuice
William Ivey Long, Tootsie
Bob Mackie, The Cher Show
Paul Tazewell, Ain't Too Proud

Best Sound Design of a Play
Adam Cork, Ink
Scott Lehrer, To Kill a Mockingbird
Fitz Patton, Choir Boy
Nick Powell, The Ferryman
Eric Sleichim, Network

Best Sound Design of a Musical
Peter Hylenski, Beetlejuice
Peter Hylenski, King Kong
Steve Canyon Kennedy, Ain't Too Proud
Drew Levy, Oklahoma!
Nevin Steinberg and Jessica Paz, Hadestown

Best Lighting Design of a Play
Neil Austin, Ink
Jules Fisher and Peggy Eisenhauer, Gary: A Sequel to Titus Andronicus
Peter Mumford, The Ferryman
Jennifer Tipton, To Kill a Mockingbird
Jan Versweyveld and Tal Yarden, Network

Best Lighting Design of a Musical
Kevin Adams, The Cher Show
Howell Binkley, Ain't Too Proud
Bradley King, Hadestown
Peter Mumford, King Kong
Kenneth Posner and Peter Nigrini, Beetlejuice

Tony Nominations by Production
Hadestown—14
Ain't Too Proud—12
Tootsie—11
The Ferryman—9
To Kill a Mockingbird—9
Beetlejuice—8
Oklahoma!—8
Gary: A Sequel to Titus Andronicus—7
The Prom—7
Ink—6
Network—5
Choir Boy—4
Kiss Me, Kate—4
All My Sons—3
Burn This—3
The Cher Show—3
King Kong—3
Bernhardt/Hamlet—2
The Boys in the Band—2
Torch Song—2
The Waverly Gallery—2
What the Constitution Means to Me—2
Be More Chill—1
Hillary and Clinton—1
King Lear—1

Edited April 30, 2019 by ElectricBoogaloo

[aradia22]

RE: Tony Nominations

Biggest surprises 

Best Musical- Beetlejuice... I thought it would just get technical noms and something else would get in here. 

Best Original Score- What? Are they able to nominate fewer choices if there aren't enough good scores in a season. Because it seems like there are some stretches here.

Best Leading Actress- Bening and McTeer. I know they're well-respected but those plays and performances didn't get universal raves. Were there no stronger lead actress performances this season? 

Best Leading Actor in a Musical- Aside from Damon and Santino... what? (Derrick could be great, haven't seen the show)

Best Leading Actress in a Musical- Two noms for The Prom given all the other shows

Interesting/competitive races

Best Play

Best Leading Actor in a Play

Best Featured Actor in a Play- a fun category with standout performances this year

Best Featured Actor in a Musical- two noms for Hadestown and two for Ain't Too Proud could result in split votes

Best Featured Actress in a Musical- like BFA in a play, this is a fun one this year. Again, a possibility of split votes.

Best Costume Design of a Musical- Will this just go to Mackie or is there some debate here?

[bosawks]

I’m a little bummed that Bonnie Milligan couldn’t snag one of those featured actress in a musical nods.

She gave a crazy, all out, scenery chomping, balls to the walls performances for the ages.  It was fantastically entertaining.

That being said I think it’s Amber’s to lose and I’m fine with that.

[ElectricBoogaloo]

4 hours ago, bosawks said:

I’m a little bummed that Bonnie Milligan couldn’t snag one of those featured actress in a musical nods.

She gave a crazy, all out, scenery chomping, balls to the walls performances for the ages.  It was fantastically entertaining.

That being said I think it’s Amber’s to lose and I’m fine with that.

I really enjoyed her performance too. I’m disappointed that Ain’t Too Proud got a choreography nomination but Spencer Liff didn’t get one for Head Over Heels. It’s been a while since I saw both shows, but my recollection is that HOH had much more intricate and original choreography while ATP mostly had the expected Motown stuff recreated. 

Unless they massively changed the choreography since the iterations I saw (which, to be honest, is possible because I saw ATP in 2017 and HOH in 2018), I wouldn’t have even considered ATP for the choreography category. 

[ElectricBoogaloo]

The split vote I'm interested in is Jeremy Pope. He's nominated for Ain't Too Proud (Best Featured Actor in a Musical) and Choir Boy (Best Leading Actor in a Play).

[ElectricBoogaloo]

You can see the West End production of 42nd Street tonight in theaters through Fathom Events!

[ElectricBoogaloo]

Bandstand is doing a national tour (no casting has been announced yet)

Dates and locations so far:
 

Quote

Nov 1, 2019
Albuquerque NM
Popejoy Hall

Nov 2-3, 2019
Amarillo TX
Civic Center Auditorium

Nov 6, 2019
Abilene TX
Abilene Convention Center

Nov 11-12, 2019
Sioux Falls SD
Washington Pavilion

Nov 16 - 17, 2019
Eugene OR
Hult Center for the Performing Arts

Nov 19 - 20, 2019
Santa Barbara CA
Granada Theater

Nov 21 - 24, 2019
Thousand Oaks CA
Fred Kavli Theatre

Dec 3 - 4, 2019
Colorado Springs CO
Pikes Peak Center

Dec 6 - 8, 2019
Phoenix AZ
Orpheum Theatre

Dec 11, 2019
Sioux City IA
Orpheum Theatre

Dec 13 - 14, 2019
Des Moines IA
Civic Center

Jan 9 - 12, 2020
Toledo OH
Stranahan Theater

Jan 14 - 16, 2020
Wichita KS
Century II Performing Arts Center

Jan 17 - 19, 2020
Lincoln NE
Lied Center for Performing Arts

Jan 23, 2020
Van Wert OH
Niswonger Performing Arts Center

Jan 24 - 26, 2020
South Bend IN
Morris Performing Arts Center

Jan 31, 2020
Charleston, SC
Charleston Gaillard Center

Feb 4-5, 2020
Sarasota FL
Van Wezel Performing Arts Hall

Feb 18-23, 2020
Jacksonville FL
Moran Theater

Mar 19-22, 2020
Worcester MA
Hanover Theatre

Mar 27-29, 2020
Reno NV
Pioneer Center

Apr 3 - 5, 2020
Boise ID
Velma V. Morrison Center for the Performing Arts

Apr 7 - 12, 2020
Sacramento CA
Memorial Auditorium

Apr 24 - 26, 2020
Birmingham AL
Birmingham-Jefferson Convention Complex

Apr 29 - 30, 2020
Columbia SC
Koger Center for the Arts

May 2 - 2, 2020
Wilmington NC
Wilson Center

May 5 - 17, 2020
Ft. Lauderdale FL
Au Rene Theatre

May 26 - 31, 2020
Dallas TX
Winspear Opera House

Jun 5 - 6, 2020
New Haven CT
Shubert Theater

[ElectricBoogaloo]

Sarah Silverman's 2010 memoir is being turned into a musical

[ElectricBoogaloo]

Reeve Carney & Eva Noblezada discuss Hadestown:

[ElectricBoogaloo]

Stephanie Styles discusses Kiss Me, Kate:

Edited May 1, 2019 by ElectricBoogaloo

[ElectricBoogaloo]

Tony nominees panel - Des McAnuff (director of Ain’t Too Proud), Camille Brown (choreographer of Choir Boy), and Scott Ellis (director of Tootsie):

[theatremouse]

Ugh, Des McAnuff is such a one-trick pony.

[aradia22]

I saw My Fair Lady again tonight. It was an absolute delight. I have nitpicks here and there but if you've been putting it off or you're even slightly considering going back to see Laura Benanti, DO! With this cast, I feel like I saw the fully realized vision Barlett Sher had for this show that was absent last time with the original cast.

Spoiler

Cast: I saw Laura Benanti (Eliza), Christian Dante White (Freddy), Michael Halling (Higgins), Alexander Gemignani (Alfred), Rosemary Harris (Mrs. Higgins), Clarke Thorell (Karpathy)... I think most of the cast was the same, including the marvelous Linda Mugleston as Mrs. Pearce. There's been some turnover in the ensemble but some familiar faces.

I think Bartlett Sher just doesn't direct his leading ladies to belt their faces off. Laura didn't have the vocal struggles that Lauren did but she chose her moments. Vocally, I don't think she's the definitive Eliza, even if you take Julie Andrews out of the running. I think for the most part, she navigated the split between the flower girl and the princess well but there were times, especially on the high notes when she didn't sound like the cockney Eliza in early songs when she should have. BUT I do really wish they would record her singing or preferably record this as a Live From Lincoln Center production. I found She Loves Me a little underwhelming. But this Laura... THIS is the Laura that won that Tony for Gypsy. Her acting was fantastic. She was able to find these funny little moments but also bring this incredible dignity and regal quality to the role. Her book scenes didn't have the vulnerability of Lauren's but they also made more sense. PERFECT line deliveries. Also, the wore the hell out of those costumes. Especially her gown for the ball. STUNNING.

I didn't realize that seeing it on Wednesday, we'd be seeing an alternate for Higgins. I preferred Michael SO much more than Henry. His voice is better. Shallowly, he's more attractive. But also, he plays the role much more traditionally. I feel like he understands what Sher wanted in softening Higgins and exposing his foolishness but he's taken enough from Rex Harrison that I didn't feel like it was forcing a different interpretation of the character. He and Laura have a handful of moments when their relationship does feel more romantic, regardless of what they might say during the fight at his mother's house. I recommend going on a Wednesday.

I feel like the pacing/energy of the ensemble was a little off. Not the whole time but there were definitely times I felt the length of the show or it seemed like people were marking. 

Alex was interesting as Alfred. He has a fierceness and brutishness to him that was very different from Norbert. He really played up the lines about physically abusing Eliza and he felt like a bruiser from the streets and not just a happy go lucky drunk. It gave more weight to Eliza's character and made the class discussions even more compelling. Again, in my opinion, this casting brought a vision of the show fully based in the text to life in a way the original casting didn't. That said, maybe some people won't like that element of danger and seriousness in this show. And in "Get Me to the Church on Time" I'm fairly sure they simplified the choreography. He barely dances. Even the suffragettes randomly walking across the stage made more sense this time though I would have changed some of the signs to say something about temperance. Coming right after Alfred sings "With a Little Bit of Luck" and after he's threatened Eliza with physical violence, seeing suffragettes (and in my mind, temperance reformers) is a reminder of the way many of these early womens' rights/reform movements were targeted at giving women rights to protect them from abusive husbands who would drink away a wife's hard earned wages.

Laura just gives such a thoughtful performance. Any time she's on stage, she's thinking and reacting. You can see the development of the story on her face. You can see her forming the plan to educate herself. You can see the way she really puts her mind to the task in the scene when Henry speaks to her right before "The Rain in Spain." She brings so much sensitivity. It's a really brilliant performance. I gave Lauren credit for the book scenes but Laura gives such a fully realized performance from start to finish, it blows her out of the water. In the second act, her heartbreak was affecting but her empowerment brought me close to tears. 

Christian Dante White is a great Freddy. First of all, his vocals are GORGEOUS. Secondly, his performance is just so endearing. I can see how it might seem over the top but I think it's balanced out with the dark and serious elements from Laura and Alex. Because Alex's songs are no longer genuinely light (you have that feeling from a Kander and Ebb show of should I be enjoying this?), having Freddy be so over the top comedic and genuinely musical theater is a great respite. 

Some of the dancing was sloppy from the ensemble during the ball. 

In Michael's hands, Higgins isn't nice or neutered but you do get the sense that he's not intentionally hurtful. He's full of bluster and says some dickish things but he seems genuinely oblivious about hurting Eliza during "You Did It." The misogyny of his songs just feels like bluster to cover up the fact that he doesn't know how to deal with women. I believed him in that scene at his mother's house when he says he likes the empowered version of Eliza. But he doesn't deserve her. From the moment she throws his slippers at him through to the end, I feel like I finally got what this production was going for and I loved it. Eliza walking out felt right. Because it didn't feel like a departure like they hated each other and would never speak again. When she touched his face there was still kindness and caring between them. But they were both uncompromising. They both made solid points in their debate at his mother's house but ultimately it did not matter because it wasn't about winning an argument. It was about the fundamental incompatibility of the way each envisioned the other person being in his/her life. It reminded me of Roman Holiday. Where you're not happy about it but you understand why these two people cannot be together.

More people should be seeing this show. The loge was pretty empty when I saw it tonight and it's a real shame.

[aradia22]

I saw The Cradle Will Rock tonight at CSC. First time seeing a production and I read the wikipedia but I didn't have time to listen to the score beforehand. It was easy to follow though. The characters announce themselves and the score was surprisingly accessible. The prostitute song with the nickel was a little hard to follow but I think that was a syntax issue and I lost some of Sally Ann Triplett's stuff but that was because she made a character choice to be over the top and was a little hard to understand her sometimes. 

Still, the plot was very straightforward. In broad strokes, they bang you over the head with the whole this woman is an actual sex worker but really all the people who join the Liberty Committee are the real prostitutes! Still deciding how I feel about that one in 2019. I don't know if it's always staged this way but both the music and the staging gave me a vague Kander & Ebb vibe. It's got that Chicago or Wild Party feel of discrete vaudeville numbers. I mostly enjoyed them but the ones I wasn't feeling dragged. Actually, I think the more emotional songs were the ones that didn't work for me because I didn't feel much while the straightforward character/comedic numbers worked better. 

It's only 90 minutes but I found it all very obvious and cynical. I don't think it's a case of preaching to the choir. The reason this didn't totally work for me is not because I already mostly agree with it and don't need to be convinced. I think it just wasn't emotionally affecting. I prefer the optimism and sentimentality of Newsies. The show is structured to swamp you with cynicism over and over (YMMV, I found the vaudeville numbers very bitter. If you see them as comedic, it probably works better. But that aspect of Kander & Ebb never worked for me where you have fun and then twist the knife later on because I never lose the sense of foreboding or subtext). And then at the end it should be inspiring. But the title song is fine but not the most appealingly melodic anthem. And the way it's staged doesn't really give you the sense of an uprising or Mr. Mister being under threat. You don't feel the cradle rocking. They tell you the cradle is rocking but all you've gotten through the rest of the show is that Mr. Mister can buy his way out of anything. The defiance of Larry Foreman when the staging gives you insufficient sense of the union factions coming together feels kind of hollow.

Still, I would recommend it if you're a fan of any of the actors since they all get their moments and it's a very intimate space. You get to hear wonderfully unamplified singing though there isn't much in the way of flashy showstoppers. Tony Yazbeck is giving it his all. It's very sad to sit in a small theater that's so undersold and have them keep partially bringing the lights up. I felt bad for the actors. The score isn't a new favorite but it has its moments. The book has its moments of sentimentality/optimism but overall it was just too cynical and bitter for my taste. 

[ElectricBoogaloo]

The Ferryman is launching a national tour in 2020

The show's producers Sonia Friedman and Caro Newling have confirmed that discussions are underway for engagements in Boston, Charlotte, Chicago, Cleveland, Dallas, Hartford, Los Angeles, Minneapolis/St. Paul, San Francisco, Schenectady, Seattle, Tampa, Toronto, Washington and other markets.

[ElectricBoogaloo]

Tony Award winner Billy Porter slayed the Met Gala. He was carried in by six Broadway actors: Josh Drake (Aladdin), Taurean Everett (The Cher Show), Donald Jones Jr. (Frozen), Anton Lapidus (So You Think You Can Dance), Julius Anthony Rubio (upcoming West Side Story film, Frozen), and Kellen Stancil (The Lion King). More info about his Sun God costume and an interview here.

[ElectricBoogaloo]

I saw Charlie and the Chocolate Factory and it was...fine. It wasn't horribly offensive but I would not recommend this to people unless they are fans of the movie. I thought it would be a lot more fun and whimsical than it was (visually, that is).

I think part of the problem is having a 2hr 30 minute show that stars a kid. It can be hard enough to find two kids who are good actors and singers for a Broadway show, but for a national tour? This tour has three kids rotating in the lead. I don't like to be too critical of child actors because, you know, they're children. The one I saw as Charlie was not a great singer (he had moments where he was fine and moments where he was really flat) and his acting was of the "golly gee willikers" school (which I realize may be more a product of the show and the direction).

I only saw this show because it was part of my season subscription. I definitely would not have chosen to buy tickets to this show separately. I understand why they updated some of the elements of the show but it seemed weird to have one kid glued to his ipad/tech while Charlie had no electricity.

[aradia22]

I finally watched The Opera House so I could erase it from the DVR. I remember it being advertised during a Met Live in HD transmission but I wasn't motivated enough to see it in theaters. I'm glad they made it available for TV. 

I think it does a good job of trying to tell a complete story though I'm not sure if it would hold the interest of people who are not fans of the opera in general and the Met specifically. As a documentary, the pacing is kind of weird and the filmmaker likes to employ silence in a way that did not work for my very sleepy brain for 2 hours. 

I didn't live through it so it was interesting to learn about the original opera house and the construction of the new one. Leontyne Price was a delight. The architecture bit made me consider the building in a way I never have. Also, I can't believe I never realized that the way they're able to change over the set is because the building has 5 stages that they can fly in. (upper level/lower level/left and right wings/back stage). It blew my mind. Lots of good anecdotes like the paint splatters leading to the chandeliers. 

It makes me want to read more about the subject. Also, they were dropping the names of so many singers and operas I do not know. Ah, well. There's only so much time to investigate things. 

[aradia22]

I still have my show-score connection (even though I keep marking their emails as spam). According to a recent survey I was sent, someone is thinking of doing an off-Broadway revival of Little Shop of Horrors with Michael Mayer directing.

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The new Hamilton dance challenge is Beyoncé's Homecoming. First up is the And Peggy company!

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Ephraim Sykes discusses Ain't Too Proud

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Alex Brightman discusses Beetlejuice:

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Francesca Carpanini discusses All My Sons:

[aradia22]

So... this is happening.

[aradia22]

I finally read The Time of the Cuckoo. I'm glad I did even if I'm not sure I loved it. I saw Summertime first and then later discovered the album of Do I Hear a Waltz and watched the Encores production. So the source material didn't have a lot of surprises but of course there are differences when something is adapted. 

It's not a great play for reading. The stage directions make it unclear who is talking so you really have to rely on the formatting which is a little annoying. That is, it seems like you would shift perspective because it describes other people's actions but the same person keeps talking. I liked how quippy it was. Lots of good jokes and one-liners. I feel like Do I Hear a Waltz was actually a very good adaptation of the material in that it didn't change much besides musicalizing certain moments. I'm still unsure if I like the musical better or the play. I think the flaws of the story are present in both. 

Spoiler

I feel like this play wants me to think the Italians are right. I mean, sure everyone gets to say their piece but the balance is heavily on the side of the Italian characters' view of marriage/morality. I do think it was clearer what Laurents was saying in the play vs the adaptations which muddled the waters. "Take the Moment" and "Stay" are GORGEOUS songs and the message also changes in musicalizing and putting emphasis on those bits of dialogue. AND YET, I do think it was fair because Renato is still pretty shady in the play. He lies about Vito. There's the counterfeit money and the necklace. Yes, Leona has her insecurities and her hangups about money and love but he's also denying her agency by not giving her the whole truth and then letting her decide if she wants to have an affair with a married man. He's so manipulative with all the gaslighting and the negging and he says at the end that she takes too much convincing and he's tired but maybe he shouldn't have tried so hard to "convince" her. He's twisted her up in knots throughout the play so of course she explodes at the party. The young married couple also come across very differently in the play. I feel like the husband is more clearly a jerk. And no, June is not unreasonable for not wanting to be married to a drunk gambler or a man who cheats on her all the time. They play it up like June and Leona don't live in the real world because they have fantasies of being loved enough to feel valued. I could get into it more but suffice it to say, there are some real BS 1950's gender politics in this play that go beyond the difference between Americans and Italians (as posited by the play). 

[Spartan Girl]

At long last I'm seeing Hamilton on Wednesday!  Cannot wait to share my thoughts!

[bosawks]

2 hours ago, Spartan Girl said:

At long last I'm seeing Hamilton on Wednesday!  Cannot wait to share my thoughts!

Congratulations, and my advice is to suss out the restroom situation for intermission.

It has an atypically long second act......

Edited May 13, 2019 by bosawks

[ElectricBoogaloo]

14 hours ago, Spartan Girl said:

At long last I'm seeing Hamilton on Wednesday!  Cannot wait to share my thoughts!

Have fun! I can't wait to hear what you think!